ANGRY APPLE – CRISPIN.
Angry Apple – Crispin.
Label: Cold Busted.
Format: Vinyl.
With the release of ‘Crispin’ on the legendary instrumental hip hop and downtempo label Cold Busted, the producer known as Angry Apple makes a major splash with his much-anticipated debut album.
While Angry Apple has been quietly dropping atmospheric singles and EPs for years, ‘Crispin’ is the album his legion of fans knew he was capable of recording. It’s his first full full-length statement, and a mighty impressive one at that. ‘Crispin’ is a fourteen track album that showcases a signature blend of raw, texturised beats and deeply refined mood-setting.
It’s a masterclass in dusty, instrumental hip-hop and lo-fi beats. True to the Cold Busted’s signature aesthetic, the project blends raw, MPC-driven drum programming with late-night jazz cuts, warm ambient blankets, and deeply refined moods. Here is a track-by-track breakdown of how this fourteen track sonic journey unfolds:
A-Side.
‘7393B3 (8pm)’ is the perfect curtain-raiser. Set to a timestamp that feels exactly like twilight, this track introduces the record with crackling vinyl hiss, a slow-creeping bassline, and warm Rhodes piano chords. It establishes the hazy, home-studio atmosphere immediately.
‘A8 Shuttle’ moves at a slightly prodded tempo, this track evokes the feeling of staring out the window of a late-night commuter train. The drums are crisp, paired with a repeating, hypnotic melody loop that grounds you into the groove.
‘Loook’ is one of the standout tracks on side one. It features a beautifully chopped jazz sample that slips slightly behind the beat. This gives it that unquantised, human feel. It’s a head-nodding, intricately layered, and deeply nostalgic sounding track.
‘Oxygeneration’ slows the pulse down, breathing spacious, atmospheric ambient pads over a punchy, heavy kick-drum. It feels lighter than the preceding tracks, acting as a breath of fresh air for the mid-album stretch.
‘Dream02’ Is short, sweet, and floating. Living up to its name, Dream02 plays like a hazy vignette. It leans heavily into warm synth filters and reverb-soaked melodies that drift across the soundscape before dissolving.
‘Ergo’ returns to a more classic, boom-bap rhythmic structure. The drum texture here feels incredibly raw and tactile, driving forward a looping, melancholic horn or string phrase that lingers long after the track ends.
‘Fading’ marks the literal midpoint of the record, Fading features a gorgeous, downcast melody that mimics the feeling of physical exhaustion or slipping into sleep. The highs are rolled off perfectly, giving it a beautifully muted, underwater texture.
B-Side
‘Hugs’ is, without doubt, the emotional high point of the B-side. It introduces a cozy, soul-infused vocal snippet or chord progression that wraps completely around the listener. It’s incredibly comforting and showcases Angry Apple’s ability to inject genuine warmth into synthetic patterns.
‘Cloudy Day’ is the longest cut on the album at nearly four minutes. It gives the producer room to breathe and build, layering rainy-day field recordings beneath an evolving jazz-guitar loop and a crisp, snapping snare.
‘Ubak’ shifts the energy slightly, utilising a bouncing, syncopated bass groove. The percussion details here are intricate, littered with subtle rimshots and shakers that keep the ears locked in.
‘Spirit Water’ is a fluid, cascading track driven by shimmering keys that mimic the motion of water. It leans into a more chilled, meditative zone, stripping back the aggression of the drums to let the melodic ambiance lead the way.
‘When I Wake Up’ is the morning-after track. After a long sequence of late-night moods, this slice offers a slightly brighter, waking-up perspective. The melody is optimistic, framed by a classic, dusty drum loop that feels incredibly grounding.
‘Freezy 99’ is a playful, slightly colder texture. This track relies on crisp, metallic percussion hits and a sharp, rhythmic synth loop. It’s an energetic, rhythmic palette cleanser just before the grand finale.
‘Night Feels’ is the ultimate closing statement. It loops the record right back into the darkness where it started. Leaving you with a gorgeous, sprawling, late-night groove, it rings out with ambient hiss and a lingering sense of peace.
It’s no exaggeration to say that ’Crispin’ is a phenomenal debut album from the truly talented Angry Apple. It’s an album that balances raw MPC grittiness with elegant, late-night jazz arrangements. ’Crispin’ a cohesive, beautifully paced listen that firmly cements Angry Apple as an exciting new voice in the lo-fi beat scene.
Angry Apple – Crispin.
LOS RETROS-ODISEA.
Los Retros-Odisea.
Label: Stones Throw Records.
Format: Double Vinyl.
Mauri Tapia, operating under the moniker Los Retros, has officially broken past his bedroom-pop cocoon. Released in April 2026 on Stones Throw Records, ‘Odisea’ marked the 25-year-old Oxnard multi-instrumentalist’s highly anticipated debut full-length album. It represents a massive, intentional pivot away from his original dusty, lo-fi “sad boy indie” sound.
For anyone expecting a carbon copy of his 2019 gold-certified hit ‘Someone To Spend Time With,’ Odisea will come as a huge surprise. Tapia has completely traded in his humble four-track living room sonics for a pristine, hyper-polished home studio setup.
The primary heartbeat of this record is 1980s Japanese City Pop fused seamlessly with seventies and eighties jazz fusion, smooth Latin American soft rock, synth pop and more than a hint of yacht rock.
Odisea is a meticulously crafted 12-track journey that completely alters the trajectory of Tapia’s career. Moving systematically through the album reveals a gorgeous, jazz-fused sonic landscape heavily inspired by 1980s Japanese City Pop.
Side One.
The title track pulls double duty as an intro and a mission statement. Kicking off with pristine synth washes and a driving, slap-bass groove, it immediately signals that the dusty, four-track living room production is gone. It establishes the high-fidelity, neon-lit nighttime aesthetic that defines the whole record.
‘The World’ leans heavily into late-seventies jazz fusion. Tapia showcases his growth as a multi-instrumentalist here, layering shimmering Rhodes electric piano keys over a deceptively complex, uptempo rhythm. His vocals are smooth, floating effortlessly above a tight, professional rhythm section that he engineered entirely by himself.
‘Shape of Things to Come’ is a breezy, mid-tempo track that feels like a nod to classic Latin American soft rock groups of the eighties. The melodic hooks are incredibly sweet, but the underlying drum work and sophisticated chord changes give it a maturity that keeps it from feeling like simple radio pop.
‘Cielos’ is the first track to strongly highlight Tapia’s spiritual and personal growth. The track is sung primarily in Spanish, and features gorgeous, cascading electronic synths. It’s a track that feels bright, optimistic, and is intensely focused on a sense of peace, reflecting Tapia’s current headspace as a family man grounded in faith.
Side Two.
‘Doves’ features Hikari, and is one of the longest and most ambitious tracks on the record. It’s also a standout track. That’s because of the addition of Japanese vocalist Hikari who elevates the song into a true cross-continental piece of art. Her airy, elegant vocals blend seamlessly with Tapia’s lush arrangements, sounding like a forgotten Tokyo late-night FM radio classic.
‘Sobre Las Ruinas’ translates into ‘Upon the Ruins,’ and introduces a bit of beautiful melancholy back into Tapia’s sound. However, he handles it with a much more refined touch than his earlier work. The bassline anchors a hypnotic, slow-burning groove that feels incredibly cinematic.
‘Outskirts’ shifts the energy back up with a punchy, driving synth-pop rhythm. It captures the exact feeling of cruising down a coastal California highway at dusk. The synth hooks are sharp, infectious, and stand out as some of the most memorable earworms on the first half of the record.
Side Three.
‘Just Us’ is a deeply intimate, romantic cut that serves as a direct window into Tapia’s personal life. The track utilises warm, vintage soul textures mixed with a smooth jazz backdrop. It feels incredibly tender, operating as a soulful love letter wrapped in incredibly tight, sophisticated production.
‘Joven Pobre y Sabio’ is a stunning and stylistic pivot translating to ‘Young, Poor, and Wise.’ This track marries a foundational Bossa Nova rhythm with smooth City Pop melodies. Tapia’s vocal delivery here is incredibly relaxed and confident, proving he can navigate intricate global rhythms without breaking a sweat.
Side Four.
‘Monte Calvario’ is an atmospheric, deeply contemplative piece. Musically, it is layered with dense, rich synth pads and subtle guitar work that feels almost ambient at points. It’s a gorgeous, spiritual breather on the back half of the album that shows Tapia isn’t afraid to let his arrangements breathe.
Quite simply, ‘Secret Admirer’ is the undisputed crown jewel of the album. This track perfectly encapsulates the entire thesis of ‘Odisea.’ It features a fiercely funky, irresistible bassline, bright keys, and a massive, infectious chorus. It bridges the gap between old-school funk, modern indie, and vintage City Pop effortlessly.
Closing ‘Odisea’ is ‘爆ぜるもの,’ which features Japanese City Pop royalty Hitomitoi. It’s the grand finale of a genre-melting album of cross-cultural authenticity. This track closes the album on a spectacular high note. It is a full-circle moment where the Oxnard bedroom-pop pioneer is officially validated by the very scene that inspired his new creative chapter.
‘Odisea’ which translates to Odyssey, accurately reflects Tapia’s personal journey over the last few years. He’s now married, a father of two daughters, and grounded in a renewed sense of faith and purpose, his music sounds like that of an artist who is finally at peace with his direction. The result is a grownup musical masterpiece.
While some early fans might miss the gritty, nostalgic lo-fi textures of Tapia’s teen years, ‘Odisea’ is objectively Los Retros’ most articulate and refined musical endeavour to date. It is a brilliant, smooth-sailing homage to the forefathers of jazz fusion that proves Tapia is a generational songwriting talent, not just a viral bedroom-pop fluke.
Los Retros-Odisea.
EL MICHELS AFFAIR – 24 HR SPORTS: (INSTRUMENTAL VERSION).
El Michels Affair – 24 Hr Sports: (Instrumental Version).
Label: Big Crown Records.
Format: Vinyl.
When Leon Michels drops an instrumental version of an El Michels Affair record, it isn’t just a bonus disc for the crate-diggers – it’s an entirely new lens on his architectural mastery.
In 2025, El Michels Affair released the vocal edition of 24 Hr Sports. It featured massive names like Norah Jones and Clairo. However, recently, El Michels Affair released 24 Hr Sports: (Instrumental Version) on Big Crown Records. It strips away the lyrical narratives to expose the raw, analogue muscle beneath. What remains is a breathtaking masterclass in cinematic, vintage-textured library soul.
The original album drew quirky, vibrant inspiration from the aesthetic of 1980s and 90s Sports Illustrated magazines. This includes the bold typography, the fashion, the colourful optimism. In the vocal-free version, this translates into a brilliant, retro-futuristic broadcast tape.
Michels infuses the record with the spirit of MF Doom’s legendary Special Herbs instrumental series. It feels less like a traditional album and more like an immensely cool, fictional late-night AM radio sports program.
Without the star-studded vocalists taking centre stage, the immaculate chemistry of Michels’ studio band includes staples like Homer Steinweiss, Nick Movshon, and Dave Guy. They take total control on this sixteen track musical masterpiece.
Here’s the track-by-track breakdown of how this record functions when the rhythm section, tape saturation and arrangements take total centre stage.
Side A: The Starting Lineup,
Opening the album is ‘Drumline.’ It’s an anthemic, high-energy thesis statement. Without vocal distractions, you can truly appreciate the crisp, marching-band precision of the percussion and the thundering, layered brass arrangements. It feels like the opening credits to an incredibly cool, forgotten 1980s sports broadcast.
The original version of ‘Mágica’ featured the celebratory, fútbol-inspired vocals of Brazil’s Rogê. Stripped bare, the track transforms into a low-slung, hypnotic bossa-hip-hop groove. The focus shifts entirely to the incredible warmth of the bassline and the brilliant use of space between the acoustic guitar plucks and the crisp snare clicks.
’24 Hr Sports Theme No. 1’ is a quick, 26-second micro-dose of vintage television aesthetic. It’s pure FM-synth and horn-blast gold, serving as a perfect transition piece that leans heavily into the record’s overarching Sports Illustrated concept.
‘Say Goodbye’ was originally fronted by Ghanaian vocalist Florence Adooni’s distinct flair. However, the instrumental relies on its cyclical, rolling Afro-soul rhythm. The woodwinds and rhythmic guitar strums hold down the fort, morphing the track into a deep, meditative groove that floats effortlessly.
‘Oakley’s Car Wash’ is, without doubt, one of the highlights of the album. It’s built on a sun-drenched, seventies AM-radio groove. The instrumental spotlights the spectacular, soaring trumpet lines of Dave Guy of The Roots. The real magic happens in the final third, where Michels dissolves the arrangement into a dubby, echo-drenched outro that sounds incredible on headphones.
‘Anticipate’ originally showcased the indie-pop magic between Michels and Clairo. The original is reminiscent of her album Charm. As an instrumental, the aching, nostalgic vulnerability remains completely intact. The lush, airtight keyboard chords and sweeping woodwinds carry the emotional weight beautifully all on their own.
Quite simply, ’Eastside’ is a masterclass in restraint. This track feels like a slow sunrise over the ocean. Michels places his immaculate sense of arrangement on a pedestal here, letting a gentle melody breathe against a steady, effortlessly cool rhythm section.
The vocal version of ‘Clean The Line’ featured the ethereal layers of Japan’s Suginami Children’s Choir. Without them, the celestial, dream-like quality is sustained by the plush, drifting key arrangements and crisp percussion, closing out Side A on a beautifully serene note.
Side B: The Second Half.
‘Cortex’ is akin to a sudden kick to the chest. This brief, sub-two-minute track trading on pure cinematic intensity features gritty, distorted rock guitars and thundering drums. It sounds like the soundtrack to a high-stakes car chase in a gritty 70s neo-noir.
On the original version of ‘Shining,’ Michels handled the lead vocals himself. The instrumental allows the listener to bask completely in the sun-soaked, breezy soul foundation of the track. It’s warm, inviting, and driven by a bouncy rhythm that makes it impossible not to nod your head.
’24 Hr Sports Theme No. 2’ is the second brief interlude of the record. Like its predecessor, it locks down the retro-fictional radio broadcast aesthetic, bridging the gap into the album’s final stretch.
Shintaro Sakamoto featured on the original version of ‘Indifference.’ The instrumental highlights the swanky, playful groove beneath his original spoken-word musings. Here, the focus shifts entirely to the bouncing, elastic bassline and tight, snappy flute chops.
‘Carry Me Away was originally a vehicle for Norah Jones’ smoky vocals, the instrumental layout reveals a remarkably intricate jazz-soul framework. The delicate piano chords and plush background textures create a dreamy, floating atmosphere that is deeply immersive.
It’s no exaggeration to sat that ‘My Hand’ is towering centrepiece. While the original relied heavily on the Fabulous Rainbow Singers choir, the instrumental leans directly into its heavy gospel and blues lineage. The true star here is the brilliant, archival saxophone solo from the late jazz legend Rahsaan Roland Kirk, which reverberates magnificently over the contemporary rhythm section.
‘Open Season’ is a mid-tempo, piano-driven groove. On the vocal cut, a group chant anchors the track, but here, the focus is entirely on the driving rhythm. It has a triumphant, slow-motion swagger to it — the perfect audio accompaniment to an old-school sports highlight reel
‘Victory Lap’ is the perfect title for the closer. A dreamy, euphoric, and beautifully hazy wind-down that allows the band to slowly ease off the gas. It acts as a gorgeous sonic cooldown for an incredibly cohesive, rhythmic journey.
24 Hr Sports: (Instrumental Version) is perfect for late-night driving, vinyl spinning, and anyone who appreciates the pure tactile grain of analogue studio production. Very few albums of this quality are released each year.
While the original album was a brilliant showcase of Michels’ ability to produce world-class vocalists, 24 Hr Sports: (Instrumental Version) proves that the music never needed them to begin with. It’s leaner, punchier, and forces you to appreciate the immaculate groove geometry that makes El Michels Affair one of the definitive soul outfits of our time.
Stripping away a star-studded lineup of guest vocalists to let the underlying architecture breathe is a bold move, but for Leon Michels, it’s an invitation to a masterclass. 24 Hr Sports: (Instrumental Version) takes the brilliant cross-genre experiments of the vocal edition and distills them into a continuous, cinematic library-soul experience.
By letting the groove geometry and tape grain do all the heavy lifting, 24 Hr Sports: (Instrumental Version) functions beautifully as a standalone piece of art. It’s less of a companion piece and more of an essential listen for anyone obsessed with modern soul production.
El Michels Affair – 24 Hr Sports: (Instrumental Version).
MARC MAC PRESENTS VISIONEERS – DIRTY OLD HIP HOP.
MARC MAC PRESENTS VISIONEERS – DIRTY OLD HIP HOP.
Marc Mac Presents Visioneers – Dirty Old Hip Hop.
Label: Omniverse.
Format: 2 x LP.
In 2006, Marc Mac, one of the founders of the celebrated and pioneering drum n bass and broken beat duo 4hero, released ‘Dirty Old Hip Hop’ the debut album by his new studio project Visioneers. The album was originally released on BBE, and was billed as Marc Mac Presents Visioneers. ‘Dirty Old Hip Hop’ was, and remains, an absolute masterclass in the intersection of jazz, hip hop and broken beat.
Twenty years later, and Omniverse have reissued ‘Dirty Old Hip Hop.’ The 20th Anniversary Limited Edition has been pressed on transparent 180g red 12″ vinyl, with an Obi strip. It’s the perfect way to celebrate an album that’s in the history of British hip hop is a timeless classic.
Instead of just chopping up old jazz and soul records to make hip hop beats, Mac takes iconic hip-hop beats and recreates them live with a full studio jazz band.
Backed by incredible live instrumentation – featuring the crisp, organic drumming of Luke Parkhouse and bass work from Somatik, Mac essentially reverses the sample chain. He meticulously pays homage to legendary producers including J Dilla, Pete Rock, and DJ Jazzy Jeff.
As albums go, ‘Dirty Old Hip Hop’ is absolutely flawless and truly timeless. Here’s why:
‘Dirty Old Hip Hop’ opens with ‘Replay.’ It’s the perfect opening statement. LA rapper Voice drops crisp, nostalgic bars over an ultra-warm, jazzy backdrop. The lyric: “I never thought when it was played way back, that it would ever get remade in fact” perfectly encapsulates the thesis of the entire album. It’s soulful, welcoming, and sets the definitive mood.
‘Runnin’ is the crown jewel of the album. Recreating J Dilla’s iconic production for The Pharcyde using live instruments is a bold move. However, Visioneers nail it. The double bass drives the track with a fluid, bouncing energy, while acoustic guitar plucks and soaring live strings replicate the Stan Getz samples. The instantly recognisable ‘Runnin'” vocal chant floats over the top, making it a brilliant piece of live band audio translation.
‘Ike’s Mood I’ features vocalist Carina Andersson. It’s a A brilliant, heavy reinterpretation of the Isaac Hayes classic. Andersson’s lush, ethereal vocal harmonies float over an incredibly deep sub-bass groove. The track has a slow, seductive burn to it, trading the cinematic strings of the original Hayes version for a stripped-back, rhythm-first jazz quartet vibe.
‘The World Is Yours’ is a masterful cover of the Pete Rock-produced Nas classic. Visioneers reverse-engineer the track by heavily featuring live, bright vibraphone and xylophone solos. They pay homage to Ahmad Jamal’s ‘I Love Music,’ which Pete Rock originally sampled. Accompanied by backing chords from the Doris Hill Male Voice Choir, this instrumental is, quite simply, absolute jazz-hop perfection.
‘Funk Box’ features Capital A. This is where the album bridges the gap between classic boom bap and the West London broken beat scene. Capital A delivers a sharp, rhythmic vocal performance over a driving bassline and incredibly snappy snare hits. The instrumentation is incredibly tight, focusing heavily on a rhythmic pocket that forces your head to nod.
‘It’s Simple’ is a laid-back instrumental built around a beautiful interplay between live double bass, jazz piano chords, and clean, rolling boom bap drums. It showcases Mac’s brilliance as an arranger, and he gives the music plenty of breathing space without ever letting the groove drop.
‘Kamal’s World’ is a brief, but heartwarming interlude featuring the voice of Baby Kamal. It acts as a quick palette cleanser but also manages to maintain the family and community vibes woven throughout ‘Dirty Old Hip Hop.’
On ‘Dirty Old Bossa Nova,’ Mac flips Howard Roberts’ jazz-guitar track. It was famously sampled by A Tribe Called Quest on ‘Jam.’ This track leans heavily into a syncopated, uptempo Brazilian rhythm. The percussion expands beyond a standard drum kit into shakers and agogô bells, blending classic jazz-bossa with a rugged hip hop bassline.
‘Smoker’ sounds like it steps deep into a smokey, late-night jazz club atmosphere. It features a heavy doses of live Moog synthesiser, walking basslines, and intricate drumming. Once again, it highlights the high standard of musicianship of Mac’s studio collaborators, Parkhouse and Somatik.
‘Run for Cover’ is a fast-paced, breakbeat-heavy track that nods directly to Marc Mac’s roots in the UK dance and broken-beat scenes. The drums are relentless and crisp, colliding beautifully with sharp jazzy horn stabs and driving bass hooks.
’55 Dollars’ is a smooth, mid-tempo instrumental driven by a gorgeous, rhythmic piano loop. The track builds slowly, adding layers of subtle percussion and live bass. It feels like a lost underground beat tape track from 1994, brought to life by a live band who seamlessly lock into a groove for four magical minutes.
On ‘Paul’s Guitar Story’ the spotlight is on crisp, jazzy guitar work. It pairs beautifully with a soulful double-bass line and soft, snapping drums. It is incredibly mellow and acts as a brilliant exhibition of subtle, expressive instrumentation. Quite simply, this is one of the highlights of the album.
The best way to describe ‘Rollin’ For The Ride’ is a breezy, sun-drenched track that perfectly suits an early evening summer drive. The groove relies on a rolling, effortless rhythm section and bright melodic accents that keep the energy light, optimistic, and deeply soulful.
Deeply nostalgic, wistful and melancholy describes ‘Days Gone By. It features lush, dreamlike and ethereal keys and an incredibly tight drum break. It acts as a sonic bridge looking back at the history of the genre. Its raison d’être is to maintain a beautiful balance between old school grit and polished musicianship. This it does effortlessly.
Closing ‘Dirty Old Hip Hop’ on a high is The album closes out on a high note with ‘Hip Know Cypher.’ It’s an all-out jazz-funk jam session. The drums are loose and live, the bass-line wraps around your chest, and the musicians exchange brilliant, tasteful solos without ever overindulging. It wraps up the album by emphasising the core message: hip-hop and jazz are part of the exact same lineage.
On ‘Dirty Old Hip Hop,’ Marc Mac reimagined hip hop breaks and beats and placed them into grooves that paid homage to the track from which those beats were originally sampled. In 2006, this was groundbreaking and innovative. It was a postmodern approach to making hip hop and resulted in what I earlier referred to as a timeless British hip hop classic. I would go further and say it’s a timeless genre classic. It’s more than hip hop though. This is hip hop combined with broken beat and jazz.
This wasn’t sleepy “dinner jazz.” No way. The interplay between the double bass lines and the punchy drum breaks keeps the raw energy of boom bap hip hop alive. However, there’s more to ‘Dirty Old Hip Hop’ than this.
Mac’s love of jazz and how it has influenced him shines through. This includes fusion. Sometimes, though, fusion albums can sometimes get lost in self-indulgent solos. Not here. Instead, Mac keeps the compositions tight, focused, and structured around the neck-snapping loops hip hop heads adore and appreciate. They play their part in the success of ‘Dirty Old Hip Hop.’
Twenty years after its release, ‘Dirty Old Hip Hop’ still has the ability to bridge generations. It’s an album that can easily function as a laidback, late-night wind-down soundtrack or can get a dance-floor moving at a nu-jazz or broken beat night. ‘Dirty Old Hip Hop’ also transcends eras as it relies upon authentic, elite musicianship and timeless source material rather than the digital production trends of 2006. That’s why ‘Dirty Old Hip Hop’ sounds just as fresh today as it did twenty years ago.
Unlike other hip hop artists, Visioneers didn’t doesn’t just copy the past. Far from it. They were and still are pioneers, and took the past, reimagined it, and breathed new, vibrant and acoustic life into it. The result was ‘Dirty Old Hip Hop,’ their critically acclaimed debut album which is truly is a timeless classic.
For anyone with even a passing interest in hip hop, ‘Dirty Old Hip Hop’ is an essential addition to your collection. Especially if you’re a fan of J Dilla, Madlib and Tribe Called Quest. Quite simply, ‘Dirty Old Hip Hop’ is a musical masterclass from Marc Mac and friends, and was the first chapter in the Visioneers’ story.
Visioneers went on to release two further studio albums, 2012s ‘Hipology’ on BBE and 2024s ‘Def Radio’ on Omniverse. Both albums were released to plaudits and praise, and like ‘Dirty Old Hip Hop,’ showcase a truly talented musical pioneer at the peak of his powers. This triumvirate of albums by Visioneers deserves a place in the collection of anyone who has an interest or love of hip hop, broken beat or jazz.
Marc Mac Presents Visioneers – Dirty Old Hip Hop.
DOCTOR BIONIC – ELECTRIC POLLEN.
Doctor Bionic – Electric Pollen.
Label: Chiefdom Records.
Format: Vinyl
‘Electric Pollen’ is the fourth transmission from Doctor Bionic’s Terrestrial Radio series. The album is an organic, genre-melting masterclass in mood and groove from Doctor Bionic that’s a mixture of hip hop, neo-soul, jazz-funk and soul-jazz.
On ‘Electric Pollen’, Doctor Bionic delivers what’s best described as an incredibly mature, sophisticated addition to his growing back-catalogue. ‘Electric Pollen’ has also been been much-anticipated.
This is the fourth chapter in his critically acclaimed Terrestrial Radio series. However, the sixteen-track project doesn’t just try to replicate the successes of its predecessors. For from it. Instead it sets out to refine and in places redefine them.
Released via independent label Chiefdom Records, the album acts as a bridge between foundational analogue rhythms and the uncharted edges of contemporary urban beats. The best way to describe ‘Electric Pollen’ is a rich, textured sonic palette.
It’s time to look under the bonnet of ‘Electric Pollen.’ What immediately stands out about the album is its deep sense of organic improvisation. This isn’t a collection of rigid, programmed loops, and instead is a living, breathing auditory ecosystem.
Doctor Bionic effortlessly navigates through dense layers of jazz-inflected harmonies and electronic textures with a deftness that places him comfortably alongside some of the pioneers of modern music. He’s an innovator who pushes boundaries to their limits on ‘Electric Pollen.’
The music is gritty, and features a dusty, deeply textured sampling style reminiscent of Madlib. That’s not all.
Listen carefully and the infectious, organic pocket grooves evokes Haitian-Canadian music producer, and DJ Kaytranada. This is best described as the bounce.
Then there’s the edgy sound to ‘Electric Pollen.’ It embraces the cosmic, progressive lyrics and syntax of artists like Flying Lotus and the smooth, synthetic funk sensibilities of American singer and producer Dâm-Funk.
‘Electric Pollen’ brilliant balances instrumental exploration with evocative vocal deliveries. This duality gives the record an expansive, chameleonic feel, satisfying die-hard instrumental hip-hop heads while offering entry points for casual fans of progressive R&B.
One thing that’s immediately noticeable on ‘Electric Pollen’ is how the album thrives on residual warmth. This is the kind of music that feels less like it was made on a laptop and more like it was coaxed out of vintage hardware during a late-night studio jam. That’s the case across the sixteen tracks on ‘Electric Pollen.’
Side A: Plants The Sonic Seeds.
‘Intro’ is an eleven second audio transmission that serves as the official handshake of the record. Complete with a subtle dial-turning texture and vinyl crackle, it establishes the analogue, late-night radio aesthetic before dropping you directly into the music.
Then ‘Eyes of Chavez’ fires ‘Electric Pollen’s’ starting gun. From the get-go it leans heavily into an urban neo-noir atmosphere. Th track is driven by a deep, pulsating bass line that’s accompanied by intricate, head-nodding percussion. It acts as a statement of intent, showcasing Doctor Bionic’s ability to create cinematic tension using live instrumentation and gritty, textured beats.
‘Moment of Clarity’ is a gorgeous, jazz-infused track that’s one of the album’s standout tracks. Lush electric piano chords float over a smooth, perfectly locked boom-bap pocket. True to its name, the arrangement feels open and contemplative, giving the warm melodic elements plenty of room to breathe. With its thoughtful and melancholy sound, it’s the sonic equivalent of watching rain fall outside the studio window during a break in recording.
‘Chopping Block’ is best described as lean, punchy, and raw. This track highlights Doctor Bionic’s hip-hop roots with a display of razor-sharp sample slicing. The drums hit significantly harder here, bringing a dusty, nineties underground grit to the forefront that balances out the smoother R&B textures heard earlier.
It’s all change on ‘See The Future.’ It’s a cosmic detour that showcases the progressive side of Doctor Bionic on the record. Syncopated electronic rhythms are layered with shimmering synth accents, offering a direct nod to the forward-thinking Los Angeles beat scene. It’s brief but incredibly effective at shifting the album’s spatial dynamic.
There’s another change of direction on ‘Cactus Snake – Part 2.’ It’s a sequel piece that delivers a heavy dose of psychedelic jazz-funk. Built around an elastic, winding bass guitar melody and hypnotic, echoing percussion, the track slithers forward with an effortless cool. The live feel here is palpable, mimicking a late-night studio jam session. It’s another highlight of ‘Electric Pollen.’
‘Fools Errand’ is a rapid-fire vignette that lasts just over a minute. This track acts as a dense burst of kinetic energy, utilising off-kilter rhythm arrangements and abrupt melodic shifts to build a quick wave of tension before passing the baton.
‘In The Water’ closes side A on an immersive, fluid note. Shimmering, glistening keys and a rolling, wave-like rhythm section give the track a weightless, underwater quality. It serves as a beautiful emotional peak for the album’s first half, leaving a lingering sense of calm as the needle hits the run-out groove.
Side B: The Full Bloom.
‘Interlude’ is a quick palate cleanser that resets the radio frequency for the second half. It uses abstract sound collages to transition the listener into a deeper, slightly more introspective sonic landscape.
‘Over The Mountain’ has an elevated, panoramic energy. The production here feels wide and majestic, layering soulful horn-like pads and organic grooves that evoke the feeling of looking out over an open landscape. It provides an immediate injection of momentum, and as if Doctor Bionic is about to go through the gears on side B.
Quite simply ‘Tried and True’ is classic, unadulterated instrumental hip-hop. It centres on a soulful, loops-within-loops melodic foundation. Although this feels deeply familiar, but feels freshly re-contextualised, and finds Doctor Bionic pushing musical boundaries. It also provides a reliable, rock-solid groove that anchors the back half of the track-list.
Without doubt, ‘Be Your Own Man’ is one of the most emotionally resonant offerings on ‘Electric Pollen.’ It combines and merges a slow-burning jazz-funk bassline with evocative vocal layerings and subtle spoken-word elements, the track carries a distinct philosophical weight. It also serves as a brilliant example of how Doctor Bionic transcends the standard “beat tape” format to create genuine songs.
There’s a swift pivot back to high-energy funk on ‘Never Enough.’ The rhythm section here is tight and incredibly syncopated, featuring snappy snare hits and a highly active bassline that forces your head to move. It provides a truly memorable burst of danceable groove late in the record.
’10,000 Immortals’ is mystical and highly atmospheric. This piece slows the tempo back down and experiments with eastern-tinged modal elements and hypnotic polyrhythms. It stands out as one of the most experimental tracks on the record, highlighting the producer’s willingness to draw inspiration from various cultures and seamlessly combine disparate genres.
‘Gold Coin’ is a luxury rap production missing only the MC. Featuring rich string samples and glossy Rhodes keys riding over a crisp, hard-hitting drum pocket, the track feels effortlessly cool, polished, and expensive.
The title-track, ‘Electric Pollen’ is the titular finale, and the perfect thematic sign-off. The track meticulously pulls together every element explored over the previous fifteen tracks. There’s dusty hip-hop drums, warm neo-soul chords, and the spacey electronic textures that combine into a singular, slow-fading conclusion. It leaves the listener in a deeply meditative state as the album draws to a close. This is perfect way to close Doctor Pollen’s much-anticipated fourth album.
Spanning sixteen tracks, ‘Electric Pollen’ functions best when consumed as a continuous, front-to-back listen. It behaves like a late-night radio broadcast, shifting seamlessly between introspective lulls and dynamic spikes.
Electric Pollen consolidates Doctor Bionic’s reputation as an essential voice in the independent underground scene. It’s a gorgeous, immersive blend of electronic textures, deep funk undertones, and soulful storytelling. For crate-diggers, vinyl collectors, or anyone tired of cookie-cutter beat tapes, this groundbreaking and genre-melting album is, without doubt, an essential addition to your rotation.
Doctor Bionic – Electric Pollen.
THE BEST OF BLACK JAZZ RECORDS: 1971-76.
The Best Of Soul Jazz Records: 1971-76.
Label: Soul Jazz Records.
Format CD.
During the late-sixties and early seventies, many small independent jazz labels were founded in towns and cities across America. Sadly, many were short-lived affairs with some releasing just one album and others closing their doors having released just a couple of albums. However, Black Jazz Records released twenty albums between 1971 and 1975.
The story began in Oakland, California, in 1969, when pianist Gene Russell and percussionist Dick Schory founded Black Jazz Records. Its raison d’être was “to promote the talents of young African American jazz musicians and singers.” This was only part of the cofounders vision for their new label.
They were determined that Black Jazz Records would released an alternative to what they saw as the old school and traditional jazz that was popular at the time. Their new label would release albums that featured music that was influenced by politics and was also spiritual. However, spiritual jazz was just part of the Black Jazz Records’ story.
The nascent label would release everything from free jazz and funk to soul-jazz over the next four years. Black Jazz Records released six albums during 1971 and plans were in place that jazz fans across America could buy the albums.
Cofounder Schory had founded Chicago-based Ovation Records, which was a successful country and western label which was providing funding for Black Jazz Records and was distributing its releases. This gave the label a helping hand and meant it had an edge on its competitors.
Record shops across America could stock Black Jazz Records’ releases. This included its first release which was Russell’s sophomore album ‘New Direction.’ This was the first of two albums he released on the label he cofounded.
Russell also ran the label, produced and engineered the label’s releases, was in charge of A&R. He was regarded by many as the Black Jazz Records’ creative force, as the label released twenty albums over a four year period. The music was innovative, groundbreaking and pushed musical boundaries to their limits and sometimes, beyond. It was very different to what many other jazz labels were releasing. That’s why fifty-one years after Black Jazz Records closed its doors there’s still a lot of interest the in labels the label released between 1971 and 1975.
Over the years, a number of labels have released compilations or reissued the albums Black Jazz Records released. The latest to do so is Soul Jazz Records who recently released the unimaginatively titled ‘The Best Of Soul Jazz Records: 1971-76.’ It features thirteen tracks from The Awakening, Doug Carn, Calvin Keys, Roland Haynes, Walter Bishop Jnr, Henry Franklin, Kellee Patterson, Chester Thompson and Rudolph Johnston. One glaring omission is cofounder Russell. How can a Black Jazz Records compilation not include one of his tracks? This seems strange and is extremely disappointing. However, what of the rest of the compilation?
It opens with The Awakening’s ‘Mode For D.D.,’ one of three tracks from their 1973 sophomore album ‘Mirage.’ Here, the group combine jazz-funk and fusion with spiritual jazz. ‘Slinky’ finds this tight, talented Chicago-based band fuse jazz-funk, funk and fusion to create one of the highlights of ‘Mirage.’ The other track from the album included is ‘March On.’ Funk, fusion and spiritual jazz are combined on a track that veers between cinematic and dramatic. The Awakening stretch their legs unleashing blistering, scorching horns and jam showcasing their considerable talents and later, increase the funk factor. Sadly, ‘Mirage’ was the group’s swan-song. Anyone with even a passing interest in seventies jazz needs one of The Awakening’s albums in their collection. I would recommend Real Gone Music’s reissue of their debut album ‘Hear, Sense and Feel.’
The only track from Doug Carn, who was Black Jazz Records’ most successful artist is ‘Higher Ground.’ It’s taken from his 1975 album ‘Adam’s Apple.’ This was the first album not to feature his wife and vocalist Jean. However, he was backed by a crack band of session musicians who helped Carn create innovative and futuristic album full of energy. It also has a freer sound as the band fuse disparate genres to create something new – a truly groundbreaking and genre-melting track. For anyone wanting an introduction to Carn’s music, ‘Spirit Of The New Land.’ which features Jean Carn, is a good place to start. It was also reissued by Real Gone Music.
Jazz guitarist Calvin Keys released two albums on Black Jazz Records. The second was 1974s ‘Proceed With Caution!’ It featured ‘Aunt Lovey.’ It’s a mixture of jazz-funk, fusion and soul-jazz. It features a masterclass from Keys on guitar. He plays with speed, precision, fluidity and an inventiveness. In doing so, he drives his band to greater heights on what’s one of the highlights of ‘Proceed With Caution!’ However, to hear Keys at his best, his 1971 debut album ‘Shawn-Neeq’ is the one to buy. It was reissued by Real Gone Music in 2021.
Roland Haynes only released one album on Black Jazz Records, ‘2nd Wave.’ It was released in 1975 the year the label closed its doors. The album opened with ‘Eglise.’ Haynes and his band play with urgency combining jazz-funk and fusion. They also seem to have drawn inspiration from Blaxploitation soundtracks and Herbie Hancock’s ‘Head Hunters’ during this spellbinding jam. This is another album that’s worth seeking out. Again, it was reissued by Real Gone Music.
Walter Bishop Jr’s only release on Black Jazz Records was the cult classic ‘Coral Keys.’ The album featured seven of Bishop’s compositions. Some he recorded with a quartet, others with a quintet who flit between modal jazz, hard bop and post bop. Two tracks from the album feature on the compilation. They’re ‘Coral Keys’ and ‘Soul Village.’ These tracks feature on what’s arguably Bishop’s finest album. It was reissued in 2020 by Real Gone Music and is a reminder of the truly talented New York-born pianist.
There’s two tracks from Rudolph Johnson on the compilation. ‘Dishwa’ featured on his 1971 debut album ‘Spring Rain.’ It’s different from other tracks on the album. It’s funky but has been influenced by sixties soul-jazz. Drummer Ray Pounds steals the show pounding his drums during what’s a musical masterclass. The other track from Johnson is ‘The Highest Pleasure’ from his 1973 album ‘The Second Coming.’ Johnson’s tenor saxophone is front and centre as he moves through the gears showcasing his talent and backed by a crack band of session players. This included pianist John Barnes who also plays a starring role on the track. Alas, ‘The Second Coming’ was Johnson’s swan-song for Black Jazz Records. Of the two album he released I much prefer ‘Spring Rain.’ It’s now regarded as a cult classic and was released by Real Gone Music in 2021. It’s an album that’s well worth discovering.
Double bassist Henry Franklin released two critically acclaimed albums on Black Jazz Records. This includes his 1972 debut ‘The Skipper.’ However, it’s ‘Blue Lights’ from his 1974 sophomore album, ‘The Skipper At Home’ that’s included. Franklin and his band combine jazz-funk, fusion and funk. Add to the mix Kemang Sunduz’s scorching, blazing and soaring saxophone and this was one the best tracks on the album. Having said that, of the two albums, ‘The Skipper’ is the best and is a worthy addition to any collection. And guess what? It was also reissued by Real Gone Music in 2021.
Kellee Patterson released her debut album ‘Maiden Voyage’ in 1973. It was produced by Gene Russell and featured eight cover versions. These were songs full social of comment, beautiful ballads and mid-tempo tracks on what was a carefully crafted album that veers between jazz, soul and soul-jazz. It’s an album with no weak tracks and where Kellee Patterson showcases her vocal versatility. She breathes life, meaning and emotion into the eight tracks including ‘Maiden Voyage’ which was the only album she released on Black Jazz Records. It’s the most commercial album the label released and must have for anyone with even a passing interest in Black Jazz Records. This album was reissued by Real Gone Music in 2020. It’s the version to buy.
The other track on the compilation is ‘Powerhouse’ the title-track from Chester Thompson’s 1971 album. Although the album was well received, it wasn’t a commercial success. However, later, it was discovered by a new generation of jazz fans. One of the highlights of the album is the title-track, a mid-tempo track with the sultriest of grooves. The best way to discover this hidden gem of an album is via Real Gone Music’s 2021 reissue.
If you’ve never heard of Black Jazz Records, then ‘The Best Of Soul Jazz Records: 1971-76’ of is a good place to start. It’s what I would describe as an entry level compilation. Don’t expect a lengthy essay on the history of Black Jazz Records and its artists. Instead, there’s only a few hundred words about what was one of jazz’s pioneering labels. The lack of liner notes is unsatisfactory. So is the track listing which doesn’t even detail what album each track is taken from.
This is all rather disappointing and might sound pedantic. However, in the increasingly crowded compilation market there’s lots of independent labels, and their releases are streets ahead of ‘The Best Of Soul Jazz Records: 1971-76’.’ To me, it’s a no frills entry level compilation. The lack of extensive liner notes and accurate track listings are two reasons. Neither the year of release, nor the album the track is taken from are included. Having said that, the music is of the highest quality.
However, if anyone wants to discover more about the music Black Jazz Records between 1971 and 1975, then seek out Real Gone Music’s reissues. They’re of the highest quality, and feature and showcase the cutting-edge and innovative music the label released.
Black Jazz Records only released twenty albums during a four year period. While the music may not have been hugely commercial, it was brave, bold and ahead of its time. Like many small labels, Black Jazz Records was ahead of musical trends and tastes. It would only be later that people would realise the importance of Black Jazz Records.
Indeed, since Black Jazz Records closed its doors, several generations of music lovers have delved into the label’s back-catalogue. While Black Jazz Records wasn’t a prolific label they were more concerned with quality. Proof of that are the thirteen tracks on ‘The Best Of Soul Jazz Records: 1971-76.’ They’re groundbreaking, timeless and ooze quality.
The Best Of Soul Jazz Records: 1971-76.
JNBO – & FRIENDS.
JNBO – & Friends.
Label: College Of Knowledge Records.
Format: Vinyl.
Currently, Australia has a thriving and vibrant music scene. That has been the case for many years. All across the country there’s truly talented singers, songwriters, musicians and producers. This includes Melbourne and Naarm-based bassist, composer, engineer and producer, Henry Jenkins.
For those unfamiliar with Jenkins’ work and music, he’s the producer and engineer behind Surprise Chef, Karate Boogaloo and the critically acclaimed and Grammy-winning Frollen Music Library. That’s not all.
Jenkins is also College Of Knowledge Records’ in-house recording and mix engineer. He’s also one of the leading lights of Melbourne Naarm’s instrumental cinematic soul movement. The multitalented Jenkins is regarded as having honed and masterminded this groundbreaking and genre-melting musical movement.
One of Jenkins’ aliases is JNBO, which is his solo project. His debut album is ‘& Friends,’ which was released on vinyl on College Of Knowledge Records. This twelve track opus is a cinematic musical odyssey through a variety of disparate genres and has been influenced by a variety of music and artists.
The twelve tracks on the album were composed by Jenkins. He also recorded and produced the album. This wasn’t an ordinary album. Jenkins had a vision for the album. There was a concept, and he wanted to record it with some of his friends from the Melbourne music scene.
Jenkins explains: “I wanted to write a record I would look forward to recording with my friends. The music I was writing had a funk sensibility in the bass and drums, contrasted by a more cinematic approach in the harmonic and melodic content, with guitars slipping and sliding in between. I tried to make that contrast the character of the record. I felt that every song should have the same instrumentation and with the same personnel. This became an enjoyable creative constraint; how much variation could I pull out of the same 8 instruments over the course of the album? I wanted to find as much diversity as I could within these tight bounds.”
Having come up with the concept, Jenkins put together his band. Not only were they his friends, they’re all truly talented musicians and familiar faces in Melbourne’s thriving and vibrant music scene. This included members of Karate Boogaloo and Surprise Chef.
Joining bassist Jenkins in the rhythm section was drummer Hudson Whitlock. They were joined by triumvirate of guitarists, David Thor, Lachlan Stuckey and Lewis Coleman. The other members of the band were pianist Lena Douglas, Callum Riley on Hammond organ and Jethro Curtin on string synths. He was responsible for the unmistakable sound of the Solina String Ensemble.
The arrangements are best described as unconventional, while the instrumentation is different from the majority of albums released nowadays. Jenkins wanted arrangements that featured three guitars and three keyboards. The final piece of the musical jigsaw was Jenkins bass.
Then Jenkins set about were strategically placing the instruments across the twelve arrangements. As any producer knows, placing the instruments in the correct place is akin to doing a puzzle. However, Jenkins, an experienced producer had a vision, which became reality.
‘& Friends’ was mastered by Max Dowling. Myka Wallace designed the distinctive album cover. Now the album was ready for release.
This genre-sprawling album was released in April 2026. ‘& Friends’ is a captivating musical odyssey with surprises aplenty in-store. It’s a case of sit back and enjoy the journey.
The album opener ‘All’ is dark, dramatic and cinematic from the get-go. JNBO combine cinematic soul and funk with slinky jazzy piano and smokey beats. It sounds like part of the soundtrack to a big budget movie full of car chases, stakeouts and deals going down. If the listener closes their eyes they become the director and will be able to visualise all manner of dramatic scenes that this stunning genre-melting track can provide the soundtrack to.
‘Dogs’ sees JNBO combine jazz and funk on what another filmic track. Jazz, funk and library music are the influences on a track that paints pictures.
‘Ten Cent Piece’ sees a drop in tempo and elements of chill out, ambient and hip hop combine. Space has been left in this wistful and majestically melodic arrangement. It’s one of the highlights of ‘& Friends.’
Drums drive ‘Around’ along before the bass, guitars and piano join in. Funk meets cinematic soul before Riley’s Hammond organ takes the track in the direction of soul-jazz. It’s smoking and smouldering track with a band at the top of their game.
‘Missing’ sounds moody, broody and cinematic. It meanders along taking the listener on a journey. They could easily be listening to a track from the soundtrack to an early seventies movie or long-forgotten TV show with good guys, bad guys, double-dealing, double-crossing, subterfuge and drama aplenty. It’s a track that’s akin to a journey back in time for those of us of a certain age.
‘Letting Down’ is a slow, spacious and pensive sounding tracK. It’s also beautiful and encourages reflection as the guitars seem to weep.
The drums are in the pocket on ‘Letting Go’ as guitars add a sense of melancholy before string sweep. They add to the sense of sadness. Drums then add to the drama on what’s a heartachingly beautiful track.
‘Name’ is a much bolder and muscular sounding track. It’s dark and dramatic and is a bit of a slow burner. When it unfolds it’s well worth the wait. Funk and cinematic soul are combined seamlessly by JNBO. This could easily be a track from a seventies or early-eighties library music album or soundtrack. It’s another example of this truly talented band showcasing their skill and ability to combine disparate musical influences.
Slow, spacious, cinematic and dramatic describes ’False Cut.’ It’s another genre-melting track. Everything from library music and cinematic soul to electronic music and funk are combined to create this carefully sculpted soundscape.
As ‘Blood Nose’ unfolds one wonders where the track is heading. There’s an element of mystery before the track gradually reveals its secrets. JNBO takes the listener on a magical musical mystery tour combining disparate musical genres and influences to create music that’s new, captivating and groundbreaking. With every listen new sounds and nuances reveal themselves.’
Melancholy describes the guitar lead ‘Close.’ The arrangement is understated an spacious allowing this short but beautiful and thought-provoking to breath.
Closing ‘& Friends’ is another filmic-sounding tracks. Drums add drama and a mesmeric, hypnotic sound as brief washes of guitar punctuate the arrangement. It’s a track that’s reminiscent of a seventies library music track.
‘& Friends’ is a flawless twelve track album where JNBO seamlessly combine cinematic soul, funk, jazz, smokey beats, soul-jazz plus ambient, chill out and electronic music. Then there’s the influence of seventies and early-eighties library music. Especially KPM and Bruton.
Listen carefully and all these genres and influences are combined by JNBO. That’s not all. Add to the mix the influence of everyone from film composers Bernard Herrmann, Roy Budd and John Barry. Then there’s the influence of David Alexrod, while JNBO have the versatility of the Wrecking Crew as they seamlessly switch between styles and genres. There’s also the influence of lounge pioneer Les Baxter and Motown’s Lamont Dozier on these carefully crafted arrangements. They’re the work of bassist Henry Jenkins the masterminded, composed and produced JNBO’s debut album ‘& Friends.’
During this twelve track opus, Jenkins and this truly talented band paint pictures during ambient and filmic-sounding tracks. Then it’s all change and it’s what’s described as “head-nodding funk.” These tracks are irresistible and so is the widescreen cinematic soul on ‘& Friends.’ Quite simply, it’s a flawless genre-melting album. It showcases Henry Jenkins ‘& Friends’ as they seamlessly combine and flit between musical genres on what’s without doubt, one of the best albums you’ll hear this year. Quite simply, ‘& Friends’ is an album to buy, and one that you’ll enjoy for many years.
JNBO – & Friends.
WEDNESDAY MORNING 6AM RADIO HITS FROM THE SMALL HOURS 1970 – 1983.
Wednesday Morning 6am Radio Hits From The Small Hours 1970 – 1983.
Label: Ace.
Format: CD.
‘Wednesday Morning 6am Radio Hits From The Small Hours 1970 – 1983’ was recently released by Ace, and features twenty-two tracks that were heard on BBC Radio 2 and also on independent local radio. They were the type of tracks that wouldn’t be heard on BBC Radio 1. There’s a reason for that.
It’s fair to say that most of the artists on the compilation weren’t regarded fashionable. They were AOR bands, country, folk, pop or soul singers. Their music wasn’t what was played on BBC Radio 1.
That was the home of personality DJs and hype. PR companies waged a war for air time. Their clients ranged from glam rockers, purveyors of pop and rock to one hit wonders and the tres fashionable but talentless punks and post punk groups that polluted the airwaves from 1976 onwards. They were championed by a certain sneering late night DJ with superiority complex and faux Northern accent. He was one of many reasons to seek an alternative to BBC Radio 1.
For many, this was BBC Radio 2, which they listened to before heading off to work or school in the morning. Between 1970 and 1983 among the artists they would hear were Lou Rawls, Don McLean, Crystal Gayle, Air Supply, Dolly Parton, Matt Monro, Gilbert O’Sullivan, Carly Simon, Clifford T Ward, Olivia Newton-John, Dionne Warwick and Art Garfunkel. This was much preferable to the sound of the Angelic Upstarts, Sex Pistols, Cockney Rejects and China White which sounds like cockney rhyming slang, and is an accurate description of the punk movement.
Then unfortunately there was the post punk, and groups like The Three Johns, The Jesus and Mary Chain and Joy Division. Their music certainly wasn’t joyous and should’ve come with a prescription for Prozac. With “music” like this, it was no wonder that many music lovers were tuning into BBC Radio 2 and enjoying music like the twenty-two tracks on ‘Wednesday Morning 6am Radio Hits From The Small Hours 1970 – 1983.’
The compilation opens with ‘Evangelina’ by country singer Hoyt Axton. This ballad was taken from his 1976 album ‘Fearless,’ which was released by A&M.
In 1977, Lou Rawls released his silky smooth ballad ‘Lady Love,’ on Philadelphia International Records. It reached number twenty-four in the US Billboard 100, twenty-one in the US R&B and five in the Adult Contemporary chart. The single was one of the finest Rawls released during his four year tenure at Philadelphia International Records.
It’s never easy having a famous brother or sister. Crystal Gayle’s sister was country music superstar Loretta Lynn. However, Gayle went on to enjoy a long and illustrious career. In 1978 she released her fifth studio album ‘When I Dream.’ It was certified platinum in 1982. The second single from the album was ‘Why Have You Left the One You Left Me For.’ It’s a country-pop soap opera from a truly talented singer who by then, was enjoying crossover pop success.
‘Lost In Love’ was released by Anglo-Australian AOR group Air Supply in 1980. It was the title-track to their breakthrough fifth album. The single reached number three on the US Billboard 100. George Russell who penned this beautiful ballad won a composer award for “song of the year” and “most played song” of 1980. It’s a song that’s stood the test the time, and is a welcome addition to the compilation.
Suzi Quatro and Chris Norman the lead singer of Smokie joined forces to record their one and only single ‘Stumblin’ In’ in 1980. It was penned by the Michael Chapman and Nicholas Chinn songwriting team. Chapman produced the single which reached number five in the US Billboard 100. This track falls into the category of guilty pleasure, and is still a favourite of many DJs and has featured on many compilations.
‘Matrimony’ featured on Gilbert O’Sullivan’s 1971 debut album ‘Himself.’ It reached number nine in the US Billboard 100 and five in the UK. ‘Nothing Rhymed’ and ‘Matrimony’ which at the time was described by a critic as “true dancehall- tradition,”were the standout tracks on the album. Incredibly, when ‘Matrimony’ was released as a single in 1972, it failed to chart. Despite that, it’s regarded as one of O’Sullivan’ finest compositions.
‘You Belong To Me’ by Carly Simon epitomises the seventies Yacht Rock sound. It’s a track from the 1978 album ‘Boys In The Trees.’ The combination of a vocal masterclass from Simon and Arif Mardin slick, polished production is a winning combination and a track that’s truly timeless.
Without a doubt, Clifford T Ward’s best known song is ‘Gaye.” It featured on his 1973 sophomore album ‘Home Thoughts. The album sold well and reached the top forty in the UK. So did ‘Mantle Pieces,’ which was released in 1975. However, by 1981 Ward wasn’t enjoying the same success. Still he wrote some outstanding songs. This included the single beautiful soul-searching ballad ‘The Best Is Yet To Come.’ It featured on his 1983 album for Phillips, ‘Both Of Us.’ Sadly, it was Ward’s last album for a major, and is a reminder of a vastly underrated troubadour who crafted many memorable songs.
In 1978, Olivia Newton-John released her eleventh album ‘Totally Hot.’ It was certified platinum in the US, and was very different from her previous albums. After starring in Grease, Newton-John was given a makeover, and her new looked mirrored Sandy, the character she played in the film. The album had a tougher pop-rock sound and featured sultry rocky lead single ‘A Little More Love.’ ‘Deeper Than The Night’ was the second single a polished slice of pop-rock that should’ve reached higher than sixty-four in the UK charts. It’s without doubt one of the highlights of ‘Totally Hot’ and the compilation.
Barry Manilow produced ‘Who What When Where Why’ for Dionne Warwick. This irresistible fusion of soul, funk and disco was written by Rupert Holmes and is one of the highlights of her 1979 album ‘Dionne.’ It reached number twelve on the US Billboard 100 and was certified platinum. Quite simply, the song is akin to a call to dance, and resistance is impossible.
Closing ‘Wednesday Morning 6am Radio Hits From The Small Hours 1970 – 1983’ is ‘Theme from ‘Taxi’ (Angela)’ from Bob James.’ It was released as a single in 1979, and featured on his sixth album ‘Touchdown.’ It’s easily one of the best tracks on the album which featured an all-star band. It’s like a who’s who of seventies’ jazz musicians, and is also a reminder of a television program that’s fondly remembered by many of a certain age. It was on ITV between 1978 and 1982 when there were just three television stations in the UK.
The twenty-two tracks on ‘Wednesday Morning 6am Radio Hits From The Small Hours 1970 – 1983’ are sure to bring back memories for people of a certain age. Whether it’s listening to BBC Radio before heading off to school or work. For others it’s listening on the car radio on the journey to work before the 9 to 5 grind, and for many, it provided the soundtrack to their day.
The tracks on the compilation will bring back memories of where they were, what they were doing, who they were with and what was happening.
Ironically, during the period the compilation covers there were two oil crises. The first was in October 1973, and the second came in 1979 as a result of the Iranian Revolution. Sadly, history has a tendency to repeat itself.
On the 28th February 2026, two intellectually challenged warmongers launched operation Epic Fury. As a result of their actions, innocent children were among the tens of thousand that have lost their lives. Others lost their homes, businesses and livelihoods. That’s of no consequence to the warmongers. Meanwhile, The Puppet Master and Draft Dodger argue about strategy, and don’t care about the havoc they’ve wreaked and chaos they’ve caused. This includes an oil crisis. It’s like the seventies all over again.
That’s when the majority of the tracks on Wednesday Morning 6am Radio Hits From The Small Hours 1970 – 1983.’ Listening to the compilation it’s hard to believe that some of the tracks are over fifty years old. They’re truly timeless. This includes singles and album tracks from familiar faces and lesser known names. They play their part in an eclectic and highly listenable compilation that has something for everyone.
There’s everything from AOR, country, folk, jazz and pop Philly Soul to pop-rock, soul and yacht rock. ‘Wednesday Morning 6am Radio Hits From The Small Hours 1970 – 1983’ is a lovingly curated compilation, and for people of my age, a reminder of the magical music of our youth.
Wednesday Morning 6am Radio Hits From The Small Hours 1970 – 1983.
BLACK AMERICA SINGS STEVIE WONDER.
Black America Sings Stevie Wonder.
Label: Ace.
Format: CD.
‘Black America Sings Stevie Wonder’ was released on 27th March 2026, and is the eighth instalment in a compilation series that was launched back in 2010. However, the previous volume ‘Highway Of Diamonds – Black America Sings Bob Dylan’ was only released by Ace on 30th January 2026.
Usually, record labels don’t release volumes of the same compilation series so soon. This is unusual. Especially in a highly competitive compilation market.
Given the current economic climate, most people have less disposable income. Vinyl and CDs are now a luxury for even the most dedicated music fan. As a result, they’re much more discerning when buying new albums, reissues and especially compilations.
The compilation market is fiercely competitive, and nowadays, it’s possible to buy compilations of eclectic, esoteric, groundbreaking and innovative music released by record labels worldwide.
No longer do record shops and online retailers just stock releases by UK and American labels. That used to be the case. Thankfully, that’s no longer the case. There’s much more choice available. Nowadays, it’s possible to find compilations from labels in Australia, France, Germany, Japan, Norway, Peru, Spain and everywhere in-between in your local record shop and online. This is very different to record shopping in the seventies and eighties.
Nowadays, there’s compilations of every genre of music available. It’s no exaggeration to say that all musical tastes are catered for. Maybe younger music buyers will take this for granted. This wasn’t the case during the seventies.
Things were very different back then, and there weren’t as many compilations released. Far from it. Many of these compilations were cash grabs, with as many tracks crammed onto lightweight vinyl. They were a recipe for inner groove distortion, sounded awful and often would skip badly. Nowadays, these records lie unloved in charity shops, and are a far cry from the 180 grams coloured vinyl that many compilations are pressed on.
However, it’s not quality all the way in the ultra competitive compilation market. There’s still plenty of third-rate compilations that are just cash grabs by record labels. Coming to a record shop near you soon could be Best Summer Driving Anthems, The Ultimate Album For Lovers, Best Breakup Songs and Songs To Makeup To.
Then there’s the plethora of barrel-scraping cash-ins. Look out for Definitive 80s One Hit Wonders Vol. 16, Disco Floorfillers Volume 39 and Northern Soul Stompers Vol. 72. The latter will be only available from selected supermarkets, and will be bought by aging soul fans along with their Polos, Prosecco, readymade meals and raspberry vapes. For Generation Z, that’s what you’ve got look forward to. There’s serval reasons to enjoy yourself while you can, and be discerning about the music you buy and listen to.
Back to the compilation in question, ‘Black America Sings Stevie Wonder.’ This brings us to the big question, is it a quality compilation and worthy addition to this long-running series or merely a cash-in? Let’s look at the evidence. Sounds like one for Columbo. Alas, he’s hung up his raincoat, so this is a case for your cynical scribe.
There’s twenty tracks on ‘Black America Sings Stevie Wonder.’ There’s contributions by some big names on the compilation. This includes Rufus featuring Chaka Khan, Quincy Jones, The Supremes, Nancy Wilson, Four Tops, Marvin Gaye, Sister Sledge, Aretha Franklin, Randy Crawford and Lou Rawls. Then there’s tracks by The Bar-Kays, Margie Joseph and Betty Wright. They all cover and in some cases breathe new life into tracks by Stevie Wonder.
Opening the compilation is ‘Let’s Get Serious,’ the title track from Jermaine Jackson’s sixth album. Wonder and Jackson co-produced the album. It was released on Motown in 1980, and the title track was number one in the US R&B charts for six weeks. Wonder’s influence shine through on this funky and soulful dancefloor filler. He plays drums, guitar, piano, synths and adds backing vocals. Then there’s the lush dancing strings that sweep in and out as Jackson delivers a heartfelt and hopeful vocal on what was one of the highlights of the album.
‘Tell Me Something Good’ was covered by Rufus featuring Chaka Khan and featured on their album ‘Rags To Rufus.’ It was produced by Bob Monaco and Rufus and was release by ABC in 1974. The arrangement is tough and funky and is the perfect backdrop for Khan’s deliberate and energetic vocal powerhouse which often, veers towards sensuous. It’s no surprise that when it was released as a single it reached number three on the US R&B charts.
One of Quincy Jones best albums was ‘You’ve Got It Bad Girl.” It was released by A&M in 1973, and featured a cover of ‘Superstition.’ Jones arranged the track and co-produced it with Ray Brown. They reinvent and transform this classic into a laid back track. Having said that, there’s a pulsating heartbeat throughout this slice of cinematic soul with a social conscience. It features Billy Preston, Bill Withers and Wonder on backing vocals. They play their part in the sound and success of what’s one of the highlights of the album.
Allen Jones produced The Bar Kays cover of ‘I Was Made To Love Her.’ It featured on their 1972 album ‘Do You See What I See?.’ The album was released on the Stax imprint, Volt. It’s a scorching reinvention of the track the band that was by then led by James Alexander.
Margie Joseph’s cover of ‘To Know You Is To Love You’ is sultry, sensual, soulful and features a vocal that’s heartfelt and emotive. She and her band seamlessly fuse soul and symphonic funk on this track from her 1974 album ‘Sweet Surender’ which was released on Atlantic. It’s a hidden gem and a reminder of a truly talented singer whose music deserves to be heard by a much wider audience.
‘What Are You Going To Do With It is a track from Betty Wright’s 1981 eponymous album. It was released on Epic, and was produced by Wonder, who also played keyboards. Again, Wonder’s influence and sound is apparent as Wright delivers an accusatory vocal against an arrangement that’s a mixture of soul and funk.
In 1971, Philly girl group changed their name to LaBelle. That year, they released their eponymous debut album, and provided backing vocals on Laura Nyro’s fifth album ‘Gonna Take A Miracle. When Labelle returned with their sophomore album ‘Moon Shadow’ in 1972, it reached 42 in the US R&B charts.
Vicki Wickham and Wonder coproduced LaBelle third album ‘Pressure Cookin.’’ It released by RCA in 1973 but failed ton chart. Nowadays, the album is regarded as a cult classic. It featured a cover of Wonder’s ‘Open Up Your Heart.’ When it was released as a single this soulful plea for understanding failed to trouble the charts. However, the album showed what the group were capable of, and in 1974 they released their classic single ‘Lady Marmalade.’
The best track on the compilation is ‘Until You Come Back To Me (That’s What I’m Gonna Do)’ by Aretha Franklin. This truly timeless slice of soul was released by the Queen of Soul in 1973. It sold over a million copies and reached number three on the US Billboard 100. Thirty-three years later it’s still a favourite of radio DJs.
‘We Had A Love So Strong featured on Randy Crawford’s 1982 album ‘Windsong.’ It reached number seven in the UK and was certified silver. The track features Crawford’s trademark silky smooth and soulful vocal which is full of emotion as she breathes new life and meaning into the song.
Closing ‘Black America Sings Stevie Wonder’ is the ballad ‘Evil’ by Lou Rawls. Reg Powell is responsible for an understated gospel-tinged arrangement. Rawls delivers lyrics that are as just as relevant today as they were in 1972, when the track featured on his album ‘A Man Of Value.’
Choosing just twenty tracks for ‘Black America Sings Stevie Wonder’ can’t have been easy. It’s estimated that Wonder’s songs have been covered at least 7,500 times. There’s been covers by soul, funk, gospel, jazz, pop, rock and country artists and bands. Many have stayed true to the original, while others have reinvented familiar and much-loved tracks.
‘Black America Sings Stevie Wonder’ features many familiar faces. This includes a number of artists who were also signed to Motown or Tamla. There’s also what will be new names to many music fans on the eighth instalment in this long-running series. This includes O.C. Smith and The Persuasions. They play their part in what’s an eclectic compilation. There’s everything from soul and funk to cinematic soul and symphonic funk along with elements of gospel, jazz, blues and rock.
The tracks that I’ve mentioned are among the best on the compilation. Honourable mentions must also go to The Supremes’ cover of ‘Bad Weather;’ Nancy Wilson’s irresistible take on ‘Uptight (Everything’s Alright);’ Marvin Gaye’s heart-wrenching reading of ‘You’re The One For Me;’ Sister Sledge’s dancefloor filler ‘As’ and The Main Ingredient’s sultry, soulful and cinematic hidden gem ‘Superwoman.’ There’s much to like on ‘Black America Sings Stevie Wonder,’
However, there are a couple of tracks that disappoint. This includes gospel group The Dixie Hummingbirds’ cover of ‘Jesus Children Of America.’ It sounds out of place on the compilation. That’s despite the group seamlessly fusing elements of gospel, funk and rock. The other is O.C. Smith’s reinvention of ‘My Cherie Amour’ as a ballad in 1968. Although he’s a truly talented vocalist, the track doesn’t quite work as ballad.
Having said all that, anyone who is a fan of Stevie Wonder, soul, funk or R&B music and of course, the Black America Sings compilation series may be interested in the latest instalment in this long-running series. ‘Black America Sings Stevie Wonder’ is another lovingly curated compilation and a welcome addition to the series. One wonders when the ninth instalment will drop and who will Black America be singing?
Black America Sings Stevie Wonder.
JAKE MASON TRIO-THE MODERN ARK.
Jake Mason Trio-The Modern Ark.
Label: Soul Messin’ Records.
Format: CD.
Eight years ago, in 2018, the Jake Mason Trio released their debut album critically acclaimed ‘The Stranger In The Mirror.’ It was nominated for an ARIA nomination for Best Jazz Album.
By then, the Jake Mason Trio which features three of Australia’s most talented and respected instrumentalists was winning praise and plaudits as far afield as the USA and Germany. This soul-jazz trio had a great future ahead of them. Surely, it was only a matter of time before their sophomore album was released?
Alas no. A year pass and then two. Three became four. Post-pandemic there was still no sign of the Jake Mason Trio’s sophomore album. Where was the talented trio who are regarded as Australia’s premier soul-jazz group?
Bandleader, composer, multi-instrumentalist and producer Jason Mason had been busy. He runs the label he cofounded, Soul Messin’ Records and has established a production house. Mason has released twelve solo albums and has been busy with other projects. This included funk, soul, boogaloo and jazz organ trio Cookin’ On 3 Burners. They released ‘Cookin’ The Books’ in 2025, which was one of the Melbourne-based combo’s best albums.
However, the success of the Jake Mason Trio isn’t just down to the bandleader. Guitarist James Sherlock is a previous winner of the Ike Isaacs International Jazz Guitar Award. He’s released six albums, and has toured with Paul Grabowsky, Kristin Berardi, Sheila Jordan, Cyrille Aimee and the Melbourne Symphony Orchestra.
The third and final member of the Trio is drummer Danny Fischer who provides the groove and heartbeat. He’s recorded and performed with the likes of the legendary Gary Bartz, Mark Murphy and Vince Jones. Vastly experienced and hugely talented he also brings to the soul-jazz combo the ability to improvise. Fischer plays his part in this truly talented trio as they returned to the studio in 2025.
Recording of ‘The Modern Ark’ took place in Melbourne. Ten tracks were recorded. Mason wrote ‘The Last Piece,’ ‘Green Pick,’ ‘Sharks In The Paddock,’ ‘Virgin River,’ ‘Boogaloo Popcorn,’ ‘Danny’s Blues’ and ‘Beyond Kavik.’ ‘Here’s Your Change’ was written by the Trio, while ‘The Modern Ark’ and ‘Stop Searching For Love’ were written by Mason and Eric McCusker.
The sessions resulted in modern take on the classic organ-groove. However, listen carefully and the Trio reference Jimmy Smith and Brother Jack McDuff’s Blue Note era albums. There’s much more to ‘The Modern Ark’ than this though.
‘The Modern Ark’ is an ambitions album where the Jake Mason Trio fuse sixties soul-jazz with a social conscience. On the album, the focus is mostly about the environment. This is something that Australians care deeply about.
It’s important to mention Mason’s production style. It sounds as if it’s been inspired by Rudy Van Gelder era of Blue Note recordings.
Stylistically there’s also diversions via hard bop and cinematic jazz on the Trio’s much-anticipated sophomore album, ‘The Modern Ark.’
Eight of the tracks are instrumentals. ‘The Last Piece’ opens the album, and breezes along referencing classic sixties soul-jazz. It’s a similar case on ‘Boogaloo Popcorn.’ It starts slow and slinky but breezes along with Sherlock’s guitar playing a starring role. On both tracks it’s like being transported back in time to a late night jazz club in New York.
‘Virgin River,’ ‘Beyond Kavik’ and ‘Here’s Your Change’ reference unspoiled and undeveloped landscapes, the extremes of climate in the modern world and the chance and possibility to start again.
It’s all change on ‘Sharks In The Paddock’ and ‘Danny’s Blues.’ On both tracks the Trio combine hard-bop with what’s best describe as a modern harmonic take.
On the two other tracks there’s appearances by guest vocalists. The first guest vocalist is Grammy-winning jazz vocalist Kurt Elling. On ‘The Modern Ark’ he visualises people worldwide queueing for a mythical vessel to escape the damage it has done. There’s a twist in the tale though, and that salvation must happen here on earth. Sadly, that means for Brits there’s no escaping the decimation and devastation caused by Two Tier Kier and his cohorts.
‘Stop Searching for Love’ features iconic Australian singer Kate Ceberano. She takes centerstage on this beautiful ballad that’s sounds as if it’s from another musical era. Ceberano about trying to find peace, love and friendship where you are in life. Her vocal is tender, heartfelt and full of emotion. The result is, without doubt the highlight of ‘The Modern Ark.’
It’s been well worth the eight year waitron and is, without doubt, better than the Jake Mason Trio critically acclaimed debut album ‘The Stranger In The Mirror.’ The Trio take as a starting point soul-jazz and add hard bop, cinematic jazz as well as elements of blues and funk. This truly talented Trio can seamlessly switch between genres and influences on an album that’s all killer and no filler.
The trio are joined by guest artists Kurt Elling and Kate Ceberano who play their part in the sound and success of ‘The Modern Ark.’ It’s an album that successfully combines sixties soul-jazz with a social conscience.
‘The Modern Ark’ was produced, recorded and mixed in Melbourne bandleader Mason and released on the label he cofounded Soul Messin’ Records. The perfect companion to ‘The Modern Ark’ is Cookin’ On 3 Burners’ 2025 album ‘Cookin’ The Books.’ It’s the perfect companion to ‘The Modern Ark,’ which shows just why the Jake Mason Trio are regarded as Australia’s premier soul-jazz combo.
Jake Mason Trio-The Modern Ark.
THE LIFE AND MUSIC OF RODION-LADISLAU ROSCA AND RODION G.A.
The Life and Music Of Rodion-Ladislau Rosca and Rodion G.A.
Who Was Rodion-Ladislau Rosca?
The words enigmatic, innovator, pioneer and maverick describe the late, great Rodion-Ladislau Rosca. He was, without doubt, one of the most talented, inventive and influential European musicians of his generation. He was also an inventor, philosopher, poet and a man who dared to dream.
Rosca spent a lifetime creating music that was ambitious, groundbreaking and innovative. He was a pioneering composer, talented multi-instrumentalist and producer. Continually the maverick musician pushed musical boundaries to their limits, and sometimes, way beyond. This he did firstly as a solo artist, and then with Rodion G.A, the group that he cofounded.
Rodion G.A. were, and still are, undoubtably, one of Romania’s biggest and most important bands. They were also one of the most influential and innovative. It’s no surprise that the band’s music has influenced several generations of musicians. The same can be said of all the music that Rosca made throughout what was a long and illustrious career.
Nowadays, he is remembered as “the Godfather of Romanian electronic music.” During a career of two parts, Rosca was a prolific composer and musician, constantly recording new music. That music was his legacy.
As legacies go, the music of Rodion G.A. is something that the world can continue to enjoy even after his death on 26th, March 2021, aged just sixty-seven. The man behind some of the most progressive and pioneering music ever to come out of Romania had lost his brave battle with liver cancer and Hepatitis B and C. He left behind a daughter Isabella and two grandchildren, Beatrice and Dennis. To them he was their father and grandfather, but to his legion of fans he was a musical giant, and “the Godfather of Romanian electronic music.”
The Early Years.
Rosca was born in Cluj, the main city in Transylvania, on 4th, April 1953. He was half-Romanian and half-Hungarian. His mother Rozalia, was Hungarian and brought Rosca up.
From an early age, it was apparent that he was an intelligent child. He was also inquisitive and thoughtful. The only problem was that in school Rosca used to sit and daydream, letting his mind wander and imagination run riot. This: “frustrated his teachers and mother.”
Looking back on his formative years Rosca remembered: “I was dreaming all the time, sailing somewhere on another planet, thinkingabout life and death, girls and music.” By then, music was already playing an important part of his life. Rosca grew up in Romania during the open period between 1965 and 1972. During this period, there was a sense of hope for the new generation of young Romanians. This came about when Nicolae Ceaușescu came to power after the death of Gheorghe Gheorghiu-Dej, the first Communist leader of Romania. The former electrician turned politician passed away on 19th, March 1965.
A Changing Of The Guard In Romania.
In the beginning, Ceaușescu was a popular leader. He ensured that Romania had a free press. The new President also challenged the authority of the USSR, ensuring that Romania’s foreign policy had a greater degree of independence.
In 1967, Romania was the only Communist country to maintain diplomatic relations with Israel following the Six Day War. Then in 1968, Romania was the only Warsaw Pact country which refused to participate in the Soviet-led invasion of Czechoslovakia. In a speech in Bucharest on 21st, August 1968, Ceaușescu denounced the invasion as a: “grave error.” The Romanian President was making a stand, and it looked like country was changing.
For young Romanians like Rosca, the open period in between 1965 and 1972, was a good time to grow-up. During this period, he was exposed to an eclectic selection of musical influences. Each night, he listened to the music that filled the airwaves. Rosca was like a sponge, absorbing an eclectic selection of music. This included everything from rock, pop, psychedelia and blues to jazz. The music he heard on the radio was primarily English and American. Some of these artists headed to Romania during the open period. This came about after Ceaușescu was invited to the USA. At that time, he was seen as a friend of the USA. With his easing of the censorship laws, some of the biggest names in music headed to Romania. Among the luminaries of music to tour Romania were Blood, Sweat and Tears, plus jazz legends Lionel Hampton and Louis Armstrong. They were greeted by appreciative audiences, who until then, had only heard these artists on the radio. This included Rosca, who was about to immerse himself into Cluj’s music scene.
Becoming The “King of Records.”
Cluj sits in the middle of Transylvania. Between 1965 and 1972, it had a healthy musical scene. Rosca remembered the city: “as having a thriving and vibrant musical scene,” and he was about to dive headlong into it.
Among Cluj’s lead bands were progressive rock groups like Cromatic and the Experimental Quartet. Soon, Rosca had immersed himself in the local music scene and had established a reputation as a prolific and voracious collector of vinyl. As his reputation grew, Rosca became known as “the King of Records”.
Cluj’s very own “King of Records” would go to any length to add to his vinyl collection. Rosca made cross-border trips to Hungary, where he stocked up on hard-to-find albums. Before long, he had a record collection that was unrivalled. It included the classic rock of Led Zeppelin, The Beatles, Jimi Hendrix and The Who. However, Rosca didn’t just restrict himself to classic rock. He was also interested in the more progressive, electronic bands of the era, including groups from Eastern and Western Europe. This included Jethro Tull, Emerson, Lake and Palmer and Yes. Other favourites included West Germany’s Kraftwerk, East Germany’s Karat, Romania’s Sfinx, Czechoslovakia’s Matador and Hungary’s Skorpio. These eclectic and esoteric influences would influence Rosca’s future musical career.
How It All Began.
From the late sixties, it became apparent that Rosca was going to make a career out of music. To do this, he had to forge his own unique sound. Rock music dominated Romanian music during this period. However, the music Rosca started to create in 1967 was very different from rock music.
Aged just fourteen, Rosca started experimenting musically, during what was an eight year musical journey. “My mother bought me a Tesla Sonet Duo reel-to-reel tape recorder, and I borrowed another from a friend. They had two tracks and three speeds 2, 4, 5 and 9 cm per second. Soon, I was making music.”
Before long, Rosca was building soundscapes that featured just his vocal and guitars. “I used the multitrack recording method, because I had no group at that time and I was eager to record all my ideas and background voices at the same time. I discovered the flanger effect by using two different reel-to-reel recorders, and in some tracks used echo and delay.”
The music Rosca made over the next few years was understated, sparse, spartan, spacious and simple. It was a less-is-more approach to music making. This music could be described as improvisational and experimental and sometimes, headed in the direction of avant-garde. It was innovative music that was cerebral, cinematic, sometimes haunting and way ahead of its time. Rosca was a prodigious talent, and this was the start of his musical adventure, and a lifelong love affair with music.
A New Beginning.
A year later, Rosca’s life was transformed when he changed schools. Given her son’s passion for music, his mother Rozalia, sent him to Cluj High School of Music. No longer did he spend his days daydreaming. Instead, he was inspired by the new teachers. He studied clarinet and guitar. Meanwhile, the teachers attempted to quench his intellectual thirst. Suddenly, he was keen to learn, constantly questioning and displaying a keen intellect. It was a transformation that pleased both teachers and Rosca’s mother.
By then, music wasn’t his only interest. Aged fifteen he started flying gliders, and for the next two years was a regular at a local aero club. Then his life was turned upside down.
Disaster Strikes.
A large tumour was discovered under Rosca’s right arm. It was a hugely worrying time for Rosca and his mother. After six months in hospital he was cured.
When Rosca returned home later in 1970, he continued to study clarinet and guitar, and graduated from Cluj High School of Music. Meanwhile, he continued making music in his makeshift home studio.
Rodion’s Musical Journey Continues.
Two years later, in 1972, Rosca was nineteen, and like many young Romanians, had grown his hair. This didn’t go down well. “I was hunted by the Militia, treated like a criminal just because I had long hair”. Longhairs as they became known, were viewed with suspicion by the authority.
Meanwhile, Rosca remembers people were constantly complaining about everything he did: “The noise of my motorbike, and when I worked with my tools. They complained about the noise made by my guitar, when I recorded music onto my reel-to-reel tape machine.” However, his mother always remained supportive of her son’s love of music, and encouraged him to follow his dream of become a musician.
Soon, Rosca made tentative steps into Cluj’s burgeoning local music scene. Before long, he became a familiar face in the city’s clubs before the next chapter in his career unfolded.
Between 1972 and 1975, Rosca continued to make music in his bedroom. By 1975, he had recorded around 100 solo tracks. He was still a familiar face in the Cluj music scene. However, by then, the political landscape had changed drastically in Romania.
Darkness Descends In Romania As The Political Landscape Changes.
On his return from these visits, Ceaușescu was inspired to change direction politically. He was now an admirer of the political and economic ideology of China and North Korea. Worryingly, he admired the cult-like figure of Kim Il Sung. Ceaușescu wanted to implement the North Korean policy of Juche Idea. For aspiring musicians like Rosca, this wasn’t good news.
Suddenly, the role of the Communist Party grew within Romania. This would continue until the fall of Communism in 1989. Meanwhile, it was as if darkness had descended in Romania, and the country was transported back in time due to Ceaușescu’s volte-face. Censorship returned, books were banned and burnt, and a list of banned authors was circulated.
It was also a dangerous time to be a musician in Romania. Just like artists and writers, they were persecuted by the government. The brutal Communist regime didn’t like free thinkers, or those who were creative or had a rebellious streak. With Ceaușescu ruling Romania with an iron fist, it wasn’t a good time to form a new band. However, that’s what Rosca did in 1977.
There’s A New Band In Cluj.
This was the genesis of the band that became Rodion G.A. For the first year, the nascent band played gigs around Cluj. During that time, the lineup continued to evolve. Then in 1978, a fortuitous meeting resulted in
a new lineup of the band and a new name. At the time, Rosca was working in a factory in Cluj. So was Gicu Fărcaș,a bassist who was also a talented drummer. The two men didn’t know each other, but quickly, bonded over their shared love of music.
Rosca let Fărcaș hear some of the songs he had recorded on his reel-to- reel tape recorders a few years earlier. He was amazed to hear that his new friend and future bandmate had played all the instruments and added the three vocals. They decided to join form a band together. Then, two became three.
The pair were joined by guitarist Adrian Căpraru in the as yet, unnamed band. With the lineup complete, all that was needed was a name.
Rodion G.A. Is Born.
It was Farcas who suggested that Rodion should be the band’s name. Then Rosca came up with the idea of adding G.A. as the other two members of the band were Gicu and Adrian. A new band was born, and became one of the most popular in Romania.
Before that, the newly named Rodion G.A. started honing their sound. Over the years, Rosca had amassed a myriad of musical equipment. When the new band was formed, he brought along his trusty to reel-to- reel tape recorders, drum machines, phasers and flangers. He even had a few secret weapons within his music arsenal. This included a toy Casio VL Tone, an East German Vermona drum machine and a Soviet made Faemi organ. It was an eclectic and leftfield collection of instruments and equipment. They played a hugely important part in the band’s unique and inimitable sound over the next few years.
On The Road.
Soon, the band were honing their sound playing live. Quickly they became a popular draw on the local musical scene. However, before long Rodion G.A. were playing further afield.
When the band embarked upon tours they played through a custom-made P.A. Amps and speaker cabinets proudly bore the Rodion G.A. logo. By then, Rosca had already established a reputation for building speakers. This included the ones the band used when they toured.
Through the handmade speakers and custom-made P.A. Rodion G.A. played their unique, genre-melting sound. It was totally different from the music other Romanian groups were playing. Sometimes, the band’s music was dense, multilayered, complicated and complex. Other times it was raw and experimental, but always innovative. Seamlessly, the group switched between and combined disparate musical genres. Rosca’s love of rock music influenced the group. Their music incorporated everything from hard and progressive rock to psychedelia, Kosmische Musik as well as experimental and electronic music. This was unheard of in Romania, and before long, the band’s star was in the ascendancy.
TV Stars.
By 1980, Rodion G.A. was a popular draw on the live circuit, and had fans all over Romania. However, as the year drew to a close, they were about to play to their largest audience.
Rodion G.A. had been invited to play live on Romanian television on New Year’s Eve. They were seen by a huge audience all over the country. It was the first, and sadly, only time the band appeared on television.
The following year, 1981, was another first for the band. They entered the studio for the first time. There was a problem though.
Electrecord.
When Rodion G.A. weren’t touring Rosca continued to write new music. However, there was a problem. The band hadn’t recorded any music.
To further complicate matters, in Romania, like other Communist countries, the only record label was owned and controlled by the state. If Rodion G.A. were going to release any music, it would have be on the state-owned Electrecord label.
Recording Studio Debut.
In 1981, Rodion G.A. headed to Radio Cluj Studio. It was the first time they had been in a recording studio. That day, the band recorded two tracks written by Rosca, ‘Acolo Unde E Mister’ and ‘Amintiri.’ Both tracks featured on the ‘Formații Rock (5)’ compilation which was released later in 1981. It was only released within Romania by the Electrecord label, and nowadays, copies are a rarity. Forty-three years later, these two tracks feature on ‘From The Archives 1981 – 2017.’
A Return To The Radio Cluj Studio.
At a second session at the Radio Cluj Studio, five other tracks were recorded by Rodion G.A. Sadly, they were never released. However, during the session, the recording engineer allowed Rosca to record the five tracks onto his own tape machine from the studio’s main mixing desk. This allowed the band to use these tracks to build new tracks. Some of these new tracks were played on Romanian radio stations and reached the top of the Romanian charts.
For Rosca’s mother, Rozalia, this was a proud moment. She had always been supportive of her son’s musical career, always encouraging him, knowing that one day, he and Rodion G.A. would enjoy success. She was proud of the music they recorded, telling her friends and neighbours that her son’s band had been on the radio and was topping the charts. Rodion G.A.’s second recording session had proved fruitful.
Sadly, the original lineup of Rodion G.A. didn’t record any more music. However, Rosca continued to record new music in using his impressive array of equipment in his home studio. This included a film score, ‘Mondo Umano.’
‘Mondo Umano.’
In 1981, Rosca wrote the score to ‘Mondo Umano’ which was directed by Ioan Grigorescu. As the film opens, ‘In Linistea Noptii’ plays and the inimitable sound of Rodion G.A. can be heard. However, neither Gicu nor Adrian played on the score. It was essentially a solo project by Rosca. The film proved popular in Romania. 1.8 million cinema-goers watched the movie between its release in 1981 and 2014. This introduced Rosca’smusic to a new and wider audience.
Rodion G.A.’s Success Continues.
Meanwhile, in the early eighties the band continued to play live, and its popularity grew. That was despite not releasing any further recordings. This would’ve resulted in much more publicity and exposure for the Cluj-based triumvirate.
Despite this, their popularity grew and they achieved a higher profile. This they did the hard way, by embarking upon a series of extensive tours.
During this period, Rodion G.A. played everywhere from festivals to clubs and restaurants. They were a firm favourite among Romanian music fans. However, all the time the band played live they had to be on their guard
Bands never knew when the state censors would arrive at concerts. Luckily, Rodion G.A. became expert at avoiding the state censors. They were known to chastise a group for singing: “yeah, yeah, yeah.” This was hugely frustrating and stifled musical creativity. It was very different to when Rodion started making music as a fourteen year old in 1967. Back then, there was a sense of hope within Romania. Not any more.
For Romanian bands like Rodion G.A., trying to make a commercial breakthrough during the Communist era was almost impossible. If they released singles and albums it had to be on the state-owned Electrecord label. This wasn’t going to make them rich. Touring was the band’s only income stream, and the only way to lift their profile. However, by the early eighties, other opportunities and success were coming Rosca’s way.
Other Opportunities For Rodion.
In 1983, Rosca lost his job in the factory he worked in. This meant he was able to devote himself to music full-time.
Still he continued to tour with Rodion G.A. However, he was dividing his time between touring and a variety of different projects.
He was asked to write and record the score to an animated film, ‘Delta Space Mission.’ It was written and directed by Calin Cazan and Mircea Toia.
Rosca retreated to his home studio where he wrote and recorded his score. Unfortunately, the groundbreaking music he wrote and recorded was turned down. When the film was released in 1984, it featured a score by Romanian electronic-pop producer Adrian Enescu. Sadly, it would be another thirty years before Rodion G.A.’s score for ‘Delta Space Mission’ was released.
Meanwhile, Rosca was kept busy. When the band wasn’t playing live, he was writing and recording new music. Some of this music was recorded using instruments he rescued and modified. His genius extended to transforming everyday devices into musical instruments. They featured on the music he made. By then, Rosca was a versatile composer who was able to record music for different occasions.
He was writing library music that was used on television programs and documentaries that were shown on Romanian TV. This was just part of this chapter in his varied career.
Those who attended the theatre, concerts, festivals and even gymnastic contests heard the music Rosca wrote and recorded. He wrote several tracks that were used for gymnastic contests. This included ‘Diagonala,’ which in 2013, featured on ‘The Lost Tapes’ compilation.
However, Rosca continued to showcase his versatility as a composer and musician. He wrote the music for a play and a ballet. Both were performed by the Romanian National Opera in Cluj. This was one of the most successful periods of Rosca’s career. His music was being heard by a new and different audience to those that saw Rodion G.A. play live.
The Band Plays On.
Meanwhile, Rodion G.A. continued to play live and was a popular draw. In the summer they played the festival circuit, and clubs and restaurants in seaside towns. By then, the band was one of the most popular in Romania. They were also an award-winning band.
“And The Winner Is…”
One of the awards Rodion G.A. won was the Special jury Prize at the Top T Buzau festival. Then in 1987 they won the Gold Anchor Prize at the Mangalia Music Festival. However, was it a Pyrrhic victory?
Three Becomes One.
In 280 BC, King Pyrrhus of Epirus’ army suffered what proved to be devastating and irreplaceable casualties when they defeated the Romans at the Battle of Heraclea in 280 BC. This was also the case at the Battle of Asculum in 279 BC, during the Pyrrhic War. In 1987, comparisons were drawn with Rodion G.A.’s award-winning performance at the Mangalia Music Festival.
Straight after winning the Gold Anchor Prize at the Mangalia Music Festival, Fărcaș and Căpraru left Rodion G.A. For their fans this came as a shock. The band had been together nine years, and quickly, had become one of the most popular in Romania. Some fans speculated that the departure of Fărcaș and Căpraru was a devastating loss, one thatweakened Rodion G.A. so badly that surely, this spelt the end of the road for the band? However, despite Rosca being the last man standing, this wasn’t the case.
The Last Man Standing Continues His Musical Journey.
Following the departure of Fărcaș and Căpraru, Rosca continued to record new music and play live. He was now Rodion G.A. It was essentially a vehicle for Rosca’s music.
When Rodion G.A. played live, mostly it was just Rosca. Sometimes, new musicians were brought onboard. There were changes in the lineup which was fluid. However, the band was still a popular draw when they played live over the next couple of years.
During that period, Rosca continued to write, record and produce new music. He was still a prolific artist, and one who constantly sought perfection. That had been the case throughout his career. When he recorded a new track he would often record numerous versions, seeking to record the definitive version. It had to be how he “heard” and “imagined” the music sounding. Sometimes, he returned to a track recording a new version, making the smallest of changes. Only then was he happy with the track and it was finished. This continued until April 1989, when Rosca’s life was turned upside down.
Loss, Devastation and No More Music.
Just five days after his thirty-fifth birthday, Rosca’s beloved mother Rozalia, passed away on April 9th, 1989. She was 72. He was absolutely devastated. For much of his life he and his mother were inseparable.
Rozalia had always been there for Rosca. She had always been supportive of her son’s dream of becoming a musician, and had encouraged him to follow his dream. He wanted to make his mother proud, and did.
Later, when Rodion G.A. was successful, she was so proud. He had been making music since he was fourteen, and now, his band’s music was being played on radio stations across Romania. She would tell her friends and neighbours about the success they enjoyed. This made all Rosca’s hard work worthwhile.
However, after Rozalia’s death he was bereft and heartbroken, mourning the loss of his mother. Suddenly, music no longer seemed important to Rosca. He turned his back on music.
No longer would Rodion G.A. play live, and Rosca stopped recording new music. It would be a while before he made a comeback.
What Next For Rodion?
Having turned his back on music after the death of his mother, Rosca had to find a way to earn a living. One thing he had always excelled at was building and repairing speakers. He had built and repaired the speakers that Rodion G.A. used when they played live. Other people needed their speakers repaired. This presented an opportunity for the now, former musician.
Rosca started repairing other people’s speakers. He took pride in being to be able to repair any type of speaker. Nothing was beyond him. People brought their broken speakers to him. Some thought that he would be unable to repair them. When they returned, their speakers were as good as new. Soon, word had spread about Rosca’s ability to repair and build speakers.
As Rosca tried to rebuild his life, change was afoot in Romania. Things would come to a head In December 1989. Romania would become a very different country.
Revolution In Romania.
Change came about as a result of the Christmas Revolution in 1989. It began on 16th, December and ended on Christmas Day. It was an important day for another reason.
That was the day that the trial of Nicolae Ceaușescu and his wife Elena was held by an Exceptional Military Tribunal. The newly formed National Salvation Front had requested a drumhead court-martial. This is a military court-martial, which is usually held in the field, and renders summary justice.
The main charge the former President and his wife faced was genocide. It was alleged on Romanian television that they were responsible for the death of 60,000 people. However, the outcome of the trial was predetermined, and Ceaușescu and his wife were found guilty. Both received death sentences and were executed at 4pm, at a military base just outside of Bucharest.
Although the violence continued in some parts of Romania until 30th, December, the execution of Ceaușescu and his wife five days earlier, marked the end of an era for Romania and Romanians. The Christmas Revolution resulted in the end of forty-two years of Communist rule. Communism was consigned to the dustbin of history in Romania. 1990 marked a new beginning for the country, and also for Rosca.
Love Is In The Air.
By 1990, Rosca was still mourning the loss of his mother. It had been a devastating blow to him. Then during a trip to the Someșeni Baths, a health resort in Cluj, he dropped some money. He didn’t realise until two women told him. To thank them, he invited them to join him for juice on the spa’s terrace. Little did he realise that one of the women would become his wife.
After enjoying a juice with the two women, Rosca started dating one of them. This was Cristina. The pair fell in love, and before long, were engaged to be married.
Later in 1990, Rosca and Cristina were married. By then, Rosca who was thirty-seven, wanted to settle down and start a family.
His dream came true the following year, 1991, when their only child Isabella Rozalia Rosca was born. Still mourning the loss of his mother, he decided that his newly-born daughter’s middle name should be Rozalia. It was Rosca’s way of honouring his mother, who had been so supportive of him, and encouraged him to follow his dream. Rosca never forgot his mother, and today her name lives on.
“The King Of Speakers.”
Now a married man with a young daughter, he had to earn a living. Fortunately, business was booming. People came from far and wide to have their speakers repaired.
In 1992, Rosca designed and copyrighted his own logo. This he would use when he was repairing speakers and later, with Rodion G.A.
Over the years, Rosca’s reputation grew, and people travelled from afar to have their speakers repaired. Some brought other electrical items which he quickly repaired. Others commissioned Rosca to build new speakers. This was no surprise. By then, he was known as “The King Of Speakers.”
Eventually, Rosca needed more space to store his vast collection of instruments, musical equipment, amplifiers and speakers he had accumulated over the years. With business booming, he needed more space to repair speakers and build new ones. It was time to move to the country.
Rosca moved to a house in rural Transylvania, where he was able to store all his musical equipment, and continued to repair and build loudspeakers. That’s what he was doing in 2008, when he was rediscovered.
Rodion G.A. Rediscovered.
It had been nineteen years since Rosca turned his back on music. Sadly, by 2008, some music fans had forgotten about Rodion G.A. Not musician, producer and label owner Mihai Antonescu. He was a fan of the band, and had a proposition for one of his musical heroes.
Antonescu and Alexandru Catrina owned and ran Roadrunner Music. They were going to release a compilation and wanted it to feature a track by Rodion G.A. He went in search of Rosca, and found him living in rural Transylvania. The pair spoke, and eventually, he asked if the compilation could feature a track by Rodion G.A. The answer was “yes.”
Rosca went in search of a track that could feature on the compilation. The one he chose was a previously unreleased track, ‘Isabella,’ which begins with a recording of his daughter crying when she was a baby. The track closed the Roadrunner Music compilation ‘The Next Dog Desert Island Selection,’ when it was released later in 2008. Little did Rosca realise that this was the start of a new chapter in his musical career.
Enter Sorin Luca.
By 2012, blogger and filmmaker Sorln Luca was fascinated by the mythology that surrounded Rosca. So much so, that he decided to try to track the reclusive musician down.
Eventually he discovered Rosca. By then, the man who was once one of Romania’s most successful musicians was an almost mythical figure. The filmmaker found him living in Așchileu, in rural Transylvania.
Before long, the pair become friends, and Luca decided to film a documentary about Rosca. Before that, the filmmaker posted a handful of Rodion G.A. tracks online, and footage of the band’s 1980 New Year’s Eve concert on Romanian TV. He had no idea what would happen next.
Soon, Rodion G.A’s music was reaching a new audience worldwide. Meanwhile, Romanian music fans were either discovering or rediscovering the band’s music. This included a collective of young musicians and producers living in Bucharest.
The Comeback.
This was the Future Nuggets collective. They spent their time unearthing music from Romania’s musical past. When they heard the Rodion G.A. tracks that Luca had posted online, they went in search of the man behind the music.
Having met Rosca, he eventually, agreed to make a comeback later in 2012. It was twenty-three years since he turned his back on music. Now he was about to take to the stage once again, and make a much- anticipated comeback.
When Rodion G.A. took to the stage, Rosca, the comeback back King, received a rapturous applause. He was back doing what he loved, and was good at, making music. A year later, the comeback was complete.
‘The Lost Tapes.’
There was still one thing that Rodion G.A. had never done, release an album. This was about to change.
In May 2013, Strut released ‘The Lost Tapes.’ It was a compilation of ten tracks written by Rosca and recorded between 1978 and 1983. Belatedly Rodion G.A.’s music could be heard by a wider audience.
The album was released to widespread critical acclaim. Critics were won over by Rodion G.A.’s groundbreaking and genre-defying music. It featured elements of lo-fi electronics, Kosmische Musik, spacey psychedelia and progressive rock. There were elements of classic rock, experimental music, traditional Romanian folk music and even Middle Eastern influences. This mind-blowing sonic stew introduced a new generation to one of Romania’s greatest bands. Some would get the chance to see the band play live.
On The Road Again.
Rodion G.A. played a series of concerts and workshops in Romania. Then the group headed further afield.
Rodion G.A. were played as far afield as Berlin and Moscow. In April 2014, Rosca was invited to do a workshop at the Red Bull Musical Academy. Later that month, the soundtrack he recorded thirty years previously was belatedly released, ‘Delta Space Mission.’
‘Delta Space Mission.’
In 1984, Rosca had been asked to write and record the soundtrack for Calin Cazan and Mircea Toia’s animated film, ‘Delta Space Mission.’ However, the film featured Adrian Enescu’s score when it was released in 1984. Since then, Rosca’s score lay unreleased in his archives. That was until Record Day 2014.
The seventh Record Store Day took place in the UK on Saturday April 19th, 2014. One of the releases was Rodion G.A.’s previously unreleased soundtrack to ‘Delta Space Mission.’ It was released as a limited edition of 1,000 by Strut.
At last, collectors were able to buy and hear the mythical lost soundtrack Rosca had written and recorded thirty years earlier. They weren’t disappointed. It was another tantalising taste of the mercurial musical genius at the peak of his powers. So was an album released six months later, ‘Behind The Curtain-The Lost Album.’ 
‘Behind The Curtain-The Lost Album.’
By then, Rosca had made a remarkable discovery. Between 1978 and 1984 he wrote and recorded ‘Behind The Curtain-The Lost Album’ in his basement studio. Safe from prying eyes, especially the state censor, he laboured long and hard to complete the album. However, once he finished the album he had no means of releasing his magnum opus.
Then disaster struck. The tapes containing ‘Behind The Curtain-The Lost Album’ went missing. Rosca had no idea where they were.
By then, fellow musicians and fans of Rodion G.A. had heard that Rosca had spent years recording an album. Rumours surrounded the tapes whereabouts. Had they fallen into the hands of the state censor, or had they been stolen by a jealous, rival musician who had burnt the tapes? There was even a rumour that the tapes had been smuggled out of Romania. Over the years, rumours grew about the whereabouts of the mythical album. Then one day in 2013, the tapes were found.
Between 1967 and 1989 Rosca was prolific, constantly writing and recording new music. Tapes were stored in packing cases and boxes which he kept in the basement of his home in rural Transylvania. He started looking through the boxes. Days turned into weeks. Then one day, in a box, he found some photos and tapes. He had no idea what was on them.
It turned out to be ‘Behind The Curtain-The Lost Album.’ There were also eight other tracks on the tapes. They were recorded during the same period, and featured on the vinyl version of the album when it was released on October 20th, 2014.
Sadly, by then, Rosca was seriously ill. He was bravely battling liver cancer and Hepatitis B and C.
Thirty years after completing ‘Behind The Curtain-The Lost Album’ was released to widespread critical acclaim. It was a career-defining, genre- melting album from the enigmatic musical maverick, and helped introduce his music to a new and wider audience.
The Band Plays On.
Despite Rosca’s failing health, he continued to play live. Following the release of ‘Behind The Curtain-The Lost Album,’ he played concerts in Romania and in London, Utrecht and Berlin. 2014 had been one of the busiest and most important of his career.
He had released two albums, ‘Delta Space Mission’ and ‘Behind The Curtain-The Lost Album,’ and played workshops and concerts at home and abroad.Over the next few years, Rodion G.A. continued to play live in clubs, and at festivals. There were appearances at workshops and even a film festival.
In 2015, the band travelled to the Danish capital Copenhagen. Then in July 2016, they played at the prestigious Electric Castle festival, at Banffy Castle, in Cluj. By then, Rosca was working on a new project, ‘The Last Album.’
‘The Last Album.’
Since the comeback of Rodion G.A., the band had been playing in clubs at home and across Europe. Often, Rosca was exposed to dance music which interested him, and when he began recording his new album, this influenced him. Rosca decided to mix the old with the new.
By then, Rosca had updated his studio. The new technology presented him with endless opportunities to record a groundbreaking album where he combined his own genre-melting sound with elements of dance music.
Despite his poor health, he laboured long and hard in his basement studio recording a new album. The months turned into years as Rosca recorded eleven new tracks. In the midst of recording what would eventually become ‘The Last Album,’ Rosca released another album, ‘Rozalia,’ in 2018.
‘Rozalia.’
Rozalia was the name of Rosca’s late mother. He wanted to pay tribute to her with the new album. She had been so supportive of him and encouraged him to follow his dream. Now this dream was a reality and his music had found an audience worldwide.
In 2018, Rodion G.A. released a new album, Rozalia,’ on the Inversions’ label. It was the first album the band had released in four years, and was eagerly-awaited.
It featured nine previously unreleased tracks. The instrumental tracks for what eventually became ‘Nu Tu Vei Fi,’ ‘Ore,’ ‘Bătrânul Cais’ and ‘Moment’ were recorded at the Radio Cluj Studio in 1981, with Rosca then adding vocals at his home studio. ‘Tamburași,’ ‘Satul De Roua’ and ‘Tic Tac’ were all recorded at a session in 1983. ‘Singur Pe Drum’ was written by Rosca when he was a teenager, and recorded at his home studio in 2010. The newest track brought the album to a close.
Unlike previous albums, ‘Rozalia’ had a rougher, rawer sound with Rodion G.A. fusing garage and psychedelic rock. In doing so, it showcased the band’s versatility and Rosca’s ability and determination to reinvent their music. Critics were won over by ‘Rozalia’ which was released to plaudits and praise on 2nd, March 2018. Little did anyone realise that this would be the last album Rodion G.A. would release during Rosca’s lifetime.
Rodion’s Final Years.
Following the release of ‘Rozalia,’ Rosca’s health was deteriorating. Despite that, he continued to work on ‘The Last Album’ and played live when he could.
In 2019, Rodion G.A. played live in Romania, and in December travelled to London and Brussels. Then in February 2020, Rosca travelled to Lyon for a workshop. Sadly, it was one of the last times he played live. A month later, the global pandemic began and countries across the globe went into lockdown.
Rodion’s Death.
By March 2021, Rosca was seriously ill. He had bravely battled liver cancer and Hepatitis B and C since May 2012. His daughter Isabella had been told that her father wouldn’t recover, and it was only a matter of time. She was devastated and heartbroken. Especially since her mother had died on May 9th, 2017, aged just fifty-one.
On 26th, March 2021, Rodion-Ladislau Rosca, “the Godfather of Romanian electronic music,” passed away, aged sixty-seven. He left behind a daughter Isabella, and two grandchildren Beatrice and Dennis.
Farewell.
Rosca’s funeral took place on March 31st, 2021. Two tracks from ‘The Last Album,’ ‘Bells’ and ‘Don’t Cry If I Die’ were played at the memorial service which celebrated the life and music of “the Godfather of Romanian electronic music.” Rosca was then buried at the Central Hajongard Cemetery, in Cluj, the city where he was born and first found fame.
Meanwhile, fans of Rodion G.A. were in mourning after the announcement of Rosca’s death. Since his comeback, the band had played all over Europe and their groundbreaking music was discovered by a new, and much wider audience worldwide. That’s the case today, with fans of Rodion G.A. enjoying the four albums released between 2013 and 2018. They’re part of the rich musical legacy Rosca left behind.
From The Archives.
During a career of two parts, Rosca was prolific, constantly writing and recording new music. Most of it lies unreleased in the archives, and has never been heard before. That’s until now.
Rosca’s daughter Isabella, allowed this author access to the archives. The result was ‘From The Archives 1981 – 2017,’ which was released on 26th, April 2024, by Ace, and features twenty-one tracks recorded between 1981 and 2017. Only ‘Acolo Unde E Mister’ and ‘Amintiri’ have been released before. They featured on the ‘Formații Rock (5)’ compilation which was released in 1981. The other nineteen have never been released.
There’s four new edits on the album. Three of these edits, ‘Final Farewell,’ ‘Final Journey’ and Goodbye (Fade Away)’ were part of a lengthy genre-defying studio jam where Rosca played all the instruments. ‘The Journey’ was an edit of ‘Warning’ which Rosca recorded towards the end of his career, whist working on ‘The Last Album.’
‘From The Archives 1981 – 2017’ shows the different sides to Rodion G.A., a truly versatile and chameleon-like band. Their music was ambitious, groundbreaking, innovative and influential. Led by Rosca, a musical maverick and pioneer, who pushed musical boundaries to their limits and sometimes, way beyond. Seamlessly, the band switches between musical genres and sometimes, fuse disparate genres and influences within a track. That’s the case on from ‘From The Archives 1981 – 2017,’ which is a tantalising taste of Rodion G.A. at the peak of their powers.
It’s no surprise that nowadays, Rosca is regarded as one of the most talented, inventive and influential European musicians of his generation, nowadays. “The Godfather of Romanian electronic music” is much- missed by his family, friends and fans. However, Rosca left behind a rich musical legacy for future generations of music fans to enjoy, and this includes the music on ‘From The Archives.’ For that, we should be truly grateful.
The Life and Music Of Rodion-Ladislau Rosca and Rodion G.A.
LITTLE BANGERS FROM RICHARD HAWLEY’S JUKEBOX VOL 2.
Little Bangers From Richard Hawley’s Jukebox Vol 2.
Label: Ace Records.
Format: CD.
Every week, countless compilations are released by record labels worldwide. It’s an extremely competitive marketplace, with record labels hoping that their latest compilation will prove popular and profitable. As a result, many labels are risk averse.
Rather than release compilations of innovative and groundbreaking music, many record labels play it safe. These labels aren’t run by risk takers and entrepreneurs, and instead, stick to what they know, and release the type of compilations they’ve always released. Hence, each month there’s yet more compilations of Northern Soul stompers, spiritual jazz, girl groups and sixties psychedelia. This it’s hoped will turn a profit for record labels. However, it’s all been done before, and these formats are tired and dated.
There is another way though. Hoping to give the risk averse record label an edge they use the same compilers. Generally, they’re friends of someone who runs the label and they’re male. It’s the musical equivalent of the Masons without the funny handshake.
Often the compiler is a right-on, left-leaning, jobbing journalist. Other times it’s an ageing pop star who is no longer as popular as they once were. So much so, that they’re not even found at the bottom of the bill at eighties and nineties weekenders held at the less salubrious holiday camps up and down once Great Britain.
Despite being able to churn out compilations of variable quality, the jobbing journalist and ageing pop star are crashing bores whose compilations only appeal to those that run the label and an ever-decreasing fan-base. This is not the future.
What the bean counters, former barrow boys and history graduates who run record labels fail to realise is that the people who once bought this type of compilation are aging, and no are no longer buying as much, or any compilations or albums. Quite the opposite, many who have retired and downsized are disposing of sizeable collections.
Those that run record labels often forget that a new generation of music fan are buying vinyl, CDs and cassettes. They’ve disposable income and insatiable appetite for music old and new. However, many labels aren’t catering for them.
The new record buyers aren’t interested in what are essentially hastily compiled cash-ins that are designed to keep labels semi-solvent for another year.
The problem with these labels is that they only release compilations and albums that the people who run it like. Some owners of small labels only release music they like and are passionate about. Often it’s niche, with a small and decreasing fanbase. Many of these releases will struggle to sell 500 units of vinyl and CD. Some will even struggle to sell 200 or 300 copies. They’re essentially vanity projects, and those who run the labels have little or no business experience. These labels are usually short-lived and loss-making ventures.
All too often, those running record labels can’t place themselves in the shoes of the new generation of record buyers, and certainly don’t know what type of music they like and listen to. Basically, those running these record labels are out of touch.
Look at their release schedule and they’re hopelessly out of touch. They’re still releasing the same type of compilations that they were releasing ten and fifteen years ago. It’s a case of rinse and repeat. Some labels are even reissuing what third-rate compilations from their back-catalogue. It’s lazy and lacks imagination.
In some cases, record labels continue to release further instalments of a once popular compilation series. By now, Volume 6 or 7 of some compilations can be found on the shelves of record shops. Others, it’s as many 16 and even 21. With each instalment, sales drop and the label struggles or fails to break even. It’s time to put the failing compilation series out of its misery. It would be a mercy killing but the record label can’t bear to. However, like the punch drunk boxer, they’re willing to give it one more try.
Then there’s a game of musical pass the parcel. After five or ten years, a different record label licenses the back-catalogue of a small record label. They proceed to release a similar compilation to one that was released previously in the hope that they’re the winners of this game of musical pass the parcel.
However, music has changed but those running labels have failed to realise that. That’s why each year, labels fall by the wayside, and in five years time the musical landscape will look very different. That’s unless record labels start to engage with the new generation of record buyers.
If they don’t, only a few independent labels will be around in five years. Some labels will change and survive and thrive and go on to enjoy longevity.
Cherry Red Records was founded in 1978 and is one on the biggest and most successful British independent record labels. This year, BBE Music is about to celebrate its thirtieth anniversary. Last year, Ace Records celebrated their fiftieth anniversary. Not many labels have enjoyed the same longevity. Especially those competing in the fiercely competitive compilation market.
As a new year dawns, Ace release their first tranche of new compilations. This includes ‘Little Bangers From Richard Hawley’s Jukebox Vol 2.’ It’s the followup to ‘Little Bangers From Richard Hawley’s Jukebox’ which was released three years ago, in 2023.
‘Little Bangers From Richard Hawley’s Jukebox Vol 2’ features some of the Sheffield-born singer, songwriter and musician’s favourite records. Some can be found in the jukebox in his home. The twenty-eight tracks are a mixture of instrumentals and vocal records from familiar faces and what may be new names to some music fans. However, is ‘Little Bangers From Richard Hawley’s Jukebox Vol 2’ a compilation that will appeal to a new generation of music buyers?
Opening the compilation is ‘The Last Race’ by Jack Nitzsche. He wrote this cinematic sounding instrumental which was produced by Jimmy Bowen. It was released as a single by Reprise in 1964. This was early on in the American arranger, producer and songwriter’s long and illustrious career. It’s a good way to open the compilation, and shows another side to Nitzsche’s music.
Another instrumental is ‘Boo Boo Stick Beat’ by Chet Atkins who produced this single. It was released on RCA Victor in 1959, and is a timeless track from a guitar great.
‘Comanche’ by Link Wray and The Wraymen was released by Epic as a single in 1959, and a year later, in 1960, featured on their eponymous debut album. This track is a reminder of a groundbreaking guitarist who was truly talented and an innovator who pushed musical boundaries.
The King Of The Surf Guitar is how the legendary Dick Dale is remembered. In 1962, ‘Jungle Fever’ was released as a single by Dick Dale and The Del-Tones. Later, the same same year, 1962, they released their debut album ‘Surfers’ Choice’ which is the perfect introduction to Dick Dale and The Del-Tones.
‘Put The Blame On Me’ is a tracks from Elvis’ 1962 album ‘Something For Everybody.’ The album features The Jordanaires. Here, Elvis switches between ballads, R&B and rock ’n’ roll. This track is taken from what’s billed as The Rhythm Side. However, sometimes, the track heads in the direction of what’s a forerunner of garage rock and shows a very different side of Elvis.
The bluesy sounding ‘Parchment Farm’ by Billy Lee Riley was released on GNP Crescendo in 1966. It’s made to sound like a live record with the sound of an audience overdubbed later. However, listen carefully to the lyrics and Riley sings about killing his wife. He sings: “all I did was drink my wife.” Despite this compiler Hawley says in the liner notes: “but it’s still a great record.” Tell that to the family of anyone whose daughter, sister or mother has been murdered by an abusive partner.
Only fifty copies of ‘Mountain by Sunshine Theatre were released by the Harp label in 1971. This rarity is a driving fusion of garage rock and psychedelia. It’s a welcome addition to the compilation.
Jet Harris is best known as a member of The Shadows. However, he also enjoyed a solo career. In 1976, he joined forces with other former Shadow Tony Meehan to record an album. This was ‘Remembering… Jet Harris And Tony Meehan.’ ‘Man From Nowhere’ finds Harris taking centrestage on what’s melodically a complex and somewhat strange but satisfying and cinematic sounding hidden gem of a track.
‘Fuzzy and Wild’ was the B-Side to The Ventures’ 1966 single ‘Green Hornet Theme.’ It was released on the Dolton label and produced by Jack Saracemeo. He play his part in what’s a glorious mixture of surf and rock ’n’ roll.
In the liner notes, it states that ‘Boogie Woogie Bill,’ which was released in 1961 was Billy Joe Tucker’s only single. That’s incorrect. While it was the only single he released in Britain, he also released ‘Can’t You Wait’ in the USA in 1961 and ‘Come A Hick-To-Ma-Hike in 1960. Tucker’s contribution to the compilation is ‘Mail Train,’ the flip-side of ‘Boogie Woogie Bill.’ It’s driving slice of rock ’n’ roll that shows how music was starting to change by 1961.
‘Listen To The Drums’ was on the B-Side of soul singer Richard Caiton’s debut single ‘You Look Like A Flower.’ It was released on GNP Crescendo in 1964, and produced by Dave Bartholomew. This track is an underrated slice of understated mid-tempo R&B that’s a reminder of another musical era.
In 1965, New York garage rockers The Magic Plants released their single ’I’m A Nothing’ on Verve. This stomping, driving single is a mixture of garage rock and proto punk. Much better is the B-Side ‘I Know She’s Waiting There’ where cinematic psychedelia is combined garage rock riffs.
Johnny Todd’s single ‘Pink Cadillac’ was released on Modern in 1956. This car-loving track epitomises good time rock ’n’ roll.
Closing ‘Little Bangers From Richard Hawley’s Jukebox Vol 2’ is ‘Cycle-delic’ by The Arrows featuring Davie Allan. This trippy epic was the title track to their 1969 album. It finds the groups fusing psychedelic rock with surf and garage rock on one of their finest albums. The track closes the album on a high, and is a tantalising take of this truly talented and groundbreaking group.
If this were an exam ‘Little Bangers From Richard Hawley’s Jukebox Vol 2’ would get a B. The reason for this is the inclusion of some disappointing tracks. This includes Billy Lee Riley’s ‘Parchment Farm,’ The Surf Riders’ ‘I’m Out’ and The Magic Plants’ ’I’m A Nothing.’ However, this is personal taste. Other people may enjoy these tracks.
Personally, twenty-eight tracks is probably four to many for a compilation. Often the temptation for a compiler is to use up the eighty minutes available on a CD. The result then is often a few disappointing tracks on a compilation. That’s the case here. With four fewer tracks it would’ve been a much better compilation.
The other thing that’s worth mentioning is the liner notes aren’t written by Hawley. Instead they’re as told to Pete Paphides. The majority of compilers write their own liners notes. Having said that, the liner notes are reasonably interesting and informative.
Earlier, I wondered if ‘Little Bangers From Richard Hawley’s Jukebox Vol 2’ would appeal to the new generation of record buyers? I have my doubts. However, some of Generation Z will be interested in the music on the compilation.
Having said that, Generation Z may see this as a niche compilation, or one for baby boomers wanting to relive their youth. To Generation Z, this may be perceived as yesterday’s music, the music their parents or grandparents would listen to. ‘Little Bangers From Richard Hawley’s Jukebox Vol 2’ may not be what Generation Z look for when record shopping this weekend.
There will be an audience for the compilation. It may be that the audience is an older one, the majority of who, were born in the fifties, sixties and first half of the seventies. Essentially, the audience will be music lovers who are fifty and over. Compiler Richard Hawley recently celebrated his 59th birthday.
Some fans of Hawley’s music may also be interested in the compilation. However, in the main, I believe those who buy ‘Little Bangers From Richard Hawley’s Jukebox Vol 2’ will be of certain age. It’s a niche compilation that will appeal to an older demographic who nowadays, tend not to buy as many LPs and CDs. Quite the opposite, many are offloading sizeable collections as they retire and downsize.
Having said all that, those that bought ‘Little Bangers From Richard Hawley’s Jukebox’ in 2023, will have been waiting for the release of ‘Little Bangers From Richard Hawley’s Jukebox Vol 2’ and be interested in this release. However, how many decide to buy copies remains to be seen.
Little Bangers From Richard Hawley’s Jukebox Vol 2.
HIGHWAY OF DIAMONDS – BLACK AMERICA SINGS BOB DYLAN.
Highway Of Diamonds – Black America Sings Bob Dylan.
Label: Ace.
Format: CD.
Release Date: 30th January 2026.
In 2010, Ace released the first in a new compilation series ‘How Many Roads: Black America Sings Bob Dylan.’ Since then, six further instalments in the Black America Sings series have been released.
On Friday ‘30th,’ January 2026 Ace will release a new instalment in the Black America Sings series. This is ‘Highway Of Diamonds – Black America Sings Bob Dylan.’ It features twenty tracks from everyone from The Staple Singers, Bettye LaVette, Natalie Cole and Cassandra Wilson to Merry Clayton, Aaron Neville, Sarah Vaughan and Lizz Wright. These artists covered some of Dylan’s most famous and best loved songs between 1965 and 2017.
Some of these tracks aren’t just covers of Dylan’s tracks. Instead, the artists and groups on ‘Highway Of Diamonds – Black America Sings Bob Dylan’ rework the tracks, breathing new life and meaning into them. This mixture of classic tracks and familiar songs are reinvented and reimagined by some of the most important African-American artists of the 20th century. Other artists may not be as well known, but are certainly not lacking in talent as they take familiar and much-loved songs in a new direction.
Only the anthemic ‘Blowin’ In The Wind’ featured on ‘Highway Of Diamonds – Black America Sings Bob Dylan’ and ‘How Many Roads: Black America Sings Bob Dylan.’ When it was released as a single, ‘Blowin’ In The Wind’ spoke to all Americans, regardless of their colour or creed. This was the start of Dylan’s influence on black music in America.
Throughout his career, many other artists have covered Dylan’s songs. From folk, pop and rock to soul and psych to jazz, blues and gospel. Dylan has been one of the most influential singer-songwriters over the past seven decades.
Opening ‘Highway Of Diamonds – Black America Sings Bob Dylan’ is ‘A Hard Rain’s A-Gonna Fall’ by The Staple Singers. It featured on their 1968 album ‘What The World Needs Now Is Love.’ Soul and gospel are combined with social comment on what’s one of the highlights of the group’s last album for Epic. After this, they signed to Stax, and enjoyed the most successful period of their long career.
‘Everything Is Broken opened Bettye LaVette’s 2012 album ‘Thankful N’ Thoughtful.’ Her lived-in vocal is a mixture of frustration and anger, but sometimes becomes wistful and there’s a sense of resignation, that things aren’t changing, and if anything, are getting worse. LaVette lives the lyrics and breathes new life into them.
Natalie Cole covered ‘Gotta Serve Somebody’ on her 1999 album ‘Snowfall On The Sahara on Elektra.’ Cole’s smouldering and sanctified cover is a majestic mix of jazz, soul and funk. It’s without doubt one of the highlights of the compilation.
Soul singer Maxine Weldon released a cover of ‘It Ain’t Me Babe’ on Mainstream in 1971. The following year, 1972, the track featured on Weldon’s debut album ‘Right On.’ It was produced by Bob Shad and featured some top session players. Weldon’s reading of Dylan’s bittersweet lyrics veer between poignant and thoughtful to defiant. It sounds as if she has lived and experienced the lyrics. For anyone yet to discover Maxine Weldon’s music, this is a tantalising taste of what this truly talented singer is capable of.
‘Shelter From The Storm’ is one of the highlights of Dylan’s critically acclaimed 1975 album ‘Blood On The Tracks.’ Cassandra Wilson covered the song on her 2002 album for Blue Note, ‘Belly Of The Sun.’ It was an eclectic album produced by Wilson who wrote three tracks and cowrote another. The rest were cover versions. One of the most powerful, poignant and beguiling is her reworking of ‘Shelter From The Storm.’
‘Rainy Day Women #12 and 35’ was recorded by Merry Clayton for third album ‘Keep Your Eye On The Sparrow.’ It was released on Ode in 1975 and was arranged and produced by Gene McDaniels. He plays his part in this effervescent and exuberant take on a Dylan classic. For newcomers to Clayton’s music, the best place to start is her debut album ‘Gimme Shelter’ and the self-title followup.
Clayton was also part of The Brothers and Sisters Of Los Angeles when they released their debut album ‘Dylan’s Gospel.’ It’s a hidden gem of an album, and one of the highlights is an impassioned cover of ‘The Times They Are A-Changin’’ where gospel and soul are combined.
Impassioned and heartfelt describes Aaron Neville’s cover of ‘Don’t Fall Apart On Me Tonight.’ It’s a track from his 1993 album ‘The Grand Tour,’ which was produced by Steve Lindsey. This Dylan cover was one of the highlights of the album.
‘If Not For You’ was covered by Sarah Vaughan on her 1971 album, ‘Time Of My Life.’ It was produced by Bob Shad and released on Mainstream. Accompanying Vaughan were a band that featured top session players. Despite the all-star band, the album wasn’t a commercial success. However, ‘If Not For You’ is a reminder of one of the great voices of jazz on an oft-overlooked album.
Lizz Wright’s beautiful, heartfelt cover of ‘Every Grain Of Sand’ is taken from her 2017 album ‘Grace.’ The song featured a slow, understated arrangement that allows the vocal to take centre-stage on this poignant and plaintive devotional.
Closing ‘Highway Of Diamonds – Black America Sings Bob Dylan’ is ‘Blowin’ In The Wind’ by The Caravans. They breathe life, meaning and emotion into the lyrics of one of Dylan’s greatest ever songs.
For the most part, ’Highway Of Diamonds – Black America Sings Bob Dylan’ is another quality compilation in this occasional series.
It features familiar faces and what will be new names on this carefully curated compilation. There’s everything from soul, gospel. jazz, funk and R&B on the long-awaited and much-anticipated followup to ‘How Many Roads: Black America Sings Bob Dylan.’
After sixteen years, the wait is nearly over and ’Highway Of Diamonds – Black America Sings Bob Dylan’ will be released by Ace on Friday ‘30th,’ January 2026. For anyone who loves black music or is a fan of Bob Dylan, ’Highway Of Diamonds – Black America Sings Bob Dylan’ is a must-have compilation.
Highway Of Diamonds – Black America Sings Bob Dylan.
CULT CLASSIC: LONNIE LISTON SMITH AND THE COSMIC ECHOES-RENAISSANCE.
Cult Classic: Lonnie Liston Smith and The Cosmic Echoes-Renaissance.
Innovative, influential and way ahead of the musical curve, describes the music of Lonnie Liston Smith, and specially the five albums he recorded with The Cosmic Echoes for Bob Thiele’s Flying Dutchman Productions between 1973 and 1976 This began with Astral Travelling in 1973 with Cosmic Funk followed in 1974. This was just the start.
Expansions which followed in 1975 featured Smith at the peak of his powers on what was the most successful album of his career. He had brought onboard his brother Donald, whose vocals added a new dimension to the groundbreaking music.
Later in 1975, Lonnie Liston Smith and The Cosmic Echoes released Visions Of A New World. It was their penultimate album for Flying Dutchman Productions which was tailor made for pioneering artists like Smith. It was a smaller label where artists were encouraged to experiment and innovate and produce music the music that they really wanted. Often this resulted in albums of groundbreaking music. This included Reflections Of A Golden Dream which was released in 1976, and turned out to be Lonnie Liston Smith and The Cosmic Echoes’ swan-song for Flying Dutchman Productions.
In 1976, there was a takeover of Flying Dutchman Productions by RCA. After some changes at the parent company it was decided to release Lonnie Liston Smith and The Cosmic Echoes’ next album on RCA rather than Flying Dutchman Productions. It was the end of an era. However, Renaissance was another album of innovative music from Lonnie Liston Smith and The Cosmic Echoes.
Led by musical visionary Lonnie Liston Smith Renaissance finds him pushing musical boundaries to their limits and sometimes, beyond. That’s had been the story of his career which began a decade earlier. Since then, the man who had been born to make music had been establishing himself as a musician.
For Smith, it was almost written in the stars that he would become a musicians. He was born in 1940, into a musical family and his father was a member of Richmond Gospel music group the Harmonising Four. Growing up, members of gospel groups The Soul Stirrers and Swan Silvertones were regular visitors to the Smith household. With all this music surrounding him, Smith learned piano, tuba and trumpet in High School and college. After college, he headed to Morgan State University.
Inspired by Trane, Bird and Miles Davis, Smith embarked upon a degree in musical education. Throughout his time at University, he continued playing the pianist in local clubs and singing backing vocals. He played with alto saxophonist Gary Bartz and trombonist Graham Moncur. This was all part of Smith’s musical eduction. Having completed his BSc in musical education at Morgan State University, Smith walked straight into a job.
On leaving Morgan State University, Smith got a job with the Royal Theatre’s house band. For a young musician, this was would help turn them into a musical all-rounder. After all, they had to be able to accompany a wide range of artists. For Smith this was the next stage in his musical education. The next part of his musical education took place in New York.
Having moved to New York, Smith was luck enough to get a gig playing piano in Betty Carter’s band. This helped Smith get his name known in the Big Apple. Then in early 1965, he caught a break.
He joined Roland Kirk’s band and made his recording debut on March 14th 1965. That was when Here Comes The Whistleman was recorded live in New York Smith only played on the title-track, Making Love After Hours, Yesterdays and Step Right Up. Then he featured on Roland and Al Hibbler’s 1965 live album A Meeting Of The Times. After this, he joined one of jazz’s top bands.
Over the last few years, The Jazz Messengers had established a reputation for young musicians looking to make a name for themselves. Smith joined in 1965. He shared the role with Mick Nock and Keith Jarrett. However, with The Jazz Messengers ever evolving lineup and only played in three concerts. These three concerts just so happened to be at the legendary Village Vanguard. Despite playing at such prestigious venue this must have been a disappointing time for an up-and-coming pianist. Luckily, Smith was rehired by Kirk.
He rejoined Kirk’s band in time to play on his 1968 album Now Please Don’t You Cry, Beautiful Edith. This established his reputation as the go-to-guy for anyone looking for a pianist. It was the start of period where Smith worked with some of the most innovative and inventive jazz players. Musical boundaries were about to be pushed to their limits as Smith joined Pharaoh Saunders’ legendary free jazz band.
Saunders had worked closely with John Coltrane right up to his death in 1967. The following year, Saunders formed a new band. Their music is best described as groundbreaking free jazz. Musical boundaries were pushed to their limits and beyond by one of the genre’s pioneers. Recognising a fellow believer in free jazz, Saunders asked Smith to join his band.
He went on to play on three of Saunders best albums. The first of this trio was 1969s Karma. It was followed in 1970 with Jewels of Thought and 1971s Thembi. The other Saunders album Smith played on was 1970s Summun Bukmun Umyun. which was released on Impulse. Just like the three albums Saunders recorded for Flying Dutchman Productions it was an innovative album that was way ahead of the musical curve.
During this period, Saunders and his band were constantly pushing boundaries and rewriting the musical rulebook. Their music was truly groundbreaking. Even Smith was challenged. On Thembi, Pharaoh asked Lonnie to play the Fender Rhodes. This was the first time that Smith came across an electric piano. However, he rose to challenge and wrote Thembi’s opening track Astral Travelling. Later, Astral Travelling would become synonymous with Lonnie Liston Smith and The Echoes. Before that, Smith would play with some of jazz’s maverick.
One of these mavericks was Gato Barbieri. He had just signed to Bob Thiele’s nascent label Flying Dutchman Productions. It was establishing a reputation for providing musicians with an environment where innovative and creative musicians could thrive.
Thiele believed musical mavericks didn’t thrive within such an orthodox environment like a major label. Their creativity was restricted meaning that were unable to experiment and innovate like they would like. So, he signed Barbieri to Flying Dutchman and Lonnie Liston Smith was asked to play on his 1969 debut album The Third World.
The next signing to Flying Dutchman Productions was Leon Thomas, and Smith played on his debut album Spirits Known and Unknown. Soon, Smith was a regular at Flying Dutchman sessions.
When the time came for Barbieri to record his 1971 sophomore album Fenix, Smith was called upon. He played on Fenix and joined Barbieri’s band. A year later he played on his 1972 album El Pampero and toured throughout Europe with the band. Then came the opportunity of a lifetime. After El Pampero, Smith got the chance to work with another jazz legend.
Smith was a member of Barbieri’s band when Miles Davis got in touch. He wanted the pianist to join his band. At this time, Davis’ music was changing direction. The direction it was heading in was funk.
Electronic instruments were the flavour of the month for Davis and he was exploring their possibilities. However, he was doing this outside the studio environment. That’s why there are very few recordings of Smith playing alongside Davis at that time. That came later when the two men were reignited and worked together. Meanwhile, he decided to move on with his solo career and his debut album Astral Travelling.
Astral Travelling.
When recording of Astral Travelling began, Smith had put together some of the most talented and innovative musicians. The Cosmic Echoes’ rhythm section included bassist Cecil McBee, drummer David Lee and guitarist Joe Beck. Sonrily Morgan and James Mtume played percussion and conga, Gee Vashi tamboura and Badal Roy tabla. George Barron played tenor and soprano saxophone and Lonnie played piano and electric piano on Astral Travelling. Theile produced Astral Travelling, which was released in 1973.
On its release in 1973, Astral Travelling was critically acclaimed. Critics were won over by Astral Travelling’s fusion of avant garde, experimental, free jazz and orthodox jazz. The music was variously beautiful, dramatic, explosive, ethereal, flamboyant languid, mellow, serene spiritual and urgent. It was as if Smith had drawn upon all his experience working as a sideman. He had worked with Saunders, Barbieri, The Jazz Messengers, Thomas, Stanley Turrentine and Davis.
The result was Smith’s unique brand of cosmic jazz. It went on to influence several generations of musicians and music lovers, and show that Smith was no ordinary musician. Instead, he was an innovator, who was determined to push musical boundaries to their limits and beyond. This was apparent on Astral Travelling, and its followup Cosmic Funk.
Cosmic Funk.
Cosmic Funk featured six tracks, three of which Smith wrote. They were the title-track Cosmic Funk, Beautiful Woman and Peaceful Ones. The other tracks were Wayne Shorter’s Footprints, James Mtume’s and John Coltrane’s Naima. These six tracks were recorded by an all-star band.
For the recording of Cosmic Funk, Smith had put together some of the most talented and innovative musicians. The Cosmic Echoes’ rhythm section included bassist Al Anderson, drummer Art Gore. Lawrence Killian played percussion and conga, while Doug Hammond, Ron Bridgewater and Andrew Cyrille played percussion. George Barron soprano saxophone, flute and percussion, while Donald Smith played piano, flute and added vocals. Lonnie played acoustic and electric piano plus persuasion on Cosmic Funk. Theile produced Cosmic Funk, which was released in 1974.
Cosmic Funk was released in 1974. Critics heard a different side to Smith on Cosmic Funk. It was a much more orthodox album. One thing remained the same, the reaction of critics. Just like Astral Travelling, plaudits and critical acclaim followed the release of Cosmic Funk. It turned out to be a a transitionary album Smith, which sadly, wasn’t a huge commercial success.
Cosmic Funk proved to be a much more orthodox jazz album from Lonnie Liston Smith and The Cosmic Echoes. Elements of jazz, funk, Latin and soul were combined on Cosmic Funk. The music veered between anthemic, beautiful, ethereal, experimental, flamboyant, funky, futuristic and wistful. The album was a stepping stone.
Despite its much more orthodox jazz sound, Cosmic Funk found Lonnie Liston Smith and and The Cosmic Echoes one step nearer finding his trademark sound. They found his trademark sound on his third album, Expansions, which was released in 1975. It was the first two albums of which were part of a musical voyage of discovery.
Expansions.
By the time Lonnie Liston Smith and The Cosmic Echoes released Expansions in early 1975, Thiele had take Flying Dutchman Productions’ releases to RCA. This safeguarded Flying Dutchman Productions’ future. By then, Thiele had discovered RCA wanted sales, and sales was what they got.
Expansions reached eight-five in the US Billboard 200, twenty-seven in the US R&B charts and number two in the US Jazz charts. This made Expansions one of Flying Dutchman Productions’ most successful albums.
Meanwhile, club and radio DJs were spinning tracks from Expansions. Belatedly, Lonnie Liston Smith and The Cosmic Echoes were the flavour of the month among DJs, dancers and discerning record buyers. It was no surprise that Thiele sent Lonnie Liston Smith and The Cosmic Echoes into the studio again, where they recorded Visions Of A New World.
Visions Of A New World.
For Lonnie Liston Smith and The Cosmic Echoes’ fourth album, Visions Of A New World, Smith penned seven tracks, including the hopeful anthem A Chance For Peace. The other track, Devika (Goddess) was written by Dave Hubbard and Sarina Grant. These eight tracks were recorded at Electric Ladyland Studios, New York.
At Electric Ladyland Studios, Thiele and Liston produced the eight tracks that eventually became Visions Of A New World. Accompanying Smith were The Cosmic Echoes. Their rhythm section featured bassist Greg Maker, drummer Art Gore and Wilby Fletcher and guitarist Reggie Lucas. Percussionists included Michael Carvin, Ray Armando, Angel Allende who added bongos and Lawrence Killian who also played congas. Flautist Donald Smith also added vocals on three tracks. The horn section included soprano saxophonist Dave Hubert, trombonist Clifford Adams and trumpeter Cecil Bridgewater. This was a very different lineup of The Cosmic Echoes that featured on Astral Travelling. Smith on keyboards was the only constant. This constantly evolving lineup didn’t affect the reception of Visions Of A New World.
Just like previous albums, critics hailed Visions Of A New World was hailed an album of ambitious and groundbreaking music. Smith was seen as a musical pioneer, capable of creating music that was dreamy, elegiac funky, hopeful, ruminative, sensual, smooth and sultry. It was also ambitious and innovative, and soon, was hailed a minor classic where elements of free jazz, funk, fusion, rock, smooth jazz and soul. The result was another album that was way ahead of the musical curve. It was also Lonnie Liston Smith and The Cosmic Echoes’ most successful album.
When Visions Of A New World was released in the summer of 1975, it reached number seventy-four in the US Billboard 200, fourteen in the US R&B charts and number four in the US Jazz charts. Visions Of A New World was Lonnie Liston and The Cosmic Echoes’ most successful album. After four albums, Lonnie Liston and The Cosmic Echoes’ music was reaching a much wider audience. Now they had to do it all again on Reflections Of A Golden Dream.
Reflections Of A Golden Dream.
For his fifth solo album, Reflections Of A Golden Dream, Smith penned nine tracks, and cowrote Peace and Love with Leopoldo Fleming. The ten tracks were recorded by Lonnie Liston Smith and The Cosmic Echoes featured some top musicians.
Just like with previous albums, the lineup of The Cosmic Echoes seemed in a constant state of flux. The Cosmic Echoes’ rhythm section featured bassist Al Anderson and drummer Art Gore and Wilby Fletcher. Percussionists included Guilherme Franco and Leopoldo Fleming who also added congas and guitar. Flautist Donald Smith also added vocals on three tracks; while Dave Hubert switched between flute and soprano saxophonist. The horn section also included tenor saxophonist George Opalisky; plus Joe Shepley and Jon Faddis who played trumpet and flugelhorn. Backing vocalists included Maeretha Stewart, Patti Austin and Vivian Cherry. They augmented this latest version of The Cosmic Echoes on Visions Of A New World Astral Travelling.
Smith, played keyboards, piano and added vocals. He also co-produced Reflections Of A Golden Dream with Thiele. However, it later became apparent that Smith more or less took charge of production on Reflections Of A Golden Dream. Thiele’s role, was more of an executive producer. That didn’t seem to affect the reviews of Reflections Of A Golden Dream.
Critics, when they received their advance copies of Reflections Of A Golden Dream, found Lonnie Liston Smith and The Cosmic Echoes combining dance-floor friendly music with social comment on Get Down Everybody (It’s Time For World Peace) and Peace and Love. Meditations featured a much more pensive, spiritual sound; while Journey Into Space saw Smith became a musical voyager. Just like previous albums, Reflections Of A Golden Dream received plaudits and critical acclaim. That was all very well. However, would Reflections Of A Golden Dream ensure that Lonnie Liston Smith and The Cosmic Echoes run of commercial success continued?
When Reflections Of A Golden Dream was released in 1976, the album sold well, but didn’t match the commercial success of Visions Of A New World. It remained the most successful album of Lonnie Liston Smith and The Cosmic Echoes’ time at Flying Dutchman Productions. However, it turned out that Reflections Of A Golden Dream was the last album that Lonnie Liston Smith and The Cosmic Echoes released on Thiele’s Flying Dutchman Productions.
By 1976, changes were afoot at Flying Dutchman Productions. Thiele’s label had been taken over by RCA who had distributed the label since 1972. Straight away, RCA began a review of their latest acquisition.
Eventually, RCA decided that the only artist from the Flying Dutchman Productions’ roster they wanted to keep was Lonnie Liston Smith and The Cosmic Echoes. This wasn’t good news for the label Thiele had spent years building up. Worse was to come for him. He would be retained as a producer on a project-by-project basis. This began with Lonnie Liston Smith and The Cosmic Echoes’s album Renaissance.
Renaissance.
For Renaissance, which was Lonnie Liston Smith and The Cosmic Echoes’s debut for RCA Victor, the bandleader and pianist wrote five tracks. This included Space Lady, Mardi Gras (Carnival), Starlight And You, A Song Of Love and Between Here. He also wrote the music to Renaissance which features lyrics by Jeff Gaines. Meanwhile, Dave Hubbard had written Mongotee which would feature on Lonnie Liston Smith and The Cosmic Echoes sixth album of cosmic jazz, Renaissance.
Thiele brought Horace Ott onboard to arrange the strings, woodwinds and backing vocals on Renaissance. It was another ambitious, innovative genre-melting album from Lonnie Liston Smith and The Cosmic Echoes.
When recording began, Harvey Goldberg was the engineer and would later mix the album with Thiele. The latest incarnation of The Cosmic Echoes was a multitalented and versatile band who were capable of making groundbreaking music. It featured a rhythm section of drummer Wilby Fletcher and bassist Al Anderson. They were joined by Gene Bertoncini on acoustic guitar, Leon Pendarvis on clavinet, conga player Lawrence Killian, percussionist Guilherme Franco and Ken Bichel on Moog synth. Two musicians who played an important role on David Renaissance were Hubbard who played flute, tenor and soprano saxophone while Donald Smith played flute and added vocals. Bandleader Smith switched between acoustic and electric piano and coproduced the album with Thiele who had mixed Renaissance.
When Renaissance was released it was to plaudits and praise. Critics were impressed with an album that combined cosmic jazz and jazz funk. Lonnie Liston Smith and The Cosmic Echoes had effortlessly combined to create a musical potpourri that was melodic, rhythmic and continued the spiritual consciousness of previous albums. Later, the album would be considered a cosmic jazz classic. That’s no surprise given the quality of music on the album.
Side One.
Renaissance opens with Space Lady where cosmic jazz and jazz funk are combined by Lonnie Liston Smith and The Cosmic Echoes. They then unleash the jazz dance classic Mardi Gras (Carnival) which is one of the highlights of the album. Starlight and You which features a vocal masterclass from Donald Smith is a beautiful cinematic ballad that’s often overlooked and is one of the hidden gems on the album.
Side Two.
Very different is Mongotee which opens side two and heads in the direction of jazz. It’s all change on the dancer A Song Of Love which benefits from an emotive and heartfelt vocal from Donald Smith. However, the thoughtful, pensive and spacey sounding Between Here And There is without doubt one of the album’s finest moments. Bringing Renaissance to a close is the title-track which features lyrics by Jeff Gaines. Originally the song was going to be an instrumental but a chance meeting resulted in the lyrics being written and a new ending to Lonnie Liston Smith and The Cosmic Echoes’ sixth album and RCA Victor debut.
Lonnie Liston Smith and The Cosmic Echoes’ sixth album and RCA Victor debut was a captivating and eclectic mixture of moods and musical genres. It finds the pioneering bandleader and pianist leading a band on Renaissance which later became a cosmic jazz classic. However, it’s not just a cosmic jazz that features on Renaissance. There’s also jazz funk and elements of avant-garde, experimental, free jazz, funk, fusion and jazz on what was a truly ambitious album.
Renaissance like the five albums that Liston Smith and The Cosmic Echoes released on Thiele’s Flying Dutchman Productions was an innovative genre-melting album that is still influenced a new generation of musicians. That’s no surprise as Smith was a leader, not a follower, and pioneer whose music was way ahead of his time. Renaissance and the albums that Liston Smith and The Cosmic Echoes released on Flying Dutchman Productions feature a true musical visionary at the peak of his considerable creative powers.
Cult Classic: Lonnie Liston Smith and The Cosmic Echoes-Renaissance.
CULT CLASSIC: ORNETTE COLEMAN-FRIENDS AND NEIGHBORS: LIVE AT PRINCESS STREET.
Cult Classic: Ornette Coleman-Friends and Neighbors: Live At Princess Street.
Nowadays, saxophonist, trumpeter, violinist and composer Ornette Coleman is recognised as one of the founding fathers of the free jazz movement. He released his debut album Something Else in 1958 on the Contemporary label. The flowing year, 1959, he released Tomorrow Is the Question! After this, the pioneering musician signed to Atlantic and later that year, released an album that was akin to a statement of intent.
This was The Shape Of Jazz To Come, a unique and innovative album that combined elements of avant-garde and free jazz. Although this groundbreaking album wasn’t a commercial success, nowadays, it’s regarded as a landmark album and a genre classic.
At Atlantic, Coleman was recording and releasing the most ambitious album of his career. This included 1960s Change Of The Century and 1961s This Is Our Music. However, his fourth album for Atlantic surpassed everything that he head previously released.
On ‘21st’ December 1960, Coleman entered the studio with a double quartet. They played simultaneously on the album, with the bandleader’s own quartet featured on the left hand channel, while the second quartet featured on the right hand channel. The music the quartets produced was ambitious, innovative, way ahead of its time and far removed from the jazz music that had gone before. On the two lengthy movements the rhythm sections providing a multilayered rhythmic backdrop, while added what a series of freeform commentaries with some pre-composed passages. Incredibly, this album of continuous free improvisation was recorded in one take with no overdubbing or editing. When it was released nine months later and was a gamechanger
In September 1961, Coleman’s sixth album Free Jazz: A Collective Improvisation was released. Some critics realised and recognised the importance of what was a groundbreaking Magnus Opus. It was also an album that lent its name to a nascent musical movement, and free jazz was born.
The album also inspired future generations of jazz musicians. Some even copied Coleman’s use of a double quartet. This included John Coltrane on his 1965 classic album Ascension.
After the release of this landmark album, Coleman was hailed as one of the pioneers of new free jazz movement. The followup to Free Jazz: A Collective Improvisation was Ornette! It was the first of two albums he released during 1962. The second was Ornette On Tenor, which was also his swansong for Atlantic.
Following his departure from Atlantic, Coleman’s music evolved and he continued to innovate. His sound became more angular as he moved towards the avant-garde. It was also around this time that his quartet disbanded and he formed a trio with drummer Charles Moffett and bassist David Izenzon. Sometimes, the trio were augmented by string players. It was a new and exciting chapter in the career of a pioneering musician.
Meanwhile, Coleman started to teach himself to play trumpet and violin, which he played left-handed. Without the same conventional musical technique his contemporaries had, he used the instruments in a very different way. Instead, he used them to make big, hold and uninhibited musical gestures. He used these to punctuate the musical soundscapes he was making.
Influencing Coleman’s music at this time was his friend, the avant-garde saxophonist, anger and composer Albert Ayler. Another influenced was bassist Charlie Haden who joined the trio and transformed it into a two bass quartet. The bassist would later, become an important member of a new quartet.
In 1965, the live album Town Hall was released. Coleman had recorded the album in 1962, so it wasn’t truly representative of the music he was making.
This included the album Chappaqua Suite which he recorded in 1965. It was commissioned by director Conrad Rooks for the soundtrack to his film Chappaqua. However, when he heard the music he decided not to use it in the film in case its inherent beauty and emotion would detract from what was a powerful, moving and sometimes disturbing movie. This hugely underrated and oft-overlooked album was released by Columbia in 1966. By then, Coleman had signed to Blue Note Records.
Coleman recorded what became the avant-garde live album At the Golden Circle Stockholm, on the December the ‘3rd’ and ‘4th’ 1965, at the Gyllene Cirkeln jazz club. It was the first album where the saxophonist also played trumpet and violin. He had spent the three years since leaving Atlantic teaching himself how to play the instruments, then showcased his newfound skills on his Blue Note debut which was released in 1966.
So was the studio album The Empty Foxhole. Joining Coleman was his ten year old son Denardo who played drums and bassist Haden. However, this free jazz album by the trio was released to mixed reviews. Later, some critics reevaluated the album which nowadays, is regarded by some as a hidden gem.
In 1967 The Music Of Ornette Coleman-Forms and Sound was released by RCA Victor. It was another live album that had been recorded in 1967. The Philadelphia Woodwind Quintet feature on Forms and Sounds, while the Chamber Symphony of Philadelphia String Quartet play on Saints and Soldiers and Space Flight. Meanwhile, Coleman contributed bluesy trumpet interludes on an ambitious, complex and innovative album of cerebral free jazz. It was hailed as one of the most important albums of his career.
During 1968, Coleman released two albums. This included the live album Ornette At 12, which was produced by Bob Thiele. When It was released by Impulse! it received mixed reviews. However, like The Empty Foxhole two years earlier, it’s an underrated album.
In November 1969, Coleman released New York Is Now! It had been recorded on April ’29th’ and May ‘7th’ 1968, and featured two former members of John Coltrane’s band, drummer Elvin Jones and bassist Jimmy Garrison. They were joined by tenor saxophonist Dewey Redman and vocalist Mel Fuhrman. This colossus of a rhythm section powers the arrangements along and add swing. Add to this the stunning interplay between the two saxophonists, and the result was an album that was quite different to anything that Coleman had previously released. However, he would only release one more album for Blue Note, Love Call in 1971.
Friends and Neighbors: Live At Princess Street.
As the new decade dawned, Coleman was reunited with Bob Thiele, who had founded the Flying Dutchman label. His new label was about to record and release a live album. This became Friends and Neighbors: Live At Princess Street. It was quite unlike most live albums.
At the time, Ornette Coleman was living in the Big Apple. There were many clubs he could’ve recorded a live album. However, he decided to record the album at his large loft space in downtown New York.
The tapes were scheduled to roll on February ’14th’ 1970. That night at the Prince Street apartment, friends and neighbours gathered and watched a truly talented quartet. The rhythm section featured drummer Ed Blackwell and bassist Haden. Dewey Redman played tenor saxophone and clarinet while Coleman played alto saxophone, trumpet and violin. They romped through six of the bandleader’s compositions. They were the vocal and instrumental version of Friends and Neighbors, Long Time No See, Let’s Play, Forgotten Songs and Tomorrow. The set was akin to a jam session where the all-star band kick loose and showcase their considerable skills.
On home turf, thirty-nine year old bandleader, Coleman is relaxed and at his innovative best, as he pushes musical boundaries to their limits and combines disparate genres. As usual, the music was ambitious, adventurous, cerebral, and sometimes challenging, futuristic and otherworldly. Other times it’s urgent, celebratory and joyous.
Side One.
That was the case on the vocal version of Friends and Neighbors which opens the album. Then on the shorter instrumental version the tempo increases and so does the urgency. Ornette Coleman’s scratchy violin keeps pace with the saxophone adding a bluesy hue as one of the founding fathers of free jazz continues to push musical boundaries fusing free jazz with avant-garde. Long Time No See is an ambitious eleven minute epic that’s powered along by the rhythm section. However, it’s the saxophones that steal the show.
Side Two.
That’s also the case on Let’s Play, where the saxophones wail and squeal but their beauty is there for all to hear and admire. The quartet then kick loose on Forgotten Songs, with the tried-and-tested rhythm section powering and driving the arrangement along. Meanwhile the saxophones soar melodically above on what’s without doubt one of the highlights of the set. It closes with Tomorrow, a twelve minute blistering workout from one of the legends of free jazz at the peak of his powers.
Despite recording Friends and Neighbors: Live At Princess Street in 1970, the album wasn’t released until 1972 by Flying Dutchman. Although the alum was well received by critics, it wasn’t a commercial success and has remained an oft-overlooked hidden gem in Coleman’s back-catalogue.
Nowadays, Friends and Neighbors: Live At Princess Street is considered a cult classic, and is an album that will introduce Coleman’s music to a new and wider audience. They’ll discover one of the founding fathers of free jazz and a groundbreaking musician whose raison d’être was to push musical boundaries to their limits and beyond. This he does on Friends and Neighbors: Live At Princess Street, and during a recording career that spanned fifty-one years.
Cult Classic: Ornette Coleman-Friends and Neighbors: Live At Princess Street.
CULT CLASSIC: CANDI STATON-I’M JUST A PRISONER.
Cult Classic: Candi Staton-I’m Just A Prisoner.
By 1968, Candi Staton was twenty-eight, and still hadn’t embarked upon a solo career. However, that would soon change when Clarence Carter introduced her to Rick Hall. He would transform the former gospel singer’s fortunes.
Sixteen R&B hit singles were recorded at Rick Hall’s Fame Studios, in Muscle Shoals, including covers of Stand By Your Man and In The Ghetto. This led to Staton being crowned the First Lady of Southern Soul. By then, she had come a long way.
Canzetta Maria Staton was born in Hanceville, Alabama, on March ‘13th’, 1940. Growing up, things weren’t easy for the Staton sisters. Their father was an alcoholic and gambler, and things got so bad that her mother left him. By then, their brother had moved to Cleveland and sent for his sisters. This was where they got their big break.
Having moved to Cleveland, Canzetta and her younger sister Maggie, met Bishop Jewell. He was amazed by the elder sister’s vocal talents and soon, the two sisters were paired with Naomi Harrison in the Jewell Gospel Trio. That was when Canzetta became Candi Staton.
Soon, the Jewell Gospel Trio were performing on the traditional gospel circuit during the mid-fifties, accompanying some of the biggest names. With Staton as lead singer they accompanied everyone from CL Franklin to Mahalia Jackson and The Soul Stirrers. This however, was just part of the story.
Between 1953 and 1963, the Jewell Gospel Trio recorded for various labels, including Nashbro, Apollo and Savoy Records. However, when Staton was seventeen, she left the Trio after five years as lead singer.
After leaving the Trio, Staton returned home. That was where she met her first husband. Sadly, he was abusive and the pair parted.
Staton was singing in Birmingham, Alabama, when one of the city’s top DJs heard her. He introduced her to someone from the Unity label who was looking for a female vocalist. The label released the single Upper Hand, which was the future First Lady of Southern Soul’s debut single.
After releasing Upper Hand, Staton’s brother took her to a club which Carter frequented. The pair met in the club. It was a fortuitous meeting.
Carter bought Staton out of her contract with Unity. He then introduced her to Rick Hall, the owner of the Fame label and legendary Fame Studios. Soon, the Fame label had a new addition to its roster.
This was Staton, who in a few short years would be crowned the First Lady of Southern Soul. The day she signed for Fame, Hall agreed a distribution deal with Capitol Records. Lady Luck was smiling on Staton, and would continue to do so.
George Jackson had cowritten I’d Rather Be An Old Man’s Sweetheart (Than A Young Man’s Fool) with Carter and Raymond Moore. Originally, he had hoped Aretha Franklin would record the song. However, when he was unable to make contact with her, he gave the song to Candi Staton.
She had walked into the Fame Studios in Muscle Shoals and George Jackson presented her with the song. That night, Staton recorded I’d Rather Be An Old Man’s Sweetheart (Than A Young Man’s Fool), Never In Public and For You with Hall taking charge of production. One of the songs would become her debut single for Fame.
I’d Rather Be An Old Man’s Sweetheart (Than A Young Man’s Fool) was chosen, with For You on the B-Side. When it was released in 1969, the single reached number forty-six in the US Billboard 100 and nine in the US R&B charts. Across the border in Canada, the single reached number fifty-one. This was just the start of the rise and rise of Staton.
For the followup, I’m Just a Prisoner (Of Your Good Lovin’) a Jackson and Edward Harris composition was chosen. On the flip side was Heart On A String. The single was released later in 1969, and reached number fifty-six in the US Billboard 100 and thirteen in the US R&B charts. In Canada, the single stalled at seventy-four. However, in America, Staton’s star was in the ascendancy.
Never In Public was released later in 1969, and became Staton’s third single. It didn’t replicate the success of her previous singles. Despite this, a decision was made to record what would become her debut album I’m Just A Prisoner.
Recording of I’m Just A Prisoner took place at Fame Studios, in Muscle Shoals. Accompanying Staton were the Fame Gang, while Hall produced the album. Five new tracks were recorded and added to I’m Just a Prisoner (Of Your Good Lovin’), I’d Rather Be An Old Man’s Sweetheart (Than A Young Man’s Fool), Evidence, You Don’t Love Me No More and Sweet Feeling which had been released as singles and B-Sides. With the new tracks recorded, the release was scheduled for later in 1970.
I’m Just A Prisoner was released to plaudits and praise in 1970. Despite this, the album failed to chart. Three further singles were released. Sweet Feeling was the most successful, reaching number sixty in the US Billboard 100 and five in the US R&B charts. This was Staton’s most successful R&B single in America. However, in Canada, the single only reached number seventy-eight.
Later in 1970, Evidence, which was Staton’s fifth single for Fame gave her another R&B hit in America. She had come a long way since signing to Hall’s Fame Records.
Fifty-three years after Staton released I’m Just A Prisoner, her debut album remains a timeless classic. She breathes life, meaning and emotion into the lyrics into songs like Someone You Use, I’d Rather Be An Old Man’s Sweetheart (Than A Young Man’s Fool), You Don’t Love Me No More, That’s How Strong My Love Is and I’m Just a Prisoner (Of Your Good Lovin’). It sounds as if she’s lived, experienced and survived the lyrics on songs about love and betrayal. In others, it’s as if Staton has survived the hurt, has been treated badly and been used by men who didn’t deserve her love. She’s a strong woman, a survivor, who bares her soul on I’m Just A Prisoner, a powerful, poignant, beautiful and moving album from the future First Lady of Southern Soul, Candi Staton.
Cult Classic: Candi Staton-I’m Just A Prisoner.
CULT CLASIC: JOHNNY LYTLE-THE LOOP.
Cult Classic: Johnny Lytle-The Loop.
Johnny Dillard Lytle was born into a family of musicians on December October ’13th’, 1932 in Springfield, Ohio. His father was a drummer and his mother an organist. Influenced by both, the future vibes virtuoso grew up playing drums and piano. However, before studying music he was a successful boxer.
The man who later became known as Fast Hands was a Golden Gloves champion. Lytle continued to box into the fifties while working as a drummer. He accompanied musical luminaries like Ray Charles, Gene Ammons and Jimmy Witherspoon. However, despite enjoying success as a drummer he switched to vibes.
This was the instrument that Lytle made his name playing. However, between 1955 and 1957 he toured with organist Hiram “Boots” Johnson. Having served his musical apprenticeship, he formed his own group later in 1957.
Joining his group was saxophonist Boots Johnson, organist Milton Harris and drummer William “Peppy” Hinnant. The quartet spent the next few years honing and refining their sound. This paid off, and in 1960 jazz writer and producer Orrin Keepnews signed the group to his Jazzland label.
By then, Lytle had established himself as a showman. He was known for his hand speed and flamboyance. Later, Lionel Hampton called him: “the greatest vibes player in the world.” However, before that, he released his debut for Jazzland.
Blue Vibes.
This was Blue Vibes by the Johnny Lytle Trio. The vibes virtuoso wrote the title-track and Mister Trundel. A total of seven tracks were recorded in New York on June ’16’, 1960. The lineup featured drummer Albert Heath and organist Milton Harris.
When Blue Vibes was released later in 1960, critics were won over by an album that was a mixture of soul-jazz that also showcased Lytle’s unique and inimitable brand of bluesy funk. He was regarded as one of jazz’s rising stars.
Happy Ground.
For the followup to Blue Vibes, bandleader Lytle penned Lela and Happy Ground. A total of nine tracks were recorded in New York on March ’23rd’, 1961. This time, the Trio’s line up featured drummer William “Peppy” Hinnant and organist Milton Harris. The album was recorded in one day and released later in 1961.
Just like their debut album, the Trio’s sophomore album was well received. On the album they flitted between cool jazz, easy listening as well as soul-jazz and bluesy funk. Sadly, the album wasn’t particularly successful, but is a hidden gem in Lytle’s back-catalogue.
Nice and Easy (The Soulful Vibes of Johnny Lytle).
During 1962, Lytle recorded two albums. This included Nice and Easy (The Soulful Vibes of Johnny Lytle). The bandleader wrote contributed two of the seven tracks, Coroner’s Blues and 322-Wow! These tracks were recorded in New York on January ’29th’, 1962. The lineup featured drummer Louis Hayes, bassist Sam Jones, pianist Bobby Timmons and tenor saxophonist Johnny Griffin. They played their part in an album that was very different to Blue Vibes and Happy Group.
Nice and Easy (The Soulful Vibes of Johnny Lytle) was move away from the usual mix of blues-tinged funk and soul-jazz. In its place, was a much more laid-back album that had been heavily influenced by hard bop. Ballads were to the fore and rubbed shoulders with standards and the two new tracks on this critically acclaimed album. It later was recognised as one of the Fast Hands’ finest hours.
Moon Child.
On July ‘5th’, 1962, the Trio returned to the studio to record their third album, Moon Child. The bandleader penned the title-track, The Moor Man and The House Of Winchester. They were joined by five cover versions.
This time, the Trio featured drummer William “Peppy” Hinnan and organist Milton Harris. They were joined by bassist Steve Cooper and Ray Barretto on congas. As usual, the album was produced by Orrin Keepnews and released later in 1962.
When Moon Child was released, it was credited to the Johnny Lytle Trio plus Ray Barretto. The result was another mixture of soul-jazz and bluesy funk. This was becoming the group’s trademark sound. The album was well received by critics and enjoyed a degree of commercial successful. This proved that their was a market for instrumental jazz in 1962.
After releasing five albums on Jazzland, the bandleader moved to the Riverside label and the Trio released their fourth album, Got That Feeling!
Got That Feeling!
The album was recorded at Plaza Sound Studios, in New York, on April ‘3rd’, 1963. Bandleader Lytle contributed five of the nine tracks, Pow-Wow, Big John Grady, Lela, The Soulful One and Got That Feeling! As usual, Orrin Keepnews was in charge of production.
Again, the Trio featured drummer William “Peppy” Hinnan and organist Milton Harris. They were augmented by bassist Steve Cooper on what was a truly ambitious album.
The Trio improvised and the truly infectious music swung as they focused on the groove. It was an album of innovative and imaginative music which Lytle hoped would have broader appeal than his previous albums. That should’ve been the case. The album was much more accessible and should’ve appealed to people who weren’t fans of jazz music. It was an album that found favour with critics and enjoyed a degree of success. However, this wasn’t the only album Fast Hands would record and release during 1962.
The Village Caller!
On September ’18th’, 1963 the Johnny Lytle Quintet recorded their debut album, The Village Caller! The bandleader wrote half of the eight tracks. This included the title-track, Pedro Strodder, Kevin Devin and Unhappy, Happy Soul. When the album was recorded it featured some familiar faces.
This included drummer William “Peppy” Hinnan and organist Milton Harris who had played their part in the success of the Trio. They were joined by bassist Bob Cranshaw and percussionist Willie Rodriguez. The album was produced by Orrin Keepnews and released later in 1963.
The result was an album that was a mixture of cool jazz, Latin and R&B. Some of the familiar tracks headed in a new direction and were given a rhythmical makeover. Critics were won over by the album which was released to plaudits and praise. It was the album that transformed Lytle’s career. Suddenly, he was one of jazz’s rising stars. However, meanwhile, there were problems at the Riverside label.
Co-founder Bill Grauer, Jr had passed away suddenly after suffering heart attack, in December 1963. He and Orrin Keepnews had founded the company a decade earlier in 1953. However, by July 1964 the company filed for voluntary bankruptcy. After eleven years, Riverside Records was no more.
This meant that Lytle was left without a label. However, he contented to work with producer Orrin Keepnews, and as 1964 drew to a close, he began work on a new album The Loop, which was the first of two he released on the Detroit-based label Tuba Records.
The Loop.
For The Loop, Lytle had written six of the ten tracks. They were The Loop, The Man, Big Bill, Possum Greaser, The Shyster and Hot Sauce. They were joined by covers of Duke Pearson’s Cristo Redento, Mack Gordon and Harry Warren’s The More I See You, Sammy Cahn and Jule Styne’s Time After Time plus Rogers and Hart’s My Romance. These tracks were recorded during two sessions by an all-star band.
The first session for The Loop took place in New York on December ‘30th’, 1964. The second took place in mid-1965.
As usual, Lytle who played vibes and marimba, and was joined by drummer William “Peppy” Hinnan and organist Milton Harris. They were augmented by bassists Bob Cranshaw and George Duvivier, conga player Willie Rodriguez and pianist Wynton Kelly who previously, had accompanied everyone from Dinah Washington and Dizzy Gillespie to Miles Davis. Producing The Loop was Orrin Keepnews. The album was completed in mid-1965 and scheduled for release later in 1965.
The Loop was released on Tuba Records to widespread critical acclaim, and built on the critical and commercial success of The Village Caller! Johnny Lytle’s seventh album was hailed as ambitious and innovative. It saw the vibes and marimba maestro continued to push musical boundaries on a genre-sprawling album. Elements of hard bop and soul-jazz were augmented by Latin and pop influences, Cuban rhythms and street funk. Tracks veered between aggressive to cinematic and groovy while others showcased a beauty, tenderness and sometimes, a sense of melancholy. There was something for everything on The Loop.
The Loop was Lytle’s seventh album, and debut for Tuba Records. It’s now regarded as a classic and one of his finest albums. It was also one of his most successful and featured a hit single. This was the title-track which spent five weeks in the US Billboard 100 in January 1966, raising Fast Hands profile no end.
Later, Lionel Hampton called Lytle: ”the greatest vibes player in the world.” He played with speed and was a versatile musician who enjoyed a recording career that lasted just over thirty years and saw him release albums right up until the early nineties.
Sadly, vibes virtuoso Johnny Lytle passed away on December ’15th’, 1995 in Springfield, Ohio, the city where he was born and called home. That day, jazz lost a flamboyant showman, a gregarious musician who was respected by the musicians who played alongside and who he accompanied. This included everyone from Louis Armstrong and Lionel Hampton to Miles Davis, Nancy Wilson, Bobby Timmons as well as fellow vibraphonist Roy Ayers. Fast Hands played alongside the great and good of jazz, and never looked out of place.
On the jazz circuit, Lytle was always a popular draw. He was a versatile musician and bandleader who could seamlessly switch between genres and styles. In an instant, he could go from cool jazz or easy listening to swinging, uptempo tracks or soulful ballads. Then there was his unique brand of soul-jazz and bluesy funk. Fast Hands was Mr Versatile and played was flair and was a flamboyant showman when he played live.
He also left behind a magnificent musical legacy. This includes his classic album The Loop. It features Johnny Lytle at the peak of his powers, and is without doubt, the perfect introduction to the man they called Fast Hands, the flamboyant vibes virtuoso from Springfield, Ohio.
Cult Classic: Johnny Lytle-The Loop.
NINA SIMONE-LET IT ALL OUT: SELECTED SINGLES 1961-1978.
Nina Simone-Let It All Out: Selected Singles 1961-1978.
Label: Ace.
Format: CD.
Release Date: 31st October 2025.
Nina Simone’s recording career began at Bethlehem Records in 1957 when she started recording tracks that would eventually feature on her debut album. The tracks were recorded during two sessions for a flat fee, with Simone not receiving any royalties. However, it wasn’t until 1959 that Simone released her debut album‘Little Girl Blue’ on Bethlehem Records.
By then, Simone had signed to Colpix Records and released ‘Chilly Winds Don’t Blow’ as a single. It failed to trouble the charts.
Meanwhile Bethlehem Records released ‘I Loves You, Porgy’ as a single. It was taken from the album ‘Little Girl Blue,’ and reached number eighteen in the US Billboard 100 and number two in the US R&B charts. However, never again would Simone enjoy the same commercial success. That’s despite releasing singles to widespread critical acclaim.
Singles by Simone would be released by both Bethlehem Records and Colpix Records until she signed to Phillips in 1963.
Singles released by Bethlehem Records, Colpix Records, Phillips and RCA Victor feature on ‘Let It All Out: Selected Singles 1961-1978,’ a new compilation which will be released by Ace on 31st October 2025. It focuses specifically on the soulful singles Simone released for these four labels between 1961 and 1978.
There’s three singles that Simone released on Colpix Records on the compilation. They were all released in 1961. This included a cover Oscar Brown’s ‘Work Song’ and ‘Gin House Blues’ from ‘Forbidden Fruit,’ Simone’s sophomore album for Colpix Records. Despite the quality of singles neither single was a commercial success. It was case of deja vu when ‘Come On Back, Jack’ was released later in 1961.
In 1962, the High Priestess of Soul of released a cover of the jazz standard ‘My Baby Just Cares for Me’ on Bethlehem Records. This future classic failed to trouble the charts. Nowadays, it’s regarded as one of Simone’s finest recordings.
The following year, 1963, Simone signed to Philips in the US. She released seven albums between 1963 and 1966, and they enjoyed a degree of success.
However, the singles Simone released on Philips weren’t as successful. The exception was the mesmeric ‘I Put a Spell on You’ which reached number twenty-three on the US R&B charts in 1964. Across the Atlantic, the single reached forty-nine in the UK. This was the first of seven hit singles Simone enjoyed in the UK.
The following year, 1965, the double-A-side ‘Either Way I Lose’ and Break Down and ‘Let It All Out’ which were both written by Van McCoy was released. However, despite the quality of the two soulful sides they failed to chart.
Things didn’t get any better in 1966 when ‘Don’t You Pay Them No Mind,’ a track from Simone’s critically acclaimed album ‘High Priestess of Soul’ was released as a single. It too failed to chart and later in 1966, Simone left Philips.
After leaving Phillips in 1966, Simone signed to RCA Victor. She and her husband Andy Stroud, who was also her manager, set up Stroud Productions and negotiated a deal where Simone’s recordings would be released by RCA Victor for the foreseeable future.
The High Priestess of Soul would spend nearly eight years signed to RCA Victor. During this period, Simone released nine albums and seventeen singles on RCA Victor. For much of this period, commercial success eluded her in the US. However, in the UK Simone enjoyed a degree of success.
Simone’s first single released on RCA Victor was the poppy sounding ‘Day and Night.’ It was released in 1967 but again, commercial success eluded Simone. Included on the compilation is the B-side, the tough and sensual blues ‘Do I Move You?’ Both tracks feature on ‘Nina Simone Sings the Blues’ which was released in 1967, and reached twenty-nine on the US R&B charts.
Two other singles were released by RCA Victor during 1967. This included ‘It Be’s That Way Sometime’ ’ However, it failed to chart.
When ‘Ain’t Got No, I Got Life’ was released later in 1967 it was hailed as a black anthem. It reached number ninety-four on US Billboard 100, number two in the UK and topped the chart in the Netherland. However, the single isn’t included on the compilation. Instead, the B-Side ‘Real Real,’ a track from ‘Nina Simone Sings the Blues’ is included.
Meanwhile, Simone’s second album for Philips ‘Silk and Soul’ reached 158 on the US Billboard 100 and twenty-four on the US R&B charts. Simone’s albums were faring better than most of her singles.
Four of the singles Simone released during 1968 feature on the compilation. This included ‘To Love Somebody.’ Although it failed to chart in the US, it reached number five in the UK. This was the High Priestess of Soul’s second hit single in Britain.
When ‘Why? (The King Of Love Is Dead)’ was released as a single, it too failed to trouble the charts. However, when ‘Do What You Gotta Do’ was released, it reached eighty-three on the US Billboard 100, forty-three on the US R&B charts and reached number two in the UK. It was Simone’s biggest hit in the UK, where her popularity was on the rise.
Then when ‘Ain’t Go No; I Got Life’ was released, it reached ninety-four and number two in the UK. It’s the UK single version that’s included on the compilation.
In 1969, Simone covered Leonard Cohen’s classic ‘Suzanne.’ It’s given a makeover on the album ‘Nina Simone and Piano.’ Just like the single it failed to chart. This is a disappointing cover. Especially when compared to Cohen’s original and Judy Collins’ 1967 cover version which are both classics.
Much better is ‘Revolution (Pt 1)’ which was written by Simone and Weldon Irvine. It reached forty-one on the US R&B charts. However, Simone’s finest single of 1969 was ‘To Be Young, Gifted and Black.’ It was taken from her album ‘Black Gold.’ This anthemic track reached seventy-six on the US Billboard 100 and eight on the US R&B charts. On the B-side was ’Save Me’ a non album track penned by Curtis Ousley with Aretha and Carolyn Franklyn. It’s a sultry, soulful hidden gem
In 1970, Simone covered Willie Dixon’s ‘Whatever I Am (You Made Me).’ It was given a soulful makeover but failed to chart.
Then in 1971, the cinematic and soulful sounding ‘O-o-h Child’ was released by Simone. Despite a much more commercial sound, the single didn’t trouble the charts. That had been the story of much of Nina Simone’s time at RCA Victor.
Seven years later, in 1978, RCA Victor released ‘Baltimore’ as a single. This is the only late period single from Simone’s career. It’s slow, funky and soulful with lush strings playing their part in the sound of what’s an oft-overlooked hidden gem. It’s one of the highlights of ‘Let It All Out: Selected Singles 1961-1978.’
Several hundred Nina Simone compilations have been released over the past sixty-six years. However, very few of these compilations focus on the soulful side of her music. ‘Let It All Out: Selected Singles 1961-1978’ does. It features twenty-four tracks that span Simone’s time at Bethlehem Records, Colpix Records, Philips and RCA Victor. These tracks are a reminder of the High Priestess of Soul during her early, middle and later periods.
Although Simone didn’t enjoy massive commercial success she’s regarded one of the most important and influential singer and songwriters of the twentieth century. Her albums featured everything from jazz, soul, R&B, blues, gospel and pop. Twenty-two years after her death on April ‘21st,’ 2003 Nina Simone’s music continues to influence a new generation of singers and songwriters. That music was the legacy that the High Priestess of Soul left behind for future generations to enjoy. This includes the twenty-four tracks on ‘Let It All Out: Selected Singles 1961-1978.’
Nina Simone-Let It All Out: Selected Singles 1961-1978.
SAFE IN MY GARDEN.
Safe In My Garden.
Ace Records.
Format: CD.
Release Date: 31st October 2025.
The Vietnam War began in 1955 and ended in 1975. During that period, over 160,000 young Americans were wounded and 58,193 lost their lives. They came from small towns and cities across America and laid down their lives fighting for their country. However, not all young Americans were willing to fight for their country.
Across America, from Alabama to Wyoming, each morning, many young Americans dreaded the arrival of the post. They knew that their draft notice was due to arrive, and didn’t want to fight for their country.
Mother and fathers feared for their sons, sisters for their brothers and girlfriends for their boyfriends. They knew that it was a bloody war and one where each year the casualties were rising.
In 1966, the war in Vietnam was raging and 6,143 Americans lost their lives. This was more than the first ten years of the War. Sadly, things were about to get much worse.
The following year, 1967, 11,153 American servicemen lost their lives in Vietnam. Many of the young men who were due to be drafted saw the devastation on the news and were reluctant to join up and serve their country.
They fall into two categories draft evaders and draft resisters. Millions of men avoided the draft, while thousands resisted the conscription system and actively opposed the Vietnam War. Eventually, it was calculated that 570,000 young men were classified as draft offenders, and 210,00 were formally accused of draft violations. However, only 8,750 were convicted and a mere 3,250 were jailed. That’s only part of the story.
There were also many young men who were eligible for the draft who publicly burned their draft cards. However, the Justice Department only brought charges against 50 men, and just 40 were convicted.
As many young American men headed to Vietnam to fight for their country, many musicians were anti-war. This included the late protest singer and political activist Phil Ochs, who penned ‘The Draft Dodger Rag.’ It was released in 1965.
The following year, 1001 Ways To Beat The Draft a supposed satirical Vietnam War protest pamphlet written by Robert Bashlow and Tuli Kupferberg cofounder of the rock band The Fugs.
Then in 1967, folksinger Arlo Guthrie wrote ‘Alice’s Restaurant’ which became the title-track to his eponymous debut album. It’s a satirical talking blues track where Guthrie protests about the Vietnam War.
By 1967, many musicians were writing antiwar protest songs. Some of these musicians had failed to report for military service. One of the most high profile was Carl Wilson of the Beach Boys. He was a conscientious objector. When he failed to report for military service, he was indicted for draft evasion. Wilson was only released from custody on a $15,000 bond.
However, many musicians fought and served in Vietnam. This included Archie Bell, Jimi Hendrix, John Prine, Kris Kristofferson, Tim Hardin, jazz violinist Billy Bang and Gary Lewis of The Playboys.
During the late-sixties to early-seventies many singer-songwriters and bands wrote songs that expressed the feelings of despair, despondency and hopelessness that many young people felt. The war in Vietnam was beginning to look like one that America might not win. If they did, it might be a Pyrrhic victory. In 1968, there were 16,592 casualties and 11,616 in 1969.
For many, music was a way to protest and express how they were feeling about life in America between 1967 and 1972. However, it wasn’t all despair, despondency and hopelessness. Some musicians were much more optimistic and wrote songs about rebirth, others that offered hope, were joyous, offered escapism or painted pictures about a simpler world. This includes some of the twenty-four tracks on ‘Safe In My Garden,’ which will be released by Ace Records on CD and LP on 31st October 2025.
Opening the compilation is ‘Always You’ by The Sundowners. It’s a track from their 1969 album ‘Captain Nemo.’ It was released on Decca and was the only album the group from Glens Fall, New York released. With its orchestral introduction and lyrics full of social comment, it’s thought-provoking song and one of the highlights of their debut album.
’She’ by Tommy James and The Shondells was released as a single on Roulette in 1969. Despite the quality of this dreamscape it reached just 23 in the US Billboard 100 charts. It’s a a beautiful ballad where lush strings, dramatic drums and soaring harmonies combine to create a song that’s a reminder of another musical era.
In 1968, Brewer and Shipley’s 1968 released their debut album ‘Down In L.A.’ on A&M. Backed by members of the Wrecking Crew, the duo recorded an album of folk rock with elements of country. The album was well received upon its release but failed to find the audience it deserved. Since then, it’s become a cult classic. One of the highlights of the album is ‘Dreamin’ In The Shade (Down In L.A.)’ where folk and country combine.
‘Knock On Wood’ was covered by Harpers Bizarre in 1969. The track featured on their album ‘Harpers Bizarre 4.’ It’s slowed down and has a trippy sound despite the addition of lush strings. Lenny Waronker’s production reinvents a song made famous by Eddie Floyd.
The Cyrkle’s sophomore album ‘Neon’ was released on Columbia in 1967. It was arranged and produced by John Simon. The highlight of the album is ‘The Visit (She Was Here).’ It’s beautiful, cinematic, dreamy, expressive and encourages reflection.
‘I See It Now’ was the title-track of Fargo’s one and only album. It’s a beautiful baroque track that paints pictures in the mind’s eye. Sadly, when this hidden gem of an album was released on RCA Victor in 1969 it failed to find the audience it so richly deserved.
The Critters were a New Jersey-based band formed by high school friends Don Ciccone and Bob Podstawski. By 1968, the group was signed to the Project 3 Total Sound label, and released their sophomore album ‘Touch’N Go With The Critters.’ It featured ‘A Moment Of Being With You’ which features a needy, hopeful vocal that’s delivered against a dreamy arrangement that floats along.
When The New Wave recorded their eponymous debut album, they were backed by the Wrecking Crew and Gene Page was responsible for the intricate baroque arrangements. This includes on ‘Little Dreams’ where strings and woodwind play an important part in the arrangement and compliments the dreamy, otherworldly vocal. Listen carefully and elements of soft psych pop combine with baroque pop to create what is, without doubt one of the album’s highlights. Sadly, when the album was released on the Canterbury label in 1967 it failed commercially. It was the only album the duo released.
In 1968, singer-songwriter Nancy Priddy’s debut album ‘You’ve Come This Way Before,’ on the Dot label. The album was produced by Phil Ramone. It featured the cinematic dreamscape ‘Christina’s World’ which is one of the highlights of the album, and indeed, the compilation.
The Eighth Day are another group that only released one album. This was ‘On The Eighth Day…’ It was released on Kapp Records in 1968, and featured ‘How Can I Stop Loving You’ a where soft rock and sunshine pop are combine on this song about loss.
‘Love Is A Rainy Sunday’ is a track from Love Generation’s 1968 album ‘Montage.’ It was released on the Imperial label, and is an uplifting, hopeful and joyous song from the group’s sophomore album.
‘Prairie Grey’ by New Colony Six closes ‘Safe In My Garden.’ It’s a track from the group’s 1969 album on Mercury, ‘Attacking A Straw Man.’ There’s an element of drama to this thought-provoking song. It considers what it meant to be a man in America in 1969.
‘Safe In My Garden’ is a carefully curated compilation that features baroque pop, folk-rock, psychedelia, soft pop, soft rock and sunshine pop. There’s tracks from familiar faces and what will be new names to many people. On the compilation there’s harmonies aplenty, dreamscapes, songs about escaping, loss, rebirth and creating a simpler future.
While some of the songs offer hope for the future, the messages in others are dark. That’s not surprising as the twenty-four tracks on ‘Safe In My Garden’ were recorded or released between 1967 and 1972 when the Vietnam War was raging, and thousands of young American men were losing their lives in a faraway foreign land. These young American men made the ultimate sacrifice.
That’s why when listening to the music on ‘Safe In My Garden’ which veers between heartachingly beautiful, hopeful and joyous to melancholy and wistful, it’s impossible not to think about of the sacrifice made by those brave young American me.
However, much of the music on ‘Safe In My Garden’ is innovative and shows how music was changing between 1967 and 1972. Sadly, many of the artists and bands on the compilation didn’t enjoy the commercial success they deserved. Many of the albums these tracks are taken from are worth checking out, and this could be the start of an exciting musical voyage of discovery.
‘Safe In My Garden’ is which was compiled by Bob Stanley, and is the companion to ‘State Of The Union (The American Dream In Crisis 1967 – 1973’ is well worth buying. It’s one of the best compilations released over the past couple of months.
Safe In My Garden.
RONNIE McNEIR-MAKES A MOVE.
Ronnie McNeir-Makes A Move.
Label: Kent Soul.
Format: CD.
It’s always exciting to discover a lost album. I’ve discovered a number of lost albums over the years, and still, it’s exciting to listen to an album that was recorded forty or more years ago. It’s like going back in time, and eavesdropping on the session.
Apart from either an artist or group, their producer and engineer, nobody else has heard the album since it was recorded. For whatever reason, the album was never released and often, the tapes are left gathering dust.
There could be many reasons for that. This includes the old favourite “artistic difficulties.” Basically, the group fell out after recording the album, and the album was shelved. The group’s one shot at glory often then lies unheard for half a lifetime.
Occasionally master tapes are lost by an artist. I was involved with an album where the tapes were thought to be lost, stolen or destroyed, but turned up thirty years after the album was completed. The tapes were discovered by the artist in a box in a dusty basement. Upon listening to the album, I realised it was an important find, and within seven months, this groundbreaking album was released to widespread critical acclaim.
Similarly, the tapes to another album that was recorded in the late-seventies and early-eighties were only discovered in 2023. By then, the group had long since split-up and its cofounder and driving force had passed away. Listening to the music for the first time, there was a sense of anticipation and excitement as I was transported back in time, and taken behind the Iron Curtain. Although the genre-melting music hadn’t been mastered, it was innovative, way ahead of its time and pushed musical boundaries to their limits, and sometimes, way beyond. Soon, a deal had been done with one of the biggest independent labels to release the album. It was hailed as the album that featured what was a successful group at the peak of its powers.
However, sometimes, a lost album is recorded at the start of an artist’s career, way before they enjoy commercial success and critical acclaim. That was the case with the twelve tracks on Ronnie McNeir’s lost album ‘Makes A Move,’ which was recently released by Kent Soul. By then, McNeir was twenty.
McNeir was born on 14th, December 1943, in Camden, Alabama. He was born into a musical family. His grandfather played trumpet, while his mother played piano and sang. Later, his brother would play organ in church. Before that, the McNeir family were on the move.
Seeking a better life, they headed north to Pontiac, Michigan, where McNeir’s father started work in the automobile industry. McNeir was only six months old when the family made the move to Pontiac. However, the move meant that the family had a regular and steady source of income.
Pontiac was also where McNeir’s musical journey began. Aged nine, he started piano lessons. However, after about six months he stoped going to the lessons. Despite this, by the time he was ten or eleven, McNeir discovered he could play by ear.
Around the age of twelve, McNeir started writing songs. This was the start of a long and successful career.
In 1965, thirteen year old McNeir entered, and won a competition on WCHB, the Detroit-based radio station. By then, he was being influenced by soul, gospel and Motown. Especially Marvin Gaye and David Ruffin.
Music wasn’t McNeir’s only interest. He was a keen and talented basketball player, and harboured an ambition to become a pro. However, sadly, a car accident meant these dreams were at an end, and McNeir decided to try and make a career out of music.
The following year, 1966, McNeir made his recording debut. He penned ‘Sitting In My Class.’ McNeir’s father knew Doc Kyle, who owned the De-To label and Detroit Sound Recording Company. Kyle signed McNeir to De-To, and ’Sitting In My Class’ was released later in 1966. However, the single failed to trouble the charts.
It was a familiar story, Kyle failed to promote the single properly. Kyle had previously been program director of a local radio station, and after retiring, moved into artist management. The studio was more of a hobby for Kyle, and it seems so was the De-To label.
However, by the mid-seventies, ’Sitting In My Class’ was a favourite on the UK’s Northern Soul scene. By then, McNeir’s career was well underway.
Before that, McNeir moved to California, and started singing in a church choir with Rene Moore. That was where Kim Weston, who was a member of the church, first met McNeir in 1971 and recognised his talents.
A member of the church asked Weston to speak to McNeir. When she met him, she liked him and decided to introduce McNeir to her husband Mickey Stevenson, who was a songwriter and producer who previously, had worked at Motown. However, Stevenson was about to take up a role as executive producer at RCA. The meeting between Stevenson and McNeir was a fortuitous one for both men.
Stevenson signed McNeir to RCA, and later in 1971, he began recording tracks for his debut album. Eventually, McNeir had recorded over twenty tracks. Eleven of these tracks became McNeir’s critically acclaimed self-titled debut album. It was released by RCA and showcased a talented and versatile singer, songwriter and musician. McNeir effortlessly switched between soul, jazz and R&B, his delivery heartfelt, emotive and as if he had lived and survived the lyrics. Great things were forecast for McNeir after the release of his debut album.
Despite that, McNeir never released anther album for RCA, and the other tracks lay unreleased. It wasn’t until March 2019 that the tapes were discovered in Stevenson’s archive by Alec Palao and Ady Croasdell of Ace Records.
Six years later, twelve tracks from the tapes were released as ‘Makes A Move.’ Eight of the tracks McNeir cowrote. This included ‘Let’s Make A Move,’ ‘I’m Sorry,’ ‘Ronnie’s Bag 1’ and ‘Ronnie’ Bag 2 with Andre Moore. McNeir penned ‘My Day Will Come,’ ‘Tell Your Mama’ ‘Eastside, Westside’ and the instrumental ‘East Side with his wife Mona.
The other four tracks were cover versions. This included Bob Dylan’s ‘Blowin’ In The Wind,’ Eddie Holland and Eddie Kendricks and Norman Whitfield’s ‘The Girls Alright With Me.’ Robert Dobyne, Charles Jones and Robert Staunton penned ‘Say You.’ There’s two versions on the album, including the Long Version.
Opening the album is the title-track, ’Makes A Move.’ It’s funky soulful and dancefloor friendly. The soul-baring ‘I’m Sorry’ features a heartfelt vocal from McNeir who was only twenty when he recorded the track.
This is followed by two cover versions. The first is a joyous reading of ‘The Girls Alright With Me.’ It comes complete with soaring backing vocals and bursts of blazing horns. Then ‘Blowin’ In The Wind’ is transformed into an uptempo, vivacious and soulful song. The rhythm section drive the arrangement along, and it’s punctuated by horns. They provide the accompaniment to an impassioned vocal. The result is a version that’s very different to the original, but loses some of the meaning of Dylan’s lyrics.
‘My Day Will Come’ is a beautiful, cinematic ballad which features a heartfelt vocal from McNeir. It’s without doubt the highlight of the album.
‘Say You’ was originally recorded by The Monitors in 1965, when they were signed to Motown. The long version sees McNeir reinvent the track. He slows the tempo and it becomes a laidback and sensual ballad
Another of the highlights of the album is ‘Tell Your Mama.’ McNeir delivers a needy, pleading vocal and is joined by female backing vocalists on this tale of hope, hurt and heartache. Then ‘Eastside, Westside’ is funky and soulful with lyrics full of social comment. It’s all change on the Ronnie’s Bag 1’ which heads in the direction of jazz, before ‘Ronnie’ Bag 2’ combines funk and fusion. The two tracks showcase McNeir’s talent and versatility.
McNeir is at his most soulful on ‘Say You,’ as he breathes life, meaning and emotion into this beautiful ballad.
Closing ‘Makes A Move’ is ‘Eastside, Westside – Long Instrumental’ where McNeir enjoys the opportunity to stretch his legs as he combines musical genres to close the album on a hight.
In 1971, McNeir recorded the twelve tracks that belatedly became ‘Makes A Move.’ He was only twenty, and a truly talented singer, songwriter and musician. McNeir cowrote eight of the twelve tracks on an album that features everything from soul and R&B to funk, fusion and jazz. Throughout the album McNeir’s vocal brings the lyrics to life, breathing meaning and emotion into them.
Quite simply, Ronnie McNeir’s lost album ‘Makes A Move’ is a tantalising taste of what was still to come from a talented and versatile singer, songwriter and musician, who would go on to enjoy widespread critical acclaim and commercial success during a long career.
Ronnie McNeir-Makes A Move.
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