ART BLAKEY AND THE JAZZ MESSENGERS-THE WITCH DOCTOR.
Art Blakey and The Jazz Messengers-The Witch Doctor.
Label: Blue Note Records.
Format: LP.
When The Jazz Messengers were formed in 1954, the collective was led by Horace Silver and Art Blakey when they played live. However, it wasn’t until November the ‘23rd’ 1955 when they recorded At the Cafe Bohemia, Volumes 1 and 2. That night, the lineup featured drummer Art Blakey, bassist Doug Watkins, pianist Horace Silver and a front line of trumpeter Kenny Dorham and tenor saxophonist Hank Mobley. However, this lineup would evolve over the next six years and even the name had changed.
After Horace Silver’s departure in 1955 the collective became known as Art Blakey and The Jazz Messengers. The original lineup that feared on Cafe Bohemia, Volumes 1 and 2 never recorded another album together. However, over the next six years some of the greatest jazz musicians joined the Jazz Messengers. The collective was akin to a finishing school for jazz musicians with many becoming bandleaders and recording classic albums.
On March the ’14th’ 1961, Art Blakey and The Jazz Messengers travelled to Van Gelder Studio to record a new album. This was The Witch Doctor which was recently reissued by Blue Note Records as part of its Tone Poet series. The Witch Doctor featured one of the classic lineups of the Jazz Messengers. By then, it had already recorded a string of classic albums.
Bandleader and drummer Art Blakey had recruited bassist Jymie Merritt, pianist Bobby Timmons plus a front line of trumpeter Lee Morgan and saxophonist Wayne Shorter. The new lineup made their recording debut on The Big Beat on March the ‘6th’ 1960.
Five months later, sessions took place on the 7th’ and ‘14th’ August 1960 and this resulted in two albums. Like Someone In Love and A Night In Tunisia would both become jazz classics. This latest lineup of Art Blakey and The Jazz Messengers could do no wrong.
February the ’12th’ was the first of three sessions at Van Gelder Studio where and Art Blakey and The Jazz Messengers that would result in in two further classic albums, The Freedom Rider and Root and Herbs. A second session took place on the ‘16th’ February 1961 where Walter Davis Jr stood in for Bobby Timmons. This was the first time when the lineup changed since the quintet made their recording debut on The Big Beat. However, the lineup were reunited when Roots and Herbs was completed on May the ‘27th’ 1961. By then, the quintet had also recorded The Witch Doctor.
When Art Blakey and The Jazz Messengers arrived at Van Gelder Studio March the ’14th’ 1961 they were about to record six tracks. The frontline contributed four of the six tracks on the album. Lee Morgan wrote The Witch Doctor and United while Wayne Shorter penned Those Who Sit and Wait and Joelle. Bobby Timmons wrote A Little Busy, and the other track was a cover Clifford Jordan’s Lost and Found. These tracks would become The Witch Doctor and were recorded by this class lineup of the collective.
Although this lineup of Art Blakey and The Jazz Messengers had only been recording together for a year, it seemed like they could do no wrong. The five albums they had already recorded would all eventually be regarded as jazz classics. It’s no wonder given the lineup.
Bandleader and drummer Art Blakey was joined by bassist Jymie Merritt, pianist Bobby Timmons plus a front line of trumpeter Lee Morgan and saxophonist Wayne Shorter. The Witch Doctor was recorded and engineered by Rudy Van Gelder with Alfred Lion taking charge of production. It took just a day to record six tracks that became The Witch Doctor.
It turned out that The Witch Doctor was the last album that this classic lineup of Art Blakey and The Jazz Messengers recorded. However, their swansong lay unreleased for six years and wasn’t released until 1967. This wasn’t unusual at Blue Note Records and six years passed before Like Someone In Love was released in 1966. Just like The Witch Doctor it featured Art Blakey and The Jazz Messengers during a run of six albums where they could do wrong. However, things were very different by the time The Witch Doctor was released.
On May the ‘15th’ 1964, Art Blakey and The Jazz Messengers completed Indestructible which was their final album for Blue Note Records. It was the end of an era.
So was the departure of Wayne Shorter from Art Blakey and The Jazz Messengers in September 1964. He joined Miles Davis’ band and became part of the Second Great Quintet. This was a huge blow for Art Blakey who watched as Jazz Messengers left to join other bands.
Despite the changes in the lineup, Art Blakey and The Jazz Messengers signed to Limelight Records, which was an imprint of Mercury which was run by Quincy Jones. However, during their time with the label Art Blakey and The Jazz Messengers only released two albums during 1965, ‘S Make It and Soul Finger. After this they left Limelight Records and wouldn’t release another album until 1970.
With no recording contract, Art Blakey and The Jazz Messengers concentrated on touring. They toured Europe and spent time in Japan. The only problem was that the lineup continued to change. No longer was their a settled lineup of Art Blakey and The Jazz Messengers. It was very different from when the classic lineup recorded six classic albums during 1960 and 1961.
By 1967, music and jazz had changed. Rock music was the most popular genre and jazz musicians were experimenting with free jazz and fusion while soul-jazz was growing in popularity. However, the hard bop that Art Blakey and The Jazz Messengers had pioneered was no longer as popular as it had once been. This was worrying as Blue Note Records had decided to belatedly release The Witch Doctor in 1967.
When The Witch Doctor was released to critical acclaim in 1967. Although hard bop was no longer as popular as it had once been critics recognised the quality of the music on the album. It was the last album that the classic quintet had recorded and would eventually be regarded as a jazz classic.
The Witch Doctor opens with the title-track which was written by Lee Morgan. He and Wayne Shorter play a leading role while pianist Bobby Timmons plays a supporting role. They all play their part in the sound and success of this memorable hard bop shuffle.
It’s all change on Afrique where just Bobby Timmons’ piano plays and adds a degree of drama as the Jazz Messengers switch to 6/8 time and Art Blakey is responsible for the choppy, clave Latin beat. Soon, things change and the arrangement starts to swing as Wayne Shorter delivers a breathtaking tenor saxophone solo. This seems to lift the rest of the band when they delivered their solos. Especially Bobby Timmons and then Art Blakey who pounds his drums as unleashes one of his trademarks thunderous solos. After that, the band briefly revisit the earlier themes before this captivating track comes to a close after seven magical minutes.
Art Blakey’s drums ring out as Those Who Sit and Wait unfolds and soon the front line of Lee Morgan and Wayne Shorter take charge. Again, pianist Bobby Timmons plays an important part while the rhythm section power the arrangement along and ensure it swings. The result is a truly memorable example of hard bop from one of its pioneers as he leads one of his finest groups.
Bobby Timmons wrote A Little Busy. Unsurprisingly it’s a piano led track. The pianist is at the heart of action and combines with the front line of Lee Morgan and Wayne Shorter as the rhythm section power and drive the arrangement along. It’s fast, funky and has a joyous and uplifting example of hard bop that sometimes heads in the direction of soul-jazz.
Joelle is the second Wayne Shorter composition on the album, and just like The Witch Doctor the front line and piano play leading roles. Their spellbinding solos are some of the finest on the album.
They play effortlessly as the arrangement reveals its secrets and subtleties. Then when the band play as one they reach new heights as they head for home and what’s the finest track on The Witch Doctor.
Closing The Witch Doctor is a cover of Clifford Jordan’s Lost and Found. It’s tailor-made for Art Blakey and The Jazz Messengers and features their straight-ahead trademark sound that was a favourite of jazz fans for thirty-five years. The playing is tight on a track that’s upbeat and joyous which is a fitting swansong from this classic line of Art Blakey and The Jazz Messengers.
Sadly, The Witch Doctor was the final album that this classic lineup of Art Blakey and The Jazz Messengers recorded. They recorded six albums for Blue Note Records in the space of a year and nowadays, every one of them is regarded as a jazz classic. That is no surprise given the all-star lineup of the Jazz Messengers.
They were hand-picked by Art Blakey who allowed them to shine and play a starring role. Especially the front line of Lee Morgan and Wayne Shorter as well as pianist Bobby Timmons. The three musicians play their part in the sound and success of The Witch Doctor which nowadays is regarded as a hard bop classic.
Sadly, it was the swansong from this classic line of Art Blakey and The Jazz Messengers who recorded six albums in the space of a year. This began with The Big Beat in March 1960 and a year later Art Blakey and The Jazz Messengers signed off in style in March 1961 with The Witch Doctor where they cast a spell with this captivating and majestic album of hard bop.
Art Blakey and The Jazz Messengers-The Witch Doctor.
IMPULSE RECORDS: MUSIC, MESSAGE AND THE MOMENT.
Impulse Records: Music, Message and The Moment.
Label: Impulse.
Format: 2CD Set.
The roots of Impulse! can be traced to 1955 when the American Broadcasting Company decided the time was right to diversify into the record business. History was made on June ‘14th’ 1955 when Am-Par Record Corporation was incorporated and Samuel H. Clark became the company’s first president. He oversaw the birth of what would become one of the biggest record companies in America.
Soon, the nascent label was producing and releasing records, licensing masters from independent record producers and purchasing records that had been regionally. These were then distributed nationwide by Am-Par Record Corporation. Some of the singles and albums proved popular and indeed profitable for the new label.
Over the next five years, the Am-Par Record Corporation continued to expand. New artists joined their roster as success began to come the Am-Par Record Corporation’s way. Soon, the label was looking at expanding, and one genre they were particularly interested in, was jazz.
In 1960, Am-Par Record Corporation decided to form their own jazz label which they called Impulse! Arranger and producer Creed Taylor was hired and became the nascent label’s A&R manager.
One of the earliest signings made by Creed Taylor was Ray Charles. Another of Impulse!’s early signings was Oliver Nelson. He released his post bop album The Blues and the Abstract Truth in February 1961. It sported Impulse!’s distinctive black, orange, and white livery.
A month later, in March 1961, Ray Charles released His Genius + Soul = Jazz was released in March 1961, and gave the label its first successful album. The decision to appoint Creed Taylor as Impulse!’s A&R man had paid off.
Despite the success of Ray Charles’ His Genius + Soul = Jazz Creed Taylor decided to leave Impulse! in the summer of 1961. He had been approached to run Verve Records. Replacing Creed Taylor was the man who would be synonymous with Impulse!, Bob Thiele.
He would play a huge role in the rise and rise of Impulse! Bob Thiele ran Impulse! between 1961 and 1968. During that period, he began to expand the label. He had two very different roles, A&R and production. Somehow, he was able to successfully juggle the two roles. Soon, Bob Thiele was adding some of the biggest names in jazz to Impulse!’s roster. This includes the artists on Impulse Records: Music, Message and The Moment which was recently released as a two CD set by Impulse!
Disc One.
Opening disc one of Impulse Records: Music, Message and The Moment is the John Coltrane Quartet’s Africa. It was taken from Africa/Brass which was released on the ‘1st’ September 1961 and was his eighth studio album and debut for Impulse! The album features a larger band than usual. Twenty-one musicians are used and some deploy unusual instruments on what’s akin to a big band sound. This is very different album to anything ‘Trane had released before. When the album was released to critical acclaim and featured groundbreaking combination of free jazz, hard bop and modal jazz. For John Coltrane this was the start of one of the most important periods in his career when he released a string of classic albums.
In 1961, Max Roach released Percussion Bitter Sweet which was his debut album for Impulse! He and his band fused Cuban rhythms with post bop and hard bop on what was a emotionally charged album with political themes. This included on Garvey’s Ghost which was one of the highlights of this classic album,
In 1964, Mingus, Mingus, Mingus, Mingus, Mingus was released by Impulse! The album was hailed by critics as an essential collection of Charles Mingus’ finest moments during his post bop era. One of the highlights of this jazz classic is Better Get Hit In Yo Soul which is a welcome addition to the compilation.
By 1964, Philly born Shirley Scott was just thirty but had established a reputation as one of the finest Hammond organ players. She was a prolific artist and had already recorded over thirty albums. This included For Members Only where she leads The Shirley Scott on an album of soul jazz and hard bop. One of its highlights is Freedom Dance which would later become a favourite of compilers.
In 1964, the Yusef Lateef Quintet released Sister Mamie as a single. It’s an innovative genre-melting track that was written by the flautist that’s bluesy and features elements of post bop and modal jazz.
Saxophonist Stanley Turrentine spent much of the sixties signed to Blue Note Records and only released one album for Impulse! This was Let It Go which was released in 1966 and featured his wife Shirley Scott who played Hammond organ. One of their finest moments on the album was Good Lookin’ Out, a memorable and swinging slice of soul-jazz where the pair showcase their considerable skills. Then when a single was released from the album later in 1966 Good Lookin’ Out was relegated to the B-Side. That’s despite being one of the highlights of what was Stanley Turrentine’s only album for Impulse!
In 1967, the Oliver Nelson and His Orchestra released The Kennedy Dream (A Musical Tribute to John Fitzgerald Kennedy) . It featured The Rights Of All which like the rest of the album was recorded by a big band who play music in his honor. Oliver Nelson also used taped segments of his speeches as preludes on this tribute to the 35th President Of The United States.
Side Two.
An edit of Pharoah Sanders’ The Creator Has A Master Plan opens side two of Impulse Records: Music, Message and The Moment. It featured on his 1969 classic album Karma which was one of his most important, innovative and progressive albums. This opus took up the entire first side of the album. Nowadays, this spiritual jazz classic is regarded as one of Pharoah Sanders’ finest moments and features a masterclass from the pioneering saxophonist.
The Ahman Jamal Trio released The Awakening in 1970. Opening the album was the title-track which found the pianist’s music continuing to evolve. His fingers dance across the piano keyboard as he combines elements of cool jazz and post bop combine on one of the highlights of what was an ambitious and adventurous album where sometimes less is more.
In 1971, Charlie Haden released Charlie Haden Liberation Music Orchestra which featured the protest song We Shall Overcome. It’s produced by Bob Thiele and is given a free jazz makeover by the pioneering bassist and bandleader.
Alice Coltrane recorded Blue Nile twice. The first time was for her album The El Daoud in 1970 which was recorded in the basement of her house and featured Pharoah Sanders and Joe Henderson. It finds the harpist switching to piano and her two featured artists playing alto flutes. Together they’re responsible for a truly beautiful, poignant and spiritual sounding track which features an all-star band at the peak of their powers.
When Pharoah Sanders released Thembi in 1971 it was quite different to previous albums. Gone were the lengthy jams which were replaced by shorter much more concise tracks that were breezy and uptempo. Pharoah Sanders and his band played an eclectic selection of instruments as they fused avant-garde, experimental music and free jazz. One of the highlights of this inventive, captivating and underrated album was a stunning spiritual jazz cover of Lonnie Liston Smith’s Astral Travelling.
When Archie Shepp released Attica Blues in 1972 it featured Blues For Brother George Jackson. It was an album of avant-garde jazz that became one of his most successful large group albums. Some critics saw Attica Blues as a protest album. However, it was more than that. It’s political and religious experience and also an appeal to higher human consciousness to help the world and its citizens. Some forty-nine years after the release of the album it’s still as powerful and relevant as it was in 1982.
John Handy released Hard Work on ABC Records in 1976 and the album reached twenty-nine on the US Billboard Jazz charts and forty-three on the US Billboard 200. The title-track closes Impulse Records: Music, Message and The Moment and finds the jazz saxophonist and his band combining jazz, fusion and R&B on a truly memorable and hook-laden track.
Nowadays, Impulse! is regarded as one of the most important labels in the history of jazz. That’s no surprise as many of the giants of jazz spent time signed to Impulse! where they seem to have been afforded creative freedom. There was nobody trying to tell artists what direction their music should head in. The only problem was that many of the albums the label released weren’t a commercial success. However, many of the albums that Impulse! released were innovative, inventive and influential. Especially during the period Bob Thiele was at the helm of Impulse!
Nowadays, Bob Thiele’s name is synonymous with Impulse! He was at at the helm between 1961 and 1969. That was when Impulse! released some of its most important and influential music. The departure of Bob Thiele in 1969 left a huge void.
When Bob Thiele left Impulse! his replacement was thirty-five year old Ed Michel. It wasn’t going to be easy to replace a man who produced a string of classic albums. It was no surprise when critics and cultural commentators wondered whether Impulse! would be the same label?
Still, Impulse! continued to release important, innovative, inventive and influential. However, not as regularly as it once had. Some of the albums were hit or miss affairs and no longer was the label consistently releasing classic albums. They were now in short supply.
Still, many of the artists signed to Impulse! after Bob Thiele’s departure were pioneers. They continued to released ambitious and groundbreaking music Some of that music features on Impulse Records: Music, Message and The Moment.
For newcomers to one of jazz’s legendary labels Impulse Records: Music, Message and The Moment is the perfect introduction. However, there’s many more tracks that that could’ve featured on the compilation. So much so, that it would be easy to compile a four disc set and still have enough for a second volume.
After Impulse Records: Music, Message and The Moment, it’s worth checking out Jazzman Records’ Spiritual Jazz 12: Impulse! compilation and the Impulse! 1961-1974 twenty-five disc box set which was released in 2017. They’re a reminder of one of the legendary jazz reminder Impulse! which was home to many of the giants and pioneers of jazz.
Impulse Records: Music, Message and The Moment.
FIRE OVER BABYLON: DREAD, PEACE AND CONSCIOUS SOUNDS AT STUDIO ONE.
Fire Over Babylon: Dread, Peace and Conscious Sounds At Studio One.
Label: Soul Jazz Records.
Format: CD,
Ever since the early seventies, Rastafarian-inspired Roots music was important part of Studio One’s output. It was recorded by many of the artists and groups who nowadays, are recognised and regarded as musical pioneers who were responsible for establishing the sound of the Jamaica. This began in the seventies when there was an explosion in popularity of Rastafarian-inspired Roots reggae music.
The spokesman for this new musical movement was Bob Marley, who during the seventies, enjoyed the most successful period of his career. Sadly, his career was cut tragically short when he died of the ‘1st’ of May 1981, aged just thirty-six. However, after his death, the popularity of Rastafarian-inspired Roots reggae music continued to grow.
One of the founding father’s of the genre was producer Clement Dodd, who had founded the Studio One label in 1954. The first recordings took place in 1963 at Brentford Road in Kingston. By then, the producer had recruited The Skatalites as the Studio One house band.
Clement Dodd was also keen to explore the music associated with the Rastafarian religion. That was why he join members of The Skatalites when they took trips to reasoning and jam sessions that were help by Count Ossie and his Rasta drummers in the Blue Mountain Hills. During lengthy jam sessions members of The Skatalites improvised over drum rhythms and chants. These jam sessions finished late in the evening or even in the early hours of the night and influenced the visiting musicians and producer.
Sometimes, Clement Dodd invited Count Ossie to his Sir Coxsone’s Downbeat Dance Party which took place on the lawns of Kingston and were hugely popular. Some nights, Count Ossie was invited to play live and became a familiar face.
By then, Clement Dodd was embracing the wider Rastafarian culture and was living his running his business in such a way that it was in keeping with Rastafarianism. Its central theme was self-determination which the producer embraced. He also was happy to work alongside the dreads to a greater extent than other producers. This is thought to be part of the reason for the longevity that Studio One enjoyed.
That longevity wouldn’t have been possible if Studio One wasn’t a successful label. By the mid-sixties it was a hit-making machine. Clement Dodd’s competitors watched enviously as the producer expanded his business which was based at 13 Brentford Road, in Kingston. Little did he know that this success would last into the seventies and beyond.
As the sixties gave way to the seventies, Rastafarian-inspired Roots music would become an important part of Studio One’s output. This was when the eighteen tracks from Fire Over Babylon: Dread, Peace and Conscious Sounds At Studio One, which was recently released by Soul Jazz Records and features a mixture of classics and rarities. There’s contributions from familiar faces like Freddie McGregor, The Wailing Souls, The Gladiators, Horace Andy, Devon Russell, Cedric Brooks, Count Ossie and Judah Eskender Tafari. They’re joined by rarities from The Prospectors, The Viceroys and Pablove Black.
In 1975, Freddie McGregor converted to Rastafarianism and four years later in 1979 Bobby Bobylon album on Studio One. The highlight is I Am A Revolutionist which was written by Freddie McGregor and Clement Dodd and nowadays is regarded as an Rastafarian-inspired anthem.
Wailing Souls released Without You as a single on Clement Dodd’s Coxsone Records in 1972. Nowadays, it’s a highly sought-after rarity. That’s no surprise as it features a heartfelt, soul-baring vocal that’s full of emotion.
The Gladiators released Sonia as a single on Studio One in 1972. It’s an early example of the Rastafarian-inspired Roots music that the label pioneered during the seventies.
As the seventies drew to a close, Judah Eskender Tafari released Always Trying on Studio One in 1979. This carefully crafted Clement Dodd production is melodic and soulful with a feelgood sound. He adds wistful horns, and then midway through the track the arrangement reveals a slightly dubby sound. The result is without doubt one of the highlights of the compilation.
In 1969, The Viceroys released Light Night as a single on Coxsone Records in Jamaica and Studio One in the UK. Hidden away on the B-Side was Ya Ho. This hidden gem was a tantalising taste of the new roots music that the label would pioneer during the seventies.
By 1975, Coxsone Dodd and many others signed to Studio One had embraced the Rastafarianism faith. This was evident on many of the singles the label was releasing. This includes The Prospectors’ Glory For I which was released on Bongo One imprint in 1975 and features an impassioned vocal. Sadly, the single wasn’t a success and this oft-overlooked roots track is a welcome addition to the compilation.
In 1979, Pablove released his Mr Music Originally album on Studio One. It featured the genre-melting Black Inner Peace where funk, soul, soul-jazz and dub melt into one on another hidden gem that’s one of the highlights of Fire Over Babylon: Dread, Peace and Conscious Sounds At Studio One.
The Gladiators released Peace as a single on Studio One in 1978. It’s another melodic, soulful and full of social comment. This is what one expects from Rastafarian-inspired Roots reggae from the seventies.
Closing Fire Over Babylon: Dread, Peace and Conscious Sounds At Studio One is The Viceroys’ So Many Problems. It’s a thought-provoking track from 1977 with lyrics full of social comment that are delivered by vocals full sadness and emotion. This is a powerful way to close the compilation.
For anyone interested in early seventies Rastafarian-inspired Roots music Fire Over Babylon: Dread, Peace and Conscious Sounds At Studio One may be of interest to them. It features many artists and groups who nowadays, are regarded as musical pioneers who were responsible for establishing the sound of the Jamaica. This began in the seventies which was when there was an explosion in popularity of Rastafarian-inspired Roots reggae music.
One of the labels at the forefront of this musical revolution was Studio One, which was founded by Coxsone Dodd who produced the eighteen tracks on Fire Over Babylon: Dread, Peace and Conscious Sounds At Studio One. It features a mixture of classics and rarities and is the perfect primer to the Rastafarian-inspired Roots reggae pioneered by legendary producer Coxsone Dodd.
Fire Over Babylon: Dread, Peace and Conscious Sounds At Studio One.
CULT CLASSIC: DONALD BYRD-BYRD IN FLIGHT.
Cult Classic: Donald Byrd-Byrd In Flight.
When Donald Byrd signed to Blue Note Records in 1958, he was twenty-five and had already recorded five solo albums and had collaborated on albums with Art Farmer, Phil Woods and Gigi Gryce.
The Detroit-born trumpeter was also in demand as a sideman and had already worked with some of the giants of jazz. This included Art Blakey, Hank Mobley, Horace Silver, Jackie McLean, jimmy Smith, John Coltrane and Kenny Burrell. Already Donald Byrd was regarded as one of jazz’s rising stars.
That was why Alfred Lion signed him to Blue Note Records. By then, Donald Byrd had already played on a number of sessions by artists signed to Blue Note Records and the label co-owner was able to witness the prodigiously talented trumpeter at close quarters. It didn’t take long before he decided to add him to the label’s impressive roster of artists.
Off To The Races.
On December ‘21st’ 1958, Donald Byrd journeyed to van Gelder Studio to record his Blue Note Records’ debut, Off To The Races. He led a sextet on an album of hard bop that was well received by critics when it was released in March 1959.
Byrd In Hand.
Just two months later, on the ‘31st’ of May 1959 Donald Byrd returned to Van Gelder Studio and his latest sextet recorded Byrd In Hand. Five of the six compositions were new including three penned by the twenty-six year old bandleader and trumpeter.
He was joined in the front line by tenor saxophonist Charlie Rouse and Pepper Adams on baritone saxophone on what was a hard blowing album of hard bop. The talented sextet’s playing was alway creative and with their solos spirited and inventive and a fine example of hard bop.
When Byrd In Hand was released later in 1959 to plaudits and praise. The album was regarded as one of the finest of Donald Byrd’s four year recording career. He had come a long way since making his debut with Art Blakey’s Jazz Messenger 1954 whilst studying for a master’s degree at Manhattan School of Music.
At The Half Note Cafe.
On November the ‘11th’ 1960, Donald Byrd headed to the Half Note in Manhattan, where he was about to record a live album. He was joined by drummer Lex Humphries, bassist Laymon Jackson, pianist Duke Pearson and baritone saxophonist Pepper Adams. This was a new band, but very few people would realise this.
That night, the quintet were at the peak of their powers and firing on all cylinders during a spellbinding thirteen track set. Not only was the quintet swinging hard, but they benefited from a lyricism and impeccable sense of timing that few groups possessed. Led by twenty-seven year old Donald Byrd the quintet’s playing was practiced and slick. It was lucky that the tapes were running that night and the performance was captured for posterity.
When Blue Note Records released at The Half Note Cafe in 1960, it was as two single LPs. The albums were released to critical acclaim and hailed as Donald Byrd’s finest release for Blue Note Records. His next album Byrd In Flight had a lot to live up to.
Byrd In Flight.
For Byrd In Flight, which was Donald Byrd’s fourth album for Blue Note Records he penned Ghana and Lex. Duke Pearson who nowadays is regarded as one of the architects of the Blue Note Records’ hard bop sound wrote Gate City, Bo and My Girl Shirl. The only cover on the album was Rogers and Hart’s Little Girl Blue. It was one of six albums
Just like previous albums Donald Byrd recorded for Blue Note Records, Byrd In Flight was recorded at Van Gelder Studio. The engineer was Rudy Van Gelder and Alfred Lion took charge of the production. However, this wasn’t a one day session and the six tracks were recorded on three days between January and July 1960.
The sextet featured a rhythm section of drummer Lex Humphries, bassists Doug Watkins and Reggie Workman plus pianist Duke Pearson. They were joined by a front line of trumpeter Donald Byrd, alto saxophonist Jackie McLean and tenor saxophonist Hank Mobley. This multitalented and versatile band spent four days recording Byrd In Flight.
Gate City was recorded on January the ’17th’ 1960. Then Ghana and Lex were recorded on the ‘25th’ January 1960. Little Girl Blue, Bo and My Girl Shirl were recorded six months later on July the ‘10th’ 1960.
With the recording of Byrd In Flight completed, the album was scheduled for release by Blue Note Records in December 196o. When critics heard Donald Byrd’s latest album of hard bop they remarked that he was maturing as a trumpeter and bandleader while his music continued to evolve.
The journey that is Byrd In Flight opens with the celebratory sounding Ghana which conjures up images on a new nation determined to remain master of its own destiny. Donald Byrd’s flowing trumpet solo has an airy sound and is complimented by pianist Duke Pearson and Hank Mobley on tenor saxophone. His playing combines a degree of optimism with the celebratory sound that’s a feature of this opening track that was penned by bandleader Donald Byrd.
The standard Little Boy Blue is a fine example of ballideering from the twenty-eight year old trumpeter. His playing is thoughtful, considered but is also expansive, confident and strident. Meanwhile, Duke Pearson’s captures the romantic sound of this oft-covered ballad which was written by Rogers and Hammerstein.
The bluesy sounding Gate City finds Duke Pearson combining with Donald Byrd whose opening solo is unfussy but effective as he effortlessly chooses the right notes. Then Hank Mobley takes a less is more approach to his solo while later it sounds as if pianist Duke Pearson really has the blues as he lives the music he’s playing.
Lex is a driving example of hard bop where there’s Donald Byrd plays with speed, power, passion and accuracy as he unleashes darting runs. In doing so, he displays an enviable agility. Meanwhile, Hank Mobley unleashes a breathtaking solo that careers along at breathtaking speed, while Duke Pearson playing is considered, sometimes economical yet uplifting as he joins forces with the rest of the rhythm section to ensure the track swings.
Bo is another bluesy sounding track where Jackie McLean’s playing is emotive and he compliments Donald Byrd. When his solo comes round he almost makes his trumpet talk while Duke Pearson’s playing graceful, ruminative and rootsy on this bluesy track.
Closing Byrd In Flight is the driving hard bop of My Girl Shine. It’s as Donald Byrd is determined to close the album on a high. He and Jackie McLean play with speed, power, ferocity although there’s always an expressiveness and emotiveness. Not to be outdone Duke Pearson joins the fun and more than plays his part in the sound and success of what’s one of the highlights of the album.
Just two years after signing to Blue Note Records Donald Byrd released Byrd In Flight in December 1960. By then, the trumpeter and bandleader had just turned twenty-eight and had been a professional musician since 1954.
Byrd In Flight was his fourth album for Blue Note Records and the ninth since his career began in 1955. It’s also the finest of the seven studio albums that Donald Byrd had released. That’s no surprise as he had matured as a musician and his music had developed over the past six years. On Byrd In Flight he switched between hard bop, Afro-Cuban, blues and balladry with the help of a tight, talented and versatile all-star band. They played their part in the sound and success of Byrd In Flight which is without doubt one trumpeter and bandleader Donald Byrd’s greatest hard bop albums.
Cult Classic: Donald Byrd-Byrd In Flight.
CULT CLASSIC: SHINTARO QUINTET-EVOLUTION.
Cult Classic: Shintaro Quintet-Evolution.
Ever since the mid-fifties, many American jazz musicians journeyed to Japan where they toured and recorded albums. They were respected and treated as series musicians, and when they recorded an album the budget was much more generous and the working conditions far better than they were used to.
It was no surprise that between the late-sixties and early seventies, Art Blakey, Bob James, Gary Peacock, Herbie Hancock and Oliver Nelson either spent lengthy periods living in Japan or decided to live there permanently.
During this period, other American jazz musicians journey to Europe and Scandinavia which became their home-from-home. It was the start of a new chapter in their career as jazz was evolving.
Meanwhile, many Japanese jazz musicians decided to head to the home of jazz. This was where the music that they played and were passionate about was born, evolved and became popular. It was akin to a pilgrimage for musicians like young Japanese jazz musicians like Shintaro Nakamura who arrived in America in the mid-sixties. By 1984, the bassist had founded the Shintaro Quintet who recorded Evolution for Streetnoise Records. By then, he had worked with the great and good of jazz.
Shintaro Nakamura was born in Kobe, in 1956, and discovered jazz music in high school. This came about when one of his classmates brought in a jazz album. For Shintaro Nakamura this was a gamechanger.
Jazz became the soundtrack to daily life for Shintaro Nakamura. For the next three years he played the same records each day. Ella and Louis, Relaxin’ With The Miles Davis Quintet and Cookin’ With The Miles Davis Quintet were the records that started a lifelong love affair with jazz, and especially the bass.
In the early days, Shintaro Nakamura was captivated by Paul Chambers’ bass lines and Red Mitchell’s melodic playing. These two bassists would later influence him as he embarked upon a career as a professional jazz musician.
Having discovered in high school, Shintaro Nakamura was soon hanging out in the jazz kissa, a network of jazz coffeehouses and bars. This was akin to a musical education as he was able to hear an eclectic selection of jazz which was often played on high end stereo systems. Sometimes, he was lucky enough to hear local jazz musicians and occasionally, visiting jazzers from overseas.
After high school, Shintaro Nakamura headed to Kinki University, where he joined the Jazz Studies Group and also learned to play the bass. By 1982, he was too busy with music and dropped out of University.
By then, Shintaro Nakamura had realised there was a limit to the music that he could hear in Japan. He realised that to further his musical education he was going to have to travel to the home of jazz, America.
Shintaro Nakamura decided to study jazz in New York, and while he was there, he decided to write some new compositions. Having played in some jazz sessions he decided that he wanted to record the new tracks.
To do this, he needed to put together a band. By then, Shintaro Nakamura had already played alongside some well known names. This included Larry Carlton, Marcus Miller, Steve Gadd and Woody Shaw a couple of times. However, to record his debut album he handpicked a band.
The first recruit was pianist Jeff Jenkins who sounded as if he had been influenced by McCoy Tyner’s percussive blues. He was joined by American-born saxophonist Robert Kenmotsu who previously had been a member of Jack McDuff’s band. He was joined in the front line by thirty-four year old trumpeter Shunzo Ohno. Drummer Fukushi Tainaka was joined in the rhythm section by bandleader and bassist Shintaro Nakamura who engineered and produced Evolution at Hi-Five Studio, New York, on the ‘10th’ and ‘13th’ January 1984.
Before the recording sessions, the Shintaro Quintet spent just a day practising. That was all they needed. They were ready to record Evolution at Hi-Five Studio. Evolution took just two days for the Shintaro Quintet to record.
Evolution was an album that had been influenced by the jazz music of the late-fifties and early sixties. This was the music that Shintaro Nakamura heard growing up and had influenced him. He recorded Evolution live and there was no overdubs. Instead, the Shintaro Quintet played together and recorded straight to tape. It was an album of modal jazz that sometimes heads in the direction of hard bop, post bop and avant-garde.
Once the recording of Evolution was complete, Shintaro Nakamura returned home to Japan where he met his friend Hedeki Kawamura who had just founded Streetnoise Records. He was looking for albums that had been recorded in New York to release on his nascent label. Shintaro Nakamura agreed to let his friend release Evolution and the Shintaro Quintet’s debut album became Streetnoise Records’ second release.
Streetnoise Records had 1,000 copies of Evolution pressed. It featured a distinctive diagonal OBI strip across the top left hand corner of the sleeve. The album was sold in local record shops and at concerts.
When jazz fans heard Evolution they discovered and were impressed by an album of original music that was played by the Shintaro Quintet. They were tight, talented and versatile and showcased their considerable talents during the five tracks written by bandleader and bassist Shintaro Nakamura. This included Blind Man which closed the album and was a tribute to Woody Shaw who he had played with just before recording Evolution. Sadly, he was almost blind by then and Shintaro Nakamura wrote the track as a tribute to the jazz great. It brought to a close Evolution, the Shintaro Quintet’s J Jazz cult classic which thirty-seven years after its original release is belatedly starting to find a wide audience.
Cult Classic: Shintaro Quintet-Evolution.
DOUG CARN-INFANT EYES
Doug Carn-Infant Eyes.
Label: Real Gone Music.
Format: CD.
Although Gene Russell and Dick Schory founded Black Jazz Records in 1969, two years passed before the nascent label released its first album. This was Gene Russell’s sophomore album New Direction which was released in 1971. It was the first of twenty albums by a label that was very different from other new indie jazz labels that were being founded across the America.
Gene Russell and Dick Schory wanted their new label: “to promote the talents of young African American jazz musicians and singers.” That was only part of the story.
Black Jazz Records’ cofounders were determined that their nascent label would released an alternative to what they saw as the old school jazz that was popular at the time. This included albums that featured political and spiritually influenced music. However, spiritual jazz was just part of the Black Jazz Records’ story.
Between 1971 and 1975 the label released twenty albums that included everything from spiritual jazz and soul-jazz to free jazz and funk. Eclectic described the music that the label released.
That described the albums that Black Jazz Records released during 1971. Its second released was Walter Bishop Jr’s cult classic Coral Keys.
Later in 1971, Doug Carn released Infant Eyes which was the first of three albums he released for Black Jazz Records. It features vocals from his wife Jean Carn who features on each album and played an important part in the sound and success of 1971s Infant Eyes, 1972s Spirit Of The New Land, 1973s Revelation and 1974s Adam’s Apple. That was still to come.
Doug Carn who was just twenty-three when he signed to Black Jazz Records. He was born on July the ’14th’ 1948, in St. Augustine, Florida, and growing up music was all around him and was part of the culture around him at home. His mother was a musician, while his uncle was a bebop DJ who could scat the Dexter Gordon solos. It was no surprise that growing up, Doug Carn started listening to jazz and later, decided to learn an instrument.
Initially, Doug Carn took piano lessons and proved to be a quick learner and was soon able to play Bach Two-Part Inventions. That was when it was discovered that he wasn’t reading music and playing by ear. This resulted in Doug Carn being given an alto saxophone which he also mastered was able to play well. Already he was well on his way to becoming a multi-instrumentalist and it was no surprise when Doug Carn decided to study music at university.
He enrolled at Jacksonville University in 1965, and for the next two years studied oboe and composition. When Doug Carn graduated in 1967 he headed to Georgia State University where he completed his musical education in 1969. Later that year he made his recording debut as bandleader.
The twenty-one year old multi-instrumentalist was still living in Georgia and had founded the Doug Carn Trio. However, the new combo needed gigs and the young bandleader decided to visit a friend who ran a booking agency. When he entered the office he was greeted by the receptionist and secretary who was also a singer. This was Jean Carn who later become his wife. Before that, she started singing with the Doug Carn Trio who were about to make their recording debut.
Through the owner of the booking agency, Doug Carn was introduced to Herman Lubinsky the founder and owner of Savoy Records. This introduction turned out to be a gamechanger for the bandleader.
It turned out that the label had a session booked in Atlanta which was going to be produced by Fred Mendelsohn, the President of Savoy. He explained that there was every chance that there might be some spare time after he had recorded the gospel album, and if there was, they would use the time to record the Doug Carn Trio. That turned out to be the case.
That day in 1969, the Doug Carn Trio recorded what became their eponymous debut album. It was released later in 1969 on Savoy Records but wasn’t a commercial success. However, for Doug Carn recording the album was an invaluable experience as he prepared to move to LA as the sixties gave way to the seventies.
When he arrived in LA, Doug Carn started spending time with the members of Earth, Wind and Fire and this resulted in him playing on their first two albums. He played Hammond organ on Earth, Wind and Fire which was released on February 1971 and was certified gold. Doug Carn also played on The Need Of Love which was released in November 1971. By then, his solo career was well underway.
Earlier in 1971, Doug Carn had signed to Black Jazz Records. Not long after this, he began work on his debut album Infant Eyes which has just been reissued on CD by Real Gone Music.
For his debut album, Doug Carn wrote Moon Child, recorded John Coltrane’s Welcome and McCoy Tyner’s Passion Dance. The twenty-three year old bandleader added lyrics to Bobby Hutcherson’s Little B’s Poem, Wayne Shorter’s Infant Eyes, John Coltrane’s Acknowledgement and Horace Silver’s Peace. Doug Carn put together a band and spent the best part of a year practising and then when he signed to Black Jazz Records recorded the album.
The rhythm section featured drummer Michael Carvin, bassist Henry Franklin and bandleader Doug Carn who switched between electric piano, organ and piano. Meanwhile his wife Jean added her unmistakable vocals. George Harper played tenor saxophone and flute and was joined in he front line by trombonist Al Hall Jr and Bob Frazier who played trumpet and flugelhorn. This talented and versatile band worked their way through the seven tracks which became Infant Eyes. The session was engineered and produced by label owner Gene Russell and the album was scheduled for later in 1971.
When Infant Eyes was released in 1971, Doug Carn still regarded the album as a demo. It wasn’t the polished album that he had envisaged. Despite that, it was well received by critics and hailed as a groundbreaking album.
On its release in 1971, Infant Eyes became Black Jazz Records’ most successful album. It was a similar case with the other two albums Doug Carn released for the label. He was the label’s biggest selling artist. That was no surprise given the quality of the three albums he released. The first was Infant Eyes.
Opening Infant Eyes is Doug Carn’s interpretation of John Coltrane’s Welcome. It lasts just 1:15 and features what are best described as big and beautiful washes of sound where the flute and cymbals combine with Jean Carn’s vocal during this homage to a jazz legend.
Doug Carn added lyrics to Bobby Hutcherson’s Little B’s Poem and they’re delivered by his wife Jean who scats. Initially the arrangement is intense and almost frenetic before the band lock into a groove. By then, the scat disappears as unleashes an impassioned vocal. Later, a stunning saxophone solo from George Harper plays a leading role and the organ weaves in and out of the arrangement as cymbals hiss and ring out during this captivating reinvention of wha’s a familiar track for many jazz fans.
On Moon Child Doug Carn switches to piano, and his playing is moody and melancholy. Meanwhile, the horns add an atmospheric backdrop during this eight minute epic which is an emotional roller coaster.
Having added lyrics to Wayne Shorter’s Infant Eyes,Doug Carn’s adds a dramatic introduction before the keyboards become understated. They’re effective and combines with subtle cymbals and Jean’s vocals which soars high above the arrangement as the Carn’s play a starring role on the track that closes side one.
Side two opens with a cover of McCoy Tyner’s Passion Dance. It made its debut on The Real McCoy Tyner which was released by Blue Note Records in April 1967. It’s as if Doug Carn is paying homage to the great Blue Note Records’ releases of the mid to late sixties on this vigorous instrumental workout. Horns are to the fore as the organ sweeps and swirls and join with the cymbals in playing a crucial role in the sound and success of the track.
Acknowledgement featured on John Coltrane’s 1965 classic album A Love Supreme. However, six years later Doug Carn added lyrics and his wife Jean takes charge of the vocal. Backed by this multitalented and versatile band they remake Trane’s spiritual jazz classic.
Horace Silver originally recorded Peace for his 1959 album Blowin’ The Blues Away, and then in 1970 it featured on his That Healin’ Feelin’ album where Andy Bey takes charge of the vocal. Doug Carn added new lyrics full of social comment which are delivered by Jean. She plays a leading role in the success of breathtaking, powerful and poignant take on a familiar track from the late, great jazz pianist.
When Infant Eyes was released in 1971, it was Doug Carn’s debut solo album. Despite that, it was the most successful album that Black Jazz Records released that year. So was the followup Spirit Of The New Land when it was released in 1972, 1973s Revelation and 1974s Adam’s Apple. Although the four albums didn’t sell tens of thousands of copies they were successful for a small independent label like Black Jazz Records was. It was also a label that had a vision.
Black Jazz Records that wanted “to promote the talents of young African American jazz musicians and singers.” Doug Carn was only twenty-four when he released Spirit Of The New Land and his was Jean Carn was twenty-five. They had created an album that was an alternative to what Gene Russell and Dick Schory referred to as old school jazz.
Infant Eyes was very different to old school jazz and was new type of jazz album. It featured everything from avant-garde and even elements of free jazz, funk, fusion, soul, soul-jazz and spiritual jazz. These genres were combined by Doug Carn and Jean Carn who unleashed her five octave vocal on Infant Eyes which introduced the pair to the record buying public across America. This was just the first chapter in the Doug and Jean Carn story.
Infant Eyes was the first of four critically acclaimed albums that Doug Carn released between 1971 and 1974. These albums are now regarded as cult classics, and amongst the best that Black Jazz Records released during the five years it was in business.
Doug Carn-Infant Eyes.
YOU GAVE ME A REASON TO LIVE-SOUTHERN AND DEEP SOUL FROM LOUISIANA.
You Gave Me Reason To Live-Southern And Deep Soul From Louisiana.
Label: Kent Soul.
Format: CD.
During the sixties and seventies, South-West Louisiana was famous for its vibrant and music industry which was soon expanding and thriving. Initially, the region was famous for the Cajun sound and Zydeco, but soon, artists and producers started recording other genres of music.
The region’s music industry was situated between New Orleans and Houston which meant it was exposed to an eclectic selection of music. Soon, artists began recording everything from country and pop to blues, funk and soul.
Amongst the soul sides recorded in South-West Louisiana were many fine examples of Deep and Southern Soul. Sadly, many of these recordings were overlooked and this includes the twenty-two on You Gave Me Reason To Live-Southern And Deep Soul From Louisiana which was recently released by Kent Soul.
The earliest tracks on You Gave Me Reason To Live-Southern And Deep Soul From Louisiana were recorded during the early sixties and include the proto-soul of Sticks Herman. By the early seventies, the Memphis Soul sound could be heard in tracks by Johnny Truitt and Moody Scott. They were recorded by some of the top local producers and label owners including Eddie Shuler, Carol Rachou and J.D. Miller. They doubled as talent scouts and signed local artists and those that were just passing through, then took them into the studio and recorded singles for their labels.
This included Eddie Shuler’s Shuler’s ANLA label which provides many of the tracks on You Gave Me Reason To Live-Southern And Deep Soul From Louisiana. This included Terrie and Joy La Roy, Soul Shouting Tommy and Big Daddy Green who released stunning singles which failed to find an audience. Sadly, the artists’ recording career had stalled or was over before it started and was a case of what might have been?
Meanwhile, Camille “Lil” Bob enjoyed a career that spanned several decades Bobby Charles enjoyed a pop hit Later Alligator before releasing Big Boys Cry a heartwrenching and emotive slice of mid-sixties soul in 1965 and his eponymous debut album in 1972 which is now regarded as a cult classic.
Among the other artists, Clifton White and Chester Randle both became successful local band leaders, while Rockin’ Sidney began his career as bluesman before reinventing himself as the leading light of Zydeco. These are just some of the artists that feature on You Gave Me Reason To Live-Southern And Deep Soul From Louisiana.
Opening the compilation is Baby Oh Baby (How Far You Are From Me) by Charles Greene, which was released by ANLA in 1969. It features a needy vocal powerhouse that’s full of emotion and sincerity. It’s the perfect way to open You Gave Me Reason To Live-Southern And Deep Soul From Louisiana and sets the bar high.
Without Love What Would Life Be was the B-Side to Terrie and Joy La Roy with The Bill Parker Show Band’s 1971 single Why I Shed So Many Tears. This hidden soulful gem was produced by Johnny Shuler for the ANLA label. The vocal is heartfelt and emotive as they ponder life alone and without love.
Camille “Lil” Bob released Stop as a single on the La Louisianne label in 1969. Tucked away on the B-side was Soul Woman a vastly underrated and timeless slice of Southern Soul.
In 1975, Moody released You Gotta’ Be Motivated as a single on the Soul Unlimited label. Hidden away on the B-Side was One Man’s Happiness which is a soul-baring Southern Soul ballad. It’s another underrated song that was good enough to be have been released as a single. No wonder as it features a heartfelt and ruminative vocal that’s bristling with emotion as Moody remembers the first time he met the woman he fell in love with and still loves
When Phil Phillips released Sea Of Love in 1959 it reached number two in the US Billboard 100. Eleven years later in 1970, Eddie Shuler produced Freddie Love’s cover version which was released by his ANLA label. It’s a soul-baring ballad that’s akin to a confessional where Southern Soul and gospel become one.
Eddie Shuler also produced Lee Bernard’s single Our Love Will Always Be for which was released on the Goldband label in 1969. It’s another ballad where drums provide the heartbeat and horns add to the emotion of the vocal on this heartachingly beautiful paean.
Big Daddy Green’s vocal is full of sadness and regret on You Gave Me Reason To Live which was released by the ANLA label in 1970. Sadly, the single failed commercially and was his swansong for the label.
Soul Shouting Tommy released I’m The Man as a single on the ANLA label in 1969. Hidden away on the B-Side was To Be Loved By You which is another hidden gem of a Southern Soul ballad. It features a vocal that’s heartfelt and emotive as he gives thanks to the love he’s found.
The ballad Big Boys Cry was released by Bobby Charles on the La Louisianne label in 1965. This is seven years before he released his eponymous debut album which nowadays is considered a cult classic and one of the great lost albums. However, Big Boys Cry shows another side to Bobby Charles who is a talented songwriter and versatile vocalist.
Dynamic Adam released Forgive Me as a single on the ANLA label in 1969. On the B-Side is She’s Gone where he’s accompanied by backing vocalists as he delivers a hurt-filled vocal full of sadness and regret on this powerful and poignant track.
King Carl closes You Gave Me Reason To Live-Southern And Deep Soul From Louisiana with the bluesy piano-led Blues For Men. It was released in 1965 on the La Louisianne label and tantalising taste of one of the pioneers of swamp pop.
For anyone with even a passing interest in either Southern or Deep Soul, Kent Soul’s new compilation You Gave Me Reason To Live-Southern And Deep Soul From Louisiana will be of interest to them. This lovingly curated compilation features twenty-two tracks which ooze quality. There’s singles and B-Sides from a variety of Louisiana-based labels.
Many of the singles are vastly underrated and should’ve been heard by a wider audience. Then there’s B-Sides that were good enough to be singles. Add to this countless hidden gems and the result is a compilation that’s a musical treasure trove that crate diggers, DJs and dancers will all enjoy and should add to their collection.
You Gave Me Reason To Live-Southern And Deep Soul From Louisiana.
STOP THE WAR.
Stop The War.
Label: Kent Soul.
Format: CD.
When the Vietnam War began on the ‘1st’ November 1955, Americans never realised that this bloody and brutal war would last nineteen years, five months, four weeks and one day. By the time the War ended on the ’30th’ April 1975 America was a nation divided.
Those in favour of military intervention saw themselves as patriots, while those in the peace corps were often labeled “pinkos,” “commies” and “traitors” by their critics. Often, families were divided with generations disagreeing on America’s involvement in the Vietnam War, especially during late-sixties when the peace movement was thriving.
The peace movement’s numbers grew as the casualties in Vietnam increased, and young American soldiers died fighting for their country in what was a brutal war, that deep down, many officers within the US military knew that they couldn’t win. So did many back home who joined the peace corps on a daily basis. They regularly clashed with those who were pro war and the two sides provided inspiration for authors, poets, songwriters and musicians during the fifties, sixties and seventies.
Many songs were written about the Vietnam War and this includes the twenty-three tracks on Stop The War, which is the third and final instalment in Kent Soul’s lovingly curated trilogy that documents America’s role in the Vietnam War. It features tracks by Michael Lizzmore, Dionne Warwick, William Bell, The Shirelles, The Emotions, The Pace Setters, Chairmen Of The Board, The Impressions, Stu Gardner, The Sensational Saints, The Staple Singers and R.B. Greaves.
Opening Stop The War is Promise That You’ll Wait by Michael Lizzmore which was released as a single by Capitol in 1972. This Skip Jackson composition was arranged by Horace Ott and produced by Phillip and Marian Colbert. It features an impassioned vocal that’s akin to a confessional full of hurt as he sings of the things he’s seen, how they’ve changed him and the woman he left behind who has found someone else. The result is a powerful, poignant and deeply soulful song that sets the bar high for the rest of the compilation.
Bacharach and David wrote and produced I Say A Little Prayer for Dionne Warwick. It was released by Scepter in 1967 and reached number four in the US Billboard 100. This resulted in a gold disc for this beautiful love song and future pop soul classic which struck a nerve with a generation of women whose boyfriends and husbands were fighting in the Vietnam War.
By 1962 William Bell was an up-and-coming soul singer when he received his call up papers and spent the next three years in the US Army. However, it took several years for him to reestablish his career and in 1970 covered Calvin Carter’s Lonely Soldier which he produced with BT Jones. It was released as a single on Stax and features a rueful vocal full of emotion where William Bell relies on his personal experience as he brings the poignant lyrics to life.
In 1962, The Shirelles enjoyed a hit single when Soldier Boy reached number one on the US Billboard 100 and three on the US R&B charts. Three years later in 1965, the released what was essentially the followup to the single,(Mama) My Soldier Boy Is Coming Home The Shirelles. Sadly, the single failed to chart despite a heartfelt but joyous vocal that’s delivered against a string-drenched arrangement.
Isaac Hayes and David Porter penned and produced Going On Strike which featured on The Emotions 1969 debut for Volt, So I Can Love You. Soul and funk are combined by the Stax house band as the trio sing of their commitment to fidelity and monogamy until their partners return home. The result is one of the strongest tracks on the album and a reminder of an oft-overlooked group.
The Pace Setters released My Ship Is Coming In (Tomorrow) as a single on the Chicago-based Mica Records in 1968. It’s an upbeat and joyous soulful hidden gem from the Windy where the group celebrate their homecoming after their tour of duty.
In 1971, Chairmen Of The Board’s released their third 1971 album for Invictus, Bittersweet. It featured the Greg Perry and General Johnson composition Men Are Getting Scarce which the pair also produced. Funk, soul and drama are combined during this powerful anti-war song that encouraged American women to use their collective voice to ask the American government to bring the troops home.
By 1972, The Impressions were about to release their third album on the Curtom label, Times Have Changed. It stalled at a lowly 192 on the US Billboard 200 chars. The group were no longer as popular as they had once been. However, one of the highlights of this oft-overlooked offering is the Curtis Mayfield song Stop The War which lent its name to this compilation. It’s a six minutes of thought provoking, poignant and powerful music.
When Stu Gardner released his sophomore album And The Sanctified Sound on Volt, in 1974, it featured his composition Leave Him Alone. He was providing a voice for all the American parents who watched on helplessly as their sons received their call up papers and were shipped off to fight in what many realised was a war they couldn’t win. Sadly, the album wasn’t a commercial success as Stax was struggling financially and hadn’t the resources to promote this underrated album.
The Sensational Saints were a gospel group who released The War Is Over (My Brother) on Cleveland’s BOS label in 1973. It features an impassioned soliloquy that’s delivered against James Bullard and Michael Chavers’ carefully crafted production as soul meets gospel.
The Staple Singers covered Bob Dylan’s John Brown for their Pray On album which was released by Epic in 1967. Pervis Staples takes charge of the lead vocal and recalls the horrors he’s witnessed during his tour of duty during this harrowing and chilling tale of man’s inhumanity to man.
Closing Stop The War is R.B. Greaves’ Home To Stay which was released as a single on Atlantic in 1969. His vocal is full of relief at being home safely after three years away from his friends and family as he delivers a soul-baring vocal.
Stop The War eschews the familiar and finds the compilers digging deeper for hidden gems that have passed previous crate diggers and curators by. Having said that, there’s still songs by familiar faces and tracks that many soul music fans will know and love.
The twenty-three songs deal with all aspects of the twenty year conflict ranging from the soldiers being shipped out to Vietnam to those returning home from the bloody and brutal war that was impossible for America to win. During these songs there’s a sense of anger, frustration and sadness that’s tangible. They’re part of Stop The War, which is the third and final instalment in Kent Soul’s lovingly curated trilogy that documents America’s role in the Vietnam War which was an important period in American history which divided a nation.
Stop The War.
CULT CLASSIC: ANDREW WASYLCYK-FUGITIVE LIGHT AND THEMES OF CONSOLATION.
Cult Classic: Andrew Wasylyk-Fugitive Light and Themes Of Consolation.
When Dundee-based writer, producer and multi-instrumentalist Andrew Wasylyk released his fourth album Fugitive Light and Themes Of Consolation this brought to an end a journey that began back in 2017. That was when he released Themes For Buildings and Spaces, which was the first instalment in a trilogy of albums that were journeys through the architecture and landscape of Eastern Scotland. This was followed in 2019 by The Paralian, which was shortlisted for the Scottish Album Of The Year Award. Bringing the trilogy to a close is Fugitive Light and Themes Of Consolation. It’s the latest chapter in the Andrew Wasylyk story.
For anyone unfamiliar with Andrew Wasylyk, this is the alias of Scottish writer, producer and multi-instrumentalist Andrew Mitchell. He was born in Dundee in 1982, and by the age of eight was learning to play the violin and cello. Neither instrument was for him, and he turned his back on music. Instead, he decided that he wanted to follow in his elder brother’s footsteps and become a footballer. Andrew Mitchell’s priorities changed when his uncle gave him an eighties Fender Stratocaster when he was sixteen.
Up until then, he was happy to listen to music and spent his spare time listening to cassettes of everything from Crystal Gayle and The Beatles to Carl Cox. However, by the time Andrew Mitchell left school in 1999, his musical tastes were expanding and becoming even more eclectic. Soon, he and his friends had discovered Cannonball Adderley, Fairport Convention and The Salsoul Orchestra as well as Gang Starr, Pavement and Olivia Tremor Control. This search for new music continued as Andrew Mitchell decided to form a band.
He and his friend Matthew Marra formed the indie pop group The Hazey Janes which also featured Alice Marra and Liam Brennan. They signed to Measured Records and in 2004, released their eponymous debut album. This was the first of five albums the group released over the next thirteen years. During this period, the toured the UK several times, opened for Wilco across Europe and appeared at the South By Southwest Festival with Andrew Mitchell playing guitar and keyboards. All the recording sessions and tours were a learning experienced and shaped him as a musician for life beyond and after The Hazey Janes.
Andrew Mitchell went on to work with Art Of The Memory Palace, Electric Soft Parade, School Of Language, Deacon Blue, Idlewild and Roddy Woomble. However, he had also embarked upon a solo career. That was when Andrew Wasylyk was born.
Soroky.
On November the ‘6th’ 2015, Andrew Wasylyk released his debut album Soroky. This was the name of the village in West Ukraine that his grandfather Iwan Wasylyk was from.
Soroky was a cinematic, cerebral and sometimes uneasy sounding album that was recorded in just five days on the island of Mull. It found Andrew Wasylyk drawing inspiration from baroque pop, modern classical and seventies Laurel Canyon singer-songwriters and his fragile and emotive vocal sounding as if he had been influenced sonically and stylistically by The Blue Nile’s Paul Buchanan, The Bathers’ Chris Thompson, former Associate Billy McKenzie as well as Scott Walker and Randy Newman. These influences shine through on an album which deals with a variety of themes. This ranges from the sense of disillusionment and anxiousness on Last Of The Loved right through to the playful retort of Mr White, It’s No Trouble At All. The result was a powerful and poignant debut solo album that borrowed from music’s glorious past and showcased a talented singer-songwriter who it seemed had bright future ahead of him.
Themes For Buildings and Spaces.
Andrew Wasylyk returned on the ‘28th’ of April 2017 with his sophomore album Themes For Buildings and Spaces. It was also the first instalment in the trilogy of albums that were journeys through the architecture and landscape of Eastern Scotland. The album had been inspired by his home city of Dundee, famed for jam, jute and journalism. However, it was the city’s architecture and open spaces that inspired the instrumental soundscapes on Themes For Buildings and Spaces. They reflect the materials which are in everyday use in the city as it’s evolved in the postwar years.
This includes Under High Blue Skies which pays homage to the Brutalist architecture in Dundee while Drift and Lower Dens Works reflects the city’s industrial past and especially the jute mills. Heavy industry is no longer part of Dundee and The Howff with its understated sound is reminder of a city that was once an industrial powerhouse. Sadly that’s no longer the case and sadness and wistfulness permeates an album which is a nostalgic look back at Dundee’s glory days. However, there’s also optimism and hope for the future on Themes For Buildings and Spaces.
The Paralian.
In 2019, Andrew Wasylyk released The Paralian which was the second instalment in the trilogy. The album came about after he received what was a once in a lifetime opportunity.
The previous year, 2018, Andrew Wasylyk was offered a residency invite by the arts centre and historic house, Hospitalfield, in Arbroath. He spent the next five month composing and creating new music on their recently restored nineteenth Century Erard Grecian harp and the house’s original grand piano. This music was inspired by the Angus landscape and incorporated field recordings made during trips to Seaton Cliffs and Bell Rock Lighthouse and formed the basis for The Paralian.
Then as winter gave way to spring, all that was left was for Andrew Wasylyk to augment the harp, piano and field recordings with synths, drones, an upright piano, flugelhorn, euphonium, oboe and a string trio. The result was The Paralian, which drew inspiration from disparate musical genres including ambient music, British folk, classic British jazz from the sixties, experimental music, fusion, modern classical, soundtracks and the golden era of library music. All these influences were part of Andrew Wasylyk’s atmospheric and cinematic album where he painted pictures and takes the listener on a journey where he explores the exchanges between sea and shore. The result was the finest album of his career and one whose filmic sound brought back memories for many people.
Fugitive Light and Themes Of Consolation.
The final instalment in the trilogy was Fugitive Light and Themes Of Consolation which was recorded between the summer of 2019 and January 2020. The album was written by Andrew Wasylyk who is a talented multi-instrumentalist who plays all of the instruments on the album as he returns to where the journey began…Dundee,
On Fugitive Light and Themes Of Consolation, Andrew Wasylyk returns to his home city. He retraces his steps on this journey upriver as sets sail and heads upriver, inland and home as he navigates his way to the city famous for jam, jute and journalism. This means sailing across the River Tay’s inner estuary and watching as the pale moon shines on the barren winter fields as the watery winter light casts a shadow on the empty city streets at dawn. They sit proudly upon what once was a quarry that was excavated to build the Dundee that Andrew Wasylyk’s journeys across. That journey is documented on and the city celebrated on the ten tracks on Fugitive Light and Themes Of Consolation.
Side One.
The music Fugitive Light and Themes Of Consolation is understated, subtle and cinematic. This filmic album from Andrew Wasylyk is also atmospheric and evocative. However, the album opener A Further Look At Loss is tinged darkness, sadness and melancholy. There’s a change of mood on Last Sunbeams Of Childhood as Andrew Wasylyk reflects on what’s the best days of our lives. Fugitive Light Restless Water then meanders along veering between a ruminative and hopeful sound as ambient, modern classical and jazz combine to create a beautiful soundscape. The Violet Hour is a piano-led cinematic track with a pastoral sound as birds sing, horns play and strings add a haunting sound. It paints a picture of a city awakening from its slumbers where sadness and hope could be near neighbours as dreams are dashed and come true. After the mechanical opening to Everywhere Something Sublime suddenly it’s all change and beauty is omnipresent as Andrew Wasylyk picks the perfect combination of instruments especially the piano, percussion and muted horns. He’s like a painter picking the perfect selection of colours as a masterpiece takes shape.
Side Two.
There’s an almost moody, haunting sound to In Balgay Silhouettes which sounds as if it belongs on the soundtrack to a French film from the sixties. Then Awoke In The Early Days Of A Better World offers hope, hope for the future. That’s apart from in Sturgeon’s Scotland where the nasty Nat’s peddle their divisive policies. Meanwhile, the genre-melting arrangement meanders melodically and floats dreamily along fusing elements of ambient, fusion, library music and modern classical music with industrial sounds and clicking kick drums. It’s a quite beautiful and memorable combination.
Even the title (Half-light Of) The Cadmium Moon paints pictures as the journey continues. That’s the case from the opening bars as the piano plays before instruments drop in and out playing a supporting role as the music becomes ethereal, elegiac and sometimes dramatic. It’s always cinematic and so much so, that one can imagine the city appearing in the (Half-light Of) The Cadmium Moon. There’s then a sense of melancholy in Black Bay Dream Minor as if the journey nears its ends that the city is no longer the proud industrial powerhouse it once was. On Lost, Aglow which closes the album there’s a sense of sadness as a Fender Rhodes is joined by drums and wistful horns as the arrangement almost reluctantly unfolds. Later, the shimmering Fender Rhodes shimmers and horn give way to the unmistakable sound of the sea. One is left to wonder how the journey ended and did the traveller reach dry land and home on this cinematic epic?
Fugitive Light and Themes Of Consolation is without doubt the finest album of Andrew Wasylyk’s career. It’s also the final instalment in a trilogy of albums that were journeys through the architecture and landscape of Eastern Scotland. Fittingly, the singer, songwriter, multi-instrumentalist and producer journeys back to Dundee the city of his birth, which has also inspired him as a musician.
On Fugitive Light and Themes Of Consolation Andrew Wasylyk seems draws inspiration from Alice Coltrane, Brian Eno, David Axelrod, John Barry, Mark Hollis and Virginia Astley and during the album fuses everything from ambient music, avant-garde, jazz, library music, modern classical, soundtracks and spiritual jazz. All this plays their part in the breathtaking cinematic journey where Andrew Wasylyk paints pictures with music on Fugitive Light and Themes Of Consolation which is a career defining album from the thirty-eight year old Dundonian.
Cult Classic: Andrew Wasylyk-Fugitive Light and Themes Of Consolation.
THE CLARK SISTERS-THE SOUND OF GOSPEL RECORDS’ YEARS 1976-1981.
The Clark Sisters-The Sound Of Gospel Records’ Years 1976-1981.
By the late-sixties, both jazz and blues were no longer as popular as they once had been. That was when it dawned on some mucicians that unless the music they loved evolved, is risked becoming irrelevant. Both jazz and blues evolved and over fifty years later, both genres are thriving and the music is still influencing a new generation of musicians.
A decade later, gospel music was in a similar situation and needed to change. It hadn’t changed and had been left behind. That was until 1976, when The Clark Sisters from Detroit, became part of a new generation of gospel groups who were determined to reinvent the music they loved.
Playing their part in the story was Elbernita “Twinkie” Clark, a naturally talented and gifted composer who wrote gospel music that not opt addressed what were important spiritual matters but modernised the music. Despite doing so, they felt they were staying true their ministry while reaching a much wider audience than many of their predecessors. However, this didn’t go down well with everyone.
Especially when DJs started playing You Brought The Sunshine (Into My Life) in discos and the track crossed over. Traditionalists within the gospel community were horrified at what was happening.
By then, Jacky, Denise, Dorinda, Karen and Elbernita Clark who collectively were known as The Clark Sisters, were already one of the biggest names in gospel music. They had signed to The Sound Of Gospel Records which was their home between 1976 and 1981, and doing that five year period they released seven albums. However, The Clark Sisters recording career began in the early seventies.
In 1973, The Clark Sisters released their debut album Jesus Has A Lot To Give. It was produced by Bill Moss and released on his own Detroit-based Biless label. Most of the album was traditional gospel music apart from the title-track where Elbernita “Twinkie” Clark had rewritten a Pepsi Cola jingle. This was just the start.
A year later, in 1974, Mattie Moss Clark Presents The Clark Sisters was released and was once again produced by Bill Moss . It was released on the Biless label and was another album of traditional gospel music. However, their music changed when they signed to the Sound Of Gospel Records, a subsidiary of Westbound Records.
Two years later, The Clark Sisters retuned in 1976, with their third album and debut for the Sound Of Gospel Records. This was Unworthy which showcased the talents of Elbernita “Twinkie” Clark as she began to incorporate elements of blues, jazz ad R&B on an album whose highlights include Keep On Looking Up, I’m Going To Have Just What I Want and My Mind Is Made Up which features Elbernita “Twinkie” Clark on lead vocal. These tracks show thatThe Clark Sisters were playing an important part in the modernisation of gospel music.
By 1978, it was the height of the disco era, and Count It All Joy became The Clark Sisters fourth album. It saw Elbernita “Twinkie” Clark given a co-producer’s credit on an album which features elements of jazz and R&B. Patience almost heads in the direction of disco, while No Other Name is jazz-tinged thanks to the Hammond organ and the swaying gospel of I Found What I’m Looking For benefits from the addition of a jazz guitar. These three tracks were among the highlights of the album of their second album for The Sound Of Gospel.
A year later in 1979, The Clark Sisters released the album Praise Belongs To God. It featured Jesus I’ll Never Forget and the uplifting and catchy God You Got The Glory which were both penned by Elbernita “Twinkie” Clark. However, this wasn’t the only album The Clark Sisters released during 1979.
They also released He Gave Me Nothing To Lose in 1979, which was the biggest crossover album of their career. Three of the highlights were Everything’s Gonna Be Alright where disco meets gospel in a Chic-tinged track, while My Cup Runneth Over showcases The Clark Sisters’ at the peak of their powers and Nothing To Lose, All To Gain was perfect for quiet storm stations and showed another side to the group.
So does He Keeps Me Money, the joyous Overdose Of The Holy Ghost and You Brought The Sunshine which another of The Clark Sisters’ tracks to crossover and become a dancefloor filler. You Brought The Sunshine was the title-track to their 1981 album and was played in many clubs, including Studio 54. However, gospel traditionalists weren’t happy and as The Clark Sisters played their part in reinventing the genre.
The last album The Clark Sisters released during the five year period signed to The Sound Of Gospel was Ye Shall Receive Power which was released in 1981. Sadly, the album failed commercially and it’s now an oft-overlooked hidden gem. Two of the albums highlights are Awake O Zion and Power.
The albums that The Clark Sisters recorded and released. They played their part in reinventing gospel music and ensuring the music stayed relevant.
Playing an important part in the reinvention of gospel music was Elbernita “Twinkie” Clark, who was a truly talented and gifted composer. She drew inspiration from disparate genres including blues, disco, funk, jazz and R&B which were incorporated into the albums The Clark Sisters released by 1976 and 1981n and saw them reinventing gospel music and ensuring it stayed relevant
The Clark Sisters-The Sound Of Gospel Records’ Years 1976-1981.
CULT CLASIC: CALVIN KEYS-SHAWN-NEEQ.
Cult Classic: Calvin Keys-Shawn-Neeq.
Having founded Black Jazz Records in 1969, Gene Russell and Dick Schory’s new label released six albums during 1971. This included Calvin Keys’ debut album Shawn-Neeq which was the fifth album that the new label released during 1971. This was the most productive year of the label’s five year existence.
In 1971, pianist Gene Russell and percussionist Dick Schory founded Black Jazz Records in Oakland, California. It was no ordinary jazz label. Instead, they wanted their new label: “to promote the talents of young African American jazz musicians and singers.” That was only part of the story.
Black Jazz Records’ cofounders were determined that their nascent label would released an alternative to what they saw as the old school jazz that was popular at the time. This included albums that featured political and spiritually influenced music. However, spiritual jazz was just part of the Black Jazz Records’ story.
Between 1971 and 1975 the label released twenty albums that included everything from spiritual jazz and soul-jazz to free jazz and funk. Eclectic described the music that the label released
Black Jazz Records’ first release was Gene Russell’s sophomore album New Direction which was released in 1971. This was just the start of a prolific year for the label.
Later in 1971, Black Jazz Records released Walter Bishop Jr’s Coral Keys and then Doug Carn’s Infant Eyes. Other labels looked on enviously at the new label and artists were keen to sign to Black Jazz Records. That was no surprise.
Cofounder Dick Schory had founded Chicago-based Ovation Records which was a successful country and western label. It was providing funding for Black Jazz Records and was also distributing its releases. This gave the new label a much needed helping hand and meant it had an edge on its competitors.
The fourth album released by the label was Spring Rain which was the debut album from Columbus-born tenor saxophonist Rudolph Johnson.
This was followed in late 1971 by Calvin Keys’ debut album Shawn-Neeq. By then, the Bay Area guitarist was twenty-eight and was regarded as a rising star in the local jazz scene.
Calvin Keys was born in Omaha, Nebraska, on the ‘6th’ of February 1943. Growing up, he learned to play guitar and it was soon apparent that he was a prodigiously talented musician.
By the time he was fourteen, he was playing he was playing with Eddie ‘Cleanhead’ Vinson’s band. After this, he toured with saxophonist Little Walkin’ Willie and decided to relocate to Kansas City.
His decision to move was vindicated when he was playing alongside Preston Love who had been part of the Count Basie Orchestra. After this, he joined the Frank Edwards Organ Trio which was good practice when he headed out on our with some of the soul-jazz organ greats.
Calvin Keys heads out on tour with the legendary Jimmy Smith, Richard ‘Groove’ Holmes and Jack McDuff. The young guitarist spent much of the sixties touring with some of the soul-jazz greats. This was good experience for him and was akin to serving a musical apprenticeship.
In 1969, Calvin Keys decided to move to LA to further his career. That was where he met bassist Larry Gales who had just left Thelonious Monk’s band and was running an after-hours coffee shop. This was where the local musicians hung out and sometimes jammed. It was also where Calvin Keys met Gene Russell who said he wanted to start a record label.
By then, Calvin Keys was working with Doug and Jean Carn and also pursing a solo career. Gene Russell knew this and asked the twenty-six year old guitarist if he would be interested in signing to the label he was about to found? It didn’t take Calvin Keys long to agree and he would soon become one of Black Jazz Records’ first signings. The reason he had moved to LA was to record a solo album and now the dream was about to become a reality.
Having signed to the nascent Black Jazz Records, Calvin Keys began work on his debut album. He wrote three of the five tracks Shawn-Neeq, Gee-Gee and BK. The other two, B.E. was written by Owen Marshall and Criss Cross was penned by Art Hillery and Red Holloway. These five tracks were recorded by Calvin Keys’ band.
When recording of Shawn-Neeq began, the rhythm section featured drummer Bob Braye and bassist Lawrence Evens. They were augmented by Larry Nash on electric piano, flautist Owen Marshall and bandleader and guitarist Calvin Keys who arranged the album. Black Jazz Records’ cofounder Gene Russell took charge of production of Shawn-Neeq which was scheduled for release later in 1971.
Prior to the release of Shawn-Neeq, Calvin Keys’ debut album was well received by critics. Just like Black Jazz Records’ previous releases it was an album that saw jazz move in a new and different direction. This was what jazz needed. It need to constantly reinvent itself if it was going to stay relevant.
Shawn-Neeq was an example of this. The album opens with B.E. a breezy slice of fusion which is the perfect showcase for Calvin Keys’ skills as a guitarist. Behind him, the rhythm section provide the heartbeat as Larry Nash’s shimmering and glistening electric piano proves the perfect accompaniment. Later, a braying flute is played with power and freedom on this innovative and melodic example of early seventies fusion.
During Calvin Keys cover of Criss Cross he unleashes a breathtaking performance as he takes centrestage and plays his guitar with speed and fluidity. So does Larry Nash on electric piano when the baton is based to him. He enjoys his moment in the sun and matches drummer Bob Braye and Calvin Keys every step of the way. Later, the bandleader unleashes another virtuoso performance as he continues to reinvent the track and take it in a new direction.
Shawn-Neeq is a quite beautiful, laidback and summery sounding track. Sometimes, it’s got a ruminative sound and other times it becomes dreamy. Beauty is everpresent on what’s the highlight of the album.
The tempo rises on Gee-Gee which breezes along as the band play as one. However, it’s not long before Calvin Keys steps forward and delivers another spellbinding performance. This seems to result in the rest of the band raising their game during an eight minute track where elements of funk, fusion and jazz-funk are combined by this talented combo. However, the twenty-eight year old bandleader and guitar hero plays a starring role on a track he named after his pet poodle.
B.K. closes Shawn-Neeq and is quite different from previous tracks. The drums are insistent and power the arrangement along with flamboyant flourishes added along the way. Meanwhile Calvin Keys showcases his versatility and considerable skills. Just like other tracks there’s a fusion influence but his playing also rocky and funky as his guitar wah-wahs. Other times he plays with speed and fluidity as his fingers fly up and down the fretboard. Calvin Keys has saved one of his best performances until last on this genre-melting epic.
When Calvin Keys recorded his debut album Shawn-Neeq he was twenty-eight and had been working as a professional musician since he was fourteen. He had a lot more experience than many of his contemporaries and sounded like a seasoned and versatile musician. Seamlessly, he and his band switch between and combined disparate musical genres on Shawn-Neeq.
This includes everything from funk and fusion to jazz and jazz-funk to rock. However, it’s Calvin Keys that steals the show on Shawn-Neeq. It was the first of two albums that he recored for Black Jazz Records.
Three years later, in 1974, Calvin Keys returned with Proceed With Caution! However, Shawn-Neeq was the best album he released for Black Jazz Records. This was just the start of a long career.
Calvin Keys released thirteen albums during a career that’s spanned six decades, but his finest moment is Shawn-Neeq which was also the most accessible album that Black Jazz Records released in 1971.
Cult Classic: Calvin Keys-Shawn-Neeq.
CULT CLASSIC: COCTEAU TWINS-VICTORIALAND.
Cult Classic: Cocteau Twins-Victorialand.
In 1979, guitarist Robin Guthrie and bassist Will Heggie formed a new band in their hometown of Grangemouth, in Scotland. The new band they called the Cocteau Twins after a song by Johnny and The Self-Abusers, who later changed their name to Simple Minds.
Not long after forming the Cocteau Twins band its founders were in a local disco Nash, where they met Liz Fraser who became the nascent group’s vocalist.
Her inimitable and ethereal vocals would play an important in the rise and rise of the Cocteau Twins between 1979 and 1997. During that period, they became one of Scotland’s most successful bands releasing eight studio albums. This included their 1982 debut Garlands and their fourth album Victorialand which was released in 1986, and were recently reissued by 4AD on vinyl.
Having met Liz Fraser, the first lineup of the Cocteau Twins was complete, and they began honing their sound. It was almost inevitable that record companies would show an interest in the band including 4AD.
At the time, one of the Cocteau Twins’ influences included Sex Pistols, Kate Bush, Siouxsie and The Banshees and The Birthday Party. It was their drummer, Phill Calvert, that encouraged the Cocteau Twins to sign to 4AD, and they released their debut album Garlands in 1982.
Garlands.
For what eventually became Garlands, the three members of the Cocteau Twins had written eight tracks, which they recorded at Blackwing Studios, in London during 1981 and 1982. Vocalist Liz Fraser was joined by bassist Will Heggie and guitarist Robin Heggie and his drum machine which he put to good use on the album. Augmenting the band was Cindy Sharp of Cindytalk who added backing vocals on Dear Heart, Hearsay Please and Hazel. The three members of the Cocteau Twins coproduced Garlands with Ivo Watts-Russell the co-founder of 4AD. When the album was completed, Garlands was scheduled for release in the autumn of 1982.
When Garlands was released on the ‘1st’ of September 1982, the album was mostly received plaudits and praise. However, there were some barbed comments with Spin saying that the album sounded like “Siouxsie and The Banshees with echo.”
Some critics tried to dismiss the Cocteau Twins as merely copying Siouxsie and The Banshees. Another critic felt the album was too repetitive. However, other critics embraced and recognised the quality of music on Garlands.
It was an ambitious and innovative fusion of post punk, gothic rock and dream pop, that sounds as if it’s been influenced by The Cure’s third album Faith and the followup Pornography; PIL’s classic Metal Box and even a nod to Joy Division. During Garlands, the music veers between visceral to dark, heavy and moody as it throbs and pulsates. Sometimes the music is edgy and has an unsettling effect. Then when Robin Heggie unleashes his guitar it screeches, sears, soars and sometimes shimmers and glistens. Occasionally, the music becomes atmospheric and hints at what was to come from the Cocteau Twins. However, for much the time they stick to the same formula which they believed was a winning one.
And so it proved to be. When Garlands was released, the album reached number four in the UK Indie chats and was eventually certified silver after selling 60,000 copies. This resulted in the Cocteau Twins being called an overnight success despite having been founded three years earlier.
Buoyed by the success if Garlands, the Cocteau Twins returned on the ‘1st’ of October 1982 with the Lullabies EP. It found their music evolving, and the EP showcasing a louder, driving fusion of post punk and gothic rock. This proved popular and reached number eleven in the UK Indie charts.
Six months later, the Cocteau Twins released their Peppermint Pig EP on the ‘4th’ of April 1983. This time, Alan Rankin of The Associates took charge of production. Stylistically, the music on the Peppermint Pig EP was similar to that on their Lullabies EP. However, the Cocteau Twins weren’t happy with the release. Despite that, it reached number two in the UK Indie charts. While the success continued for the Cocteau Twins, things were about to change for them.
Head Over Heels.
By the time work began on Head Over Heels, the Cocteau Twins were now a duo. Bassist Will Heggie had left the group leaving just Liz Fraser and Robin Guthrie who wrote the ten tracks that became their sophomore album Head Over Heels.
Recording of Head Over Heels took place at Palladium Studios, in Edinburgh during 1983. The two remaining members of the Cocteau Twins co-produced the album with John Fryer of This Mortal Coil. Head Over Heels found the Cocteau Twins changing direction as their trademark sound made its debut.
When Head Over Heels was released on the ‘31st’ of October 1983, it was to widespread critical acclaim. The music was very different, with a much more ethereal sound that the Cocteau Twins would become known for.
This was thanks to Liz Fraser’s wordless sounding vocals where it sounded as if she was singing some lost Tolkienesque language. Meanwhile, the multilayered arrangements featured chiming, glistening, shimmering and sweeping guitars often, Robin Guthrie makes good use of reverb. Occasionally, there’s a nod to Siouxsie and The Banshees, especially on In Our Angelhood. However, on most of Head Over Heels the Cocteau Twins were well on their way to forging their own inimitable sound.
When Head Over Heels was released, the Cocteau Twins’ sophomore album reached fifty-one in the UK charts and topped the UK Indie Charts. Just like Garlands, Head Over Heels was later certified silver as the Cocteau Twins’ success story continued apace.
That was the case when the Cocteau Twins released their Sunburst and Snowblind EP on the ‘7th’ of November 1983 and it reached eighty-six in the UK charts and number two in the UK Indie Charts. It was the perfect way to end what had been a difficult year for the Cocteau Twins.
Their first releases of 1984 were the single Pearly Dewdrops’ Drops and The Spangle Maker EP. When they were released on the ‘2nd’ of April 1984 they reached number twenty-nine on the UK charts and number one the the UK Indie Charts. This augured well for the release of their next album, Treasure.
Treasure.
By the time the Cocteau Twins began recording their third album Treasure, there had been another change in the group’s line. The addition of bassist Simon Raymonde was the final piece in the jigsaw, and this was the start of a new era for the classic lineup of the Cocteau Twins.
They wrote and produced the ten tracks which later, became Treasure. Recording sessions took place at Palladium Studios, in Edinburgh, and Rooster Studios, in West London, between August and September 1984. Less than two months later the album was released, and it proved to be musical Treasure.
When critics heard the Cocteau Twins’ third album Treasure, it was immediately hailed as their finest album. It showcases their trademark ethereal dream pop sound which was now fully formed. The music was inventive, imaginative, beautiful and sometimes, was cinematic and wistful. This musical Treasure trove was the Cocteau Twins’ most melodic offering and nowadays, is regarded as a dream pop classic and one of the group’s finest hours.
Record buyers agreed, and when the album was released on the ‘1st’ of November 1984 it reached twenty-nine in the UK charts and two in the UK Indie charts. Elsewhere, Treasure reached thirty-four in New Zealand and thirty-two in Sweden. Later, the Cocteau Twins received another silver disc in the UK for Treasure. It seemed that they could do no wrong.
During 1985, the Cocteau Twins released three more EPs. The first was the Aikea-Guinea EP which was released on the ‘4th’ of March 1985 and reached forty-one on the UK charts and topped the UK Indie charts. It also reached the thirty-eight in New Zealand, where the Cocteau Twins were becoming popular. By then, the Cocteau Twins’ popularity was growing and their music was finding favour with record buyers in other parts of the world.
November 1985 was a busy time for the Cocteau Twins who released two EPs within the space of a fortnight. Tiny Dynamine was released on the ‘15th’ of November and reached fifty-two in the UK charts and again, topped the UK Indie charts. It was two in a row for the Cocteau Twins.
Two weeks later, Echoes In A Shallow Bay was released on the ‘29th’ of November, reaching sixty-five in the UK charts and became the Cocteau Twins’ third consecutive EP to top the UK Indie charts. Meanwhile, the EP reached forty-eight in New Zealand. 1985 had been a successful year for the new lineup of the Cocteau Twins.
The Pink Opaque.
As 1986 dawned, the Cocteau Twins prepared to release the first compilation of their career,The Pink Opaque. By then, they were growing in popularity in America, partly because they had been played on college radio. However, the Cocteau Twins didn’t have a distribution deal in America, which made reissuing their back-catalogue or new albums problematic.
A way round this was to have the American label Relativity Records distribute the Cocteau Twins’ albums under license. This started with the compilation The Pink Opaque, which was essentially a sampler of the Cocteau Twins’ music up until 1985. The Pink Opaque compilation was released on the ‘13th’ of January 1986 and was the first time many Americans were able to find a Cocteau Twins’ album in their local record shop. Another would follow later in 1986.
Victorialand.
This was Victorialand, which found the Cocteau Twins once again recording as a duo. The newest member of the group Simon Raymonde, had been asked by This Mortal Coil to collaborate with them on their album Filigree and Shadow. For the second time, it was a case of and then there were two.
For their fourth album Victorialand, Liz Fraser and Robin Guthrie wrote nine tracks. Some of the track titles were were borrowed from passages on the Arctic and Antarctic that feature in David Attenborough’s The Living Planet: A Portrait Of The Earth, a book that accompanied his 1984 BBC documentary series The Living Planet. The album title was a reference to the part of Antarctica known as Victoria Land, which was named after Queen Victoria.
When recording of Victorialand began, it was a very different album to everything that preceded it. The album featured just Robin Guthrie’s guitar and Liz Fraser’s vocals with Richard Thomas of Dif Juz playing saxophone and tabla. There were neither drums nor percussion on Victorialand just acoustic guitars which were drenched with reverb to create space for Liz Fraser’s vocals inimitable ethereal vocals. They played an important part in the sound and success of Victorialand.
The only problem arose during the mastering of Victorialand. It wasn’t easy to replicate the Cocteau Twins minimalist soundscapes on vinyl. A solution was to press an album that played 45 rpm rather 33⅓ rpm. This worked and the Cocteau Twin’ fourth album Victorialand was ready to be released.
When Victorialand was released on the ‘14th’ of April 1986, it was to widespread critical acclaim, and reached number ten in the UK charts and became their second album to top the UK Indie charts. For the Cocteau Twins, Victorialand was the most successful album of their career and for many critics their best.
Victorialand which featured nine carefully crafted soundscapes where the Cocteau Twins take as a starting point their trademark dream pop sound and add elements of ambient, ethereal wave and even hints of psychedelia. It’s a genre-melting opus from the Cocteau Twins.
The nine soundscapes on Victorialand were variously understated, atmospheric, crystalline, dreamy, ethereal, elegiac and cinematic as the Cocteau Twins paint pictures with music that cocoons the listener and transports them to another time, place or even planet. It’s a case of listeners relaxing and allowing themselves to drift away and let their imagination run riot. That’s easy to do as you immerse yourself in these multilayered and nuanced soundscape which also have a psychedelic side. This comes courtesy of the the guitars drenched in reverb and Liz’s ethereal, cooing vocal. When all this is combined it results in a truly beautiful album of relaxing music that allows the listener to drift away and forget their troubles. It’s music to soothe the weariest of souls and when it was released in April 1986 was the finest album of the Cocteau Twins career .
Eventually, the Cocteau Twins went on to release eight studio albums before splitting up in 1997. Nowadays, Victorialand is regarded as one of their finest albums and a genre classic. It’s also a reminder of the Cocteau Twins during a period when it seemed like they could do wrong. From Treasure onwards, the Cocteau Twins enjoyed commercial success and critical acclaim. That was the case right through to their 1996 swansong Milk and Kisses. During that periodm, the Cocteau Twins always released music which was ambitious and innovative. This was the case with Victorialand where the Cocteau Twins scaled new heights on what was regarded upon its release as a career-defining album.
Cult Classic: Cocteau Twins-Victorialand.
CLASSIC ALBUM: DR JOHN-DR JOHN’S GUMBO.
Classic Album: Dr John-Dr John’s Gumbo.
Success didn’t come overnight for the late, great Dr John. His first three albums failed to chart and his fourth album The Sun, Moon and Herbs stalled at 184 in the US Billboard 200 in August 1971. This was progress for one of music’s great survivors. He was on his way and returned in April 1972 with his breakthrough album Dr John’s Gumbo. By then, Dr John was thirty-one and was into his third decade as a musician.
The future Dr John was born Malcolm John “Mac” Rebennack Jr, on November the ‘20th’ 1940, in New Orleans, Louisiana. He grew up in the Third Ward of New Orleans, and music was always around him.
His father Malcolm John Rebennack ran an appliance shop in the East End of New Orleans, where he repaired radio and televisions and sold records. He introduced his son to the music of King Oliver and Louis Armstrong. However, one of the people who inspired Mac Rebennack was his grandfather who he heard singing minstrel songs. So did hearing his aunts, uncles, cousins and sister playing the piano. Despite this, Mac Rebennack wasn’t inspired to take music lessons.
This only came later when he was a teenager. He also joined a choir, but was soon asked to leave. However, over the next few years Mac Rebennack learnt to play the guitar and later piano, and through his father’s contacts in the local music scene was soon playing alongside some well known names including Guitar Slim and Little Richard. This was just the start for Mac Rebennack.
When he was thirteen, he met Professor Longhair and he was instantly impressed by the flamboyant showman. Mac Rebennack was soon playing alongside his new hero, and this was the start of his professional career.
Around 1955 or 1956, Mac Rebennack made his debut in the recording studio when he was signed as a singer and songwriter by Eddie Mesner at Aladdin Records. The future Dr John’s career was underway and towards the end of 1957 with the help of Danny Kessler, he joined the musician’s union. That was when he considered himself to be a professional musician.
By the time he was sixteen, Mac Rebennack had been hired by Johnny Vincent at Ace Records as a producer. This led to him working with Earl King, James Booker and Jimmy Clayton. This was all good experience for the young, up-and-coming musician
Despite his new career, Mac Rebennack was still a student at Jesuit High School. This didn’t stop him playing in night clubs and forming his first band The Dominoes. The Jesuit fathers weren’t happy with Mac Rebennack’s lifestyle and issued him with an ultimatum. He was to either stop playing in nightclubs or leave the school. Not long after this, he was expelled from the school. It turned out to be the best thing that happened to him as he was able to concentrate on music full time.
By the late-fifties, Mac Rebennack was playing with various bands in and around New Orleans. This included his own band Mac Rebennack and The Skyliners. However, the young bandleader had also embarked upon a career as a songwriter.
In 1957 Mac Rebennack cowrote his first ever rock ’n’ roll song Lights Out. It was recorded by New Orleans based singer Jerry Byrne, and released on Specialty Records later in 1957 and give him a regional hit.
Two years later, in 1959, Mac Rebennack also enjoyed a regional hit single when he released Storm Warning, a Bo Diddley insprired instrumental, on Rex Records. This was the first hit he enjoyed in a long, illustrious and eventful career.
After Storm Warning, Mac Rebennack and Charlie Miller joined forces and recorded singles for various local labels. This included Ace, Ron, and Ric. They continued to release singles until Charlie Miller decided to move to New York to study music. Mac Rebennack stayed in the Big Easy and continued his career.
Around 1960, Mac Rebennack was playing a gig in Jacksonville, Florida, when his career was changed forevermore. That night, his ring finger on his left hand was injured by a gun shot during an incident. This was a disaster for a right handed guitarist and when he recovered he made the switch to bass guitar. However, after a while Mac Rebennack switched to the instrument he made his name playing, the piano.
Soon, Mac Rebennack had developed a style that was influenced by Professor Longhair who he had met when he was thirteen. It looked as if this was a new chapter in Mac Rebennack’s musical career.
That wasn’t the case and Mac Rebennack ended up getting involved in the dark underbelly of The Big Easy. He was using and selling illegal drugs and at one point, running a brothel. It was almost inevitable that Mac Rebennack was going to have a brush with the law.
He did. In 1963, when Mac Rebennack was arrested on drug charges and sentenced to two years in the Federal Correctional Institution, in Fort Worth, Dallas. By the time his sentence ended and he was released in 1965, New Orleans was a different place.
There had been a campaign to rid the city of its clubs, which meant that musicians like Mac Rebennack found it hard to find work. That was why he decided to move to LA where he knew he could find work as a session musician.
It turned out to be a good decision, and it wasn’t long before Mac Rebennack was one of the first call session musicians in LA. That was the case for the rest of sixties and the seventies. He was also a member of the legendary Wrecking Crew and worked with some of the biggest names in music. This was the new start Mac Rebennack had been looking for when he left New Orleans.
Growing up Mac Rebennack had developed an interest in New Orleans voodoo. This was something he revisited during his early years in LA when he began to develop the concept of Dr John, which initially he thought could be a persona for his friend Ronnie Barron. The concept was based on the life of Dr John, a Senegalese prince, a witch doctor, herbalist and spiritual healer who travelled to New Orleans from Haiti. He was a free man of colour who lived on Bayou Road, and claimed to have fifteen wives and over fifty children. It was believed Dr John also kept a variety of lizards, snakes, embalmed scorpions as well as animal and human skulls, and sold gris-gris, voodoo amulets which were meant to protect the wearer from harm. This Mac Rebennack incorporated into the project he was working on for Ronnie Barron.
Soon, Mac Rebennack had decided to write, produce and play on an album and stage show based on his concept with Dr John emblematic of New Orleans’ heritage. It was meant to feature Ronnie Barron. However, when he dropped out of the project Man Rebennack took over the role and adopted the identity of Dr John. This was a turning point in the life and career of the man born Mac Rebennack.
Dr John became the name that he found fame as and won five Grammy Awards. However, that was still to come.
Having adopted the moniker Dr John,The Night Tripper he was signed by Atco Records and recorded his debut album Gris Gris. It was his his own “voodoo medicine” and marked the start of what’s now regarded as a golden era for Dr John.
Gris Gris.
When a copy of Dr John’s debut album Gris Gris, which was sent to Atlantic Records’ founder Ahmet Ertegun he disliked the album so much, that he was reluctant to even release the album and said: “how can we market this boogaloo crap?” This wasn’t the response that Dr John had been hoping when he recorded Gris Gris which was a combination of psychedelia, blues, free jazz, R&B, soul, funk, jazz. Add to this psychedelic stew the authentic music of the melting pot that is New Orleans and the voodoo image that Dr John had carefully cultivated and Gris Gris was like no other album that Atlantic Records had released. That presented the label with a huge problem.
Atlantic Records’ PR department had idea to promote an album like Gris Gris, as they had no cultural reference points, nothing to compare the album to. Despite the best efforts of Atlantic Records PR department, when Gris Gris was released on January the ’22nd’ 1968 and introduced the world to Dr John The Night Tripper, it failed to trouble the charts and neither critics nor record buyers understood Dr John’s groundbreaking debut album. However, like so many albums that fail to find an album on their release, Gris Gris was later reappraised and belatedly, was recognised as a seminal album that was the start of a rich vein of form from Dr John.
Gris Gris was the start of a six-year period when Dr John could no wrong, and released seven innovative albums that are among the his finest work.
Babylon.
This included his sophomore album Babylon on January the ’17th’ 1969. It was a powerful, cerebral and innovative genre-melting album which socially had much in common with Dr John’s debut album Gris Gris.
Sadly, critics didn’t ‘get’ Babylon and the album which failed commercially. However, just like Gris Gris, Babylon was later reappraised by critics and nowadays is regarded as one of his finest albums and a minor classic.
Remedies.
Following the commercial failure of Babylon, things went from bad to worse for Dr John, before he could begin work on his third album Remedies. This started when a deal went south, and he was arrested by the police and ended up in jail. It was a worrying time for Dr John who was parole, and if he ended up with a parole violation, he knew he might end up in the infamous Angola jail. That didn’t bare thinking about, and already Dr John was desperate to get out of the local jail. However, he needed someone to post bail, so contacted his managers who he remembers: “were very bad people.” This proved to be an understatement.
Not long after this, Dr John’s managers had him committed to a psychiatric ward, where he spent some time. By then, it was obvious to Dr John that his managers were no longer playing by the rules. All he wanted to do was make music, and everything that had happened recently were nothing to do with music. Instead, it was all connected to Dr John’s increasingly chaotic lifestyle, which made it all the more frustrating for those that realised just how talented the Gris Gris Man was.
Eventually, having managed to put his problems behind him, Dr John wrote the six tracks that became Remedies using his real name Mac Rebennack. Among the tracks Dr John had written was What Goes Around Comes Around which later became a favourite during his live shows and Mardi Gras Day which paints pictures of New Orleans when it comes out to play. Very different was Angola Anthem which was inspired by a friend of Dr John’s who had just been released from Angola, the Louisiana State Penitentiary after forty years. Dr John paid tribute to his friend with an eighteen minute epic that took up all of side two of Remedies. It was produced by one of the most successful producers of the day.
Although Harold Battiste had produced Gris Gris and Babylon, he was replaced by Tom Dowd and Charles Greene who were tasked with transforming Dr John’s career. However, although Tom Dowd was enjoying the most successful period of his career, he had never worked with anyone like Dr John.
When Remedies which was released in the spring of 1970, just like his two previous albums, critics didn’t seem to understand Remedies, which was credited to Dr John The Night Tripper. Remedies was another ambitious album of genre-melting, voodoo-influenced album where Dr John The Night Tripper through everything from psychedelia, blues, R&B, soul, funk and jazz into the musical melting pot and gave it a stir to create an album where the music was mysterious, otherworldly and haunting.
By the time Remedies was released on April ‘9th’ 1970, some FM radio stations had picked up on the album, and were playing it on their late shows. Despite the radio play Remedies had received, the album never troubled the charts, and it was only much later that record buyers realised that they had missed out on another important and innovative album from Dr John.
The Sun, Moon and Herbs.
Despite Dr John’s first three albums failing to find an audience, many of his fellow musicians were fans of his music, and were only too happy to feature on his fourth album The Sun, Moon and Herbs. This included Eric Clapton, Mick Jagger, Bobby Whitlock, Graham Bond, Carl Radle, Jim Gordon and Doris Troy. They were joined by The Memphis Horns as Dr John and Charles Greene took charge of production.
They were responsible for a dark and swampy sounding album that is rich in imagery and paints of New Orleans on a hot, sticky night as thunder crackles and rumbles in the distance like the drums on The Sun, Moon and Herbs. When it was released on August the ’31st’ 1971, still critics struggled to understand Dr John’s music, but this time, The Sun, Moon and Herbs which featured an all-star cast, spent five weeks in US Billboard 200 and peaked at 184. At last, Dr John’s music was starting to find a wider audience.
Dr John’s Gumbo.
Buoyed by the success of The Sun, Moon and Herbs, Dr John decided to record an album of cover versions for his fifth album. These weren’t just any cover versions. Instead , they were billed as an album of covers of New Orleans’ classics. These tracks became Dr John’s Gumbo which was produced by Harold Battiste and Jerry Wexler and ironically, was recorded in Los Angeles.
For his fifth album, Mac Rebennack aka Dr John wrote Somebody Changed The Lock which joined eleven other New Orleans classics. This included the traditional song Stack-A-Lee; Professor Longhair’s Tipitina; James “Sugar Boy” Crawford’s Iko Iko; Earl Gaines’ Big Chief; Bob Shad’s Junko Partner; Ahmet Ertegun’s Mess Around; Huey “Piano” Smith and Izzy Cougarden’s Blow Wind Blow and Earl King wrote Let the Good Times Roll and cowrote Those Lonely Lonely Nights with Johnny Vincent. He cowrote Little Liza Jane with Huey Piano Smith and the medley of High Blood Pressure, Don’t You Just Know It and Well I’ll Be John Brown. These tracks became were recorded in LA and became Dr John’s Gumbo.
The recording took place at Sound City Studios, in LA with Dr John playing guitar, piano, cornet and taking charge of the vocals. He was joined by drummer and percussionist Fred Staehle, bassist Jimmy Calhoun and guitarist Ken Klimak. They were joined by percussionist Richard Washington, a horn section plus backing vocalists Shirley Goodman, Tammy Lann, Robbie Montgomery and Jessica Smith. Producing Dr John’s Gumbo were Harold Battiste and Jerry Wexler.
They produced what was Dr John’s tribute to the music of the city of his birth. It was a very different album to his four previous releases. Dr John’s Gumbo marked a move away from what his persona Dr John The Night Tripper. Some critics didn’t understand Dr John’s musical alter ego and certainly didn’t “get” the voodoo references. Despite that, he had a cult following. That was about to change.
When Dr John’s Gumbo was released critics called it one of Dr John’s finest albums. They preferred and understood the music on the album which was much more straightforward, accessible and steeped in New Orleans’ R&B traditions. Especially, tracks like Iko Iko, Somebody Changed The Lock, Mess Around, Let The Good Times Roll, Junko Partner, Those Lonely Lonely Nights and the Huey Smith Medley. These songs were part of what was akin to a homage to the Big Easy that showcased Dr John’s considerable talents. It was also Dr John’s most accessible album.
Dr John’s Gumbo was released on April the ‘20th’ 1972, it spent and spent seven weeks in the US Billboard 200. On June the ‘24th’ 1972 it reached 112 in the US Billboard 200 and became Dr John’s most successful album.
Dr John’s Gumbo was the fifth of seven albums that Dr John released for Atco Records between 1968 and 1974. While these albums weren’t always appreciated or understood by critics, they’re now regarded as part of what was a golden era for Dr John.
He was at his creative zenith during his Atco Records years and was often misunderstood even by the supposed experts who ran the label. It was only much later that critics reappraised the albums that Dr John released for Atco Records and realised that he was recording and releasing ambitious, imaginative and innovative albums of genre-melting music. Ironically when he returned to what was a much more traditional R&B sound on Dr John’s Gumbo he enjoyed the most successful album of his career. It’s also one of the finest albums of not just Dr John’s Atco Records’ years but a career that spanned six decades.
During what was a long and illustrious career, Dr John had released thirty studio albums and nine live albums. He won six Grammy Awards and was inducted into the Rock and Roll Hall of Fame in 2011. However, it wasn’t always been smooth sailing for Dr John who battled heroin addiction but eventually he conquered his demons and continued to released albums and tour.
Sadly, Dr John passed away on June the ‘6th’ 2019 aged just seventy-seven. Dr John a truly talented and maverick musician left behind a rich musical legacy which includes the seven albums he recorded during his Atco Records years including one of his finest and most accessible, Dr John’s Gumbo, which is ranked at number 404 on Rolling Stone magazine’s list of the 500 greatest albums of all time, and is the perfect introduction to a musical legend.
Classic Album: Dr John-Dr John’s Gumbo.
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CULT CLASSICS: VICTOR CHUKWU-AKALAKA-/UNCLE VICTOR CHUKS AND THE BLACK IROKOS-THE POWER.
Cult Classics: Victor Chukwu–Akalaka /Uncle Victor Chuks and The Black Irokos–The Power.
By 1977, Victor Chukwu was regarded as one of masters of Igbo highlife and over the next two years recorded two of his most important and rarest albums. The first was a solo album Akalaka, and the second was The Power which was credited to Uncle Victor Chuks and The Black Irokos. These albums are a reminder of Victor Chukwu’s unique brand of Igbo highlife. It’s feelgood music that is uplifting, dignified and spiritual that played and continues to play an important part in Igbo culture.
The roots of Igbo highlife can be traced to the late-fifties, and Onitsha, a city which was located on the banks of the Niger River in Nigeria’s Anambra State. That was where Igbo highlife was born.
Igbo highlife grew in popularity during the early sixties, especially just after Nigeria gained independence. However, all wasn’t well in Nigeria. There was poverty, wages were low and housing was overcrowded and dangerous. This resulted in strikes and by June 1964 the Nigerian people had enough and there was a general strike. Although this resulted in wage increases, there was tension between the army and civilians who believed the government was corrupt. It went to the polls at the end of 1964.
On the ‘30th’ of December 1964, there was meant to be an election in Nigeria. However, in some parts of the country the election didn’t take place until the ‘18th’ of March 1965. The Northern People’s Alliance won the election, but the result was marred by violence accusations that the result had been manipulated. Sadly, things were about to get worse for the people of Nigeria.
Ten month later there was a military coup on the ’15th’ of January 1966. Just four months later, the 1966 anti-Igbo pogrom began in May and lasted until September. By then, an estimated 80,000 to 100,000 Igbos and people of southern Nigerian origin had been murdered. Another million Igbos fearing for their lives fled from the Northern Region to eastern Nigeria.
This led to the secession of the eastern Nigeria region and the declaration of the Republic of Biafra. Sadly, those that had sought sanctuary were now caught up in the Nigeria-Biafra war which began on the ‘6th’ of July 1967, and lasted until the ’13th’ of January 1970. After a war lasting two years, six months, one week and two days there had been 100,000 military casualties, while between 500,000 and three million Biafran civilians died of starvation and Biafra rejoined Nigeria.
During what was a bloody period in Nigerian history, Igbo highlife’s popularity grew. It was primarily guitar-based music, which also included a combination of horns and vocal rhythms. They’re sung in a call and-response style in Igbo or pidgin English. The music takes its 6/8 time signature from the Ogene bell that take a prominent place at the front of Igbo gatherings.
The Igbo bell can also be heard on Victor Chukwu’s solo release Akalaka and on Uncle Victor Chuks and The Black Irokos’ album The Power. They’re two of the albums that Victor Chuku recorded and released for the Tabansi label between the late-seventies and early eighties.
Before signing to Tabansi, Victor Chukwu and The Black Irokos had released Vol. 1-Nwanne Bu Nwanne on the Jet Sound Studio label in 1975. The bandleader wrote the six tracks on this album of Igbo highlife which was recorded at the Jet Sound Studio. It’s one of the earliest recordings of Victor Chukwu and nowadays, is an extremely rare album with copies changing hands for upwards of $375.
Next stop for Victor Chukwu was Tabansi Records, which by the late-seventies was Nigeria’s biggest and most important record company. It was founded by Chief Tabansi in Nigeria in 1952, and filled a void when major labels like Decca and later, Philips closed the doors on their Nigerian operations.
In the early days, Chief Tabansi recorded artists in the towns and villages in parts of Nigeria, and then pressed the records at The United African Company’s pressing plant. After that, record vans promoted the latest releases in Nigerian villages. This was just the start for Tabansi Records.
In the sixties, The United African Company decided to concentrate on importing American and European music. With very little competition, Tabansi Records was able to concentrate on local music, which The United African Company had turned its back on. This was a big mistake
During the seventies, Tabansi Records was the most successful Nigerian label, and its founder Chief Tabansi was one of the leading light’s of country’s thriving and vibrant music scene. He had invested in the company which was based in Onitsha, Lagos, and by the seventies, it had its own studios and pressing plant. Tabansi Records was going from strength-to-strength. This was the perfect time for Victor Chukwu to sign to Tabansi Records.
Akalaka.
Very little is known about the time Victor Chukwu spent signed to Tabansi Records. He released three albums for the label, including his solo album, Akalaka. It’s thought that it was recorded around 1977, at the Tabansi Studios in Onitsha.
Victor Chukwu wrote and arranged the four tracks that became Akalaka. He was joined in the studio by a drummer, bassist and some horns. To augment this small but tight and talented band Victor Chukwu doubled his tenor saxophone and adds guitar. Taking charge of production was Chief Tabansi who also mixed and mastered Akalaka.
It’s thought that Tabansi Records released Akalaka later in 1977. However, like so many of the Tabansi Records’ releases the exact dates of the recordings and release dates are unknown. It requires a degree of detective work and sometimes, an element of guesswork to work out a release date. That was the case with Victor Chukwu’s Tabansi Records’ debut Akalaka.
Ogbu Mmadu (Murderer) was recorded in 6/8 time and opens Akalaka. It combines a Igbo highlife groove with calypso influenced horns and Victor Chukwu’s Hawaiian-tinged guitar which weaves and winds its way across the arrangement. He’s accompanied by backing vocalists as he delivers an impassioned vocal and narrates the story about the Murderer.
Although Nwanne Bu Nwanne was recorded in 6/8 time it’s quite different from the album opener. The tempo increases and the music is joyous and uplifting as the arrangement trots along. It features a myriad of percussion, stabs of horns and woodwind which join forces with the crystalline, chiming guitar. They create an almost mesmeric backdrop for the vocal which veers between a vamp to jazz-tinged and soulful on one of the album’s highlights.
Born Throwaway is another example of major key Igbo highlife. However, this time, the vocal and backing vocals are delivered in pidgin rather than the regular Igbo language. Meanwhile, the arrangement has an almost mesmeric quality as the percussion and guitar melt into one and stabs of blazing horns punctuate the arrangement which later becomes funky. When all this is combined it’s a spellbinding and potent combination.
Closing the album is Akalaka (Mind Your Business). It’s delivered in a similar storytelling style to Chief Stephen Osita Osadebe. Horns and woodwind play a leading role in the arrangement as Victor Chukwu delivers a warning to the listener to Mind Your Business.
When Akalaka was released in 1977, Victor Chukwu’s debut for Tabansi Records the album wasn’t a commercial success. Very few copies and sold and nowadays, Akalaka is one of Igbo highlife rarity.
Despite the commercial failure of Akalaka, the music was of the highest quality. Victor Chukwu took Igbo highlife as a starting point and with the help of a tight and talented band combined elements of funk, jazz and soul. The result was music joyous, uplifting and akin to a call to dance and sometimes thought-provoking and cerebral. Other times, there was a spiritual quality to the music which sometimes, was like a mini moral tale. This made Akalaka an intriguing album. Given the quality of music on the album it deserved to find a wider audience. Sadly, that wasn’t the case and very few people bought or heard Akalaka. Despite that, Victor Chukwu’s career at Tabansi Records continued.
The Power.
The next album he recorded was The Power, where he was billed as Uncle Victor Chuks and The Black Irokos. Just like Akalaka, it’s not known when the album was recorded and released. It could be 1979 or as late as 1984 as there are a few copies of the album that are dated 1984. However, going by the catalogue number it seems more likely that The Power was released in 1979.
For The Power, Victor Chukwu had written three new tracks which he arranged. He also played tenor saxophone and guitar on the album. It was recorded at the Tabansi Studios in Onitsha, and produced, mixed and mastered by Chief Tabansi.
When The Power was released it also failed to find an audience. That was despite being an ambitious album that tried to take Igbo highlife in a new direction. Proof of that was the album opener.
Onwu Uwa (Famine) which is played in 6/8 time opens The Power and sounds almost psychedelic. That’s because of the way the electric guitar is played. The strings are dampened and plucked pizzicato style as effects are added from the mixing desk. Soon, blazing horns are added and combine with percussion and an impassioned and heartfelt vocal delivers lyrics full of social comment on this powerful, genre-melting track that in parts is experimental.
Just like the previous track, Anya Ukwu (Envy) is played in 6/8 time and features a pizzicato guitar which combines with an impressive ogene drumming combo. At one point, the track seems to have been influenced by Ghanian sikyi minor key highlife. Meanwhile, Victor Chukwu delivers the lyrics to this genre-melting moral tale.
Oge Chukwu(Time For God) closes The Power and it’s a case of saving the best until last. Victor Chukwu’s guitar weaves and lopes its way across the arrangement and just like the horns and woodwind plays a starring role. Together they play their part in this uplifting, joyous and spiritual opus.
Despite the undeniable quality of the music on The Power it also failed to find an audience. That was despite being an ambitious and innovative album of Igbo highlife where Uncle Victor Chuks and The Black Irokos weren’t afraid to experiment on this genre-melting album. They added funk, gospel, jazz, psychedelic and soul to Igbo highlife on the three tracks. One was full of social comment, another was a moral tale and the album closer was spiritual. The Power was a joyful, powerful and thought-provoking album that just like Akalaka, failed to find the audience it deserved.
Since then, a new audience has discovered the delight of Victor Chukwu’s album Akalaka and Uncle Victor Chuks and The Black Irokos’ The Power. The starting point on both albums is Igbo highlife which is combined with funk, Ghanian highlife, gospel, jazz and soul. The result is music that’s joyful, uplifting, catchy, soulful and dancefloor friendly as also thought-provoking and spiritual. It’s a powerful combination and these two cult classics will be of interest to anyone with a passing interest in African music.
Cult Classics: Victor Chukwu–Akalaka /Uncle Victor Chuks and The Black Irokos–The Power.
DEXTER GORDON-ONE FLIGHT UP
Dexter Gordon-One Flight Up.
Label: Blue Note Records.
Format: LP.
Not long after Dexter Gordon recorded A Swinging Affair on August the ’29th’ 1962, the thirty-nine year old jazz saxophonist decided to leave New York where he had been living, and moved to Europe. He settled first in the Danish capital Copenhagen, but by May 1963 was living in Paris, France.
Our Man In Paris.
That was where Dexter Gordon recorded his next two albums for Blue Note Records. The first was Our Man In Paris, a quartet recording which took place at CBS Studios, on May the ‘23rd’ 1963. That day, the quartet recorded five standards.
This included Charlie Parker’s Scrapple From The Apple, Ann Ronell’s Willow Weep For Me, Billy Bird, Teddy McRae and Henri Woode’s Broadway, Matty Malneck, Mitchell Parish and Frank Signorelli’s Stairway To The Stars plus Dizzy Gillespie and Frank Paparelli’s A Night In Tunisia. These standards were recorded by a quartet that featured three American expats who had made Paris their home.
The quartet featured drummer Kenny Clarke, Paris-born bassist Pierre Michelot, pianist Bud Powell and tenor saxophonist Dexter Gordon. They recorded five standards during the one day session which was produced by Francis Wolff. These tracks would eventually become Our Man In Paris.
Seven months later, in December 1963, Our Man In Paris was released by Blue Note Records to widespread critical acclaim and hailed as one of Dexter Gordon’s finest albums. The highlight was A Night In Tunisia which features one of his finest performances. Fifty-eight years later and Our Man In Paris is now regarded as a hard bop classic and an essential part of a jazz collection.
One Flight Up.
Six months after the release of Our Man In Paris, Dexter Gordon returned to CBS Studios on the ‘2nd’ of June 1964 to record the followup. By then, he was dividing his time between playing live and working as a sideman. He was enjoying life in Paris but was ready to return to the studio.
This time, only three tracks would be recorded. This includes Donald Byrd’s Tanya, Kenny Drew’s Coppin’ The Haven and Eddie DeLange and Jimmy Van Heusen’s Darn That Dream. They were recorded by a quintet led by Dexter Gordon and produced by Francis Wolff.
For the One Flight Up sessions, the band featured drummer Art Taylor, eighteen year old Danish bassist Niels-Henning Ørsted Pedersen, pianist Kenny Drew, trumpeter Donald Byrd and tenor saxophonist Dexter Gordon. This talented quintet recorded the three tracks which became One Flight Up which was released in mid-September 1965.
By then, Dexter Gordon had returned to the studio and recorded two more albums for Blue Note Records at Van Gelder Studios, Englewood Cliffs, New Jersey during three days in May 1965. The first was Clubhouse which was recorded on May the ‘27th’ 1965 and then Gettin’ Around which was recorded on May the ’28th’ and ’29th’ 1965. Sadly, it was another fourteen years before the albums were released.
Meanwhile, Dexter Gordon must have known that it wasn’t going to be easy to followup an album as good as Our Man In Paris. However, when Blue Note Records released One Flight Up in mid-September 1965 to plaudits and praise.
By then, Dexter Gordon was an experienced bandleader who was able to spot up-and-coming musicians which he added to his band. This was the case with Danish bassist Niels-Henning Ørsted Pedersen who joined drummer Art Taylor and Kenny Drew in the rhythm section. The front line featured Dexter Gordon and trumpeter Donald Byrd who wrote the album opener.
This was Tanya, an eighteen minute epic that takes up the first side of One Flight Up. Simplicity is the key on this post bop jam where the quintet enjoy the opportunity to stretch their legs. Soon the arrangement starts to swing and later it features some of the best solos on the album. They come courtesy of the front line. Trumpeter Donald Byrd and Dexter Gordon’s bluesy tenor saxophone steal the show and play a starring role. Meanwhile, drummer Art Taylor and pianist Kenny Drew plays a supporting roles in what’s nowadays regarded as a jazz classic.
Opening the second side is the Kenny Drew composition Coppin’ The Haven. It’s eleven magnificent minutes of modal minor key modern jazz where Donald Byrd plays a leading role. His trumpet carries the glistening, shimmering melody as the arrangement gently swings as the drums interject. Later, bandleader Dexter Gordon unleashes a spellbinding solo before the baton posses to Kenny Drew. His fingers dance across the piano keyboard as Niels-Henning Ørsted Pedersen’s bass propels the arrangement along. Soon, the band unite and play as one as they bring this majestic example of modern jazz to a close.
The ballad Darn That Dream closes One Flight Up. As the tenor saxophone and piano combine with an understated rhythm section. Together they create a late-night smokey sound that’s like a like jazz club late at night. The music may wistful and ruminative but it’s also beautiful and encourages the listener to reflect.
One Flight Up was the second album that Dexter Gordon recorded for Blue Note Records after moving to Paris in 1963. The first was Our Man In Paris which was released to critical acclaim in December 1964. Nine months later Dexter Gordon returned with One Flight Up which was recently reissued by Blue Note Records as part of their Tone Poet series.
It’s a welcome reissue of an album that’s nowadays, is sometimes underrated and often overlooked in favour of some of including Doin’ Allright, Dexter Calling…, Go, A Swingin’ Affair and Our Man In Paris. They’re some of the best albums that Dexter Gordon recorded for Blue Note Records and feature one of the great tenor saxophonists of his generation. So does One Flight Up.
One Flight Up is an almost flawless album where Dexter Gordon reinvents his music and combines post bop, modal minor key modern jazz and balladry on what was the second chapter in Our Man In Paris’ European adventure.
Dexter Gordon-One Flight Up.
HURDY GURDY SONGS-WORDS AND MUSIC BY DONOVAN 1965-1971.
Hurdy Gurdy Songs-Words and Music By Donovan 1965-1971.
Label: Ace Records.
Format: CD.
Having signed to Pye Records in 1965, nineteen year old singer-songwriter Donovan began working with the producers Terry Kennedy, Peter Eden and Geoff Stephens on his debut single Catch The Wind. When the single was released on the ‘12th’ of March 1965, it reached number four in the UK and twenty-three in the US Billboard 100. This was the start of the rise and rise of one most influential singer-songwriters of his generation.
Donovan’s music played an important part in the soundtrack to the second half of the sixties on both sides of the Atlantic. By then, many artists and bands were keen to cover his songs. This includes those on Hurdy Gurdy Songs-Words and Music By Donovan 1965-1971 which was recently released by Ace Records and is part of their long-running and successful Songwriter Series.
The compilation features twenty-four tracks and includes contributions from Herman’s Hermits, Terry Reid, Bridget St John, Marianne Faithfull, Paul Jones, Big Jim Sullivan, Dana Gillespie, Sandie Shaw, The Gosdin Brothers and Deep Purple. They’re just some of the artists on Hurdy Gurdy Songs-Words and Music By Donovan 1965-1971 who cover songs written by the Sunshine Superman and psychedelic minstrel from Maryhill.
Opening Hurdy Gurdy Songs-Words and Music By Donovan 1965-1971 is Museum which is psych-tinged track from Herman’s Hermits’ album Blaze which was released on Columbia in 1967. The album was produced by Mickie Most who was Donovan’s producer and at the time, was the man with the Midas touch who also produced The Animals. It’s fitting that a track produced by the man who transformed Donovan’s career opens the compilation.
In 1969, Mickie Most produced Terry Reid’s eponymous sophomore album which was released by Columbia. The highlight of the album was the of Superlungs which was released as the lead single. This slice of psychedelic rock features a vocal powerhouse from the man who Jimmy Page wanted to become the lead vocalist of The New Yarbirds which later became Led Zeppelin.
The Pebble And The Man was covered by English singer-songwriter Bridget St John for her 1971 sophomore album Songs For The Gentle Man. Her tender, heartfelt vocal is accompanied by a complicated choral arrangement on this beautiful baroque folk track which was produced by Ron Geesin. It’s one of my favourite tracks on the compilation.
Sunshine Superman was covered by LA-based garage rockers The Standells on their album The Hot Ones, which was released by Tower in 1967. It’s very different to the original and is best described as a slice of lysergic 12-bar-folk-blues that certainly leaves a lasting impression.
By 1967, Marianne Faithfull’s time at Decca was almost at an end. Her swansong for the label was her fourth album Love In A Mist which featured a cover of Young Girl Blues. It features a soul-baring vocal as Marianne Faithfull lives the lyrics which are delivered against cascading stings that are part of an understated arrangement. Sadly, the album wasn’t a commercial success and nowadays is regarded as an oft-overlooked hidden gem. One of the many highlights is Young Girl Blues which is much more powerful and poignant than Donavan’s version which was released later in 1967.
Paul Jones covered Celeste for his album Come Into My Music Box which was released by Columbia in 1969. The song was arranged and directed by John Cameron with Paul Burgess taking charge of production. The song features a melody full of longing and an eclectic selection of modern and traditional instruments that provide a backdrop for a heartfelt and emotive vocal.
British session guitarist Big Jim Sullivan recorded Translove Airways (Fat Angel) for his album Sitar A Gogo. It was released in 1967 on the Mercury label. The track combines blues, jazz, psychedelic rock and Eastern sounds on this timeless genre-melting jam.
Dana Gillespie started off as a folk singer, but by the time she released her debut album Foolish Seasons on London Records in 1968, her music was evolving. The album featured elements of folk, pop and psychedelic rock. One of the highlights is a hook-laden and poppy cover of Donovan’s You Just Gotta Know My Mind.
Oh Gosh originally featured on Donovan’s double album A Gift From A Flower To A Garden which was released in 1967. Two years later, in 1969, Sandie Shaw covered Oh Gosh on her album The Situation which was released by Pye. By then, she wanted to release an album that featured her taste in music. This was the case with this quite beautiful dreamy and lysergic cover which shows another side to Sandie Shaw.
Try And Catch The Wind was the song that launched Donovan’s career in 1965. It was then covered by many other artists including The Gosdin Brothers on their Sounds Of Goodbye album which was released by Capitol in 1968. It’s a beautiful cover with heartfelt vocals that are accompanied by a spartan folk rock arrangement.
Vocal trio The Sandpipers covered Jennifer Juniper and gave the song an AOR makeover for their fourth album, Softly, which was released by A&M Records in 1968. One of the highlights of the album was their reinvention of a Donovan classic.
Closing Hurdy Gurdy Songs-Words and Music By Donovan 1965-1971 is Deep Purple’s cover of the ballad Laleña which featured on their 1969 eponymous album. It features a spartan but atmospheric arrangement and a heartfelt and soul-baring and is a a quite beautiful way to close the compilation.
On the ‘10th’ of May 2021 Donovan celebrated his seventy-fifth birthday, but still he’s no intention of retiring. He’s been a professional musician since 1964, and a year later in 1965 he signed to Pye Records.
Later that year, he began working with producer Mickie Most who was the man with the Midas touch and produced a string of hit singles for Donovan. Soon, he was enjoying hits in Britain, America, Australia and countless other countries. These hits were written by the Sunshine Superman and psychedelic minstrel who became one of the most important and influential singer-songwriters of his generation.
That’s why so many artists and bands on both sides of the Atlantic wanted to work cover songs written by Donovan. Some songs that Donovan wrote were better suited to other artists, and they recorded the definitive version. Sometimes, he wrote a song and allowed another artist to record it before he did. This includes Marianne Faithfull’s version of Young Girl Blues which she made her own. It’s one of the many highlights of Hurdy Gurdy Songs-Words and Music By Donovan 1965-1971.
This lovingly curated compilation also includes covers of Donovan classics including Sunshine Superman, Mellow Yellow, Hurdy Gurdy Man and Jennifer Juniper which are joined by Catch The Wind, Colours and Atlantis. The twenty-four covers on Hurdy Gurdy Songs-Words and Music By Donovan 1965-1971 are a reminder of the Sunshine Superman and psychedelic minstrel from Maryhill who became one of the most important and influential singer-songwriters of his generation and who went on to inspire several generations of musicians including those on the latest instalment in Ace Records’ long-running and successful Songwriter Series.
Hurdy Gurdy Songs-Words and Music By Donovan 1965-1971.
WHAT GOES ON-THE SONGS OF LOU REED.
What Goes On-The Songs Of Lou Reed.
Label: Ace Records.
Format: CD.
After leaving The Velvet Underground, Lou Reed embarked upon a solo career that spanned five decades and saw him release twenty albums. His final album was Hudson River Wind Meditations which was released on April the ‘24th’ 2007. By then, the former Velvet Underground frontman was one of the biggest names in rock music and his music had influenced several generations of musicians. That’s still the case nearly eight years after Lou Reed’s death on October the ‘27th’ 2013 aged seventy-one.
Given the influence he’s had on songwriters and musicians since his days with the Velvet Underground it’s fitting that Lou Reed is the latest induction into Ace Records’ Songwriter Series. Twenty-four cover of his songs feature on What Goes On-The Songs Of Lou Reed which was recently released by Ace Records. There’s songs from his solo career and his time with The Velvet Underground. They’re a reminder of a truly talented and influential songwriter.
Opening What Goes On-The Songs Of Lou Reed is alt-rocker Beck’s cover I’m Waiting For The Man which was released as part of the Spotify Original Series in 2018. Beck stays true to the original as he pays homage to the author of a classic song.
Bryan Ferry covered What Goes On for his album The Bride Stripped Bare in 1978. This melodic cover was one of the highlights of one the former Roxy Music frontman’s fifth solo album as he takes this familiar song in a new direction.
Perfect Day originally featured on Lou Reed’s 1972 album Transformer. In 1995, Kirsty MacColl and Evan Dando covered the song and the single was released by Virgin. It’s transformed into an orchestrated ballad with The Lemonheads’ frontman crooning his way through the track proving the perfect foil for the late and much-missed Kirsty MacColl who tragically died in 2000.
Following the release of The Velvet Underground and Nico in 1967, Nico left the group and embarked upon a solo career. Wrap Your Troubles In Dreams is taken from her Chelsea Girl album and finds her delivering an emotive and orotund vocal against a chamber folk arrangement that was produced by Tom Wilson.
On the ‘25th’ April 1985 Echo and The Bunnymen were in Karen, Gothenburg, where they recorded several tracks for The Bommen Show. This includes an anthemic and driving cover of Run, Run, Run. It’s a welcome inclusion to the compilation and is a reminder of a group at the peak of their powers.
Psychedelic folk rockers The Soft Boys were formed in Cambridge, England, by Robin Hitchcock in 1976. By the time they played at The Hope and Anchor in Islington, London, in March 1980 they had acquired a cult following. That night, the tapes were running and the concert was recorded. On the setlist was a cover of a cover Train Round The Bend where the group fuse rock and blues during a breathtaking cover. Sadly, this hidden gem of a track lay unreleased until 1993 when it belatedly made its debut on the Rykodisc compilation 1976-81.
Canadian quartet Cowboy Junkies covered The Velvet Underground classic Loaded which features that timeless guitar riff. This haunting cover originally featured on The Trinity Sessions album which was released in 1988 by Latent Recordings and finds the group taking the track in a new direction.
Tracey Thorn from Everything But The Girl recorded The Velvet Underground’s Femme Fatale for her album A Distant Shore which was released by Cherry Red in 1983. This cover features an understated arrangement that’s the perfect backdrop for the heartfelt and emotive vocal. It’s a welcome addition to the compilation as many people may not have heard this timeless cover.
Rock ’N’ Roll originally featured on The Velvet Underground’s fourth album Loaded, which was released in 1970. A year later, in 1971, the track was covered by Detroit featuring Mitch Ryder. It’s regarded by many as one of the best covers of the track. Hard rocking and fervid with blistering guitar licks the former Detroit Wheels’ frontman struts his way through this classic track.
Iggy Pop closes What Goes On-The Songs Of Lou Reed with a cover of We Are The People which featured on his album Free, which was released in 2019. The cover features a soliloquy from the legendary rocker that’s delivered against a wistful, spacious and ruminative sounding arrangement that features just trumpet and keyboards. It’s a beautiful way to close the compilation.
The twenty tracks on What Goes On-The Songs Of Lou Reed are a reminder of one of the most influential musicians of his generation. This lovingly curated compilation features a cover of one of his earliest songs Why Don’t You Smile Now which was before he cofounded The Velvet Underground. There’s also a selections of songs from the legendary art rockers and a triumvirate of tracks from his 1972 classic solo album Transformer. This was one of twenty solo albums Lou Reed released during a five decade solo career.
During that period, he influenced and inspired many artists and groups who went on to cover his compositions and some of them pay homage to a musical legend on What Goes On-The Songs Of Lou Reed. Hopefully, Ace Records will release a followup to this latest instalment in their long-running and successful Songwriter Series as many artists have covered songs written by Lou Reed over the last six decades and will continue to do so.
What Goes On-The Songs Of Lou Reed.
THE LIFE AND TIMES OF THE DOORS.
The Life and Times Of The Doors.
By 1972, The Doors had decided to call the upon their career after the tragic death of their charismatic frontman Jim Morrison, who had died on the 3rd July 1971. The Lizard King became the latest entrant into the twenty-seven club, where he joined Brian Jones, Janis Joplin, Alan Wilson and Jimi Hendrix. This meant that The Doors’ career ended at the top and their fans memories of them were never tarnished.
The Doors were never going to grow old together and they would forever be the band that featured on their final album L.A. Woman. Never would they age and nor would they make a series of ill-advised comebacks or reunions that resulted in the release of third-rate albums. That would never happen as The Doors career ended whilst they were at the top and had just released another classic album. What saddened their fans is that The Doors’ career ended in tragic circumstances. However, their many fans still have their musical memories and can enjoy the group’s rich musical legacy.
These memories included a sextet of critically acclaimed and commercially successful albums. Between 1967s The Doors and 1971s L.A. Woman, The Doors only ever released six albums. Their debut album, The Doors was certified platinum five times over. After that, four of the next five albums were certified platinum and one double platinum. That wasn’t all.
1970 saw The Doors’ release Absolutely Live which was certified gold. The same year, they released their first compilation, 13 in January 1970, and it was certified platinum. Then six months of the tragic loss of Jim Morrison, a second Doors’ compilation was released, Weird Scenes From Inside The Gold Mine. It was a fitting tribute to one of rock’s greatest ever groups, The Doors. Their career began in LA in late-1965.
The Doors were formed in Los Angeles in 1965 and took their name from Aldous Huxley’s seminal book The Doors Of Perception. The nascent quartet was led by the charismatic vocalist Jim Morrison.
Jim Morrison was more than a singer and was also a lyricist and poet. He was a free spirit, charismatic, enigmatic and wildly unpredictable. Life was for living and Jim Morrison lived a thousand lives in twenty-seven years. However, The Doors weren’t a one man band.
The Doors’ success was down to the four band members and this included drummer John Densmore, guitarist Robby Krieger and keyboardist Ray Manzarek. Together, they were about to enjoy the kind of commercial success and critical acclaim that they could only have dreamed of.
The Doors got their break in 1966 when they signed to Elektra Records. It was the first label to spot the potential in psychedelic rock and before long it started signing up a whole host of psychedelic rock bands. Among the most successful were Love and The Doors who recorded their debut album in the summer and autumn of 1966.
The Doors.
By then, classic lineup of The Doors had been together since late-1965 and Bobby Krieger had only been playing the guitar for six months. During that time, they were a familiar face on the LA live scene where they honed their sound and the songs the group had written.
By the time The Doors arrived at Sunset Sound Recorders, in Hollywood, Los Angeles, they had already written eight of the ten tracks that would eventually feature on the album. This included Break On Through (To The Other Side), Soul Kitchen, The Crystal Ship and The End. They were joined by covers of Alabama Song (Whisky Bar) and Back Door Man on The Doors. It was recorded between the August the ‘29th’ to September the ‘23rd’ 1966 and was produced by Paul A. Rothchild.
Six months later, on 4th January 1967, The Doors was released to mostly positive reviews. It opened with Break On Through (To The Other Side) which invited listeners to expand their consciousness and was bookended with The End an example of Jim Morrison’s rock poetry. The Doors was hailed by some critics as a future classic and would become one of the group’s most influential album.
Break On Through (To the Other Side) was released as the lead single in January 1967 but stalled at 126 in the US Billboard 100. This was an inauspicious result for The Doors’ debut single.
Gradually, The Doors reached number two in the US Billboard 200 and was certified platinum five times over. Meanwhile the album was was certified platinum in Germany, certified platinum twice in the UK; three times platinum in France and four times platinum in Canada. This was helped by the commercial success of Light My Fire.
Light My Fire was released in April 1967 and reached number one on the US Billboard 100 charts. It became a Doors’ classic and so would several songs from the group’s sophomore album, Strange Days.
Strange Days.
The Doors returned to Sunset Sound Recorders, in Hollywood, LA, in May 1967 and during breaks in their touring schedule recorded what become their sophomore album Strange Days. It featured ten tracks written by The Doors which were produced by Paul A. Rothchild and completed in August 1956.
Eight months later, on the The Doors released their sophomore album Strange Days on the on the ‘25th’ of September 1967. It was released to the same widespread critical acclaim as The Doors and hailed a heavy, psychedelic classic. Strange Days featured some of the most psychedelic songs The Doors ever released. Among them were Strange Days, Love Me Two Times, When The Music’s Over and the moody, haunting People Are Strange.
When Strange Days was released it reached number three in the US Billboard 200. This resulted in another platinum disc for The Doors. The lead single People Are Strange reached twelve in the US Billboard 100 whole the followup Love Me Two Times reached just twenty-five. This was just part of the story.
Elsewhere, Strange Days was certified gold in Germany and Britain; two times gold in France and platinum in Canada. Eventually, nine million copies of The Doors’ sophomore album were sold worldwide. That’s no surprise given the psychedelic delights of Strange Days which later became The Doors’ second classic album.
However, by the time The Doors released Strange Days they were already one of the heaviest, psychedelic rock bands of the sixties. The chameleon-like band were led by the charismatic Lizard King and critics wondered what direction their music would head?
Waiting For The Sun.
In January 1968 The Doors headed to TTG studio to record their third album with producer Paul A. Rothchild. Just like Strange Days, many of the songs had been written before The Doors signed their recording contract with Elektra. The Doors had matured early as songwriters and had enough material for several albums of material. This included Waiting For The Sun. However, the album which was completed in May 1968 and would be released two months later has almost exhausted the band’s stock of songs.
On the ‘3rd’ of July 1968 The Doors release their much-anticipated third album Waiting For The Sun. Although it was generally well received many critics believed the album lacked the quality of The Doors and Strange Days.
Despite that, Waiting For The Sun became The Doors’ first number one album. The album also gave the The Doors’ their second platinum album. Just like their two previous albums, Waiting For The Sun was a huge success worldwide and eventually sold seven million copies worldwide.
When it was released, Waiting For The Sun was certified gold in Britain and Germany; double gold in France and platinum in Canada. Whether it was Britain, Europe or North America,The Doors were providing the soundtrack to a generation’s life
This included the two singles which were released from Waiting For The Sun. The lead single was The Unknown Soldier which stalled at thirty-nine in the US Billboard 100. It was Jim Morrison’s reaction to the Vietnam War and was a poignant, dramatic anti-war song that gave voice to the frustration and anger a generation felt. Instantly, The Doors became the voice of a generation and this showed another side to their music.
Very different was the second single from Waiting For The Sun, Hello I Love You which is a two minute, timeless pop anthem that topped the US Billboard 100. On the B-Side was Love Street which started life as a poem and became a baroque pop song. It’s another example of Jim Morrison’s talents as a poet and lyricist.
Despite some disappointing reviews, The Doors were celebrating they first number one album and their first number one single. The big question was how would The Doors top Waiting For The Sun?
The Soft Parade.
After the commercial success of Waiting For The Sun The Doors were being offered vast sums of money to play live. They embarked upon a gruelling touring schedule and it was a case of fitting recording sessions in when they could. This wasn’t ideal and there was very little time to write and develop new songs.
To complicate matters, Jim Morrison the “acid-evangelist of rock,” was behaving erratically, drinking heavily and suffering from anxiety. At one point he thought that he was about to have a nervous breakdown. Things were becoming increasingly difficult for The Doors’ charismatic frontman who was struggling to cope with his newfound fame. So much so, that he considered leaving the band but Ray Manzarek convinced him to complete the album.
Jim Morrison was also spending more time writing poetry and was less involved with the songwriting process. This meant that the Lizard King and Robby Krieger had to divide songwriting duties. They each wrote four songs each and joined forces to write Do It. The nine new songs were recorded at Elektra Sound West with Paul A. Rothchild who encouraged the band to change and develop their sound.
On The Soft Parade The Doors dispensed with the stripped down, understated sound of their first three albums. Instead, Paul Harris who was an arranger for the Los Angeles Philharmonic was brought onboard to arrange the strings and horns which were played by local jazz musicians. They were joined by session musicians Doug Lubahn and Harvey Brooks who were both bassists and were drafted in by producer Paul A. Rothschild who was also going through a difficult time.
By then, Paul A. Rothschild was addicted to cocaine and took control of the sessions. The Doors hadn’t any readymade songs and what they had was work in progress. This resulted in numerous takes of each song being recorded. It didn’t help that the Lizard King lacked enthusiasm during the sessions. Engineer Bruce Botnick later remarked that: “It was like pulling teeth to get Jim into it.” The Soft Machine wasn’t an easy album to record and it took until early 1969 to complete and cost $80,000 to record.
The Doors flitted between art rock, blues rock, fusion and psychedelic rock on The Soft Parade where producer Paul A. Rothschild tried to get the band to reinvent their original sound. Music was evolving and he knew that The Doors music had to evolve.
This genre-melting The Soft Parade had the potential to become the most ambitious release of their career. It was a good idea in theory but with the Lizard King seemingly uninterested in writing and recording the album it wasn’t up to the standards of their first two albums.
The Soft Parade was released on the ‘21st’ of July 1969. Never before had a year passed before The Doors’ released an album. That was until they released The Soft Parade which showcased their new sound. However, some fans and critics didn’t welcome this change of sound and also had a problem with the lyrics.
Some critics and fans felt that The Soft Parade was the group’s weakest album. They also felt that the lyrics on the album were formulaic. The accusation was that the group were now following a formula when it came to writing lyrics. This was disappointing given that when The Doors released Waiting For The Sun they were regarded as the voice of a generation. Something had to change if The Doors were to make up the ground that they had lost. Despite this, The Soft Parade and the singles were a commercial success.
In December 1968, The Doors released Who Scared You as a single. Although it didn’t feature on The Soft Parade it reached number three in the US Billboard 100. This augured well for the release of The Doors’ fourth album.
When The Soft Parade was released it reached number six in the US Billboard 200 charts and was The Doors’ least successful album. Despite that, it still was certified platinum in America and across the border in Canada. Elsewhere, The Soft Parade didn’t sell in the same quantities as their three previous albums and it was only certified silver in Britain. This was disappointment and so was the performance of the singles.
Wishful Sinful reached forty-four in the US Billboard 100 while Tell All The People stalled at fifty-seven. Then Runnin’ Blue reached a lowly sixty-four in the US Billboard 100. The commercial failure of the three singles released from The Soft Parade was a disappointment for The Doors. By then, critics were wondering what was next for The Doors?
Especially after the events of the ‘1st’ of March 1969 when a drunken Jim Morrison took to the stage in front of an audience of 12,000 at the Dinner Key Auditorium in Coconut Grove, Florida. That night, it’s alleged that he exposed himself during the concert. This resulted in him being charged with indecent exposure on the ‘4th’ of April 1969 and resulted in a March For Decency” at the Miami Orange Bowl.
The rest of The Doors’ tour was cancelled and their records were blacklisted by radio stations. To add to their woes, twenty-five concerts on their next tour were cancelled. Drummer John Densmore estimated that the cancellation of the concerts cost the band one million dollars. It was a disaster for The Doors.
Morrison Hotel.
Eight months after that fateful night in Florida that proved so controversial and costly for The Doors started recording their fifth album. By then, Jim Morrison was trying to shed his Lizard King image and had got rid of his stage leathers and had grown a beard. Worryingly his weight had ballooned, his alcoholism was worsening and he was becoming increasingly unpredictable.
Having just stared recording the new album, Jim Morrison decided to fly to Phoenix to see the Rolling Stones in concert. During the flight the drunken Lizard King caused a disturbance and was charged under a recently introduced skyjacking law. He could be sentenced to ten years in jail or fined up to $10,000. The Doors could’ve been looking for a new frontman.
The Doors entered Elektra Sound Recorders in November 1969. This time around, Jim Morrison had written four new songs, cowrote five with Robby Krieger and two with the rest of The Doors. These songs would become Morrison Hotel.
Joining The Doors in the studio was John Sebastian of The Lovin’ Spoonful who played harmonica on Roadhouse Blues. Just like on The Soft Parade two bassists were used. This included session musician Ray Neapolitan and blues rock pioneer Lonnie Mack. His addition made sense as The Doors flitted between psychedelic rock and blues rock on Morrison Hotel. It was completed in January 1970.
Just a month later, Morrison Hotel was released on the ‘9th’ of February 1970. The first side was entitled Hard Rock Cafe and featured classic tracks like Roadhouse Blues, Waiting For The Sun and Peace Frog. Amongst highlights of the second side which is entitled Morrison Hotel are The Spy and Indian summer.
When Morrison Hotel was released it was billed as The Doors’ comeback album. Critical acclaim accompanied an album that an album of blues rock, hard rock and psychedelic rock which reached number four in the US Billboard 200 and was certified platinum. The Doors were back with their best album since Strange Days. However, the only disappointment was when the single You Make Me Real stalled at fifty in the US Billboard 100..
Elsewhere, Morrison Hotel was certified gold in Austria, Britain and Switzerland. In Canada, France, Poland and Spain The Doors’ comeback album was certified platinum and became their most successful album since Strange Days. The Doors were back with one of their finest albums and a future classic.
Absolutely Live.
Just five months after the release of Morrison Hotel, The Doors released their first live album, Absolutely Live. It was a double album that had been compiled from concerts that took place between July the ‘21st’ 1969 to May the ‘8th’. 1970. Producer Paul A. Rothchild claimed that he had edited different versions of songs to create: “the ultimate concert…I couldn’t get complete takes of a lot of songs, so sometimes I’d cut from Detroit to Philadelphia in mid-song. There must be 2,000 edits on that album”
When Absolutely Live was released on the ‘20th’ of July 1970 the reviews were mixed. Some critics, including Robert Christgau of The Village Voice wrote favourable reviews, while other were highly critical of the Lizard King’s performances. This included Gloria Vanjak in Rolling Stone magazine. It seemed that even 2,000 edits couldn’t salvage Absolutely Live.
On its release Absolutely Live sold just 225,000 copes and reached number eight in the US Billboard 200. Eventually The Doors’ first live album was certified gold. The same year, they released their first compilation, 13 and the commercial success kept on coming.
13.
Released in November 1970, 13 featured some of greatest music The Doors released between 1967 and 1967. So, it’s no surprise that it reached number twenty-five in the US Billboard 200. This resulted in 13 being certified platinum. It seemed The Doors could do no wrong.
L.A. Woman.
L.A. Woman was recorded between December 1970 and January 1971 at The Doors’ Workshop, Los Angeles. This time there was no sign of longtime Doors’ producer Paul A. Rothchild. He had been replaced by Bruce Botnick who coproduced L.A. Woman with The Doors.
L.A. Woman featured nine songs penned by The Doors and a cover of John Lee Hooker’s Crawling King Snake. At this point in his life, Jim Morrison was heavily Influenced by legendary blues singers like Howlin’ Wolf, Muddy Waters and John Lee Hooker. This influence began on Morrison Hotel, and continued on L.A. Woman. Little did The Doors know when they completed what was their sixth studio album that it wold be the last to be released during Jim Morrison’s lifetime.
When L.A. Woman was released on 19th April 1971 it was to mostly positive reviews. Just like Morrison Hotel, L.A. Woman saw The Doors combine blues rock and psychedelic rock. This had been a successful formula for The Doors over the last few years.
Prior to the release of L.A. Woman Love Her Madly was released as a single and reached twenty in the US Billboard 100. Then when L.A. Woman was released it reached number eight in the US Billboard 200 and was certified double platinum. When Riders On The Storm was released it reached fourteen in the US Billboard 100 and gave The Doors another hit single.
Meanwhile, across the world, L.A. Woman was selling in vast quantities. In Australia, L.A. Woman was certified four times platinum; three times platinum in Canada; two times platinum in France and platinum in Spain. L.A. Woman was also certified gold in Austria, Britain, Germany and Switzerland. It was the most successful album of The Doors’ career. Their decision to return to their blues rock roots had worked.
Just three months after the release of L.A. Woman The Doors’ charismatic frontman Jim Morrison died on the ‘3rd’ of July 1971. Music was in mourning at the death of the man they called The Lizard King. He was only twenty-seven and had achieved a lot in the six years The Doors were together. However, who knows what they might have gone on to achieve?
Other Voices.
One can only speculate the direction that The Doors’ music might have headed? They did release one further album, Other Voices. It was released in October 1971 and reached just number thirty-one in the US Billboard 200. Without the charismatic Lizard King’s vocals The Doors weren’t the same band. Despite that, they continued their career.
Weird Scenes From Inside The Gold Mine.
In January 1972, the second compilation of The Doors music was released. This was Weird Scenes From Inside The Gold Mine which reached number fifty-five in the US Billboard 200. It was certified gold and is a captivating compilation of one of the greatest bands in musical history. One of the reasons for this, is the choice of music on Weird Scenes From Inside The Gold Mine, which was a double album.
Rather than just make Weird Scenes From Inside The Gold Mine a greatest hits album it features B-Sides, rarities and album tracks. The result is a fascinating overview of one of the most innovative and pioneering bands in musical history. It’s also a fitting tribute to The Lizard King who had played a huge part in the rise of The Doors.
Full Circle.
On August the ‘15th’ 1972, the three remaining members of The Doors returned with their second album as a trio, Full Circle. Bruce Botnick who produced L.A. Woman and their previous album declined to produce Full Circle. Instead, The Doors produced the nine tracks they recorded at A&M Studio. Joining them were some top session players which allowed the group to take their music in new and different directions.
The result was an album where The Doors flitted between funk-rock, fusion and rock. Critics weren’t won over by the album which wasn’t the group’s finest hour. It was an unremarkable and unfocused album that very occasionally hinted at The Doors’ past glories.
When Full Circle was released it reached sixty-eight in the US Billboard 200. Just like Other Voices there was no gold or platinum disc. The Doors without their charismatic frontman just weren’t the same band. Critics and the band’s fans wondered what the future held for The Doors?
In January 1973 The Doors disbanded. There was no point limping on as a trio and releasing mediocre albums. It was best to call time on their career rather than damage the band’s reputation. This looked like the end of the road for The Doors.
An American Prayer.
Five years later, The Doors released An American Prayer on November the ‘17th’ 1978. This was an album of Jim Morrison’s poetry and also featured pieces of music and spoken word during the audio collage. Excerpts from the short film HWY: An American Pastoral, snippets from jam sessions and a composite version of Roadhouse Blues recorded in New York and Detroit were included on An American Prayer.
When An American Prayer the reviews were mixed. It was an album that divided the opinion of critics. Despite that, it reached fifty-four in the US Billboard 200 and was certified platinum. An album that divided the opinion of critics and continues to do so had sold over a million copies.
The classic lineup of The Doors was formed in late-1965 and they released their eponymous debut album on the ‘4th’ of January 1967. They were at the peak of their powers between the release of The Doors in January 1967 and the release of L.A. Woman in April 1971. By then, they had released six studio albums, one live album and a compilation and in America alone, The Doors had sold over 12.5 million albums.
Across the world, The Doors were one of the biggest selling bands of the late-sixties and early seventies. That’s no surprise as The Doors’ music was ambitious and innovative and led by the charismatic Lizard King they released a quartet of classic albums during a four year period.
This began with their 1967 debut album The Doors which they followed with Strange Days later that year. The Doors’ fifth album Morrison Hotel marked a return to form and their swansong L.A. Woman is regarded as one of their finest albums. However, their most underrated album is The Soft Parade which is the most experimental and ambitious album of their career. Just like their quartet of classics it’s a reminder of one of the greatest groups of the late-sixties and early seventies.
Sadly, The Doors’ career was tragically short after releasing just six studio albums. L.A. Woman was the original lineup’s swansong and never again would they set foot in a recording studio. The original lineup of The Doors’ final album L.A. Woman was a classic and one of their most successful albums.
After the death of Jim Morrison the three remaining members of The Doors decided to continue and released two more albums, 1971s Other Voices and 1972s Full Circle.. Without the charismatic Lizard King at the helm The Doors were a pale shadow of the group they once were and it was no surprise when they disbanded in 1973. Many of the group’s fans thought that they should’ve called time on their career after the death of Jim Morrison rather than limping on as a trio.
The Doors briefly reunited in 1978 to release their ninth album An American Prayer. It was another album divided the opinion and the group soon disbanded. It was the last album the band released. By then, seven years had passed since the death of Jim Morrison.
Despite the three remaining members releasing three decidedly average albums this hadn’t tarnished memories of The Doors. Instead, their legion of fans remembered the group in their prime. In their eyes, The Doors were forever young and would always remember the band that featured on their swansong L.A. Woman.
It brought to an end of what had be a roller coaster ride that lasted four years. During that period, The Doors had enjoyed commercial success and critical acclaim but controversy was never far away. Despite that, The Doors will forever remain one of the most important, innovative, influential and successful groups in musical history whose contribution to musical history is the is six albums they released between 1967 and 1971 including a quartet of classics.
The Life and Times Of The Doors.
CULT CLASSIC: AL STEWART-24 CARROTS.
Cult Classic: Al Stewart-24 Carrots.
In May 1980, thirty-four year old Glasgow-born folk rocker Al Stewart entered Davlen Studios in Los Angeles to begin work on his ninth album 24 Carrots. It was the first album to feature his new band Shot In The Dark. They were augmented by members of Toto, the Incredible String Band, Steeleye Span and some top session musicians. However, also playing an important part in the sessions was guitarist and keyboardist Peter White who had been part of the Al Stewart success story.
Year Of The Cat.
Peter White had made his debut on Al Stewart’s seventh studio album, Year Of The Cat. It was produced by Alan Parsons and was a carefully crafted and cerebral and cinematic album that was a mixture of folk rock, progressive pop and rock. The album featured songs about historical figures, a mysterious woman and what were akin to mini spy novels set to music. With an album cover designed by Hipgnosis, Year Of The Cat had the potential to transform Al Stewart’s career.
When the lead single Year Of The Cat was released in Britain it stalled at thirty-one, while the album reached thirty-eight and was certified gold. Year Of The Cat was Al Stewart’s most successful album in Britain and was regarded as his finest hour.
Three months later in October 1976 Year Of The Cat was released to widespread critical acclaim. The single reached number eight in the US Billboard 100 and the album number five in the US Billboard 200. By March 1977, Year Of The Cat had been certified platinum in America after selling over one million copies.
Elsewhere, Year Of The Cat gave Al Stewart the biggest single of his career. It reached number thirteen in Australia, fifteen in New Zealand, three in Canada, nine in Belgium and six in Holland. Year Of The Cat reached number ten in Australia and the album transformed Al Stewart’s fortunes. It’s now regarded as a classic album and one of the highlights of a long and illustrious musical career.
Time Passages.
Buoyed by the success of Year Of The Cat, AL Stewart began work on the followup album, Time Passages. He wrote seven of the songs on the album and cowrote Time Passages and End of The Day with Peter White. He was part of the band that recorded Al Stewart’s eighth album at Davlen Studios in Los Angeles in June 1978.
Joining Al Stewart for the Time Passages’ sessions were twenty musicians and backing vocalists plus producer Alan Parsons. This was the third consecutive Al Stewart album he had produced. Alan Parson played his part on an album that flitted between folk rock, soft rock and a more traditional rocky sound.
In September 1978, Time Passages was released to plaudits and praise in America. It received the same critical acclaim as Year Of The Cat. Al Stewart was hoping it would enjoy the same success.
When the title-track was released as a single, Time Passages reached number seven in the US Billboard 100. It also topped the Billboard Adult Contemporary charts and stayed there for ten weeks. Just like Year Of The Cat, Time Passages sold over a million copies in America and was certified platinum.
Time Passages was released in Britain in November 1978 and reached thirty-nine. This resulted in a silver disc for Al Stewart. The only disappointment was when the title-track was released as a single but failed to chart. Apart from that, the success continued for the thirty-three year old folk rocker.
Meanwhile, when Time Passages was released in Australia it reached fifteen. Al Stewart was enjoying the most successful period of his career. Would this continue with 24 Carrots?
24 Carrots.
As the seventies drew to a close and music continued to change, Al Stewart began work on his ninth studio album. This would eventually become 24 Carrots.
He wrote Mondo Sinistro, Murmansk Run/Ellis Island, Rocks In The Ocean, Paint By Numbers and Optical Illusion. Al Stewart and Peter White joined forces to write Running Man, Midnight Rocks, Constantinople and Merlin’s Time. These songs and the rest of 24 Carrots were recorded by Al Stewart and his new band, Shot In The Dark.
Peter White who had played keyboards, acoustic and electric guitars on Year Of The Cat and Time Passages became a member of Shot In The Dark. He was joined by Robin Lamble on bass, percussion, acoustic guitar and backing vocals; flautist and alto saxophonist Bryan Savage; backing vocalist Krysia Kristianne and Adam Yurman who played electric guitar and added backing vocals. This was Al Stewart’s new band Shot In The Dark, who were augmented by some familiar faces.
Augmenting Shot In The Dark were drummers Russ Kunkel, Steve Chapman, Mark Sanders, Beau Segal and Toto’s Jeff Porcaro. They were joined by keyboardist Bob Marlette, violinist Jerry McMillan, the Incredible String Band’s Robin Williamson on mandocello, conga player Lenny Castro and Sylvia Woods on Celtic Harp. Adding additional backing vocals were Steeleye Span’s Ken Nicol and Harry Stinson. In total, seventeen musicians and backing vocalists worked on 24 Carrots during the sessions that took place during May 1980. However, one man who had played an important part in transforming Al Stewart’s career was missing.
This was producer Alan Parsons who had produced Modern Times, Year Of The Cat and Time Passages. Al Stewart felt that having recorded three albums with Alan Parsons it was time to move on and work with a different producer. Given Al Stewart had just enjoyed the most successful period of his career when working with Alan Parsons this was a huge gamble. However, he felt the need to change things around and brought in Chris Desmond to co-produce 24 Carrots at Davlen Studios in LA.
Incredibly, while Al Stewart was co-producing 24 Carrots he was also the co-producer of Shot In The Dark’s eponymous debut album. It was released on Robert Stogwood’s RSO Records in 1981. By then, 24 Carrots had been released by Al Stewart.
Instead of a split release date 24 Carrots was released worldwide on the ’20th’ of August 1980. The lead single Midnight Rocks reached twenty-four on the US Billboard 100 and fifty in Australia. After this, Mondo Sinistro and Paint By Numbers were released as singles but neither charted. Meanwhile, 24 Carrots was released to plaudits and praise and reached thirty-seven in the US Billboard 200, fifty-five in Britain and fifty-one in Australia. There were no glittering prizes for the first album of the post Alan Parsons’ era.
24 Carrots featured future Al Stewart classics including Running Man and Merlin’s Time as well fans’ favourites like the hit single Midnight Rocks and Murmansk Run/Ellis Island. While the album featured Al Stewart’s much-loved cerebral and cinematic folk rock sound, some tracks showcased a new, harder, rockier sound. This was quite different to what featured on previous albums and led some critics to speculate if someone had been offering an artist who had just released two million selling albums in America some unwanted advice?
One theory was that Arista and Clive Davis wanted more commercial sounding songs that could be released as a single. This wouldn’t have been the first time the veteran music executive had offered his advice to a successful artist.
By then, Al Stewart was playing to larger audiences and some nights 2,500 to 3,000 came to hear hits like Year Of The Cats and Time Passages. However, that was just part of the story and veterans of his music came to expect tracks from the early part of his career including albums like 1967s Bed-Sitter Images, 1969s Love Chronicles, 1970s Zero She Flies, 1972s Orange and 1973s Past, Present and Future. These were the albums that Al Stewart released before teaming up with producer Alan Parsons. Anyone expecting to hear song after song like Year Of The Cats and Time Passages was in for a surprise. However, if they gave the older material a chance they were in for a pleasant surprise as Al Stewart was one of Britain’s finest folk singers and a talented songwriter who painted pictures with his lyrics.
Arista, which was founded by Clive Davis in 1974, weren’t happy with Al Stewart and wanted him to release more commercial material. That was despite him being a successful artist who had enjoyed a string of hit singles. Al Stewart was in for an unpleasant surprise when Arista sent him songs written by other people and suggested he recorded them. This was an insult to a gifted and experienced songwriter who had just released his ninth studio album. Quite rightly, Al Stewart didn’t record the songs, and by then must have known something had to change.
After the release of 24 Carrots he embarked on a gruelling touring schedule and played two sold-out shows in December of 1980. By then, Al Stewart had made up his mind to do two things.
He decided to leave Arista as soon as possible. Unfortunately he still owed the label two albums and it would take time to be free of Arista. The other decision Al Stewart made was to split with his manager Luke O’Reilly. This was a new chapter for him,
Live/Indian Summer.
In October 1981 Al Stewart released the double album Live/Indian Summer. Again, he was backed by Shot In The Dark and the first side featured five new songs. The other three sides were recorded at The Roxy Theatre, Los Angeles in April 1981. Live/Indian Summer was produced by Chris Desmond and Al Stewart and scheduled for release in the autumn of 1981
Six months later, in October 1981 Live/Indian Summer was released and featured a mixture of folk rock and a rockier sound. Sadly, Al Stewart’s first live album stalled at 110 in the US Billboard 200 and reached just fifty in Australia. However, at least Al Stewart would soon be able to leave Arista.
Russians and Americans.
Al Stewart recorded his tenth album Russians and Americans with some of the members of Shot In The Dark and session musicians at four studios in Britain and America. He recorded nine songs that resulted in one of the most powerful albums of his three decade career. The songs were inspired by the political events of 1983 and the tension between Russia and America, the so called home of the free.
This was ironic because when Russians and Americans was released in May 1984, two albums that featured on the British version had been replaced on the American album. Censorship was alive and well at Arista’s headquarters.
When Russians and Americans was released it failed to chart in America but reached a lowly eighty-three in Britain. After this, Al Stewart was dropped by Arista. However, he was now free to sign to a label that understood and respected him and his music.
Next stop for Al Stewart was Enigma Records who released his eleventh studio album Last Days Of The Century on the ‘24th’ of August 1988. Sadly, it failed to trouble the charts on either side of the Atlantic. It was a far cry from Al Stewart’s Arista years.
Al Stewart’s time at Arista was the most successful of his long and illustrious career. His breakthrough came in 1975 when he released Modern Times on the Janus label and his sixth studio album reached number thirty in the US Billboard 200. However, disaster strict when after releasing Year Of The Cat Janus folded. Al Stewart signed to RCA who reissued Year Of The Cat and it was the million selling album that transformed his career in America.
From Year Of The Cat through Time Passages to 24 Carrots Al Stewart enjoyed the most successful period of his career. 24 Carrots had a lot to live up to as the Glasgow-born folk rocker had just enjoyed two million selling albums stateside. It’s an oft-overlooked album that features Al Stewart classics and crowd favourites as he mixes folk rock with a harder, rockier sound. What it lacked was a hook-laden radio friendly single like Year Of The Cat or Time Passages.
Despite that, 24 Carrots is an album that’s a favourite of many Al Stewart’s fans. He’s released sixteen studio and albums and three live albums over a forty-two year period. Despite that, still many people have yet discover Al Stewart’s music or only know his two biggest singles Year Of The Cat and Time Passages.
For anyone yet to discover Al Stewart’s music, the best place to start is with Modern Times then his two million-selling classic albums Year Of The Cat and Time Passages. After that, 24 Carrots and Russians and Americans are feature the inimitable Al Stewart’s folk rock sound. Then it’s time to explore Al Stewart’s early albums which are part of a veritable nineteen course musical feast which includes 24 Carrots,
Cult Classic: Al Stewart-24 Carrots.
WARREN HAMPSHIRE-LANGUAGE OF THE BIRDS.
Warren Hampshire-Language Of The Birds.
Label: Athens Of The North.
Format: LP
Many people will remember Warren Hampshire as the guitarist in The Bees, who were formed in Ventnor on the Isle of Wight in 2001 and went on to release four albums between 2002 and 2010. However, he wasn’t an original lineup of the band and joined in time to their sophomore album Free the Bees which was released in 2002.
Just a year after The Bees’ were founded they released their debut album Sunshine Hit Me on the ‘25th’ March 2002. The four piece band had produced an eclectic and summery sounding album which was well received by critics. This resulted in The Bees being signed to Virgin and was nominated for the Mercury Prize.
There was only one problem and that was playing the songs live. That was going to require a larger band.
That was how Warren Hampshire came to join The Bees. He became part of the expanded lineup of the band who embarked on several tours and recording the band’s sophomore album.
This was Free the Bees which was released by Virgin on the ‘17th’ of August 2004. It had been recorded at Abbey Road Studio with Warren Hampshire playing guitar, Hammond organ, piano and percussion. He played his part in what was a much more uptempo album that featured a slicker sound. This appeared to critics and the album was released to plaudits and praise. The single Chicken Payback reached twenty-eight in the UK charts and already The Bees were one of the rising stars of British music.
Nearly three years later on the ’26th’ March 2007 The Bees returned with their third album Octopus. It was their second album for Virgin, and many critics said it was the group’s finest and also their most complex album. The Bees a group of talented multi-instrumentalists were improving with every album.
For their fourth album Every Step’s A Yes, which was released by Fiction Records on the ’11th’ of October 2010. The album found the group maturing and their music evolving. Critics were impressed with the album which received mostly positive reviews. It looked like this was the next chapter in The Bees’ story.
Especially when they supported Fleet Foxes on their 2011 UK tour. After this, many critics thought the group would return to their studio and begin work on their fifth album.
Sadly,The Bees never released another album and in 2018 Aaron Fletcher and Tim Parkin formed a new band 77:78. By then, Warren Hampshire had embarked upon a new chapter in his career.
A year earlier, in 2017, he had released his collaboration with Greg Foat, Galaxies Like Grains Of Sand on the Athens Of The North label. This was the first of a series of critically acclaimed albums by Hampshire and Foat.
The pair released two albums in 2018. The Honey Bear and Nightshade showcased a talented partnership. So did Saint Lawrence which was released in 2019. This was the fourth album the pair had recorded and released which was released to widespread critical acclaim. Despite that, Warren Hampshire’s next album was his solo album Language Of The Birds which was recently released on LP by Athens Of The North.
Language Of The Birds was recorded not long after completing recording the Hampshire and Foat albums Galaxies Like Grains Of Sand and The Honey Bear with Greg Foat. The music on the album is influenced by the Isle Of Wight where Warren Hampshire’s lives and enjoys walking in the beautiful countryside and in the woodlands. These walks were part of the inspiration for the music.
So was his interest in catastrophism and extinction events. Then there’s the use of symbolism that was employed in the art, architecture and writings of previous civilisations. Language Of The Birds is an album of cerebral music and musings from Warren Hampshire.
On Language Of The Birds he combines elements of ambient music. avant-garde, library music, modern classical and sixties psychedelic folk. The music is underrated, spacious, ethereal and cinematic while the album cover seems to have been inspired by vintage children’s books and the fairy tales and folklore that was found within their pages and captivated generations of children.
Warren Hampshire’s music on Language Of The Birds would be the perfect soundtrack to an animated version of an old or modern fairytale.
As a standalone album, Warren Hampshire’s filmic music on Language Of The Birds paints pictures and transports the listener taking them on a journey into the past, stops in the present before heading into the future and visiting places that are real and imaginary that’s akin to a musical odyssey.
Warren Hampshire-Language Of The Birds.
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