THE DOOBIE BROTHERS-THE WARNER BROS. YEARS.
THE DOOBIE BROTHERS-THE WARNER BROS. YEARS.
Between 1972 and 1980, The Doobie Brothers could do no wrong. They released eight albums, which sold in excess of ten million copies. It has been a roller coaster ride for The Doobie Brothers, whose recording career got off to an inauspicious start in 1971.
By then The Doobie Brothers had been a familiar face on the North California live scene. That had been the case since 1970. However, The Doobie Brothers’ roots can be traced to 1969.
That’s when drummer John Hartman made his way from Falls Church, Virginia, to Los Angeles. He was a man with a mission. John Hartman was determined to meet Skip Spence, Moby Grape’s legendary frontman.
John Hartman met Skip Spence, and was invited to join a newly reunited Moby Grape. That however, didn’t happen, At least Skiip Spence introduced John Hartman to a singer, songwriter and guitarist Tom Johnson. Little did anyone realise, that The Doobie Brothers had just been born,
John Hartman and Tom Johnson began experimenting musically, and were soon playing live around the San Jose area as Pud. That’s where the two members of Pud singer, songwriter and guitarist Patrick Simmons and bassist Dave Shogren.
Patrick Simmons had played in a number of groups, including Scratch, which coincidentally, featured future Doobie Brothers’ bassist, Tiran Porter. Meanwhile, Dave Shogren was The Doobie Brothers bassist, as they began to make a name for themselves around North California.
Whenever and wherever The Doobie Brothers played live, the venues sold out. The Doobie Brothers were particularly popular amongst the local Hell’s Angel’s chapters. That’s not surprising.
At this time, The Doobie Brothers’s were no different from the Hell’s Angels who came to see them play live. They wore leather jackets and rode motorbikes. This would change quite quickly, when The Doobie Brothers signed to Warner Bros. and released their eponymous debut album.
The Doobie Brothers.
Having established themselves on the North California live circuit, The Doobie Brothers quickly came to the attention of several record companies. Eventually, it was Warner Bros. who signed The Doobie Brothers in the second half of 1970. They didn’t waste time, and sent The Doobie Brothers into the studio on October 1970.
The four members of The Doobie Brothers were ready to begin work on what would be their debut album, The Doobie Brothers. Unlike many groups, The Doobie Brothers had two songwriters, Tom Johnston and Patrick Simmons. However, for their debut album The Doobie Brothers, Tom Johnston penned seven of the ten tracks and Patrick Simmons just one. The other two songs were a cover Randy Newman’s Beehive State, and the traditional song Chicago. These ten tracks were recorded at Pacific Recording Studios, San Mateo, California.
Recording of The Doobie Brothers took place during October and Novmber of 1970. Warner Bros. had high hopes for their latest signing, so brought onboard Lenny Waronker and Ted Templeman to coproduce The Doobie Brothers. They would guide the four members of The Doobie Brothers through the recording of their eponymous debut album. This was unchartered territory for them.
Tom Johnston took charge of lead vocals, and played guitar, piano, harp and harmonica. Guitarist Patrick Simmons joined drummer John Hartman and bassist Dave Shogren in the rhythm section. However, Dave Shogren was more than a bassist. He played keyboards, organ and like the rest of The Doobie Brothers added backing vocals on The Doobie Brothers. It was released in April 1974.
Before that, critics had their say on The Doobie Brothers.With its country tinged sound and chugging guitars, The Doobie Brothers was described as country boogie, albeit with a hint of laid-back A.O.R. and rock. Reviews were mixed, ranging from disappointing to approving. Some critics felt that The Doobie Brothers were on the right lines with their fusion of country and rock, but that it would take two or three albums to hone and polish their sound. That proved to be the case.
Nobody was chosen as the lead single from The Doobie Brothers, but failed to chart in 1971. Neither did Travelin’ Man nor Beehive State. However, when Nobody was reissued in 1974, it reached number fifty-eight in the US Billboard 100. After the disappointment of Nobody, The Doobie Brothers, was released in April 1971. It stalled at 208 in the US Billboard 200. This was doubly disappointing for The Doobie Brothers. However, things would get better.
Toulhouse Street.
After the release of The Doobie Brothers, bassist Dave Shogren left the band. His replacement was Tiran Porter, who had been a member of Scratch with Patrick Simmons. This wasn’t the only new addition to The Doobie Brothers’ lineup.
For some time, The Doobie Brothers had been considering adding a second drummer to the lineup. Eventually, former Vietnam veteran Michael Hossack was chosen to augment John Hartman. And now, there were five, as work began on Toulouse Street.
Just like their eponymous debut album, Toulouse Street Tom Johnson wrote and Patrick Simmons penned the majority of the ten tracks. Tom Johnson wrote five songs, and Patrick Simmons two. The other three tracks were cover versions, including Seals and Croft’s Cotton Mouth, Arthur Reid Reynold’s Jesus Is Just Alright and Sonny Boy Willaimson’s Don’t Start Me Talkin’. These tracks were recorded in two top studios during 1972.
Warner Brothers Studios, North Hollywood and Wally Heider Studios, in San Francisco were where The Doobie Brothers new lineup recorded Toulhouse Street. Augmenting the five Doobie Brothers were a horn section, while producer Rod Templeman added percussion. Gradually, a very different album to The Doobie Brothers took shape. It was scheduled for release on July 1st 1972.
Prior to the release of Toulouse Street, critics received their advance copies of the album. When they dropped the needle on Toulouse Street, they heard a slice of classic rock. Tracks like Listen To The Music, Rockin’ Down The Highway and Jesus Is Just Alright convinced the doubters.
Those who were critical of The Doobie Brothers were won over. Even the Rolling Stone, which didn’t dish out praise lightly, gave Toulouse Street a favourable review. Unsurprisingly, the self-appointed dean of American critics, Robert Christgau, wasn’t particularly impressed. However, he very rarely was. He should’ve been.
When Toulouse Street was released on 1st July 1972, it eventually reached twenty-one on the US Billboard 200, and was certified platinum. Helping sales of Toulouse Street was the lead single Listen To The Music. It was released on 17th July 1972, and reached number eleven on the US Billboard 100. Jesus Is Just Alright was released in November 1972, but reached thirty-five in the US Billboard 100. The only disappointment was when Rockin’ Down The Highway failed to chart. By then, The Doobie Brothers were enjoying their first million selling album. This was the first of many.
The Captain And Me.
Following the success of Toulouse Street, The Doobie Brothers headed out on tour. They were about to settle into the routine where they record an album, promote the album and then tour it. So, when they weren’t touring Toulouse Street, the Warner Brothers Studios, North Hollywood was a second home for The Doobie Brothers.
Time was of the essence. The pressure was on The Doobie Brothers to record their third album quickly. Having just released a million selling album, Warner Bros. wanted to strike while the iron was hot. So when The Doobie Brothers arrived a the Warner Brothers Studios, North Hollywood they began looking to the past for inspiration.
The Doobie Brothers were just the latest band to look to the blues for inspiration. That’s how one of the six tracks that Tom Johnston wrote came about. He started improvising, and then producer Ted Templeman suggested that Tom Johnston make the lyrics about a train. Gradually, Long Train Runnin’ took shape. That was the first future Doobie Brothers’ classic Tom Johnson penned for The Captain And Me. The other was China Grove. Not to be outdone, Patrick Simmons contributed three songs or The Captain And Me.
They were Clear as the Driven Snow, South City Midnight Lady, and Evil Woman. Without You was credited to The Doobie Brothers. The other track on The Captain And Me was Busted Down Around O’Connelly Corner, a James Earl Luft composition. These eleven tracks were recorded at Warner Brothers Studios, North Hollywood with a few session players augmenting The Doobie Brothers.
This time around, there was no horn section. Instead, Jeff Baxter played pedal steel and steel guitar, while Bill Payne played keyboards,organ and piano. A first was the use of synths strings, which were arranged by Nick DeCaro. Producer Ted Templeman added percussion, on what would be The Doobie Brothers’ third album in three years, The Captain And Me. It was due for release on March 2nd 1973.
Just before the release of The Captain And Me, the reviews of the album were published. Most of the reviews were favourable, and were impressed by what was essentially classic rock with a bluesy twist. However, not everyone was won over by The Captain And Me. One of the exceptions was Rolling Stone magazine. However, most critics realised that The Doobie Brothers were maturing into one of the biggest names in music.
When The Doobie Brothers was released two years earlier, some critics had forecast that it would take The Doobie Brothers two to three albums to hone and polish their sound. This proved to be the case. Tom Johnson and Patrick Simmons were maturing into talented songwriters. Meanwhile, The Doobie Brothers were a tight, talented band who wrote music that appealed to a wide range of record buyers.
Over two million copies of The Captain And Me were eventually sold. The album reached number seven in the US Billboard 200, and was certified double-platinum. Long Train Runnin’ was the lead single from The Captain And Me. It reached number nine in the US Billboard 100, and became The Doobie Brothers’ biggest single. China Grove then reached number fifteen in the US Billboard 100. For The Doobie Brothers, The Captain And Me had been the most successful album of their career. Now it was a case of doing it all over again.
What Were Once Vices Are Now Habits.
There was no rest for The Doobie Brothers. Having released The Captain And Me, they embarked upon another tour. Then when they weren’t on tour, they were writing and recording their fourth album, What Were Once Vices Are Now Habits.
Given their gruelling schedule, The Doobie Brothers hadn’t the time they would have liked to hone songs. Instead, some of the songs were written or completed in the studio. Principal songwriter Tom Johnston penned six tracks, and cowrote Road Angel with John Hartman, Michael Hossack and Tiran Porter. He also contributed Flying Cloud. Patrick Simmons wrote Black Water, You Just Can’t Stop It, Tell Me What You Want (And I’ll Give You What You Need) and Daughters Of The Sea. These twelve tracks were recorded at three studios.
Recording took place not just at Warner Bros. Studios, North Hollywood, but at Wally Helder Studios, San Francisco and Burbank Studios, in Burbank. Augmenting The Doobie Brothers were The Mempis Horns and backing vocals. Familiar faces included Jeff Baxter on pedal steel and steel guitar, while Bill Payne played keyboards, organ and piano. As usual, Ted Templeman added percussion and more importantly produced What Were Once Vices Are Now Habits. It was scheduled for release on 1st February 1974.
This meant that The Doobie Brothers were about to release two albums in eleven months. When critics heard What Were Once Vices Are Now Habits, reviews were mixed. Classic rock, bluegrass, country, soft rock and A.O.R. shawn through on What Were Once Vices Are Now Habits. There was a but though.
Gone was the overwhelming critical acclaim that accompanied their last two albums. Although some reviews were positive, some critics felt What Were Once Vices Are Now Habits lacked the quality of Toulhouse Street and The Captain And Me. Rolling Stone magazine and Robert Christgau were among the fiercest critics. This time, though, they were alone. A few critics wondered aloud of The Doobie Brothers were releasing too many albums in too short a space of time? Only time, and album sales would tell.
When What Were Once Vices Are Now Habits, was released, the AOR boom was about to begin. Especially amongst the generation who had just graduated university and had entered the workplace for the first time. With their disposable income, they bought albums by groups like The Doobie Brothers. As a result, What Were Once Vices Are Now Habits reached number four in the US Billboard 200, and was certified double-platinum. Across the Atlantic, What Were Once Vices Are Now Habits reached nineteen in Britain. This resulted in a silver disc for The Doobie Brothers. However, this wasn’t the end of the commercial success.
Another Park, Another Sunday reached number thirty-two in the US Billboard 100 in 1974. Eyes of Silver stalled at number fifty-two in the US Billboard 100. If The Doobie Brothers or executives at Warner Bros. were worried, they needn’t have been. Black Water, with its bluegrass influence gave The Doobie their first number one on the US Billboard 100. Despite the disappointing reviews, 1974 had been the most successful year of their four album career. All they had to do, was do it again.
Stampede.
Just seven months after the release of What Were Once Vices Are Now Habits, The Doobie Brothers returned to the studio on 9th September 1974. When they arrived, they had a new recruit, Jeff Baxter. He had played played pedal steel and steel guitar on the last couple of Doobie Brothers’ albums. Now he was a permanent fixture. Five Doobie Brothers become six.
Right through to October the 6th 1974, it seemed that The Doobie Brothers were on a tour of some of America’s top recording studios. Warner Bros. Studios, North Hollywood, Wally Helder Studios, San Francisco and Burbank Studios, in Burbank were all used. So was The Record Plant in Sausalito, California and Creative Workshop in Nashville. These five studios were where The Doobie Brothers released the most eclectic album of their career so far, Stampede.
This became apparent when The Doobie Brothers covered Holland, Dozier, Holland’s Take Me in Your Arms (Rock Me a Little While). Their other cover was the instrumental Précis. The rest of Stampede came courtesy of The Doobie Brothers’ two main songwriters. Tom Johnson only penned four tracks for Stampede, and cowrote Sweet Maxime with Patrick Simmons. He wrote four tracks, and was beginning to rival Tom Johnson as The Doobie Brothers’ principal songwriters. This was just as well.
Things were about to change for The Doobie Brothers. Onlookers who watched the recording of Stampede weren’t surprised. The Doobie Brothers took excursions via country rock, folk and sadly, funk. Guest artists included guitar virtuosos Ry Cooder, singer Maria Muldaur, pianist and marimba player Victor Feldman, percussionist Bobbye Hall and backing vocalists Sherlie Matthews and Venetta Fields. Horns and strings were over-dubbed onto what was an ambitious album from The Doobie Brothers.
Once The Doobie Brothers had finished recording Stampede with producer Ted Templeman, the release date was confirmed as April 25th 1975. However, there was a problem though.
As 1974 drew to a close, Tom Johnson’s health was suffering. Years spent on the road, carousing and enjoying the rock ’n’ roll lifestyle had taken its toll. He was absent when The Doobie Brothers played on Dick Clark’s New Year’s Rockin’ Eve. The other members of The Doobie Brothers, and executives at Warner Bros. were worried. Tom Johnson played a huge role in the rise and rise of The Doobie Brothers.
By the spring of 1975, things had taken a turn for the worst. Tom Johnston had been hospitalised with a bleeding ulcer. This left a huge void. Jeff Baxter however, had a solution.
Jeff Baxter had first met Michael McDonald when the pair were playing with Steely Dan. Michael McDonald was a keyboardist and vocalist. His whose style is best described as ‘blue-eyed soul’. This was who Jeff Baxter suggested should replace Tom Johnston on the Stampede promotional tour.
Eventually, it was agreed that Michael McDonald join The Doobie Brothers, and Tom Johnston’s vocal and guitar duties be shared out. Patrick Simmons, Michael McDonald, Tiran Porter andKeith Knudsen would share vocals. Jeff Baxter and Patrick Simmons would play Tom Johnston’s guitar parts. It wasn’t ideal, but it was the only alternative to postponing the tour. That wasn’t going to happen. Warner Bros. had Stampede scheduled for release on April 25th 1975.
When critics heard Stampede, they were won over by what was the most eclectic album of The Doobie Brothers’ five album career. Critically acclaimed reviews preceded the release of Stampede.
On Stampede’s release, it reached number four on the US Billboard 200. This was The Doobie Brothers’ highest chart placing. Despite this, Stampede was only certified gold. In Britain, Stampede reached fourteen and was certified silver. Stampede hadn’t proved as commercially successful in America as The Doobie Brothers’ last two albums. Maybe the singles could save the day?
Take Me in Your Arms (Rock Me a Little While), which featured Tom Johnson reinventing Holland, Dozier, Holland’s reached number eleven in the US Billboard 100. Sweet Maxine reached just number forty in the US Billboard 100. That was disappointing. So was I Cheat the Hangman stalling at number sixty in the US Billboard 100. Although Stampede had been certified gold, 1975 was proving a disappointing and worrying year for The Doobie Brothers.
Takin’ It to the Streets.
After the release of Stampede, The Doobie Brothers’ thoughts turned to their sixth album. Tom Johnston was still unwell, suffering from stomach ulcers. Things had got so bad, that shows were cancelled, and Tom Johnston’s involvement was reduced. At one point, the rest of The Doobie Brothers considered calling time on the band. They were only contracted to Warner Bros. until 1976. Michael McDonald, Tom Johnston’s temporary replacement, was merely a stopgap.
Michael McDonald was between bands when The Doobie Brothers came calling. He was living in a garage apartment. The vocalist wasn’t really the accomplished keyboardist The Doobie Brothers wanted. They wanted someone that could seamlessly switch between Hammond organ and various other keyboards. That didn’t describe Michael McDonald. However, Michael McDonald had one thing going for him, he was a singer.
The Doobie Brothers met Michael McDonald at Le Pavillon Hotel in New Orleans. They spoke with him, and then took him to a warehouse to rehearse for two days. To all intents and purposes, he was auditioning for The Doobie Brothers’ sixth album Takin’ It to the Streets.
Eventually, The Doobie Brothers decided to bring Michael McDonald onboard for the recording of Takin’ It to the Streets. This worried Warner Bros. After all, Michael McDonald was an unknown singer, who was about to become the lead singer of one of the biggest selling American bands. Now there were seven.
With The Doobie Brothers’ number swelling to seven, and their principal songwriter sidelined, it was all hands on deck. Tom Johnston only wrote Turn It Loose, which he played the guitar on. Patrick Simmons wrote 8th Avenue Shuffle and cowrote two tracks, including Wheels of Fortune, which Tom Johnston added the lead vocal to. However, Michael McDonald contributed Takin’ It To The Streets, Losin’ End, It Keeps You Runnin’ and cowrote Carry Me Away. Quickly, the unknown singer was making his presence felt, as recording began at Warner Brothers Studios, in North Hollywood.
As the recording began, producer Ted Templeman was faced with recording an album without the most talented member of The Doobie Brothers. While Tom Johnston featured on two tracks, he was a huge loss. Michael McDonald had a hard act to follow. He tried his best, adding vocals on seven songs. Tiran Porter featured on For Someone Special. Vocalist Maria Muldaur featured on Rio. Just like previous albums, The Memphis Horns add their inimitable sound. However, Takin’ It To The Streets was a very different The Doobie Brothers album.
Critics realised this straight away. Reviews of Takin’ It To The Streets varied. Some were mixed, a few favourable and some positive. However, one thing became clear, Michael McDonald was a very different type of vocalist. He interpreted the songs in a different way. His blue-eyed soul was very different to Tom Johnston, who was key to the success of The Doobie Brothers. His loss was felt on Takin’ It To The Streets, an album of classic rock, blue-eyed soul and A.O.R.
Despite the loss of Tom Johnston, when Takin’ It To The Streets was released in March 1976, it reached number eight in the US Billboard 200. This resulted in a platinum disc for The Doobie Brothers. Takin’ It To The Streets reached just forty-two in Britain, but was certified silver. However, only line of singles reached the upper reaches of the US Billboard 100.
Takin’ It To The Streets reached number thirteen in the US Billboard 100. Then Wheels of Fortune stalled at number eighty-seven. It Keeps You Runnin’ reached just number thirty-seven. However, despite this, 1976, which was the last year of The Doobie Brothers; Warner Bros.’ contract had been a successful one. However, what did the future hold for them?
The Best Of The Doobies.
Warner Bros. must have wondered this? So later in 1979, Warner Bros. decided to release a compilation of The Doobie Brothers hit singles. The Best Of The Doobie Brothers covered the period between their sophomore album Toulouse Street through their sixth album Takin’ It to the Streets. A total of eleven songs were chosen, which covered the Tom Johnston and Michael McDonald years. Among the songs chosen, were China Grove, Long Train Runnin’, Listen To The Music, South City Midnight Lady and Take Me In Your Arms. These eleven songs became The Best Of The Doobie Brothers.
Critical acclaim accompanied the release of The Best Of The Doobie Brothers. It was released on October 29th 1976 and reached number five in the US Billboard 200 and number three in Canada.This resulted in The Best Of The Doobie Brothers was certified double platinum in Canada. Meanwhile, in Britain The Best Of The Doobie Brothers was certified silver. However, in America The Best Of The Doobie Brothers sold ten million copies and was certified diamond. By then, The Doobie Brothers had resigned to Warner Bros.
Livin’ On The Fault Line.
Having resigned to Warner Bros., The Doobie Brothers began working on their seventh album, Livin’ On The Fault Line. Tom Johnston was newly restored to The Doobie Brothers’ lineup…for the time being.
Tom Johnston had written five songs for Livin’ On The Fault Line. He was restored to his rightful role as The Doobie Brothers’ principal songwriter. The Doobie Brothers had recorded these five tracks, which should’ve become half of their seventh album, Livin’ On The Fault Line. However, all wasn’t well.
During the Livin’ On The Fault Line sessions, Tom Johnston left The Doobie Brothers. His songs were removed from the album. However, his guitar lines and some vocals can be heard. Without Tom Johnston’s songs, The Doobie Brothers were almost starting again.
Eventually, when Livin’ On The Fault Line was ready for release, one name loomed large, Michael McDonald. He wrote two songs and cowrote another two. Patrick Simmons only cowrote three songs, and cowrote Echoes of Love which Willie Mitchell and Earl Randle cowrote for Al Green. The song was never quite finished though, until Patrick Simmons intervened. Along with Holland, Dozier, Holland’s Little Darling (I Need You) and Tiran Porter’s Need A Lady, these ten tracks became Livin’ On The Fault Line.
Again, it was recorded in various studios, including Sunset Sound Recorders and Western Recorders in Hollywood. Other sessions took place in Warner Bros. Recording Studios, North Hollywood. Overseeing the sessions, was producer Ted Templeman. He ensured that Livin’ On The Fault Line was ready for release on August 19th 1977.
Livin’ On The Fault Line wasn’t as well received as many Doobie Brothers’ albums. Reviews were mixed, varying between mixed to favourable and positive. Some critics however, weren’t won over by Livin’ On The Fault Line’s jazzy hue. What would record buyers think?
When Livin’ On The Fault Line was released, it reached number ten on the US Billboard 200. This was enough for the album to be certified gold. That was as good as it got.
The lead single, Little Darlin’ I Need You reached just forty-eight in the US Billboard 100. Then Echoes of Love stalled at a lowly sixty-six in the US Billboard 100. Some critics felt Tom Johnson, who cofounded The Doobie Brothers, was a big loss.
Minute By Minute.
This forecast by some critics would prove ironic. On December 1st 1978, The Doobie Brothers would release the most successful album of their career, Minute By Minute.
For the first album of the post Tom Johnson era, Michael McDonald played a big part in writing Minute By Minute. He penned Here To Love You, and penned What A Fool Believes with Kenny Loggins. He wasn’t finished. Michael McDonald and Lester Abrams cowrote Minute By Minute. The pair also cowrote Open Your Eyes with Patrick Henderson. How Do the Fools Survive? was a Michael McDonald composition with Carole Bayer Sager. Then Michael McDonlad cowrote Dependin’ On You with Patrick Simmons. However, he wasn’t being sidelined.
Patrick Simmons wrote Steamer Lane and You Never Change. He also cowrote Sweet Feelin’ with producer Ted Templeman. These songs became part of Minute By Minute, which was recorded at Warner Bros. Recording Studios, North Hollywood.
For the recording of Minute By Minute, The Doobie Brothers were joined by season players and backing vocalists. This includes backing vocalist Nicolette Larson. Michael Jackson also claimed to have added backing vocals on What a Fool Believes, Here to Love You and Minute by Minute. However, he wasn’t credited on the album when it was released on December 1st 1978.
Before the release of Minute By Minute, the reviews were mixed. Critics were divided by the mixture of A.O.R., blue-eyed soul and soft rock. However, record buyers loved Minute By Minute.
When Minute By Minute was released, it reached number one on the US Billboard 200 charts. Three million copies of Minute By Minute were sold, and the album was certified platinum three times over. Across the border, Minute By Minute was certified platinum in Canada. This was just the start of the success.
The lead single from Minute By Minute, What A Fool Believes reached number one on the US Billboard 100 charts in 1980. Minute By Minute reached number fourteen on the US Billboard 100 charts. Then Depending On You reached number twenty-five on the US Billboard 100 charts. That hardly mattered. One of the most prestigious awards in music was tantalisingly close…The Grammy Awards.
When the Grammy Awards’ nominations were released, The Doobie Brothers and Minute by Minute were were nominated four times. Michael McDonald and Kenning Loggins had penned What A Fool Believes. This won them a Grammy Award for the Record of the Year. Minute By Minute then won a Grammy Award for Album Of The Year. Both Minute By Minute and What A Fool Believes were nominated for the Song of the Year. Ultimately, What A Fool Believes won a Grammy Award for Song of the Year. That took The Doobie Brothers toll of Grammy Awards to three. 1980 had been the most successful year of The Doobie Brothers’ ten year career. However, there was a twist in the tale.
One Step Closer,
After the success of Minute By Minute, The Doobie Brothers literally fell apart. The near dissolution of The Doobie Brothers was spun by P.R. men as the constant years of touring and recording catching up on the band. However, another explanation was the addition of Michael McDonald.
Since Michael McDonald had been rescued from the penury of his garage flat, the band had changed, and not necessary for the better. One of founder members, Tim Johnston had left The Doobie Brothers. Next to leave was guitarist Jeff Baxter. He clashed with Michael McDonald, who didn’t approve of his avant garde guitar parts. This Michael McDonald felt didn’t suit The Doobie Brothers. It seemed the one time session player was now dictating The Doobie Brothers’ musical direction. Soon, other members of The Doobie Brothers decided to leave.
Drummer John Hartman, another founding member of The Doobie Brothers left the band. So did longtime guitarist Jeff Baxter and percussionist Bobby LaKind. However, Michael McDonald remained.
Patrick Simmons watched as another of the second of the founding members of The Doobie Brothers left. It seemed ten years playing together counted for little. This meant Patrick Simmons and Tiran Porter were the last original member of The Doobie Brothers left. It was a sad day.
Despite this, The Doobie Brothers continued. They were scheduled to embark on a lucrative tour. So the remaining members of The Doobie Brothers headed out on tour.
This included Patrick Simmons, Tiran Porter and Michael McDonald. They were joined by Keith Knudsen. Augmenting them quwere drummer Chet McCracken, guitarist and violinist John Mc Fee and one-time Moby Grape saxophonist and flautist Cornelius Bumpus. They headed out on the lucrative tour, then in 1980, began recording One Step Closer.
When The Doobie Brothers regrouped, to record One Step Closer, producer Ted Templeman was greeted by a very different group to the one that recorded a triple-platinum album that won a trio of Grammy Awards. The Doobie Brothers were a pale shadow of its former self. It wasn’t going to be easy to record an album as successful as Minute By Minute.
For One Step Closer, Michael McDonald wrote Keep This Train A-Rollin’ and cowrote another four tracks. This included “No Stoppin’ Us Now, which Chris Thompson and Patrick Simmons cowrote. Patrick Simmons also wrote Just in Time. Other members of The Doobie Brothers contributed tracks. Cornelius Bumpus penned Thank You Love. Chester McCracken cowrote with John McFee. He cowrote One Step Closer with Keith Knudson and Carlene Carter. These ten tracks would become The Doobie Brothers ninth studio album, One Step Closer.
Again, various studios were used from L.A. to New York and Detroit. Sessions took place at Sunset Sound Recorders in Hollywood. Nearby, Warner Brothers Studio in North Hollywood was a favourite place for The Doobie Brothers. Other sessions were recorded at United Sound Recorders in Detroit, and A & R Recorders in New York. At the four studios, ten tracks took shape. They were recorded by The Doobie Brothers, a horn section and backing vocalists, including Nicolette Larson. Once the ironically titled One Step Closer was finished, so was the first chapter in The Doobie Brothers’ career.
Before that, One Step Closer was reviewed by critics. They weren’t impressed with what was the worst album of The Doobie Brothers’ nine album career. Reviews were far from positive. One Step Closer didn’t sound a cohesive album. That wasn’t surprising as The Doobie Brothers were now augmented by session musicians. Good as they were, they weren’t as invested in the project. For them, it was another project. However, despite the disappointing reviews, One Step Closer proved a popular album.
On its release on September 17th 1980, One Step Closer surprisingly reached number three on the US Billboard 200, and number thirty-one on the US R&B charts. This resulted in another platinum album for The Doobie Brothers. However, maybe a lot of record buyers bought One Step Closer looking for another album like Minute By Minute. They would be disappointed. There were no singles like What A Fool Believes.
The closest thing was Real Love, which reached number five in the US Billboard 100. One Step Closer then reached twenty-four in the US Billboard 100. Keep This Train A-Rollin’ proved an ironic title, when it reached a lowly sixty-two in the US Billboard 100. The end was nigh for The Doobie Brothers.
After the release of One Step Closer, The Doobie Brothers continued to tour during the rest of 1980 and 1981. However, gradually, the band fell apart.
Towards the end of 1981, Patrick Simmons left the band. This meant that there were no original members of The Doobie Brothers left in the lineup. Calling the band The Doobie Brothers would’ve been farcical. By then, Michael McDonald had one eye on a solo career. So the remaining ‘members’ of The Doobie Brothers called tine on the once proud band. In the end it was a mercy killing. Maybe it should’ve happened much sooner?
Back in 1975, when Tom Johnston was having medical problems, maybe that was the time to call time on The Doobie Brothers? However, the band was at the peak of their powers, and were signed to Warner Bros. for one more year. They were caught between a rock and hard place. If they had called time on The Doobie Brothers in 1975, the band’s identity would’ve remained intact. Instead, The Doobie Brothers with Michael McDonald became a very different type of band, and one that even today, divides the opinion of critics. They were penning The Doobie Brothers‘ epitaphs. Meanwhile, Warner Bros. were preparing to release the Best Of The Doobie Brothers Volume II.
Best Of The Doobie Brothers Volume II.
For the Best Of The Doobie Brothers Volume II, ten tracks were chosen. They covered the period between Livin’ On The Fault Line and One Step Closer were chosen. Among the singles chosen, were Little Darling I Need You, You Belong To Me, What A Fool Believes, Here to Love You and Minute By Minute. These ten tracks became the Best Of The Doobie Brothers Volume II, and were released in November 1981.
The second compilation of The Doobie Brothers didn’t sell ten million coupes. However, when the Best Of The Doobie Brothers Volume II was released in November 1981, it reached thirty-nine in the US R&B charts. This was enough for the Best Of The Doobie Brothers Volume II to be certified. Having released a second successful Best Of album, there was still something missing from The Doobie Brothers’ back-catalogue, their first live album Farewell Tour.
Farewell Tour.
When the seventeen track Farewell Tour was released in June 1983, it was the case for the prosecution. Farewell Tour showed what The Doobie Brothers had become. They were a blue-eyed soul band, which was a long way from the guitar driven boogie of the Tom Johnston years. Fittingly, Tom Johnston has the final say on Farewell Tour.
He closes Farewell Tour with Long Train Runnin’ and China Grove. Tom Johnston also features on Slippery St. Paul, from The Doobie Brothers. It’s a tantalising taste of The Doobie Brothers before their rough edges were smoothed away. It was a reminder of what The Doobie Brothers had once been.
On the release of Farewell Tour, it reached a lowly seventy-nine on the US Billboard 200. The single You Belong To Me reached just seventy-nine on the US Billboard 100. It looked like The Doobie Brothers’ time was up.
They had had a good run. Between 1971s The Doobie Brothers and 1983s Farewell Tour, the group had sold 21.5 million albums in America alone. This was the most successful period of The Doobie Brothers’ career.
Since then, The Doobie Brothers have reformed and hit the comeback trail several times, releasing five albums between 1989 and 2014. However, commercial success only visited them once more. That was their tenth studio album Cycles, reached seventeen in the US Billboard 200, and was certified gold. This was as good as it got for The Doobie Brothers.
1991s Brotherhood failed to match the commercial success of Cycles, reaching a lowly eighty-two on US Billboard 200. Sibling Rivalry released in 2000, failed to chart. Ten years later, The Doobie Brothers released World Gone Crazy, which reached thirty-nine in the US Billboard 200. Then Southbound, which was released in 2014, saw The Doobie Brothers reach eighteen in the US Billboard 200. However, by then, no longer did a group need to sell 500,000 copies to reach the top twenty. In a way, it was a Pyrrhic victory.
By 2014, the best and most successful years of The Doobie Brothers were long behind them. By then, the best and and most successful years of The Doobie Brothers career was a generation ago, when they were signed to Warner Bros. The twelve years The Doobie Brothers spent at Warner Bros. was the most successful of their career. That period of The Doobie Brothers’ career will mean different things to different people. Some remember and prefer the guitar driven boogie of the Tom Johnston years; while other enjoyed the blue-eyed soul of the Michael McDonald years. These two different sides of of The Doobie Brothers made them one of the biggest selling bands between 1971-1983.
During that period, The Doobie Brothers sold 21.5 million albums in America alone, They received three gold discs, three platinum discs; had two albums certified double platinum; one certified triple-platinum and one certified diamond. Glittering describes The Doobie Brothers’ career, especially the Warner. Bros’ years.
THE DOOBIE BROTHERS-THE WARNER BROS. YEARS 1971-1983.
AMERICA-THE WARNER BROS. YEARS.
AMERICA-THE WARNER BROS. YEARS.
Somewhat confusingly, the America story began in London in 1971. That’s when high school students Dewey Bunnell, Dan Peek, and Gerry Beckley first met. Their fathers were all members of the US Air Force, and at that time, were stationed in London. Far from home, and strangers in a foreign country Dewey, Dan and Gerry soon became close friends. They had a lot common. Especially music.
It wasn’t long until Dewey, Dan and Gerry formed a group. They sung close vocal harmonies and quickly, honed their own sound. Early on, it was described as acoustic folk. This became popular around the London area, where they performed live. For the trio of high school students, things were happening fast.
By the time that Dewey, Dan and Gerry had graduated high school, Warner Bros. offered them a record band. For the nascent group, this was the stuff that dreams were made of. However, for America this was just the start of a roller coaster ride.
Between 1971 and 1976, America became one of the most popular bands on both sides of the Atlantic. They released six albums during this period. This included their eponymous debut album in December 1971.
America.
Having signed to Warner Bros., the label didn’t waste time getting their latest signing into the studio. America had written twelve tracks for their eponymous debut album. Each member contributed to the America. Dewey Bunnell penned six tracks, Dan Peek three and Gerry Beckley three. These songs were recorded at two London studios.
Trident Studios and Morgan Studios were chosen for the recording of America. Producing America, was Ian Samwell, who already established a reputation as a talented producer. Keeping a close eye on proceeding was former dancer Jeff Dexter. He was America’s manager, and was credited as the executive producer of America. His clients were a talented trio.
This became apparent when recording of America began. The three members of America were all multi-instrumentalists. They played many of the instruments on America. Dewey Bunnell played acoustic guitar. Gerry Beckley played bass, six and twelve string acoustic guitar, electric guitar, piano and chimes. Dan Peek bass, six and twelve string acoustic guitar, electric guitar and piano, When it came to the lead vocals, they were shared around. Usually, one member of America took the lead, while the other two added harmonies. However, on Riverside which opened America, the three members of America shared lead vocals. Augmenting America, were some session players including guitarist David Lindley and percussionist Ray Cooper. Once America was recorded, it was scheduled for release in December 1971.
Before the release of America, critics received an advance copy. When critics heard this new group’s debut album, they were quickly won over. While critical acclaim accompanied the release of America, some critics went as far as to call the album a “folk pop classic.” This was a huge call, but proved to be prescient.
When America was released on 29th December 1971, the album began climbing the charts on both sides of the Atlantic. In Britain, America’s adopted home, the album reached number five and was certified silver. However, in their home country, America reached number one in the US Billboard 200, and was certified platinum. Helping sales of the album were a classic single.
A Horse With No Name was chosen as the lead single from America. It was released on January 12th 1972, and reached number three in Britain and number one on the US Billboard 100. Elsewhere, A Horse With No Name was a huge hit single. However, it was in America where it was most successful. Having sold over a million copies, A Horse With No Name was certified platinum. For America, this wasn’t the end of the success.
I Need You was released on 26th April 1971, and reached number nine in the US Billboard 100. This was just the icing on the cake for America. They had just enjoyed a million selling single and album, both of which were being referred to as classics. Could things get any better?
Homecoming.
After the success of America, the band returned to the studio in 1972. The pressure was on for America to prove that their debut album hadn’t been a fluke. Musical history was littered with bands who enjoyed one successful album, then faded away. America were determined not to join their ranks.
For their sophomore album Homecoming, the three members of America penned nine of the ten tracks. Each member contributed three tracks each. America the band, were a democracy. The other track on Homecoming was a cover of John Martyn’s Head and Heart. With the help of some top session players, these tracks became America’s sophomore album.
Among the session players, were Wrecking Crew drummer Hal Blaine. He provided the heartbeat to nine of the tracks on Homecoming, which was being produced by America. For such a young group, this was seen as a brave or foolish decision.
Ironically, when critics heard Homecoming there was no criticism of the production. America’s decision to dispense with a producer had been vindicated. The only criticism of Homecoming was that some of the lyrics lacked depth. They veer towards banal, and can hardly be described as cerebral. Despite this, Homecoming received glowing reviews, and nowadays, is seen as one of their finest albums. Record buyers heard a sneak preview of Homecoming on September 19th 1972.
That’s when Ventura Highway was released as a single. It reached number forty-three in Britain and number eight in the US Billboard 100. This augured well for the release of Homecoming.
November 15th 1972 was the date that America had been waiting for. That was when their sophomore album was released. It was their production debut. They wondered how listeners would react to the change in sound. Although still based around the acoustic guitar, both the electric guitar and keyboards were more prominent. America hoped this stylistic departure wouldn’t alienate listeners.
It didn’t. Homecoming reached number twenty-one in Britain and number nine in the US Billboard 200. While Homecoming wasn’t as successful as America, the album was certified platinum in America. This was America’s second album that sold over a million copies. Elsewhere, America’s popularity was spreading. Homecoming was certified platinum in Australia and gold in Canada. Spurred on by this success, America released another single from Homecoming.
Don’t Cross the River was released on the 3rd January 1973, and reached number thirty-five in the US Billboard 100. This was disappointing for America. It was the least successful single of their career. Until America released Only in Your Heart. When it was released on April 14th 1973, it stalled at a lowly sixty-two in the US Billboard 100. Were there problems ahead for America?
Hat Trick.
Although Homecoming had been certified platinum, the commercial failure Don’t Cross the River and Only in Your Heart rankled with America. This made them doubly determined to return with another successful album. So they began work on their third album.
Eventually, Dewey Bunnell had penned four tracks, Gerry Beckley three and Dan Peek two. The three members of America penned Hat Trick, which lent its title to the album. Muskrat Love was the other song on Hat Trick. It had been penned by Willis Alan Ramsey. Originally, the song had been entitled Muskrat Candlelight, and featured on Willis Alan Ramsey’s 1972 eponymous debut album. However, when America recorded the song, they changed the title to Muskrat Love. Along with the other ten tracks, it was record at the Record Plant, Los Angeles.
Just like Homecoming, Hat Trick was produced by America. They brought onboard some high profile musicians to augment them. Drummer Hal Blaine, guitarist Joe Walsh and Beach Boys Bruce Johnston and Carl Wilson. They joined America as they recorded Hat Trick between 29th May and 12th July 1973. Once Hat Trick was recorded, the release was scheduled for October 19th 1973.
Before the release of Hat Trick, critics had their say. They weren’t impressed. The songwriting wasn’t on Hat Trick wasn’t the standard. Letting Hat Trick down were Green Monkey, Molten Love and Willow Tree Lullaby. These three tracks weren’t up to the standard critics expected of America. Nor were some of the tracks as melodic as America and Hat Trick. America seemed to have lost their folk rock mojo. Would this be reflected in sales of Hat Trick?
Muskrat Love had been released as a single on June 28th 1973, while America were still recording Hat Trick. It stalled at a disappointing sixty-seven in the US Billboard 100. When Hat Trick was released on October 19th 1973, it reached just forty-one in Britain and twenty-eight in the US Billboard 200. There was no third platinum disc for America. A small crumb of comfort was that Hat Trick was certified silver in Britain. That was as good as Hat Trick got for America.
When Rainbow Song was released later in 1973, it failed to chart. Green Monkey also failed to chart upon its release in 1974. For America, these were worrying times.
Holiday.
Following the relative failure of Hat Trick in America, America decided to bring onboard a producer. With technology playing an increasingly important part in the recording process, many thought that America would employ someone used to the latest technological advancements. Instead, they brought onboard someone who many regarded as an old school producer. However, forty-eight year old George Martin had an enviable track record.
He was the man who transformed the fortunes of The Beatles, taking them from relative unknowns to the biggest selling band in the world. If he could work his magic again, America’s career would be back on track.
For the first album in America’s George Martin era, America had written twelve tracks. Gerry Beckley had penned five tracks, Dewey Bunnell three and Dan Peek three. Dan also penned Lonely People with his wife Catherine Peek. These twelve tracks would accompany America to AIR Studios, London.
Recording of what became Holiday, began on April 17th and was completed on May 7th 1974. America played every instrument, apart from the drums. Willie Leacox was drafted in to add drums. Geoff Emerick engineered Holidays and George Martin arranged and produced the album. George Martin even added some keyboard tracks. Everything went smoothly, and in three weeks America’s fourth album Holiday was complete. Would it be their comeback album?
Critics decided that it was. America’s decision to bring George Martin onboard was a masterstroke. He brought out the group’s potential. For much of Hat Trick, it seemed to have lain dormant. Not any more. George Martin brought out the best in America, and the result was Holiday, an album that would appeal to a wide spectrum of record buyers.
Whether AOR, folk rock, pop or rock was their bag, record record buyers were won over by Holiday. It reached number three in the US Billboard 200 and number one on the Adult Contemporary charts. Holiday was certified gold in America and silver in Britain. America’s comeback was almost complete.
Tin Man was chosen as the lead single from Holidays. It was released on July 10th 1974, and reached number four in the US Billboard 100 and number one on the Adult Contemporary charts. Lonely People was released as a single on November 27th 1974, and reached number five in the US Billboard 100 and number one on the Adult Contemporary charts. Now America’s comeback was complete.
Hearts.
Following the success of Holiday, America were under pressure to record their fifth studio album. Less than two months after the release of Holiday, America were back in the studio with George Martin.
For Hearts, America had written twelve new tracks. Garry Beckley wrote just three tracks and Dewey Bunnell three. However, Dewey cowrote Dan Peek penned Midnight and The Story Of A Teenager. Dan Peek contributed three tracks, and cowrote Old Virginia with Catherine Peek. These twelve tracks wouldn’t be recorded in America with George Martin.
This time, George Martin decided to forsake his beloved AIR Studios for the sun of Sausalito, in California. That’s where The Record Plant was situated. It had quickly established a reputation as one of the top studios on the West Coast. The sessions began on January 6th 1975. George Martin arranged and produced Hearts. He even added piano. Engineer Geoff Emerick accompanied George Martin. Another familiar face was drummer and percussionist Willie Leacox. He had featured on Holiday. A newcomer was bassist David Dickey. Hearts was his first session with America and George Martin. Just like the last time, everything ran smoothly, and Hearts was completed on January 30th 1975. Less than two months later, Hearts was released on March 19th 1975.
When critics heard the George Martin produced Hearts, it didn’t elicit the same response as Holiday. Although reviews of Hearts were mostly positive, they weren’t as gushing as Holiday. Still, though, Hearts received the seal of approval from most critics. They saw Hearts as a B+ rather than an A.
Record buyers had a different view. When Hearts and the single were released on 19th March 1975, both proved a commercial success. Hearts reached number four on the US Billboard 200, and was certified gold. Sister Golden Hair reached number one in the US Billboard 100 and number five on the Adult Contemporary charts. It seemed the critics had been wrong.
Nearly four months later, Daisy Jane was released on 2nd July 1975, reached number twenty in the US Billboard 100 and number four on the Adult Contemporary charts. Woman Tonight then reached number forty-four in the US Billboard 100 and number forty-one on the Adult Contemporary charts. Although these two singles were only minor hits, FM radio latched onto several album tracks. Old Virginia, Bell Tree and Midnight were regularly played by FM DJs. The America success story continued apace.
History: America’s Greatest Hits.
Having released five studio album, and enjoyed eleven hit singles, Warner Bros. decided the time was right for America to release a Greatest Hits album. The release was scheduled for October 24th 1975.
When the twelve compilation hit the shops, History: America’s Greatest Hits became America’s biggest selling album. It reached number three in the US Billboard 200 and number sixty in Britain. This resulted in the album being certified silver in Britain. However, History: America’s Greatest Hits sold four million copies in America, and was certified platinum four times over. In Australian, History: America’s Greatest Hits was certified platinum six times over. Over the border, Canada’s love affair with America’s music continued, and the album was certified platinum. There was no sign of America’s popularity declining. Far from it.
Hideaway.
So just three months after the release of History: America’s Greatest Hits, America began work on their sixth album. They had written thirteen new tracks for what would become Hideaway.
Gerry Beckley had written four tracks, Dewey Bunnell five and Dan Peek three tracks. Jet Boy Blue, the other song on Hideaway was a Dan and Catherine Peek composition. These twelve tracks were recorded in Colorado.
America and producer George Martin made the journey to Caribou Ranch, in Nederland, Colorado. It housed the studio built by James William Guercio in 1972. He had produced Chicago’s early albums. His other credits included sunshine pop group The Buckinghams and Blood, Sweat and Tears. However, one of James William Guercio’s finest hours was Blood, Sweat and Tears’ 1969 eponymous sophomore album. It won a Grammy Award. Seven years later, the thirty-one year old producer owned his own studio, and had been joined by America and George Martin.
Recording began on February 16th 1976, and followed a similar pattern to Holiday and Hearts. America played most of the instruments, apart from bass and drums. So drummer and percussionist Willie Leacox and bassist David Dickey were brought onboard. By February 28th 1976, Hideaway was complete. Its release was scheduled for the 9th April 1976.
That left less than two months to promote and release Hideaway. It wasn’t a lot of time, but wasn’t unusual in the seventies. Somehow, the record was mastered, the sleeve designed, promoted and copies sent out to critics.
When critics received their copy of Hideaway, most of them gave the album positive reviews. Some critics felt Hideaway wasn’t America’s strongest album. They weren’t shy about saying so. However, the critics had been proved wrong before. Hearts was a case in point.
So was Hideaway. It was released on 9th April 1976, and reached number eleven in the US Billboard 200. Having sold 500,000 copies, it was certified gold. This success continued when Today’s The Day was released on April 28th 1976. While it only reached number twenty-three on the US Billboard 100, it topped the Adult Contemporary charts. Four months later, She’s A Liar stalled at seventy-five in the US Billboard 100 and number seventeen in the Adult Contemporary charts. While this was a disappointing end to 1976, America were still a favourite of FM radio, with Jet Boy Blue and Don’t Let It Get You Down favourites of DJs. Commercially, 1976 had been a relatively good year for America.
The only cloud on the horizon was that Hideaway had sold less copies than Hearts. It had sold less copies than Holiday. However, Holiday sold more copies of Hat Trick. As America headed out on tour that wasn’t the only thing worrying them.
America were finding it hard to replicate George Martin’s arrangements live. So America decided to augment their live lineup. Percussionist Tom Walsh and keyboardist and saxophonist Jim Calire joined America on tour. Hopefully, their 1976 tour would improved sales of Hideaway.
Although America’s 1976 tour proved reasonably successful, as the tour ended, still the sales of Hideaway were less than Hearts. This was disappointing. Little did America know that things were going to get a lot worse.
Harbor.
From their 1971 eponymous debut, right through to 1976s Hideaway, it had been mostly smooth sailing for America. The only disappointment was Hat Trick. However, when George Martin was brought onboard, America never looked back. Commercial success and critical acclaim accompanied them. America had sold over 5.5 million albums in America alone since George Martin’s arrival. He had been a godsend for America. Without him, their career could’ve hit the buffers. He produced three consecutive gold albums. Could he make it four?
America had been writing their seventh album Harbor, before heading to the Ka Lae Kiki Studios, Kauai, Hawaii. Just like their six previous studio albums, each member of America contributed tracks. Gerry Beckley penned five tracks, Dewey Bunnell three and Dan Peek four. With Harbor written, America made the short journey to Hawaii.
Recording began in late 1977 at Ka Lae Kiki Studios. Harbor was the fourth America album George Martin had produced. They had all been certified gold. He was joined by some familiar faces. Drummer Willie Leacox and bassist David Dickey had played on previous America albums. Percussionist Tom Walsh had been part of America’s touring band. Larry Carlton, although an experienced musician, had never worked with America. He was a guitarist, but on Harbor, played electric sitar. This was new, and added an experimental sound. Maybe this should’ve been a warning of what was about to happen.
Once Harbor was completed, Warner Bros. scheduled the release for 15th February 1977. Harbor, with its mixture of pop, rock and soft rock wasn’t well received by critics. They recognised that Harbor was easily, the worst album of America’s career.
Despite the reviews of Harbor, when the album was released on 15th February 1977, it reached number twenty-one on the US Billboard 200. Sales were way down, and there was no gold disc for America. To make matters worse, the singles flopped.
God of the Sun was chosen as the lead single. When it was released in April 1977, it failed to chart. Two months later, Don’t Cry Baby also failed to chart. Then later in 1977, Slow Down became America’s third consecutive single not to chart. By then, three had become two.
Dan Peek had had a crisis of conscience. After years of enjoying the rock ’n’ roll lifestyle, Dan became a Christian. This was nothing new. He had been a Christian before finding fame and fortune with America. However, his faith had lapsed and Dan dabbled in drugs. Not any more. Now he had returned to the Christian fold, Dan was determined not to put temptation his way. So he left America.
When Dan left America, it was with Dewey and Gerry’s blessing. However, this presented a problem for Dewey and Gerry. Did they remain a duo or recruit a new member of America. After some careful consideration, they decided to remain a duo. The first many people heard of the “new” America, was when they heard America Live.
America Live.
Just a couple of months after America were reduced to a duo, Gerry and Dewey journeyed to Los Angeles on July 24th 1977. Their destination was the Greek Theatre, where America were due to record a live album.
For America Live, fourteen tracks were chosen. Seven were penned by Dewey Bunnell and six by Gerry Beckley. The other was Willis Alan Ramsey’s Muskrat Love. Accompanied by their touring band, the “new” America recorded their first live album. It would be released in October 1977.
America Live wasn’t well received by critics. The loss of Dan Peek had proved costly. Now that America were a duo, gone were their trademark close vocal harmonies. While backing vocalists could try and make up for Dan’s loss, they didn’t come close. America weren’t the same band.
Record buyers turned their back on America. America Live reached just a lowly 129 in the US Billboard 200. Even in Australia, where America were popular, America Live stalled at just seventy-four. America’s career was at a crossroads. Could George Martin come to America’s rescue?
Silent Letter.
Silent Letter was the last album produced by George Martin, It was recorded at AIR Studios, Montserrat during March and April of 1979. Over eleven tracks, America embraced disco and power ballads. It was a last gasp attempt to get their career back on track.
Ultimately, this desperate throw of the dice failed. Critics were far from impressed by Silent Letter. They realised it was a far cry from America’s first two albums. 1971s America and its 1972 followup Homecoming, were the finest albums of America’s career. Silent Letter was the low point.
As the reviews forecast, when Silent Letter was released on June 15th 1979, it reached a lowly 110 in the US Billboard 200. To make matters worse, the lead single Only Game in Town failed to chart. So did All My Life and All Around. However, All My Life reached forty-eight in the Adult Contemporary charts. Then in 1980, All Around reached forty-five in the Adult Contemporary charts. That was the end of America’s Warner Bros. years.
The Warner Bros. years were the best years of America’s career. For much of that time, America’s albums were released to commercial success and critical acclaim. Their first seven studio albums sold over 4.5 million albums. That’s no surprise.
During their time Warner Bros., America released the best music of their career. Their first seven studio albums and Live America are documented on America-The Warner Bros. Years 1971-1977. 1971s America begins the America story, and was the most successful album of America’s career. However, their 1972 sophomore album Homecoming is regarded by many as their finest hour. Unlike 1973s Hat Trick, which saw America’s career briefly derailed. It took producer George Martin to get America’s career back on track.
From 1974s Holiday through 1975s Hearts to 1976s Hideaway, George Martin seemed to be working his magic. All seemed to be going well. Holiday, Hearts and Hideaway were all certified gold. However, Hearts sold less that Holiday. Then Hideaway sold less than Holiday. Executives at Warner Bros. looked on with concern. Then Harbor became America’s least successful album since 1973s Hat Trick. Just as things couldn’t get any worse, Dan Peek left.
With America reduced to a duo, it was the end of an era. Their first live album, America Live failed commercially. That was a sign of what was to come from America.
Fortunately, America only owed Warner Bros. one album. Silent Letter proved a disappointing end to a relationship that lasted eight studio albums, a live album and a greatest hits album. After over 8.5 million record sales, two platinum and three gold discs, America left Warner Bros. It had been an incredible journey that lasted eight years.
Little did America realise when they left Warner Bros. and signed to Capitol, that they would never experience the same commercial success and critical acclaim. Incredibly, Gerry Beckley and Dewey Bunnell were only twenty-seven. They had their whole life in front of them. While they persevered with America for another four decades, America’s best years were behind them. They took place at Warner Bros. between 1971-1977.
AMERICA-THE WARNER BROS. YEARS.
RICK WAKEMAN-5 CLASSIC ALBUMS.
RICK WAKEMAN-5 CLASSIC ALBUMS.
To misquote George Orwell, “not all box sets are created equal.” Indeed, box sets come in all shapes and sizes. Some are lovingly compiled, lavish and bespoke. They’re released in limited numbers and quickly become a collector’s item. Then there’s the mid-price box sets, which feature all the albums an artist released during a period of their career. Usually, this was while the artist was signed to a particular label. These box sets usually come complete with a lengthy essay detailing this period of the artists career. However, there’s another type of box set which have become popular recently; the no frills box set.
Far too often, they’re overlooked by critics and music fans alike. This includes the 5 Classic Albums series. It’s been released by Spectrum Music, an imprint of Universal Music Group. Rick Wakeman is the latest artist to feature in the 5 Classic Albums series.
The 5 Classic Album Series begins with The Six Wives Of Henry VIII and continues through Journey To The Centre Of The Earth, The Myths and Legends Of King Arthur and The Knights Of The Round Table, No Earthly Connection and White Rock. Each of these albums are wrapped in a replica sleeve and are contained within a cardboard box. However, there’s neither bonus tracks nor a lengthy essay on this period of Rick Wakeman’s career. Having said that, Rick Wakeman 5 Classic Albums costs just £9, $13 or €12. For anyone looking to replace their vinyl versions of these albums, look no further. They’re a reminder of the most creative period of Rick Wakeman’s career. It began in 1972.
The Six Wives Of Henry VIII.
In early 1972, Yes were touring America to promote their fourth studio album Fragile. On a stopover in Richmond, Virginia, Rick Wakeman, joined Yes in August 1971, and made his debut on Fragile, was perusing the airport bookshop. Eventually, Rick bought four books, including Nancy Brysson Morrison’s The Private Life Of Henry VIII.
On the subsequent flight from Richmond to Chicago, Rick began reading Private Life Of Henry VIII. As he began reading about Anne Boleyn, Rick remembered a recording he had made in 1971. Since then, Rick had done nothing with that piece of music. After recording the music, Rick had been struggling to come up with lyrics to accompany it. This being the age of the concept album, what Rick was looking for, was a theme that could run through the recording. Not any more.
Suddenly, everything came together. The notes Rick made about Anne Boleyn on the flight to Chicago were just the start. Over the next few weeks and months, whether at home or on tour, Rick focused on each of Henry VII’s six wives. At his piano, he continued to make notes. Eventually, Rick’s notes became the thread that ran through his sophomore album, The Six Wives Of Henry VIII. It transformed Rick Wakeman’s solo career.
Prior to the release of The Six Wives Of Henry VIII in January 1973, Rick Wakeman had only released one solo album, 1971s Piano Vibrations. However, controversy surrounds Piano Vibrations. Rick doesn’t even consider Piano Vibrations as part of his discography. Rick’s involvement was minimal. He neither wrote, nor chose the material on Piano Vibrations. Eight of the ten tracks were cover versions of popular songs, and the two other tracks were cowritten by producer, John Schroeder. All Rick who was working as a session musician, had to do, was turn up and play piano. The result was what is best described as a cheesy sounding album, that failed to chart. This was the polar opposite to Rick’s sophomore album The Six Wives Of Henry VIII.
Having joined Yes in August 1971, Rick played on their fourth album, Fragile. It was released on 29th November 1971 in Britain, reaching number seven. This resulted in Fragile being certified silver. Across the Atlantic, Fragile was released on 4th January 1972, and reached number four in the US Billboard 200. Fragile was certified double platinum, and became the most successful album of Yes’ career. This would also be the case with Rick’s sophomore album, The Six Wives Of Henry VIII.
Recording of The Six Wives Of Henry VIII took place between February and October 1972. A&M Records gave Rick an advance of £4,000 to help with recording of The Six Wives Of Henry VIII. That wasn’t going to go far. Luckily, Rick was a multi-instrumentalist, who could rely upon members of Yes, and his former band The Strawbs.
On The Six Wives Of Henry VIII, Rick played Minimoog and ARP synths, Mellotron, Hammond organ, church organ, electric piano, grand piano and harpsichord. Accompanying Rick, who produced The Six Wives Of Henry VIII, were some of the top musicians of the early seventies.
Among Rick’s band were what can only described as prog rock royalty. This included Yes’ rhythm section of drummers Bill Bruford and Alan White, bassist Chris Squire and guitarist Steve Howe. They were joined by The Strawbs bassist Chris Cronk and Dave Cousins, who played electric banjo. These were just a few of the musicians who played on The Six Wives Of Henry VIII.
Other musicians who played a part in the making of The Six Wives Of Henry VIII were drummer Barry de Souza, bassists Dave Winter and Les Hurdle and guitarist Mike Egan. They were joined by percussionists Ray Cooper and Frank Ricotti and vocalists Laura Lee, Sylvia McNeill, Judy Powell, Barry St. John and Liza Strike. Once the six tracks were recorded, the cost of The Six Wives Of Henry VIII had risen to £25,000. A&M Records’ advance hadn’t come close to covering the cost of The Six Wives Of Henry VIII. Rick needed The Six Wives Of Henry VIII to be a huge success.
Prior to the release of The Six Wives Of Henry VIII, Rick was booked to appear on BBC TV’s The Old Grey Whistle Test, where he would play excerpts of The Six Wives Of Henry VIII. That should’ve given The Six Wives Of Henry VIII a huge boost. However, back then, there were only three television channels. On one of the other channels, ITV a documentary about Andy Warhol was scheduled to be released. The documentary was much anticipated, and as many as ten million viewers were expected to view it. Luckily, at the last minute, it was banned. With ten million people looking for something to watch, many turned to BBC 2, and The Old Grey Whistle Test. That night, excepts from Rick Wakeman’s sophomore album, The Six Wives Of Henry VIII were heard by a huge audience. This was just what he needed.
Reviews of The Six Wives Of Henry VIII hadn’t been good. Only Time magazine and Rolling Stone seemed to appreciate The Six Wives Of Henry VIII. They published glowing reviews. However, they were the only ones. Other critics weren’t won over by The Six Wives Of Henry VIII. Neither were many people at A&M Records. Behind the scenes, staff at A&M Records referred to The Six Wives Of Henry VIII as “unsellable.” They reckoned that an instrumental prog rock album was unlikely to sell well. So, only 12,500 copies of The Six Wives Of Henry VIII were pressed prior to release. How wrong executives at A&M Records were.
On the release of The Six Wives Of Henry VIII on 23rd January 1973, it topped the charts in four countries. The Six Wives Of Henry VIII reached number seven in Britain, and number thirty in the US Billboard 200 charts. This resulted in The Six Wives Of Henry VIII being certified gold in America. However, things would get even better for Rick Wakeman.
By July 1973, The Six Wives Of Henry VIII was certified platinum, having sold two million albums. Eventually, The Six Wives Of Henry VIII sold over fifteen million copies. As 1973 drew to a close, Time magazine named The Six Wives Of Henry VIII as the best album of 1973. Since then, it’s attained classic status. What was described as an “unsellable,” instrumental prog rock album is now regarded as one of the genre’s best examples,
Journey To The Centre Of The Earth.
Following the success of The Six Wives Of Henry VIII, Rick Wakeman began work on his third album, Journey To The Centre Of The Earth. This was another concept album. It was based on Jules Vernes’ science fiction novel Journey To The Centre Of The Earth, which was published in 1864. It inspired Rick to write and record another prog rock opus.
Journey To The Centre Of The Earth featured two lengthy tracks written by Rick Wakeman. The Journey/Recollection, which lasted twenty-one minutes, would fill side one of Journey To The Centre Of The Earth. Side two featured The Battle/The Forest, which lasted nearly nineteen minutes. However, these two tracks weren’t recorded in a studio.
No. Journey To The Centre Of The Earth was recorded at the Festival Hall, London. On 18th January 1974, Rick Wakeman, accompanied by the London Symphony Orchestra, the English Chamber Choir and a select group of musicians who Rick named The English Rock Ensemble. With such an ambitious project, Rick wasn’t taking chances. Two concerts were scheduled and both were recorded. The second concert would feature on the completed version of Journey To The Centre Of The Earth, which was released on 9th May 1974.
Before the release of Journey To The Centre Of The Earth, critics had their say. To say reviews were mixed is an understatement. Among the less favourable reviews, words like a “classical pastiche” “genuinely appalling” and “brutal synthesiser overkill” peppered reviews. For Rick this was hugely disappointing. It had been a hugely ambitious project, one which took a lot out of him. However, other critics, especially the rock critics, were much more open minded. They gave Journey To The Centre Of The Earth glowing reviews. Maybe, Rick’s hard work was about to pay off?
When Journey To The Centre Of The Earth was released on 9th May 1974, Rick Wakeman had the last laugh. Journey To The Centre Of The Earth reached number one in Britain and number three in the US Billboard 200 charts. This resulted in Journey To The Centre Of The Earth being certified gold in America, Britain and Brazil. Rick Wakeman had been vindicated. Especially when Journey To The Centre Of The Earth won an Uvor Novello Award and was nominated for Grammy Award. However, his world was about to be turned upside down.
The Myths and Legends Of King Arthur and The Knights Of The Round Table.
Following the release of Journey To The Centre Of The Earth, Rick Wakeman was getting ready to begin work on his fourth album. Then disaster struck. Rick had the first of three minor heart attacks. He was taken to Wexham Park Hospital, near Slough, in Berkshire. That’s where Rick recuperated and began writing The Myths and Legends Of King Arthur and The Knights Of The Round Table.
When Rick was admitted to the Wrexham Park Hospital, the prognosis wasn’t good. Far from it. The doctor advised Rick to stop playing and touring. If he retired, his health might improve. Rick wasn’t amenable to this suggestion. So, that night, he penned The Last Battle, the track which would eventually, close The Myths and Legends Of King Arthur and The Knights Of The Round Table. This was the start of Rick Wakeman’s recovery.
The suggestion that Rick Wakeman retired seemed to inspire him. So, whilst recovering from the heart attack, Rick wrote most of The Myths and Legends Of King Arthur and The Knights Of The Round Table at Wrexham Park Hospital. Before long, his health had improved and he was ready to record The Myths and Legends Of King Arthur and The Knights Of The Round Table.
Recording of The Myths and Legends Of King Arthur and The Knights Of The Round Table began at Morgan Studios, London, on 16th October 1974. Right through to the 10th January 1975, Rick and his band recorded the seven tracks that became The Myths and Legends Of King Arthur and The Knights Of The Round Table. Rick’s band included the rhythm section of drummer Barney James, bassist Roger Newell and Geoff Crampton on lead and acoustic guitar. They were joined by percussionist John Hodgson and The English Chamber Choir. Taking charge of the lead vocalis were Gary Pickford-Hopkins and Geoff Crampton. Rick who produced The Myths and Legends Of King Arthur and The Knights Of The Round Table, played synths, keyboards and grand piano. Once recording was completed on 10th January 1975, The Myths and Legends Of King Arthur and The Knights Of The Round Table was released in April 1975.
Before that, the critics had to have their say about The Myths and Legends Of King Arthur and The Knights Of The Round Table. This time, generally, reviews were more favourable. Gone were the scathing, jaundiced reviews that preceded Journey To The Centre Of The Earth. Things were looking good for Rick Wakeman.
On the release of The Myths and Legends Of King Arthur and The Knights Of The Round Table, in April 1975, it reached number two in Britain and number twenty-one on the US Billboard 200 charts. This resulted in Rick’s third consecutive gold disc in America. The Myths and Legends Of King Arthur and The Knights Of The Round Table also was certified gold in Japan, Australia and Brazil. Things were indeed, looking up for Rick Wakeman. However, according to the musical rumour mill, there was a problem.
Rick had decided to tour The Myths and Legends Of King Arthur and The Knights Of The Round Table, to support the album. This included three nights at Wembley, which was billed as King Arthur On Ice. Although these nights sold out, rumours persisted that Rick Wakeman had taken a large financial hit. Some rumour mongers went as far as to suggest that Rick had been declared bankrupt. That was far from the truth.
Later, it became apparent that Rick never lost money on the tour that accompanied The Myths and Legends Of King Arthur and The Knights Of The Round Table. Indeed, the tour and album had been a profitable venture, selling over twelve million copies worldwide. Not bad for an album Rick Wakeman wrote in his hospital bed, and released forty years ago, when progressive rock, like Arthur was King?
Lisztomania.
After three hugely successful albums, Rick Wakeman’s profile had never been higher. Rick was commissioned to write and record the soundtrack to Ken Russell’s film Lisztomania, which was a biography of classical composer Franz Liszt.
Ken Russell gave Rick Wakeman free reign when it came to the soundtrack. So Rick Wakeman brought onboard Who frontman Roger Daltrey. He wrote some of the lyrics and added the vocals. Joining Roger Daltrey, were vocalists Linda Lewis and Paul Nicholas. They featured on the Lisztomania soundtrack which was released in November 1975.
There was a problem with Lisztomania. Rick Wakeman wasn’t happy with the soundtrack. So much so, that album was reworked and rereleased as The Real Lisztomania. Rick’s concerns about Lisztomania proved to be correct. The reviews were mixed. This didn’t bode well for the release of Lisztomania.
When Lisztomania was released in November 1975, the album failed to chart in Britain. Across the Atlantic, Lisztomania stalled at 145 in the US Billboard 200. For someone who was used to gold and platinum discs, this was a low point of Rick Wakeman’s career. However, redemption wasn’t far away.
No Earthly Connection.
Once the festive period was over, Rick Wakeman and his band returned to the studio in January 1975. That would be their home for the next three months.
Like many rock stars during the seventies, Rick Wakeman decamped to France to record albums and sometimes, to live. Many musicians who were unwilling to pay the high rates of income tax in Britain, became tax exiles. Others, just enjoyed the more exotic location of Château d’Hérouville, in Hérouville. This was where Rick decided to record the three tracks that became No Earthly Connection a creation myth which was based on music.
Rick had written No Earthly Connection. The centrepiece of the album, was an ambitious, five part suite Music Reincarnate. It was a twenty-eight minute epic. For No Earthly Connection, Rick had written The Prisoner and The Lost Cycle. These three tracks featured Rick’s band.
The rhythm section featured drummer Tony Fernandez, bassist Roger Newell and John Dunsterville on guitars and mandolin. They were augmented by a horn section Martyn Shields on trumpet, flugelhorn and French horn, and Reg Brooks on trombone and bass trombone. Adding vocals was Ashley Holt. Rick played all manner of pianos, keyboards and organs, and produced No Earthly Connection. It was completed in March 1976, and would be released in May 1976
Before that critics had their say on No Earthly Connection. Most of the reviews were positive. There was the occasional dissenting voice. Overall, No Earthly Connection was regarded as a return to form from Rick Wakeman, and a vast improvement on Lisztomania. This bode well for No Earthly Connection, which came with a couple of surprises.
On the release of No Earthly Connection in May 1976, it began to climb the charts. Eventually, it reached number nine in Britain. Across the Atlantic, No Earthly Connection stalled at number sixty-seven in the US Billboard 200. This time around, there were neither gold nor platinum discs for Rick Wakeman. However, his career was back on track. Lisztomania had been a blip, and redemption came in the shape of No Earthly Connection. While it didn’t match the quality and success of The Six Wives of Henry VIII, Journey to the Centre of the Earth and The Myths and Legends of King Arthur and the Knights of the Round Table, No Earthly Connection was a reminder that Rick Wakeman was one of the most ambitious and innovative British musician of the seventies.
White Rock.
Despite his disappointment with how the soundtrack to Lisztomania had turned out, Rick Wakeman agreed to record White Rock, a documentary film about the 1976 Winter Olympics, in Innsbruck, Austria. Rick approached the White Rock soundtrack differently.
Instead of using a band for the White Rock soundtrack, Rick Wakeman took his banks of trusty keyboards and synths to CBS Studios. Rick’s banks of keyboards and synths were able to produce the majority of the sounds on White Rock. However, augmenting Rick was drummer and percussionist Tony Fernandez, plus St Paul’s Cathedral Choir. They began work on White Rock in January 1976.
By then, Rick Wakeman had written seven tracks. That was all very well. However, he was meant to have written eight. When Rick entered the studio one day, he realised he forgotten to record what became After the Ball. Rather than admit to his mistake, Rick Wakeman proceeded to improvise his way through After the Ball. With the track recorded, Rick listened to the playback and realised that it was a flawless take. There was no need for a further take. For the track that closed the White Rock soundtrack, Rick pioneered the use of sampling.
Ice Run was the track that closed the soundtrack. As Rick worked on the track, he realised that a two parts of one of his old tracks would be perfect for Ice Run. So Rick sampled two parts Anne Of Cleves, from Rick’s album The Six Wives Of Henry VII. By using two samples from Anne Of Cleves this completed the song. However, White Rock wasn’t complete until September 1976.
With White Rock complete, A&M Records scheduled the release for 1977. This meant Rick Wakeman had to wait before hearing how his second venture into the world of soundtracks would be greeted? Deep down, Rick must have been hoping that lightning wouldn’t strike twice. Sadly it did.
By 1977, the musical landscape had changed. Punk had arrived in Britain, kicking and screaming. Hanging on their every word, were a new breed of gunslinger critics. They were happy to fly the flag for this anti-music, and acted as the punks mouthpiece. If a puff piece was needed, the gunslinger critics wrote it. They were happy to be their master’s voice. The gunslinger critics slavishly agreed with their musical masters, saying progressive rock was yesterday’s music. Progressive rockers were dinosaurs the script went. That’s despite the gunslinger critics once championing progressive rock. It seemed they had recently undergone a Damascene conversion. These ‘critics’ savaged White Rock, calling it the worst album of Rick Wakeman’s career. Other critics wrote much more unbiased reviews, concluding that White Rock was a good, but not great album. The curse of the soundtrack had struck again.
Or had it? When White Rock was released in 1977, it reached number fourteen in Britain. This resulted in a silver disc for Rick Wakeman. He had the last laugh, Meanwhile, in America White Rock stalled at 128 in the US Billboard 200. While this was disappointing, it was an improvement on Rick’s last venture into the world of soundtracks. Still, Rick was a popular artist on both sides of the Atlantic.
That had been the case since The Six Wives Of Henry VIII, which was the first album in the 5 Classic Albums box set. This commercial success continued from Journey To The Centre Of The Earth, through The Myths and Legends Of King Arthur and The Knights Of The Round Table, No Earthly Connection and White Rock. These five albums feature on the Rick Wakeman 5 Classic Albums box set. It was recently released by Spectrum Music, an imprint of Universal Music Group. It’s the perfect introduction to one of the pioneers of British progressive rock, Rick Wakeman.
While the box set is billed as 5 Classic Albums, only The Six Wives Of Henry VIII, Journey To The Centre Of The Earth and The Myths and Legends Of King Arthur and The Knights Of The Round Table deserved to be called classic albums. No Earthly Connection was a return to form from Rick Wakeman, and featured some innovative music. Especially the five part, twenty-eight minute epic Music Reincarnate. However, No Earthly Connection stops short of reaching classic status, but is still one of the highlights of Rick’s career. White Rock by comparison, is a disappointing album that’s best described as good, but not great. Having said that, the Rick Wakeman 5 Classic Albums box set is fantastic value for money.
They’re considerably cheaper than just one of the recent remasters. The sound quality is every bit as good, if not better. That’s why Rick Wakeman 5 Classic Albums box set has to be one of the bargains of 2016 so far. Especially since for far too long, these lbums were unavailable. They make a welcome return in the Rick Wakeman 5 Classic Albums box set, and are a reminder of Rick Wakeman in the seventies, as he constantly strove for perfection.
That was what Rick Wakeman spent much of the seventies searching for. For most musicians, that’s unattainable. However, Rick Wakeman wasn’t most musicians. Just like so many musicians of the progressive rock era, he was a musical pioneer, who created cerebral, groundbreaking and innovative music. To do this, Rick Wakeman pushed musical boundaries in his pursuit of perfection. Rick Wakeman came closest on The Six Wives Of Henry VIII, Journey To The Centre Of The Earth and The Myths and Legends Of King Arthur and The Knights Of The Round Table. These albums deserve to be called classics, and are a reminder of Rick Wakeman during his relentless pursuit of perfection. It’s documented on the Rick Wakeman 5 Classic Albums box set, which covers the period between 1972 and 1977. During this period, Rick Wakeman was at his creative zenith, and creating some of the best music of his long and illustrious career.
RICK WAKEMAN-5 CLASSIC ALBUMS.
MARIA MULDAUR-SWEET HARMONY, SOUTHERN WINDS AND OPEN YOUR EYES.
MARIA MULDAUR-SWEET HARMONY, SOUTHERN WINDS AND OPEN YOUR EYES.
Although some artists record twenty or thirty albums, they’re often remembered for just one song. Usually, that song is the biggest hit of their career. That was the case with Maria Muldaur.
She released her eponymous debut solo album Maria Muldaur in 1973. The song that was chosen as the lead single was Midnight At The Oasis. It reached number six on the US Billboard 100. Buoyed by the success of Midnight At The Oasis, Maria Muldaur reached number three in the US Billboard 200, and was certified gold. Since then, Midnight At The Oasis has been synonymous with Maria Muldaur.
Indeed, every time that a Maria Muldaur song is played on radio, it’s Midnight At The Oasis. That’s despite Maria Muldaur recording forty solo albums. This includes Sweet Harmony, Southern Winds and Open Your Eyes. They’ve recently been remastered and reissued by BGO Records on a two CD set. These three albums are a reminder that there’s more to Maria Muldaur than Midnight At The Oasis.
Maria Grazia Rosa Domenica D’Amato was born in Greenwich Village, New York on September 12th 1943. Growing up, Maria attended Hunter College High School, which catered for intellectually gifted students on Manhattan’s Upper East Side. Having left Hunter College High School, Maria eschewed further education for a musical career.
Even Dozen Jug Band.
In 1964, Maria D’Amato joined the Even Dozen Jug Band. It was a thirteen piece band that also featured John Sebastian of The Lovin’ Spoonful and folk-blues guitarist Joshua Rifkin and future. Indeed, several members of the Even Dozen Jug Band would go on to greater things. Before that, the Even Dozen Jug Band released their debut album.
Even Dozen Jug Band was released in 1964, and was the one and only album that the Even Dozen Jug Band released. Not long after the release of their eponymous debut album, the Even Dozen Jug Band split-up. It had only been a matter of time before the band imploded. This left Maria’s career at a crossroad.
Jim Kweskin and The Jug Band.
Not for long. She soon joined Jim Kweskin and The Jug Band in 1964, and became their vocalist and violinist. That was where Maria met blues guitarist Geoff Muldaur. They were married in 1964. A year later in 1965, the Jim Kweskin and The Jug Band released its debut album on the Vanguard label.
Maria Muldaur made her debut on Jim Kweskin and The Jug Band’s 1965 debut album Jug Band Music. Then in 1966, Maria featured on Jim Kweskin and The Jug Band’s sophomore album See Reverse Side For Title. By 1967, Jim Kweskin and The Jug Band had signed to Elektra, and it seemed like a new dawn for the band.
Alas, it was a false dawn. Jim Kweskin and The Jug Band only released the one album on Elektra, Garden Of Joy in 1967. When Jim Kweskin and The Jug Band split-up, Maria and Geoff Muldaur signed to Reprise.
Maria and Geoff Muldaur.
Maria and Geoff Muldaur could’ve and should’ve enjoyed much more critical acclaim and commercial success than they did. Geoff was a talented and versatile guitarist. Although blues was his first love musically, he could seamlessly flit between genres. So could Maria as she breathed life and meaning into lyrics. She did this on the two albums Maria and Geoff Muldaur recorded and release two albums for Reprise.
The first of these was Pottery Pie in 1970. When it was released in 1970, commercial success eluded Pottery Pie. However, the couple weren’t lacking in talent, and surely, a success couldn’t be far away?
Two years later, and the followup Sweet Potatoes was released. While reviews of Sweet Potatoes were mostly positive, history repeated itself. Again, commercial success passed Sweet Potatoes by. However, by then Maria and Geoff’s relationship was at end. They would divorce later in 1972, and would embark upon a solo career.
The Solo Years.
After her divorce, Maria decided to keep her married name. She also decided to sign as a solo artist to Reprise, the label that had released the two albums by Geoff and Maria Muldaur. Maybe her luck would improve?
Maria Muldaur.
For what became her eponymous debut album, Reprise paired Maria Muldaur with producers Joe Boyd and Lenny Waronker. They entered the studio to record eleven cover versions. Joining them, were some top musicians. This included drummer Jim Keltner; bassists Klaus Voormann and Chris Ethridge; Ry Cooder and Andrew Gold on acoustic guitar; keyboardist Dr. John; pianists Jim Dickinson and Spooner Oldham. With musicians of this calibre accompanying her, surely Maria Muldaur couldn’t fail?
When critics heard Maria Muldaur, most of the reviews were positive. So with critical acclaim accompanying the release of Maria Muldaur, her debut album was released in 1973.
Gradually Maria Muldaur began to climb the US Billboard 200. When Midnight At The Oasis was released as the lead single from Maria Muldaur this was a game-changer. It reached number six on the US Billboard 100. Buoyed by the success of Midnight At The Oasis, Maria Muldaur reached number three in the US Billboard 200, and was certified gold. Three Dollar Bill was then chosen as the followup to Midnight At The Oasis, but didn’t enjoy the same commercial success. Instead, it reached number seven in the US Billboard Adult Contemporary charts. However, Maria Muldaur’s eponymous debut album had launched the career of the onetime lead vocalist of Jim Kweskin and The Jug Band. Now Maria had it all to do again.
Waitress In A Donut Shop.
After the success of Maria Muldaur, Reprise didn’t waste time in getting Maria back into the studio. Another eleven cover versions had been chosen. They were an eclectic selection of songs that included blues, folk and pop. This saw Fats Waller and Clarence Williams’ Squeeze Me rubbing shoulders with Lieber and Stoller’s I’m A Woman, Skip James’ If You Haven’t Any Hay and Allen Toussaint’s Play Something Sweet (Brickyard Blues). Again, Reprise paired Maria producers Joe Boyd and Lenny Waronker.
When work began on what became Waitress In A Donut Shop, the studio could’ve done with a revolving door. Again, different musicians played on different tracks. Musicians that had featured on Maria Muldaur were joined by new names. Many of the musicians were familiar faces. This included drummer Earl Palmer, guitarists Lowell George and Alvin Bishop, pianist Dr. John, harmonica player Paul Butterfield, David Lynley on pedal steel guitar, trombonist George Bohanon and trumpeter Snooky Young. Adding backing vocalists were Linda Ronstadt and Anna and Kate McGarrigle. With such accomplished, experienced and talented musicians accompanying Maria, the sessions went smoothly. So much so, that Waitress In A Donut Shop was scheduled for release in 1974.
It was a case of striking when the iron was hot. With Maria Muldaur and Midnight At The Oasis fresh in critics’ memories, they received a copy of the followup Waitress In A Donut Shop. Mostly, the reviews were positive as Maria switched between blues, folk and much more contemporary sound. This was similar to Maria Muldaur. However, would Waitress In A Donut Shop enjoy the same commercial success?
On the release of Waitress In A Donut Shop in 1974, the album reached just number twenty-three on the US Billboard. Reprise chose I’m A Woman as the lead single, and it reached number twelve in the US Billboard 200. It also reached number four on the US Billboard Adult Contemporary charts. Despite the lack of a single like Midnight At The Oasis, it looked like Maria Muldaur was on the verge of a long and successful career.
Sweet Harmony.
Buoyed by two hit singles and two successful albums, Maria Muldaur began work on her third album. She had overcome the notoriously difficult second album, and was forging a reputation as a talented and versatile singer. Maria was capable of seamlessly switching between genres, and had done so on her first two albums. This allowed Maria to choose a much more eclectic selection of songs for her third album.
This included William “Smokey Robinson’s Sweet Harmony, Neil Sedaka and Phil Cody’s Sady Eyes, Kate McGarrigle’s Lying Song, Haogy Carmichael’s Rocking Chair and Smokey McAllister’s I Can’t Stand It. Maria decided to cover two songs by Wendy Waldman, Back By Fall and Wild Bird. The other songs on Sweet Harmony included Harry Woods’ We Just Couldn’t Say Goodbye, Jon Herald’s Jon The Generator and Rev. William Herbert Brewster. This was a suitably eclectic selection of tracks that would allow Maria to showcase her versatility.
For Sweet Harmony, producers Joe Boyd and Lenny Waronker returned. This time around, many of the musicians that featured on Waitress On A Donut Shop were absent. However, their replacements were just as experienced and talented. Some of the session musicians seemed to spend half of their waking hours in the recording studio. However, some successful artists weren’t averse to playing on a sessions.
This included the legendary J.J. Cale, who added slide guitar on Sad Eyes. Just like many other musicians, he only featured on the one track. Among the other high profile musicians were bassists Jim Dickinson and Larry Gales, drummers Earl Palmer and Russ Kunkel, guitarist Kenny Burrell and Little Feat keyboardist Bill Payne. Among the backing vocalists were Linda Ronstadt and Amos Garrett. They were joined by a horn and string section. Woodwind was also used on Sweet Harmony. Just like previous albums, it seemed to a case of no expense spared when Maria entered the studio. So far, it had paid off.
Now that Sweet Harmony was complete, Reprise scheduled the release for later in 1975. Before that advance copies were sent out to critics. They were immediately struck by how the songs seemed tailor made for Maria. Each song was perfectly suited to her voice, and her interpretation brought new meaning to many of the lyrics. Especially when accompanied by such a tight and talented band. With their help, Maria takes detours via gospel and jazz, before returning to what’s more familiar territory, blues, country folk and rock on Sweet Harmony.
The title track, which is a beautiful ballad where country and gospel combine, opens Sweet Harmony. The quality continues on a melancholy and poignant country-tinged version of Sad Eyes. Lying Song is like returning to another musical age. Suddenly, the listener is transported to a speakeasy in New Orleans, and an old time jazz band accompany Maria, as she showcases her versatility. Blues and jazz then combine on the wonderfully wistful sounding Rocking Chair. Then it’s all change as I Can’t Stand It features a vocal powerhouse from Maria. Elements of gospel, jazz and rock combine, and prove the perfect way to close side one of Sweet Harmony.
We Just Couldn’t Say Goodbye saw Maria and her tight, talented band combine elements of blues and jazz. Then Back By Fall has a much more understated and contemporary sound, as she delivers a heartfelt vocal. It’s all change Jon The Generator, as Maria kicks loose as her band fuse jazz, blues and gospel. However, one of the most beautiful songs is Wild Bird, is another ballad. Maria’s tender vocal is accompanied by a subtle arrangement. Closing Sweet Harmony was a powerful and rousing version of As An Eagle Stirreth In Her Nest. Sweet Harmony was truly eclectic album where Maria Mudaur changed direction, and in doing so, showcased her versatility and talent on an album that oozed quality.
When Sweet Harmony was released in 1975, it didn’t match the success of previous albums. Sweet Harmony stalled at fifty-three in US Billboard 200. For Maria this was hugely disappointing. Her first two albums had sold well. Maybe she had badly advised about the direction to take? Was a move in the direction of gospel and jazz the right one to make in 1975? That must have been what executives at Reprise were thinking.
They decided that it was time to make a change. If Reprise left it any longer, irreparable damage could be done to Maria’s career. So a decision was made that producers Joe Boyd and Lenny Waronker wouldn’t return for Maria’s fourth album Southern Winds.
Southern Winds.
Replacing Joe Boyd and Lenny Waronker was Chris Bond. He had previously producedHall and Oates’ last three albums. By the time he began work on what would become Southern Winds, Chris Bond’s star was in the ascendancy. He had produced two million selling albums for Hall and Oates, so was regarded as the perfect producer to rejuvenate Maria Muldaur’s career.
Maria Muldaur’s eponymous debut album had been the most successful of her career. Since then, sales of Maria’s albums had declined. That had been the case with Waitress In A Donut 1974 and 1975s Sweet Harmony. Something had to change. So in 1977 Maria and Chris Bond headed to the Sound Labs Inc. studio in Hollywood.
That was where Southern Winds was recorded. It featured ten cover versions. This included three penned by Leon Russell. He wrote Make Love To The Music and Joyful Noise, and cowrote Say You Will with Gary Oglan. Among the other tracks were Leonard Caston’s I’ll Keep My Light In My Window, Rory Block’s I Got A Man, J.J. Cale’s Cajun Moon, Bill Champlin’s Here Is Where Your Love Belongs, Deadric Malone’s That’s The Way Your Love Is and Charles Johnson’s My Sisters And Brothers. The other tracks was Daniel Moore and John Bettis’ I Can’t Say No. These tracks would become Southern Winds.
At Sound Labs Inc, a much smaller band would accompany Maria. This time around, the revolving door wasn’t needed for the studio door. The rhythm section featured drummer Ed Greene, bassist Scott Edwards and guitarist Amon Garrett. Les Dudek laid down some slide guitar; Michael Finnigan added keyboards and Ernie Watts lead the horn section. The backing vocalists that again featured Wendy Waldman. Gradually, Southern Winds took shape. For Maria Muldaur this was the most important album of her career.
Reprise scheduled Southern Winds for release in 1977. Before that critics were sent a copy of the album. It was an album that divided the opinion of critics. While most critics gave Southern Winds positive reviews, a few critics felt the album wasn’t up to the standard of previous albums. Desite this, the majority of critics felt that the change of producer was a breath of fresh air. Chris Bond was responsible for a much more slicker, more contemporary sound. Still though, Maria stayed true to her roots and made occasional forays into blues and gospel. Although, most critics welcomed the more contemporary sound, some critics felt that Maria was too reliant on cover versions.
As proof, they pointed at three songs penned by Leon Russell. Given Maria wasn’t writing her own songs, this was a necessary evil. The only alternative was to follow in the footsteps of other artists who used songwriters and songwriting teams to provide them with new material. Maybe this was a route Maria would go down in the future? This to some extend would depend on the commercial success of Southern Winds.
When Southern Winds was released in 1978, the album sold poorly, reaching just a lowly 143 in the US Billboard 200. This was the least successful album of Maria’s solo career. Sadly, bringing onboard producer Chris Bond hadn’t resulted in a commercial successful album. However, Southern Winds is a truly underrated album.
Make Love To The Music set the tone for Southern Winds. It’s a heartfelt ballad, with a lush AOR sound was reminiscent of Midnight At The Oasis. I Got A Man is another ballad. Here an Maria is accompanied by backing vocalists on a track where AOR, gospel and jazz combine. Here is Where Your Love Belongs is another ballad that fuses AOR and jazz. It features a tender, needy vocal from Maria. Again, she revisits the sound and style of Midnight At The Oasis. Maria then stays true to J.J. Cale’s Cajun Moon and doesn’t try to reinvent the wheel. This is only part of the story of Southern Winds.
Say You Will, with its jaunty arrangement and gospel-inspired harmonies. I’ll Keep My Light In My Window showcases the new slick and contemporary sound. Again, the backing vocalists are called into action as Maria combines power and passion. That’s the case on the country-tinged I Can’t Say No. It features a feisty vocal from Maria, who again, proves to be a versatile vocalist. That’s the Way Love Is finds Maria unleashing a rueful, emotive and powerful vocal. Adding the finishing touch are gospel-tinged harmonies. The bluesy Joyful Noise finds Maria delivering a feisty vocal powerhouse. That’s the case on She My Sisters and Brothers closes Sweet Harmony. Again, gospel tinged harmonies accompany Maria on what’s a truly underrated album.
Sweet Harmony was the fourth album of Maria Muldaur’s career. It had a hit a new low. The album had reached just 143 in the US Billboard 200. Five years previously, Midnight At The Oasis had given Maria a top ten hit and her eponymous debut album had been certified gold. Now Maria Muldaur’s career was officially at the crossroads. Surely the only way was up. Or was it?
Open Your Eyes.
Chris Bond didn’t return for the followup to Sweet Harmony, Open Your Eyes. Instead, two producers were hired. The first was Patrick Henderson, who was an experienced songwriter and producer. He had previously worked with The Doobie Brothers and Michael McDonald. Joining Patrick Henderson, was David Nichtern a talented songwriter who had written Maria’s biggest hit Midnight At The Oasis. With the two producers both being experienced and talented songwriters, maybe things were staring to look up for Maria Muldaur?
For Open Your Eyes, the two producers contributed five new songs. Patrick Henderson and Worrell Jones wrote Fall In Love Again and Heart On Fire. He also wrote Open Your Eyes with Michael McDonald and Lee Abrahams. David Nichtern penned Birds Fly South (When Winter Comes) and Elona. Other tracks included Brenda Burns Finally Made Love To A Man and John Hiatt’s (No More) Dancin’ In The Street. The other two tracks were familiar ones: Clarence Reid and Willie Clarke’s Clean Up Woman and Jimmy Davis, James Sherman and Roger Ramirez’s Lover Man (Oh, Where Can You Be)? This mixture of old and new songs became Maria Muldaur’s fifth album Open Your Eyes.
To record Open Your Eyes, various studios in Los Angeles were used. This included Warner Bros. Recording Studios, Studio 55, Cherokee Recording Studios and Burbank Recording Studios. Producers Patrick Henderson and David Nichtern used a core band, and augmented them with guest musicians. Some only played one or two songs. The two producers were also musicians and played on Open Your Eyes. Patrick Henderson played piano, Fender Rhodes and took charge of rhythm arrangements. David Nichtern played acoustic guitar and arranged the strings. They brought onboard musicians of the calibre of drummers Rick Schlosser and Ron Tutt, bassist Willie Weeks and guitarist Dean Parks. Stevie Wonder added harmonica on Birds Fly South (When Winter Comes); while Junior Walker added saxophone on Heart Of Fire. Although the band was much smaller than on Maria Muldaur’s first couple of albums, it was tight, talented and certainly not lacking in experience. They were determined to get Maria Muldaur’s career back on track.
By the time that Open Your Eyes was completed, and the costs were totted up, it would prove to be one of the most expensive albums recorded in L.A. during this period. This of course would be recouped against Maria Muldaur’s royalties. That was if enough copies of Open Your Eyes were sold on its release in August 1979?
Before the release of Open Your Eyes, critics received an advance copy of the album. Meanwhile, executives at Reprise waited with baited breath. They needed Open Your Eyes to sell well, given how much had been spent on the album. To some extent the reviews would determine how many people bought the album. Granted Maria Muldaur’s fans would buy the album. Sadly, there weren’t enough of them. What Reprise needed, were casual record buyers to go into their local record shop and ask for a copy of Maria Muldaur’s Open Your Eyes. After the reviews, this was looking rather unlikely.
Open Your Eyes was an album that divided the opinion of critics. While it garnered some positive reviews, the new breed of gunslinger critics set aim on Open Your Eyes. They saw Maria as part of the musical establishment, and albums that were produced in Hollywood hills as the antithesis to the punk and post punk music that was filling the charts. Often, these gunslinger critics hadn’t even listened to the album, and unleashed their vitriol.
If the gunslinger critics had listened to Open Your Eyes, they would’ve heard an album was well produced, and featured a tight, talented band accompanying Maria. As usual, she was able to inject emotion, energy, power and humour into the songs. Whatever was needed, Maria was capable of providing it, in an attempt to breath life and meaning into the songs. They broadly fall into two categories, uptempo tracks and ballads.
Fall in Love Again was a rocky track where Maria delivers a vocal powerhouse. Meanwhile piano, strings and harmonies accompany her. Heart of Fire was another rocky track that featured some clever interplay by the horn section. (No More) Dancin’ In The Street features a feisty and powerful vocal from Maria, while her band combine blues, rock and jazz. Maria’s then covers Betty Wright’s million selling single Clean Up Woman. She brings something new to a familiar song. However, this only part of the story of Open Your Eyes.
The ballads on Open Your Eyes feature Maria at her best. Finally Made Love to a Man is a beautiful, tender ballad. Then Birds Fly South (When Winter Comes) is a wistful and dreamy ballad before it’s transformed by Stevie Wonder’s harmonica solo. Lover Man (Oh Where Can You Be) features an understated arrangement and jazzy horns. They accompany Maria’s tender hopeful and thoughtful vocal. Quite different is Open Your Eyes. Although synths feature, it’s the interplay between Maria and her backing vocalists plays an important part in the song’s sound. Another song with an understated arrangement is Elona. It allows Maria’s vocal to take centre-stage. That’s the case with Love is Everything, which closes Open Your Eyes. Just piano and cooing harmonies accompany Maria on what’s a quite beautiful song. Alas, all this wasn’t enough to convince record buyers
When Open Your Eyes was released, the album failed to even trouble the US Billboard 200. It was the least successful album of Maria’s five album career at Reprise. For Maria, this was the end of her time at Reprise. This was no surprise.
Ever since releasing Maria Muldaur in 1973, it had been downhill all the way. Each album sold less than the last one. Open Your Eyes was a long way from Maria Muldaur’s eponymous debut album. Not only did was it certified gold, but featured the top ten hit Midnight At The Oasis. By 1979, it was the song that had become synonymous with Maria Muldaur.
Indeed, even today, every time that a Maria Muldaur song is played on radio, it’s Midnight At The Oasis. That’s despite Maria Muldaur recording forty solo albums. This includes Sweet Harmony, Southern Winds and Open Your Eyes. They’ve recently been remastered and reissued by BGO Records. The sound quality is excellent, and feature the different sides of Maria Muldaur.
Unlike many singers, Maria Muldaur was equally comfortable single AOR, blues, folk, gospel, pop and rock. That’s the case on Sweet Harmony, Southern Winds and Open Your Eyes. They feature a versatile and talented singer, Maria Muldaur. Sadly, these three albums failed to match the commercial success of Maria Muldaur’s first two albums, 1973s Maria Muldaur and 1974s Waitress In A Donut Shop. Even changing producer twice couldn’t change Maria Muldaur’s fortunes.
Producers Joe Boyd and Lenny Waronker were replaced Chris Bond. He was brought in to produce Southern Winds, but departed after one album. Replacing him were Patrick Henderson and David Nichtern. Alas, they couldn’t arrest the decline in Maria Muldaur’s fortunes. She left Reprise after Open Your Eyes, and never recorded an album for a major label again.
That’s despite Maria Muldaur recording forty solo albums. Maria Muldaur 1973 eponymous debut album was the most successful album of her long career. However, there’s much more to Maria Muldaur than just one album. This includes Sweet Harmony, Southern Winds and Open Your Eyes, which are the perfect introduction to Maria Muldaur.
MARIA MULDAUR-SWEET HARMONY, SOUTHERN WINDS AND OPEN YOUR EYES.
THE LADIES OF TOO SLOW TO DISCO-RECORD STORE DAY VINYL EDITION.
THE LADIES OF TOO SLOW TO DISCO-RECORD STORE DAY VINYL EDITION.
Over the last few years, there’s been a resurgence in interest in the West Coast sound. It fell from grace in the late seventies. Before that, the West Coast sound had won over the hearts and minds of record buyers, and provided the soundtrack to much of the seventies. This wasn’t surprising.
The West Coast sound was slick and full of hooks. Trademarks of the West Coast were clever chord progressions and lush harmonies. This proved to be irresistible combination, and why across America, radio station playlists were dominated by the West Coast sound. However, like all good things, the success story that was the West Coast sound had to come to an end. However, over the last couple of years, the West Coast sound has been on the comeback trail.
This comeback began around 2014, when several compilations of the West Coast sound were released. However, it seemed that the West Coast sound had been rebranded. It was referred to as Yacht Rock or Vanilla Funk. Nothing it seems is sacred. At least though, compilers were rediscovering the West Coast sound. This included the DJ Supermarkt and the good people at the How Do You Are label.
They were responsible for a new compilation series that was launched in May 2014.,,,Too Slow To Disco. This nineteen track was compiled by DJ Supermarkt, who had dug deeper than most compilers and was responsible for a compilation where familiar faces and hidden gems sat side-by-side. Too Slow To Disco was well received, and it was no surprise when Too Slow To Disco Volume 2 followed in June 2015. Just like the first instalment in the series, new names and old friends featured on Too Slow To Disco Volume 2. It was welcome addition to this nascent series, and most people thought it was only a matter of time before Volume 3 followed. Wrong.
Instead, the How Do You Are label announced the release of a new addition to the Too Slow To Disco family, The Ladies Of Too Slow To Disco. It was released for Record Store Day as a double album and comes complete with a 7″ single. On the two slabs of heavyweight vinyl are nineteen songs, including contributions from Evie Sands, Rickie Lee Jones, Melissa Manchester, Valerie Carter, Carole Bayer Sager, Carly Simon, Lauren Wood, Carole King and Lynn Christopher. They’re just a tantalising taste of the music awaiting the listener on The Ladies Of Too Slow To Disco.
Opening The Ladies Of Too Slow To Disco is Evie Sands’ You Can Do It. It’s a song Evie cowrote with Ben Weisman and Richard Germinaro. You Can Do It featured on Evie’s third album, Suspended Animation. It was released on RCA Victor 1979, but failed commercially. Suspended Animation was the only album Evie released for RCA Victor. One of Suspended Animation’s highlights is You Can Do It. Against a sultry, funky arrangement, Evie’s delivers a vocal that’s sassy and sensual. This is a reminder of a truly talented singer, who sadly, never enjoyed the commercial success her music deserved.
Chuck E’s In Love is the song that forever will be synonymous with Rickie Lee Jones. That’s despite a recording career that’s lasted thirty-six years. Rickie Lee Jones began in 1979, when she released her eponymous debut album on Warner Bros. It reached number three in the US Billboard 200, and was certified platinum. The lead single was Chuck E’s In Love, which reached number four in the US Billboard 100 and number eighteen in Britain. Since then, Chuck E’s In Love has become an AOR classic. However, it’s just a tantalising taste of one of the most talented singer-songwriters of her generation, Rickie Lee Jones.
Laura Allen was another talented singer, songwriter and musician. She who played mainly stringed instruments, including the dulcimer and zither. Later in her career, Laura dividing her time between music and making musical instruments. They were often bought by musical luminaries like Joni Mitchell and David Crosby. However, Laura’s career began in 1978, when she released her eponymous debut album on Elektra. The opening track was Opening Up To You, a Laura Allen composition. It’s a beautiful heartfelt and soulful ballad, with a folk rock sound. Sadly, Laura’s career was cut tragically short when she died in 2008, aged just fifty-six.
Just like Laura Allen, many people won’t have heard of Franne Golde. She released a trio of albums between 1976 and 1980. Having released her 1976 eponymous debut album on Atlantic Records, Franne released her 1978 sophomore album Franne on the Portrait label. On Franne was Isn’t It Something, which Franne cowrote with Cynthia Weil. It’s melodic, memorable and soulful. Especially with strings and harmonies accompanying, one of the West Coast’s best kept secrets.
Although Carole Bayer Sager is best known as a songwriter, she released a trio of albums between 1977 and 1981. In 1978, Carole released It’s The Falling In Love as a single. It was released on Elektra, and was taken from Carole Bayer Sager’s sophomore album Too. It’s The Falling In Love was written by Carole Bayer Sager and David Foster, and is another dance-floor friendly track with AOR leanings.
Carly Simon however, was one of the stars of the West Sound era. By 1978, Carly Simon had just released her seventh album, Boys In The Trees on Elektra. It featured the single Tranquillo (Melt My Heart), which saw Carly Simon heading in the direction of the dance-floor. This wasn’t surprising, as disco was at the peak of its popularity. Despite its disco influence, doesn’tTranquillo (Melt My Heart) see Carly Simon turning her back on her AOR roots.
By 1979, Lauren Wood was signed to Warner Bros. and preparing released her eponymous debut album. One of the highlights of Lauren Wood, was Gotta Love, which Lauren had written. It showcases a talented vocalist. Seamlessly, Lauren’s vocal veers between tender to powerful and sassy. As she showcases her versatility, an all-star band accompany her. Along with synths, a sultry saxophone and gospel-tinged harmonies, Lauren breathes life and meaning into the lyrics, and in the process, delivers one of her finest vocals on the album.
Maria Muldaur’s ccareer began in the early sixties, when she was a part of folk music revival. By 1973, music had changed and the West Cost sound was part of the soundtrack to America. This was the perfect time for Maria Muldaur to release her eponymous debut album. It was released on Reprise Records, and reached number three on the US Billboard 200, and was certified gold in 1974. The lead single from the album was a cover of David Nichtern and Philip Steir’s Midnight At The Oasis. It reached number six in the US Billboard 100, and nowadays is regarded as a classic. Despite being an oft-covered track, Maria Muldaur’s version is the definitive version of Midnight At The Oasis.
Having released her eponymous debut album in 1979, Leah Kunkel returned with her sophomore album I Run With Trouble in 1980. Just like her debut album, it was released on Columbia. One of the songs Leah Kunkel had written for I Run With Trouble, was Temptation. It’s a track the epitomises the West Coast sound circa 1980. The arrangement combines elements of blues and folk rock, as Leah delivers a vocal that’s a mixture of despair, disbelief and frustration. So good is Temptation, that one can’t help but wonder why Leah Kunkel didn’t enjoy a linger career. I Run With Trouble proved to be her swan-song.
By 1978, everyone was jumping on the disco bandwagon. This was a way of transforming a failing career. However, Carole King’s career wasn’t failing. She was still one of the biggest names in music. Despite this, Carole released Disco Tech, as a single. It was penned by Carole and Navoarro, and featured on her 1978 Columbia album Welcome Home. Although Catchy and dance-floor friendly, Disco Tech was a far cry from Will You Still Love Me Tomorrow and It’s Too Late.
My final choice from The Ladies Of Too Slow To Disco is Lyn Christopher’s Take Me With You. This is a track written by Kaplan Kaye and Navarro. It featured on Lyn Christopher, which was released in 1973 on Paramount Records. Soulful, sensual and dance-floor friendly, it’s a real hidden gem, that leaves you wanting to hear more from Lyn Christopher. Sadly, she only released the one album, and her career was almost over before it began. The Ladies Of Too Slow To Disco compilation is also over.
That was only part of the story of The Ladies Of Too Slow To Disco Although I’ve only mentioned eleven of the nineteen tracks on The Ladies Of Too Slow To Disco, I could just as easily have picked any of the tracks. That’s how good The Ladies Of Too Slow To Disco is. It’s all killer and no filler. That’s thanks to compiler DJ Supermarkt. He’s dug deep to find the music on The Ladies Of Too Slow To Disco.
Classics, hidden gems and rarities sit side-by-side on The Ladies Of Too Slow To Disco. There’s contributions from, Rickie Lee Jones, Melissa Manchester, Carole Bayer Sager, Carly Simon and Carole King. They’re West Coast royalty. There’s also contributions from Evie Sands, Valerie Carter, Lauren Wood and Lynn Christopher. Many of the tracks aren’t the artists biggest hits.
Instead, many are album tracks. This makes a pleasant change. Usually, compilers look no further than singles. However, that’s not DJ Supermarkt’s style. He eschews the obvious for long forgotten album tracks. Many people won’t remember these tracks. No. They’ll only be remembered by diehard fans. Not any more. Now a new generation of music lovers will get the chance to hear these tracks. The same can be said of the West Coast sound.
The Ladies Of Too Slow To Disco is a welcome addition to the Too Slow To Disco series. Especially the vinyl edition that was released on heavyweight vinyl for Record Store Day 2016. It will be a welcome addition to any record collection. Unlike many vinyl releases, sonically it’s of the highest quality. Neither is the album too loud. Too many mastering engineers add too much compression. Not this time. It’s used subtly. Similarly, each instrument can be heard clearly, so there’s no problem with separation. Overall, The Ladies Of Too Slow To Disco has been well mastered is a well presented compilation. The vinyl version of The Ladies Of Too Slow To Disco allows listeners to enjoy the West Coast sound seventies style, on vinyl.
Indeed, The Ladies Of Too Slow To Disco is the perfect addition to this nascent series. Along with the two instalments in the Too Slow To Disco series, this is the perfect introduction to the West Coast sound. This hopefully, will the start of a voyage of discovery, where newcomers will discovers the delights of the West Coast sound, including The Ladies Of Too Slow To Disco.
THE LADIES OF TOO SLOW TO DISCO-RECORD STORE DAY VINYL EDITION.
HANK BALLARD AND THE MIDNIGHTERS-UNWIND YOURSELF-THE KING RECORDINGS 1964-1967.
HANK BALLARD AND THE MIDNIGHTERS-UNWIND YOURSELF-THE KING RECORDINGS 1964-1967.
Hank Ballard played an important part in musical history. He was a successful singer and songwriter, whose career spanned fifty-two years. The most successful period of Hank Ballard’s career, was between 1953 and 1969, when he was the lead singer of Hank Ballard and The Midnighters.
They were one of the pioneers of rock ’n’ roll in the early fifties and helped shape this new genre. Hank Ballard and The Midnighters also enjoyed twenty-one hit singles in the US R&B charts. This included twelve top ten singles, and a trio of number ones. The first was Work With Me Annie in 1954. Later that year, one became two when Annie Had A Baby reached number one in the US R&B charts. Six years later, Let’s Go, Let’s Go, Let’s Go gave Hank Ballard and The Midnighters their third number one in the US R&B charts in 1960. However, the most successful and famous song that Hank Ballard wrote was The Twist.
When Hank Ballard and The Midnighters released The Twist in 1959, it reached number sixteen in the US R&B charts. This looked like the end of the story of The Twist.
That was until The Twist became popular on Baltimore DJ Buddy Dean’s television dance show. Buddy Dean recommended the songs to Dick Clark, the host of American Bandstand. Dick Clark tried to book Hank Ballard, but he wasn’t available. So Dick Clark began looking for a local artist to record The Twist. The artist he chose was Chubby Checker
Having recorded The Twist, Chubby Checker first sung The Twist live at the Rainbow Club in Wildwod, New Jersey in July 1960. Already the momentum was building. Then when Chubby Checker performed The Twist on American Bandstand in August 1960, the genie was out of the bottle. Soon The Twist reached number one the US Billboard 100 and two in the US R&B charts later in 1960; and in the process, launched a dance craze. Hank Ballard must have been rueing being unable to perform The Twist on American Bandstand.
To make up for this missed opportunity, King Records decided to reissue Hank Ballard and The Midnighters’ version of The Twist in 1960. It reached number twenty-eight in the US Billboard 100 and sixteen in the US R&B charts. While this didn’t come close to matching Chubby Checker’s version, at least Hank Ballard and The Midnighters had enjoyed another hit single. So would Chubby Checker when he reissued The Twist in 1962.
Less than two years after Chubby Checker originally released The Twist, he rereleased his biggest hit in 1962. Not only did it reach number one in the US Billboard 100, but number four in the US R&B charts. Chubby Checker had enjoyed two number one singles with the Hank Ballard penned The Twist. Things were looking good for Chubby Checker in 1962. Meanwhile, the hits were drying up for Hank Ballard and The Midnighters.
The last hit single that Hank Ballard and The Midnighters released, was Nothing But Good in 1961. It staled at forty-three in the US Billboard 100, but reached number nine in the US R&B charts. This was a familiar story. Although fourteen of Hank Ballard and The Midnighters’ singles had charted in the US Billboard 100, only 1960s Finger Poppin’ Time and Let’s Go, Let’s Go, Let’s Go reached the top ten. However, music had changed since then.
That continued to be the case, and by 1964, the British Invasion groups had arrived on American shores. Suddenly, many young Americans’ musical tastes were changing. Pop and rock were proving popular, blues, R&B and soul were no longer as popular. For Hank Ballard and The Midnighters, this was bad news. The period between 1964 and 1967 was tough for them. It’s documented on Unwind Yourself-The King Recordings 1964-1967, which was recently released by Kent Soul, an imprint of Ace Records. These twenty-six tracks are a mixture of singles, album tracks and unreleased tracks. Unwind Yourself-The King Recordings 1964-1967 is a reminder of the last few years of Hank Ballard and The Midnighters King Records years.
1964.
The first recording session that Unwind Yourself-The King Recordings 1964-1967 covers, took place on the 2nd of June 1964. Four songs were recorded. Three of these songs, Let’s Get The Show On The Road, Everybody Do Wrong and Knock On Wood I Feel So Good were written by Hank Ballard. Willie Hooks had penned A Winner Never Quits. Of these four songs, two would be feature on a single, while the others would find their way onto Hank Ballard and The Midnighters’ next album.
Let’s Get The Show On The Road was released on King Records in November 1964, with A Winner Never Quits on the B-Side. Despite the quality of the song, commercial success eluded Hank Ballard and The Midnighters’ latest single. It had been three years since their last hit single Nothing But Good in 1961. This was a worrying time for Hank Ballard and The Midnighters. By then, they had returned to the studio.
Ten days after their last recording session, Hank Ballard and The Midnighters returned to the recording studio on 12th June 1964. They were scheduled to record another four tracks for their forthcoming album. Unlike the previous session, only one Hank Ballard composition was chosen, Somebody’s Got To Help Me. The other tracks included That’s Your Mistake, One Monkey Don’t Stop No Show and Watch What I Tell You. Once these tracks were recorded, they would become part of Hank Ballard and The Midnighters’ new album Those Lazy, Lazy, Days.
When Those Lazy, Lazy, Days was released in 1965, the eight songs recorded in June 1964 were included and also feature on Unwind Yourself-The King Recordings 1964-1967. A surprising omission from Those Lazy, Lazy, Days was He Came Along. Especially when it became apparent that a couple of songs that had been recorded in 1962 were included. Critics remarked that the older songs sounded slightly dated. Especially when compared to the contemporary sound of the songs that were recorded in June 1964. These songs found
Hank Ballard and The Midnighters in good voice as they rolled back the years. Despite this, Those Lazy, Lazy, Days didn’t match the commercial success of previous albums. For Hank Ballard and The Midnighters it was back to the drawing board.
1965.
Hank Ballard and The Midnighters didn’t return to the recording studio until 18th February 1965. They prepared to record two new songs penned by Hank Ballard, Poppin’ The Whip and You, Just You. They became Hank Ballard and The Midnighters’ next single.
Poppin’ The Whip was chosen as the single, and released later in 1965. Tucked away on the flip-slide was You, Just You, an impassioned, soul-baring ballad. It’s a real hidden gem from Hank Ballard and The Midnighters’ back-catalogue. Sadly, history repeated itself, when Poppin’ The Whip failed to trouble the charts. Maybe things might have been very different if You, Just You had been released as a single? Still, the search went on for a hit single.
After a five month absence from the studio, Hank Ballard and The Midnighters returned on the 2nd of July 1965. This time around, they were going to record Rudy Clark compositions. Usually, Hank Ballard preferred to record his own songs. However, he was desperate for a hit, and was willing to record someone else’s songs if it resulted in that elusive hit single. So the heartfelt ballad I’m Just A Fool (And Everybody Knows) and the dance track Do It Zulu Style were recorded, and would become Hank Ballard and The Midnighters’ new single.
When Hank Ballard and The Midnighters released I’m Just A Fool (And Everybody Knows) as a single in 1965, it failed to chart. Four years had passed since their last single. It was no surprise that all wasn’t well with the Hank Ballard and The Midnighters’ camp.
Later in 1965, Hank Ballard and The Midnighters split-up. However, Hank Ballard continued to release singles and albums bearing the name Hank Ballard and The Midnighters.
15th November 1965 was the first recording session that featured just Hank Ballard. He had written four new songs, and laid down all the vocals on Sloop And Slide,Togetherness, I’m Ready, My Sun Is Going Down. They would provide Hank Ballard and The Midnighters with their next two singles.
1966.
The first of these singles Sloop And Slide, an explosive slice of R&B. It was released in January 1966, with My Sun Is Going Down on the flip-side. Stylistically, Sloop And Slide seemed to have been inspired by some of the music coming out of Stax. While it was one of soul’s most successful labels, Sloop And Slide didn’t bring commercial success the way of King Records. Neither did the followup to Sloop And Slide.
Togetherness was released as the followup single to Sloop And Slide, but failed commercially. It was a single that deserved to fare better. Hank Ballard’s lyrics to Togetherness were hopeful and full of social comment. Those that flipped over to the B-Side, discovered I’m Ready, a fusion of soul and funk that came complete with vamp. This made I’m Ready sound like a homage to another King Records’ artist James Brown. Sadly, Hank Ballard wasn’t enjoying any of the success the self-styled Godfather of Funk was enjoying.
By 19th July 1966, Hank Ballard was ready to record two new songs. Both Get That Hump In Your Back and He Came Along were Hank Ballard compositions. These two tracks were recorded on the 19th July. Since then, Get That Hump In Your Back has never been released, and makes its debut on Unwind Yourself-The King Recordings 1964-1967. He Came Along would be released much sooner. Before that, Hank Ballard was back in the studio three days later.
Hank Ballard was scheduled to lay down vocals on two tracks on 22nd July 1966. One of these tracks, Teardrops On Your Letter, was a Henry Glover composition which Hank Ballard and The Midnighters had recorded back in 1958. However, (Dance With Me) Annie was a new song, written by Hank Ballard. It would become Hank Ballard and The Midnighters’ new single.
(Dance With Me) Annie was released later in 1966, and exploded joyously into life. Surely, this was going to bring Hank Ballard and The Midnighters’ that elusive hit single. Even the B-Side He Came Along, oozed quality. It finds Hank Ballard delivering a heart-wrenching and soulful vocal. Sadly, (Dance With Me) Annie passed record buyers by, and Hank Ballard was left wondering what it would take to give Hank Ballard and The Midnighters their first single in five years?
1967.
After the commercial failure of (Dance With Me) Annie, Hank Ballard didn’t return to the recording studio until 4th February 1967. That day, Hank recorded two songs. The first was Here Comes The Hurt, a song penned by Gordon Brisker, Ural Thomas and Bud Hobgood. He also wrote Dance Till It Hurtcha with Hank Ballard. These two songs were released as a single in 1967.
Dance Till It Hurtcha was chosen as the single. It’s a fusion funk and soul, that sounds as if it was recorded at Stax in Memphis. With a sound that was right on-trend, things were looking good for Hank Ballard. On the B-Side was the heart-wrenching ballad Here Comes The Hurt. Hank Ballard sounds as if he’s lived and survived the lyrics. They proved to prescient.
When Dance Till It Hurtcha was released in 1967, Hank Ballard and everyone at King Records must have felt that this was the single that would get Hank Ballard and The Midnighters back on track? Sadly, it was a false dawn, and Dance Till It Hurtcha disappeared without trace. For Hank Ballard, it was a case of Here Comes The Hurt.
By then, Hank Ballard had endured six years of hurt. During that period, a hit single continued to elude him. That’s despite his best efforts. He returned to the studio on 12th July 1967 and recorded two tracks he had written with singer-songwriter Charles Spurling. They were You’re In Real Good Hands and Unwind Yourself. Once the two tracks were recorded, it was a case of choosing which would be Hank Ballard and The Midnighters’ next single.
Eventually, You’re In Real Good Hands was chosen as the single, and Unwind Yourself was relegated to the B-Side. Both tracks featured a much funkier sound. However, You’re In Real Good Hands had a tougher edge. This was a long way from Hank Ballard and The Midnighters’ hit making days. Maybe this funky makeover would result in a change in fortune for Hank Ballard and The Midnighters?
By the time You’re In Real Good Hands was released, funk was growing in popularity. One of the most popular artists was James Brown, who was signed to King Records. He often produced singles released on King Records. You’re In Real Good Hands sounded not unlike a James Brown track. Despite the quality of You’re In Real Good Hands it failed to trouble the charts in 1967. For Hank Ballard this was a huge disappointment. However, he remembered the Willie Hooks song, and told himself A Winner Never Quits.
So when Hank Ballard returned to the studio on 7th September 1967, he was still hoping that the session might produce a hit single. Neither Which Way Should I Turn nor Funky Soul Train had been written by Hank. He was willing to record other people’s songs in the hope that this would result in a hit single.
With the two songs recorded, James Brown, Bud Hobgood, William Bowman and Troy Seals’ Which Way Should I Turn was chosen as the single. On the flip-side was James Brown and Bud Hobgood’s Funky Soul Train. When Which Way Should I Turn was released in October 1967, the single never came close to troubling the charts. It was now over six years since Hank Ballard and The Midnighters had enjoyed a hit single.
The period between 1961 and 1967 had been the least successful period of Hank Ballard and The Midnighters’ career. Before that, they enjoyed twenty-one hit singles in the US R&B charts and fourteen hits in the US Billboard 100. That’s not forgetting three hit singles. For a seven year period between 1954 and 1961, Hank Ballard and The Midnighters were one of the most successful American bands. However, nothing lasts forever.
Music began to change. Especially between 1964 and 1967 which the compilation Unwind Yourself-The King Recordings 1964-1967 covers. In 1964, the British Invasion groups arrived on American shores. Soon, singles and albums by The Beatles, Rolling Stones, The Kinks, The Who and The Animals featured on the American charts. Suddenly, soul wasn’t as popular.
That’s apart from labels like Atlantic, Stax and Motown. Mostly, pop and rock ruled the roost. Then when the psychedelic age began in 1965, many soul groups failed to adapt. It was a case of adapt or die. The Midnighters decided to call it day. Not Hank Ballard though.
He continued to release singles and albums as Hank Ballard and The Midnighters. Gradually, the music Hank Ballard and The Midnighters released began to change. By the end of the period that Unwind Yourself-The King Recordings 1964-1967 covers, Hank Ballard was no longer a soul man. Instead, his music headed in the direction of funk. This was just another side to a truly versatile and talented singer, Hank Ballard.
This is apparent on Unwind Yourself-The King Recordings 1964-1967. It was recently released by Kent Soul, an imprint of Ace Records. Listener hear the different sides to Hank Ballard and The Midnighters on twenty-six tracks. They veer between heart-wrenching ballads, dance-tracks, rousing R&B and funk. These tracks are a mixture of singles, B-Sides, album tracks and even a previously unreleased track. Unwind Yourself-The King Recordings 1964-1967 is the most comprehensive overview of the music released by Hank Ballard and The Midnighters between 1964 and 1967. It’s also a reminder of a talented singer and songwriter, Hank Ballard.
Sadly, none of the songs on Unwind Yourself-The King Recordings 1964-1967 enjoyed the same commercial success as The Twist, Work With Me Annie, Annie Had A Baby, Let’s Go, Let’s Go, Let’s Go and Finger Poppin’ Time. These were the most successful songs of Hank Ballard’s fifty-two year career, and even today, are all still favourites on oldies’ radio stations. For Hank Ballard, these tracks were akin to a pension plan, and ensured that he was able to live comfortably for the rest of his life. However, there’s much more Hank Ballard than just five songs.
Unwind Yourself-The King Recordings 1964-1967 is proof of this. It’s a reminder of the latter years of the three decades that Hank Ballard and The Midnighters spent at King Records. Sadly, this wasn’t the most successful period of Hank Ballard and The Midnighters’ career. Still, they were still recording and releasing music that was the envy of their contemporaries. This music makes a welcome return on Unwind Yourself-The King Recordings 1964-1967, which for newcomers to Hank Ballard and The Midnighters, is the perfect introduction to their music.
HANK BALLARD AND THE MIDNIGHTERS-UNWIND YOURSELF-THE KING RECORDINGS 1964-1967.
ERLEND APNESETH TRIO-DET ANDRE ROMMET.
ERLEND APNESETH TRIO-DET ANDRE ROMMET.
Practise makes perfect. So the old proverb says. Erlend Apneseth is proof of this. He’s one of Norway’s top young fiddlers, and is already competing at the highest level.
That has been the case for some time. Erlend Apneseth competes at the elite level in Norway’s National Contest For Traditional Music. Over the last few years, Erlend Apneseth has won numerous awards and prizes. This includes Grappa’s New Artist Award in 2012. Buoyed by winning such a prestigious award, Erlend Apneseth began work on his debut album.
A year later in 2013, and Erlend Apneseth was about to release his debut album Blikkspor. It had been recorded with the help of a few friends. When Blikkspor was released, it was to overwhelming critical acclaim. Blikkspor was an album of groundbreaking and genre-melting music, that announced the arrival of an an ambitious and innovative musician. It was also a tantalising foretaste of what Erlend Apneseth was capable of. Critics awaited his sophomore with interest.
They’ve had to be patient. Since then, Erlend Apneseth has been busy. He’s collaborated with musicians from a variety of different backgrounds, including folk, improv, jazz and rock. Groups big and small have also been joined by the Jølster born fiddler. So have folk singer Torgeir Vassvik and poet Erlend O. Nødtvedt. Erlend Apneseth has even enjoyed a spell as a soloist with the Bergen Philharmonic Orchestra. However, eventually, he decided it was time to release his sophomore album.
While Blikkspor was credited to Erlend Apneseth, the followup is credited to the Erlend Apneseth Trio. This came about after drummer Øyvind Hegg-Lunde and guitarist Stephan Meidell featured on Sommarflukt, the final track on Blikkspor. Erlend Apneseth hit it off with the two musicians, and asked them if they wanted to join him in a trio? They agreed, and the Erlend Apneseth Trio was born. Their first album Det Andre Rommet, will be released Hubro Music on the 1st of July 2016. However, Det Andre Rommet was recorded back in March 2015.
For Det Andre Rommet, a total of ten tracks were written. Erlend Apneseth wrote Trollsuiten, Dialog, Sapporo, St Thomas-klokkene, Hugskot and Draum Om Regn. The other four tracks, Under Isen, Det Andre Rommet, Nattkatt and Magma. St Thomas-klokkene, were written by the Erlend Apneseth Trio. These tracks were recorded over four days in March 2015 by the Erlend Apneseth Trio.
The recording sessions began on 9th March 2015 at Hallibakken Lydproduksjon. By then, the Erlend Apneseth Trio had been playing together for the best part of two years. However, drummer Øyvind Hegg-Lunde and guitarist Stephan Meidell had been collaborating for a lot longer.
Over the years, they had been members of the same bands. Øyvind Hegg-Lunde had been a member of Building Instrument, Crab Is Crap, Electric Eye, Glow, Klangkameratane, Strings and Timpani and The Sweetest Thrill. Øyvind Hegg-Lunde had been a member of Cakewalk, Mr. Eart, Strings and Timpani, The Sweetest Thrill, Vanilla Riot and Velkro. The pair had formed a good working relationship, and would play an important part in the Erlend Apneseth Trio.
When the sessions began, drummer Øyvind Hegg-Lunde, guitarist Stephan Meidell and Erlend Apneseth on Hardanger Fiddle were joined by recordist Tor Magne Hallibakken. Over the four days, the Erlend Apneseth Trio’s music began to evolve. It was quite different from the music on Erlend Apneseth’s 2013 debut album Blikkspor.
Elements of folk, improv, jazz and rock combine on the ten songs and sketches that became Det Andre Rommet. What was a captivating debut album from the Erlend Apneseth Trio took shape. Over the next four days, they recorded the ten tracks that became Det Andre Rommet. They were completed by 12th March 2015. All that was left was mixing and mastering.
The mixing of Det Andre Rommet took place at Avast, Seattle, during September and October 2015 by Randall Dunn. Det Andre Rommet was then astered by Jørgen Træen at Lydgrotten in Bergen during December 2015. Now Det Andre Rommet was almost ready for release.
Det Andre Rommet will be released by Hubro Music on the 1st of July 2016. It’s the debut album from the Erlend Apneseth Trio, and finds three of Norway’s top musicians innovating, pushing musical boundaries and combining disparate musical genres. It’s a captivating musical journey across ten tracks lasting forty minutes. These tracks became Det Andre Rommet.
Practise makes perfect. So the old proverb says. However, Erlend Apneseth is proof of this. He’s one of Norway’s top young fiddlers, and is already competing at the highest level.
That has been the case for some time. Erlend Apneseth competes at the elite level in Norway’s National Contest For Traditional Music. Over the last few years, Erlend Apneseth has won numerous awards and prizes. This includes Grappa’s New Artist Award in 2012. Buoyed by winning such a prestigious award, Erlend Apneseth began work on his debut album.
A year later in 2013, and Erlend Apneseth was about to release his debut album Blikkspor. It had been recorded with the help of a few friends. When Blikkspor was released, it was to overwhelming critical acclaim. Blikkspor was an album of groundbreaking and genre-melting music, that announced the arrival of an an ambitious and innovative musician. It was also a tantalising foretaste of what Erlend Apneseth was capable of. Critics awaited his sophomore with interest.
They’ve had to be patient. Since then, Erlend Apneseth has been busy. He’s collaborated with musicians from a variety of different backgrounds, including folk, improv, jazz and rock. Groups big and small have also been joined by the Jølster born fiddler. So have folk singer Torgeir Vassvik and poet Erlend O. Nødtvedt. Erlend Apneseth has even enjoyed a spell as a soloist with the Bergen Philharmonic Orchestra. However, eventually, he decided it was time to release his sophomore album.
While Blikkspor was credited to Erlend Apneseth, the followup is credited to the Erlend Apneseth Trio. This came about after drummer Øyvind Hegg-Lunde and guitarist Stephan Meidell featured on Sommarflukt, the final track on Blikkspor. Erlend Apneseth hit it off with the two musicians, and asked them if they wanted to join him in a trio? They agreed, and the Erlend Apneseth Trio was born. Their first album Det Andre Rommet, will be released Hubro Music on the 1st of July 2016. However, Det Andre Rommet was recorded back in March 2015.
For Det Andre Rommet, a total of ten tracks were written. Erlend Apneseth wrote Trollsuiten, Dialog, Sapporo, St Thomas-klokkene, Hugskot and Draum Om Regn. The other four tracks, Under Isen, Det Andre Rommet, Nattkatt and Magma. St Thomas-klokkene, were written by the Erlend Apneseth Trio. These tracks were recorded over four days in March 2015 by the Erlend Apneseth Trio.
The recording sessions began on 9th March 2015 at Hallibakken Lydproduksjon. By then, the Erlend Apneseth Trio had been playing together for the best part of two years. However, drummer Øyvind Hegg-Lunde and guitarist Stephan Meidell had been collaborating for a lot longer.
Over the years, they had been members of the same bands. Øyvind Hegg-Lunde had been a member of Building Instrument, Crab Is Crap, Electric Eye, Glow, Klangkameratane, Strings and Timpani and The Sweetest Thrill. Øyvind Hegg-Lunde had been a member of Cakewalk, Mr. Eart, Strings and Timpani, The Sweetest Thrill, Vanilla Riot and Velkro. The pair had formed a good working relationship, and would play an important part in the Erlend Apneseth Trio.
When the sessions began, drummer Øyvind Hegg-Lunde, guitarist Stephan Meidell and Erlend Apneseth on Hardanger Fiddle were joined by recordist Tor Magne Hallibakken. Over the four days, the Erlend Apneseth Trio’s music began to evolve. It was quite different from the music on Erlend Apneseth’s 2013 debut album Blikkspor.
Elements of folk, improv, jazz and rock combine on the ten songs and sketches that became Det Andre Rommet. What was a captivating debut album from the Erlend Apneseth Trio took shape.
Over the next four days, they recorded the ten tracks that became Det Andre Rommet. They were completed by 12th March 2015. All that was left was mixing and mastering.
The mixing of Det Andre Rommet took place at Avast, Seattle, during September and October 2015 by Randall Dunn. Det Andre Rommet was then astered by Jørgen Træen at Lydgrotten in Bergen during December 2015. Now Det Andre Rommet was almost ready for release.
Det Andre Rommet will be released by Hubro Music on the 1st of July 2016. It’s the debut album from the Erlend Apneseth Trio, and finds three of Norway’s top musicians innovating, pushing musical boundaries and combining disparate musical genres. It’s a captivating musical journey across ten tracks lasting forty minutes. These tracks became Det Andre Rommet.
Opening Det Andre Rommet is Trollsuiten. It’s the perfect showcase for Erlend Apneseth. A flourish of his fiddle, sets the ball rolling. Soon, he plays briskly and with confidence and flamboyance. Other times, he drops the tempo, and his folk-tinged sound is a mixture of melancholy and emotion. Then almost seamlessly, the arrangement heads in the direction of improv. By then, the guitar drones and wails, adding to what’s an evocative and wistful sound. Soon, though the fiddle slips almost joyously across the arrangement, as Erlend revisits hits folk roots. Latterly, he revisits the earlier improv sound on what’s a captivating genre-hopping track.
What sounds like alarm clocks ring out urgently on Under Isen. Almost randomly, the occasional rattle and bump punctuates the arrangement. So does an occasional drum roll. Soon, Erlend’s fiddle quivers and shimmers in the background. Meanwhile, he toys with his fiddle as a series of pulsating sounds flit in and out. By now, an alternative improvised symphony is unfolding and washes over the listener.
Pizzicato describes the technique used by Erlend on Dialog. As he plucks the strings of his fiddle, it reverberates, and takes on an Eastern influence. Its beauty is mesmeric, as and repeatedly it washes over the listener and in the process, soothes their weary soul.
Cymbals shimmer and rinse s on Sapparo. Meanwhile, Erland plays his fiddle slowly and almost deliberately. It portrays a sense of sadness and yearning. Behind him, cymbals shimmer, drums pound and the guitar plays. They’re playing supporting roles, as Erlend’s fiddle takes centre-stage. Later, they’re allowed their moment in the spotlight. Stephan Meidell plays his guitar carefully and deliberately. Then when the baton passes to drummer Øyvind Hegg-Lunde, he improvises while ethereal, elegiac sounds rejoice in the background. They’re joined by plaintive cry of the fiddle. This adds the finishing touch to a track where folk and improv combine to create a track that’s a mixture of sadness, melancholia, drama and ethereal beauty.
Although Erland wrote St Thomas-Klokkene, it features an archive recording of Sigurd Eldegard. A wash of fiddle swells, as cymbals rinse and a guitar threatens to feedback. Soon, the fiddle soars above the vortex of sound. Contrasts abound, as the arrangement drones. Still the fiddle shimmers, shivers and quivers, while drums threaten to interject. By then, Erland is delivering one of his finest performances, showing why he’s one of Norway’s finest fiddlers. He uses folk as the starting point, but adds elements of avant-garde and improv. The result is a truly compelling track that’s cinematic and melodic, but full of melancholia, mystery and drama.
Almost hesitantly, the strings of the fiddle are plucked tenderly on Det Andre Rommet. Meanwhile, percussion is sprinkled subtly atop the arrangement. Gradually, there’s a sense of urgency, as the fiddle emerges from the arrangement, taking centre-stage. It produces a heart-wrenching sound, as folk, avant-garde and improv combine. By then, the plaintive cry of the fiddle adds an evocative sound, drums adds a thunderous backdrop as an array of alternative percussion is added. Again, sleight of hand is used, and nothing is as it seems. Instruments are transformed and take on a new sound. As a result, the arrangement takes on an urgent, frenzied and dramatic sound. Later, this begins to dissipate and returns to a much more understated sound. Then all of sudden, Det Andre Rommet reaches a crescendo, leaving just the memory of the Erlend Apneseth Trio at their most ambitious and innovative.
It’s as if the Erlend Apneseth Trio are toying and teasing the listener on Nattkatt. They play almost hesitantly, but all the time, hint at something magical. Gradually, though, the arrangement reveals its secrets. Soon, the Erlend Apneseth Trio have been transformed into a man machine. They combine avant-garde, free jazz and musique concrète to create a robotic, jerky and moderne arrangement. Then as a wailing, free jazz sound soars above the arrangement, it’s as if the ghost of Albert Ayler is making a guest appearance. Later, the arrangement becomes spartan and robotic, with beeps and squeaks punctuating the arrangement. By then, the n Nattkatt has revealed its secrets, magic and majesty on another groundbreaking track.
There’s an almost eerie, cinematic sound as Magma unfolds. Soon, the drama builds and swells, and it’s as if the Erlend Apneseth Trio are creating the soundtrack to a Nordic thriller. Bells chime, and are sprinkled atop the pounding drums. Meanwhile, the fiddle scampers across this cinematic soundscape as the drama builds. Adding to the drama are the drums and then the guitar. It adds an element of darkness; before blood curdling strings add the finishing touch to this cinematic soundscape.
Hugskot finds Erlend return to his folk roots. However, anything could happen, and the Erlend Apneseth Trio could throw a curveball at any given moment. While Erlend is content to play it straight, gradually, a myriad of percussion and cymbals punctuate the arrangement. Later, so briefly does a guitar. They’re merely playing a supporting role, while Erlend takes centre-stage as he returns to his roots.
Draum Og Regn closes Det Andre Rommet, where beauty and melancholy are omnipresent. Cymbals shimmer, while drums roll and percussion punctuates the arrangement. Meanwhile, the plaintive cry of the fiddle tugs at one’s heartstrings. While it showcases a traditional folk sound, the rest of the arrangement is a mixture of avant-garde and improv. Bubbling and pizzicato strings are joined by percussion and bells, and with Erlend’s fiddle, create a beautiful, wistful sounding track. It’s a quite beautiful way to close Det Andre Rommet.
It’s the debut album from the Erlend Apneseth Trio. They first played together on a track on Erlend Apneseth’s debut album Blikkspor. The three musicians hit it off, and a new band was born in early 2013. Since then, they’ve been playing together, and gradually honing their sound. By March 2015, the Erlend Apneseth Trio were ready to record their debut album, Det Andre Rommet.
It was recorded over four days in March 2015, at Hallibakken Lydproduksjon, Producing Det Andre Rommet were Andreas R Meland and the Erlend Apneseth Trio. The result was an ambitious album of innovative, genre-melting music.
On many of the tracks on Det Andre Rommet, the Erlend Apneseth Trio use folk as a starting point. From there, they add elements of everything from avant-garde, improv, jazz, musique concrète and even rock. The result is music that veers between beautiful to cinematic, to dramatic and eerie. Other times, the music on Det Andre Rommet is elegiac, ethereal, elegiac, melancholy and melodic. Sometimes, the music is full of sadness and is heart-wrenching. Often, it’s Erllend’s fiddle that takes the listener on this emotional roller coaster, Always, though, the music on Det Andre Rommet has the capacity to captivate and spring surprises, as the Erlend Apneseth Trio take the listener in a new and unexpected direction.
Every member of the Erlend Apneseth Trio plays their part in this musical magical mystery tour. Sometimes, though, it’s Erllend’s fiddle that takes the listener on this emotional roller coaster. It plays an important part in Det Andre Rommet, and in Erlend Apneseth’s hands, proves a versatile instrument. One minute, he’s playing the fiddle in the same way as countless generations before him; the next, Erlend Apneseth is rewriting the rules, and unleashing a Hendrix-esque performance. This isn’t surprising. Just like the rest of the Erlend Apneseth Trio, Erlend is a musical maverick.
So it’s fitting that these three musical mavericks have found the perfect vehicle for their music in the Erlend Apneseth Trio. It allows them to innovate, and create groundbreaking music. This the Erlend Apneseth Trio do throughout their captivating, genre-melting debut album Det Andre Rommet, which will be released by Hubro Music on the 1st of July 2016.
ERLEND APNESETH TRIO-DET ANDRE ROMMET.
SPOOKY TOOTH-THE ISLAND RECORDS YEARS.
SPOOKY TOOTH-THE ISLAND RECORDS YEARS.
All too often, some bands don’t get the credit they deserve. That was the case with Spooky Tooth, who for a time, pioneered the use of twin keyboards. They lead the way. Soon, other bands were following in their wake. By then, the Spooky Tooth story was over.
Spooky Tooth were only together seven years between 1967 and 1974, but managed to release eight seven albums. They could’ve become one of the biggest British bands of the late-sixties, early-seventies. However, Spooky Tooth wandered down a rocky road. That was the case since for a lot longer.
The Spooky Tooth story started in 1963, when The V.I.P.s were founded in Carlisle, Cumbria by lead vocalist Mike Harrison and bassist Greg Ridley. Over the next four years, The V.I.P.s lineup evolved. Rhythm guitarist Frank Kenyon, lead guitarist Jimmy Henshaw, drummer Mike Kellie and guitarist Luther Grosvenor were members between 1963 and 1967. Other musicians played a walk-on roll on The V.I.P.s’ story. This included Keith Emerson whose keyboards would play a starring role in The Nice and Emerson, Lake and Palmer. However, by the time The V.I.P.s decided to change direction musically, Keith Emerson had left the band.
For the four years they were together, The V.I.P.s played blues and R&B. By 1967, they decided that to change direction musically. So The V.I.P.s changed their name to Art and recorded their one and only album, Supernatural Fairy Tales.
Supernatural Fairy Tales.
In 1967, the newly named Art found themselves signed to Chris Blackwell’s Island Records. Art were about to go into the studio with producer Guy Stevens, so began work on their debut album.
By then, Art’s lineup featured drummer Mike Kellie and guitarist Luther Grosvenor, bassist Greg Ridley, guitarist Luther Grosvenor and vocalist and keyboardist Mike Harrison. The four members of Art got to work on what became Supernatural Fairy Tales.
For their debut album Supernatural Fairy Tales, the four members of Art wrote ten tracks. They would be augmented by covers of The Young Rascals’ Come on Up and Buffalo Springfield’s For What It’s Worth. Recording took place at two studios.
Pye Studios was where the majority of Supernatural Fairy Tales was recorded. Some recording took place at Olympic Studios. At the two studios, producer Guy Stevens, whose career was in the ascendancy, took charge of production. He guided Art through the maze that’s recording a debut album. The result was Supernatural Fairy Tales, which became a cult classic.
When critics heard Supernatural Fairy Tales, the reviews of Art’s debut album were mostly positive. Its progressive, psychedelic rock sound was decidedly on trend. It tapped into a sound that was commercial. Surely, Supernatural Fairy Tales would prove a commercial success?
Sadly, when Supernatural Fairy Tales was released in the Autumn of 1967, the album wasn’t a commercial success. This was disappointing for Art and Island Records.
Shortly after the release of Supernatural Fairy Tales Art split-up. However, like a phoenix from the ashes rose a new band, Spooky Tooth.
The Birth Of Spooky Tooth.
Gary Wright was also a psychology student, who had travelled to Berlin to finish his studies. That was where Gary Wright formed the band The New York Times with some American expats and a German bassist. They had opened for Traffic, and were thinking about recording an album. So Gary Wright contacted his old friend Jimmy Miller. The producer was working for Island Records, and suggested that The New York Times hotfoot it to London.
When The New York Times arrived in London, the recording sessions didn’t go to plan. The rest of the band split, leaving Gary Wright. It was then, in October 1967, that Gary Wright was introduced to the former members of Art and they formed a new band, Spooky Tooth.
It’s All About.
Straight away, work began on Spooky Tooth’s debut album. The new recruit quickly made his presence felt. Whereas the four members of Art cowrote most of their debut album Supernatural Fairy Tales, that wasn’t the case with Spooky Tooth.
Gary Wright penned Sunshine Help Me and cowrote another six tracks. This included It Hurts You So and Forget It, I Got It with his ole buddy Jimmy Miller. The Wright and Miller partnership weren’t finished. They cowrote Love Really Changed Me with Luther Grosvenor. That trio joined Mike Harrison in penning Here I Lived So We. Luther Grosvenor and Chris Wight also cowrote Bubbles. Spooky Tooth was quickly becoming the Gary Wright show.
If the other members felt uncomfortable that Chris Wight was playing a leading role in Spooky Tooth. He was friends with Jimmy Miller, who was chosen to produce It’s All About. He just happened to be friends with Island Records’ owner Chris Blackwell. To onlookers, these relationships looked too cosy. After all, it was Chris Blackwell who introduced Gary Wright. He would join the rest of Spooky Tooth at Olympic Studios.
Island Records’ recording sessions were notorious for only allotting a specific amount of time to record an album. Woe betide the band and producer who went over budget. Spooky Tooth had twelve songs to record when they entered the studio in November 1967. This included covers of Janis Ian’s Society’s Child, Bob Dylan’s Too Much Of Nothing and John D. Loudermilk’s Tobacco Road. Along with the songs penned by members of Spooky Tooth, the twelve songs became It’s All About.
Before the release of It’s All About in June 1968, critics had their say on Spooky Tooth’s debut album. They were won over by It’s All About. Many critics gave the albums rave reviews. Some critics liked that Spooky Tooth had two different vocalists. This was uncommon. However, with Mike Harrison and Gary Wright sharing the lead vocals, this allowed the band to take their music in a variety of directions. On It’s All About, this included blues, rock and psychedelia. Despite winning over critics, record buyers weren’t convinced.
When It’s All About was released in June 1968, the album wasn’t the success many had forecast. This would soon change.
Spooky Tooth were about to become one of Europe’s most popular live bands. Then in August 1968, Spooky Tooth were invited to tour America. This was a game-changer. Especially when Spooky Tooth were invited to play at one of the most prestigious venues in America, the Fillmore West in San Francisco.
Promoter Bill Graham invited Spooky Tooth to play the Fillmore West. This was a rite of passage for bands touring America. It was a signal they had arrived. Spooky Tooth were going up in the world, so Island Records’ thoughts turned to their sophomore album, Spooky Two.
Spooky Two.
Unlike their debut album, Spooky Two only featured eight songs. Partly, this was why Spooky Too was a leaner, more focused album. Again, Gary Wright who had assumed the role of Spooky Tooth’s songwriter-in-chief.
Gary Wright penned four tracks and cowrote three others. This included Feelin’ Bad and I’ve Got Enough Heartaches with drummer Mike Kellie. Mike Harrison and Luther Grosvenor cowrote Waitin’ for the Wind with Gary Wright. Spooky Two’s other track, was a cover of Larry Weiss’ Evil Woman. These songs were recorded at Morgan Studios, London.
Just like It’s About You, Spooky Two was produced by Jimmy Miller. Recording began in November 1968, and Spooky Tooth began recording what’s now considered their greatest album, Spooky Two.
Once Spooky Two was complete, the release was scheduled for March 1969. This didn’t leave much time to promote the album. However, the reviews did a good job of this. Spooky Two was hailed a masterpiece of blues, hard rock, psychedelia and classic rock. Luther Grosvenor’s guitar playing was at the heart of the album’s success. It was loose, but fluid. Spooky Tooth’s played hard, raw and rock on Spooky Too. Critics forecast that Spooky Two was going to be Spooky Tooth’s breakthrough album.
That proved to be the case. On its release in March 1969, Spooky Two reached number forty-four in the US Billboard 200. This resulted in Spooky Tooth’s profile rising.
Suddenly, they were playing in front of bigger audiences on nearly every continent. Other musicians wanted to work with Spooky Tooth. This included French electronic musician, Pierre Henry.
Ceremony.
After the release of Spooky Too, there was a change to Spooky Tooth’s lineup. In 1970, bassist Greg Ridley was asked to join Humble Pie. He agreed, and Andy Leigh was drafted in as his replacement. This was the first, but not the last change in Spooky Tooth’s lineup.
After the commercial success and critical acclaim of Spooky Too, Spooky Tooth’s star was in the ascendancy. Suddenly, people wanted to work with Spooky Tooth. This included French electronic musician, Pierre Henry.
He described himself as a found-object” composer. Pierre Henry took everyday objects and transformed them into an instrument. This wasn’t a new concept.
Pablo Picasso had pioneered the idea in 1912, when he pasted aprinted image of chair caning onto his painting Still Life with Chair Caning. Turning everyday objects into musical instruments took the idea further. That’s what Pierre Henry, and many other moderne musicians did.
Originally, Spooky Tooth were collaborating with Pierre Henry. It was his album. The new lineup of Spooky Tooth were essentially his backing band, on Ceremony.
For Ceremony, Pierre Henry and Gary Wright wrote six tracks. He and the rest of the new lineup of Spooky Tooth made their way to France. It was agreed that Pierre Henry and Spooky Tooth would co-produce Ceremony, due to the fact the album takes the form of a church service.
Quickly, Spooky Tooth recorded their parts. This left Pierre Henry to play synths and take charge of electronics on five tracks. On Hosanna, which closed Ceremony, Spooky Tooth took centre-stage. It was Ceremony’s Magnus Opus. Once the recording was complete, Spooky Tooth headed home.
Having returned home, Spooky Tooth were sent a copy of Ceremony. Gary Wright didn’t like what he heard. He was straight on the phone to Chris Blackwell, urging him not to release Ceremony. This didn’t work.
Chris Blackwell disagreed, telling Gary Wright: “people will love this album. We have to put this out.” According to Gary Wright, the rest of Spooky Tooth didn’t want Ceremony released. He went as far as to say: “it was against our wishes.” He thinks that the “release of the album lead to the initial breakup of the band.”
With Island Records determined to release Ceremony, December 1969 was scheduled as the release date. Before that, critics had their say on Ceremony. This fusion of rock and avant-garde was billed as an album from Spooky Tooth and Pierre Henry. Reviews were mixed. It wasn’t what most critics had expected from Spooky Tooth. The problem Mike Harrison says was;”people thought it was Spooky Tooth’s third album.”
When Ceremony was released in December 1969, it reached just ninety-two in the US Billboard 200. Spooky Tooth were going backwards. That was only part of the story.
All wasn’t well within Spooky Tooth. There was disharmony within the ranks. Mike Kellie believes things would’ve been different if Spooky Tooth: “had independent management.” They could’ve been an arbiter in the conflicts. Without that, Spooky Tooth split-up.
The Last Puff.
That wasn’t the end of the Spooky Tooth story. Instead, it was just the end of a chapter. Mike Harrison, Mike Kellie and Luther Grosvenor remained. Gary Wright exited stage left. So did bassist Andy Leigh. In their place, came some new faces.
Among them, were guitarist Henry McCullough, bassist Alan Spenner and Chris Stainton. He played bass, piano and organ. His versatility would be put to good use on The Last Puff, which was billed as an album from Spooky Tooth Featuring Mike Harrison.
For The Last Puff, seven cover versions were chosen. Among them were Lennon and McCartney’s I Am The Walrus; Joe Cocker and Peter Nichols’ Something to Say; David Ackles’ Down River and Elton John and Bernie Taupin’s Son of Your Father. New recruit Chris Stainton contributed The Last Puff. Ironically, The Wrong Time a song penned by Gary Wright and Hugh McCracken. Given Gary Wright had just left Spooky Tooth this seemed a strange decision.
Recording of The Last Puff took place at Island Studios, London. Producing the album was Island Records’ owner Gary Blackwell and Chris Stainton. Once the new lineup of Spooky Tooth finished recording The Last Puff, it was released in July 1970.
Critics however, received advance copies of Spooky Tooth Featuring Mike Harrison’s album The Last Puff. Critical acclaim accompanied this album of art rock, blues rock, psychedelia and rock. It seemed the loss of two members hadn’t derailed Spooky Tooth.
That seemed to be the case. The Last Puff proved more successful than Ceremony, reaching number eighty-four in the US Billboard 200. However, not long after the release of The Last Puff, Spooky Tooth split-up.
That looked like the end of the line for Spooky Tooth. Island Records were dismayed. They had just lost one of their most popular groups.
So a year later, in 1971, Island Records repackaged and rereleased It’s All About as Tobacco Road. When the album was released, it reached number 152 in the US Billboard 200. That many people thought, was Spooky Tooth’s swan-song. It wasn’t.
You Broke My Heart So I Busted Your Jaw.
In 1972, Spooky Tooth reformed, with a new lineup. The only musician who had played on The Last Puff was Mike Harrison.
Luther Grosvenor had joined Mott The Hoople, where he dawned the alias Ariel Bender. His replacement in Spooky Tooth, was future Foreigner guitarist Mick Jones. Mike Kellie was replaced by drummer and percussionist Bryson Graham. Chris Stewart became Spooky Tooth’s fourth bassist. However, the biggest surprise, was the return of Gary Wright.
Quickly, Gary Wright resumed the role of Spooky Tooth’s songwriter-in-chief. He wrote six of the eight songs, and cowrote Times Have Changed with Mick Jones. The other song on You Broke My Heart So I Busted Your Jaw was the Bryson Graham composition This Time Around. These eight songs were recorded at three London studios.
Recording of You Broke My Heart So I Busted Your Jaw. Olympic Studios, Island Studios and Apple Studios. It seemed no expense was being spared for Spooky Tooth’s comeback album. These were some of London’s top studios. One expense that was saved was a producer. Spooky Tooth produced You Broke My Heart So I Busted Your Jaw. It was scheduled for release in ay 1973.
Many of Spooky Tooth’s fans eagerly awaited their comeback album. However, when reviews were published, they were mixed. Some critics felt that You Broke My Heart So I Busted Your Jaw wasn’t Spooky Tooth’s finest hour. That’s despite Spooky Tooth combining progressive rock, hard rock and blues rock. While hard rock was still popular, progressive rock dominated the charts. However, other critics were won over by Spooky Tooth’s comeback album.
Other critics liked the dual keyboard sound on You Broke My Heart So I Busted Your Jaw. This brought a new dimension to Spooky Tooth’s sound. There was no consensus. For once, a Spooky Tooth album had divided the critics’ opinion. However, record buyers were of one mind.
On the release of You Broke My Heart So I Busted Your Jaw, in November 1973, the album reached number eighty-four in the US Billboard 200. This matched the popularity of The Last Puff. Spooky Tooth were back to where they were before Ceremony. What could go wrong?
Witness.
After making their comeback with You Broke My Heart So I Busted Your Jaw, Spooky Tooth looked as if their career was back on track. Then there was a change in Spooky Tooth’s lineup.
This time, Spooky Tooth’s original drummer Mike Kellie made a comeback, and replaced recent recruit Bryson Graham. However, that wasn’t the end of Bryson Graham. He played on some of the tracks on Witness. It was a tale of two drummers.
One thing didn’t change, Gary Wright wrote most of Witness. He penned six of the nine tracks, and cowrote the other three tracks with members of Spooky Tooth. Considering the other members weren’t regarded as songwriters, they were proving a reliable source of songs. Gary Wright and Chris Stewart penned Don’t Ever Stray Away. Mick Jones collaborated with Gary Wright on All Sewn Up. Drummer Mike Kellie celebrated his return by cowriting Pyramids with Chris Stewart. It seemed the other members of Spooky Tooth had hidden talents.
They also produced Witness, which was recorded at Olympic Studios and Island Studios, in London. At two of London’s premier studios, Spooky Tooth recorded their sixth studio album. Little did anyone realise, but this would be the last time one of the band set foot in a recording studio with Spooky Tooth. It was the end of an era.
Sadly, with one of the band about to call time on their career with Spooky Tooth, the reviews of Witness were mixed. Not for the first time, a Spooky Tooth album divided opinion. Some critics enjoyed Witness mixture of hard rock, blues rock, progressive rock and psychedelia. Others felt the sound was dated. Record buyers had the deciding vote.
They too were undecided. When Witness was released in November 1973, it stalled at ninety-nine in the US Billboard 200. Witness hadn’t matched the commercial success of You Broke My Heart So I Busted Your Jaw. That was disappointing. However, it wasn’t as disappointing as losing one of the band’s most important figures.
Mike Harrison, who founded The V.I.P.s ten years previously, called time on the band he cofounded with Greg Ridley. The group’s cofounder wanted to pursue other projects. Another departure was bassist Chris Stewart. While he was a loss, his departure didn’t leave the void that Mike Harrison’s left. It was a case of the King is dead, long live the King.
The Mirror.
By 1974, music was changing, and changing fast. Progressive rock was one of the most popular genres. It was the most cerebral type of rock music. Glam rock however, was all style and no substance. Then there was Art Rock, which groups like Roxy Music pioneered. Heavy rock was still popular, with Led Zeppelin and Bad Company two of it’s finest purveyors. Spooky Tooth had previously aligned themselves with hard rock. Now they decided to change direction.
With Spooky Tooth changing direction, a new member joined the band. Val Burke had featured on Witness, but on Mirror became a permanent member. Again, Mike Kellie and Bryson Graham both featured on Witness. Drummer, percussionist and keyboardist Mike Patto, was another new addition. It was a very different version of Spooky Tooth that began work on The Mirror.
Gary Wright wrote just two songs and cowrote the other seven songs. The other members of the band seemed to want to contribute to The Mirror. Mick Jones cowrote Fantasy Satisfier with Gary Wright. They cowrote Two Time Love and The Mirror with Mike Patto. He joined Gary Wright in penning The Hoofer. Along with Kyle and I’m Alive, which Gary Wright cowrote, these nine songs became The Mirror.
When recording of The Mirror began, Gary Wright, Eddie Kramer and Mick Jones were co-producing the album. It quickly became apparent to onlookers, that Spooky Tooth had changed direction. Gospel, pop and R&B combined with rock on The Mirror. Once it was complete, Island Records announced The Mirror would be released in October 1974.
Before then, critics had their say on The Mirror. Most were impressed by the new Spooky Tooth. Some weren’t convinced. The new lineup of Spooky Tooth was a shadow of its vainglorious self. Cynics suggested that Spooky Tooth had dumbed down their sound in the hope of commercial success. If that was the case, it backfired on Spooky Tooth.
When The Mirror was released in October 1974, it only reached 130 in the US Billboard 200. It became Spooky Tooth’s least successful album. However, there was a twist in the tale.
A month after the release of The Mirror, Spooky Tooth announced they were splitting up. The members of Spooky Tooth joined other bands, or embarked upon new projects. Some critics said it was the end of an era.
In reality, the departure of Mike Harrison marked the end of an era. He had founded The V.I.P.s with Greg Ridley in Carlisle, in 1963. The V.I.P.s became Art, and then Art became Spooky Tooth. However, Spooky Tooth without Mike Harrison was gin without the tonic. He was part and parcel of the band’s sound, and been a vital cog in the Spooky Tooth Wheel. Without him, the band limped on, and a year later, literally fell apart.
That was the end of Spooky Tooth until 1999, when they reformed and released Cross Purpose. Mike Harrison was back at the helm. Gary Wright wasn’t part of the newly reformed Spooky Tooth. Making a comeback in the Spooky Tooth story was Island Records founder, Chris Blackwell. He produced Cross Purpose, which proved to be Spooky Tooth’s last studio album.
Spooky Tooth went on to released two live albums. The first was Live In Europe in 2001. Another six years passed before Nomad Poets-Live In Germany 2004 was released in 2007. By then, Spooky Tooth were enjoying a resurgence in popularity. It was too little too late for a group who musical history should remember as pioneers and innovators.
It was Spooky Tooth who pioneered the use of twin keyboards in their music. This was something that many other groups went on to adopt later, and contributed to the commercial success and critical acclaim they enjoyed. Spooky Tooth were also one of the few rock bands to use two vocalists. While this had ben tried in other genres, very few rock bands used two vocalists. That was until Spooky Tooth, who embraced also innovation.
Probably Spooky Tooth’s most ambitious and controversal album who collaborated on the album Ceremony with French electronic musician, Pierre Henry. However, b then, Spooky Tooth had already been combining disparate musical genres on their albums. Elements of blues and blues-rock to hard rock, psychedelia and rock featured on Spooky Tooth’s albums. This ensured that their music stayed relevant during what was a golden age for rock music.
During this period competition was fierce. Many of the top rock bands came from Britain, including Bad Company, Black Sabbath, Deep Purple and Led Zeppelin. They were among the hardest rocking bands of the late-sixties and early-seventies. This meant they were rivals of Spooky Tooth. However, Bad Company, Black Sabbath, Deep Purple and Led Zeppelin enjoyed far more commercial success and critical acclaim than Spooky Tooth. That’s despite the quality of music Spooky Tooth released. Looking back, Spooky Tooth never quite fulfilled their potential.
This wasn’t helped by changes in lineup and breakups. Despite this, Spooky Tooth still managed to make some of the best, and most memorable rock music of the late-sixties and early-seventies. This music could’ve and should’ve enjoyed much more commercial success and critical acclaim. Even one of the members of Spooky Tooth realised this.
Mike Kellie realised that things would’ve been different if Spooky Tooth: “had independent management” throughout their career. Maybe, with the right manager guiding their career, Spooky Tooth would’ve enjoyed a settled lineup; and The Island Records Years would’ve lasted longer than seven years and seven studio albums; and that Spooky Tooth would be receiving the credit they deserve.
SPOOKY TOOTH-THE ISLAND RECORDS YEARS.
LITTLE FEAT-THE LOWELL GEORGE YEARS.
LITTLE FEAT-THE LOWELL GEORGE YEARS.
Before founding Little Feat in 1969, Lowell George was a member of Frank Zappa’s Mothers Of Invention. Then in 1969, Lowell met Bill Payne who previously, had auditioned for The Mothers Of Invention. Bill however, never joined The Mothers Of Invention. No. In 1969 pianist Bill Payne and guitarist Lowell George formed Little Feat. They were joined by former Mothers Of Invention bassist Roy Estrada, and drummer Richie Hayward. Previously, Richie had been a member of The Factory, Lowell’s previous band, and later, The Fraternity of Man, who found fame with Don’t Bogart Me, a track from the Easy Rider Soundtrack. With Little Feat’s lineup complete, they would become one of the most influential and successful bands of the seventies.
Having formed Little Feat in 1969, they signed to Warner Bros. in 1970. It was Frank Zappa that recommended Warner Bros. sign Little Feat. That was somewhat ironic. One rumour had it, that Frank Zappa had fired Lowell George from The Mothers Of Invention. Another rumour was that Lowell had written a song about drugs, Willin.’ A more plausible rumour is that Frank Zappa, realising just how talented Lowell George was, advised him to form his own band. He then recommended Little Feat to Warner Bros.
It was at Warner Bros. that Little Feat released the best music of their career. They released a total of eleven albums between 1970s Little Feat, and 1990s Representing The Gumbo. However, Little Feat’s story begins in 1970, when they released their eponymous debut album.
Little Feat.
Recording of Little Feat took place during August and September 1970. During that period, Little Feat recorded eleven tracks. Ten of these songs were written by members of Little Feat. Lowell George cowrote four with Bill Payne, one with Roy Estrada and wrote three more. This included Willin’ the song that supposedly, resulted in Lowell leaving The Mothers Of Invention. Willin’ features a slide guitar part. Usually, Lowell would play this. However, there was a problem. Lowell had hurt his hand in an accident.
Ry Cooder, who back in 1970, was a session guitarist, was drafted in to play on Little Feat. He laid down the slide guitar part on Willin,’ and Sneaky Pete Kleinow played pedal steel. Producer Russ Titelman added percussion and piano on I’ve Been the One. Once Little Feat was completed, it was released in January 1971.
On its release, Little Feat, which can be described as a fusion of blues, garage rock, roadhouse blues, Southern Rock and swamp rock was released to overwhelming critical acclaim. Little Feat looked like they were music’s next big thing. However, record buyers didn’t agree and Little Feat failed to chart. For Little Feat, it was a case of back to the drawing board.
Sailin’ Shoes.
For Sailin’ Shoes, Little Feat’s sophomore album, Lowell George had written seven of the ten tracks. He also cowrote Easy to Slip with guitarist Martin Kibbe, who was making his Little Feat debut on Sailin’ Shoes. Previously, Martin was a member of The Factory, Lowell’s previous band. However, on Sailin’ Shoes Martin was billed as Fred Martin. Just like on Little Feat, Bill Payne contributed two tracks which were recorded in Los Angeles.
A new producer, Ted Templeman, was brought onboard for Sailin’ Shoes. Previously, he had worked with The Doobie Brothers on their first two albums. They had been a huge commercial success. Obviously, Warner Bros. were hoping Ted’s Midas touch would work with Little Feat.
When Sailin’ Shoes was completed, Little Feat’s sophomore album, marked a change in style for the group. They had refined their raw style on Sailin’ Shoes. This was a step towards the sound on their classic album Dixie Feat.
Just like their eponymous debut album, 1972s Sailin’ Shoes was released to widespread critical acclaim. It was Little Feat’s first album to feature Neon Park’s striking artwork. This would become a feature of their albums. However, what won critics over were songs like Easy to Slip, A Apolitical Blues and Sailin’ Shoes. They were among Sailin’ Shoes’ highlights and would become Little Feat favourites. Despite the rave reviews, still commercial success eluded Little Feat. After Sailin’ Shoes, bassist Roy Estrada quit Little Feat. That wasn’t his best decision.
Dixie Chicken.
Roy Estrada had jumped ship too early. Little Feat’s third album, 1973s Dixie Chicken, saw the band make their commercial breakthrough. Ironically, it was with a new lineup that this commercial breakthrough came.
With Roy Estrada gone, bassist Kenny Gradney replaced him. Other new members were guitarist Paul Barrere and conga player Sam Clayton. They would play their part in what is Little Feat’s finest hour.
For Dixie Chicken, Lowell penned five tracks and cowrote Dixie Chicken with Fred Martin. His other contribution was Lafayette Railroad, which he cowrote with Bill Payne. Bill also cowrote Walkin’ All Night with new recruit Paul Barrere. These tracks became part of Little Feat’s classic album, which was produced by Lowell George.
Dixie Chicken was the album the defined Little Feat’s sound. Until then, their sound was difficult to describe. However, Dixie Chicken, with its laid-back, funky, quirky, seductive New Orleans’ influenced sound, was a classic. There was no doubt about it, Little Feat had landed, and Dixie Chicken was a coming of age for Lowell George and his band. What’s more, Dixie Chicken saw Little Feat make their commercial breakthrough. Little Feat Mk.II were on their way.
Feats Don’t Fail Me Now.
Having made their commercial breakthrough with Dixie Chicken in 1973, Little Feat returned with Feats Don’t Fail Me Now in 1974. It was recorded during early 1974 at Blue Seas Recording Studio in Hunt Valley, Maryland. Just like Dixie Chicken, Lowell George’s name was written large all over the album. He wrote Down the Road and Spanish Moon and cowrote four other tracks. He also cowrote seven of the eight tracks at Blue Seas Recording Studio.
For the recording of Feats Don’t Fail Me Now, Bonnie Riatt returned to adding backing vocals. So did Emmylou Harris. Tower Of Power were drafted in to add horns. Van Dyke Parks was brought in to produce Spanish Moon. Once Feats Don’t Fail Me Now was completed, it was released in August 1974.
While Dixie Chicken is perceived as Little Feat’s finest hour, Feats Don’t Fail Me Now comes a close second. On Dixie Chicken, Lowell George played a huge part in the album’s success. However, on Feats Don’t Fail Me Now it’s much more of a band effort. It won over critics and music lovers. Critical acclaim and commercial success accompanied Feats Don’t Fail Me Now. Little Feat, it seemed could do no wrong.
The Last Record Album.
1975 saw Little Feat release their fifth album, The Last Record Album. It was another landmark album for Little Feat. Having climbed the mountain and discovered fame and critical acclaim, Little Feat were at a crossroads.
On The Last Record Album, Lowell only wrote Long Distance Love and Down Below The Borderline. He however, cowrote the classic Mercenary Territory, one of The Last Record Album’s highlights. By then, Bill Payne was playing a bigger part in the songwriting process. Bill wrote Somebody’s Leavin’ and cowrote four other tracks. Among the highlights were All That You Dream, one of Bill’s best compositions. These tracks became The Last Record Album, which was released in November 1975.
This wasn’t a good time for Little Feat. Bill Hayward had been involved in a serious motorcycle accident. Bill wasn’t insured and the medical bills were ruinous. So much so, that Bill moved back to Canada. By then, the cracks were beginning to show in Little Feat.
When The Last Record Album was released, critics wondered if Little Feat had hit the wall. They had released five albums in five years. This could be beginning to take its toll, they wondered. After all, The Last Record Album wasn’t as consistent an album. Neither was it as cohesive an album. There were however, a number of highlight. among them, were All That You Dream, Mercenary Territory and Long Distance Love. The problem was, there weren’t enough highlights. Little Feat realised that. When the lyrics featured on the back of the album cover, the words “maybe next time” from Hi Roller were highlighted.
Time Loves A Hero.
For Time Loves A Hero, Lowell George didn’t contribute any songs. He left the rest of Little Feat to write Time Loves a Hero. There was a reason for this. Lowell didn’t approve of the direction Little Feat’s music was heading. Little Feat was his baby, and they weren’t a fusion band. That however, was the direction Little Feat were heading. As a result, Lowell became disillusioned.
Recording of Time Loves a Hero took place at four recording studios in Los Angeles. The lengthy sessions took place during 1976 and 1977. Eventually, Time Loves a Hero was completed, and the album was released in May 1977.
On its release, critics remarked that Time Loves a Hero was a departure in sound from Little Feat. It’s a genre-melting album. Elements of jazz, fusion, Latin, psychedelia and Southern Rock melt into one. Little Feat’s past and present make their presence felt on the Ted Templeman produced Time Loves a Hero. It divided the opinion of critics. Some welcomed the new sound, others mourned for the Little Feat of Dixie Chicken and Feats Don’t Fail Me Now. Mostly, critics wondered what the future held for Little Feat?
Waiting for Columbus.
During 1978, Little Feat didn’t release a studio album. Instead, they released a live album, Waiting for Columbus. It had been recorded during seven concerts in 1977. Four were recorded in London and three in Washington. From the tapes, seventeen songs were chosen.
The seventeen songs on Waiting for Columbus, showcased just how good a live band Little Feat were. They reinvented familiar tracks, while other songs became lengthy jams. On others, a horn section augmented Little Feat’s lineup. These songs showed another side to Little Feat. For anyone who had just heard Little Feat’s studio albums, this was an eyeopener.
On its release February 10th 1978, Waiting for Columbus was well received by critics. Many of the critics were familiar with Little Feat live’s sound, and welcomed the release of Waiting for Columbus. After all, it was much more representative of Little Feat. They seemed to enjoy the opportunity to stretch their legs, jamming and improvising. Sadly, this was a false dawn.
Down On The Farm.
Ever since Time Loves a Hero, it had been apparent that Lowell George’s interest in Little Feat was waning. What many people didn’t realise was that Lowell’s health was failing. This soon became apparent.
Lowell began work on what would eventually become Down On The Farm. Before long, Lowell called time on Down On The Farm and Little Feat. He wasn’t a well man and died on 29th June 1979, aged just thirty-four.
Two weeks after Lowell’s death, Little Feat announced they had split-up. Down On The Farm, which was released in November 1979, would be the last Little Feat album for nine years. Ironically, Lowell George would play a big part in Down On The Farm.
Ironically, Down On The Farm featured many of Lowell’s songs. He contributed Kokomo and cowrote five of the other eight tracks. Lowell’s vocals also featured on Down On The Farm, his Little Feat swan-song.
As swan-songs go, Down On The Farm isn’t the finest. Critics called Down On The Farm, a mixed bag of songs. While there’s a hint of Little Feat’s earlier greatness, some of the songs don’t match the quality of their first four albums. It seemed Little Feat’s farewell was something of a damp squib. Down On The Farm was a rather disappointing end for Little Feat.
Hoy-Hoy!
Two years after the death of of Lowell George, and the announcement that Little Feat had split up, Warner Bros. released the compilation Hoy-Hoy! in 1981. It was a double album of rarities, demos, alternate tracks and live tracks. Hoy Hoy was the first album bearing Little Feat’s name since Down On The Farm.
For Little Feat completists, Hoy-Hoy! had plenty to offer. There were demos of Teenage Nervous Breakdown and an acoustic demo of Rocket in My Pocket. Live tracks include Skin It Back, Red Streamliner, The Fan, Teenage Nervous Breakdown, Two Train and Feats Don’t Fail Me Now. There’s a version of All That You Dream, from the Lowell George tribute concert, which features Linda Ronstadt. Fittingly, a version of Feats Don’t Fail Me Now closes Hoy-Hoy!
Hoy-Hoy! was essential listening for Little Feat fans. It featured previously unheard and unreleased tracks. However, for newcomers to Little Feat, this wasn’t the case. Dixie Chicken and Feats Don’t Fail Me Now were the place to start. Both albums features Little Feat and their charismatic frontman at their very best, on albums that are Southern Rock classics. Despite this, it wasn’t Little Feat’s biggest selling album.
That came in 1988. Although Lowell George had died on 29h June 1979, and Little Feat had announced that they had split-up many two weeks later, 1988 saw the band reform. While many of the original members remained, Little Feat without Lowell George weren’t the same band.
Let It Roll.
Nine years after Little Feat had split-up, they reformed. Craig Fuller, the founder member of Pure Prairie League, joined Little Feat. He would take charge of many of the lead vocals and cowrote nine of the ten tracks. For Little Feat, their eighth album Let It Roll, was the start of a new era.
Producing Let It Roll were Bill Payne and George Massenburg. Craig Fuller had big shoes to fill. After all, Lowell George was Little Feat’s founder and driving force. It was natural that comparisons would be made between the pair. The new look Little Feat answered their critics with a gold disc.
Let It Roll was released in July 1988. Mostly, the reviews of Let It Roll were positive. Some critics, weren’t won over by the new look Little Feat. Despite this, Let It Roll was certified gold on St. Valentine’s Day 1989. Ironically, Let It Roll was Little Feat’s biggest selling album. Their ninth album, Representing the Mambo was their Warner Bros. farewell.
Representing The Mambo.
March 29th 1990, was the date that Little Feat entered the MTV age. That day, Little Feat released Representing The Mambo. Lowell George must have been spinning in his grave. Little Feat, it seemed, had sold their soul. The lead single, Texas Twister, aided and abetted by a populist video, was a staple of MTV. This wasn’t the only change.
Although Let It Roll saw Little Feat stay true to their past. Representing The Mambo saw Little Feat’s sound change. It was given a glossy makeover, with the dreaded sound of synths playing an important part of the tacky Texas Twister and other tracks. For many critics and fans, this was the end of an era.
Some critics were scathing of Representing The Mambo, while some loyal fans turned their back on Little Feat. It was the end of an era. So was the fact that Representing The Mambo was Little Feat’s final album for Warner Bros. They had had the best of Little Feat.
Representing The Mambo, marked the end of the Warner Bros. Years years. During that period, Little Feat recorded nine studio albums. However, not all Little Feats were created equal.
Especially Little Feat’s first four albums. From Little Feat, through Sailin’ Shoes, Dixie Chicken and Feats Don’t Fail Me Now, Little Feat, with Lowell George at the helm, could do no wrong. Only when Little Feat released The Last Record Album did the cracks start to show.
The Last Record Album was halfway to being a Little Feat classic. However, after The Last Record Album, Little Feat decided to change direction. Time Loves A Hero saw Little Feat in the direction of fusion. Despite that, Time Loves A Hero isn’t a bad album. It has its moments. Sadly, Down On The Farm, released five months after Lowell George’s death, was a mixed bag of songs. It wasn’t exactly a fitting farewell to Little Feat. That was the last that was heard of Little Feat until 1979.
As is often the case, replacing a legend isn’t easy. Lowell George was Little Feat’s founder, vocalist, guitarist, driving force and shining light. Nine months after Little Feat split-up after Lowell George’s death they returned with a new lineup. Craig Fuller was supposedly Lowell’s replacement. However, he was neither in Lowell George’s league as a frontman nor a songwriter. Despite that, success came Little Feat Mk. II’s way.
When Let It Roll was released in 1988, mostly, Little Feat Mk. II had stayed true to their past. Ironically, this resulted in a gold disc and was Little Feat’s most successful album. The irony was that none of of Little Feat’s first four albums had been certified gold. That’s despite Little Feat, Sailin’ Shoes, Dixie Chicken and Feats Don’t Fail Me Now being the best albums of Little Feat’s career. They were also far superior albums to Let It Roll. However, having released the most successful album of their career, Little Feat followed this up with the worst record of their career, Representing The Mambo.
On Representing The Mambo, Little Feat’s music takes on a polished sheen and enters the MTV age. For many loyal fans, that was a step too far. The new lineup of Little Feat had tarnished the Little Feat name. They turned their back on a once great group, after what was their Warner Bros. swan-song.
Representing The Mambo was a sad way to end Little Feat’s Warner Bros. Years. Despite a disappointing end to the Warner Bros. Years, Little Feat are still remembered as the most influential and greatest bands of the seventies. That was Little Feat’s decade.
The seventies were also the Lowell George years. This was the greatest period of Little Feat’s career. Thet were a pale shadow of their former self during the Craig Fuller year, When Lowell died on June 29th 1979. Little Feat died too. The two post Lowell George albums may be Little Feat in name, but not in spirit.
Little Feat are synonymous with Lowell George, one of music’s mavericks and legendary figures. Lowell George was Little Feat’s founder and driving force. He was also a musical pioneer, and one of the founding father’s of Southern Rock. Sadly, Lowell George died thirty-seven years ago, on 29th June 1979, aged just thirty-four. Although his life was cut tragically short, Lowell George packed a lot of living into thirty-four years. This included recording a quartet of classic albums with Little Feat. Little Feat, Sailin’ Shoes, Dixie Chicken and Feats Don’t Fail Me Now are a reminder of the Lowell George years, which were by far, the greatest period of Little Feat’s career.
LITTLE FEAT-THE LOWELL GEORGE YEARS.
THE WILD OATS-THE WILD OATS.
THE WILD OATS-THE WILD OATS.
Way before The Beatles burst onto the scene with Love Me Do in 1962, bands were being formed up and down Britain. Bands literally sprung up from John O’ Groats to Land’s End. This included in Leiston, a small, rural town in sleepy Suffolk. It was an unlikely place for a new band to be formed. Things changed in 1961, when The Rebels were formed. Suddenly, Leiston was about to awake from its slumbers.
That wouldn’t please everyone. Many locals viewed Leiston as their own rural idyll. It was a a Paradise Lost in post War England that now seemed to be in a constant state of flux. So when word spread through the town that a new ‘musical combo’ had been formed locally, this proved disconcerting. Especially when the new band turned out to be called The Rebels. This was sure to set tongues wagging, curtains twitching and most likely, would end up with letters being written to the parish council. For locals it was a worrying time. Who knows what the held for the denizens of Leiston?
Just over two years later, and The Rebels had changed their name to The Wild Oats. They were about to go onstage at Leiston village hall. This was their hometown show, and The Wild Oats were about to hold court. By then, they were a popular band in the local area. However, tonight, there was a special guest in the audience… David Nicolson.
By day, David Nicolson was a publicist at EMI’s press office in London. David Nicolson was also an aspiring producer. He was keen to cut his teeth as a producer, so placed adverts in the NME, which was then one of the three main music papers. The first group who replied to David Nicolson’s advert were The Wild Oats. Hence, David Nicolson’s racing to catch a train to sleepy Suffolk.
Having caught the train Leiston, David Nicolson made his way to the village hall. When he opened the doors, the village hall was packed. It was also a dark, hot and smoky. A cloud of cigarette smoke seemed to sit above the enthusiastic crowd. However, as The Wild Oats took to the stage, this no longer mattered. All that mattered was the music.
David Nicolson watched as The Wild Oats worked their way through a set where blues and rock ’n’ roll numbers rubbed shoulders. They weren’t alone. Many of the new bands that were determined to follow in the footsteps of The Beatles, Rolling Stones and The Who were playing similar songs. However, The Wild Oats did it their way.
Unlike many of these aspiring bands, The Wild Oats didn’t ape the choreographed moves of The Shadows and The Beatles. That wouldn’t go down well in Leiston village hall. Nor would the mid-Atlantic accent that had been adopted by many vocalists in the latest wave of new bands. The Wild Oats left that to their competitors. They were a British band, who played Lowestoft and Leiston, not L.A. Meanwhile, aspiring teenage producer David Nicolson had seen enough.
After the show at Leiston village hall, he went in search of The Wild Oats. When they began to talk, he realised that they had much in common. Not only were they a similar age to him, but shared a love of music. The Wild Oats were also a talented band with potential. So David Nicolson offered The Wild Oats a recording contract.
From then on, The Wild Oats were excited about making their recording debut. As far as the members of The Wild Oats were concerned, the recording session couldn’t come soon enough. They were already a popular live band, and had come on leaps and bounds recently. Those that saw The Wild Oats live, remembered “that they were a band that gave everything that had. That was the case every night they took to the stage.” Buoyed by their success as a live band, The Wild Oats were desperate to enter the studio. So The Wild Oats were told to choose five songs to record, and practise them.
The five songs that The Wild Oats chose, were ones that they had previously played live. This included You Can’t Judge A Book By Its Cover, Walking The Dog, Will You Love Me Tomorrow, Put The Blame On Me and Whole Lotta Woman. After this, it was a case of practise makes perfect. Meanwhile, The Wild Oats were waiting for the first available slot at the recording studio David Nicolson had chosen.
That’s how, at 7.30am on 12th April 1964, The Wild Oats found themselves setting up their equipment in R.G. Jones’ studios in Morden, Surrey. It featured state of the art recording equipment. However, given its suburban location, it was a far cry from EMI’s Abbey Road studios, which was home to producer George Martin, and where he recorded The Beatles’ albums. However, for The Wild Oats all that mattered was that they were about to make their recording debut.
After forty minutes setting their equipment up, the six members of The Wild Oats were ready to make their recording debut. The Wild Oats’ rhythm section featured drummer Stykx Scarlett, bassist Ron Goldsmith and rhythm guitarist Robin HareRon Goldsmith. They were joined by lead guitarist Trevor Rowland and vocalists Willy Brown and Carl Harrison. Overseeing the recording session was engineer R.G. Jones and debutante producer David Nicolson. The pair would ensure that the session ran smoothly. However, there was just two hours and twenty minutes of the session left to record the five songs. Despite almost being behind the black ball, The Wild Oats managed to record four blistering slices of R&B. They also recorded a hopeful and almost wistful cover of Will You Love Me Tomorrow? These tracks were recorded within the allotted time, and would The Wild Oats’ debut recording session was hailed a success.
So much so, that in June 1964 David Nicolson returned to R.G. Jones’ studio with a request. He was looking to have an E.P. pressed to sell at The Wild Oaks concerts. David Nicolson knew that R.G. Jones’ studio had its own in-house label, Oak. A total of 100 copies of The Wild Oats’ E.P. were pressed that day.
With The Wild Oats’ E.P pressed, they were sold after concerts, giving concert-goers a souvenir of their evening. Little did they realise that they had made a shrewd investment. That would only become apparent later.
Before that, The Wild Oats made another journey to R.G. Jones’ studio. This time, they were going to record two new songs. To help record these new songs, The Wild Oats had brought along two friends.
Harry Stoneham played piano on the Charlie Rich composition I’m Coming Home. It’s a driving slice of rock ’n’ roll, that sounds as if it was recorded in Memphis, rather than Surrey. The other song was So Long, which vocalist Willy Brown had penned. It featured singer-songwriter Peter Smith, who would go on to reinvent himself as Crispin St. Peters. He added harmonies on So Long, which is dreamy, melancholy and melodic. There’s with an almost proto psychedelic sound to So Long, which showed another side to The Wild Oats. Sadly, this was the last time that The Wild Oats recorded at R.G. Jones’ studio.
The Wild Oats recording career was far from over. Their final recording session took place in Putney, South West London. That was where Tony Pike lived. He was a drummer who previously, had played in Joe Loss and Ted Heath’s bands. Since then, Tony Pike had also built his own studio in the basement of his Putney home. Tony Pike had placed an advert advertising his home studio. That was how The Wild Oats met Tony Pike.
When they met Tony Pike, the six members of The Wild Oats struck it off with the older, more experienced musician. Soon, The Wild Oats were rehearsing and experimenting in Tony Pike’s basement studio. It was much cheaper than other studios. This made it the perfect place for The Wild Oats to record five tracks in 1965.
Among the five tracks recorded were Route 66 and Fanny Mae. Having rocked their way through Route 66, The Wild Oats deliver a blues tinged version of Fanny Mae. Alas, the other three tracks recorded during the 1965 Tony Pike session have been lost. Only the versions of Route 66 and Fanny Mae remain, and close The Wild Oats. It’s a welcome addition to The Wild Oats LP, which celebrates the long career of The Wild Oats. It was recently released by Big Beat, an imprint of Ace Records.
Five decades later, and The Wild Oats are still playing live. The Wild Oats show no signs of calling it a day. That’s despite being in their early seventies. Still though, The Wild Oats can rock out with the best of them. They’re a tight and talented band who have been together for fifty-five years, when The Wild Oats were known as The Rebels. That was enough to strike fear into the hearts of denizens of sleepy Leiston.
After all, rock ’n’ roll was in its infancy, and was something of an unknown quantity. That would soon change. By the time, that The Wild Oats entered the recording studio for the first time in 1964, the British Invasion groups had arrived on American shores; and Beatlemania had sweeping the world. The four cheeky mop topped Liverpudlian rapscallions had given music an air of respectability. No longer were bands regarded as a group of outlaws living on the edges of society. That certainly doesn’t describe The Wild Oats.
They comprised six young men who loved, and still love music. Being in The Wild Oats allowed them to embark upon an adventure where anything was possible. The lucky groups, like The Wild Oats signed recording contracts and released an E.P. on the Oak label. That E.P. is now a collector’s item, worth between £500 and £1,000. It’s a prized item in collector’s circles. So anyone who bought a copy when they saw The Wild Oats in 1964 or 1965, will be in for a surprise. Those that don’t have a copy of The Wild Oats E.P. now have the opportunity to rectify this.
Recently, the Big Beat label, an imprint of Ace Records recently, released The Wild Oats, a nine track, deluxe 10” LP. It features the five tracks on the original E.P., plus another four tracks recorded between 1964 and 1965. These tracks are a reminder of The Rebels who became The Wild Oats, and awoke sleepy Leiston from its slumbers.
THE WILD OATS-THE WILD OATS
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THE AROCK, SEROCK, SYLVIA SOUL STORY CONTINUED.
THE AROCK, SEROCK, SYLVIA SOUL STORY CONTINUED.
Al Sears’ career began in the 1928, when he replaced Johnny Hodges in Chic Webbs’ band. This was the start of a long and successful career.
In 1931, Al Sears joined Elmer Snowden’s band. He was the tenor saxophonist right through until 1932. Then in 1933, Al Sears decided the time was right to move from sideman to bandleader.
For the next eight years, Al Sears forged a career as a bandleader. He lead several successful groups. However, in 1941, Al Sears got the opportunity to join Andy Kirk’s band.
By then, Al Sears was one of the top tenor saxophonists. This became apparent each night Al Sears took to the stage with Andy Kirk’s band. So it was no surprise that in late 1942, that when Al Sears left Andy Kirk’s employ in 1942, that he was destined for great things.
That proved to be the case. Al Sears joined Lionel Hampton’s band in 1943. Al Sears was now a member of one of the top jazz bands. However, in 1944 he was asked to join Duke Elington’s band. Al Sears had arrived.
Over the next five years, Al Sears became one of stars of the Duke’s band. In what was a multi-talented band, Al Sears was one of the top soloists. That was until Al Sears left Duke Elington’s band in 1949.
Two years later, Al Sears joined Johnny Hodges band in 1951. He was with Johnny Hodges until 1952. During that period, Johnny Hodges recorded the album Castle Rock. It features a trio of Al Sears’ compositions. The most famous was Castle Rock. It lent its name to one of Johnny Hodges’ most successful albums. However, the Castle Rock album wasn’t released until 1955. By then, Al Sears had had turned his attention to publishing.
Al Sears was an astute businessman, and in the mid-fifties, founded his own publishing company. In the early days, the Rual publishing company death with Al Sears’ own compositions. Soon, many New York based artists were using Rual. As the years went by, Al Sears decided to add to his nascent musical empire.
He founded his first record labels in 1960. Gator only released a quartet of singles, and Triess released just a trio of singles. Things weren’t going to plan.
That wasn’t until Al Sears founded Serock in 1962. It became involved with Scepter Records, which was next door to Serock. Right through to until Serock closed its doors in mid-1963, it enjoyed a degree of success.
With Serock consigned to musical history, Al Sears decided to launch a new label In September 1963, Arock. It lasted until the end of 1964, when Al Sears replaced Arock with his latest label, Sylvia. This proved to be the label that lasted longest, and was around until mid-1966. By then, Al Sears had spent over six years running his own record labels. Part of this period is celebrated on The Arock, Serock, Sylvia Soul Story Continued, which was recently released by Kent Soul, an imprint of Ace Records.
The Arock, Serock, Sylvia Soul Story Continued features twenty-five tracks. This includes twenty-three tracks that have never found their way onto CD before. Among these tracks are seven previously unreleased tracks, including an extended version of Sterling Magee’s Get In My Arms Little Girlie; Tutti Hill’s When The Goin’ Gets Rough; Garrett Saunders’ disbelieving take of I Keep Coming Back For More and Marie Knight and Junior Lewis’ Nothing In This World. These hidden gems are examples of New York soul from the sixties. So are two unreleased demo tracks from Junior Lewis.
Despite being demos, Junior Lewis breathes meaning and emotion into the lyrics to It Won’t Work Out and Where You Are. However, one of the best of the unreleased tracks comes courtesy of Don Covay. It’s another demo, but features the South Carolina born soul man deliver an impassioned version of Did You Hear? It makes a welcome appearance on The Arock, Serock, Sylvia Soul Story Continued. So do many other tracks.
This includes, The Corvairs’ Love Is Such A Good Thing, which opens The Arock, Serock, Sylvia Soul Story Continued. It’s a Fred Dobbs and Scot Douglas composition, which was produced by Miller and Porter. Once it was completed, it became the B-Side to The Corvairs’ single A Victim Of Her Charms. It was released on Sylvia in 1964. Those that flipped over, and gave Love Is Such A Good Thing a spin were rewarded with a joyous sounding song.
New York soul man Gene Burks, had signed to Al Sears’ Arock label in 1963. A year later in 1964, he was preparing to release his sophomore single Take My Hand. This was one of Gene Burks’ own compositions, which featured a needy, hopeful vocal. Sadly, despite the quality of the lyrics and delivery, Take My Hand failed commercially. For Gene Burks this marked the end of his time at Arock.
When Joan Moody Music To My Ears released in June 1966, sharp eyed record buyers spotted something was amiss. The label was different to previous releases. Rather than bearing the TCF label, Music To My Ears was released by TCF Fox Family Sylvia. This was because Al Sears had signed a distribution deal with 20th Century Fox. They went on to release Joan Moody fourth and final single on 20th Century Fox. It had been penned and produced by Ron Miller and Lee Porter, and showcased the talents of Joan Moody.
Detroit based producer Mike Hanks produced Vivian Collins’ Hey Officer. This Clara Bell, William Garrett and Mike Hanks song became the B-Side to Answer Me. It was released on Serock in November 1962, and was Vivian Collins’ only single. Hey Officer something of a hidden soulful gem from Vivian Collins.
In 1963, Sinner Strong released cover of Ed Townsend’s Don’t Knock It as a single on Serock. The single was produced by Ed Townsend. Tucked away on the B-Side was another Ed Townsend song Nobody But Me. It finds Sinner Strong being accompanied by a gospel choir. They adding rousing harmonies, while Sinner Strong delivers a soulful vocal powerhouse. This results in one of the highlights of The Arock, Serock, Sylvia Soul Story Continued.
Way before he released and produced singles like The Hustle, Van McCoy was signed Rockaway in 1964. The only single he released for Rockaway was It Ain’t No Big Thing. It was written by Van McCoy, and he produced It Ain’t No Big Thing with Buddy Smith. While the single wasn’t a commercial success, it was catchy and well produced.
By 1966, Billy Washington was signed to TCF Sylvia. He released Later For Romance as a single. It was written by Billy with La Charles Harper and Larry Lucie. They penned the flip side I Wanna Come In. Its a dance-floor friendly slice of hook-laden soulful music.
Having formed his Serock label in 1962, Al Sears began signing artists. This included Garnett Saunders, who released A Day Or Two in 1962. On the B-Side was Easier Said Than Done. It was penned and produced by Lee Porter and Ronald Miller. Accompanied by harmonies, Garnett Saunders delivers the lyrics to Easier Said Than Done as if he’s lived and experienced the hurt and heartbreak.
The Larks’ Another Sleepless Night closes The Arock, Serock, Sylvia Soul Story Continued. Another Sleepless Night was the B-Side to The Larks’ 1964 single For The Love Of Money. Both sides were penned by Jackie Marshall and produced by Dynamic Productions. With a vocal that’s rueful and full of sadness and regret, it’s a moving and quite beautiful way to close The Arock, Serock, Sylvia Soul Story Continued.
Fourteen years after the previous instalment in this occasional series, Kent Soul, an imprint of Ace Records return with The Arock, Serock, Sylvia Soul Story Continued. This twenty-five track compilation is another tantalising taste of the music recorded for, and released on Arock, Serock and Sylvia. Al Sears had moved from musician to businessman.
The veteran saxophonist had seamlessly made the switch from bandleader and sideman, to publisher and record company owner. He had the uncanny knack for finding talented singers and pairing them with the songwriters and producers that would bring out the best in them. There are countless examples of this throughout The Arock, Serock, Sylvia Soul Story Continued.
Some of these artists are familiar faces, while others will be new names. It’s the same with the songs on The Arock, Serock, Sylvia Soul Story Continued.
There’ singles, B-Sides, unreleased tracks and even demos on The Arock, Serock, Sylvia Soul Story Continued. Often, a hidden gem is tucked away on a B-Side. This leaves one wondering why the song was relegated to the B-Side. Especially having compared and contrasted with the single. Belatedly, these hidden gems will be heard by a much wider audience, who will appreciate, embrace and enjoy them. That is the case with the rest of the tracks on The Arock, Serock, Sylvia Soul Story Continued. They document and celebrate the career of Al Sears, the onetime tenor saxophonist who founded a string of record companies. The next part in his story is documented on The Arock, Serock, Sylvia Soul Story Continued.
THE AROCK, SEROCK, SYLVIA SOUL STORY CONTINUED.
SOME KINDA MAGIC-THE SONGS OF JERRY ROSS.
SOME KINDA MAGIC-THE SONGS OF JERRY ROSS.
Growing up in Philadelphia, Jerry Ross dreamt of becoming a trumpeter and singer. While this dreams never came quite true, Jerry went on to live the dream musically. Jerry Ross became a hugely successful songwriter and producer. He also worked in A&R and owned his own record companies. Jerry Ross had managed to achieve all this between 1962 and 1971. This is the period that the Ace Records’ compilation Some Kinda Magic-The Songs Of Jerry Ross covers. It tells the story of the early years of Jerry Ross’ seven decade music career. However, the Jerry Ross story began in Philly 1933
That was where Jerry was born and grew up. He initially dreamt of making a career as a trumpeter and singer. However, any dreams Jerry had were interrupted by two years in the US Air Force.
Once he had left the US Army, Jerry Ross enrolled at Temple Bar University. After graduating, Jerry began work at Philly based WPVI-TV. Soon, Jerry caught a break when Dick Clark began hosting American Bandstand.
Jerry Ross became the booth announcer on American Bandstand. This lead to Jerry hosting Dick Clark’s WFIL radio show, Caravan Of Music. Still, though, Jerry had dreams to make records not play them.
So Jerry Ross decided to follow his dreams. He founded his own company Ross Associates in the early sixties. Ross Associates was a one-stop shop, producing and promoting. For Jerry this was a crash course in the music business. He wrote and produced songs, hired musicians and took charge of sessions. However, Jerry’s most important job, was finding the right artist. He often struck gold.
One of Jerry Ross’ earliest signings was seventeen year old Kenny Gamble. He soon became Jerry’s protege, and he showed the future founder of Philadelphia International Records the musical ropes. They also established a successful songwriting partnership. One of their most successful compositions was I’m Gonna Make You Love Me, which Dee Dee Warwick recorded in 1966. By then, Jerry had moved from Philly to New York a year earlier.
The move to New York in 1965, came about when Jerry Ross was offered and accepted, a role in Mercury Records’ A&R department. Soon, Jerry was working with Bobby Hebb, Jay and The Techniques, Jerry Butler and Spanky and Our Gang. Jerry’s biggest success at Mercury Records came when he produced Bobby Hebb’s number two single Sunny. However, after four years with Mercury Records he decided to head out on his own again.
Jerry Ross decided to form not one, but two labels, Heritage Records and Colossus Records in 1969. Straight away, Jerry went looking for new artists. This would see him strike gold.
This happened during a trip to Europe. In the Netherlands Jerry Ross discovered several bands, including the Tee Set, the George Baker Selection and Shocking Blue. Having heard their music, Jerry secured the rights to these bands. The band that Jerry had high hopes for his latest signings. So when Jerry returned home, Jerry began woking on the release of singles from his latest signing.
The first of Jerry Ross’ Dutch groups to release a single were the George Baker Selection. Their debut single Little Green Bag was released in 1969 on Colossus Records,. Not only did it reach twenty-one on the US Billboard 100, but sixteen in Canada. This was just the start.
In early 1970, Shocking Blue released their first American single, Venus. When Venus was released in early 1970 on Colossus Records, it reached number one on the US Billboard 100 and sold over a million copies. Worldwide, Venus sold over 7.5 million copies. Jerry Ross had the Midas touch.
This was certainly the case. The third band signed during Jerry Ross’ European trip also enjoyed commercial success and critical acclaim. The Tee Set released Ma Belle Amie in 1970 on Colossus Records, and it reached number five in the US Billboard 100. For Jerry Ross this was the icing on the cake.
After three huge hit singles from Jerry Ross’ trio of Dutch bands, he decided that this was the perfect time to sell Colossus Records. This would also mark the end of the first chapter in Jerry’s long and illustrious career. This period is documented on Some Kinda Magic-The Songs Of Jerry Ross.
This is a twenty-four track compilation, that covers the period between 1962 and 1971. Featuring on Some Kinda Magic-The Songs Of Jerry Ross are Dee Dee Warwick, Bobby Hebb, Willie Hobbs, Jerry Butler, The Sidekicks, April Young, Dusty Springfield, The Yum Yums, Keith, Jimmy James and The Vagabonds and Les McCann. They’re just a few of the artists that worked with Jerry Ross between 1962 and 1971, and feature on Some Kinda Magic-The Songs Of Jerry Ross.
It seems fitting that Some Kinda Magic-The Songs Of Jerry Ross opens with Dee Dee Warwick I’m Gonna Make You Love Me. It’s one of Jerry Ross’ best known, and most successful songs. He wrote I’m Gonna Make You Love Me with Gamble and Huff. but produced it himself. Jerry’s production sounds as if it would later inspire Gamble and Huff at Philadelphia International Records. That was in the future.
In 1966, I’m Gonna Make You Love Me was released on Mercury Records. It reached number eighty-nine on the US Billboard 100 and number thirteen in the US R&B charts. This was one Dee Dee Warwick’s biggest hits, and features an impassioned, heartfelt vocal from one of Philly’s finest female vocalist. Sadly, she never enjoyed the commercial success her talent deserved, and battled narcotic addiction until her death in 2008.
When Jerry Ross began work at Mercury Records in 1965, the first artist he produced was Bobby Hebb. Jerry produced Bobby Hebb’s biggest hit, Sunny. Following up Sunny wasn’t going too be easy. However, Some Kind Of Magic was chosen. On the flip side was Love Love Love, a Jerry Ross and Joe Renzetti composition. It was produced by Jerry and became a favourite on the UK Northern Soul scene. So much so, that this joyous stomper was released as a single in the UK, and reached number thirty-two.
Charlie Gracie had already enjoyed the heady and intoxicating taste of fame when he released He’ll Never Love You Like I Do. It was written by Charlie Gracie, Jerry Ross and Joe Renzetti, and released as a single in 1965. Sadly, when this stomping fusion of garage and R&B was released on Diamond Records Inc it failed commercially. By then, the British Invasion had arrived on American shores, and singles like He’ll Never Love You Like I Do were failing to find an audience.
In 1971, Willie Hobbs covered Kenny Gamble and Jerry Ross’ You Don’t Know What You Got (Until You Lose It). It was produced by John Richbourg and Jackey Beavers, who added swathes of strings and grizzled horns. Willie Hobbs’ introspective, hurt-filled vocal added the finishing touch. This transformed the song, into a blues-tinged slice of Southern Soul. Sadly, when You Don’t Know What You Got (Until You Lose It) was released on Seventy Seven Records, commercial success eluded the single. Since then it’s been one of the hidden gems of the Jerry Ross songbook.
During the sixties, most record labels hd their own girl group. World Artist Records had Reparata and The Delrons. They were a New York based girl group, who released their debut single in 1964. A year later, they were preparing to release their debut album Whenever A Teenager Cries. When it was released later in 1965, it featured Jerry Ross and Kenny Gamble’s Who Do You Love? In Reparata and The Delrons’ hands, the song takes on a wistful and angst filled sound.
Some Kinda Magic is the song that lent its name to the Ace Records’ compilation Some Kinda Magic-The Songs Of Jerry Ross. It was penned by Jerry with Artie Kornfield and Joe Renzetti. Jerry Ross produced Some Kinda Magic, which became the B-Side of I Dig You Baby. When it was released by Mercury Records in December 1966, it failed to chart. How different things might have been if Some Kinda Magic had been chosen released as a single? Jerry’s vocal was needy, heartfelt and soulful, and was tantalising taste of what was to come from the Iceman.
When Dee Dee Sharp recorded He’s No Ordinary Guy, her time at Cameo was almost at an end. She was also in the process of moving from pop to soul singer. This was apparent on He’s No Ordinary Guy, the flip side to her 1964 single Never Pick A Pretty Boy. It had been penned by Jerry Ross, Kenny Gamble and Dave Appell. Dee Dee Sharp combines power, emotion and soulfulness on He’s No Ordinary Guy. This was a foretaste of what was to come from Dee Dee Sharp at Philadelphia International Records.
While Kenny Gamble went on to marry Dee Dee Sharp, Jerry Ross married April Young. She released four singles on Columbia. Sadly, success eluded April Young. Her debut single This Time Tomorrow was released in May 1964. On the B-Side was (Will You Ever Be My) Steady Boyfriend. This was a Jerry Ross, Kenny Gamble and Joe Renzetti composition. It’s a slick slice of uptempo pop with hooks aplenty, that showcases the talented April Young.
Larry Weiss and Jerry Ross wrote Mr. Dream Merchant, which was originally recorded by Jerry Butler in 1967. A year later, and got the chance to cover Dusty Springfield Mr. Dream Merchant. However, Dusty passed up the chance, and gave the song to her friend Madeline Bell. She enjoyed her first American hit with Mr. Dream Merchant in 1968. When Dusty saw who popular Madeline Bell’s version was, she had a change of heart.
Dusty was about to record a new album with producer Keith Manz. Mr. Dream Merchant become one of the tracks that featured on Dusty … Definitely. It was released in 1968, but stalled at number thirty in the UK, and failed to chart in America. One of the highlights of what was an eclectic album was Mr. Dream Merchant.
It was during Jerry Ross’ time at Mercury Records, that he discovered Philly born Keith. Jerry produced Keith’s 1967 single Tell Me To My Face. Tucked away on the flip side was Jerry and Artie Wayne’s compposition I Can’t Go Wrong. Here was a song that was too good to be a B-Side. There’s a mixture melancholia and hope on this soul-baring song. It’s a welcome addition to Some Kinda Magic-The Songs Of Jerry Ross.
My final choice from Some Kinda Magic-The Songs Of Jerry Ross is Les McCann Ltd’s Bucket O’ Grease. Les and Jerry wrote this song for the album Bucket O’ Grease which Jerry was producing. It was released on the Limelight label in 1967. Bucket O’ Grease is a driving slice of down home boogaloo soul. With its irresistible, good time sound this is the perfect way to close Some Kinda Magic-The Songs Of Jerry Ross.
Although I’ve only mentioned half the song on the Ace Records’ compilation Some Kinda Magic-The Songs Of Jerry Ross, I could’ve chosen any of the tracks. There’s a reason for this. Compiler Tony Rounce has dug deep, and mixed singles with B-Sides and album tracks. Similarly, familiar faces and new names rub shoulders with hidden gems. These tracks are a reminder of songwriting and production talents of Jerry Ross, during the early years of his career.
Some Kinda Magic-The Songs Of Jerry Ross only covers the period between 1962 and 1971. However, Jerry Ross’ career has lasted seven decades. Since 1971, Jerry Ross had owned and run his own record, publishing and promotion companies in his home town of Philly. So it’s fitting that in 2013, when Jerry Ross eighty, he was inducted into the Philadelphia Music Alliance’s Walk of Fame. Now aged eighty-three, Jerry Ross is regarded as one of the most talented songwriter and producers to hail from the City Of Brotherly Love. A reminder of this is Some Kinda Magic-The Songs Of Jerry Ross. He was the boy who dared to dream, and went on to live the dream.
SOME KINDA MAGIC-THE SONGS OF JERRY ROSS.
GORDON LIGHTFOOT-DREAM SWEET ROSE, SHADOWS AND SALUTE.
GORDON LIGHTFOOT-DREAM SWEET ROSE, SHADOWS AND SALUTE.
By 1980, the man dubbed “Canada’s greatest songwriter” was about to release the fourteenth album of his career, Dream Sweet Rose. It was the first album Gordon Lightfoot had released since Endless Wire in January 1978.
Endless Wire had reached number two in Canada, and number twenty-two in the US Billboard 200. This resulted in the second gold disc of Gordon Lightfoot’s fourteen year recording career. By then, Gordon Lightfoot was no stranger to commercial success and critical acclaim. It first came Gordon Lightfoot’s way when he signed to Reprise Records in 1970. Before that Gordon was signed to United Artists.
The United Artists Years.
Gordon Lightfoot’s solo career began when he signed to United Artists, where he released five albums. However, it took three albums before commercial success came Gordon’s way. Neither Gordon Lightfoot’s 1966 debut Lightfoot!, nor his 1967 sophomore album The Way I Feel charted. Gordon’s third album was a game changer.
When Gordon Lightfoot released Did She Mention My Name? in 1968, it reached number twenty-one in the Canadian charts. So did the followup Back Here On Earth when it was released in 1969. Later in 1969, Gordon released his live album Sunday Concert. Not only did it reach number twenty-one in Canada, but 143 in the US Billboard 200 charts. Not long after this, Gordon left United Artists and signed to Reprise Records. This was the start of the most successful period of his career.
The Reprise Years.
The Reprise Years began in 1970, and was the start of a period when commercial success and critical acclaim were familiar friends for Gordon Lightfoot. He released seven albums between 1970 and 1976. The first of these was Sit Down Young Stranger.
Gordon Lightfoot’s Reprise Records debut album Sit Down Young Stranger, was released in April 1970. It reached number twelve in Canada and the US Billboard 200 charts. Soon, Sit Down Young Stranger was certified gold in America. That wasn’t surprising, as Sit Down Young Stranger featured two hit singles.
The lead single was Me and Bobby McGhee which reached number thirteen in Canada in 1970. Approaching Lavender then failed to chart. Then If You Could Read My Mind reached number one in Canada, and number five in the US Billboard 100. Having just released his first album for Reprise Records, Gordon had already enjoyed a number one single It wouldn’t be the last.
Just over a year later, Gordon Lightfoot returned with Summer Side Of Life in May 1970. It reached number three in Canada and thirty-eight in the US Billboard 200 charts. Summer Side Of Life was Gordon’s most successful album in Canada. That was until he released Don Quixote.
It was the first of two albums Gordon Lightfoot released during 1972. The first was Don Quixote. On its release in February 1972, it reached number one in Canada; number forty-two in the US Billboard 200 charts and forty-four in the UK charts. Nine months later, Gordon returned with Old Dan’s Records in November 1972. Although it reached a disappointing ninety-five in the US Billboard 200 charts, Old Dan’s Records reached number one in Canada. This gave Gordon his second consecutive number one album. Soon, two would become three.
In January 1974, Gordon Lightfoot returned with Sundown. It reached number one Canada and in the US Billboard 200 charts. Across the Atlantic, Sundown reached forty-five in the UK. Meanwhile, in America Sundown had sold over a million copies, and Gordon received his first platinum disc. This wasn’t the end of the commercial success.
When Sundown was released as a single in 1974, it reached number one in Canada and the US Billboard 100. This resulted in a gold disc for Gordon Lightfoot as he celebrated his second number one in Canada. Gordon’s fusion of folk, country and rock had turned him into one of the most successful Canadian artists of the seventies.
This run of commercial success and critical acclaim continued when Gordon Lightfoot released his eleventh album, Cold on the Shoulder in February 1975. On its release, Cold on the Shoulder reached number three in Canada, and number twelve in the US Billboard 200. The Reprise years were proving the most successful period of Gordon’s career. They were about to come to an end.
In June 1976, Gordon Lightfoot returned with Summertime Dream. It was not only the best album Gordon released on Reprise Records, but the most successful. Summertime Dream reached number one in Canada and number twelve in the US Billboard 200. This resulted in platinum discs in Canada and America. Then in November 1976, The Wreck of the Edmund Fitzgerald reached number one in Canada and number two in the US Billboard 100. Gordon had enjoyed his third Canadian number one, and the most successful album of his career. This was a fitting way to close the Reprise years.
The Warner Bros. Years.
Now signed to Warner Bros, Gordon Lightfood was keen to get his career at the his new label off to a good start. Things couldn’t have gone better. When Endless Wire was released in January 1978, it reached number two in Canada, and number twenty-two in the US Billboard 200. This resulted in Endless Wire being certified gold in America. Gordon had bookended the seventies with gold discs in America. Along with two platinum discs in America, and one in Canada, the seventies had been the most successful period of Gordon Lightfoot’s career so far. He must have wondered what the eighties held for him?
Gordon Lightfoot’s first album of the eighties was Dream Sweet Rose which was released in 1980. It’s part of a recent reissue. Recently, BGP Records have remastered and reissued Dream Sweet Rose, Shadows and Salute as a two CD set. They find Gordon Lightfoot as he’s about to embark upon a new period of his career.
Dream Sweet Rose.
Having watched as his Warner Bros’ debut Endless Wire sold over 500,000 copies in 1978, Gordon Lightfoot must have felt confident about the future. He was now one of the most successful Canadian artists. So far, Gordon had won sixteen Juno Awards in Canada; That’s not forgetting three gold, three platinum discs, plus number one singles and albums. The future looked bright for Gordon, as he began work on his first album of the eighties, Dream Sweet Rose.
Just like previous albums, Gordon Lightfoot wrote most of the songs himself. He penned nine of the ten songs. The exception was The Auctioneer, which had been written by Leroy Van Dyke and Buddy Black. It was the only cover on Dream Sweet Rose, which was recorded in L.A.
Recording of Dream Sweet Rose took place at November 1979 at WB Recording in Los Angeles. The studio was one of the first to pioneer digital recording, and Dream Sweet Rose was recorded digitally. For many members of Gordon Lightfoot’s band this was a new development.
Gordon Lightfoot’s band featured a rhythm section of drummer and percussionist Barry Keane and bassist Rick Haynes. They were joined by lead guitarist Terry Clements; Pee Wee Charles on pedal steel guitar and pianist and keyboardist Michael Omartian. This newly expanded band comprised some top musicians, and put all their experience to good use. So did Lenny Waronker and Russ Titelmab who co-produced Dream Sweet Rose with Gordon Lightfoot. They spent much of November 1979 recording what would be Gordon’s fourteenth album, Dream Street Rose.
Before the release of Dream Street Rose, critics had their say on the album. Most of the reviews were positive, with critics noting that Dream Street Rose followed in the footsteps of 1976s Summertime Dream and 1978s Endless Wire. Again, there were a few seafaring songs, including Sea Of Tranquility, Ghosts Of Cape Horn and On The High Seas. However, this time around, Gordon Lightfoot and his band weren’t rocking as hard as they had on Summertime Dream and Endless Wire.
Although there were still some uptempo country songs, they rubbed shoulders with thoughtful acoustic folk ballads and AOR. A welcome addition to Dream Sweet Rose was a song that had been a staple of Gordon’s live shows for many years, The Auctioneer. However, Gordon hadn’t got round to covering The Auctioneer until Dream Street Rose. It wasn’t an easy song to cover, but Gordon’s versatility allowed him to deliver a moving interpretation. Despite this moving cover, some critics felt The Auctioneer seemed out of place on Dream Street Rose. On other songs, Gordon wears his heart on his sleeve as he dawns the role of troubled and heartbroken troubadour on If You Need Me. It’s a role that suited him well, and showcased his versatility. Gordon it seemed was hoping that Dream Sweet Rose would reach a much wider audience.
On its release in 1980, Dream Sweet Rose reached number nine in Canada, and number sixty in the US Billboard. Compared to Endless Wire this was disappointing. However, Dream Sweet Rose proved popular in country music circles. It reached number nine in the Canadian RPM Top Albums charts; and number fifty-eight in the US Billboard Top Country Album charts. When Dream Street Rose was released as a single, it reached number eight on the Canadian Country charts, before If You Need Me reached number twenty-one. This was a small crumb of comfort for Gordon.
It must have been a frustrating and disappointing, when Dream Street Rose didn’t match the success of his previous albums. Indeed, Dream Street Rose is a truly underrated album, and one of the hidden gems in Gordon Lightfoot’s back-catalogue. He must have been hoping that history didn’t repeat itself.
Shadows.
When recording of the followup to Dream Street Rose began, a familiar face was absent, Lenny Waronker. He had produced or co-produced every Gordon Lightfoot album since Sit Down Young Stranger in 1970. These nine albums were the most successful period of Gordon’s career. Replacing Lenny Waronker wasn’t going to be easy.
Having writing eleven new songs, a new chapter in Gordon Lightfoot’s career began at Eastern Sound, in Toronto. Gordon was joined by Ken Friesen, who would co-produce his fifteenth album Shadows. It was recorded during March, April and June of 1981. Joining Gordon was a band that featured familiar faces and new names.
This time around, the rhythm section drummer Barry Keane; bassists Rick Haynes and Dennis Pendrith and guitarist Dean Parks and Patrick Miles. Lead guitarist Terry Clements were percussionist Victor Feldman; Robbie Buchanan on synths; keyboardist Michael Heffernan who also added synth and Pee Wee Charles on steel guitar and dobro. Herb Pedersen added harmonies. Meanwhile, Gordon Lightfoot played guitar and added vocals. After three months of recording Shadows, Gordon’s new album was complete. Critics were in for a surprise.
When critics received their copies of Shadows, they realised that Gordon Lightfoot had decided to change direction. While his previous albums often featured acoustic songs, Gordon decided to move away from this on Shadows. To do this, Gordon brought onboard various synths, keyboards and an electric organ. Another change was that Gordon moved away from the uptempo country songs that had featured on his last three albums. They were replaced by slower songs. Some of them showcased a softer, AOR sound. Others featured Gordon’s trademark country sound. It was a potent and heady brew.
Wistful and thoughtful ballads like 14 Karat Gold, Shadows and All I’m After showcased Gordon Lightfoot’s new AOR sound. Then on Heaven Help The Devil, elements of country and AOR unite. One of Gordon’s best ballads is the soul baring Thank You For The Promises, where Gordon’s country roots shine through. That’s the case on the ballads Triangle and I’ll Do Anything. However, Gordon’s kept one of his best songs until last. She’s Not The Same is a beautiful, melancholy song where AOR and country combine. It’s the perfect way to close Shadows, as it leaves the listener wanting more.
Despite the positive reviews from critics, when Shadows was released in January 1982, it reached just number sixteen in the Canadian charts. This was Gordon Lightfoot’s least successful album since Sunday Concert in 1969. Meanwhile, Shadows stalled at eighty-seven in the US Billboard 200. It wasn’t since the release of Old Dan’s Records in November 1972, that a Gordon Lightfoot album found itself in the lower reaches of the charts. To make matters worse, the singles all failed to chart.
The lead single was Baby Step Back. Despite its quality, commercial success eluded the single in 1981. It was a similar case with Blackberry Wine and In My Fashion in 1982. This only added to what was already a worrying situation for Gordon Lightfoot. His career was at a crossroads. His next album was one of the most important of Gordon Lightfoot’s career.
Salute.
Eleven months after the release of Shadows, Gordon Lightfoot began recording his sixteenth album, Salute. By then, he had written ten new songs. They would become Salute, which saw Gordon continue further down the road marked AOR.
Recording of Salute began in December 1982 at Eastern Sound, in Toronto. By then, Gordon Lightfoot was in the throes of alcohol addiction, and had recently split from a partner. This made recording a new album difficult. Especially since Gordon had decided to bring onboard a new co-producer. This time, it was a familiar face, guitarist and synth player Dean Parks. He would co-produce Salute with Gordon Lightfoot, and was joined by smaller band.
While the band was slightly reduced in numbers, it was just as tight and versatile. There were many familiar faces, including the rhythm section. It featured drummer and percussionist Barry Keane and bassist Rick Haynes and Gordon who played rhythm guitar and added vocals. Lead guitarist Terry Clements ; pianist Michael Heffernan and Pee Wee Charles on steel guitar were all veterans of Gordon’s band. Newcomers included pianist Harlan Rodgers; Hadley Hockensmith who switched between bass and hi-string bass and .
Carol Parks who added harmonies. For three months, Gordon and his recorded laid down ten tracks. However, after three months of recording, Salute was completed in February 1983. Five months later, and Salute would be released.
Before critics had their say on Salute. It found Gordon Lightfoot continuing down the road marked AOR. This included the album opener Salute (A Lot More LIvin’ To Do). It’s a rocky track with a slick, polished, eighties production. So is Someone to Believe In and the mid-tempo Without You. Gotta Get Away and the ballad Biscuit City mark a return to Gordon’s country roots. However, that’s only part of the story
Some of the best tracks on Salute are the ballads. Especially the folk-tonged Whispers Of The North, Knotty Pine and Tattoo. One of the best ballads is Romance which features lush strings. These ballads are tailor made for Gordon Lightfoot, and allow his vocal to take centre-stage. They’re among the highlights of what’s an eclectic sounding album, Salute. It closes with Broken Dreams, where elements of AOR, country and rock combine to create another slick, polished track. However, would Salute find favour with critics and record buyers.
Mostly, Salute received positive reviews. Alas, when the album was released in July 1983 it stalled at fifty-nine in Canada and 175 in the US Billboard 200. Salute became Gordon Lightfoot’s least successful album in Canada and America. Things didn’t get any better when the singles were released. Neither Salute (A Lot More Livin’ To Do) nor Without You troubled the charts. It was official, Gordon’s career was at a crossroads.
While Gordon Lightfoot never again enjoyed the commercial success he enjoyed during the seventies, he continued to release albums. Indeed, when Gordon released East Of Midnight in July 1986, it reached 166 in the US Billboard 200 and thirty-seven in Canada. This was enough for a gold disc in Canada. It looked as if things were improving for Gordon. However, he only ever released three more studio albums.
This included Waiting For You, which was released in April 1993. It reached twenty-four in Canada, and it looked as if Gordon Lightfoot was on his way back. Sadly, this was a false dawn.
When A Painter Passing Through was released in 1998, it stalled at ninety-two in the Canadian charts. Six years later, Gordon Lightfoot returned with Harmony in May 2004. It reached number thirteen in the Canadian charts, and thirty-five in the US Indie charts. Although this was a far cry from the days Gordon’s albums sold over a million copies, it was Gordon’s most successful album in Canada since Dream Street Rose in 1980. However, Gordon didn’t rush to release another album.
His only new album has been All Live in April 2012. It reached number sixteen in the Canadian charts, and meant that Gordon Lightfoot had enjoyed hit albums in six different decades. That was fitting for the man whose regarded as “Canada’s greatest songwriter” and a “folk-rock legend.” He gained this reputation during the most successful period of his career, the seventies.
While Gordon Lightfoot didn’t enjoy the same commercial success after the seventies were over, he continued to write and record some wonderful music. This includes on Gordon Lightfoot’s first album of the eighties Dream Sweet Rose. It brought to a close a ten year period when Gordon Lightfoot could do no wrong. Sadly, this run of commercial success came to an end with Shadows.
This just happened to be the album that saw Gordon Lightfoot change direction musically, and embark upon a new chapter in his career. Shadows found Gordon Lightfoot heading in the direction of AOR. He continues further down this on Salute. However, he doesn’t turn his back on country and folk. As a result, Shadows and Salute are both eclectic albums, which show the different sides to Gordon Lightfoot. Sadly, neither Shadows nor Salute were particularly successful, and are two of the hidden gems in Gordon Lightfoot’s extensive back-catalogue.
Recently, BGP Records’ reissued Dream Sweet Rose, Shadows and Salute as a two CD set. This is the perfect opportunity to discover a trio of albums that find Gordon Lightfoot as he changes direction and reinvents himself musically. These three albums show the different sides to “folk-rock legend “ and “Canada’s greatest songwriter” Gordon Lightfoot.
GORDON LIGHTFOOT-DREAM SWEET ROSE, SHADOWS AND SALUTE
HEDVIG MOLLESTAD TRIO-EVIL IN OSLO.
HEDVIG MOLLESTAD TRIO-EVIL IN OSLO.
Most groups choose to release just one new album at a time. That’s most groups. However, the Hedvig Mollestad Trio aren’t most groups. Instead, they’re musical trailblazers, who push musical boundaries, and in the process, create inventive and innovative genre-melting music. That’s been the case since the Hedvig Mollestad Trio were founded in 2009 by guitarist Hedvig Mollestad Thomassen.
The Hedvig Mollestad Trio hit the headlines when they played at the prestigious Molde International Jazz Festival in 2009. The newly formed band won the award for the best “young jazz talent.” This was the start of the rise and rise of the Hedvig Mollestad Trio.
Two years later, in 2011, the Hedvig Mollestad Trio released their critically acclaimed debut album Shoot on Rune Grammofon. Another two years passed before the Hedvig Mollestad Trio returned with All Of Them Witches in 2013. Not only did it received the same critical acclaim as Shoot, but won a Norwegian Grammy in the rock category. This set the bar high for the Hedvig Mollestad Trio’s next album.
When they returned in May 2014 with Enfant Terrible it was hailed as a career defining album. Enfant Terrible was the finest album of the Hedvig Mollestad Trio’s career. However, since then, they’ve been concentrating on playing live. That was until recently.
After a two year absence, the Hedvig Mollestad Trio return with not one, but two albums. They’ll be released by Rune Grammofin on the 1st of July 2016. This includes their fourth studio album Black Stabat Mater, which is: “a genre-melting opus, that brings back memories of the golden age of rock.” The other album is Evil In Oslo, which is the Hedvig Mollestad Trio’s first ever live album. It’s a double album which will be released on heavyweight vinyl. Evil In Oslo is a tantalising taste of the Hedvig Mollestad Trio live.
On Evil In Oslo, the Hedvig Mollestad Trio work their way through nine tracks from their first three albums. These tracks were recorded when the Hedvig Mollestad Trio played in two of Oslo clubs, John Dee and Buckley’s. Playing in front of a hometown audience seemed to bring out the best in the Hedvig Mollestad Trio, They prove to be confident and assured performers on Evil In Oslo.
That’s not surprising. The Hedvig Mollestad Trio have spent much of the last six years playing live. They’ve played across Europe, North America and have headed as far afield as Australia. This constant touring has allowed the Hedvig Mollestad Trio to hone their genre-melting sound. This has paid off, and is showcased on Evil In Oslo.
When the Hedvig Mollestad Trio took to the stage at Buckley’s on 15th August 2015 and John Dee on 25th November 2015, the band was lead by founder and guitar virtuoso Hedvig Mollestad Thomassen. She’s not just one of Norway’s top guitarists, but one of the best in Europe. Hedvig was ready to unleash a series of breathtaking and blistering solos. Drummer Ivar Loe Bjørnstad and bassist Ellen Brekken weren’t just making up the numbers. Far from it. They’re both talented and versatile musicians. who unleashed a series of spellbinding performances on Evil In Oslo.
For The Air opens Evil In Oslo. Straight away, the Hedvig Mollestad Trio make their presence felt as a wash of quivering, crystalline sound is unleashed. It shrieks, wails and rumbles. Occasionally, it threatens to feedback, but somehow, this powerful wall of sound is sculpted into something that’s sonically pleasing and inventive. Then at 1.37 it’s all change.
The drums usher in Ellen’s dark moody bass, and they locks into a groove. Meanwhile, Hedvig’s searing, scorching guitar cuts through the arrangement. Soon, the crystalline guitar quivers and climbs above the arrangement. That’s until darkness descends, and a dark, dramatic classic rock sound unfolds. Then a brief burst of blues rock signals the tempo is rising. Quickly, the Trio are in full flight. Hedvig’s fingers flies up and down the fretboard. When the baton passes to the rhythm section, they showcase their considerable skills, before a lysergic liquid guitar shimmers. Later, as the tempo drops, the Trio are still rocking hard. That’s the case as the tempo begins to build. As the thunderous rhythm section propel the arrangement along, Hedvig delivers a blistering solo before For The Air reaches a breathtaking crescendo.
Drums power Ashes along, before a scorching guitar solo is unleashed. It’s played with fluidity, speed and precision. The bass sits low in the mix, playing a supporting role. It’s the drums and guitar that play starring roles. Ivar pounds his drums, throwing in occasional folks and fills. Soon, bassist Ellen step out of the shadows. She plays a jazz-tinged solo, while the drums and washes of avant-garde guitar. Together they create a genre-melting track that showcases the combined talents of the Hedvig Mollestad Trio.
Code Of Hammurabi which opens Side B, bursts into life. As the rhythm section drive the arrangement along, a bristling, crystalline guitar shivers. Then it’s all change, as elements of classic rock and heavy metal combine. This is the music that Hedvig grew up listening to. She unleashes dark, satanic riffs during a lengthy solo. It’s a mixture of speed and precision, as Hedvig’s fingers dance up and down the fretboard. Sometimes, she deploys effects, but does so sparingly. After the solo, Ellen’s bass takes centre-stage. Then the guitar rings out, before shimmering as it’s played with speed and power. It wah-wahs as it soars high above the arrangement. When Hedvig joins the rest of the Trio, they briefly kick loose, before the shimmering arrangement dissipates into the distance.
The Valley is a slow, understated track. Elements of blues and jazz combine, and show another side to the Hedvig Mollestad Trio. Sometimes, it’s reminiscent of early Fleetwood Mac. Especially as the rhythm section play slowly, taking care not to overpower the crystalline, chiming guitar. It’s similar to Peter Green. Other times, as the guitar weeps, this brings back memories of John Martyn’s Solid Air. Later, the track takes on a melancholy, late night sound as the Hedvig Mollestad Trio showcase their versatility.
Side C is an eighteen minute musical adventure that features Lake Acid, Rastapopoulos and Arigato, Bitch. A jaunty rhythm section drive the arrangement along. Ellen’s bass is almost funky, as the drums crack. Soon, Hedvig’s guitar rings out, shivering and quivering. Effects have been used subtly, and the guitar glides across the arrangement. Still the bass adds an element of funk, as Hedvig unleashes another fleet fingered When it drops out, the bass takes over, until the crystalline guitar returns, and another blistering solo unfolds. Speed and precision are the order of the day as the rhythm section power the arrangement along. By then, Hedvig’s searing, blistering guitar solo is one of her finest on Evil In Oslo. Her playing is fluid, as she combines power, precision and speed. That’s until the tempo drops and the arrangement becomes spacious and lysergic. The arrangement quivers as washes of guitar disappear into the distance, while the Trio toy with the listener. That’s until they kick loose.
Soon, the rhythm section propel the arrangement along. They’re joined by a dark, satanic guitar solo. It sounds as if belongs on a Led Zeppelin album. Hedvig continues to play fluidly, as she combines speed and precision. Behind her, a walking bass and drums take centre-stage. Rather than play it straight, drum fills and rolls are added, as the bass walks then scampers along. Then when Hedvig’s guitar returns, it beeps and speaks before producing a lysergic and crystalline sound. By then, the trio are playing as one and fusing power and speed. The rhythm section match the blistering guitar every step of the way, during what’s a captivating and breathtaking eighteen minute musical adventure.
Laughing John and La Boule Noire feature on Side D of Evil In Oslo. Machine gun licks are unleashed, while the rhythm section power the arrangement along. Hedvig’s fingers fly up and down the freeboard. She uses her effects sparingly to sculpt her trademark sound. Meanwhile, the rumbling bass cuts through the arrangement as drums crack. However, it’s the freewheeling guitar solo that steals the show. Especially as Hedvig moves through the gears, and unleashes a peerless, blistering solo. She adds flamboyant flourishes, before this musical masterclass reaches a crescendo.
La Boule Noire closes Evil In Oslo. The Trio play slowly and deliberately, drawing inspiration from classic rock. Especially the unholy trinity of rock, Led Zeppelin, Deep Purple and Black Sabbath. Hedvig’s guitar and the rhythm section produce a dark, moody and dramatic sound. The arrangement meanders along, with the Trio playing as one. That’s until the dark, moody sound becomes understated. Just a scampering bass and weeping guitar combine, before the tempo begins to rise. A scorning guitar solo joins the rhythm section. Soon, the Trio are in full flight, as a blistering guitar solo is unleashed. It’s played at breakneck speed, as one last time, Hedvig combines speed and precision. Not to be outdone, the rhythm section play with a similar flair and panache. Then when the tempo drops, this rocky jam become dramatic and deliberate. This signals that the Hedvig Mollestad Trio are about to take their leave. They kept one of their best performances until last, and leave on a high. This is a fitting way to close the Hedvig Mollestad Trio’s first live album.
For anyone whose yet to see the Hedvig Mollestad Trio live, then Evil In Oslo is a tantalising taste of one of Norway’s top bands. They were formed in 2009, and since then, have released a trio albums and have toured Europe, North America and Australia. Now after a two year absence, the Hedvig Mollestad Trio return with not one, but two albums.
These two albums will be released on Rune Grammofon on the 1st of July 2016. This includes the Hedvig Mollestad Trio’s fourth studio album Black Stabat Mater, and their first live album Evil In Oslo. It features nine tracks from the Hedvig Mollestad Trio’s first three albums. These tracks were recorded over two nights in Oslo, and will be spread across four sides of heavyweight vinyl. This seems fitting.
Guitar virtuoso Hedvig Mollestad Thomassen who founded the Hedvig Mollestad Trio in 2009, grew up listening to Led Zeppelin, Black Sabbath and Jimi Hendrix. Their influence can be heard throughout Black Stabat Mater. So can the influence of early Hawkwind, Cream, Deep Purple, Santana and West, Bruce and Laing. Closer to home, one can’t help but wonder whether other Norwegian bands, including Moster! and Motorpsycho have influenced the Hedvig Mollestad Trio? These bands have a similar genre-melting sound to the Hedvig Mollestad Trio.
To create this genre-melting sound, the Hedvig Mollestad Trio fuse elements of classic rock, psychedelia, progressive rock and space rock with avant-garde, blues, funk, improv and jazz. Sometimes, the Hedvig Mollestad Trio seamlessly switch between musical genres mid track. Other times, these disparate genres melt into one on the same track. However, for much of the time, the Hedvig Mollestad Trio showcase their hard rocking sound. Over the last seven years it has won friends and influenced people on three continents.
Hopefully, Evil In Oslo will introduce the hard rocking Hedvig Mollestad Trio’s music to a new and much wider audience. Evil In Oslo, the Hedvig Mollestad Trio’s first live album and their fourth studio album Black Stabat Mater are the perfect introduction to one of the most innovative and inventive of the current crop of Norwegian groups. Lead by virtuoso guitarist Hedvig Mollestad Thomassen, the Hedvig Mollestad Trio bring back memories of the golden age of music. Back then, groups like Led Zeppelin, Deep Purple and Black Sabbath were musical colossi who bestrode continents with their hard rocking music. That was the past.
Since for far too long, there’s been a real dearth of hard rocking groups. So much so, that many critics had already penned rock music’s obituary. However, recently, rock music has awoken from its slumbers. Now a new breed of hard rocking groups have sprung up across Europe. This includes Norwegian trailblazers the Hedvig Mollestad Trio, who showcase their live sound on Evil On Oslo, which is a tantalising taste of a hard rocking at their vainglorious best.
HEDVIG MOLLESTAD TRIO-EVIL IN OSLO.
LINDA PERHACS-A TALE OF TWO ALBUMS.
LINDA PERHACS-A TALE OF TWO ALBUMS.
It was in 1970, that twenty-seven year old dental hygienist Linda Perhacs released Parallelograms, her debut album. Some people wondered why it had taken Linda so long? After all, she was a musical prodigy.
Linda Long was born in Mill Valley, which lies just north of San Francisco’s Golden Gate Bridge in 1943. By the time she was six or seven, Linda was able to write write quite complicated compositions. She was a gifted and prodigious child. However, as is often the case with gifted children, her teachers didn’t maybe realise this. This didn’t stop Linda enrolling in the University of Southern California.
At University of Southern California, Linda majored in dental hygiene. This allowed her to work and study. Her course also allowed Linda to explore what was unfolding around her. Remember, this was the start of the counterculture explosion. San Francisco was central to this. Being around this meant Linda was exposed to a many different cultures. It was the same with art and music. For Linda, this was creatively stimulating and would change the course of her life.
Having graduated from University of Southern California, Linda began working with periodontist. During this period, Linda immersed herself in the various philosophies that were popular. Essentially, she taught her to mediate and rid herself of negative energy. This helped her and her patients. It may also have helped Linda develop as songwriter.
Away from work, Linda and her sculptor husband used to enjoy walking in the city’s public parks. It was during these walks that Linda was first inspired to write songs. This was something Linda hadn’t done since she and her husband moved to Topanga Canyon.
Indeed, Linda hadn’t written songs for a while. Throughout her University days, Linda hadn’t been involved in making music. However, she loved music. Topanga Canyon was full of artists and musicians. So, it was the perfect place for an aspiring singer-songwriter. With an environment that inspired her, and the sense of hope that was prevalent during the second half of the sixties, this marked the cultural blossoming of Linda Perhacs.
What also inspired Linda was her travels. She spent time travelling up the Big Sur coastline, right through Mendocino, the Pacific Northwest and to Alaska. This was her road rip. So was a trip to Chimacum, on the Olympic Peninsula. These journeys were what inspired Linda to write songs. Linda stresses her journeys inspired her. Drugs played no part in stimulating her creativity. Her songs come from her experiences in life.
This includes the colours, patterns and shapes that she’s seen since she was a child. Again, they’re not the result of recreational drugs. No. They’re a phenomenon that many people experience. These colours, patters and shapes inspired Linda, who soon, would be one step nearer releasing her first album.
Linda was, by now, working in the office of Beverley Hills’ periodontist. That’s where Linda met film soundtrack composer Leonard Rosenman and his wife Kay. Linda would ask them about their forthcoming projects. Then one day Leonard said to Linda “I can’t believe that clinical work is all you do?” So, Linda told them about her music and played a tape of one of her songs. These were songs she’d recorded during her travels. Leonard took the songs home to listen to them. The next day, Linda was offered a record contract.
When Linda handed Leonard the tape, she thought that Leonard was wanting to hear a glimpse of the type of music younger people were making. After all, Leonard had a lot of projects on the go. However, that didn’t stop him offering to produce Linda’s debut album. The song that made him make that offer was the Parallelograms, which would be the title-track of Linda’s debut album. Leonard referred to this track as “visual music composition.”
Leonard who’d been a composer all his life, had never been able to achieve this. Linda had. He explained that Parallelograms was different from the other tracks. Each of the component parts were interactive to the composer as three-dimensional sound. It’s akin to sculpting with ice, where the result is essentially a type of light and dance. For Linda, this was the way she’d always written. However, now Linda was going to take this one step further and record what became Parallelograms.
Parallelograms.
Parallelograms featured eleven tracks. Linda wrote ten of them. The exception was Hey, Who Really Cares? which Linda cowrote with Oliver Nelson wrote. For the recording of Parallelograms producer Leonard Rosenman brought in an all-star cast of musicians.
When recording of Parallelograms began, Leonard Rosenman and Linda were aiming to sculpt a series of soundscapes full of textures, colours and shapes. The music Linda hoped, would be “softer and ethereal.” Accompanying her were some legendary musicians. This included Shelley Mann and Milt Jackson on percussion. The rhythm section included Reinie Press on electric bass and Fender guitar and Steve Cohn on lead and 12-string guitar. John Neufield played flute and saxophone, Leonard Rosenman electronic effects and Tommy harmonica. Brian Ingoldsby was tasked with using an electrified shower hose for horn effects. Parallelograms was no ordinary album. Instead, it proved to be a truly groundbreaking album.
Before its release in 1970, critics received an advance copy of Parallelograms. The resultant reviews realised the importance of Linda Perhacs’ debut. Here was a truly talented singer, songwriter and musician. She had discovered her musical soul-mate in producer Leonard Rosenman. He was an ambitious, innovator who wanted to push musical boundaries to their limits on album that Leonard Rosenman described as “visual music composition.” Intrigued, critics investigated Parallelograms.
They discovered a beautiful, understated and enchanting album. From the opening bars of Chimacum Rain, right through to the closing notes of Delicious, Linda Perhacs breathed life, meaning, beauty and emotion into Parallelograms. It was an absolutely captivating listen; and an album where the listener was spellbound. That’s not surprising, as Parallelograms featured hopeful, captivating, ethereal and dreamy music. Parallelograms was also an ambitious and innovative album of genre-melting music.
Parallelograms was a flawless fusion of Americana, country, folk, pop, psychedelia and rock. There’s even a twist of ambient, drone pop, experimental and jazz. It was potent and heady brew; and one that should’ve launched Linda Perhacs’ career.
Sadly, when Parallelograms was released, Linda Perhacs’ psychedelic folk classic wasn’t the huge commercial success it should’ve been. This wasn’t helped by the record company’s failure to promote Parallelograms. As a result, Linda, like so many other hugely talented artists, failed to enjoy the commercial success and critical acclaim her undoubted talent deserved. So Linda returned to her job as a periodontist.
Meanwhile, music industry insiders and the those that had bought Parallelograms awaited Linda Perhacs’ sophomore album. A year passed, and there was no sign of the followup to Parallelograms. Linda was still working as a dental nurse, and had settled back into her life pre-Parallelograms. Two and three years passed, and still, there was no sign of another album from Linda. Three years became five, and five became ten. Linda had settled back into her life pre-Parallelograms. By then, fans of Linda Perhacs had all but given up hope that she would release another album.
Nothing was heard of Parallelograms until the nineties. By then, Parallelograms had become a cult classic which a new generation of record buyers had discovered. Interest in Parallelograms grew with each year. Somewhat belatedly, did people realise that Parallelograms was a seminal, lost classic and Linda Perhacs should’ve enjoyed a long and successful career. It was only later that Linda Perhacs realised what might have been.
It was only later in life that Linda Perhacs admitted that much as she loved music, she didn’t seem to have the drive required to make a career as a musician. She did, however, have the talent. Linda was blessed with an abundance of talent. That had been apparent on Parallelograms, and Linda’s long-awaited comeback album.
Having spent her career working as a dental hygienist, Linda decided to make her musical comeback. She’d spent a lifetime observing people and the world. This meant she’d a wealth of material for her not just her sophomore album, but a series of albums. However, first things first, Linda had to get round to releasing the follow to Parallelograms. This would become The Soul Of All Natural Things.
The Soul Of All Natural Things.
For The Soul Of All Natural Things, Linda wrote four tracks and cowrote the other six tracks. She penned The Soul Of All Natural Things, Intensity, Prisms of Glass and Song of the Planets. Linda and Chris Price wrote Children. They also cowrote River of God, Freely, Immunity and Song of the Planets with Fernando Perdomo. Fernando and Linda collaborated on Daybreak. These ten tracks became The Soul Of All Natural Things, which was recorded between September 2012 and April 2013.
Recording of The Soul Of All Natural Things took place at Reseda Ranch Studios, Reseda in California. The sessions took place between September 2012 and April 2013. Linda core band included Chris Price on backing vocals, guitars, bass, keyboards, percussion, programming and effects. Fernando Perdomo contributed bass, guitars, keyboards and percussion. Julia Holter and Ramona Gonzales added vocals and keyboards. Other artists featured on one or some of the tracks on The Soul Of All Natural Things. It was produced byChris Price, Fernando Perdomo and Linda. Once The Soul Of All Natural Things was completed, Linda’s long-awaited sophomore album was released in March 2014. After a forty-four year absence, Linda Perhacs was back.
By then, a new generation of critics were already familiar with the story of Linda Perhacs ‘ debut album Parallelograms. These critics penned critically acclaimed reviews, and hailed Linda Perhacs the comeback Queen.
Although forty-four years have passed since Linda Perhacs released her debut album Parallelograms, she’s picked up where she left off on The Soul of All Natural Things. Accompanied by some of the best young musicians Los Angeles has to offer, they’ve played their part in a flawless fusion of classic rock, folk, pop and psychedelia. There’s even diversions via ambient, experimental, jazz and drone pop during what’s another captivating and innovative album.
Just like on Parallelograms, Linda Perhacs proves to be a versatile vocalist. Her vocal veers between tender and breathy to elegiac, ethereal and emotive. Sometimes, there’s a fragility and sense of confusion, frustration and melancholia in Linda’s voice. Other times, her vocal becomes impassioned, hopeful and hurt-filled. The on Immunity, Linda’s vocal is louder, stronger and full of sincerity. Just like on other tracks this allows her to breath meaning into the lyrics. Meanwhile, Linda’s accompanied by a choir of lysergic angels who add cascading harmonies, while crystalline guitars and lush strings join with the rest of Linda’s band. They play their part in the sound and success of The Soul Of All Natural Things.
The music on The Soul Of All Natural Things veers from bewitching to beautiful, to cinematic and cerebral. Other times, the music is powerful and spacious, but has an intensity. However, for much of The Soul Of All Natural Things the music is dreamy, ethereal and lysergic. That’s not unlike the album that started this tale of two albums, Parallelograms.
Both albums albums feature a truly prodigious singer, songwriter and musician, Linda Perhacs. She could and should’ve enjoyed a long and successful career. Alas, fate conspired against Linda Perhacs, when her debut album Parallelograms wasn’t promoted didn’t received sufficient promotion. As a result, Parallelograms failed commercially and Linda returned to her work as a dental nurse. The dream it seemed was over.
It was later in her career that Linda Perhacs reflected that maybe, she hadn’t been the most driven musician. That was a great shame, as Linda Perhacs was a hugely talented singer-songwriter. That’s apparent on Parallelograms and the long-awaited and much-anticipated followup The Soul Of All Natural Things. It was released forty-four years after Parallelograms, in 2014.
By then, a lot of water had passed under the bridge since 1970 and the release of Parallelograms, but Linda hadn’t lost her mojo. Far from it. Just like Parallelograms, The Soul of All Natural Things was an album of flawless, timeless music. The Soul Of All Natural Things was a reminder, if any was needed that Linda Perhacs had the talent to become one of the leading lights of the Laurel Canyon scene. Especially if Parallelograms had been released on a major label. Thing Linda Perhacs’ career might have been very different. However, Linda Perhacs seems to be content with her life. It’s a case of no regrets.
Linda Perhacs may only have released two albums, but Parallelograms and The Soul Of All Natural Things are both flawless, cult classics. They showcase one of music’s best kept musical secrets, Linda Perhacs. She could’ve, and should’ve, enjoyed a long and successful career. Instead, Linda Perhacs’ career is a tale of two albums, Parallelograms and The Soul Of All Natural Thing. They’re both flawless cult classics, and are a reminder that in Linda Perhacs’ tale of two albums, class is permanent.
LINDA PERHACS-A TALE OF TWO ALBUMS.
JIMI HENDRIX THE MAN WHO CHANGED MUSIC.
JIMI HENDRIX THE MAN WHO CHANGED MUSIC.
On the 4th of July 1970, Jimi Hendrix journeyed 100 miles south of Atlanta. His destination was the second Atlanta International Pop Festival, which was being billed as the second Woodstock. That was where The Jimi Hendrix Experience were about play a starring role.
When The Jimi Hendrix Experience arrived at the Atlanta International Pop Festival, they were greeted by a crowd estimated to be between 300,000-400,000. What is now remembered as the “last great rock festival” was an unlikely event for Jimi Hendrix to appear at.
Byron, in Atlanta was in the heart of old the Deep South. This was Klan country. Racial tensions were always threatening to bubble over. The organisers of the 1970 Atlanta Pop Festival were well aware of this. So they made the conscious decision that the star of the show should be someone who appealed to everyone. This wasn’t going to be easy.
So the organisers set about thinking of an artist or band who would appeal to both sides of the racial, cultural and socio political divide. This wasn’t going be easy.
The organisers had to think how the audience would respond to certain artists, bands or situations. How would a rural audience in the Deep South feel about the so called long haired, hippie bands? Or how would they respond to black and white artists on the same bill? That could inflame an already volatile situation. While some promoters would’ve avoided this situation, the organisers of the Atlanta Pop Festival wanted to challenge the beliefs held by many of their potential audience. So, they booked a man who would unite the audience with the his music and his message of universal love, Jimi Hendrix.
It wasn’t just Jimi Hendrix that would star at the second Atlanta Pop Festival. No. On 4th of July 1970, the Jimi Hendrix Experience had reformed, and would playing a supporting role as Jimi Hendrix delivered a musical masterclass.
Accompanied by bassist Billy Cox and drummer Mitch Mitchell, Jimi Hendrix showman extraordinaire and guitar virtuoso had the huge audience spellbound as he worked his way through classics like Foxy Lady, Hey Joe and Purple Haze, plus a cover version of Bob Dylan’s All Along The Watchtower. Jimi even showcased songs from his next album, which was going to feature Room Full Of Mirrors, Freedom, Hear My Train A-Comin’ and Hey Baby (New Rising Sun) were heard by many for the first time. Then as fireworks exploded, Jimi launched into a rendition of The Star Spangled Banner. He wasn’t finished yet, and returned for an encore of Straight Ahead. When he left the stage that night, nobody realised that the second Atlanta Pop Festival would be the last major American concert Jimi Hendrix would play at. Ten weeks later on 18th September 1970, Jimi Hendrix was pronounced dead. He was just twenty-seven.
For Jimi Hendrix the last three years had been a whirlwind. He took music by storm when The Jimi Hendrix released their debut album Are You Experienced? in 1967. Music was never the same after the release of Are You Experienced?
Are You Experienced?
That was apparent from The Jimi Hendrix’s 1967 explosive debut album Are You Experienced. It featured the debut of the legendary power trio of drummer Mitch Mitchell, bassist Noel Redding and guitarist Jimi Hendrix. They fused rock and psychedelia on eleven tracks penned by Jimi Hendrix.
The eleven tracks that became Are You Experienced, were recorded between October and April 1966. Three London studios were used, De Lane Lea Studios, CBS, and Olympic Studios. That’s where The Jimi Hendrix Experience recorded their debut album Are You Experienced, which was produced by Chas Chandler. Once it was completed, it was released in Britain in May 1967.
When Are You Experienced was released, it was hailed as one of the greatest debut rock albums. It showcased an innovative fusion of rock and psychedelia. At the heart of the Are You Experienced’s sound was the freewheeling sound of Jimi Hendrix’s guitar. He could do things other guitarists could only dream of. Add to the equation Jimi’s languid, charismatic vocal and it’s no surprise that Are You Experienced was such a huge commercial success.
When Are You Experienced was released in Britain, in May 1967, it reached number two. This resulted in a gold disc for the Jimi Hendrix Experience. No wonder. Are You Experienced featured future Jimi Hendrix classics like Foxy Lady, Third Stone from the Sun and Are You Experienced? Three months later, in August 1967, Are You Experienced was released in the US. It reached number five, and was certified platinum five times over. For Jimi, this was the start of a three year period where he could do no wrong.
Axis: Bold As Love.
Seven months later, on 1st December 1967, the Jimi Hendrix Experience returned with their sophomore album Axis: Bold As Love in the UK. It featured thirteen tracks. Twelve were penned by Jimi. These tracks showed Jimi evolving as a songwriter. He may have just been twenty-five, but he was a talented songwriter. Proof of this were tracks like Spanish Castle Magic, Wait Until Tomorrow, Castles Made of Sand and Bold As Love. They featured Jimi coming of age as a songwriter. These songs were recorded at Olympic Studios, London.
Recording of Axis: Bold As Love took place at Olympic Studios, London. The sessions took place during May, June and October 1967. Axis: Bold As Love had to be released during 1967. The contract that the Jimi Hendrix Experience had signed stipulated this. Ironically, the album was nearly lost. However, Axis: Bold As Love was only released in Britain in December 1967.
One night, Jimi Hendrix took the master tapes to side one home. Unfortunately, Jimi left them in a taxi. The master tapes were never found. This resulted in side one being mixed again. This didn’t delay the release of Axis: Bold As Love.
Axis: Bold As Love, was released in Britain, on 1st December 1967. It was released to the same critical acclaim as Are You Experienced. Critics ran out of superlatives in an attempt to describe Axis: Bold As Love. Jimi was described as some sort of musical messiah, who had music’s future in his hands. Record buyers agreed with the critics description of Axis: Bold As Love.
When Axis: Bold As Love was released in Britain, it reached number five and was certified silver. Then on January 15th 1968, Axis: Bold As Love was released in America. However, Axis: Bold As Love hadn’t been released in America during 1967.
There was a reason for this. The Jimi Hendrix Experience’s record company were scared this would affect sales of Are You Experienced. So Axis: Bold As Love wasn’t released in America until January 1968. When it was released, it reached number three in the US Billboard 200 and was certified platinum. Although not as successful as Are You Experienced, Jimi Hendrix was riding the crest of a musical wave.
Electric Ladyland.
By October 1968, when The Jimi Hendrix Experience released Electric Ladyland, Jimi Hendrix was one of the most successful musicians in the world. His albums sold by the million, and when The Jimi Hendrix Experience played live, they were one of the hottest live acts. This showed when Electric Ladyland was released.
Unlike The Jimi Hendrix Experience’s two previous albums, Electric Ladyland was an ambitious double album. It featured sixteen songs. Thirteen songs were penned by Jimi. Two of the covers were Bob Dylan’s All Around The Watchtower and Earl King’s Come On (Let the Good Times Roll. These tracks, and the rest of Electric Ladyland were recorded at three recording studios.
Recording sessions took place between July and December 1967, then between January and April 1968. Three different studios in London and New York were used. This included Olympic Studios in London and Record Plant Studios and Mayfair Studios, New York. Once the sixteen tracks were recorded, Electric Ladyland was released in October 1968.
As soon as critics heard Electric Ladyland, they realised that this was The Jimi Hendrix Experience’s. It oozed quality. Tracks like Crosstown Traffic, Voodoo Chile, Voodoo Child (Slight Return), All Along the Watchtower and Gypsy resulted in what was the greatest album of The Jimi Hendrix Experience’s career. Critics hailed Electric Ladyland a career high for The Jimi Hendrix Experience. Record buyers agreed.
When Electric Ladyland was released in Britain, on 16th October 1968, it reached number six and was certified gold. Nine days, later, on 25th October 1968 Electric Ladyland was released in America. It reached number one on the US Billboard 200 and was certified double platinum. The rise and rise of The Jimi Hendrix Experience continued.
Just like their previous two albums, their third album Electric Ladyland became a classic. Electric Ladyland was the album that The Jimi Hendrix Experience were always capable of making. It was a coming of age for The Jimi Hendrix Experience. They’d released the finest album of their three album career. Sadly, there was a twist in the tale. Electric Ladyland would be The Jimi Hendrix Experience’s final album. However, it was a fitting swan-song from a legendary power trio.
Eight months after the release of Electric Ladyland, The Jimi Hendrix Experience played their last concert on June 29th 1969. This took place at Barry Fey’s Denver Pop Festival. This was a three day event. Little did anyone know The Jimi Hendrix Experience would only play one further concert. They reunited in 1970, to allow Jimi to spread his message of universal love. However, before that, Jimi’s new trio, Band Of Gypsys, recorded their only album.
Band of Gypsys.
After The Jimi Hendrix Experience split-up, Jimi formed another trio, The Band Of Gypsys. The lineup featured drummer Buddy Miles, bassist Billy Cox and Jimi on guitar. The Band of Gypsys recorded their only live album on 1st January 1970.
When the Band Of Gypsys took to the stage at Filmore East, in New York, on 1st January 1970, they had been busy. They’d written six new songs. Jimi penned four tracks, including Who Knows and the funky, anti Vietnam War song Machine Gun. These two tracks comprise side one of Band Of Gypsys, He also wrote Power To Love and Message Of Love. Jazz drummer Buddy Miles, wrote Changes and We Gotta Live Together. These six tracks found the Band Of Gypsys moving in a different direction from The Jimi Hendrix Experience.
Elements of funk, R&B and soul shine through on Band Of Gypsys. This isn’t surprising, given Jimi’s bandmates’ past. However, Jimi’s trademark fusion rock and psychedelia is still present. What’s obvious, is that Jimi was keen to explore different musical directions. He wasn’t going to be tied to the one musical genre. Instead, he was willing to experiment musically. Band Of Gypsys was just the start.
When critics heard Band Of Gypsys, they were won over by the genre melting album. They realised that Band Of Gypsys was an ambitious album. Machine Gun, they felt, was the best track on Band Of Gypsys. It was the album’s centrepiece, and showed what Jimi Hendrix, musical maverick was capable of, even without The Jimi Hendrix Experience. Just like The Jimi Hendrix Experience, the Band Of Gypsys was the perfect vehicle for Jimi.
Band Of Gypsys was released in Britain on 25th March 1970. It reached number six. Nearly three months later, on June 12th 1970, Band Of Gypsys was released in America, reaching number five in the US Billboard 200. This resulted in Band Of Gypsys being certified double platinum. Jimi Hendrix it seemed could do no wrong. Everyone waited with baited breath to see what direction his career headed.
After the release of Band Of Gypsys, Jimi returned the studio, where he began work on his next album. Jimi was a prolific artist, and recorded many tracks over a relatively short space of time. So much so, that by the time he headed to the second Atlanta Pop Festival, which was held on the 4th of July 1970, there were many tracks in various states of completion. This was more than enough for several album’s worth of material. Some of the new songs newly reformed lineup of The Jimi Hendrix Experience planned to showcase at the Atlanta Pop Festival, which sadly would prove to be Jimi Hendrix’s swan-song.
Lesser musicians than Jimi Hendrix would’ve been nervous about playing at the heart of the Deep South. Not Jimi Hendrix. He relished the challenge of uniting a region divided. He planned to do so with the newly reformed lineup of The Jimi Hendrix Experience.
Sadly, bassist Noel Redding wasn’t going to take to the stage. Taking his place would be Band Of Gypsys bassist Billy Cox. At least Noel Redding The Jimi Hendrix Experience’s original drummer was by Jimi’s side as they took to the stage. What had been a legendary power trio were about to try to unite a region divided.
That’s what The Jimi Hendrix Experience went on to do. In the process, they wrote their place into music history by playing a starring role in what’s now remembered as the “last great rock festival.” Jimi Hendrix had united a region that had been divided. His message of unity, universal love and Freedom had him friends on both sides of the racial divide. Now Jimi Hendrix could concentrate on completing his next album. However, that never happened
On 18th September 1970, music was in mourning. Jimi Hendrix, it was announced, was dead.
Jimi Hendrix had been found around 11a.m. on the 18th September 1970, that Jimi Hendrix was found unresponsive at an apartment in the Samarkand Hotel, in Notting Hill, London. He was rushed to the St. Mary’s Abbot’s Hospital, but pronounced dead at 12.45p.m. Jimi Hendrix was just twenty-seven. However, music had lost one of the most influential and innovative guitarists of his generation.
That’s despite Jimi’s solo career beginning just four years earlier. Since then, Jimi had released a trio of studio album and one live album. During that period, Jimi Hendrix took music by storm, and vied for the title of rock’s greatest guitarist. Throughout his solo career, Jimi was a flamboyant showman, who growing up, modelled himself on T-Bone Walker.
It was T-Bone who Jimi saw playing his guitar with his teeth. When Jimi saw this, he took it as a challenge. This became part of Jimi’s routine. In years to come, Jimi played his guitar as if his life depended upon it. Jimi, on form, was like a man possessed. Some nights, Jimi played his guitar behind his back, played it with his teeth and as if trying to exercise some inner demons, set his guitar on fire. All this made Jimi one of the most exiting guitarists ever. However, Jimi was also a technically brilliant guitarists of his generation. That’s apparent on the trio of studio albums and live album that The Jimi Hendrix Experience released between 1967-1970. These albums feature musical maverick Jimi Hendrix at the peak of his powers, as he pushes musical boundaries to their limits, and sometimes, way beyond; and in the process, produces groundbreaking and timeless music that changed music forevermore.
JIMI HENDRIX THE MAN WHO CHANGED MUSIC.
TEENAGE FANCLUB-BANDWAGONESQUE-VINYL LIMITED EDITION.
TEENAGE FANCLUB-BANDWAGONESQUE-VINYL LIMITED EDITION.
Hardly ever does commercial success and critical acclaim come overnight for a band. Instead, it often takes a couple of albums before a band hits their stride. That was the case with the Teenage Fanclub.
It wasn’t until the Teenage Fanclub released their third album Bandwagonesque in November 1991 that commercial success and critical acclaim came their way. Soon, comparisons were being drawn with the legendary Big Star, and a great future was forecast for the Teenage Fanclub.
Twenty-five years and six albums later, a lot of water has flown under the bridge for Teenage Fanclub. Sadly, Teenage Fanclub never quite recached the heights the critics forecast. The most successful period of their career was between Thirteen in 1993 through 1995s Grand Prix to Songs From Northern Britain in 1995. The Teenage Fanclub’s melodic, hook-laden brand of power pop proved popular in America, Europe and Australia. However, that was until the new millennia dawned.
When Teenage Fanclub released their seventh album Howdy in 2000, it stalled at thirty-three in the UK. Little did anyone realise that was as good as it got for Teenage Fanclub. Commercial success eluded their 2002 collaboration with Jad Fair, Words of Wisdom and Hope. After this it was another three years before Teenage Fanclub returned.
2005 saw the Teenage Fanclub return with their first album in five years, Man-Made. However, it reached just thirty-four in the UK. Following Man-Made, another five years passed before Teenage Fanclub returned with Shadows. While the album received mostly favourable reviews, it reached just number thirty in the UK. It was a long way from the period between 1991 and 1997, when Teenage Fanclub were one of the most successful indie bands.
The album that began the most successful period of Teenage Fanclub’s twenty-seven year career, was Bandwagonesque which is now regarded as a genre classic. It was recently remastered and rereleased by HMV on pink vinyl as part of their new initiative Vinyl Week. This reissue of Bandwagonesque is a welcome reminder of Teenage Fanclub, as they began what was the most successful period of their career.
That period began in 1991. However, Teenage Fanclub had been formed just two years earlier in Bellshill, Lanarkshire in 1989. Teenage Fanclub had emerged out of Glasgow’s C86. They had been inspired by bands like The Beach Boys, The Byrds and Big Star, who Teenage Fanclub would be later be compared to.
Unlike Big Star, Teenage Fanclub were a five piece band. The original lineup featured guitarist Norman Blake, lead guitarist Raymond McGinley, bassist Gerard Love, drummer and Francis MacDonald. Teenage Fanclub’s three principal songwriters shared lead vocal duties. That was the case on their debut album.
A Catholic Education,
Just a year after the band was founded, Teenage Fanclub released their debut album in 1990. A Catholic Education would later be described as a quite un-Teenage Fanclub album. The music was dark, harsh and peppered with cynicism and controversy.
Most of the controversy stemmed from Teenage Fanclub’s decision to turn their sights on Catholic church. For a band from a city divided by religion, that was a controversial move, and one that could alienate people. What made the decision to “attack” the Catholic church, was that Teenage Fanclub prided themselves on being apolitical band. The other surprise for a band who admired The Byrds, The Beach Boys and Big Star was the sound of A Catholic Education.
For much of A Catholic Education, Teenage Fanclub unleashed a mixture of grunge and heavy metal. The only hint of what was to come from Teenage Fanclub was the Norman Blake penned Everything Flows. It was a glorious slice of power pop. This was something that Teenage Fanclub would return to later. Before that, A Catholic Education was released on June 11th 1991.
Before that, critics reviewed A Catholic Education. Reviews of the album were mixed, and very few critics forecast the critical acclaim and commercial success that came Teenage Fanclub’s way. When A Catholic Education was released by Matador, the album failed to even trouble the British or American charts. It was an inauspicious debut from Teenage Fanclub.
The King.
Just two months later, and Teenage Fanclub released their sophomore album, The King. However, in reality, The King was a quickly assembled collection of tracks.
The tracks that became The King had been recorded once Teenage Fanclub had completed what would be their third album, Bandwagonesque. Quickly, Teenage Fanclub recorded nine tracks, including covers of Madonna’s Like A Virgin and Pink Floyd’s Interstellar Overdrive. Once The King was recorded, Teenage Fanclub were hoping this would allow them to escape their contractual liability to Matador. This could have backfired.
Teenage Fanclub owed Matador an album. If they accepted The King, then they had fulfilled their contractual obligations. There was the possibility that the album could be rejected, if Matador didn’t believe the album was of a certain commercial standard,
Fortunately, they didn’t. That’s despite covers of Madonna’s Like A Virgin and Pink Floyd’s Interstellar Overdrive. The King wasn’t exactly Teenage Fanclub’s finest hour. Despite this, Matador released in August 1991.
Reviews of The King hadn’t been favourable. Despite this, The King reached fifty-three in the UK charts. It was almost ironic. Very few critics thought that The King would even trouble the charts. Teenage Fanclub had the last laugh. Free from all encumbrances, the Teenage Fanclub signed to Creation Records.
Bandwagonesque.
Now signed to Alan McGhee’s Creation Records, Teenage Fanclub like a magician pulling a rabbit from a hat, delivered the completed version of Bandwagonesque.
It featured twelve new songs from Teenage Fanclub. Norman Blake had contributed The Concept, What You Do To Me, Metal Baby and Alcoholiday. Raymond McGinley’s wrote I Don’t Know.
Gerard Love had written December, Star Sign, Pet Rock, Guiding Star and Is This Music? He also cowrote Sidewinder with Brendan O’Hare; while Satan was credited to the four members of Teenage Fanclub. They would record Bandwagonesque in Amazon Studio, in Liverpool.
The Bandwagonesque session began on 9th April 1991. Teenage Fanclub’s rhythm section featured drummer Brendan O’Hare, bassist Norman Blake and guitarist Norman Blake. Raymond McGinley played lead guitar; while the vocal duties were shared between the three songwriters. Augmenting the four members of Teenage Fanclub were Don Fleming on occasional guitar and handclaps while Dave Buchanan also added handclaps. Joseph McAlinden took charge of brass and strings. Producing Bandwagonesque, were Don Fleming, Paul Chisholm and Teenage Fanclub. By 12th May 1991, was recorded and mixed. Six months later, Bandwagonesque became Teenage Fanclub’s Creation Records’ debut.
Before that, critics had their say on Bandwagonesque. Critical acclaim had accompanied Bandwagonesque’s released. It was the first album to feature Teenage Fanclub’s melodic, hook-laden brand of power pop. With their Byrdsian jangling guitars and tight harmonies, Bandwagonesque stood head shoulders above A Catholic Education and The King. Granted, Teenage Fanclub could still rock out, and enjoyed the odd excursion into grunge, however, Bandwagonesque was Teenage Fanclub’s finest moment…by far. Record sales backed this up.
In August 1991, Star Sign was released as a single. Although reached just forty-four in the UK charts, it reached number four in the US Modern Rock charts. When the hard rocking single The Concept was released in October 1991, it reached fifty-one in the UK, and number twelve in US Modern Rock charts. Then came the main course.
On 19th November 1991 Bandwagonesque was released by Alan McGhee’s Creation Records. In Britain, Bandwagonesque reached twenty-two and in America the album reached 137 in the US Billboard 200. Bandwagonesque had introduced Teenage Fanclub to British and American record buyers. It was also the start of a six year period, when Teenage Fanclub released four albums that featured the best music of their career. This started with Bandwagonesque in 1991.
A wail of feedback opens Bandwagonesque, before Teenage Fanclub tame the tiger, and lock into a steady, rocky groove. As rhythm section create the heartbeat, choppy, seeing guitars drive the arrangement along. Atop the arrangement sits the vocal, that delivers those familiar lyrics: “I didn’t want to hurt you.” Then at 3.13 Brian Wilson meets The Byrds as swooning, heartfelt harmonies as jangling and searing guitars combine, and create a symphonic sound that’ll mend any broken heart.
Satan brings back memories of A Catholic Education, as elements of grunge and heavy metal gallop along. They buzz, beep and squeak before Teenage Fanclub unite for just over twenty seconds of hard rocking music that would make Lemmy proud.
December finds Teenage Fanclub changing direction, as they combine indie rock and pop. The tempo drops on what’s a much more mellow sounding song. Chiming, chirping and bristling guitars sit above the rhythm section as Gerard take’s charge of the vocal. It’s full of emotion and hurt. Later, tight harmonies accompany the vocal, before a false ending introduces strings. They sweep and weep, as guitars buzz and bring this song to a wistful conclusion.
As What You Do To Me unfolds, one can’t help but wonder whether one of the Teenage Fanclub’s guilty pleasures was Status Quo. They dawn their old denims, and with a nod to The Byrds, rock their way through what’s a two minute anthem. Accompanied by sweet Byrdsian harmonies, they don’t spare the hooks during this irresistible anthemic track.
A vortex of distant guitars are joined by the rhythm section on I Don’t Know. Suddenly, it’s all systems go, as the tight rhythm section and choppy, chirping licks and riffs drive the arrangement along. The vocals are unsure as they sing: “I Don’t Know.“ When the vocals drop out, their replaced by bursts of blistering, scorching guitars. At 3.25. Teenage Fanclub kick loose, searing guitars cut through the arrangement. As if realising that something special is unfolding, rolls of drums are added as indie rock and power pop combine to create another memorable and melodic moment from Bellshill’s finest, Teenage Fanclub.
Guitars swirl in the distance, effects transforming their sound. Echo and reverb are the weapons of choice on Star Sign as it begins to take shape. It’s as if Teenage Fanclub are teasing the listener, and it’s not until 1.15 when the song unfolds. Drum pounds and with the bass, underpin the arrangement. It features jangling driving, and scorching guitars. Meanwhile, the vocal is mixed back in the arrangement. This works, and allows a tight and talented band shine, as they literally come of age musically. Twenty-five years later, and this rousing fusion of indie rock and power pop is timeless, and one of the reasons why Bandwagonesque is regarded as a genre classic.
The hooks keep on coming on Metal Baby. Drums pound furiously, before relentlessly driving the hard rocking arrangement along. Meanwhile, jangling, searing and scorching guitars accompany Gerard Love’s vocal. He’s augmented by harmonies and guitar licks. By then, Teenage Fanclub seem to be relishing the opportunity to kick loose, and rock their way through another song rich in poppy hooks.
Just guitars ring out as Pet Rock unfolds. Soon, the rhythm section join the fray and Teenage Fanclub become one. They’re a tight unit, who when they recorded Bandwagonesque, had only been together since 1991. It’s hard to believe. When the vocal enters, it’s accompanied by harmonies. When they drop out, they’re replaced by bristling, scorching guitars. Meanwhile, horns blaze as the hard rocking rhythm section. Aleready Teenage Fanclub sound like hard rocking musical veterans on this melodic rocker.
Melodic rocker also describes Sidewinder. It’s one of the slower songs, where the vocals intertwine with the West Coast harmonies. Meanwhile, the rhythm section and bristling, chiming guitars create a rocky backdrop. Later, when the vocal drops out, lead guitarist Raymond McGinley dawns the role of guitar hero, and unleashes a scorching solo. As the reaches its crescendo, the guitars have become crunchy as a little bit of the West Coast of America comes to Glasgow.
Shimmering. liquid guitars open Alchoholiday, before the rhythm section lay down the tightest of grooves. The bass bounds as drums pound. Meanwhile, the vocal is heartfelt, needy and emotive. It’s also tinged with confusion as Norman sings: “there are things I want to say, but if they will be to you.” Cooing, soothing harmonies accompany the vocal as the Teenage Fanclub never miss a beat. Guitars chime and chirp, before a blistering solo cuts through the arrangement. By then, Teenage Fanclub are at their tightest, combining elements of Big Star, The Byrds and The Beach Boys, on what’s a classic track.
Stylistically, Guiding Star is quite different from previous tracks. Strings and a guitar accompany the vocal, before the bass picks its way through the arrangement. Harmonies augment the arrangement, as it threatens to kick loose. It never does, and retains what’s by Teenage Fanclub’s standard is an almost a restrained sound.
Bandwagonesque closes with Is This Music? A pulsating bass is joined by chiming, bristling guitars and drums. There’s no vocal, just Teenage Fanclub playing with freedom. The music flows through them, with the searing, scorching guitar and pulsating bass leading the way. Already one knows the question posed by Teenage Fanclub, Is This Music? Definitely, and some of the best released in 1991.
Twenty-five years have passed since I first heard Bandwagonesque for the first time. From the first time I heard Teenage Fanclub’s third album Bandwagonesque, I realised this was defining moment for Bellshill’s finest. Bandwagonesque stood head and shoulders above A Catholic Education and The King. Teenage Fanclub had released what was without doubt, the best album of their nascent career. Soon, Bandwagonesque was being hailed as a genre classic. That’s still the case quarter a century later,
That’s why Bandwagonesque was recently remastered and rereleased by HMV on pink vinyl as part of their new initiative Vinyl Week. This reissue of Bandwagonesque is a welcome reminder of Teenage Fanclub, as they began what was the most successful period of their career. After Bandwagoneque introduced record buyers on both sides of the Atlantic to Teenage Fanclub, their star was in the ascendancy.
From the release of their fourth album Thirteen in 1993, through to Grand Prix in 1995 to Songs From Northern Britain in 1997, Teenage Fanclub enjoyed the most successful period of their twenty-seven year career. Their unique fusion of indie rock and melodic, hook-laden power pop proved popular in in America, Europe and Australia. Teenage Fanclub were one of the most popular British indie bands of that era, and their music influence a generation of new bands. It looked like Teenage Fanclub’s golden period would last forever. Sadly, it wasn’t to be.
After the release of Songs From Northern Britain in 1997, Teenage Fanclub’s albums never sold in the same quantities and stalled around thirty in the UK album charts. Teenage Fanclub’s golden period was over. Despite this, Teenage Fanclub continue to provide the soundtrack to the lives of a generation of record buyers.
Many people’s introduction to Teenage Fanclub was their third album Bandwagonesque, a timeless genre classic. It’s an album that belongs in every record collection. Bandwagonesque is also a record that’s guaranteed to bring back memories, of November 1991, when Teenage Fanclub released their breakthrough album. For many people, this was the start of a lifelong love affair with Teenage Fanclub, who are back on the comeback trail.
Later in 2016, Teenage Fanclub will return with their first album for six years. It’s their much anticipated tenth album Here. By the time Here is released, many of the people who discovered Teenage Fanclub through Bandwagonesque, will be well into middle age. They’ll still enjoy Here, and Teenage Fanclub’s genre classic, where perfect power pop and indie rock combine a hint of grunge to create Bandwagonesque.
TEENAGE FANCLUB-BANDWAGONESQUE-VINYL LIMITED EDITION.
THE VELVET UNDERGROUND-LOADED-LIMITED VINYL EDITION.
THE VELVET UNDERGROUND-LOADED-LIMITED VINYL EDITION.
With the continued resurgence in interest of all things vinyl, many retailers and record companies are joining forces to release limited edition of what they refer to as classic albums. That description is stretching things for some of the albums that have been conferred classic status. Indeed, sometimes, the word classic is something more than a marketing term. Not in the case of The Velvet Underground’s fourth album Loaded. It’s been remastered and reissued on heavyweight white vinyl, and retailed via HMV as part of their Vinyl Week. Only 1,000 copies of Loaded were pressed, and quickly, this pressing is becoming a collectable. So if you see a copy, don’t hesitate, and add it to your collection. After all, Loaded was an important album for The Velvet Underground.
For The Velvet Underground, 1969 had been a turbulent year. They had released their third album The Velvet Underground in March 1969. It featured the debut of Doug Yule, who was brought in to replace John Cale. This was meant to the start of a bright new future for The Velvet Underground.
After two albums which had failed commercially, Lou Reed decided that The Velvet Underground had to change tack. They had to release music that was much more pop oriented and therefore, commercial. John Cale however, didn’t agree with how Lou Reed’s master-plan.
This had been a bone of contention between the pair for some time. John Cale wanted The Velvet Underground to continue to innovate, and create experimental music like White Light/White Heat, The Velvet Underground’s sophomore album. Lou Reed didn’t agree.
Lou Reed believed that The Velvet Underground’s music should become more pop oriented. This he felt, would broaden their appeal. No longer would they be an art rock group whose music appealed to discerning music lovers. Eventually, Lou Reed won over the rest of The Velvet Underground. For John Cale this was hugely disappointing. So, he decided the only option was to leave The Velvet Underground.
The Velvet Underground.
Following the departure of John Cale, The Velvet Underground began looking for a replacement. Eventually, Doug Yule was chosen as John Cale’s replacement. He made his Velvet Underground eponymous third album in November 1968, at TTG Studios, Hollywood. The Velvet Underground recorded ten songs penned by Lou Reed. By December 1968, The Velvet Underground was completed it was released in March 1969.
Before that, critics had their say on The Velvet Underground. The majority of the critics were won over by The Velvet Underground’s new sound. Some critics went as far as to say that the album was The Velvet Underground’s finest hour. They were impressed The Velvet Underground’s much more accessible sound. The Velvet Underground were congratulated on the quality of songwriting, and the delivery of the lyrics. However, there was a but.
Some critics felt that The Murder Mystery was an experiment that hadn’t worked. Others ant further, lamenting that The Murder Mystery fell short of the quality of White Light/White Heat. Other critics remarked that The Velvet Underground lacked the eclectic sound of its predecessors. Even the quality of recording was criticised. Mostly though, critics thought that The Velvet Underground were on the right road. However, as usual, record buyers had the casting vote.
When The Velvet Underground was released in March 1969, the album crept into the US Billboard 200, reaching just 197. This was a disaster for The Velvet Underground. Lou Reed’s decision to embrace a more commercial sound had backfired.
Following the release of The Velvet Underground, the band headed out on tour. They spent much of 1969 touring America and Canada. Night after night, they reworked tracks from their first three albums. The audience watched as a tight band fought for their very future. Some nights, The Velvet Underground debuted new songs.
New Age, Rock and Roll and Sweet Jane found their way onto the set list. This trio of songs found their way onto Loaded, which was released in 1970. Loaded has been reissued by Rhino, to mark the forty-fifth anniversary of Loaded’s release. It proved a landmark album in The Velvet Underground’s career.
As The Velvet Underground’s seemingly never ending tour continued, they continued to hone their sound. They were a very different band to just a few years previously when they were Warholian disciples. That was the past. Now The Velvet Underground were willing to forsake what many thought was their true sound, for commercial success. That proved ironic.
After three albums that had failed commercially, MGM were starting to loose patience with The Velvet Underground. It didn’t help that MGM had been haemorrhaging money for a couple of years. They had too many loss making acts on their roster. Something had to give.
During the night of the long knives, executives at MGM decided to cancel the contracts of eighteen loss making acts. This included The Velvet Underground. They were invited to the headquarters of MGM, and told that their contract had been cancelled. However, was the decision to cut The Velvet Underground loose purely a business decision?
Since then, there has been speculation that The Velvet Underground were dropped just because they were losing MGM money. Maybe, it was more to do with The Velvet Underground’s image being at odds with MGM’s corporate image? That proved to be the case. In 1970, an executive of MGM said: “it wasn’t eighteen groups, Mike Curb was misquoted. The cuts were made partly to do with the drug scene—like maybe a third of them had to do with drug reasons. The others were dropped because they weren’t selling.” It seemed that MGM’s mattered more than selling records. MGM it seemed, only wanted artists whose lifestyle they approved of.
Many thought that being dropped by MGM must have been devastating for The Velvet Underground. It seems it was, and it wasn’t. When Lou Reed was interviewed in 1987, he admitted: “we wanted to get out of there.” That may just be bravado. After all, the music industry is a small village, and word would’ve spread like wildfire why The Velvet Underground had been dropped. Some critics however, thought the situation was ironic.
Back in 1968, The Velvet Underground had made what many regarded as the ultimate musical sacrifice. They had changed direction musically on their eponymous third album. No longer were they seen as an art rock band by championed by many critics and cultural commentators. Instead, the move towards a more populist sound was seen as the ultimate betrayal from The Velvet Underground. This resulted in John Cale’s departure from the band. Now that The Velvet Underground had been dropped by MGM, the loss of one of their main creative forces, had been for nothing. Given what had happened, it was the ultimate irony.
Now without a record contract, The Velvet Underground headed back out on tour. Touring was now their main source of income. So they spent much of 1969 on the road. Mostly, it was the tight version of The Velvet Underground that took to the stage. Other times, they revisited their past.
The Velvet Underground decided to reinvent songs, during lengthy improvisations. This mixture of art rock, avant garde and free jazz showed that the old Velvet Underground weren’t dead. Some critics believed it was merely being suppressed in the search for commercial success.
During their gruelling touring schedule, The Velvet Underground made occasional forays into the recording studio. Some of the songs The Velvet Underground recorded, were seen as having potential. However, they couldn’t be released, as The Velvet Underground were in dispute with MGM. With no recording contract, and locked in what could prove a biter, lengthy and expensive dispute with MGM, things looked bleak for The Velvet Underground.
By November 1969, The Velvet Underground arrived in San Francisco, and were due to play at The Matrix and The Family Dog. These shows were recorded, and were meant to be released as live albums. However, that didn’t happen until the next millennia, when Bootleg Series Volume 1: The Quine Tapes was released in 2001. 1969 was fast proving to by The Velvet Underground’s Annus horriblis. Surely, things would improve as when the new decade dawned.
That proved to be the case. 1970 saw The Velvet Underground’s luck improve. They were signed by Atlantic Records, and told to record an album: “loaded with hits.” This would be a first.
Commercial success had eluded The Velvet Underground. Three albums into their career, and they hadn’t enjoyed a hit single. The nearest they came to commercial success was when their 1967 debut album, The Velvet Underground and Nico reached 129 in the US Billboard 200. It was all downhill from there. In 1968, White Light/White Heat struggled into the US Billboard 200 at 199. Then when The Velvet Underground was released in 1969, it stalled at 197 in the US Billboard 200. The Velvet Underground were faced with a mammoth task to produce an album: “loaded with hits.”
Loaded.
With these words ringing in his ears, Lou Reed went away and wrote the ten tracks that became Loaded. Then recording began at Atlantic Recording Studios, New York with Geoff Haslam, Shel Kagan and The Velvet Underground producing Loaded. However, one member of The Velvet Underground was missing.
Maureen Tucker missed the Loaded recording sessions. They took place between April and August 1970. Her only contribution was singing on the outtake I’m Sticking With You, and adding drums on a demo of I Found a Reason. Loaded was the first Velvet Underground album Maureen Tucker.was missing from.
Various musicians replaced Maureen Tucker on Loaded. Engineer Adrian Barber, who played on Who Loves the Sun and Sweet Jane. Tommy Castagnaro then played drums on Cool It Down” and Head Held High. Billy Yule, Doug Yule’s brother deputised on drums on Lonesome Cowboy Bill and Oh! Sweet Nuthin.’ Even bassist Doug Yule played drums.
Although hired as a bassist, Doug Yule played fuzz bass, piano, keyboards, lead guitar, percussion and added backing vocals. He added the lead vocals on Who Loves the Sun, New Age, Lonesome Cowboy Bill and Oh! Sweet Nuthin’. Sterling Morrison played lead and rhythm guitar. Lou Reed, who was now The Velvet Underground’s main creative and driving force, played lead and rhythm guitar, plus the piano. This depleted version of The Velvet Underground, plus a few friends eventually, finished recording of Loaded in August 1968. The release was scheduled for 15th November 1970. A lot would happen before then.
With Loaded completed, usually, The Velvet Underground would’ve been readying themselves for the usual round of promotion that takes place before an album is released. Not this time.
Lou Reed called time on his career with The Velvet Underground on 23rd August 1970. This left The Velvet Underground like a rudderless ship.
With The Velvet Underground having lost their leader and creative force, others took charge of final mix of the album. That was fatal. Lou Reed should’ve handed Atlantic Records the final mix, and then left.
When Lou Reed saw and heard a copy of Loaded, he was in for a shock. The claimed that Loaded had been re-sequenced. This hadn’t been authorised. That was bad enough. No longer would Loaded flow as it was meant to. Much worse, was that some of Lou Reed alleged that some of the songs on Loaded had been edited.
Lou Reed railed against the edited version of Mary Jane. So badly edited was the song, that it was bereft of its very melody. A heartbroken Lou Reed described the melody as: “heavenly wine and roses.” Sadly, it was gone. New Age was another song that had fallen victim to the razor blade in the editing suite. However, one of the remaining members of The Velvet Underground disputed Lou Reed’s claims.
It was newcomer Doug Yule who spoke out. Despite being a relative newcomer to the band, he disputed what Lou Reed said. Doug Yule claimed that it was Lou Reed who edited Mary Jane, before he left The Velvet Underground. This essence of his explanation was that Lou Reed edited the song so that it would be a hit. However, it was claim and counter-claim. If Lou Reed edited the song, why did he edit the “heavenly wine and roses” of the melody from the song? The editing was just one of several grievances Lou Reed had.
The ten songs on Loaded came from the pen of Lou Reed. However, when Lou Reed received his copy of Loaded, he discovered that the songs were credited to The Velvet Underground. What made this worse, was that Lou Reed was third in the credits. He felt he wasn’t receiving the credit he deserved. Rubbing salt into the wound was a large photograph of Doug Yule playing the piano. The Velvet Underground’s creative force was overshadowed by the newcomer. Was this a deliberate slight seen Lou Reed had left The Velvet Underground?
As Lou Reed studied Loaded album’s cover, he discovered that Maureen Tucker was credited as the drummer. She hadn’t played on Loaded, as she was pregnant. It was the only Velvet Underground she didn’t play on. Ironically, many critics felt Loaded was one The Velvet Underground’s finest albums. However, even another member of the band didn’t agree with this.
Sterling Morrison had been ever-present on the four albums The Velvet Underground had released. This made him well qualified to critique the album. He had mixed feelings on the absence of Maureen Tucker and Doug Yule’s increased influence on Loaded. Without Maureen Tucker: “it’s still called a Velvet Underground record. But what it really is is something else.” Then when asked about Doug Yule playing a bigger part on Loaded he said: ”the album came out okay, as far as production it’s the best, but it would have been better if it had real good Lou vocals on all the tracks.” It seems the newcomer hadn’t convinced The Velvet Underground guitarist. What did the critics think?
Most critics were won over by Loaded. It followed in the footsteps of The Velvet Underground, which showcased a much more populist, commercial sound. Among Loaded’s highlights were the hook-laden, Sweet Jane and Rock and Roll. Even without the “heavenly wine and roses” of the melody, Sweet Jane was a timeless classic. Along with Rock and Roll, they became favourites on American FM radio stations. Other tracks that were mentioned in dispatches by critics were the soulful infused I Found a Reason and New Age. However, not everyone was convinced by Loaded.
Rolling Stone magazine wasn’t impressed by Loaded. They were the highest profile critic of Loaded. Ironically, they’ve performed a volte face, and nowadays, Loaded is one Rolling Stone magazine’s 500 best albums of all time. However, Rolling Stone weren’t being contrarian, like some critics.
While Loaded is indeed, a minor classic, it could’ve and would’ve been a better album. Especially, if Lou Reed took charge of all the lead vocals. Sterling Morrison had a point. Lou Reed was The Velvet Underground’s best vocalist. Having written the lyrics, he was able to bring them to life. From Sweet Jane and Rock and Roll, to Cool It Down, Head Held High, I Found A Reason and Train Round The Bend, Lou Reed unleashes a series of vocal masterclasses. Sadly, he only sung six of the ten vocals. That proved to be a a mistake.
In another group, Doug Yule would’ve been a more than adequate replacement. However, he couldn’t quite live the lyrics like Lou Reed. That’s not to say his performance is disappointing on on Who Loves the Sun, New Age, Lonesome Cowboy Bill and “Oh! Sweet Nuthin’. Far from it. Instead, they’re just not as good as The Velvet Underground’s worldweary leader, Lou Reed. Those were big shoes to fill. Even Sterling Morrison agreed.
Similarly, Maureen Turner was missed. While her replacements are more than adequate, it could be argued that there’s no continuity. Each drummer has their own sound and style. Despite that, Loaded came to be regarded as a minor classic. Very few people thought that would be the case in 1970.
When Loaded was released on 15th November 1970, the album failed to chart. It stopped just short, reaching 202 in the US Billboard 200. So near, but yet so far. This was a familiar story for The Velvet Underground.
Their fourth album Loaded deserved to fare better. They had sacrificed and suppressed their true sound to deliver an “album loaded with hits.” Loaded had everything going for it. It benefited from a much more commercial sound, and plethora of hooks. This meant that Loaded was The Velvet Underground’s most accessible album. Surely this was what record buyers wanted The Velvet Underground reasoned?
Record buyers had shied away from The Velvet Underground and Nico and White Light/White Heat. Then on The Velvet Underground, which was released in 1969, Lou Reed and Co. moved towards a more populist, accessible sound. This came at the cost of John Cale. Still The Velvet Underground failed commercially, and MGM dropped the Velvets. This proved the ultimate irony.
Just under a year later, and Lou Reed was gone too. This left just Sterling Morrison and the returning Maureen Tucker. Sadly, The Velvet Underground were a shadow of the band they once were. Loaded proved to be what many regard as their swan-song.
Despite its flaws, Loaded is a minor classic from The Velvet Underground. Nowadays, it’s regarded as one of the best 500 albums by Rolling Stone magazine. Loaded also belongs in every self-respected record collection. For those who have yet to discover Loaded, now is the time to do so.
Loaded was recent remastered and reissued on 180 gram white vinyl, and has been retailed via HMV as part of their Vinyl Week. This new version of Loaded has been beautifully mastered and the sound quality is pretty near flawless. That’s fitting for this classic album. Sadly, all too often, the sound quality of vinyl reissues can be disappointing, for a myriad of reasons. Not this time. For anyone new to vinyl and The Velvet Underground, then this version of Loaded is the one to buy. It even comes complete with a download code. Alas, that’s something many record companies overlook. Not this time. The reissue of Loaded is a reminder that this was the end of an era for one of rock’s most innovative bands, The Velvet Underground.
Never again would Lou Reed join with Maureen Tucker, Sterling Morrison and Doug Yale again as The Velvet Underground. Squeeze which was released in 1972, was a Velvet Underground in name only. Only Doug Yule, who was using The Velvet Underground name featured on Squeeze. It’s not worthy of bearing The Velvet Underground name. That why for many, Loaded marked the end of The Velvet Underground story.
Their recording career had started in 1967 with The Velvet Underground and Nico, 1968s White Light/White Heat, 1969s The Velvet Underground and Loaded in 1970. Nowadays, each and every one of these albums are regarded as a classic; and The Velvet Underground are remembered as one of the most important, influential and innovative bands in the history of music. However, one can’t help wonder what direction The Velvet Underground would’ve headed if they hadn’t changed direction musically?
The Velvet Underground and Loaded would be very different albums. However, maybe, The Velvet Underground had no option. MGM were losing money hand over fist. They needed bands to sell vast quantities of albums, not release albums that would find favour with discerning music lovers. Maybe, if The Velvet Underground had known they were going to be dropped, they would’ve stuck to their musical principles? That wasn’t to be.
Instead, The Velvet Underground sacrificed their musical soul at the altar of populist music. John Cale couldn’t bear to watch this sacrifice, and walked away with his principles intact. Lou Reed desperate for the band he formed find commercial success as well as critical acclaim, played the game. After two albums of The Velvet Underground suppressing what they stood for musically, Lou Reed walked away.
He left behind one of the richest legacies for any group who only recorded four studio albums. Each is a classic. From The Velvet Underground and Nico to Loaded, each album features shamanistic performances from those musical shape shifters and high priests of music, The Velvet Underground.
THE VELVET UNDERGROUND-LOADED-LIMITED VINYL EDITION.
HEDVIG MOLLESTAD TRIO-BLACK STABAT MATER.
HEDVIG MOLLESTAD TRIO-BLACK STABAT MATER.
Just over two years ago, the Hedvig Mollestad Trio released their critically acclaimed and career defining third album Enfant Terrible. It was hailed as the finest album of the band’s five year career. That however, is until now.
Currently, the Hedvig Mollestad Trio are currently preparing to release their much anticipated fourth album Black Stabat Mater. It will be released by Rune Grammofon on the 1st of July 2016. This much anticipated album also marks the welcome return of Norwegian guitar virtuoso Hedvig Mollestad Thomassen. She founded the Hedvig Mollestad Trio back in 2009. However. story began in 1982.
That was when Hedvig Mollestad Thomassen was born in Ålesund, in Norway. Hedvig first picked up her mother’s much loved nylon strung acoustic guitar when she was just ten. This was the start of a lifelong love affair with the guitar.
Now just over twenty years later, and Hedvig is now one of Europe’s finest guitarists. Her style is best described as a fusion of rock and jazz. That was the music Hedvig discovered in her father’s record collection.
This music would go in to inspire Hedvig musically. Especially, a trio of guitarists from the golden age of rock. Jimi Hendrix, Jimmy Page of Led Zeppelin and Tony Iommi of Black Sabbath would all inspire the blistering, scorching licks Hedvig would go on to unleash. However, there’s more to Hedvig than.
Other times, Hedvig’s playing can be restrained, cerebral, disciplined and innovative. This has also lead to comparisons with the Mahavishnu Orchestra’s John McLaughlin, Carlos Santana and Pete Cosey, whose Hendrix-esque guitar playing graced Miles Davis’ band between 1973 and 1975. Hedvig Mollestad you’ll realise is no ordinary guitarist.
Far from it. Hedvig was already a talented, versatile and inventive guitarist when she enrolled at the Norwegian Academy of Music, in Oslo. By the time, Hedvig graduated from the Norwegian Academy of Music, another part of her musical education was complete.
By then, Hedvig was already playing in various bands, including Bronco Busters, Songs and Sweet Potatoes. However, in 2009, Hedvig decided to form her own band. Soon, the Hedvig Mollestad Trio bean to take shape later in 2009. Joining Hedvig, were bassist Ellen Brekken and drummer Ivar Loe Bjørnstad onboard. Before long, critical acclaim came the Hedvig Mollestad Trio’s way.
This came after the Hedvig Mollestad Trio played at the prestigious Molde International Jazz Festival. They won the award for the best “young jazz talent” of 2009. This lead to a tour of Norway in 2010. After this, the Hedvig Mollestad Trio recorded what became their debut album Shoot.
Shoot.
With their debut album complete, the Hedvig Mollestad Trio went looking for a record company willing to release Shoot. Their search was soon over when executives at Rune Grammofon heard Shoot. They signed the Hedvig Mollestad Trio. Since then, Rune Grammofon has been a musical home from home for the Hedvig Mollestad.
The Hedvig Mollestad Trio’s debut album Shoot as released on Rune Grammofon in 2011. Critical acclaim accompanied the release of Shoot. Critics were won over by the Hedvig Mollestad Trio’s unique fusion of rock and jazz. This was the start of the rise and rise of he Hedvig Mollestad Trio.
Following the release of Shoot, the Hedvig Mollestad Trio continued to tour extensively. They honed their sound by playing literally hundreds of concerts. Whether it was small jazz clubs or huge festivals including Øyafestival, Utkantfestival and Pstereo Festival they were familiar faces. Their sound was soon winning friends and influencing people.This was all good preparation for the recording of the Hedvig Mollestad Trio’s sophomore album, All Of Them Witches.
All Of Them Witches.
It wasn’t until 2013 when the Hedvig Mollestad Trio relaxed their sophomore album All Of Them Witches. Just like Shoot, widespread critical acclaim accompanied the release of All Of Them Witches. However, this time around, the Hedvig Mollestad Trio were nominated for, and won the Norwegian equivalent of a Grammy Award, in the rock category. The Hedvig Mollestad Trio were on their way.
Having won one of the most prestigious awards in their homeland, word was spreading about the Hedvig Mollestad Trio. This resulted in a second tour of Europe. Sweden, Denmark, Germany, Poland, Switzerland, France and Italy were introduced to the Hedvig Mollestad Trio. Then there were trips to Japan and Malaysia. During this period, critical acclaim was a constant companion for the Hedvig Mollestad Trio, who’d come a long way since they’d formed in 2009.
So had Hedvig. She’d come a long way since she received her first electric guitar as a confirmation present. Now she’s one of Europe’s top guitarists. In Decmeber 2013, she and the other two members of the Hedvig Mollestad Trio headed into the studio record their third album Enfant Terrible.
Enfant Terrible.
Recording of Enfant Terrible took place at Ocean Sound Recording. Enfant Terrible was recorded onto an eight track tape-machine. This was the old school way. It was also how the artists who influenced Hedvig had recorded their classic albums. Hedvig must have thought, if it was good enough for Black Sabbath, Led Zeppelin, Santana and Jimi Hendrix, it was good enough for the Hedvig Mollestad Trio.
This proved to be the case. When Enfant Terrible was released in May 2014, it was hailed as a career defining album from the Hedvig Mollestad Trio. They seamlessly shift between musical genres. Blues, jazz, psychedelia and rock were thrown into the mix by the Hedvig Mollestad Trio. The result was a critically acclaimed album of genre-melting music from the hard rocking Hedvig Mollestad Trio. Surpassing Enfant Terrible wasn’t going to be easy.
Since then, the Hedvig Mollestad Trio have continued to tour the world. The Hedvig Mollestad Trio’s have also written and recorded their fourth album Black Stabat Mater.
Black Stabat Mater.
For what eventually became Black Stabat Mater, the three members of the Hedvig Mollestad Trio penned five tracks. Two of these tracks,Approaching and In The Court Of The Trolls were written by the Hedvig Mollestad Trio. Hedvig wrote -40 and cowrote On Arrival with drummer Ivar Loe Bjørnstad. Bassist Ellen Brekken contributed Somebody Else Should Be On That Bus. These tracks were recorded in what were familiar surroundings.
Just like Enfant Terrible, recording of Black Stabat Mater was recorded live at Ocean Sound Recording. That was where guitarist Hedvig was joined by the rhythm section of drummer Ivar Loe Bjørnstad and bassist Ellen Brekken. Recording Black Stabat Mater was Henning Sworen. Then once the album was recorded, it was mixed by Johnny Skalleberg at Amper Tone Oslo, and mastered by Nick Terry. Only then, was Black Stabat Mater ready to release.
Opening Black Stabat Mater is Approaching, which literally bursts into life. Deliberate bursts of guitar reverberate, while rolls of drums and a bounding bass combine. As they drive the arrangement along, washes of Hedvig’s lysergic guitar shimmers across the arrangement. Already, Hedvig is deploying her effects. However, she uses them sparingly to create what’s an
impressive sound. So is the sound of Ivar Loe Bjørnstad’s thunderous drums. He combines raw power, speed and accuracy.
Not to be outdone, bassist Ellen Brekken matches Ivar every step of the way. By then, Hedvig is unleashes a series of searing, bristling and scorching licks, riffs and solos. They play their part in a hard rocking opus where the Hedvig Mollestad Trio fuse rock with elements of psychedelia and space rock.
Dramatic: describes the bursts of thunderous music that open On Arrival. As they dissipate, the arrangement buzzes, crackles and threatens to feedback. This adds to the moody, dark and dramatic backdrop. Surely it’s only a matter of time before the Hedvig Mollestad Trio kick loose? Still, though, buzzes and crackles are joined by the occasional howl of feedback. Drums pound and reverberate, before they eventually begin to power the arrangement along. Meanwhile, Hedvig adds effects to her guitar. Suddenly, the blistering, crystalline sound is transformed. It joins a bubbling bass and the relentless, driving drums. At last, The Hedvig Mollestad Trio are in full flight. Soon, they’re at their most inventive and innovative, fusing elements of avant-garde, improv and psychedelia with rock. The result is captivating and genre-melting soundscape that’s akin to a magical musical mystery tour.
From the opening bars of the über hard rocking In The Court Of The Trolls, the Hedvig Mollestad Trio are showcasing their considerable talents. Straight away, the rhythm section lock into a tight groove, as the scorching guitar cuts through the arrangement like a musical flamethrower. Soon, its crystalline sound, reverberates, rings and shimmers, as Hedvig deploys her effects. Again, it’s a case of less is more. Meanwhile drums pound and the bass buzzes. Later, Hedvig’s guitar continues to plays a starring role, as she unleashes a peerless performance. It’s her finest so far. This inspires the rhythm section who play with power and panache, before this eight minute epic reaches a glorious crescendo.
There’s a crackly sound to the introduction to -40. It disappears when Hedvig gently plays her guitar. It chimes and chirps, as the bass is played thoughtfully. This shows another side of the Hedvig Mollestad Trio. Despite this, there’s always the possibility that they’ll kick loose. Especially as a vortex of feedback makes its presence felt. Meanwhile, a cymbal rises, as the Hedvig Mollestad Trio replicate the sound of -40, and do so successfully. Suddenly, it’s as if the temperature has dropped on this captivating Nordic soundscape.
Somebody Else Should Be On That Bus closes Black Stabat Mater. This time around, bassist Ellen Brekken gets the chance to shine. For nearly a minute, it’s just the bass that plays. Then the drums are joined by a burst of feedback, before Hedvig unleashes another explosive, scorching riff. It cuts through the arrangement, while the bubbling bass keeps it company. As Hedvig wields her guitar, she combines raw power, speed and accuracy and occasionally, adds the occasional effect. Behind her, drums power and propel the hard rocking arrangement along. By then, the Hedvig Mollestad Trio are in full flight and are determined to close Black Stabat Mater on a high. This they do, on a track that brings back memories of the golden age of rock.
That is no surprise. Sometimes, the Hedvig Mollestad Trio sound as if they should’ve been around at the same time as Led Zeppelin, Black Sabbath and Jimi Hendrix. Sonically and stylistically, the Hedvig Mollestad Trio’s music is a reminder of the golden age of rock. Indeed, it is possible to imagine the Hedvig Mollestad Trio playing at the Whiskey A-Go-Go in Los Angeles or Fillmore East in New York. However, the similarities between some of the legends of music and the Hedvig Mollestad Trio is no coincidence.
Hedvig Mollestad Thomassen who founded the Hedvig Mollestad Trio in 2009, grew up listening to Led Zeppelin, Black Sabbath and Jimi Hendrix. Their influence can be heard throughout Black Stabat Mater. So can the influence of early Hawkwind, Cream, Santana and West, Bruce and Laing. Closer to home, one can’t help but wonder whether Moster! and Motorpsycho have influenced the Hedvig Mollestad Trio? These bands have a similar genre-melting sound to the Hedvig Mollestad Trio.
To create this genre-melting sound, the Hedvig Mollestad Trio fuse elements of rock, psychedelia and space rock with avant-garde, improv and jazz. Sometimes, the Hedvig Mollestad Trio seamlessly switch between musical genres mid track. Other times, these disparate genres melt into one on Black Stabat Mater. Occasionally, the Hedvig Mollestad Trio spring a series of surprises, and take the listener on a magical mystery tour. Mostly, though, Black Stabat Mater is an album of über hard rocking music. Don’t get this critic wrong. Black Stabat Mater isn’t just any album of hard rocking music.
No way. Instead, Black Stabat Mater is an album that surpasses each of the Hedvig Mollestad Trio three previous albums. This includes Enfant Terrible, which was heralded as the finest album of the Hedvig Mollestad Trio’s career. That was until now, and the release of Black Stabat Mater by Rune Grammofon on the 1st of July 2016. Black Stabat Mater features the hard rocking Hedvig Mollestad Trio return with a genre-melting opus, that brings back memories of the golden age of rock.
HEDVIG MOLLESTAD TRIO-BLACK STABAT MATER.
GARY BURTON-SOMETHING’S COMING!, THE GROOVY SOUND OF MUSIC AND THE TIME MACHINE.
GARY BURTON-SOMETHING’S COMING!, THE GROOVY SOUND OF MUSIC AND THE TIME MACHINE.
Growing up in Anderson, Indiana, Gary Burton was regarded as a child prodigy. He became interested in music when he was just six. That was when Gary Burton first began to play the vibraphone and marimba. Mostly, Gary was self taught, and eventually pioneered the four-mallet technique.
This was very different to the technique and sound produced by other vibes’ players. Gary’s put his four-mallet technique to good use when he discovered jazz in his early teens. This was the start of a lifelong love affair.
By the time he was sixteen, Gary began to play the piano. This would eventually lead to him choosing between vibes and piano. That was in the future. Before that, seventeen year old Gary left high school in Princeton, Indiana. Next stop for Gary was Berklee College of Music.
Between 1960 and 1961, Gary Burton attended this prestigious institution. When Gary left Berklee College of Music in 1961, his recording career was about to begin.
New Vibe Man in Town.
Having signed to RCA, New Vibe Man in Town was released to critical acclaim in 1961. Critics heralded the arrival of this prodigious talent. He had settled into the role of bandleader, and wasn’t overawed by the more experienced members of his trio. A great future was forecast for Gary Burton.
Who Is Gary Burton?
A year later, and Gary Burton returned with his sophomore album Who Is Gary Burton? This time, the young bandleader was leading septet of experienced musicians. Only drummer Joe Morello returned from Gary’s debut album. The seven tracks had been recorded on September 14th and 15th 1962. Who Is Gary Burton? was released later in 1962.
With Gary at the helm, his septet produced an effortless set. Critics remarked upon the standard and quality of his playing. Gary was akin to a master craftsman as he pioneered the four-mallet technique on a set that eschewed the predictable. Gary, critics remarked, was a rising star of the jazz scene. So it was no surprise when he began to catch the attention of some of the biggest names in jazz.
This included George Shearing, who Gary was invited to tour with during 1963. Gary played on George Shearing’s American and Japanese tours. However, still, Gary found time to release his third album, Something’s Coming. It’s recently been released alongside The Groovy Sound Of Music and The Time Machine as a remastered two CD set by BGO Records. These three albums are the perfect introduction to Gary Burton as his sound evolves.
Something’s Coming!
Touring America and Japan with George Shearing had proved a valuable musical lesson. Working with such experienced musicians night after night allowed Gary to gain vital experience. Gary watched how George Shearing lead a top class band. Although Gary was the youngest member of George Shearing’s band he was there on merit. While he was only twenty, he had already, had released two albums. Soon, two became three when George began work on Something’s Coming!
For Something’s Coming!, Gary chose seven tracks. This included some familiar standards, including Rogers and Hart’s Little Blue Girl; Leonard Bernstein and Stephen Sondheim’s Something’s Coming; George Gershwin and DuBose Heyward’s Summertime and Bronisłau Kaper and Ned Washington’s On Green Dolphin Street. Gary also covered Michael Gibbs’ Melanie and Six Improvisational Sketches. The other track that was chosen was Careful, a song penned by Gary’s guitarist Jim Hall. These seven tracks were recorded by a quartet.
Recording of Something’s Coming! took place at RCA Victor’s Studio B in New York City on August 14th-16th 1963. Producing Something’s Coming was George Avakian. Gary played vibes, while the rhythm section featured drummer Larry Bunker, bassist Chuck Israels and guitarist Jim Hall. After recording of Something’s Coming was complete, Jim Hall would play an important part in Gary’s future career.
Sometimes, though, Gary was wracked with self doubt. During these periods, Gary wondered whether the vibes was the right instrument for him? He wondered: was it too obscure an instrument? Maybe people wouldn’t like the sound of the vibes? What if it wasn’t popular, and there was no call for a vibes player? All these thoughts crossed Gary’s mind. So much so, that he began to consider switching instrument.
Gary wondered should he switch to the marimba, or even the piano? Although he had only been playing the piano since he was sixteen, he was already a talented player. The marimba he had playing since he was six. Seamlessly, Gary could believed he was good enough to switch from vibes to marimba or piano. With Gary wracked with self doubt,it was guitarist Jim Hall who put his mind at ease.
Jim Hall who had befriended Gary upon his arrival in New York. He realised that his friend was having a crisis of confidence. His advice was to stop fretting about the instrument and focus on the music. That was what was important. With that in mind, Gary was able to concentrate on the release of Something’s Coming.
The release of Something’s Coming was scheduled for 1963. Before that, critics had their say on the album. Critics were impressed by how Gary Burton had developed. It seemed that with each album, he grew into the role of bandleader. So it was no surprise when critical acclaim accompanied the release of Something’s Coming. It would showcase Gary’s new band. This time around, his band had been scaled back to a quartet. They would prove the perfect foil to Gary.
Having decided to record the album as a quartet, it was just the rhythm section and guitarist Jim Hall that accompanied Gary. They earn their corn from the opening track, On Green Dolphin Street. Here, Gary’s twinkling, glistening vibes dance above the driving, swinging arrangement. This gives way to the beautiful understated balladry of Melanie. Then the Jim Hall penned Careful allows Gary’s vibes and Jim’s guitar to unite and play as one. As they play leading roles, the rhythm section add a slow, swinging and spacious backdrop. It combines elements of the cool school and cocktail jazz. However, it’s Jim’s guitar that steals the show. From there, Six Improvisatory Sketches showcases a much more abstract sound, before it’s all change.
Gradually, Something’s Coming! from West Side Story begins to reveal its secrets. Soon, the quartet kick loose, as Jim Hall and Gary play starring roles, as the arrangement swings. After this, the quartet play with a fluidity and inventiveness as they cover of Little Girl Blue. It features some of the finest solos on the album. Summertime which closes Something’s Coming is reinvented as a mid-tempo track, where the quartet breeze through this oft-covered track, and in the process, breath new life to a classic.
After the success of his third album Something’s Coming, and with his self doubt banished, a new chapter was about to unfold in the Gary Burton story. He was asked to join Stan Getz’s band, and between 1964 and 1966, toured with his band. However, Gary didn’t sacrifice his solo career, and released his fourth solo album The Groovy Sound Of Music in 1965.
The Groovy Sound Of Music.
Having spent much of 1964 touring with Stan Getz, Gary Burton returned to the studio in December 21st and 22nd 1964. Over two days, Gary and his band recorded eight songs from the Broadway play The Sound Of Music. They were given a moderne makeover by Gary’s septet.
For the recording of The Groovy Sound Of Music RCA Victor’s Studio A in New York was booked for December 21st and 22nd 1964. Gary’s band featured a rhythm section of drummers Joe Hunt and Ed Shaughnessy; bassist Steve Swallow and guitarist Joe Puma. They were joined by Bob Brookmeyer on valve trombone and Phil Woods on alto saxophone and clarinet. As usual, Gary played vibes and arranged three of the eight tracks. With the studio only booked for two days, and Christmas fast approaching, The Groovy Sound Of Music was recorded quickly. The release was scheduled for 1965.
Onlookers thought that The Groovy Sound Of Music was Gary’s homage to Rogers and Hammerstein. He had covered their songs before. However, Gary had never released an album of Rogers and Hammerstein’s music. That was until 1965. However, there was another reason for the release of The Groovy Sound Of Music.
In March 1965, the film version of The Sound Of Music was due to be released. RCA had been entrusted to record and release the soundtrack to The Sound Of Music. As part of the agreement struck with Richard Rogers, RCA would encourage other artists to record other versions of The Sound Of Music. This would make the venture even more profitable for Rogers and Hammerstein. One of the artists approached to record a version of The Sound Of Music was Gary Burton. He knew that other jazz musicians had enjoyed commercial success by covering Broadway musicals, so decided to record what became The Groovy Sound Of Music.
Prior to the release of The Groovy Sound Of Music, critics received an advance copy of the album. They were impressed as the tight, talented septet reinterpreted the eight songs from The Sound Of Music. Never had they sounded like this. Suddenly, Rogers and Hammerstein’s The Sound Of Music was hip among the jazz fraternity.
From the jazzy, gently swinging reinvention of Climb Every Mountain, The Groovy Sound Of Music reinvents eight familiar songs from the Rogers and Hammerstein songbook. They take on new meaning. Especially the mid-tempo version of Maria, where Gary’s glistening vibes combine with the horns. Then An Ordinary Couple is reinvented, when a bossa nova beat underpins an arrangement that where flutes and cellos play starring roles. After this, there’s two excursions into modal jazz.
After this, Gary decided to include a version My Favourite Things. That’s despite John Coltrane recording the definitive version. However, while the tempo is similar, Gary doesn’t try and compete. Instead, he takes the track in a different direction. His modal version veers between thoughtful to joyous, as it later breezes along showing a new side to this oft-covered track. Sixteen Going On Seventeen is also given a modal makeover. It oscillates and breezes along, and is a truly irresistible reinvention that takes the track in a new direction. The same can be said of Do-Re-Mi scampers along playfully. Then it is time for a masterclass from Gary.
This takes place on Edelweiss, which is the perfect showcase for Gary’s four-mallet technique. Closing The Groovy Sound Of Music is The Sound Of Music. Here a bossa nova beat underpins the lush strings and woodwind that accompany Gary’s twinkling vibes. It’s a case of saving one of the best until last.
When The Sound Of Music was released in March 1965, it became one of the most popular films of the sixties. The soundtrack reached number one in America and Britain. In Britain The Sound Of Music was the second biggest-selling of the sixties. Alas, Gary Burton’s The Groovy Sound Sound Of Music never came close to replicating the success of the soundtrack. However, The Groovy Sound Sound Of Music introduced Gary’s music to a wider audience. This bode well for the future.
The Time Machine.
After releasing The Groovy Sound Sound Of Music in 1965, Gary spent much of 1965 touring with Stan Getz. It wasn’t until April the 5th and 6th that Gary found time to return to RCA Victor’s Studio B in New York. That was where ten tracks that became The Time Machine were recorded.
For The Time Machine, Gary Burton had written four tracks; The Sunset Bell, Six-Nix, Quix, Flix, Interim I and Interim II. There were also two tracks penned by Michael Gibbs, Childhood and Deluge; while bassist Gary Swallow contributed Falling Grace. Other tracks included Lennon and McCartney’s Norwegian Wood; Antonio Carlos Jobim and Vinicius De Moraes’s Chega De Suadade (No More Blues) and Rogers and Hart’s My Funny Valentine. These tracks were recorded by Gary’s slimmed down band.
Just a rhythm section of drummer Larry Bunker and bassist Gary Swallow accompanied Gary during the recording of The Time Machine. These sessions were produced by Brad McCuen. Once the rhythm tracks and Gary’s vibes were laid down, Gary overdubbed piano and marimbas. Only then was The Time Machine complete.
Before The Time Machine was released in 1966, critics had their say on Gary Burton’s sixth album. They noted the addition of the marimba and piano, which added a new dimension. Still there was considerable interplay between Gary and his rhythm section. However, it was as if Gary was keen to move his music in a new direction, and The Time Machine was the start of this.
The four new tracks penned by Gary hinted at this. Six-Nix, Quix, Flix, Interim I and Interim II were just short tracks, but gave a tantalising taste of what was to come from Gary Burton. Especially Interim parts I and II. The Sunset Bell however, was one of the highlights of The Time Machine. It’s not alone.
So is the cover of Chega De Suadade (No More Blues). The meandering, wistful take of breathes new life into Norwegian Wood. Meanwhile Michael Gibbs’ Childhood and Deluge are the perfect platform for Gary Burton. Both tracks allow Gary to express himself.The same can be said of Falling Grace which Gary’s bassist Gary Swallow contributed. It allows Gary and the his band to stretch their legs. My Funny Valentine which closes The Time Machine, takes on an almost ruminative sound. Again, it’s a case of a familiar song taking on new meaning.
Already, Gary Burton had plenty of experience reinventing familiar tracks. The Time Machine was his sixth album, and Gary was still only twenty-three. He had released six albums since his eighteenth birthday. Each of these albums saw Gary’s sound evolving and changing. By the time Gary released The Time Machine, he was experimenting with overdubbing. This allowed him to layer instruments, and resulted in a much more dense sound. Still, though, his vibes glistened and sparkled. Sometimes, though they had company, with the marimba and piano being overdubbed. This added a new dimension to Gary’s music.
Throughout his career, Gary Burton’s music would continue to evolve. He would later pioneer fusion, and would help popularise the duet in jazz. Gary Burton it seemed, was not willing to accept the status quo. He was a realist, and knew that unless jazz evolved, it risked becoming irrelevant. Especially since pop and rock were overtaking jazz in the popularity stakes. If jazz musicians weren’t careful, then jazz risked following in the footsteps of the blues. By 1966, it was fast becoming irrelevant, despite the best efforts of the British Invasion groups to give the blues a boost. There was no way Gary wasn’t going to stand back and watch the same thing happen to jazz.
That didn’t happened, and Gary Burton went on enjoy a long and successful career. His recording career continued until recently. This means that Gary’s career has spanned five decades and over fifty years. That’s pretty good for a musician who was full of self doubt after recording Something’s Coming! It’s recently been released alongside The Groovy Sound Of Music and The Time Machine as a remastered two CD set by BGO Records. The sound quality is stunning on this three album set. They’re the perfect introduction to jazz prodigy and pioneer Gary Burton as his sound evolves during the early years of his long and illustrious career.
GARY BURTON-SOMETHING’S COMING!, THE GROOVY SOUND OF MUSIC AND THE TIME MACHINE.
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