BLUESIN’ BY THE BAYOU-I’M NOT JIVIN’.
BLUESIN’ BY THE BAYOU-I’M NOT JIVIN’.
It’s no exaggeration to describe Louisiana as a musical hotbed. For over a century, it has given the world blues, cajun, creole, Dixieland, swamp pop and zydeco. That’s not all. Many blues, country, jazz and rock artists were born and bred in Louisiana. Despite its enviable musical pedigree, for too long, Louisiana was overlooked by compilers.
Instead, compilers headed to Chicago, Detroit, Nashville, New York and Philly. They became favourite destinations for compilers of blues, country, R&B and soul compilations. Gradually, though, compilers realised that across America, there was a treasure trove of musical awaiting discovery.
Soon, compilers were searching from states and cities across America. However, still, Louisiana was being overlooked by compilers. That’s despite having a treasure trove of musical delights awaiting discovery. Fortunately, Ian Saddler was about introduce the wider world to the Louisiana’s musical heritage.
Over the last few years, Ian Saddler has compiled thirteen volumes of his By The Bayou series for Ace Records. His latest compilation is Bluesin’ By The Bayou-I’m Not Jivin’. It’s the third compilation of Louisiana blues, and comes complete with side serving of zydeco. There’s contributions from Henry Gray, Lightnin’ Slim, Slim Harpo, Lazy Lester, Lonesome Sundown, Boozoo Chavis, Blue Charlie Morris, Jimmy Anderson, Chris Kenner and Johnny Sonnier. Many of these artists will be familiar to veterans of the By The Bayou series. However, there’s also a few surprises in store, with rarities and unreleased tracks featuring on Bluesin’ By The Bayou-I’m Not Jivin’. So without further ado, let’s see what Bluesin’ By The Bayou-I’m Not Jivin’ has in store?
Blues man Henry Gray opens Bluesin’ By The Bayou-I’m Not Jivin’ with I’m A Lucky Man. This was a track that was recorded in 1970 at JD Miller’s studio. By then, Henry Grey was forty-five, and a part-time musician. It hadn’t always been like this.
After leaving the US Army in the early fifties, Henry Grey settled in Chicago, which was then the blues capital of America. That was where he met Big Maceo Merriweather, who introduced Henry to other blues musicians. By 1956, Henry became Howlin’ Wolf’s pianist, accompanied the legendary blues man for the next twelve years. However, when Henry’s father died he had to return home to Alsen, to help run the family business. So during the week, Henry worked as a roofer, and played the blues at the weekend. Occasionally, Henry recorded a few tracks, including I’m A Lucky Man and Cold Chills, which made its debut on the 1985 compilation Louisiana Swamp Blues Volume 2. Both tracks showcase a hugely talented pianist and singer, whose one of the blues’ best kept secrets.
Otis Hicks was christened Otis Hicks. However, when JD Miller heard him play guitar, Lightnin’ Slim was born. He went on to become one of the best blues guitarists of his generation. That’s why he’s featured on several volumes of the Bluesin’ By The Bayou series. This time around, his contribution is a previously unreleased alternate take of Miss Fannie Brown. It’s a reminder of one the great blues guitarists in his prime, while he delivers a vocal that’s laden in innuendo. Adding the finishing touch to the track is a harmonica that’s probably played by his brother-in-law Slim Harpo. They often worked together, and formed a potent partnership.
When blues aficionados talk about harmonica players, Slim Harpo’s name is sure to come up. He’s regarded as one of the best. So it’s fitting that he features twice times on Bluesin’ By The Bayou-I’m Not Jivin’. His first contribution is Things Gonna Change, a slow, moody blues which features a hurt filled vocal and a masterclass on harmonica. Things Gonna Change made its debut on Flyright Records’ 1976 compilation Slim Harpo Knew The Blues.
Slim Harpo’s second contribution is his 1972 single Wild About My Baby. It was released on JD Miller’s Blues Unlimited label, and is the perfect showcase for Slim’s harmonica. As the song bursts into life, Slim’s harmonica drives the arrangement along. That’s until a lovestruck Slim confesses I’m “Wild About My Baby.” It’s another reminder of one of the great blues harmonica players.
Another great harmonica player is Lazy Lester, who also contributes two tracks to Bluesin’ By The Bayou-I’m Not Jivin’. His first contribution is an unreleased take of I Told My Little Woman, which Lazy Lester recorded for Excello. It’s a tale of heartbreak where Lazy Lester sounds as if he’s lived and survived the lyrics. The same can be said of Patrol Wagon, which originally, featured on Poor Boy Blues, a compilation of Lazy Lester’s music released in 1979, by Flyright Records.
Guitarist Lonesome Sundown is another veteran of the By The Bayou series. His recording career began in the mid-fifties, but by 1969 Lonesome Sundown was signed to Excello and working with legendary Louisiana producer JD Miller. They cut I’m A Mojo Man, which originally, featured on his 1969 eponymous debut album. Seven years later, in 1976, Flyright Records released Bought Me A Ticket, a compilation of tracks that Lonesome Sundown recorded with JD Miller. Another of the tracks on Bought Me A Ticket was No Use To Worry. This is another tale of betrayal. With a slow, moody arrangement it’s a song that epitomises everything that’s good about the blues.
Nowadays, Boozoo Chavis is regarded as one of the founding fathers of zydeco.This was a genre of music created by French speaking Creoles in South-West Louisiana. Boozoo Chavis’ career began in 1954, when he sang and played his accordion. Right up until his death in 2001, aged seventy-six, Boozoo Chavis was playing live. He also enjoyed a successful recording career.
In 1955, Boozoo Chavis released Forty-One Days as a single on the Folk-Star label. Tucked away on the B-Side, was the ballad Bye Bye Catin. It features Boozoo Chavis as his career is about to blossom. The other track, Oh Yeah She’s Gone, is from much later in Boozoo Chavis career. Originally, it was recorded for Flyright Records, but was never released. That’s a great shame, as it showcases a charismatic and confident performer who thoroughly enjoys making music,
When Wayne Shuler first heard Elton Anderson play in 1958, he was a member of the Sid Lawrence band. Wayne arranged for Elton Anderson to record at his father’s studio. Wayne’s father was none other than producer Eddie Shuler, a legendary figure in the Louisiana music scene.
At Eddie Shuler’s studio, guitarist Elton Anderson recorded Shed So Many Tears and Roll On Train. They were leased to the Vin label, and marked the start of Elton Anderson’s career. He went on to release a string of singles. Sadly, none of them were particularly successful. However, not everything Elton Anderson recorded were released. Neither, I Want To Talk To You (Baby) nor Prove Me Guilty were released, and make a welcome debut on Bluesin’ By The Bayou-I’m Not Jivin’. They’re the perfect introduction to another artist who never enjoyed the success his talent deserved…Elton Anderson.
Music was in the Garlow family’s blood. Clarence Garlow’s father had been a musician. So it was no surprise when Clarence Garlow followed in his father’s footsteps. By 1955, Clarence Garlow was about to release I Feel Like Calling You on the Folk-Star label. It’s slow and sultry with a needy vocal. Sadly, I Feel Like Calling You wasn’t a commercial success, and by 1956 Clarence called time on his recording career. He continued to play live, and divided his time between playing live and DJ-ing. By the early sixties, Clarence decided to concentrate on DJ-ing, and turned his back on playing live. However, I Feel Like Calling You is a reminder of another charismatic and talented artist, Clarence Garlow.
Clifton Chenier is another artist who pioneered zydeco. Just like Boozoo Chavis, Clifton Chenier played accordion and sang. His first contribution is Everybody Calls Me Crazy, a previously unreleased track. Night And Day My Love featured on Zydeco Blues, a compilation released in 1976 by Fylright Records. It’s a track where the blues influence in zydeco shines through. As a result, it’s a track could’ve only been recorded in one state..Louisiana.
The artist that closes Bluesin’ By The Bayou-I’m Not Jivin’, is harmonica player Jimmy Anderson. He worked extensively with producer JD Miller, and produced Baby Let’s Burn and Frankie And Johnny. Both tracks featured on Flyright Records’ 1988 Baton Rouge Harmonica compilation. For many people, this compilation introduced them to Jimmy Anderson. Hopefully, Bluesin’ By The Bayou-I’m Not Jivin’ introduces a new generation to Jimmy Anderson, and all the artists on the compilation.
The twenty-eight tracks on Bluesin’ By The Bayou-I’m Not Jivin’ are a tantalising taste of Louisiana’s rich musical heritage. Just like previous volumes in By The Bayou series, familiar faces from previous volumes of the By The Bayou series sit next to newcomers. Similarly, singles, album tracks, unreleased tracks and hidden gems rub shoulders on Bluesin’ By The Bayou-I’m Not Jivin’. They’ve all one thing in common, their quality.
From the first volume in the By The Bayou series, Ian Saddler has dug deeper than previous compilers. This has paid off. Now the By The Bayou series is one of Ace Records’ longest running and most successful series. When Bluesin’ By The Bayou-I’m Not Jivin’ was recently released by Ace Records, it became the thirteenth instalment in the series. Given the quality of music on Bluesin’ By The Bayou-I’m Not Jivin’, that’s not surprising. It’s one of the best instalments in this long running and successful series. If Ian Saddler continues to find music of the quality of that on Bluesin’ By The Bayou-I’m Not Jivin’, then the By The Bayou series looks like it’ll run and run. Let’s hope so
BLUESIN’ BY THE BAYOU-I’M NOTJIVIN’.
NICOLETTE LARSON-NICOLETTE/IN THE NICK OF TIME/RADIOLAND.
NICOLETTE LARSON-NICOLETTE/IN THE NICK OF TIME/RADIOLAND.
Although Nicolette Larson was born in Helena, Montana in 1952, growing up, she led something of a nomadic existence. This couldn’t be helped. Her father worked for the US Treasury, and was often transferred to other towns and cities. By the time Nicolette graduated high school, the Larson family were living in Kansas City, Missouri. Next stop for Nicolette was the University Of Missouri.
Nicolette time at the University Of Missouri was short. She spent only three semesters at University before deciding academia wasn’t for her. Instead, Nicolette and took a variety of dead end jobs. She waited tables and experienced the nine to five drudgery of working in an office. Eventually, Nicolette Larson decided to follow her dream, and pursue a career in music.
This took time, determination and persistence and dogged determination. However, in 1978 Nicolette Larson released her debut album Nicolette on Warner Bros. Along with 1979s In The Nick Of Time and 1980s Radioland, these three albums have been reissued by BGO Records as a newly remastered double album. They’re a fitting reminder of a truly talented artist, Nicolette Larson.
Having decided to embark upon a career in music, Nicolette Larson moved from Missouri. Eventually, she settled in San Francisco, which had a thriving music scene. That had been the case since the birth of rock ’n’ roll. Nicolette’s first job in San Francisco, was in one of the city’s many record stores. In her spare time, Nicolette volunteered at the Golden Gate Country Bluegrass Festival.
As she watched the artists perform at the Golden Gate Country Bluegrass Festival, Nicolette became even more determined to become a singer. So much so, that she was willing to travel to Canada to make her debut opening for vocalist Eric Anderson in Vancouver, British Columbia. Buoyed by having made her professional debut as a singer, Nicolette returned home, and began looking for work as a singer.
Fortunately, Hoyt Axton was looking for backing singers to join his band, Hoyt Axton and The Bananna Band. They were due to open for Joan Baez on her 1975 Diamonds and Rust tour. Nicolette passed the audition, and joined the tour. However, in 1975, Hoyt Axton was also producing country rock band Commander Cody and His Lost Planet Airmen’s album Tales From The Ozone. He was looking for singers to add backing vocals.
Nicolette and Guthrie Thomas fitted the bill, and they both made her debut on Tales From The Ozone. It was released in 1975, and was just the first of a number of artists Nicolette Larson worked with. Often Nicolette worked with Guthrie Thomas, other times she worked alone.
Having worked with Hoyt Axton and Guy Clark in 1976, soon word was spreading about this new backing vocalist Nicolette Larson. She worked with Billy Joe Shaver, Gary Stewart, Jesse Colin Young, Jesse Winchester Mary Kay Place and Rodney Crowell. Nicolette recorded another album with Commander Cody and His Lost Planet Airmen. However, in 1977 Nicolette got the opportunity to work with two of the biggest names in music.
The first was Grammy Award winning singer-songwriter Emmylou Harris. She was about to record her 1977 album Luxury Liner, and brought Nicolette onboard to sing backing vocals. Her finest moment on the album was Hello Stranger, where Nicolette features prominently and plays a starring role. During the recording sessions for Luxury Liner, Nicolette met Linda Ronstadt and the two women became firm friends. This resulted in Nicolette getting the opportunity of a lifetime.
One day, Neil Young phoned Linda Ronstadt to ask if she could recommend a female vocalist to sing on what became his American Stars ’N’ Bars album. Little did Linda Ronstadt know, that she was the third person Neil Young had asked that question. Just like the first two, Linda Ronstadt replied “Nicolette Larson.” That made Neil Young’s mind up, and Nicolette Larson got the call to head to his ranch and cut vocals for American Stars ’N’ Bars.
Joining Nicolette Larson for the American Stars ’N’ Bars’ sessions, was Linda Ronstadt. They harmonised, while Neil Young laid down the vocals and played guitar. However, when Stars ’N’ Bars was released, Nicolette and Linda Ronstadt were billed as The Bullets. Only one of The Bullets would feature on Neil Young’s next album.
In November 1977, Neil Young was recording Comes A Time in Nashville. Nicolette was asked to join what was an all-star cast. She contributed harmonies on eight of the ten tracks. Comes A Time was released in October 1978, and would play an important part in Nicolette’s future.
Before that, Nicolette continued to work as a backing vocalist. 1978 started well for Nicolette, when Emmylou Harris’ Quarter Moon in a Ten Cent Town album reached number three in the US Billboard 100, and was certified gold. Nicolette also added harmonies to albums by Marcia Ball, Norton Buffalo and Rodney Crowell. Neil Young’s Comes A Time was released in October 1978. However, the most successful album Nicolette worked on was The Doobie Brothers’ Minute By Minute. She had added harmonies on two tracks. These tracks were part of a number one album that was certified triple platinum and won four Grammy Awards. However, by the time Minute By Minute was released on 1st December 1978, Nicolette Larson’s career had begun.
By then, Nicolette Larson had signed to the country division of Warner Bros. Nicolette only came to the attention of the executives at Warner Bros. after she had worked with Commander Cody and His Lost Planet Airmen and Neil Young. However, once they realised that Nicolette Larson was a talented artist with huge potential, Warner Bros. wasted no time in signing her to their country division. They then paired Nicolette Larson with a top producer Ted Templeman.
Nicolette Larson had worked with Ted Templeman before, on The Doobie Brothers’ album Little By Little. He was already one of the most successful producers of the late-sixties and seventies. He had worked with Van Morrison, Little Feat, The Doobie Brothers, Captain Beefheart, Montrose, The Beau Brummels and Carly Simon. Ted Templeman next assignment was producing Nicolette Larson’s debut album Nicolette.
Nicolette.
Having signed to Warner Bros, work began on Nicolette Larson’s debut album Nicolette. The ten tracks that were chosen for the album, were all cover versions. Nicolette Larson wasn’t known as a songwriter. So it was a case of choosing songs that would suit Nicolette’s voice.
This included Neil Young’s Lotta Love; Jesse Winchester’s Rhumba Girl; Sam Cooke’s You Send Me; Lauren Wood’s Can’t Get Away From You; Bill Payne’s Give a Little; Adam Mitchell’s French Waltz and Bob McDill’s Come Early Mornin’. Other tracks included Bob Hillard and Burt Bacharach; Holland, Dozier, Holland’s Baby Don’t You Do It and Ira and Adam Louvin’s Angels Rejoiced. Closing Nicolette would be a cover of Last in Love penned by Gren Frey and J.D. Souther. These tracks were recorded with an all-star band.
When it came to recording Nicolette, a huge cast of musicians and backing vocalists were involved in the recording. This included musicians who Nicolette had previously worked with. Both Linda Rondstadt and Michael McDonald added backing vocals on Nicolette. Meanwhile, members of two the most successful bands of the seventies made guest appearances.
Little Feat had been one of the biggest names in Southern Rock during the seventies. Despite this, their guitarists Paul Barrere and Fred Tackett plus keyboardist Bill Payne found time to play on Nicolette. So did The Doobie Brothers’ guitarist Patrick Simmons was joined by their live drummer Bobby LaKind. Eddie Van Halen even laid down a guitar solo on Can’t Get Away From You. Other musicians included bassist Klaus Voormann; guitarists Herb Pedersen and Memphis Horns’ saxophonist Andrew Love. He was part of the horn section, while Jimmie Haskell arranged the strings. Ted Templeman took charge of production, and Nicolette was completed in plenty of time to be released in the autumn of 1978.
The release of Nicolette was scheduled for September 29th 1978. Before that, critics had their say on Nicolette. The reviews of Nicolette were all positive, with Nicolette Larson’s blend of pop, rock, soul, country and folk proving popular amongst critics. Critical acclaim accompanied the release of Nicolette.
It reached number fifteen in the US Billboard 200 and number one in the Canadian charts. This resulted in gold discs in America and Canada. That wasn’t the end of the commercial success.
Lotta Love reached number eight on the US Billboard 100 and number one on the US Billboard’s Adult Contemporary chart. Across the border in Canada, Lotta Love reached number four, and number one in the Adult Contemporary chart. The followup to Lotta Love, Rhumba Girl reached forty-seven in the US Billboard 100 and thirty-eight on the US Billboard’s Adult Contemporary chart. In Canada, Rhumba Girl reached fifteen and number four in the Adult Contemporary charts. The final single from Nicolette, Give A Little reached number nineteen in the US Billboard’s Adult Contemporary charts, For Nicolette Larson, a gold certified album and three hit singles proved the perfect start to her solo career. Looking back, that’s no surprise.
Nicolette featured a carefully considered selection of songs. This was the case from Nicolette’s folk rock take on Lotta Love, via her country-tinged cover of Rhumba Girl to the needy, soulful version of You Send Me. Can’t Get Away From You with its gospel tinged harmonies allows Nicolette to cut loose, and showcase her versatility. Mexican Divorce then becomes a wistful country ballad. Holland, Dozier, Holland’s Baby, Don’t You Do It is totally transformed, and takes on a much more grownup, sultry sound. After this, it’s all change.
One of the most beautiful songs is Give A Little, which us A.O.R. ballad. This reinforces Nicolette’s versatility. She seems equally comfortable singing A.O.R. as she does country, folk, pop and rock. Not many artists were as versatile. Proof of this is Angels Rejoiced, with its authentic country sound, where Nicolette’s vocal takes centre-stage. French Waltz is another tender ballad, which just like Angels Rejoiced, has a slow, understated arrangement. Nicolette seamlessly switches between English and French as she delivers the lyrics. The final song on Nicolette was Last In Love, another heart-wrenching ballad. Nicolette’s vocal is akin to a confessional, as strings and a piano accompany her. It’s a beautiful and moving song, that whets the listener’s appetite for her sophomore album.
In The Nick Of Time.
For In The Nick Of Time, Ted Templeman returned to produce the album. Ten tracks were chosen, including Just in the Nick of Time which Nicolette cowrote with Ted Templeman and Lauren Wood. She had contributed Can’t Get Away from You to Nicolette. This time around, two more of her compositions, Breaking Too Many Hearts and Fallen featured on In The Nick Of Time. Making a reappearance were Holland, Dozier, Holland, with Back in My Arms. The rest of the tracks were also from talented songwriters.
Lieber and Stoller cowrote Dancin’ Jones with John Sembello and Ralph Dino.. Michael McDonald and B.J. Cook Foster cowrote Let Me Go, Love; while Richard Torrance, John Haeny penned Rio de Janeiro Blue. Other tracks Bobby Troup’s Daddy; Karla Bonoff’s Isn’t It Always Love and Lowell George’s Trouble. Just like Nicolette, In The Nick Of Time featured a band featuring some top musicians.
At the core of Nicolette’s band for the recording of In The Nick Of Time, were Little Feat’s guitarist Paul Barrere and keyboardist Bill Payne. They were joined by The Doobie Brothers’ live drummer Bobby LaKind, who added percussion. Making guest appearances were The Memphis Horns; guitarist Ronnie Montrose; keyboardist Van Dyke Parks and Michael McDonald who duetted with Nicolette on Let Me Go, Love. This glittering array of musical talent joined Nicolette and producer Ted Templeman in recording In The Nick Of Time. However, could and would it match the commercial success and critical acclaim of Nicolette?
That was never going to be easy. Nicolette had received critically acclaimed reviews, and was certified gold. Throughout Nicolette, her enthusiasm is infectious. It was as if she was determined to grasp this opportunity with both hands. That was the case, as she brought each song to life, breathing meaning into the lyrics. However, the reviews of In The Nick Of Time weren’t as positive.
Partly, this was because music was changing, and so were the critics. A new breed of cynical, gunslinger critics turned their guns on any type of music that was remotely establishment sounding. This included progressive rock, classic rock and even singer-songwriters like Nicolette Larson. Many albums didn’t stand a chance, and weren’t judged on their merits. Instead, the critic’s prejudice affected their judgement. However, the reviews didn’t bode well for the release of In The Nick Of Time.
On the release of In The Nick Of Time, the album stalled at forty-seven in the US Billboard 200, and seventy-one in Canada. There were no gold discs this time around. Neither the lead single Dancin’ Jones nor Back in My Arms charted. It was a disappointing time for Nicolette. However, was In The Nick Of Time was an album that deserved to fare much better?
Dancin’ Jones opens In The Nick Of Time, is an uptempo dance track, that comes complete with rasping horns. Despite being very different from the music on her debut album, Nicolette embraces this stylistic change and does so with aplomb. She does so on Just In The Nick Of Time, another dance track where Nicolette becomes a strutting diva. That however, isn’t the end of the dance tracks. Breaking Too Many Hearts and Back In My Arms are both soulful dance tracks. With gospel tinged harmonies for company, Nicolette continues to embrace this new dance-floor friendly sound. However, this new sound tells only part of the story of In The Nick Of Time.
Michael McDonald joins Nicolette on the ballad Let Me Go, Love. The pair duet on what’s a smooth slice of soulful music. It’s followed by Rio De Janeiro Blue which has been covered by a number of artists. Here, Ted Templeman is responsible for the jazz-tinged arrangement; while Nicolette’s vocal is heartfelt and soulful. The same can be said of the hopeful ballads Fallen and Isn’t It Always Love? Daddy which was penned by Bobby Troup, takes on a jazzy, theatrical sound, and we hear another side of Nicolette Larsson. Closing In The Nick Of Time was Lowell George’s Trouble, which becomes a quite beautiful, reflective ballad. Nicolette had kept one of the best until last.
Looking back at In The Nick Of Time, one can’t help but wonder if someone at Warner Bros. decided that Nicolette should widen her musical horizons? It’s a very different album from Nicolette. Especially with the addition of four dance-floor friendly tracks. This isn’t surprising. Disco was still popular when the album was recorded. However, by July 1979, disco was a musical pariah. Stylistically, the other six tracks were much more like the music on Nicolette.
Some of the best tracks on In The Nick Of Time were the ballads, soulful songs and jazz-tinged tracks. Having said that, the more uptempo dance tracks are well produced and performed. They’ve the same quality as the other songs on In The Nick Of Time. The only problem was, this wasn’t what people who bought Nicolette expected. They wanted another album of A.O.R, country, folk, pop and rock. When record buyers realised that In The Nick Of Time was a quite different album from Nicolette, it was a case of walk on by. After just two albums, Nicolette’s career was at a crossroads.
Radioland.
Following the disappointing performance of In The Nick Of Time, work began on Radioland. Ted Templeman was retained to produce Radioland. It featured nine songs, including the Andrew Kastner penned How Can We Go On and Straight From The Heart. Andrew Kastner also wrote When You Come Around with Larry John McNally and Nicolette. Lauren Wood, who contributed to Nicolette’s two previous albums, wrote Been Gone Too Long. Other songwriters who had contributed songs to Nicolette’s two previous albums included Adam Mitchell who wrote Fool For Love and the late Lowell George who penned Long Distance Love. The other songs included Allen Toussaint’s Tears, Tears And More Tears; Sumner Merings’ Radioland and Annie McLoone’s Ooo-Eee. These songs became the album that could make or break Nicolette Larson’s career…Radioland.
When work began on Radioland, many of the same musicians that worked on Nicolette Larson’s first two albums were present. Little Feat’s guitarist Paul Barrere and Bill Payne who this time around, played synths. They were joined by The Doobie Brothers’ guitarist Patrick Simmons and their live drummer Bobby LaKind, who added percussion. Making a guest appearance was Linda Ronstad who added backing vocals. A rhythm section of drummer Rick Shlosser and bassist Tiran Porter, who were top session musicians, provided Radioland’s heartbeat. Just like Nicolette’s two previous albums, Ted Templeman took charge of production. Little did he know it would be for the last time.
Reviews of Radioland were mainly positive, with critics much more impressed by the change in sound. Stylistically, it was closer to Nicolette Larson’s debut album. Despite this, when Radioland was released in 1980, the album stalled at sixty-two in the US Billboard 200, and failed to chart in Canada. It was a familiar story with the singles Ooo-Eee, When You Come Around and Radioland. None of the singles troubled the charts. This was hugely disappointing for Nicolette and Ted Templeman. Indeed, for Ted Templeman it was the last time he worked with Nicolette Larson. His swan-song was Radioland.
The title-track opens Radioland, and is an uptempo track that comes complete with eighties synths. There’s even a brief nod to Teena Marie. However, on Ooo-Eee it’s all change. A blistering guitar ushers in Nicolette’s vocal. Accompanied by harmonies, Nicolette delivers a vocal that’s a mixture of power, emotion and soulfulness. How Can We Go On? is a wistful mid-tempo ballad that’s much more like the music on Nicolette. The quality continues on When You Come Around, another tender, hopeful and dreamy ballad. After this, it’s all change.
Nicolette’s cover of Allen Toussaint Tears, Tears And More Tears is a fusion of jazz, funk and soul. It features a vocal powerhouse from Nicolette, who continues to showcase her versatility. This continues on Straight From The Heart, where Nicolette delivers a tender, but impassioned and rueful vocal. Equally rueful, but hopeful is Nicolette’s vocal on Been Gone Too Long. Just like on In The Nick Of Time, Nicolette finishes with a Lowell George song, Long Distance Love. She’s kept the best until last, as she breathes new life and aided and abetted by Billy Payne on keyboards, breathes meaning into the what’s a beautiful paean.
Sadly, despite the quality of music on Radioland, the album wasn’t a commercial success. Music was continuing to change, and albums by singer-songwriters were no longer as popular. Even when they were as versatile and talented as Nicolette Larson. She could seamlessly switch between musical genres, and did so on Radioland. That had been the case since her career began in 1978 with the release of Nicolette.
Since then, she had showcased her versatility on In The Nick Of Time in 1979 and then 1980s Radioland. Whether it was A.O.R, country, folk, pop or rock, Nicolette Larson was equally comfortable. She wasn’t averse to delivering dance tracks. It seemed that Nicolette Larson was a truly versatile singer. Despite this, only her debut album Nicolette found a wider audience.
Maybe Nicolette Larson would’ve enjoyed prolonged success if those who were advising her hadn’t encouraged her to change tack. It seems In The Nick Of Time, with its excursions into dance music alienated her audience. When this happens, it was difficult to win her former fans back.
And so it proved. Although Nicolette Larson released another four albums, she never reached the heights of her debut album Nicolette. In wasn’t just the most successful album of Nicolette Larson’s career, but the best album of her seven album and ten year recording career. Indeed, the best albums of Nicolette Larson’s career are Nicolette, In The Nick Of Time and Radioland. These three albums have been reissued by BGO Records as a newly remastered double album. The sound quality is stunning, and is a fitting reminder of a truly talented artist, Nicolette Larson. Sadly, her career was cut tragically sort.
Nicolette Larson died on December 16th 1997, aged just forty-five. That day, music lost a truly talented singer who could’ve and should’ve a long and successful career. Sadly, that wasn’t to be. However, Nicolette, In The Nick Of Time and Radioland are a reminder of Nicolette Larson, a talented and versatile vocalist who could breath life, meaning and emotion into a song.
NICOLETTE LARSON-NICOLETTE/IN THE NICK OF TIME/RADIOLAND.
MAJA S.K. RATKJE-CREPUSCULAR HOUR.
MAJA S.K. RATKJE-CREPUSCULAR HOUR.
By the time Maja S. K. Ratkje graduated from the Norwegian Academy of Music in 2000, the twenty-seven year old had already won one of the most prestigious awards in Norwegian music, an Edvardprisen. This came in 1999, when Waves 11b won an Edvardprisen in the contemporary music minor work category. This was the perfect start to her nascent career.
Maja’s recording career had begun in 1999, when improv quartet Spunk released their debut album Det Eneste Jeg Vet Er At Det Ikke Er En Støvsuger in 1999. Back then, Maja was still studying for her diploma in composition at the Norwegian Academy of Music in Oslo. However, by the time Maja graduated, she was already thinking of her musical future.
A year later in 2001, Spunk released their next album Filtered Through Friends. Just like their debut album, Filtered Through Friends was heralded a groundbreaking album. Later in 2001, Maja won another prestigious award, the Arne Nordheims Composer Prize. Maja’s star was in the ascendancy.
And so it proved. 2002 was an important year in Maja’s career. Not only did Spunk release their third album Den Øverste Toppen På En Blåmalt Flaggstang, but Maja released her debut solo album Voice. It was released on Rune Grammofon, who recently released Maja S. K. Ratkje new album Crepuscular Hour. It’s one of the most ambitious albums of Maja’s long and illustrious career.
Later in 2002, formed noise duo Fe-Mail with Hild Sofie Tafjord. Fe-mail and eleased their debut album Syklubb Fra Hælvete. It was a low profile release, with just 500 vinyl copies of the album pressed. However, by 2004 Syklubb Fra Hælvete was released on CD in America by Important Records.
2004 would prove to be another important year in Maja’s career. Fe-Mail returned with their sophomore album All Men Are Pigs. It featured another leading light of the Norwegian experimental music scene, Lasse Marhaug. The result was a captivating collaboration. The same cane be said of another album Maja released in 2004.
Already, Maja was collaborating with other artists. She had featured on the album Sinus Seduction, which was released in 2002. Two years later, in 2004, Maja released Majaap, which was her first collaboration with Dutch composer and sound poet Jaap Blonk. By then, Maja had won the second Edvardprisen of her career, when No Title Performance and Sparkling Water won the open category. For Maja, was further recognition that she was one of Norwegian music’s most innovative composers, musicians and performers.
Buoyed by having won her second Edvardprisen in 2004, Maja’s career continued apace. She released Post-Human Identities, her second collaboration with Jaap Blonk in 2005. Then in November 2005, Spunk returned after a three year break with their fourth album En Aldeles Forferdelig Sykdom. It was a welcome return from the improv quartet. En Aldeles Forferdelig Sykdom was a reminder of an exciting and innovative group. Equally innovative was Maja’s sophomore solo album, which was released in 2006.
For Maja, 2006 proved to be one of the busiest years of her career. Fe-Mail, who released their third album Bixter Toad. Then later in 2006, Maja released Ballads, her collaboration with John Hegre. However, one of the most anticipated albums of 2006 was Maja’s sophomore albium Adventura Anatomica. It was a cerebral, challenging and groundbreaking fusion of abstract, avant-garde, experimental and noise. Adventura Anatomica proved to be worth the four year wait.
There was no four year wait for Maja’s third album. Instead, Telp was released in 2007, and was the start of a four year period where Maja released an album each year. River Mouth Echo was released in 2008, with Cyborgic following in 2009 and Danse Macabre in 2010. During this period, the only side project Maja was involved with, was Kantarell, Spunk’s fifth album. It would be another four years before Spunk returned.
Over the next few years, Maja collaborated with a variety of artists. She collaborated with the ensemble Poing on the 2011 album Watch Auf. Then as 2012 dawned, the album Treasure Hunt was released in January. It was a collaboration between Ikue Mori, Simon Balestrazzi, Sylvie Courvoisier, Alessandro Olla and Maja. However, in 2013 a project that began in 2008 came to fruition.
This was the album Janus, which Joachim Montessuis and Maja had been collaborating on since 2008. It wasn’t until 2013 that the album was complete, and released. Janus was one of the most ambitious albums Maja had been involved in. Experimental mouth music, sonic poetry and improvised electronics were combined on Janus. However, it wasn’t the only collaboration Maja released during 2013.
Her other collaboration was Scrumptious Sabotage. It was a collaboration between Maja and Ikue Mori. They had collaborated as part of a collective on the album Treasure Hunt in 2012. Following the Treasure Hunt project, Ikue Mori and Maja began work on Scrumptious Sabotage. It was released to critical acclaim in 2013. The following year, featured another collaboration, and a comeback.
Maja’s next collaboration came in 2014, when she released Maja S. K. Ratkje In Dialogue With Eugeniusz Rudnik. This album of Musique Concrète was released to critical acclaim, and further reinforced Maja’s reputation as a musical pioneer. That included the music she released with Spunk.
Five years after Spunk released their last album, they returned in 2014 with not one, but two albums. The first was their studio album Adventura Botanica. It was followed by Live In Molde, where Spunk were joined by French double bassist, vocalist, and composer Joëlle Léandre. She had involved in the European improv scene since for over thirty years, and released her debut album Taxi in 1982. Since then, Joëlle Léandre had released over one hundred albums, including countless collaboration. Live In Molde was just the latest. Maja had a long way to go before she caught up with Joëlle Léandre.
Maja made a start in July 2015, when Celadon was released. It was another collaboration. This time, Maja was joined by Jon Wesseltoft, Camille Norment and Per Gisle Galåen. Celadon was an album of avant-garde music where a quartet of sonic pioneers pushed musical boundaries to their limits. The resultant album was released to critical acclaim, and hailed as a truly ambitious album. So would an album Maja released in 2016.
As Maja prepared to release her first solo album for six years, a collaboration she had recorded in 2013 with Saka was released. Rasaka was released in February 2016, and was billed as Saka with Maja S. K. Ratkje. However, the next album Maja S. K. Ratkje released, saw her take the star billing.
That’s no surprise. Crepuscular Hour is one of the most ambitious projects that Maja S. K. Ratkje has been involved with. It was inspired by the phenomena of crepuscular rays, where rays of sunlight stream through gaps in clouds or any number of other obstacles. Having discovered and investigated the phenomena of crepuscular rays, Maja S. K. Ratkje set about writing Crepuscular Hour, which would be performed by a rather unorthodox lineup of three choirs, three pairs of noise musicians and a church organ.
Crepuscular Hour was performed at the concert at the Huddersfield Town Hall. The performance featured RNCM Chamber Choir, the University Of Huddersfield Chamber Choir and The 24 Choir. They were joined by Antoine Chessex, Hild Sofie Tafjord, Lasse Marhaug, Mark Durgan, Nils Henrik Asheim, Phil Julian and Stian Westerhus and The 24. While this one hour performance took place, Aideen Malone took charge of an impressive light installation. However, there was one major difference in the way Crepuscular Hour was performed.
When Crepuscular Hour is performed, the noise musicians and choir surround the audience. They’re accompanied by the unmistakable sound of a church organ. It adds to the drama and plays an important part in Crepuscular Hour’s impressive sound.
Along with the noise musicians and choir, the organ produces a sound that’s variously impressive, dramatic and intense to ruminative, mesmeric and hypnotic. The listener is drawn in, and soon, is spellbound at music that becomes dramatic and intense. Sometimes, the best way to describe the music is ethereal and elegiac. Other times the music takes on a spiritual quality. That’s not surprising.
The texts that are used in the recording of Crepuscular Hour, have been taken from the Nag Hammadi Library. This was discovered in Egypt in 1945. and is a collection that comprises thirteen ancient books which feature in excess of fifty texts. These texts proved hugely important, and resulted in scholars reexamining early Christian history. However, nearly seventy years later, these texts would play an important part in Crepuscular Hour.
As the performance of Crepuscular Hour takes place, the listener reflects on music that’s thoughtful, cerebral and occasionally, challenging. However, for much of the time, Crepuscular Hour has an inherent beauty. There’s a serenity to music that’s ethereal, elegiac and has a spiritual quality. Always though, the music on Crepuscular Hour is captivating, ambitious and innovative as the choirs combine with the noise musicians who push musical boundaries. The result is an album that’s a sonic and visual feast.
Earlier, I said that Rune Grammofon’s recent release of Crepuscular Hour was a double album. The first disc is a CD, while the second disc is a DVD, which features a recording of Crepuscular Hour. It was recorded on 20th November 2012, at the Huddersfield Musical Festival. This was only the second time The Crepuscular Hour was performed. The premiere took place at the prestigious Ultima Festival in Oslo in 2010. However, when Crepuscular Hour was premiered, the performance wasn’t being recorded, with a view to releasing it as a double album.
Everything had to go to plan when Crepuscular Hour was performed at the concert at the Huddersfield Town Hall. The performance began at 10pm, and fortunately, everything went to plan. This sonic and visual feast features on the DVD.
As Crepuscular Hour plays, the audience were encouraged to walk around and experience the light being filtered between the various obstacles and musicians in Huddersfield Town Hall. This meant that the audience were able to experience firsthand the phenomena of crepuscular rays. The result is an impressive, captivating and mesmeric experience. It’s truly memorable, and one that hopefully Maja S. K. Ratkje will decide to revisit.
Crepuscular Hour is a project that deserves to be heard and seen by a much wider audience. However, putting on such an event is expensive and complex. Even finding musicians and choirs capable of performing Crepuscular Hour isn’t easy. Everyone involved in Crepuscular Hour was hugely talented, and determined to make the project work. However, taking Crepuscular Hour to a wider audience would be expensive and logistical nightmare.
Fortunately, Crepuscular Hour was recorded and filmed at the Huddersfield Music Festival in 2012. Four years later, and Crepuscular Hour can be enjoyed by a much wider audience. That’s thanks to Rune Grammofon, who released this lovingly curated double album. It’s a welcome reminder of Maja S. K. Ratkje’s truly ambitious and innovative multi media project Crepuscular Hour.
MAJA S.K. RATKJE-CREPUSCULAR HOUR.
MAINSTREAM MODERN SOUL 1969-1976.
MAINSTREAM MODERN SOUL 1969-1976.
By 1970, Bob Shad was a veteran of the New York music scene. His career began in the forties, when he was a session musician. Bob made it his business to know everyone within the New York music scene. He knew everyone that mattered. Whether it was Dizzy Gillespie, Charlie Parker or Coleman Hawkins, Bob knew them. There was a reason for this. Bob Shad was looking to the future.
Bob Shad didn’t want to remain a session player. The role of musical hired gun wasn’t for Bob. He had ambition and saw the bigger picture. Soon, Bob Shad was working as a producer in post-war New York. Mostly, Bob was producing R&B. This was just the next step in Bob’s game-plan.
In 1948, Bob founded his first label Sittin’ In With. He was inspired to do this because of his love of jazz. This resulted in Bob discovering the blues. With his portable tape recorder, Bob Shad headed South and taped some of the greatest names in blues music. Lightnin’ Hopkins, Memphis Slim, Big Bill Broonzy and Smokey Hogg. Having recorded one blues player, they would tell Bob about another. So he crisscrossed the South taping blues players. Mostly, these singles appeared on his own labels.
Somehow, Bob still found time to freelance. Some of the artists he discovered were released on other labels. This includes Eddie “Cleanhead” Vinson and Savannah Churchill. While these records sold in vast volumes, Bob didn’t make much money. It taught him an important lesson. That was only to release music on his own labels.
Despite founding a series of labels during the early fifties, Bob agreed to work full-time for Mercury Records. Still, Bob founded a series of labels. This included the Castle, Harlem, Jackson, Jade, Jax and Spirituals’ labels. He realised the importance of having separate labels for separate genres of music. Bob realised that when record buyers saw a label, they had to know what type of music it would release. This was the case throughout his career.
By 1958 had tired of being a company man, and decided to focus entirely on his own labels. Bob Shad founded further labels, including Shad, Time and Warner. Then in 1959, Bob founded Brent Records which for eight years, was Bob Shad’s soul label. Between April 1959 and October 1967, Brent released seventy-five singles. However, midway through this, in 1964, Bob Shad released a new label Mainstream Records.
When Bob founded Mainstream Records in 1964, it was originally a jazz label, which mainly released albums and a few singles. However, by 1965, rock was king and Bob Shad decided that Mainstream Records should release a wider range of music. This included rock. For the next five years, Mainstream Records’ new roster proved popular and profitable. That was until 1970, that was no longer the case. So Bob decided to relaunch Mainstream Records.
The newly relaunched Mainstream Records would feature a newly designed label and would release just jazz. Mostly, Bob intended to return to releasing mostly albums, with the occasional single. However, Bob had a criteria for the albums he was willing to release. He was going to only release what he saw as traditional jazz albums. Bob didn’t want to release albums where synths and electronics featured. This was unrealistic given that fusion’s popularity was on the rise. So it wasn’t surprising that this new policy didn’t last long, and Mainstream Records began to release soul and jazz.
This was no surprise. By then, the there had been a blurring of the lines between what was soul and jazz. Even critics and record buyers were confused. However, this blurring of the lines resulted in Mainstream Records’ musical policy changing, and the label releasing a much wider selection of music. Suddenly, Mainstream Records were releasing singles and albums by Linda Perry, Randolph Brown, The Dramatics, Words Of Wisdom, Calvin Arnold, J.G. Lewis, McArthur, Alice Clark, The Steptones, Randolph Brown and Sarah Vaughan. They all feature on Mainstream Modern Soul 1969-1976, which was recently released by Kent Dance, an imprint of Ace Records. Mainstream Modern Soul 1969-1976 features a mixture of old friends, new faces and hidden gems. These hidden gems include the trio of newly unreleased tracks. Indeed, it’s an unreleased track that opens Mainstream Modern Soul 1969-1976.
Originally, Linda Perry started off singing Southern Soul. By 1973, Linda had signed to Mainstream Records. She features three times on Mainstream Modern Soul 1969-1976. Her first contribution is I Cant Give You Up, the first of two previously unreleased tracks. It was penned by Rose Marie McCoy and Linda Miller, and features a defiant vocal powerhouse from Linda. Soulful and funky, it seems a missed opportunity that Why I Cant Give You Up wasn’t released as a single. The same can be said of Aint Nobody Gonna Make Me (Turn My Back On My Baby). It’s another unreleased track, that was penned by Rose Marie McCoy and Linda Miller with Bobby Williams. Again, Linda’s vocal is mixture of defiance, power, emotion and soulfulness.
Linda’s third and final contribution is It’s All In The Back Of Me Now. Rose Marie McCoy and Linda Miller cowrote the song with Linda, and in 1974, was the flip-side to the single It’s All In The Back Of Me Now. This was the followup to I Need Somebody, which gave Linda a minor R&B hit, when it reached fifty-four in the US R&B charts. Stylistically, Everyone Has Someone is very different. Uptempo, joyous and dance-floor friendly it’s a three minutes of musical magic.
When Randolph Brown was signed to Stax imprint Volt Records, he was known as Randy Brown. He was a member of The Newcomers, but left in 1971. Three years later, in 1974, Randolph recorded for Truth, another imprint of Stax. However, by the time Randolph met the songwriting and production partnership of Carl Smith and David Weatherspoon in 1975, Stax was no more. It had filed for bankruptcy. This was how Randy Brown found himself signed to Mainstream Records.
His first single was It Ain’t Like It Used To Be, which was was written, arranged and produced by Carl Smith and David Weatherspoon. It was then released in 1975 on the IX Chains label. Randy’s wistful vocal that harks back to the America of his youth, and plays its part in a dance-floor friendly anthem. So do lush strings, stabs of horns and harmonies. Randy’s other contribution, is I’m On Sick Leave, the B-Side Take A Few More Steps, which was released on IX Chains in 1976. I’m On Sick Leave features a return to Randy’s Southern roots, as he delivers a vocal that’s full of hurt and heartbreak.
Another group who had made the switch from Stax to Mainstream Records were The Dramatics. They had enjoyed critical acclaim and commercial success at Stax. This includes a number one single, In The Rain in 1972. Three years later, in 1975, the lineup of The Dramatics that signed to Mainstream Records was much changed. Only two of the original members remained. Despite this, No Rebate On Love gave The Dramatics’ a hit single on Mainstream Records. It was penned by Jimmie Abston and Stella Petty, while Leonard Jones took charge of production. He’s responsible for a Philly inspired dance track which gave The Dramatics a single that reached twenty-six in the US R&B charts.
Forty years ago, in 1976, Words Of Wisdom released their one and only single You’re A Friend Of Mine on IX Chains. It was written by Charles Amos and Richie Clark, who are responsible for lyrics that are full of social comment. Richie Clark takes charge of production, and is responsible for a delicious and timeless slice of the sweetest soul
Pittsburgh born Johnny Louis Gilliam had been around since he released his first single for Bo-Mar in 1965, and since then, had never stayed anywhere long. He moved between labels in the search of that elusive hit. After ten years of trying, Johnny decided to take drastic action, and changed his name to J.G. Lewis. Incredibly, this worked, when J.G. Lewis released Let The Music Play on IX Chains in 1975. It gave J.G. Lewis a minor hit. Now he began to work on the followup.
For the followup, What Am I Gonna Do was chosen. It was penned by J.G. Lewis under his ‘real’ name and released in 1976. The production style is similar Barry White’s, as J.G. Lewis delivers a vocal that’s full of hurt and despair. Despite the quality of the single, it wasn’t a commercial success, and J.G. Lewis was dropped by IX Chains. Although What Am I Gonna Do was J.G. Lewis’ last single for IX Chains, an unreleased track, I’m The One Who Loves You was found in the vaults. It has a much more Southern Soul influence. Especially when gospel tinged harmonies accompany J.G. Lewis. He delivers a heartfelt vocal that’s reminiscent of James Carr, and reminds you just how talented J.G. Lewis was.
Charles Beverly’s recording career began in 1975, when he released Stop And Think A Minute for IX Chains. It was penned by Charles Johnson, Carlos Munro and Willie Schofield; while T. Johnson produced Stop And Think A Minute. It’s a Philly style ballad, complete with flourishes of strings. They’re reminiscent of those found on Bettye Swann’s When The Game Is Played On You. Sadly, Stop And Think A Minute never enjoyed the same success as When The Game Is Played On You, and nowadays, is something of a hidden gem.
In 1972, Brooklyn born Alice Clark released her eponymous debut album on Mainstream Records. It featured the Bobby Hebb penned Don’t You Care, which was produced by Bob Shad. Ernie Wilkins arranged and conducts the orchestra on Don’t You Care, which features a powerhouse of a vocal that’s a mixture frustration and despair. It’s a tantalising taste of Alice Clark eponymous debut album, which sadly, was the only album she released.
Jimmie Abston and Stella Petty wrote Let The People Talk for The Steptones. It was released on IX Chains Records in 1976. Let The People Talk was arranged by Jimmy Roach and produced by Leonard Jones. They add swathes of lush strings and flourishes of harp to the Philly inspired arrangement. Meanwhile, The Steptones sound as if they should’ve been signed to Philadelphia International Records, as they showcase their considerable skills. Sadly, it was all for nothing, as the single flopped and The Steptones’ search for a hit single continued.
In 1976, Willie Lester and Rodney Brown wrote and produced You Are The Spice Of My Life for Nia Johnson. It was released on Mainstream Records in 1976, but failed commercially. Tucked away on the B-Side was Plain Out of Luck. It’s funky, soulful and dance-floor friendly.
Sarah Vaughan’s I Need You More (Than Ever Now) closes Mainstream Modern Soul 1969-1976. It was penned by Gregory Holley, Rose Marie McCoy and Linda Miller and arranged by Gene Page. When I Need You More (Than Ever Now) was released on Mainstream Records in 1974, it reached forty-five on the US R&B charts. This was totally unexpected. Given the quality of a vocal that’s heartfelt, needy and soulful; plus Gene Page’s arrangement where strings and harmonies play leading roles, it’s a surprising that I Need You More (Than Ever Now) wasn’t more successful. It’s one of the highlights of Mainstream Modern Soul 1969-1976, and is welcome reminder of Bob Shad’s Mainstream Records released.
Indeed, Mainstream Modern Soul 1969-1976, which was recently released by Kent Dance, an imprint of Ace Records, is a tantalising taste of the music that Mainstream Records released during a seven year period. Much of that music is timeless, and has stood the test of time. It’s soulful, funky and would still fill a dance-floor. Beautiful ballads full of hurt and heartache sit side-by-side with joyous, irresistible dance tracks. That is not surprising.
Bob Shad didn’t hesitate to employ top quality songwriters, musicians, arrangers and producers. Especially when he believed in an artist. In such cases, he brought onboard arrangers like Wade Marcus and Gene Page. Sadly, often the singles and albums Mainstream Records released, didn’t enjoy the commercial success they deserved. Part of the problem was, that Mainstream Records was a small fish in a big pond.
Major labels, and independent labels funded by majors had much bigger budgets, to promote and distribute their releases. Bob Shad was fighting a losing battle. Still, he continued his search for talented artists that might bring Mainstream Records that elusive hit single, during a period that soul music was enjoying a resurgence in popularity.
Since the early seventies, Hi and Stax in Memphis, and Philadelphia International Records were enjoying commercial success and critical acclaim. Sadly, Mainstream Records didn’t make the leap and join them at soul’s top table. That’s despite releasing music that’s timeless, and has stood the test of time. Sadly, that music never found the winder audience it deserved. Unlike Hi, Stax and Philadelphia International Records there were neither number ones nor million sellers. Instead, the Mainstream Records’ story is a case of what might have been. The label that had been relaunched in 1970 closed its doors in 1978.
By the time Tamara Shad relaunched Mainstream Records in the early nineties, Bob Shad had passed away on March 13th 1985. Bob Shad was just sixty-five, but had enjoyed a long and successful career. He had founded numerous labels, including Mainstream Records in 1964.
The second chapter in the Mainstream Records’ story is told on Mainstream Modern Soul 1969-1976. There’s twenty-four timeless tracks on Mainstream Modern Soul 1969-1976, which documents the most soulful period in Mainstream Records’ history.
MAINSTREAM MODERN SOUL 1969-1976.
CAUSA SUI-RETURN TO SKY-VINYL EDITON.
CAUSA SUI-RETURN TO SKY-VINYL EDITON.
Nowadays, not many groups manage to release eleven albums in eleven years. Instead, they spend two or three years ‘perfecting’ their future Magnus Opus. It’s changed days indeed.
Back in the early seventies, bands were often contracted to release two album each year. Groups like Yes rose to the challenge, and released The Yes Album and Fragile in 1971. The same year, Emerson, Lake and Palmer released Tarkus and Pictures At An Exhibition. Meanwhile The Faces released Long Player and A Nod’s As Good As A Wink…To A Blind Horse. Sadly, the days of releasing two albums a year are long gone. Or are they?
Danish rockers Causa Sui have released eleven albums between 2005 and 2016. Eight albums in eleven years is a pretty good average. Causa Sui’s latest album is Return To Sky, which was recently released vinyl on El Paraiso Records. It’s the latest chapter in story that began in twelve years ago.
The Causa Sui began in 2004, when five friends decided to form a band in Odense, in Southern Denmark. Originally, the lineup featured drummer Jakob Skøtt, bassist Jess Kahr, guitarist Jonas Munk and vocalist Kaspar Markus. This was the lineup that featured on Causa Sui’s debut album.
Causa Sui.
Just a year after forming Causa Sui, the band released their eponymous debut album on Nasoni Records, in December 2005. Causa Sui was an album of heavy psychedelia and stoner rock. It won over both critics, and then, record buyers. They quickly bought up the 500 LPs that had been pressed. Nowadays, they’re collectors items, and a reminder of the dawning of Causa Sui’s career. Their second coming came in 2007
Free Ride.
Causa Sui returned in April 2007, with their sophomore album Free Ride. It was another album of heavy psychedelia, with elements of stoner rock. This was fitting, as the album was released by Elektrohasch Schallplatten a label specialising in stoner rock. Just like its predecessor, Free Ride was well received by critics and found favour amongst their ever growing fan-base. Things were looking up for Causa Sui. However, changes were just around the corner.
Summer Sessions Volume 1.
When Causa Sui returned in August 2008 with the first instalment in their Summer Seasons’ trilogy, both their lineup and music had changed. Vocalist Kaspar Markus had left the group, leaving just a core trio of drums, bass and guitar. This new lineup, would be responsible for the change in Causa Sui’s sound.
This became apparent when Summer Sessions Volume 1 was released in 2008. It featured a much more abstract, instrumental sound. Their influences were eclectic, and included everything from Can to Miles Davis’ electric period, plus psychedelia and stoner rock. The new sound was welcomed, and seemed that ensured that Causa Sui’s music continues to be innovative and relevant.
Summer Sessions Volume 2.
In June 2009, Causa Sui returned with Summer Sessions Volume 2. By then, Causa Sui were now a quartet again. Keyboardist Rasmus Rasmussen had joined the band. The third lineup were again, augmented by saxophonist Johan Riedenlow. The new lineup of Causa Sui didn’t just pickup where they left off on Volume 1 though.
Although Causa Sui started with the same ingredients, including psychedelia, stoner rock, fusion, Krautrock, they were determined not to remake Volume 1. So they moved the music in new and different directions. Musical boundaries were pushed to their limits, as Causa Sui combined disparate genres. It was another groundbreaking, genre-melting album from the sonic adventurers.
Summer Sessions Volume 3.
Not content with releasing one album during June 2009, Causa Sui released Summer Sessions Volume 3 simulataoursly. This was shades of Bruce Springsteen with Human Touch and . Again, Causa Sui were aided and abetted by saxophonist Johan Riedenlow, they recorded five new tracks. This included Manifestations Of Summer, a trilogy that fills side two of the album. It was like a mini concept album, from musical adventurers Causa Sui.
Hailed as ambitious and innovative, Summer Sessions Volume 3 completed the musical journey that Causa Sui began a year earlier. Now it was over, and so was another chapter in the Causa Sui story. However, a new adventure was about to begin.
The Pewt’r Sessions Volume 1.
By April 2011, Causa Sui were ready to release the first instalment in a new trilogy. It was obvious that Causa Sui were a band who had been weaned on the classic rock of the sixties and seventies. That was a period when trilogies and concept albums were de rigueur. Causa Sui it seemed were musical trendsetters in more way than one.
By the time Causa Sui were ready to release The Pewt’r Sessions Volume 1, they had formed their own label, El Paraiso Records. It was run by Jonas Munk and Jakob Skøtt. One of the new labels first release was The Pewt’r Sessions Volume 1.
Just like previous albums, The Pewt’r Sessions Volume 1 was a musical melting pot of influences. Everything from space rock, psychedelia and progressive rock shine through on The Pewt’r Sessions Volume 1, as Causa Sui continue to reinvent themselves.
The Pewt’r Sessions Volume 2.
Just four months later, Causa Sui return with The Pewt’r Sessions Volume 2 in August 2011. Again, the album had been produced by Jonas Munk who was finding Causa Sui’s producer’s chair comfortable. He had produced another inventive and ambitious album where Causa Sui fuse space rock, psychedelia and progressive rock.
The Pewt’r Sessions Volume 2 was the seventh album from Causa Sui. Every album was different. Causa Sui weren’t the type of band who would remake an album. They left that to lesser groups. While Causa Sui might have used the similar ingredients on the first two volumes of The Pewt’r Sessions, the results were very different. One thing stayed the same, and that the first two volumes of The Pewt’r Sessions would sell out.
An economist would’ve been impressed by what Causa Sui were achieving. From the Summer Sessions to The Pewt’r Sessions Volume 2, demand equaled supplied. Causa Sui had 500 LPs pressed, and quickly they sold out. Eventually, demand would be so great, that some of Causa Sui’s albums would be reissued. By then, Causa Sui would’ve released further albums.
Euporie Tide.
Having released two albums in a year, two years passed before Causa Sui returned in August 2013 with their eighth studio album Euporie Tide. This meant that Causa Sui were averaging an album a year. They were putting many musical heavyweights to shame.
Unlike their five previous albums, Euporie Tide wasn’t part of a trilogy. Instead, it was a standalone album. Euporie Tide was also the first Causa Sui album to be released on CD. However, Causa Sui didn’t forget their fans who had been there since day one, and Euporie Tide was released on limited edition vinyl. There was something for everyone.
Especially, if psychedelia and progressive rock were your bag. They were two of the most noticeable influences. There was still elements of stoner rock and space rock. Mostly, though, psychedelia and progressive rock were to the fore as Causa Sui powered their way through this ten track powder keg of an album. For many critics and record buyers, Euporie Tide was Causa Sui’s finest hour. It was also the album that saw Causa Sui’s music finding a much wider audience. No longer were they one of Danish music’s best kept secrets.
Live At Freak Valley.
Buoyed by the success of Euporie Tide, Causa Sui released two albums during 2014. The first came on 7th April 2014, when Causa Sui released their first live album, Live At Freak Valley.
The album had been recorded at the Freak Valley Festival, in Netphen, Germany. It had been founded in 2012, and Causa Sui had unleashed a barnstorming set. Rocky and pyschelic, the lysergic warriors took the Freak Valley Festival by storm. That’s apparent on Live At Freak Valley, which was released a CD and double LP. It’s a tantalising taster of Causa Sui live and unleashed. However, after their debut live album, Causa Sui had unfinished business to attend to.
The Pewt’r Sessions Volume 3.
There was still the small matter of the last instalment in The Pewt’r Sessions. So four months later, on 19th August 2014, Causa Sui returned with The Pewt’r Sessions Volume 3. Unlike previous volumes in the series, The Pewt’r Sessions was released on LP and CD.
Fittingly, The Pewt’r Sessions Volume 3 featured just a trio of tracks from Causa Sui. However, the psychedelic rockers had kept the best until last. Incipiency Suite was a twenty-six minute epic that showcased Causa Sui at their very best. Now those that had just discovered Causa Sui knew what the fuss was about. With Causa Sui’s fan-base increasing, their next album would be one of the most important of their career.
Return To Sky.
Since the release of The Pewt’r Sessions Volume 3, Causa Sui’s fans have patiently awaited their tenth studio album. However, with Causa Sui’s star in the ascendancy, they’re having to combine touring with recording. So nineteen months have passed before Causa Sui returned with Return To Sky in February 2016. It features another five new tracks from the Danish musical chameleons.
For Return To Sky, the four members of wrote and recorded five new tracks. These tracks were recorded by what’s now regarded as the classic lineup of Causa Sui. This included the original rhythm section of drummer and percussionist Jakob Skøtt, bassist Jess Kahr and guitarist Jonas Munk. They’re joined by keyboardist and electronics virtuoso Rasmus Rasmussen. Jonas Munk recorded, mixed, mastered and produced Return To Sky, which features the welcome return of Causa Sui as they celebrate releasing eleven albums in eleven years.
Opening Return To Sky is Dust Meridian, a ten min track that literally explodes into life. At the heart of the arrangement are the pounding drums. They provide the heartbeat, before a bass synth enters. Soon, it’s playing a leading role. When it drops out, a bass and subtle wash of synths are added. They’re the perfect replacement. Soon though, a guitar rings out, wah-wahing and adding a gloriously rocky rue. It’s aided and abetted by the bass, and progressive rock synths. By then, psychedelia, progressive rock, classic and rock and space rock are melting into one. However, at 3.37 a jazz-tinged guitar signals it’s all change. The arrangement meanders melodically along, with Causa Sui playing within themselves. Before long, they’re straining at the leash as the arrangement builds, and the band jam. Together, they create an impressive and dramatic sound that has its roots in seventies rock. Later, there’s one more curveball left to throw, as the tempo drops and the arrangement meanders melodically and dreamily along.
There’s almost a nod to Led Zeppelin on The Source. The introduction sounds as if it’s a homage to one of Unholy Trinity. The arrangement literally prowls along, the rhythm section jamming, as if looking for an in. When they find it, Causa Sui kick loose, and a track right out of the seventies classic rock songbook unfolds. At the heart of the arrangement are the strutting, rocky rhythm section. However, midway through the track there’s a series of brief pauses, before Causa Sui are off and running. They add an element of drama, as Causa Sui unleash a dark, dramatic, hands in the air anthem. That’s until two minutes to go, when the arrangement slows down and meanders melodically along. It’s similar to the opening track, with a dreamy, almost ethereal sound proving a contrast to Causa Sui’s earlier adventure in hard rock.
Mondo Buzzo has a much more understated sound. Just a lone guitar plays, before the rhythm section plays. They play with a degree of subtlety. So do the keyboards as a mesmeric, melodic track unfolds. Then Causa Sui stir things up. They move through the gears, and suddenly, the rhythm section and guitars are delivering a hard rocking track. Again, it’s roots are in the seventies, a decade which has obviously influenced Causa Sui. Pounding drums, a driving bass and machine gun guitars combine as the band deliver a musical masterclass. Later, a familiar pattern returns, when the tempo changes and the arrangement becomes spacious and lysergic. Washes of Michael Rother-esque, guitars are added as the arrangement floats lazily along. By then, there’s a nod to Pink Floyd from Causa Sui on what’s one of the highlights of Return To Sky.
An urgent strummed, chiming guitar opens Dawn Passage. Meanwhile, the bass walks the arrangement along. Washes of ethereal synths are added, as the tempo increases. Still, the arrangement is floating along. Again, there’s a dreamy, lysergic sound. That’s until the driving guitars are unleashed. Suddenly, it’s all change. A blistering, searing, rocky guitar is at the heart of the arrangement as the rest of the rhythm section drive it along. After that sudden burst of energy, Causa Sui return to the earlier dreamy melodic sound. However, they’ve one last surprise, and kick loose one more time as if driving the arrangement to the finishing line.
Return To Sky closes with the title-tracks. After the band are counted in, they play slowly and thoughtfully. Washes of crystalline guitars add wistful sound, while the rhythm section play within themselves. This could change at any moment. When it does, it’s the guitar that provides the clue. They’re the last man standing, and play gently. Soon, something is stirring, and Causa Sui’s driving, pounding rhythm section can’t resist the temptation to kick loose. A buzzing bass, thunderous drums and blistering guitars combine seamlessly. Then after five minutes, the arrangement is stripped bare, leaving just the chiming guitars and washes of synths. This leaves time for the listener to ruminate, as the track heads in the direction of an ambient soundscape. Gradually, though, one gets a sense that Causa Sui are going to end on a rocky high. Although the rhythm section unite, it’s Jonas Munk Hendrix-esque guitar that steals the show. Then after a few sci-fi sounds, Return To Sky is over and Causa Sui are gone, leaving just a memory of what’s a career defining album.
Although Return To Sky is Causa Sui tenth studio album, and eleventh overall, it’s without doubt the best album of their career. Return To Sky features elements of Causa Sui’s musical past, music and much more. This included four decades of rock music. That’s why there’s elements of classic rock, Krautrock, psychedelia, progressive rock, stoner rock and space rock. Ambient and avant-garde have also influenced Causa Sui. So have Can, Jimi Hendrix, Led Zeppelin, Michael Rother and Pink Floyd. The result is a heady brew and musical genres and influences, Return To Sky, which was recently released on vinyl by El Paraiso Records. It’s been beautifully mastered by Casua Sui’s guitarist Jonas Munk. He’s mastered a number of Casua Sui’s albums, and just like with previous albums, Return To Sky album is well balanced, not too loud and crystal clear. This allows the listener to revel in Casua Sui at their best on Return To Sky.
It’s an album that veers between dark and dramatic and hard rocking to lysergic, dreamy and wistful to mesmeric and melodic. Return To Sky is all these things and more. It also features four hugely talented musicians as they reinvent their music yet again. This is a constant process that ensures that Causa Sui are one step ahead of the musical crowd.
That’s not all. Causa Sui are always one step ahead of the listener. They’ve always got a surprise in-store for the unwary listener. At any given moment, Causa Sui could throw a curveball that transforms the track. Suddenly, hard rock becomes lysergic and wistful. It’s case of expect the unexpected throughout Return To Sky, where musical chameleons Causa Sui keep the listener on their toes during what’s a career defining album.
CAUSA SUI-RETURN TO SKY-VINYL EDITON.
HERE TODAY!-THE SONGS OF BRIAN WILSON VINYL EDITION.
HERE TODAY!-THE SONGS OF BRIAN WILSON VINYL EDITION.
One of Ace Records’ longest running and most successful compilation series is their Songwriters’ series. It looks back at the careers of some of the most successful songwriters in the history of modern music. This includes Bacharach and David, Goffin and King, Serge Gainsbourg, Dan Penn, Laura Nyro, Randy Newman and Jackie DeShannon. These songwriters have literally written their name into the history books. So has an artist who in June 2015, became the latest inductee into Ace Records’ Songwriters’ series…Brian Wilson.
Twenty-five cover versions were chosen for Here Today!-The Songs Of Brian Wilson. It was released on CD in June 2015, and was the latest instalment in Ace Records Songwriters’ series. Brian Wilson was a popular addition to the Songwriters’ series, and by the end of the year, Here Today!-The Songs Of Brian Wilson became Ace Records biggest selling release of 2015. This was something to celebrate.
So to celebrate the success of Here Today!-The Songs Of Brian Wilson, Ace Records decided to release a vinyl edition of the compilation. This however, was no ordinary vinyl edition. Instead, the vinyl edition of Here Today!-The Songs Of Brian Wilson was pressed on 180 gram snowy white vinyl, and features a dozen of the compilation’s highlights. This includes Darian Sahanaja, Bobby Vee, Betty Everett, Carmen Mcrae, Nick Decaro and Kirsty MacColl. They all pay homage to Brian Wilson, one of music’s greats.
Brian Wilson is seen by some, as the closest thing music has had to a genius. Proponents of this argument cite the Beach Boys 1966 progressive, psychedelic Magnus Opus, Pet Sounds. By then, Brian Wilson was one of the most successful singer, songwriter, and producers of his generation. Already, Brian Wilson had masterminded twenty-four hit singles, including two number one singles for the Beach Boys. It looked like Brian Wilson could do no wrong.
Sadly, Smile, the followup to Pet Sounds was cancelled. Brian Wilson had suffered the first of several nervous breakdowns. As a result of Brian Wilson’s health problems, his influence on the Beach Boys diminished. This just happened to coincide with a decrease in sales of the Beach Boys’ albums.
Following Pet Sounds, the Beach Boys albums were produced by the group. No longer was Brian Wilson the sole producer. Then in 1975, Brian Wilson produced 15 Big Ones, which was released in 1976. When it was released in July 1976, 15 Big Ones reached number eight in the US Billboard 200, and was certified gold. For many, onlookers, it looked as if Brian Wilson was back. However, that wasn’t the case.
By 1975, Brian Wilson had substance abuse problems and his health was failing. His wife Marilyn realised he needed enlisted the help of psychologist and psychotherapist Eugene Landy. He was best known for an unconventional twenty-four hour treatment program. At first, Brian was resistant to the demanding program. However, with the only alternative being admitted to a psychiatric hospital, Brian came round to Euege Landy’s program. Then in 1976, when Euegene Landy tried to double his fees, he was sacked by the Beach Boys manager.
Six years later, with Brian’s health failing, and the Beach Boys not having released an album for two years, Eugene Landy was hired again. For the next ten years, Brian was treated by Eugene Landy. This didn’t end well.
Part of Eugene Landy’s treatment, was micromanaging his client’s lives. Usually, he did this with team of counsellors, nurses and doctors. However, in Brian’s case, Eugene Landy took a more hands on approach. Not only was he Brian’s therapist, but gradually, became his business adviser and cowrote songs with Brian. Then when Brain released his eponymous debut album Brian Wilson in 1988, Eugene Landy was credited as executive producer. Later, in 1991, Eugene Landy cowrote a memoir about Brian Wilson, Wouldn’t It Be Nice: My Own Story. However, by then people were questioning Eugene Landy’s relationship with Brian.
A year later, and the relationship was over. A restraining order was issued by the court barring Eugene Landy from contacting Brian Wilson ever again. This wasn’t the end of the story. In 1994, the state of California revoked Eugene Landy’s license to practise. There had been accusations of ethical violations and patient misconduct during his years with Brian Wilson. While the relationship ended badly, Brian Wilson was on the comeback trail.
Sadly, Brian Wilson never ever reached the heights of Pet Sounds. He released another ten solo albums, some of which, were released to critical acclaim. However, compared to Pet Sounds, they never came close. Pet Sounds was Brian Wilson’s finest hour. Incredibly, he was only twenty-four, with his whole life in front of him. Sadly, ill-health, substance abuse and the internal politics of the Beach Boys curtailed Brian Wilson’s career. He was the man who could’ve been King.
While Brian Wilson is still remembered as one of the most important successful singer, songwriter, musician and producers of his generation, to some extent, his critics say that Brian Wilson never fulfilled his early potential. That however, is an accusation that could be levelled at many musicians. However, in Brian Wilson’s case, that’s a bit harsh. If illness hadn’t interrupted his career, he would probably have fulfilled his potential.
Certainly, Brian Wilson’s music has influenced two generations of music. They’ve continued to cover his songs over the past fifty years. This includes the twelve artists on Here Today!-The Songs Of Brian Wilson.
Here Today!-The Songs Of Brian Wilson features twelve cover versions of Brian Wilson songs. These songs have been covered by Darian Sahanaja, Bobby Vee, The Tokens, The Castells, Jan and Dean, The Tymes, Keith Green, Peggy March, Betty Everett, Carmen McRae and Kirsty MacColl. Among the twelve tracks are six cover versions of songs from Pet Sounds. That’s fitting as Pet Sounds was Brian Wilson’s Magnus Opus. However, there’s much more to Brian Wilson’s music, as you’ll discover when I tell you about Here Today!-The Songs Of Brian Wilson.
Side One.
There’s no better way to open Do You Have Any Regrets? opens Here Today!-The Songs Of Brian Wilson than with Darian Sahanaja’s of The Wondermints cover of Do You Have Any Regrets? This is a song from Brian’s 1990 album Sweet Insanity. Darian rolls back the years, and gives Do You Have Any Regrets? a sixties makeover. As a result, the song sounds uncannily like the Beach Boys at the peak of their power. That’s no surprise as Darian has worked with Brian Wilson during his comeback, and played an important part in his solo career.
The Castells’ recording career spanned the best part of two decades. It began at Era in 1961, and by 1964 The Castells had signed to Warner Bros. Their Warner Bros’ debut was I Do, which was Brian cowrote with Roger Christian. Brian also arranged and produced I Do, which epitomises everything that’s good about the surf sound.
By 1966, Bobby Vee was no longer enjoying the same commercial success he once had. His single stalled in the lower reaches of the charts. This was disappointing for a singer who had once been one of the biggest names in music. Bobby Vee began to cast his net for songs he might releases as a single. When The Beach Boys’ Magnus Opus Pet Sounds, Bobby Vee decided to cover Here Today. It was released as a single on Liberty Records, and finds Bobby Vee never straying far from the original. It’s a case of not trying to reinvent the wheel as he pays homage to one of the highlights of Pet Sounds, Here Today.
Brian Wilson and Russ Teitlemann penned Guess I’m Dumb during the recording of The Beach Boys ninth album Summer Days (And Summer Nights). The song was recorded but never completed, and never made it onto the 1965 album. Later in 1965, Guess I’m Dumb was released as a single by Glen Campbell, but it failed to chart. Soon, other artists were covering Guess I’m Dumb. This included Johnny Wells in 1967.
His cover was produced by Mike Berry and Peter Raymond. They stay true to Brian Wilson’s production on Glen Campbell’s original version. It seems to have been inspired by Phil Spector. When Johnny Wells cover of Guess I’m Dumb was released in Britain in 1967, it was on the Parlophone label. Guess I’m Dumb becomes heart-wrenching ballads where emotion, hurt and drama are omnipresent.
Don’t Worry Baby is, without doubt, a Beach Boys’ classic. So anyone who decides to cover Don’t Worry Baby will have their version compared to the original. The Tokens’ cover is akin to a homage to the Beach Boys. Sonically and stylistically, The Tokens’ 1970 cover of Don’t Worry Baby is one of the best, and stays true to the original.
Aren’t You Glad was written by Brian Wilson and his future nemesis Mike Love, and featured on The Beach Boys’ 1967 album Wild Honey. A year later, Peggy March Aren’t You Glad featured on the B-Side of Peggy March’s 1968 single I’ve Been Here Before. It was produced by Hal David, whose influence is apparent throughout the track. Giveaways are the horns and strings, that are reminiscent of his work with Burt Bacharach. They’re the perfect accompaniment for Peggy’s vocal on whats a quite beautiful, dreamy sounding track.
Side Two.
Soul singer Betty Everett is one of many people to cover what’s one of the Brian Wilson’s classic songs, God Only Knows. It originally featured on Pet Sounds, in 1966. Incredibly, Gold Only Knows stalled at number thirty-nine in the US Billboard 100. Nine years later, and Betty Everett covered God Only Knows on her 1975 album Happy Endings. Accompanied by gospel tinged backing vocals, God Only Knows is given soulful makeover that’s quite beautiful.
Just a year after releasing Pet Sounds in 1966, and already artists were queuing up to cover songs from Pet Sounds. This included Carmen McRae, who in 1967 covered I Just Wasn’t Made For These Times and Don’t Talk (Put Your Head On My Shoulders) on her 1967 album For Once In My Life. Don’t Talk (Put Your Head On My Shoulders) features on Here Today!-The Songs Of Brian Wilson. It was written by Brian and Tony Asher. However, Carmen McRae gives the song a jazz-tinged sound, that shows a new side to a classic song.
Good Vibrations, which featured on the Beach Boys 1967 album Smiley Smile, gave the Beach Boys a number one single in 1968. Not only was Good Vibrations by far the highlight of the Smiley Smile album, but one of the greatest songs Brian and Mike Love cowrote. Since 1968, Good Vibrations is perceived as one of the greatest singles ever released. Despite the original being a musical masterpiece, Hugo Montenegro covered Good Vibrations in 1969. The song lent its name to his 1969 album Good Vibrations. Without doubt. one of the highlights of the album is Good Vibrations, where Hugh pays homage to what many believe is Brian Wilson’s finest moment.
Nick DeCaro’s 1968 debut single was a cover of Caroline, No. It’s an wistful, piano lead cover of this Brian Wilson and Tony Asher composition. The addition of a sultry saxophone is a masterstroke, and is very different from the Beach Boys’ original on Pet Sounds. Here, Nick brings new life and meaning to another Beach Boys classic.
I Just Wasn’t Made For These Times was another song that Brian and Tony Asher cowrote for Pet Sounds. It’s been covered by many artists over the last fifty years. This includes Louis Philippe with Dean Brodrick. They recorded I Just Wasn’t Made For These Times for their 1991album Rainfall. It’s a moving and heartfelt cover, where the vocal is rueful and wistful, as Dean accepts: “I Just Wasn’t Made For These Times.” The result is one of the best covers of this song.
Closing Here Today!-The Songs Of Brian Wilson, is Kirsty MacColl’s cover of You Still Believe In Me, another track from Pet Sounds. Kirsty MacColl, the daughter of folk singer Ewan MacColl, had only released a quartet of singles when she released You Still Believe In Me in 1981. However, You Still Believe In Me was a game-changer. It was the finest single of her nascent career. The best way to describe Kirsty’s cover of You Still Believe In Me is understated and ethereal. This was the perfect tribute to one of Kirsty’s musical heroes.
The twelve songs on the vinyl edition of Here Today!-The Songs Of Brian Wilson, which was recently released by Ace Records, is a reminder of the quality of songs Brian Wilson wrote in his heyday. He was, without doubt one of the most talented songwriters of his generation. That is indisputable. However, Brian Wilson was much more than a songwriter.
Some people have gone as far as to describe Brian Wilson as the closest thing music has had to a genius. That is taking things to far. In the post Smile’ years, Brian Wilson’s health suffered, and he never reached the same heights. However, Brian Wison was certainly one of the the most talented and successful singer, songwriters, and producers of his generation. Proof, if any is needed, are the twenty-four hit singles, including two number one singles for masterminded the Beach Boys. However, Brian’s finest hour was Pet Sounds, and of course, Good Vibrations, which was recorded at the same time.
Pet Sound, which was released in 1966 was the Beach Boys’ progressive, psychedelic Magnus Opus. They never bettered Pet Sounds. The Smile project, which was abandoned in 1967, as Brian had the first of several nervous breakdowns, onlookers believe, could’ve come close. Sadly, that wasn’t to be. Smile, the followup to Pet Sounds was cancelled.
Brian Wilson had suffered the first of several nervous breakdowns. As a result of Brian Wilson’s health problems, his influence on the Beach Boys began to diminish. This just happened to coincide with a decrease in sales of the Beach Boys’ albums.
Over the next twenty-six years, Brian Wilson’s suffered from mental health problems. During that period, he was constantly described as a troubled genius. Sadly, Brian never reached the heights he scaled between 1961 and the release of Pet Sounds in 1966.
With Brian no longer playing such an important part in the Beach Boys, their studio albums never came close to matching the Beach Boys of the sixties. The exceptions were 1976s15 Big Ones which Brian produced, and 1979s L.A. (Light Album). Bother were a return to form from the Beach Boys.
Right through to 1992, when Brian ended his association with Eugene Landy, his health problems meant he curtailed his musical career. Since then, Brian Wilson has released ten further solo albums. Some were released to critical acclaim; while others feature a fleeting glimpse of Brian Wilson’s talents. However, much of the greatest music of Brian Wilson’s career, was the music he released with the Beach Boys, between 1961 and the release of Pet Sounds in 1966. To that, I would add the musical masterpiece that is Good Vibrations, which is the work of a musical visionary.
That visionary is Brian Wilson, who has influenced two generations of musicians, including the artists who pay tribute to him on Here Today!-The Songs Of Brian Wilson. Here Today!-The Songs Of Brian Wilson is a fitting addition to Ace Recods’ Songwriters’ series, and is a fitting and poignant reminder of Brian Wilson at the peak of his powers.
HERE TODAY!-THE SONGS OF BRIAN WILSON VINYL EDITION.
TUXEDOMOON-HALF-MUTE.
TUXEDOMOON-HALF-MUTE.
Success came quickly for Tuxedomoon. They were formed in 1977, and released their debut single in 1978. A year later, Tuxedomoon’s sophomore single No Tears was hailed a post punk classic. Tuxedomoon were one of music’s rising stars.
So it was no surprise that in 1980, Ralph’s Records signed Tuxedomoon and they released their debut album Half-Mute later that year. It was released to critical acclaim, and introduced Tuxedomoon’s music to a wider audience. Now thirty-six years later, and Crammed Discs have reissued Half-Mute.
The reissue of Half-Mute is no ordinary reissue. Instead, it’s a lovingly curated and remastered double album, which comes complete with new packaging. Disc one features new Half-Mute; while disc two, which is entitled Give Me New Noise-Half-Mute Reflected,thirteen artists cover Half-Mute in its entirely. Among the artists on Give Me New Noise are Aksak Maboul, Simon Fisher Turner and Cult With No Name. They pay homage to Tuxedomoon’s debut album Half-Mute, which was released in 1980. However, the Tuxedomoon story began in 1977.
Their roots can be traced to 1977, and the Angels of Light, a musical collective and commune in San Francisco that Steven Brown was a member of. He was also at student at San Francisco City College. That was where Steven Brown met Blaine Reininger and Tommy Tadlock. They were all taking the same electronic music class at San Francisco City College, and quickly became friends.
As the electronic music course neared completion, Steven Brown and Tommy Tadlock decided to combine their talents for their final project. Little did the pair realise, that Tommy would end up managing Tuxedomoon. That was in the future.
Tuxedomoon had only been born in 1977, and were still to find their sound. So in the evenings, Steven Brown and Blaine Reininger would head over to Tommy Tadlock’s to make music. This was unlike the majority of the music being released. Especially with Blaine Reininger playing electronic violin and guitar. Tommy Tadlock however, was content to take a backseat, working on the sound. He also made tools to fix the nascent band’s equipment, and even created “Treatment Mountain,” a plywood pyramid structure that housed Blaine’s myriad of effects. This became important as the band started to play live
By then, punk rock was on its way to moving from the underground to mainstream. However, as the band began to make their tentative steps in San Francisco’s live scene, punk was still an underground scene. Punk had certainly influenced Tuxedomoon.
When Tuxedomoon took to the stage, they were determined to sound different to everyone else. As a result, their vocals were inspired by punk and were a mixture of power, frustration, anger and angst. Augmenting the core band of Steven Brown and Blaine Reininger were bassist Peter Principle, filmmaker Bruce Geduldig and performance artist Winston Tong. Some members of the band didn’t play a particular instrument. Instead, they arrived with whatever instrument that they could find and ‘played’ it. This was similar things to the happenings in the psychedelic sixties. However, for a new generation who watched Tuxedomoon fuse elements of punk and electronics it was a new experience. This new sound was quickly christened cabaret no-wave.
It wasn’t until 1978, that Tuxedomoon’s cabaret no-wave sound first found its way onto a single. Tuxedomoon’s debut single was Pinheads On The Move. Then later in 1978, came Tuxedomoon’s sophomore single No Tears. It was the song that made critics and record buyers sit up and take notice. Soon, No Tears was regarded as a a post punk classic, and had introduced Tuxedomoon’s to a wider audience. Already Tuxedomoon were making waves in the post punk era.
Having made a breakthrough with No Tears in 1978, Tuxedomoon released two further singles in 1979. By then, bassist Peter Principle was a permanent member of the band, and played on The Stranger. This was Tuxedomoon’s first single of 1979, but their second and final release on Time Release Records.
Later in 1979, Scream With A View was released on the short-lived Tuxedomoon Records. Soon, the band’s new label had outlived its usefulness, as they signed to a new label.
After signing to Ralph Records later in 1979, Tuxedomoon returned in 1980 with not just a new single, but a new album. The single was What Use? and the album was Half-Mute, which was released in 1980.
Half-Mute featured ten tracks. Nine were penned by Steven Brown, Blaine Reininger and Peter Principle. The exception was Crash, which was written by Blaine Reininger and Michael Belfer. These tracks were recorded at San Amigos Studios, San Francisco.
At San Amigos Studios, Tuxedomoon began setting up an array of instruments. Steven Brown would play keyboards, synths, saxophones, electronic percussion and add vocals. Blaine Reininger who had learnt to play violin and guitar, also played bass, keyboards, synths, electronic percussion, root toms, C.B. interference and vocals. Peter Principle played bass, guitar, piano, synths and electronic percussion. Producing Half-Mute were the three members of Tuxedomoon. Once the album was complete, Half-Mute was released later in 1980.
By then, word had spread about Tuxedomoon. They had already released five singles and were the toast of the underground music press not just in America, but in Britain. This bode well for Half-Mute.
When reviews were published, critics lavished praise on Half-Mute. They were won over by Tuxedomoon’s unique fusion of punk and electronics. Many critics remarked on the lyrics. They weren’t just dark and maudlin, but tinged with humour and often incisive. Some critics called Half-Mute a genre-classic. This proved to be the case, and was the springboard for Tuxedomoon to become one of leading avant-garde pop bands. However, things were about to get even better for Tuxedomoon.
Buoyed by critically acclaimed reviews, Half-Mute reached number ten in the UK Indie Chart. Suddenly, Tuxedomoon’s star was in the ascendancy, after releasing what many regard as their finest album, Half-Mute.
Opening Half-Mute is Nazca, an instrumental. Washes of moody synths sweep in and out, while a pulsating beat is accompanied by a chiming guitar. By then, there’s a hypnotic quality to the arrangement. Then when a sultry saxophone enters. It’s dreamy and floats above rest of the arrangement, adding to the melodic quality. Sometimes, it threatens to head in the direction of free jazz. This never happens, as the saxophone proves the perfect foil for the washes of synths. Together, they create a soundscape that’s not just cinematic and beautiful, melodic, hypnotic and timeless.
From the opening bars, it’s obvious that 59 To 1 is a song about time. A ticking sound is joined by a funky bass and synthetic sounding drums. The urgent vocal is sounds almost Kraftwerk-esque. When the vocal drops out, a wailing saxophone soars above the hypnotic, funky arrangement. By then, the vocal is urgent, impassioned and despairing, at being unable to beat time. Snippets of C.B. radio interject, as the scorching, blazing saxophone soars and flutters, joining a mesmeric vocal and walking bass. Hypnotic, funky and innovative it’s a timeless genre-melting track.
Straight away, Fifth Column takes on a cinematic sound. Synths and a saxophone join a dark bass and crisp drums. It’s the synths and braying saxophone that paint pictures. They add to the cinematic quality, as the bass provides the heartbeat to a track where beauty and mystery are omnipresent. The beauty comes courtesy of saxophone, while synths add mystery.
Drums scamper along as otherworldly synths, beep and squeak on Tritone (Musica Diablo). They add a darkness as an urgent scratchy violin plays. As the tempo increases, the track becomes robotic, rocky and urgent. A myriad beeps, buzzes, squeaks and whirs join the scampering, scratchy violin and synthetic drums to create a short otherworldly symphony.
A darkness descends on Loneliness, which owes a debt of gratitude to Kraftwerk and even Cluster. Bursts of drums and bass set the scene for a dark, fuzz-tone organ and a monotone vocal that’s tips its hat to Kraftwerk. The final piece of the jigsaw are repetitive elegiac sounds that add a mesmeric sound. This adds to the almost robotic sound of the arrangement, which marches to the beat of the drum. The result is captivating emotionless track, that’s a fusion of avant-garde, electronica, funk and Krautrock.
Bells chime, as variety of crackles, rumbling, galloping and ghostly sounds combine on James Whale. Sometimes, the tape speed varies, as Tuxedomoon pay their tribute to the late Hollywood director James Whale. Later, the track takes on a haunting sound, as an otherworldly being gallops towards the listener. This adds to the spine tingling cinematic sound, and is fitting, given James Whale directed a classic horror film The Bride Of Frankenstein.
In the distance, a walling sound encircles, before gradually moving closer on What Use? That’s a curveball, as a thunderous beat joins cinematic synths and bass on a track that sounds as if it’s been inspired by Kraftwerk and Giorgio Moroder. Even by the time the deliberate vocal has entered, the listener has been swept along by what’s an irresistible sounding dance track. At one point, Tuxedomoon replicate the sound of a high speed train. By then, there’s a Euro Disco influence, as the track heads into anthem territory and showcases Tuxedomoon’s versatility.
Volo Vivace provides the perfect showcase for Blaine Reininger’s violin skills. Buzzing synths are joined by a bass, before the elegiac sound of the violin enters. It provides a contrast to the rest of arrangement.Especially when its played with speed and precision. Meanwhile, the rest of the arrangement is spacious, hypnotic and sometimes futuristic. However, the violin adds beauty and elegance. By then, music’s past and present sit side-by-side, and unite to make the music of the future.
As 7 Years unfolds, straight away, washes of synths add an element of darkness and drama, as drums rattle and crack. Atop the arrangement, the vocal is deliberate and lacking in emotion as it sings of: “seven years in one night.” Who knows what horrors take place during this “psychedelic melodrama.” It sounds as if it’s been influenced by Kraftwerk and Gary Numan. Later, Blaine Reininger’s violin adds a myriad of spine-chilling sounds, adding a cinematic sound to what was in 1980, a modern day “psychedelic melodrama.”
Km-Seeding The Clouds closes Half-Mute, and is an eleven minute epic. As the sound of traffic, goes by a wistful saxophone solo plays. It’s joined by a plucked bass, as the sounds of the city pass by. However, it’s the hauntingly beautiful, but mournful saxophone that’s the focus of the listener’s attention. They’re oblivious to the sound of traffic, birdsong, cinematic synth strings and bold keyboards chords. Even the sound of horns beeping, doesn’t stop the listener revelling in the mournful beauty of Steven Brown’s saxophone. It takes centre-stage, and closes Tuxedomoon’s avant-garde pop classic. However, not Crammed Discs’ recent reissue of Half-Mute.
Instead, it’s only half-time. There’s still Give Me New NoiseHalf-Mute Reflected, a tribute album where thirteen artists pay homage to Tuxedomoon on twelve tracks.This includes the ten tracks on Half-Mute and Non Finito Orchestra’s cover of Crash, which was the B-Side to the single What Use? Another of the three bonus tracks is Tiger Comics Group’s cover of Dark Companion. It’s a captivating track, just like the Give Me New NoiseHalf-Mute Reflected tribute album.
It opens with Simon Fisher Turner’s cover of Nazca comes complete with bristling, jagged synths, a wailing saxophone and an undercurrent of drama. This sets the bar high, for those that follow in his footsteps.
Zero Gravity Thinkers pickup the band on 59 To 1, and reinvent the track, giving it a modern makeover. This comes complete with hip hop scratches and snippets of dialogue. Fifth Column is covered by The Man From Managra, and features a guest appearance by Blaine Reininge. His violin plays a leading role in the track’s beauty and almost haunting cinematic sound. Then Cult With No Name’s piano lead reinvention of Loneliness oozes sadness and emotion. It’s a quite beautiful track. From there, it’s all change.
DopplAr’s cover of James Whale retains the cinematic sound of the original, but takes on a 21st Century sound. As a result, the remake sounds as if it belongs on the soundtrack to a Hollywood thriller, rather than a homage to one of the great film directors of the thirties. Volo Vivace was remade by Palo Alto, but features Steven Brown. Again, the track takes on a contemporary sound, but still remains true to the original. The same can be said of 2kilos and Moreand Julius Gabriel’s cover of the closing track KM/Seeding The Clouds. As it heads in a new direction, it tips its hat to Tuxedomoon’s original epic track. However, thirty-six years later, it’s interesting to hear how a new generation of artists reimagine and reinvent Tuxedomoon’s avant-garde pop classic Half-Mute.
It was never going to be easy covering the ten tracks on Half-Mute. This is a classic album, which launched the career of avant-garde pop pioneers Tuxedomoon. They combined elements of electronica, funk, Krautrock, pop, post punk and rock. The results was a groundbreaking album of music that was variously cinematic, dark, dramatic, hypnotic, melodic, mesmeric, mysterious, Then on What Use? the music heads into anthem territory, Tuxedomoon don’t spare the hooks, as they showcase their versatility on an album that’s also captivating and timeless. Thirty-six years after the release of Half-Mute, it sounds just as good the day it was released. That’s why this innovative album continues to influence a new generation of artists.
That’s why artists of the quality of Aksak Maboul, Simon Fisher Turner, DopplAr and Cult With No Name were so keen to take part in the recording of Give Me New Noise-Half-Mute Reflected. They wanted to pay homage to a band and an album that have influenced several generations of musicians. That will continue to be case for many to come.
Especially as another generation of music lovers discover Crammed Discs lovingly curated, remastered version of Half-Mute. It was recently released as a double album, with Half-Mute on disc one, and Give Me New Noise-Half-Mute Reflected on disc two. Many of the bands on Give Me New Noise-Half-Mute Reflected were influenced by Tuxedomoon’s avant-garde pop classic Half-Mute. Hopefully, so will a new generation of music lovers who after hearing Half-Mute, will be inspired to go out and form bands groundbreaking bands like Tuxedomoon.
TUXEDOMOON-HALF-MUTE.
THE TRONDHEIM JAZZ ORCHESTRA, KIM MYHR AND JENNY HVAL-IN THE END HIS VOICE WILL BE THE SOUND OF PAPER.
THE TRONDHEIM JAZZ ORCHESTRA, KIM MYHR AND JENNY HVAL-IN THE END HIS VOICE WILL BE THE SOUND OF PAPER.
Back in 2012, Kim Myhr got the opportunity to collaborate with The Trondheim Jazz Orchestra again. This was an exciting opportunity for composer, guitarist and improviser Kim Myhr. He had already collaborated with The Trondheim Jazz Orchestra on their 2010 album Stems and Cages. It also featured one of Norway’s top vocalist Sidsel Endresen. With such an array of talent on display, it was no surprise when Stems and Cages was released to critical acclaim. So Kim Myhr was keen to repeat the experience.
Having agreed to collaborate with The Trondheim Jazz Orchestra again, Kim Myhr realised that here was the perfect opportunity to work with another of Norway’s top vocalists, Jenny Hval. Kim had known Jenny for many years, but had never worked with her. He was keen to rectify this, and his forthcoming collaboration with The Trondheim Jazz Orchestra offered Kim the opportunity to work with Jenny. She agreed and soon, work would begin on what was collaboration between some of Norway’s top musicians.
When Kim Myhr and Jenny Hval began to write together, it quickly became apparent that they had similar a approach to music. They both like to work quickly, getting their ideas down on paper. The ability to improvise was also important. This was what Kim had been doing for much of his career. So had Jenny. With so much in common, it was no surprise that the music came together quickly. Jenny explains: “Kim gave me a lot of sketches and music, I wrote the melody and lyrics, and we improvised.” Quickly, Kim and Jenny’s collaboration took shape. All that it needed was a title.
Kim and Jenny arrived at a title at the least unexpected time. They were having a break, and discussing Bob Dylan’s ageing vocal. That was when the words: “In the End His Voice Will Be The Sound Of Paper” were first uttered. With a title to their collaboration, Kim and Jenny were ready to practise with The Trondheim Jazz Orchestra, in preparation for the premiere of In The End His Voice Will Be The Sound Of Paper.
For the collaboration between The Trondheim Jazz Orchestra, Kim Myhr and Jenny Hval, the lineup of The Trondheim Jazz Orchestra had been carefully selected by Kim. He had chosen each of the eleven members of The Trondheim Jazz Orchestra. Their backgrounds were in improvisational music, jazz and contemporary music. Many of the musicians had featured on Kim’s previous collaboration with The Trondheim Orchestra, Stems and Cage. This time though, the musicians were playing an array of acoustic instruments. With some of the most talented musicians from Norway, Wales and Australia, the music that made up In The End His Voice Will Be the Sound Of Paper soon take shape. Now The Trondheim Jazz Orchestra, Kim Myhr and Jenny Hval were ready for the premiere.
The collaboration between The Trondheim Jazz Orchestra, Kim Myhr and Jenny Hval was premiered at the Ultima Oslo Contemporary Music Festival in 2012. That night, critics lauded In The End His Voice Will Be The Sound Of Paper. It was hailed as an ambitious, captivating and innovative fusion of improvisation, contemporary Feldmanian music, pop and the spoken word. Kim’s second collaboration with The Trondheim Jazz Orchestra, and first with Jenny Hval had been a resounding success. However, one question remained. Would an album follow?
This would take time. Everyone involved in the project was busy with other projects. So it was a case of everyone finding time in their busy schedules.
After The Trondheim Orchestra’s appearance at the Ultima Oslo Contemporary Music Festival in 2012, they were busier than ever. The recorded two further collaborations, including Lion with Marius Neset; and completed Ekko their collaboration with Elin Rosseland. The Trondheim Orchestra also recorded the live album Tree House with Albatrosh at the Molde Jazz Festival on the 15th of July 2013. Meanwhile, Jenny Hval was just as busy.
She had recorded released her sophomore album Innocence Is Kinky in 2013. Jenny Hval had also worked on several collaborations. The most successful was her collaboration with Susanna Wallumrød, Meshes of a Voice. It was released to widespread critical acclaim, and went on to win a Spellemannspris, which is Norwegian Grammy, in 2015. While Jenny juggled projects, it was a similar story with Kim Myhr.
As one of the leading lights of the experimental music scene, Kim Myhr is constantly busy writing, recording and touring. Kim’s also composes for chamber ensembles, electroacoustic settings and previously, for a variety theatrical projects. Somehow, Kim had found time to released his solo album All Your Limbs Singing in March 2014. Critical acclaim accompanied its release, and Kim headed out on tour. However, in August 2014, Kim, Jenny and The Trondheim Orchestra found the time to record an album.
In The End His Voice Will Be The Sound Of Paper which will be released by Hubro Music, on the 13th of May 2016, was recorded at Rainbow Studio, in Oslo. Recording began on the 26th August 2014, with recordist Jan Erik Kongshaug working alongside producer Kim Myhr. This wasn’t an easy project, given thirteen musicians and vocalists were involved.
As the recording session began, the lineup of The Trondheim Orchestra included a rhythm section of drummer Tor Haugerud and bassist Michael Duch. The horn section featured tenor saxophonist Espen Reinertsen; trumpeter Eivind Lønning; tubaist Martin Taxt and Jim Denley on alto saxophone and flute. Violinist Kari Rønnekleiv was joined by clarinetist Klaus Ellerhusen Holm; harpist Rhodri Davis; percussionist Morten J. Olsen and pianist Christian Wallumrød who also played harmonium. Jenny Hval added vocals; while Kim Myhr played twelve-string guitar, added vocals on Mass. By the 27th of August 2016, recording of In The End His Voice Will Be The Sound Of Paper was complete. That just left mixing and mastering.
Nearly a year later, recordist Jan Erik Kongshaug was asked to mix In The End His Voice Will Be The Sound Of Paper. He mixed the album at Amper Tone Studio between the 10th and12th of August 2015. All that was left was Helge Sten to master In The End His Voice Will Be The Sound Of Paper. This took place between the 13th and 14th August 2015. Nearly three years after In The End His Voice Will Be The Sound Of Paper was premiered, The Trondheim Jazz Orchestra, Kim Myhr and Jenny Hval’s collaboration was ready to be released.
This will take place on the 13th of May 2016, when Hubro Music will release one of the most anticipated albums of recent years, In The End His Voice Will Be The Sound Of Paper. It features the considerable combined talents of The Trondheim Jazz Orchestra, Kim Myhr and Jenny Hval. As you’ll soon discover, it’s a captivating collaboration.
Seed opens In The End His Voice Will Be The Sound Of Paper. Its introduction is understated. Fingers flit tenderly across a harp, while subtle bursts of piano and briefly, percussion interjects. Soon, an alternative array of sounds make their debut. A squeaking sound follows in the footsteps of shakers and woodblocks. Then as a violin protests, Jenny tenderly scats, before whispering: “the voice.” It’s tender, dreamy and spacious. There’s no sense of urgency as, Jenny reaches for the lyrics. Her vocal is breathy as fingers scamper across the harp, the violin adds sense of melancholia and a drone sends out a warning. Meanwhile there’s an urgency in Christian’s piano playing. Especially when Jenny’s vocal drops out. That’s when a myriad of alternative sounds flit in and out. Still the arrangement is spacious, and The Trondheim Jazz Orchestra pickup the baton and continue to improvise. The result is quite beautiful and captivating track that’s guarantee to whet the listener’s appetite.
A harmonium wheezes, starting and stopping as Something New unfolds. Again, space is left within the arrangement. Even when the braying horns join the harmonium, and make a brief appearance. They bow out when Kim’s crystalline guitar and Jenny’s ethereal vocal enter. However, the vocal drops out when the harmonium returns. This makes sense, as the harmonium dominates the arrangement. From there, the heartfelt and emotive, vocal floats in and out. Sometimes, when it returns, it’s joined by either percussion, drums or the guitar. They all add contrasting sounds, and become layers in a musical cake. Occasionally, the harmonium sweeps in, but doesn’t overpower the vocal. Then when it later takes centre-stage, it wheezes in and out, as horns join a plink plonk piano, guitar and flourishes of harp. Later, a horn sounds, as Jenny’s elegiac, whispery vocal floats in, adding yet another contrast. There’s one last surprise, as what sounds like a horn sounds. By then, you’ve realised to expect the unexpected from this multitalented lineup. Their capacity to innovate knows no bounds.
Just a harp is plucked with a degree of urgency on Me, You, Me, You. Soon, it’s joined by an array of left-field sounds. They come courtesy of The Trondheim Orchestra who pluck, scrabble, scratch and blow their instruments. Using a less is more approach, these sounds captivate as they assail the listener. Soon though, the a plucked guitar is joined by the harmonium. It’s played subtly, as an array of alternative sounds join the guitar, as this alternative symphony becomes urgent and dramatic. Soon, a sense of calm is restored and the arrangement meanders along. Flourishes of harp and guitar runs unite before Jenny’s vocal soars above the vocal. Soon, it’s breathy and understated as she combines power and emotion. Briefly, she sounds like Suzanne Vega. Later, the guitar plays urgently, a drum sounds and Jenny’s vocal is multi-tracked, before free jazz horns wail and a series of growls provide an unlikely ending to compelling genre-melting soundscape, where improvisation, avant-garde and Feldmanian music combine.
Dramatic and spacious describes the introduction to The Beak. After buzzing sound dissipates, there’s near silence. This is broken by a crashing cymbal and a shrill burst of flute. By then, a drum sounds and a piano is pounded. Despite this melodic describes the mesmeric backdrop. Especially as a guitar plays, and Jenny delivers a vocal that’s inspired by folk and pop. When her vocal drops out, a drum marches the arrangement along, as a piano is pounded.It’s constant, dramatic and mesmeric, even when flourishes of harp, a harmonium are added. Still, dramatic and hypnotic describes a track that earlier, thanks in part to Jenny, was beautiful and melodic.
As Kim purposefully strums his guitar on Mass, Jenny is soon delivering a tender, wistful vocal. Behind, her an array of otherworldly sounds can be heard. Growls and snarls suggest an exorcism rather than a Mass would be preferable. These otherworldly sounds remain as Jenny’s vocal drops out, and percussion combines with the guitar. Later, Kim duets with Jenny, and their voices prove a perfect fit. They’re like yin and yang, as they unite, and harmonise. Behind them, a series of clunking, whirring, shrieking sounds compete for the listener’s attention. When the vocal drops out, the arrangement takes on a hypnotic industrial sound. This is reminiscent of the dark satanic mills of the Industrial Revolution. They take on a strangely melodic and mesmeric sound that proves almost reassuring.
Subtle bursts of harmonium open Even The Vowels. They wheeze before Jenny’s vocal enters. It’s like a soliloquy, as she wistfully sings then speaks. As she speaks, it’s like eavesdropping on someone’s private thoughts. Emotion and drama fills her voice, Meanwhile, the harmonium plays a leading role in the arrangement. Joining it, are a guitar, piano, whispering flute and gently rasping horns. They play softly, as if realising Jenny is the leading lady, as she delivers a heartfelt and emotive soliloquy.
A scrabbled guitar plays urgently and is joined by percussion on Soft As Tongues. The harmonium wheezes, as a myriad of sounds escape from the improvised and urgent arrangement. It splutters, flutters, rattles and echoes. Then all of a sudden, flourishes of harp join and gusts of wind are joined by Jenny’s Feldmanian vocal. It grows in power, and at one point is reminiscent of Kate Bush. By then, Kim’s guitar joins the harp in adding to the beauty and urgency. Later, Jenny’s vocal sounds as if it’s been influenced by folk, pop and even improvisational music. Especially, as her vocal becomes like an instrument, soaring above the arrangement where it joins a shrill flute, dark piano and drum. Jenny controls and elongates notes, until she can do no more. That’s the signal for braying horns to pickup the baton, on another genre-melting track that showcases a union of musical innovators.
Closing In The End His Voice Will Be The Sound Of Paper is Silence A Beat. Just a slow, thoughtful and crystalline guitar solo sets the scene for Jenny’s wistful, elegiac vocal. Despair fills her vocal as she tenderly delivers the lyrics. Soon, her ethereal vocal gracefully soars above the arrangement, as a piano and percussion enter. By then, Kim’s guitar is played with more urgency. Meanwhile, The Trondheim Orchestra are improvising. Rattling percussion, a wailing harmonium and a harp add contrasting layers of sound. Suddenly, they drop out, and briefly, there’s silence. Then just the piano, Kim’s guitar, drum and a myriad of percussive sounds unite, to bring the album to a poignant and beautiful close.
Nearly, Four years have passed since The Trondheim Jazz Orchestra, Kim Myhr and Jenny Hval premiered In The End His Voice Will Be The Sound Of Paper at Ultima Oslo Contemporary Music Festival in 2012. Those that witnessed the premiere were hugely impressed. Especially critics, who aren’t easily impressed. However, they were impressed by the premiere of In The End His Voice Will Be The Sound Of Paper. Critically acclaimed reviews were published, with critics liberally using works like “compelling” and “groundbreaking.” Music lovers who hadn’t witnessed the premiere of In The End His Voice Will Be The Sound Of Paper enviously pored over the reviews. If only they had been in Oslo to witness this triumphant performance. At least, readers reflected, there will be an album of In The End His Voice Will Be The Sound Of Paper out soon. Or so they thought.
What everyone forgot was how busy the schedules of The Trondheim Jazz Orchestra, Kim Myhr and Jenny Hval were. It wasn’t going to be easy getting the thirteen musicians in the same studio, at the same time. This eventually happened over two days in August 2014. Record byers thought that In The End His Voice Will Be The Sound Of Paper would be released in the not too distant future. However, often record buyers have to be patient.
This was the case with In The End His Voice Will Be The Sound Of Paper, which will be released on 13th May 2016, on Hubro Music. However, In The End His Voice Will Be The Sound Of Paper has been well worth the wait. Not only is the music beautiful, ethereal, melodic and mesmeric, but also captivating, dramatic, melancholy and otherworldly. Always, the music is innovative, with surprises in store for the listener. They sit spellbound, as The Trondheim Jazz Orchestra, Kim Myhr and Jenny Hval flit between, and fuse musical genres.
Almost seamlessly, avant-garde, Feldmanian music, folk, free jazz, improvisational music and even elements of pop shine through. The Feldmanian, folk and pop influences come courtesy of one of Norway’s finest vocalists, Jenny Hval. Her voice is variously beautiful, despairing, elegiac, emotive, heartfelt and wistful on In The End His Voice Will Be The Sound Of Paper. Sometimes, her vocal is transformed into what’s akin to a musical instrument. When this happens, Jenny joins The Trondheim Jazz Orchestra and Kim Myhr in creating a truly captivating album.
In The End His Voice Will Be The Sound Of Paper is an album that’s full of surprises. The more you listen to In The End His Voice Will Be The Sound Of Paper, the more of its subtleties and nuances it reveals. That’s one reason why In The End His Voice Will Be The Sound Of Paper is an album that one will never tire of. Another is the music is innovative. The Trondheim Jazz Orchestra, Kim Myhr and Jenny Hval push musical boundaries to their limits, and continually combine musical genres in the pursuit of musical excellence on In The End His Voice Will Be The Sound Of Paper. They succeed in doing so, and for that, they deserve our thanks and congratulations.
THE TRONDHEIM JAZZ ORCHESTRA, KIM MYHR AND JENNY HVAL-IN THE END HIS VOICE WILL BE THE SOUND OF PAPER.
ERIC GALE-BLUE HORIZON AND ISLAND BREEZE.
ERIC GALE-BLUE HORIZON AND ISLAND BREEZE.
Eric Gale was born in Brooklyn, New York on September 20th 1938. By the time he was eleven, Eric had discovered music. Fittingly, it was guitarist Les Paul that piqued Eric’s interest in music. He heard Les Paul and his wife Mary Ford on the radio. They were on their way to becoming one of the biggest stars of early fifties. Hearing Les Paul inspired Eric Gale to pickup a guitar for the first time.
At first, Eric Gale had a few guitar lessons. This was just enough to learn the basics. Mostly, though, Eric was self-taught. However, by the time Eric was twelve he briefly turned his back on the guitar.
This came after Eric’s father introduced him to Charlie Parker and Dizzie Gillespie. Bebop captivated the twelve year old. Especially how quickly Bird and Dizzy Gillespie could play. Suddenly, Eric wanted to try the saxophone.
So his father arranged for Eric to take saxophone lessons. However, after a month, Eric decided that the saxophone wasn’t for him. He returned to the guitar, and spent the next few years honing his sound. This would pay off in the long run.
By 1982 Eric Gale was dividing his time between session work and his career as a solo artist. He released Blue Horizon in 1982, and Island Breeze in 1983. Both albums have been reissued on one CD by BGO Records. They’re a welcome reminder of a supremely talented guitarist. However, in the early fifties, it seemed Eric Gale was about to embark on a career as a scientist.
Having graduated high school, Eric headed to Niagara University, where he studied chemistry. It was there that Eric realised he didn’t want to pursue a career in science. So Eric left academia behind, and decided to pursue a career as session musician.
By then, Eric was in his early twenties, and was a novice in terms of session work. Despite this, he caught a break. Bobby Lewis was looking for a guitarist for the session when Tossin’ and Turnin’ was recorded. Eric got the job, and played alongside saxophonist King Curtis. He asked Eric to play on his Old Gold album. However, by then, Tossin’ and Turnin’ had reached number one on the US R&B charts in 1961. Eric Gale’s career was underway.
After playing on a number one single and King Curtis’ Old Gold album, Eric Gale became a familiar face in New York Studios. He played on sessions by The Drifters, Maxime Brown, Aretha Franklin, Red Holloway, Clark Terry, Jimmy McGriff and Oliver Nelson. By 1967, Eric was accompanying a young Van Morrison, drummer Bernard “Pretty” Purdie, Bobby Timmons and Herbie Mann. Unlike many session musicians, Eric didn’t specialise in one type of musician. Instead, he would on everything from jazz and soul to rock. That would be the case throughout his career as a session musician.
As the seventies dawned, there was no sating Eric Gale’s insatiable appetite for session work. He would have happily spend day and night in the studio. That had been the case in the sixties, and wasn’t going to change in the early seventies. Eric played on a number of sessions for Creed Taylor’s CTi and Kudu label. This included on albums by Quincy Jones, Johnny Hammond, Stanley Turrnetine, Hank Crawford and Esther Phillips. This gave Creed Taylor the opportunity to see and hear Eric Gale at close quarters. He liked what he heard, and in 1973, Creed Taylor signed Eric Gale to his Kudu imprint.
No longer was Eric Gale “just” a session musician, now he could add solo artist to his already impressive C.V. His debut solo album was Forecast, which was released later in 1973.
Forecast.
Forecast saw Eric joined by some of the Big Apple’s top session players. They step up to the plate on an album where cover versions sit side-by-side with Eric Gale compositions. With his all-star band for company, Eric showcased his versatility, veering between jazz, funk, blues and soul-jazz. Prior to its release, reviews of Forecast were positive. Alas, Forecast only reached twenty-two in the US Jazz charts, and proved to the only album Eric released on Kudu.
Negril.
It was another two years before Eric Gale released his sophomore album, Negril. By then, Eric was living in Jamaica, where he was enjoying a sabbatical. Despite being on sabbatical, Eric decided to record an album. He wrote, arranged and produced Negril at Harry J’s Studio in Kingston, in Jamaica. The album was a homage to the beautiful village of Negril and its unspoilt beaches. Once the album was complete, it was released in 1975.
When Negril was released in 1975, listeners discovered an album of laid-back, instrumental reggae. It was a very different album from Forecast, and one that showcased Eric’s versatility. This would be put to good use over the next couple of years.
After a three year sabbatical, Eric Gale returned to New York. When he arrived home, the money had run dry and he was without a job. Fortunately, a jazz supergroup were looking for a guitarist. Eric fitted the bill, and he joined Stuff.
With a lineup that featured bassist drummers Chris Parker Steve Gadd; bassist Gordon Edwards, guitarist Cornell Dupree and pianist Richard Tee, Stuff was worthy of being called a supergroup. Eric played on Stuff’s 1976 eponymous album, and the 1977 followup More Stuff. Still thought, Eric was working as a session musician, so would divide his time between Stuff and session work.
Still, Eric Gale was happy to work around the clock. Recording studios were like a second home. During 1976, Eric played on albums by Ashford and Simpson, Stanley Turrentine, Blood, Sweat and Tears, Bob James, Grover Washington, Paul Butterfield, Joe Coker, Patti Austin and Randy Crawford. 1977 was just as busy, with Eric accompanying Ashford and Simpson, Tom Scott, Bob James, Esther Phillips, Jun Fukamachi, Idris Muhammad, Yuseef Lateef and Kenny Loggins. However, 1977 was also the year Eric Gale was offered a solo deal by Columbia.
Ginseng Woman.
For Eric Gale, signing to Columbia meant he could rekindle his solo career. When Ginseng Woman which was released in 1977, Eric’s album of smooth jazz was reasonably well received by critics. Eric was already one of the finest practitioners of the genre. So it was no surprise when Ginseng Woman reached 148 in the US Billboard 200, fifty-six in the US R&B charts and number seven in the US Jazz charts. This was a good start to Eric Gale’s career at Columbia. Especially considering disco was at the peak of its popularity.
Multiplication.
Buoyed by the success of Ginseng Woman, Eric returned in 1978 with Multiplication. It wasn’t as well received as Ginseng Woman. As usual, record buyers had the final say, and Multiplication reached just number six in the US Jazz charts. Multiplication failed to trouble the US Billboard 200 and US R&B charts. For Eric Gale, this was disappointing.
Following the release of Multiplication, Eric continued to juggle his various roles. In 1978, he worked with everyone from Carly Simon, to Billy Joel and Thijs van Leer. Eric also worked on albums by Loleatta Holloway, Ashford and Simpson and his old friend Bob James. Still, Eric found time to play and record with Stuff. Then there was the small matter of his third solo album for Columbia.
Part Of You.
Despite the disappointing performance of Multiplication, Eric Gale returned in 1979 with a new album Part Of You. Before it was released, the album of smooth jazz garnered positive reviews from critics. Part Of You was a return to form from Eric Gale. Record buyers agreed, and Part Of You reached 154 in the US Billboard 200 and eleven in the US Jazz charts. Things were looking up for Eric Gale.
Touch Of Silk.
As a new decade dawned, Eric retuned in 1980 with his fourth album for Columbia Touch Of Silk. Despite the commercial success Part Of You enjoyed, Eric decided to change a winning formula on Touch Of Silk. He moved away from the smooth jazz of Part Of You, and Touch Of Silk showcases a sound that veered between funky to dark and bluesy. While Touch Of Silk was well received by critics, record buyers turned their back on the album. The only success Touch Of Silk enjoyed was in the US Jazz charts, where it reached number twelve. For Eric Gale, this was the end of the road at Columbia.
Blue Horizon.
With Eric Gale’s time at Columbia at an end, he signed to Elektra/Musician. For Eric this was a new start. Things were going to be different. He was going to dispense with the big name session players, and bring in an entirely new band. The other change Eric wanted to make, was to produce his albums at Elektra/Musician. First he had to get Bruce Lundvall to agree.
The question arose when Bruce Lundvall,who oversaw Elektra/Musician, asked who Eric wanted to produce Blue Horizon. Immediately, and hopefully, Eric through his name into the hat. To Eric’s delight, Bruce Lundvall agreed. Now Eric could and would explore various different musical genres.
For what became Blue Horizon, Eric Gale wrote Blue Horizon, Mako D’Amour and 97th and Columbus. Wait Until The City Sleeps was penned by Gene Ritchings and Mark Mazur; while When Tokyo? was a Clive Phillips and Nasser Nasser composition. Peter Schott of Kid Creole and The Coconuts wrote Clock-A-Pa and cowrote Call Me At The Same Number with Winston Grennan. These seven songs were recorded by Eric’s new, hand picked band.
Recording of Blue Horizon took place at House Of Music, New Jersey. The new band’s rhythm section featured drummers Freddie Waits and Winston Grennan; bassist Neddy Smith; and rhythm guitarist Mark Mazur. Other members of the band included keyboardist Peter Schott; percussionist Nasser Nasser and Hugh Masakela on flugelhorn. Eric Gale took charge of lead guitar and produced Blue Horizon. Once the recording was complete, Blue Horizon was released in 1982.
Before that, critics had their say on Blue Horizon. They were surprised, but welcomed such an eclectic album. It was as if Eric had been reenergised by the move to Elektra/Musician. Despite this, Blue Horizon only reached twenty-nine on the US Jazz charts. This was a disappointment for Eric and everyone involved.
Record buyers had missed out on an album that featured Eric Gale with a new found musical freedom. He was allowed to explore new musical genres on Blue Horizon, a truly electric album.
That’s apparent from the opening track, where smooth jazz and subtle Caribbean rhythms unite to create a beautiful, melodic and laid-back track. At the heart of the track’s success was Eric’s crystalline guitar. Then stylistically, it’s all change on Wait Until The City Sleeps, a ballad featuring a a vocal by from Mark Mazur. Meanwhile, a piano adds an element of drama, as the rhythm section play a leading role. That’s until Eric’s blues-tinged guitar solo steals the show on this cinematic track. When Tokyo? also has a cinematic sound, and features a masterclass on the piano from Peter Schott. His playing is central to the track’s sound and success. Even when it becomes a tango. Only later, when Eric unleashes a bluesy guitar run, is Peter Schott’s supremacy challenged. A track of this quality was a fitting way to close side one of the original LP.
Mako D’Amour was written by Eric, and allows his crystalline guitar to take centre-stage. It’s a case of less is more, with Eric choosing each note with the utmost care. While his guitar steals the show, the rhythm section create a shuffling, reggae groove. That’s not the end of the reggae influence. There’s a Caribbean influence to the ballad Clock-A-Pa. It features a heartfelt vocal, while the arrangement, while there’s occasional excursions into dub, as Eric’s guitar takes on a bluesy hue
Then on Call Me At The Same Number the reggae influence continues. The rhythm section with its dual drummers play in a 7/4 time signature. Together they create the a pulsating backdrop for the vocal, and Eric’s brisk, searing, bluesy solo. It’s one of Eric’s finest, and shows that seamlessly, he can switch between musical genres. That’s apparent on Blue Horizon’s closing track, 97th and Columbus a pulsating fusion of disco and funk. This reinforces that Blue Horizon was the most eclectic album of Eric Gale’s recording career.
No wonder. Elements of blues, Caribbean, disco, dub, funk, jazz, pop and reggae featured on Blue Horizon. Elektra/Musician had afforded Eric Gale the freedom he longed for. With his new band, Eric Gale explored a verity of disparate new musical genres on Blue Horizon. He sounds as if he’s been reinvigorated, and as a result, delivers a series of almost flawless performances. Sadly, very few people heard Blue Horizon, and it became one of the hidden gems of Eric Gale’s back-catalogue. However, later in 1982, Eric released another solo album.
In The Shade Of A Tree
After releasing Blue Horizon, Eric Gale released In The Shade Of A Tree in Japan later in 1982. Stylistically, he album was similar to Blue Horizon, and was well received in Japan. In The Shade Of A Tree sold well in Japan, where Eric was a popular artist. It was ironic that Eric’s music was more popular halfway around the world than in his home country. Maybe his next album for Elektra/Musician would see Eric Gale’s fortunes improve in America?
Island Breeze.
Having released In The Shade Of A Tree, Eric Gale was constantly busy with various projects. He was a member of the NY-LA Dream Band, and had toured Japan with them. Then on his return, he had only a few days before he headed out to Montruex to record a live album. On his return, Eric Gale’s thoughts turned to his next album for Elektra/Musician.
For what became Island Breeze, Eric chose four cover versions. This included Bob James’ Boardwalk and Dark Romance. The other covers were Joe Sample’s My Momma Told Me So and Jeff Medina’s Island Breeze. Eric’s new musical director Jimmy Kachulis penned We’ll Make It, Sooner Or Later and I Know That’s Right. These songs were recorded by a new lien up of Eric’s band.
Since the recording of Blue Horizon, the lineup of Eric’s band had changed quite dramatically. The rhythm section now featured drummers Webb Thomas and Joey DeFrancesco; bassist bassist Neddy Smith; and rhythm guitarists Mark Mazur and Jimmy Kachulis. Keyboardists included Ted Lo and Andy Schwartz. This new lineup recorded at Rosebud Recording Studio, New York. Just like on Blue Horizon, Eric Gale took charge of production and played lead guitar. Once Island Breeze was complete, the album was released in 1983.
Before the release of Island Breeze, critics had their say on the followup to Blue Horizon. The reviews were positive, and this bode well for the rerelease of Island Breeze. However, Island Breeze reached just thirty-five on the US Jazz charts. It was a huge blow for Eric Gale. Especially considering the quality of music on Island Breeze, which brought Eric Gale’s career at Elektra/Musician to an end.
This was the case from the nine minute cover of Bob James’ Boardwalk, that opens Island Breeze. It’s a slice of smooth fusion that’s the perfect showcase for Eric’s considerable skills. He chooses each note with the utmost care, and enjoys the opportunity too stretch his legs on this epic cover. After that, it’s all change. We’ll Make It (Sooner Or Later) is a beautiful ballad. It features a tender, heartfelt and soulful vocal from one of music’s best kept secrets Sandy Barber. Her vocal is at the heart of the song’s success. Similarly, so is Eric’s blues-tinged guitar solo on My Momma Told Me So. It was written by Joe Sample, and featured on The Crusaders’ album Those Southern Knights. Uptempo, funky, with hint of fusion and Eric’s bluesy guitar, it’s another track that showcases Eric’s versatility. That was the case on side two of Island Breeze.
On Island Breeze, Eric, whose parents were from Barbados, revisits his Caribbean roots. As the arrangement breezes along, percussion and a sultry saxophone play supporting roles; as Eric adds a guitar solo whose roots can be traced back to reggae music. Dark Romance is another nine minute cinematic epic. It would be perfect for a soundtrack, as the track veers between wistful to moody, mesmeric, melodic and hopeful. Sometimes, there a degree of tension and mystery. Always, thought, beauty is omnipresent. Closing Island Breeze, is the uber funky and dance-floor friendly I Know That’s Right. It marks the return of Sandy Barber, who delivers a sassy vocal. Meanwhile, Eric’s guitar sounds not unlike Chic’s Niles Rodgers, as he shows another side to his playing. Just like on Blue Horizon, versatility is Eric Gale’s middle name.
For anyone yet to discover Eric Gale, then BGO Records’ recent reissue of Blue Horizon and Island Breeze on one CD is the perfect starting point. Especially since both albums have been mastered in high definition from the original master tapes. So it’s no surprise that the sound quality is stunning. This is another reason why make Blue Horizon and Island Breeze are the perfect introduction to one of the greatest jazz guitarists of his generation.
As a session musician, Eric Gale played on over 500 albums, accompanying the great and good of music. He also released around a dozen albums. Sadly, as is often the case, Eric Gale’s albums never enjoyed the success they deserved. That’s the case with Blue Horizon and Island Breeze, two of the hidden gems in Eric Gale’s impressive back-catalogue. They’re both hugely underrated albums, and a reminder of a truly talented and versatile guitarist who died far too young. Eric Gale died in 1994, aged just just fifty-five. Jazz had been robbed of one of its most talented sons. However, Eric Gale left behind a rich musical legacy, including Blue Horizon and Island Breeze.
ERIC GALE-BLUE HORIZON AND ISLAND BREEZE.
FIRE! ORCHESTRA-RITUAL.
FIRE! ORCHESTRA-RITUAL.
For their fourth album Ritual, the Fire! Orchestra has undergone a change in lineup. This isn’t unusual. Many groups, including Pink Floyd, Genesis, The Rolling Stones and even The Beatles’ lineup changed. Usually, this happened when one member of the group left. However, what has happened to the Fire! Orchestra is very different.
In business terms, the Fire! Orchestra have downsized. On their third album Second Exit, the Fire! Orchestra’s lineup numbered twenty-nine. For the recording of their fourth album Ritual, which will be released by Rune Grammofon on 13th May 2016, the Fire! Orchestra “slimmed” their lineup down to just twenty-one members. The newly slimmed down lineup of the Fire! Orchestra recorded Ritual in just two days. This isn’t unusual.
The three previous Fire! Orchestra albums were recorded quickly. It was a case of needs must. Fire! Orchestra features some of the biggest names in Scandinavian music. These musicians are always busy, so albums have to be recorded quickly. This was also the case with the group who gave birth to the Fire! Orchestra in 2011…Fire!
It was in 2009, when the Fire! story began. That was when bassist Johan Berthling, drummer Andreas Werliin and saxophonist Mats Gusfasson decided to form a new band. Fire! was to all intents and purposes a Swedish supergroup. After all Johan, Andreas and Mats were three of Sweden’s finest jazz musicians. Their speciality was free jazz. However, there was a minor problem.
Mats Gustafsson ,Johan Berthling and Andreas Werliin all had busy schedule. So they would have to fit playing and recording as Fire! round their existing schedules and other musical commitments.
Reeds player and saxophonist Mats Gustafsson is the elder statesmen of Fire! He was born in 1964, and has been involved in the Swedish music scene since 1988. Since then, Mats Gustafsson has worked as a musician, arranger, composer, conductor and producer. He’s played and performed on over 200 albums. That’s just the tip of the iceberg.
Currently, Mats Gustafsson is a a member of jazz trio The Thing. However, over the past three decides Mats Gustafsson has collaborated with everyone from Jim O’Rourke to Sonic Youth and Lasse Marhaug. Then there’s the solo albums Mats Gustafsson has released. These solo albums and collaborations add another seventy albums to Mats Gustafsson’s C.V. However, he’s not the only member of Fire! with an impressive C.V.
Just like Mats, bassist Johan Berthling is a veteran of numerous bands. Previously, he’s been a member of Angles, Angles 9, Boots Brown, Nacka Forum, Ohayo, Pipeline, Sten Sandell Trio, Tape, The Godforgottens, The Tiny and Time Is A Mountain. Away from these bands, Johan has worked as a hired hand.
Johan has worked as an arranger, musician, producer and songwriter. Already, he has around 170 credits to his name. When Johan’s not working on other people’s albums, he runs a record label.
In 1999, John and Klas Augustsson founded the Häpna record label. It’s based in Stockholm, and has released nearly sixty releases. This includes albums by Tape, who released their eighth album Casino in 2014. Just like other members of Fire!, Johan has a voracious appetite for making music.
The same can be said of drummer and percussionist, Andreas Werliin. He was born in 1982, and is the youngest member of Fire! Although he’s only thirty-four, Andreas is almost veteran of Swedish music. Andreas has worked as an arranger, musician, singer, songwriter and producer. He’s happy to work as a hired hand, when not been working with the various bands he’s been a member of.
Among the groups that Andreas has played in, are Angles 9, Time Is a Mountain, Tonbruket and Wildbirds and Peacedrums. In both Angles 9 and Time Is a Mountain, Andreas is joined by Johan in the rhythm section. They’ve formed a formidable partnership, since Fire! released their debut album in 2009.
You Liked Me Five Minutes Ago.
You Liked Me Five Minutes Ago was Fire!’s debut album. It showcased what was a new and innovative approach to improvised music. Fire! stepped out of their comfort zone on You Liked Me Five Minutes Ago, seamlessly combining free jazz, psychedelic rock and noise. This was the perfect showcase for the three members of Fire!’s considerable musical skills. Critics were won over by Fire!, and forecast a bright future from the Swedish trio.
Unreleased?
Two years later, and Fire! returned with the first collaboration of their career. They had recorded four lengthy improvised pieces with Chicago born, but Tokyo based performer, composer and record producer. He was a veteran of countless collaborations since his career began in the late eighties. Now he was ready to hitch a ride with Fire!
When the album was ready for release in 2011, Fire! received star billing. Fire! With Jim O’Rourke Unreleased? was released on Rune Grammofon. This genre-melting album saw Fire! continue to push musical boundaries, taking the music in hitherto unexpected directions. The collaboration with Jim O’Rourke was regarded as an overwhelming success. So it was no surprise when another artist asked to collaborate with Fire!
In The Mouth-A Hand.
This time, it was Australian experimental electronic guitarist and percussionist, Oren Ambarchi. He was no stranger to collaborations, and previously, had worked a variety of artists, including Keith Rowe. Fire! agreed to the collaboration, and the result was the album In The Mouth-A Hand.
It featured another four lengthy, improvised tracks. This allowed Fire! and Oren Ambarchi to take the listener on a musical adventure, where musical genres and influences were combined. Three of the most prevalent influences were free jazz, noise and psychedelic rock. Just like previous albums, this was a crucial part of Fire!’s sound.
When In The Mouth-A Hand was released on Rune Grammofon, again, Fire! received top billing. They played a huge part in what was another important album collaboration. With Oren Ambarchi, Fire! had created another album of groundbreaking, innovative music. Despite this, Fire!’s next album wasn’t a collaboration. Instead, it featured just the three members of Fire!
(Without Noticing).
By the time, Fire! began work on (Without Noticing), they were regarded as one of the most exciting and innovative groups in the Scandinavian music scene. Fire! had released three albums in three years. Now they were four for four.
When (Without Noticing) was released on Rune Grammofon in 2013, it was hailed a career defining album. It was a fusion of free jazz and psychedelic rock via a more traditional rocky and jazz-tinged sound. Fire! weren’t afraid of pushing musical boundaries, and on (Without Noticing), continued to do so. This resulted in critically acclaimed reviews from critics. However, by then, Fire! had realised the limitations of a trio, and founded the Fire! Orchestra.
Fire!-Orchestra-Exit.
In 2011, that the members of Fire decided to expand beyond the core trio. They hit on the idea to expand the group. The way Fire! did this, was to bring onboard the great and the good of Scandinavian jazz, improvisation and avant rock players and vocalists. They called this new musical venture Fire! Orchestra. It was a musical first in Sweden.
The newly named Fire! Orchestra were building on the music of some of the legendary free jazz big bands. This includes the big bands of Sun Ra, Charlie Haden’s Liberation Orchestra, Mike Westbrook and Mike McGregor. There was more to the Fire! Orchestra that free jazz. They incorporated funk, blues, rock and jazz. This became apparent when the Fire! Orchestra made their tentative first steps.
In the beginning, the Fire! Orchestra played just a handful of shows. They were finding their feet musically. Gradually, they were finding their sound. It’s best described as genre-melting and was showcased on their live debut album, Exit.
It was in 2013, when Fire! released their live debut album Exit. Released to widespread critical acclaim, Exit was a genre-melting sound that people wanted to hear more of.
Enter.
So after playing a couple of concerts early in January 2014, the Fire! Orchestra entered the Svenska Grammofonstudion, in Gothenberg on 10th January 2014. This wasn’t going to be a long session. Instead, the Fire! Orchestra took just one day to record Enter.
The result was an album of music that critics called innovative and progressive. Enter showcased the Fire! Orchestra in full flight. This was an impressive sound. Especially given their fusion of mesomorphic rock rhythms, funk, free jazz and the bluesy, soul-baring vocals of the Fire! Orchestra’s three vocalists. Add to this the scorching free jazz saxophone of Joe McPhee and Enter, has a potent, powerful and captivating sound; which succeeded in bringing back memories of musical luminaries like Sun Ra, Charlie Haden’s Liberation Orchestra, Mike Westbrook and Mike McGregor. So successful was Enter, that Fire! Orchestra released one more album.
Exit Again.
Just like Exit, Exit Again was another live album. The concert was recorded on 2nd September 2012 at Festival Les Rendez-Vous de L’erdre, in Nantes, France. Joining a slimmed down version of the Fire! Orchestra that night, was guitarist Oren Ambarchi. Joined the great and good of Scandinavian music for what was the Fire! Orchestra’s encore.
When Exit Again was released on 14th January 2014, it was a limited edition release. Only 500 copies of the Exit Again were released on vinyl. Again, the Fire! Orchestra in full flight was an impressive sound. On Second Exit Part One and Second Exit Part Two, the Fire! Orchestra showcase their considerable skills and seamlessly, switch between disparate musical genres. Somehow, it all makes sense, and has the listener wanting to hear more of the Fire! Orchestra. Before that, Fire! would return.
Fire!-She Sleeps, She Sleeps.
Work began on She Sleeps, She Sleeps back in March 2015. That’s when the three members of Fire! recorded the four songs they had written, and would produce.
Recording of She Sleeps, She Sleeps took place at Orionteatern studios in Stockholm. The album was recorded by Mikael Werliin, who also recorded guest artist cellist Leo Svensson Sander at Rud Studios, in Stockholm. Halfway around the world, in Melbourne, Australia, guitarist Oren Ambarchi laid down his parts for She Bid A Meaningless Farewell. Once the sessions were complete, the album was mixed and mastered. Only then was She Sleeps, She Sleeps ready for release.
Eventually, She Sleeps, She Sleeps was scheduled for release on 19th February 2016, by Rune Grammofon. The album was released to widespread critical acclaim. Plaudits and praise accompanied She Sleeps, She Sleeps. I described the album as: “groundbreaking, influential and innovative.” She Sleeps, She Sleeps was also “progressive” and Fire!’s “Magnus Opus.” For the three members of Fire!, this was a good way to start 2016.
Fire! Orchestra-Ritual.
After the release of Fire!’s fifth album She Sleeps, She Sleeps, Johan Berthling, Andreas Werliin and Mats Gusfasson’s thoughts turned to the Fire! Orchestra’s new album Ritual. It had already been recorded by the “slimmed down” lineup of the Fire! Orchestra in 2015.
For the Fire! Orchestra’s fourth album Ritual, Johan Berthling, Andreas Werliin, Mats Gusfasson and Mariam Wallentin composed the five part Ritual suite. It examines mysteries and rituals, not just in life, but in music. Ritual featured texts by Erik Lindegren. This included extracts from his poetry books The Man Without A Way and 1942, which when it was published, was heralded as a truly influential piece of work. With Ritual composed, the next step was for the the Fire! Orchestra to record the album.
Recording of Ritual was scheduled to take place at Rixmixningsverket, in Stockholm. That was where the new lineup of the Fire! Orchestra would record the five part Ritual suite. This new lineup saw the Fire! Orchestra slim down from twenty-nine to twenty-one members. Despite its reduced numbers, the Fire! Orchestra were still capable of producing an impressive sound.
Providing Ritual’s heartbeat, were Fire! Orchestra’s rhythm section. This included drummers Andreas Werliin and Mads Forsby; bassist Johan Berthling; and guitarists Finn Loxbo, Julien Desprez. They were joined by keyboardists Edvin Nahlin and Martin Hederos who also played violin. Vocalists included Mariam Wallentin and Ethiopian-born Sofie Jernberg. Add electronics was electro minimalist Andreas Berthling. However, this was only part of the Fire! Orchestra.
The final part of the Fire! Orchestra was the horn section. It included trumpeters Niklas Barnö and Susana Santos Silva; trombonist Mats Äleklint; and tubaist Per Åke Holmlander. They were joined by alto saxophonists Anna Högberg and Mette Rasmussen; baritone saxophonists Jonas Kullhammar, Mats Gustafsson; French hornist Hild Sofie Tafjord; and Lotte Anker who switched between soprano and tenor saxophone. Per ‘Texas’ Johansson played baritone saxophone and also played clarinet. This completed the Fire! Orchestra’s lineup as recorded began on 17th December 2015.
With everyone’s time limited, and Christmas fast approaching the Fire! Orchestra worked quickly, and Ritual was completed by 18th December 2015. It had taken just two days for the Fire! Orchestra to record Ritual. Now the album had to be mixed.
The man tasked with mixing Ritual was Mikael Werliin. He had recorded Ritual with Linn Fijal. So on the 15th and 16th January 2016, Mikael Werliin mixed Ritual at Studio Oodion, Gothenburg. Once Ritual was mixed, the album was mastered by Lupo at Calyx Mastering, Berlin on 5th February 2016. This was the final piece of the jigsaw. Now all that was left was to set a release date.
The date chosen for the release of Ritual was 13th May 2016. That’s when Rune Grammofon will released the Fire! Orchestra’s first album for two long years. Has Ritual been worth the wait, and does the slimmed down lineup of the Fire! Orchestra affect their impressive sound? That’s what I’ll tell you.
Ritual opens with Ritual Part 1, the first part in a five-part suite. Bursts of blazing, scorching horns join the rhythm section in driving the arrangement along. They create an arrangement that’s funky, jazzy and hypnotic.. Panned ninety degrees left is a grinding, buzzing sound. It comes courtesy of electro minimalist Andreas Berthling, and adds an avant-garde influence. Meanwhile, the arrangement continues to build. Then when the horns drop out, the twin vocals of Mariam Wallentin and Sofie Jernberg enter. They’re dreamy, sultry and soulful. Soon, the horns return, rasping, growling and wailing as they head in the direction of free jazz. By then, a crystalline guitar and flourishes of Fender Rhodes have been added. However, it’s the vocals and horns that play starring roles. Then at 5.54 the arrangement becomes understated. Just urgent vocals and percussion combine. This urgency and drama builds, and soon, the Fire! Orchestra are straining at the leash. Before long, it’s impossible to hold them back, and they become an unstoppable force. In full flow, the Fire! Orchestra is an impressive sound, as seamlessly they combine elements of funk, jazz, avant-garde, free jazz and rock.
A scratchy, rasping free jazz saxophone opens Ritual Part 2. Soon, it’s being played quickly and powerfully. It howls, growls and soars above the arrangement. Then at 1.54 a guitar, shimmering cymbals and then the horn section enter. They play as one, while still, the lone wailing saxophone solo unleashes its plaintive and impassioned cry. It’s replaced by an equally impassioned vocal, that veers between soulful to free jazz in style. Meanwhile, the rest of the Fire! Orchestra lock into a groove, and create a hypnotic and sometimes, swinging backdrop. Later, some of the horn section add a New Orleans sound. By then, drums pound thunderously, while hypnotic, rasping, braying horns join the vocals in adding a melodic sound. From there, the horns head in the direction of free jazz, as the arrangement becomes a jam. It’s variously mesmeric, melodic, cinematic, urgent and always captivating. That’s not surprising, given the Fire! Orchestra’s impressive array of talented and innovative musicians.
For the first three minutes of Ritual Part 3, Andreas Berthling unleashes an array of abstract sounds. They buzz, crackle, grind and whirr, as a searing guitar melts into the arrangement. Nothing is as it seems. Later, braying, wailing horns join the myriad of abstract sounds. They whine and growl, before taking their leave, and being replaced by a wailing, scatted vocal. Just like the scratchy violin it becomes part of the bigger picture. Meanwhile, a melancholy French horn plays a lament. It’s joined by subtle, rueful and melancholy horns. As they play, the unmistakable lush sound of a Fender Rhodes plays in the background. Adding other layers of sound are a tuba, drums and beautiful, wistful vocals. Still the horns and drums are restrained, as we hear a very different side to the Fire! Orchestra. Ritual Part 3 is a song of two parts, that shows the Fire! Orchestra at their imaginative and inventive best.
Rolls and pounding drums join crashing cymbals on Ritual Part 4. Then at 2.09, a blistering, searing, scorching guitar is unleashed. It’s played with power and urgency. Fingers fly up and down the fretboard. That the case until a wash of wailing feedback is unleashed. Gradually it dissipates across the arrangement. By then, Andreas Werliin powers his way round his drum kit. Not to be outdone, the rest of the rhythm section join the frae, and drive the arrangement along. So do the twin vocalists. They scat, their vocals soaring above the arrangement. This now includes braying horns. Soon, the scat becomes a soulful vocal, and veers between the two styles. The Fire! Orchestra are in full flight, and it’s a glorious, impressive and melodic sound. Especially with seesaw horns joining the soulful vocals and driving rhythm section. However, at 10.26 the tempo slows, and arrangement almost grinds to a halt by 11.01. From there a melancholy violin joins free jazz horns, as the Fire! Orchestra throw a curveball. In doing so, they showcase their versatility and propensity to innovate.
Closing Ritual is Ritual Part 5. Just the rhythm section and keyboards combine to create a slow, thoughtful backdrop. They’re soon joined by tender, rasping horns. Together they create a moody, cinematic backdrop. A quivering, cooing alto saxophone soars above the arrangement. By then, it’s played with power. That’s the signal for the vocal to enter, and the tempo to rise. The Fire! Orchestra play with more urgency. As they do, all of a sudden a phone rings. This is just the first of an array of sounds that assail the listener. Buzz, crackles and whirs can be heard as the twin vocals and braying horns play starring roles on this beautiful, melodic track. It leaves the listener wanting more.
No wonder. Ritual finds the Fire! Orchestra at their progressive and innovative best. That’s despite the Fire! Orchestra slimming down its lineup from twenty-nine to ‘just’ twenty-one musicians. However, they’re no ordinary musicians.
The Fire! Orchestra features some of the most talented musicians Sweden, Norway, Denmark and France has to offer. When they join the Fire! Orchestra,they become part of a pan European supergroup. It’s featured some of the biggest names in European jazz. However, the lineup is somewhat fluid, and members of the Fire! Orchestra have been ever-present since Johan Berthling, Andreas Werliin and saxophonist Mats Gusfasson formed the Fire! Orchestra back in 2011. Since then, the Fire! Orchestra’s star has been in the ascendancy.
Five years after they first played live, the Fire! Orchestra are now a hugely popular live draw. When they play live, the sold out signs are up. After all, the Fire! Orchestra in full flow, is an impressive sound. That’s the case with each of the three albums the Fire! Orchestra have released. However, three becomes four when the Fire! Orchestra released Ritual on 13th May 2016, on Rune Grammofon. It’s as if everything that’s gone before has been leading up to Ritual, the Fire! Orchestra’s first album since 2014.
Ritual features the five part Ritual suite. It’s a captivating album where the Fire! Orchestra combine avant-garde, experimental, free jazz, funk, jazz and rock. The music veers between restrained and understated to urgent and dramatic. Other times, the music is mesmeric and hypnotic, before becoming melodic and soulful. Occasionally, the music becomes moody, wistful and cinematic. Always, the music is ambitious, experimental and progressive. Just like previous albums, Ritual is imaginative, inventive and innovative. It’s also joyous and uplifting, with the Fire! Orchestra playing with freedom and spontaneity, as they examine mysteries and rituals, not just in life, but in music. This five suite exploration is a musical tour de force from the Fire! Orchestra, Ritual which proves that when it comes to lineups, size isn’t everything.
FIRE! ORCHESTRA-RITUAL.
STIAN WESTERHUS-AMPUTATION.
STIAN WESTERHUS-AMPUTATION.
Over the last few years, Stian Westerhus has established a reputation as one of Europe’s most accomplished and innovative abstract guitar players. This has been the result of a lifetime’s work. That is how long it has taken Stian to hone and tame his unique sound. This dedication has paid off, and nowadays, Stian Westerhus is constantly in demand as a session player, vocalist, mixer, recordist and producer. However, that is just part of the Stian Westerhus’ story.
Stian Westerhus also finds time to collaborate on albums with the great and the good of Norwegian music. That’s not forgetting releasing a quartet of solo albums. Stian Westerhus’ fourth solo album Amputation, was released on 29th April on the House Of Mythology label. It’s the followup to The Matriarch and The Wrong Kind Of Flowers, which was released to critical acclaim in 2012. This was nothing new.
Critical acclaim has accompanied many of the collaborations and solo albums Stian Westerhus has released. His recording career began ten years ago, in 2006. By then, Stian had spent a large part of his adult life studying music. This began at Middlesex University, where Stian graduated as a Bachelor of Music. Next stop, was Trondheim, where Stian gained his Masters degree. Following his graduation, he was ready to embark upon a career as a musician.
Stian’s career began with Puma. who fused experimental rock, noise and jazz. They released three albums between 2006 and 2010. Puma’s debut album Isolationism was released in 2006. It was well received by critics. However, the following year, Stian was part of another group, Fraud.
They were a short-lived jazz group, who only released one album. Fraud were a trio, whose eponymous debut album was released in 2007. Despite positive reviews, Fraud never released another album. So Stian returned to Puma.
Two years after releasing their debut album Isolationism, Puma returned with their sophomore album Discotheque Bitpunchin in 2008. Just like Puma’s debut, the album won praise from critics. However, by 2008, Stian was already collaborating with other artists.
In 2008, Stian had already collaborated with Eldbjørg Raknes and saxophonist Eirik Hegda. The result was the album From Frozen Feet, which was released in 2008. The same year, Stian collaborated with Norwegian percussionist Terje Isungset on Laden With Rain. Together with his work as a session musician, this stand Stian in good stead when he embarked upon his solo career. That was in the not to distant future.
2009 was a busy year for Stian, and found him working on four separate projects. This included adding vocals to Bladed’s 2009 album Mangled Dreams. Stian had also formed Monolithic, an experimented noise duo with drummer Kenneth Kapstad. Monolithic released their debut album Frantic Calm in 2009, which was mixed by Stian. Meanwhile, Stian was working on a collaboration between Puma and Lasse Marhaug. The resultant album, Fist Full Of Knuckles was released to widespread critical acclaim in 2008, and regarded as a union of innovators. However, after the release of Fist Full Of Knuckles, Stian’s solo career began.
Later in 2009, Stian released his debut solo album Galore. It was mixed, recorded and produced by Stian. When it was released, it was to critical acclaim. This bode well for the future, and was the perfect way to start a new chapter in Stian’s career.
Especially, as another chapter was closing. Puma released their final solo album Half Nelson Courtship in 2010. Just like previous Puma albums, Half Nelson Courtship has been well received by critics. However, fittingly, Puma seemed to have saved their best album until last.
After four albums, Puma called time on their career. This allowed Stian more time to concentrate on his solo career and other projects.
Stian released his sophomore solo album later in 2010. Pitch Black Star Spangled saw Stian further develop his abstract guitar style. Critically acclaimed, Stian was seen as one of Norwegian music’s leading musicians. That’s why he was constantly in-demand as a guitarist, vocalist and later, a producer
During 2010, Stian had played on Jaga Jazzist’s album One Armed Bandit by keyboardist Øystein Moen. He had been a member of Puma, so Stian agreed. Stian played everything from percussion, harp, effects, twelve-string guitar, baritone guitar and electric guitar. When One Armed Bandit was released, it was to plaudits and praise. Critics hailed the album, one of the best of 2010. This proved to be the case, and One Armed Band won a Spellemannprisen in 2011. However, Stian’s musical year wasn’t over.
To round off 2010, Stian played on Maurhaug’s All Music At Once. 2010, had been, without doubt, the most productive year of Stian’s career.
2011 saw Stian play on Ulver’s War Of The Roses album. He also played harmonium, mixed and produced Nils Petter Molvær’s Baboon Moon. For Stian, this was all good experience for his solo career, which he returned to in 2012.
The Matriarch And The Wrong Kind Of Flowers was Stian’s fourth solo album. It was released in 2012 to critical acclaim. Critics hailed this genre melting album Stian’s finest album. That wasn’t the end of 2012 for Stian.
During 2012, Stian played on Susanne Sundfør’s album The Silicon Veil. Stian also released a collaborated with Bol and Hans Magnus Ryan on album. Billed as Bol, Westerhus, Snah, the trio released what was hailed as ambitious and innovative album Numb Number. However, the most successful album Stian was involved with during 2012, was his collaboration with Sidsel Endresen.
Stian collaborated with Norwegian jazz vocalist Sidsel Endresen on Didymoi Dreams. This was an album that pushed musical boundaries to their limits, and sometimes, and way beyond. Stian’s blistering, searing guitar licks and Sidsel’s explosive bursts of vocal were a potent partnership. Genres melted into one as Stian and Sidsel challenged musical norms. Ambitious, brave and groundbreaking describes this opus. It was no surprise when Didymoi Dreams won a Spellemannprisen in 2013. By then Stian decided to change direction and founded Stian Westerhus and Pale Horses.
They were a new band in name only. Stian, keyboardist Øystein Moen and drummer and percussionist Erland Dahlen had all played together in Puma. Øystein Moen also was a member of Jaga Jazzist. Stian made a guest appearance on their 2010 album One Armed Bandit. So musically, they knew each other really well. They fused experimental, jazz and post rock on Maelstrom, which was released in 2014. It was hailed as one of the finest Norwegian albums of 2014. This bode well for Stian’s second collaboration,with Sidsel Endresen.
Recording of Bonita took place at Oslo Klang Studio in August 2014. It was recorded by Johnny Skalleberg. Stian mixed and produced Bonita during September 2014. By January 2015, Bonita was ready for release. On its release, Bonita I described the album as “a marriage made in musical heaven. They bring out the best in each other, driving each other to greater musical heights.” The result was one of Stian’s finest collaborations. However, there was no time for Stian to rest on his laurels, he had more music to make,
Later in 2014, Stian played guitar on three tracks on Sivert Høyem’s album Endless Love. For Stian, 2014 had been a busy, but rewarding year for him.
Just like previous years, 2015 proved to be another busy year for Stian Westerhus. Monolithic returned after a six year break, and recorded their sophomore album Frantic Calm. Not only did Stian add guitar and vocals, but he mixed and produced Frantic Calm. The result was an album where rock, experimental and noise were fused by Monolithic. Their comeback was well received, but by then, Stein was working on his fourth solo album Amputation.
Just like previous albums, Stian Westerhus continues to push musical boundaries on Amputation. To do this, he experiments stylistically and sonically. Aided and abetted by an array of effects, Stian follows in the footsteps of pioneers like Michael Rother, Can’s Michael Karoli and Ash Ra Stian showcases his versatility and inventiveness on the six new soundscapes he composed for Amputation. These soundscapes were recorded during 2015.
Recording of Amputation took place at Pitch Black Star Spangled Studio, Notam and Vigeland’s Mausoleum in Oslo. It was just Stian, his trusty guitar and an array of effects. His secret weapons included a drum machine and occasionally, ethereal, elegiac harmonies. They’re reminiscent of Scott Walker’s most recent work. Once the five tracks were recorded, Amputation was mixed and produced at Pitch Black Star Spangled Studio during 2015 and 2016. Then Amputation was mastered at Audio Virus Labs, by Helge Sten, one of Norway’s finest mastering engineer. When the mastering was complete, Amputation was scheduled for release on 29th April on the House Of Mythology label.
After a four year break, Stian Westerhus’ solo career resumes with Amputation. It’s the much-anticipated followup to The Wrong Kind Of Flowers, which was released to critical acclaim in 2012. As the release date approached, critics wondered whether Amputation would live up to The Wrong Kind Of Flowers? That’s what I’ll tell you.
Kings Never Sleep opens Amputation. A tender, soul-baring vocal is delivered, before Stian toys and teases the guitar. Gently Stian plucks and scratches the strings, producing an array of alternative and otherworldly sounds. They add an avant-garde and experimental sound, while Stian’s vocal has a soulful quality. Space is left within the arrangement, as a series crackling, buzzing, chirping and crystalline sounds escape from the arrangement. By 1.18 washes of a weeping, wailing guitar joins Stian’s heart-wrenching vocal. The guitar adds a melodic quality, before Stian’s vocal becomes powerful, elegiac and impassioned. He sounds not unlike Scott Walker. Meanwhile, mesmeric ripples and washes of guitar accompany him. Soon, though, a scorching, searing guitar and futuristic sound effects accompany the ethereal harmonies. Then the arrangement becomes understated. However, it’s transformed when a blistering guitar solo is unleashed. It’s a tantalising taste of a truly talented and versatile guitarist, as he produces a virtuoso performance.
A distant beeping sound sends out a warning signal on Sinking Ships. Emotion fills Stian’s vocal as he delivers the lyrics. Accompanying him, are waves of shimmering, glistening guitar. Effects transform the guitar, as it threatens to distort and reverberates. It grows in power, matching the pain in Stian’s voice. Then when his vocal drops out, he unleashes melodic washes of guitar. That’s until a dark, almost mournful sound replaces it. It’s as if it’s sending out a warning signal about the Sinking Ships. What sounds like a sonar signal enters. Maybe the search is underway? Meanwhile, the mournful sound continues; and the bubbling arrangement takes on a haunting, cinematic sound.
A myriad of disparate sounds open How Long. Together, they take on a strangely melodic sound. They come courtesy of Stian’s dark, buzzing guitar. The original dry signal has been transformed by an array of effects, that results in this melodic, and almost mesmeric backdrop. It’s accompanied by Stian’s vocal, which has been been inspired by Jeff and Tim Buckley and even Scott Walker. He questions and probes, asking: “can you tell me what is happening.” Soon, his vocal becomes a confessional, and a cathartic outpouring of emotion. By then, a drum machine adds a slow, pounding beat that resonates. Midway through the track swells of shrill, uncompromising guitar dominate the arrangement. They replicate strings, and add not just to the drama, but to the melodic nature of the track. When they dissipate, Stian confesses: “I never wanted to know,” as the arrangement grows in power and drama. This result in a powerful, moving and beautiful, melodic track which features Stian at his most inventive.
Amputation is a two part suite. Part one opens with beeping, squeaking sound. It sounds as if Stian is replicating the sound of a life-support machine. An elongated beep gives way to what sounds like a saw, as it cuts and grinds. So realistic is the noise, is that it’s almost possible to imagine the sparks flying as am Amputation takes place. After a small explosion, the sawing, grinding sound continues and the blade cuts through the bone. It’s replaced by a rumbling as an elegiac vocal soars above the arrangement. Disbelief fills the vocal, as it realises what has happened. Ethereal, angelic harmonies accompany the vocal. When the vocal drops out, swells shrill strings add an element of drama to the arrangement. It meanders along, allowing the listener to reflect on what they’ve heard. Meanwhile, a drum machine replicates a heartbeat, which makes the subject matter all the more real. It’s an incredibly powerful and cerebral track that tackles a subject that most musicians would shy away from.
Straight away, Infectious Decay sounds as if it has a foot in eighties synth pop. A drum machine and a myriad of beeps and squeaks adds the eighties sound, while Stian sings: “there’s a times to forgive and time to forget,..there’s a time to let go, and a time to move on.” Meanwhile, he play the guitar with a degree of urgency. It threatens to distort, while what sounds like gun shots punctuate the arrangement. Adding a contrast are his cooing harmonies and pulsating beats. As Stian scats and harmonises, his vocal sounds like Scott Walker. Later, ethereal harmonies give way to Stan’s vocal as he sings: “then ask me to just come home, you say you’d forgive me for all I’ve done, for my birthday you threw me a stone, so I packed up my things and left you alone.” By then, Stian’s vocal is an outpouring of emotion, hurt and regret. He’s becomes a troubled troubadour, who doesn’t know which way to turn on what’s an emotional roller coaster.
Amputation Part II closes Amputation. Straight away, elements of industrial, avant-garde and experimental music combine. The arrangement whirrs, shrieks, roars and grinds. It’s as if the Amputation is taking place again? Maybe it’s a flashback or nightmare, as in the distance, what sounds like a scream can be heard? Despite thgis, there’s a hypnotic and strangely melodic quality to the track. Later, Stian’s guitar creates a myriad of whirring, grinding sounds. This replicates earlier the sound of a saw cutting through bone. When these sound combine, they take on a hypnotic sound. Incredibly, Stian’s guitar is responsible for most of the sounds in the arrangement. Sometimes, he uses feedback, and controls it to replicate another sound. Most guitarists would neither have the technique nor the imagination to do this. However, Stian’s like to a musical magician, who weaves magic with his guitar, and in the process, creates music that’s innovative, cinematic, melodic and thought-provoking.
That’s the case throughout Amputation, where Stian Westerhus creates music that’s cerebral, challenging and thought-provoking. Stian wants the listener to think; sometimes about subjects that will make them uncomfortable. That’s the case on Amputation and Amputation Part II. The sounds that Stian replicates, are the sounds heard in an operating theatre, when an amputation is taking place. That’s something most people will neither hear, nor have to even consider. However, some people have to face the reality of losing a limb. It’s a traumatic and life-changing event. Most musicians would shy away from even broaching such a controversial subject. Not Stian Westerhus. He brings the subject into the open, and faces the reality head on. For that he should be congratulated. However, the Amputation suite is just part of Amputation.
The music on Amputation is also beautiful, cinematic, ethereal and melodic. Other times, it’s dark, haunting and mournful. Sometimes, Stian lays bare his soul, delivering vocals that are akin to an outpouring of emotion. When this happens, there’s a cathartic quality to the vocals, as if Stian is cleansing his soul. He breathes life and meaning into the lyrics on Sinking Ships, How Long and Infectious Decay. Always, the music on Amputation is compelling and innovative.
Incredibly, when Stian Westerhus recorded Amputation, all he used was his guitar, an array of effects and a drum machine. Just like on his three previous solo albums, Stian Westerhus reinvents how to play the guitar. He creates innovative soundscapes peppered with an array of disparate sound. Most of them are made with a guitar. However, most guitarists wouldn’t know how to replicate these sounds, never mind the six tracks on Amputation. Stian Westerhus however has the talent, vision and imagination to create such a groundbreaking album as Amputation.
To do that, draws inspiration from artist like pioneering guitarists including Ash Ra, Michael Karoli and Michael Rother. Vocalists like Jeff Buckley, Scott Walker and Tim Buckley seem to have influenced Stian Westerhus stylistically. So it’s no surprise that Amputation doesn’t fit neatly into a musical genre. Instead, elements of ambient, avant-garde, avant-rock, eighties synth pop, experimental, industrial, post rock and rock can be heard on Amputation, which was released on 29th April on the House Of Mythology label. It’s the much-anticpated followup to The Matriarch and The Wrong Kind Of Flowers, which was released to critical acclaim in 2012. It was regarded as the best album of Stian’s career.
Not any more. Amputation steals the crown from The Matriarch and The Wrong Kind Of Flowers. Seven years after releasing his debut album, Stian Westerhus has released Amputation, which is a career defining. It’s well worth the four year wait. Amputation is not only cerebral, challenging and thought-provoking, but also beautiful, cinematic, ethereal and melodic. It finds Stian Westerhus, one of the most talented Norwegian musicians of his generation, at his innovative best on Amputation, which is undoubtably the best album of his career.
STIAN WESTERHUS-AMPUTATION.
THE BLUE NILE-A WALK ACROSS THE ROOFTOPS.
THE BLUE NILE-A WALK ACROSS THE ROOFTOPS.
To celebrate the fifth anniversary of this particular blog, I decided to revisit one of my favourite albums of all time, The Blue Nile’s debut album A Walk Across The Rooftops. This is an album I’ve treasured and loved for over three decades. It’s been like an old friend, and has been a faithful companion in an ever-changing musical world. A Walk Across The Rooftops is an album that has part of the soundtrack to my life. So when I decided to write about an album that’s played a huge part in my life, there was only one choice, The Blue Nile’s A Walk Across The Rooftops.
Enigmatic, reluctant and contrarian are words that best of describe The Blue Nile’s 1984 debut album A Walk Across the Rooftops. The Blue Nile are the complete opposite of most bands. Describing the Blue Nile as publicity shy, is an understatement. Indeed, since Paul Buchanan, Robert Bell and Paul Joseph Moore formed the Blue Nile, they’ve been one of the most low-profile bands in musical history. It seems that when they formed thirty-five years ago, The Blue Nile ticked the “no publicity” box. This has proved a double-edged sword, and resulted in The Blue Nile becoming one of the most enigmatic groups ever.
Having released their debut album A Walk Across the Rooftops in 1984, only three further albums were released during the next twenty years. Five years after A Walk Across the Rooftops came 1989s Hats. This marked the end of the original Blue Nile sound, where influences so diverse as Kraftwerk, Brian Eno and Frank Sinatra united. The next time Blue Nile released an album, they turned to America for inspiration.
Seven long years passed, where Blue Nile fans wondered what had become of Glasgow’s most enigmatic trio. Then the unthinkable happened. The Blue Nile signed a million Dollar deal with Warner Bros. and along came Peace At Last, released in 1996. Gone was the sound of A Walk Across the Rooftops and Hats, with the American-influenced Peace At Last showing a different side to the Blue Nile and their music. Paul, Robert and P.J. were back, but it was a different sound. One constant was Paul’s worldweary vocal. He was still the tortured soul, who wore his heart on his sleeve. Opinions were divided among fans and critics. Little did we know that Peace At Last was their penultimate album.
High released in 2004, proved to be the Blue Nile’s swan-song. It was very different from their first two albums, Although soulful, High lacked the European influence of A Walk Across the Rooftops and Hats. Some critics unkindly called High soul for the wine bar generation. Obviously, they didn’t quite get High, or more likely, didn’t want to. Maybe they didn’t want to understand its subtleties and nuances. What they neither understood nor realized was that the Blue Nile were never a band to stand still. Instead, they’d always tried to innovate and ensure their music evolved and was reborn. Sadly, there would be no rebirth for the Blue Nile’s music. After just four albums, the Blue Nile were no more. Even when they spilt-up, the Blue Nile never told anyone. Instead, like the lover that waits for the letter that never arrives, Blue Nile fans waited for an album that was never released.
Just like that lover, all we’re left is our memories. This includes the four albums The Blue Nile released between 1984 and 2004. The first of these was A Walk Across The Rooftops, which was released in 1984. That was thirty years ago. Sadly, there’s no fanfare for what was a true classic, and the album that launched the career of the enigmatic Blue Nile. They always did things their way.
Even the story of how A Walk Across the Rooftops came about, is typical Blue Nile. Not for the Blue Nile signing to a traditional record company. First they formed their own label, then released A Walk Across the Rooftops on a label founded by a prestigious hi-fi maker to showcase their products.
The Blue Nile were formed in 1981, when two friends Paul Buchanan and Robert Bell, met Paul Joseph Moore, all of whom met at Glasgow University. Before forming the Blue Nile, Buchanan and Bell were previously members of a band called Night By Night. Try as they may, a recording contract eluded them. Night By Night’s music wasn’t deemed commercial enough. So Paul, Robert and P.J. decided to form a new band, Blue Nile.
Once the Blue Nile were formed, they set up their own record label Peppermint Records. It was on Peppermint Records that The Blue Nile released their debut single, I Love This Life. This single was then picked up and rereleased on the RSO label. Unfortunately for the Blue Nile, RSO became part of the Polygram label and I Love This Life disappeared without trace. Despite this setback, Blue Nile persisted.
Blue Nile kept writing and recording material after the merger of RSO with Polygram. Some of that material would later be found on A Walk Across the Rooftops. When recording engineer Calum Malcolm heard The Blue Nile’s music, he alerted Linn Electronics. At last, their luck had changed.
Linn gave The Blue Nile money to record a song that they could use to demonstrate the quality of Linn’s top-class hi-fi products. When Linn heard the track they were so pleased, they decided to set up their own record label, which would release their debut album A Walk Across the Rooftops 1984.
Although this allowed the band to finally release their debut album A Walk Across the Rooftops, Paul Buchanan later wondered whether Linn was the right label for the Blue Nile to sign to. He felt that Linn didn’t operate like a record label. Mind you, he conceded that, during this period, The Blue Nile weren’t like a band.
When A Walk Across the Rooftops was released in 1984, although it wasn’t quite to critical acclaim, but the reviews were at least positive. A Walk Across the Rooftops was quite different from other albums released in 1984. Since its release, A Walk Across the Rooftops has gained almost a cult status. It’s widely recognised as one of the finest British albums of the last forty years.
A Walk Across the Rooftops opens with the title-track, A Walk Across the Rooftops. Like much of the album, the tempo is slow, the sound moody and hauntingly beautiful. It’s a song about love, and being in love. Washes of Brian Eno influenced synths meander in, joined by percussion. They add drama and tension, while the slow tempo adds to the impact of the lyrics. Beautiful lush strings, the slow steady beat of a drum machine and Paul Buchanan’s worldweary vocal, become one. Soon, Paul’s vocal and the arrangement grow in power, emotion and drama. Although it’s a love song, it’s a love song with a difference. Paul sings of his love for Glasgow, name-checking the things he loves about the city. For five minutes, drama and emotion unite to create what’s quite simply a beautiful track, featuring a vocal tour de force from Glasgow’s Frank Sinatra and troubled troubadour Paul Buchanan.
Tinseltown In the Rain is the most upbeat song on A Walk Across the Rooftops. The funkiest of bass line, stabs of keyboards and guitars unite. When Paul’s vocal enters, he delivers some really beautiful, poetic and Glasgow-centric lyrics. They reminds me of Glasgow. Even the title puts me in mind of a rainy, winter’s night in Glasgow. People going about their business, walking hand in hand on a cold, wet winter’s night. Lovers walking hand in hand, neon lights casting their shadows over them, the buildings and the city. Strings that sweep and swirl furiously, take this track to another level. Meanwhile the slap bass drives the track along, with flourishes of keyboards for company. Together, they create a track that’s a funky, orchestral, symphonic Magnus Opus, and one that’s wonderfully Glasgow-centric.
Rags To Riches like all the tracks on A Walk Across the Rooftops is written and produced by Paul Buchanan and Robert Bell. Sounds and textures shine through. So do the atmospheric sounds that open the track. Along with the mid-tempo beat, meandering waves of synths give the arrangement a somewhat industrial, Kraftwerk sound. What makes the song are the lyrics, plus Paul’s heartfelt, worldweary vocal. He’s like a modern-day minstrel or troubadour, delivering a vocal bathed in sadness, passion and pathos. As the industrial sound continues, building and growing, it becomes dramatic and even, challenging. Still, beauty and emotion shines through. Paul referencing and influenced by troubadours and crooners, lays bare his soul against a post-modernist backdrop, that’s drama personified.
Stay sees the tempo and the emotion and heartache grow. Synths, drums that crack like whips and percussion set the backdrop for Paul’s vocal. He pleads, his vocal tinged with emotion, sorrow and sadness, as sings about his crumbling relationship. Robert Bell’s thunderous, dramatic, slapped bass crackles. It’s as if it’s reflecting the electricity in Paul’s vocal. Welling up with emotion, he pleads, asks, begs, his partner to stay. He’ll change: “learn to understand you.” It’s hugely moving, emotional and soulful. You can’t help but feel and sympathize for Paul and his plight, on what’s quite simply, a Blue Nile classic. Not only is one of the highlights of A Walk Across the Rooftops, but their career.
Just a wistful, melancholy piano opens Easter Parade and accompanies Paul’s weary vocal. The tempo is slow, the sound haunting and beautiful. It’s apparently about a young man being stuck on a street whilst an Easter parade takes place around him. This evokes old and painful memories, when he attended church and learned about religion and the death of Christ. This is a sad, spiritual and incredibly moving and hauntingly beautiful song.
Heatwave sees the Blue Nile tease and toy with you. After meandering slowly into life, stabs of synths, percussion and then thunderous drums signal the arrival of Paul’s vocal. His vocal is filled with sadness, despair and even bitterness. Soon the arrangement loses its moody, pensive sound. Although other bands kick loose, the Blue Nile don’t. That’s not quite their thing. They nearly do though, just don’t tell anyone. Guitars and bass unite. Together with washes of synths and crunchy drums, they provide a sound where hope shines through. They also provide a backdrop for a peerless vocal from Paul. Although his vocal might be worldweary and tired, hope shines through. Textures and layers of music unfold, washing over you, drawing you in. The band play under and around Paul’s vocal, with Paul, Robert and P.J. becoming one. They unite, to create a track that’s a timeless, emotive roller-coaster that you don’t want to ever climb of.
Closing A Walk Across the Rooftops is Automobile Noise. It sees a return to the industrial sound that is heard on Rags To Riches. Again, the tempo is slow, with Brian Eno and Kraftwerk influencing the track. There’s a combination of avante-garde and more traditional sounds as the track reveals its secrets. This works, and works well. Thunderous crashes of cymbals, crispy drums and melancholy keyboards create a compelling backdrop for Paul’s vocal. He delivers some insightful lyrics about one person’s struggle to cope with life in the city. They find urban life tiring, almost soul destroying. Soon, they tire of the daily grind, they’re fed up just keeping their head above water. Gradually, they long to walk away from chasing the wealth the city promises. Sadly and tragically, it’s always just out of their reach. Of all the songs the Blue Nile wrote, the lyrics to Automobile Noise are among their most insightful and honest. Twenty-eight years after A Walk Across the Rooftops, these lyrics are just as relevant, poignant and insightful.
So what makes A Walk Across the Rooftops such a special album? After all, it contains just seven songs and lasts just over thirty-eight minutes. Within these thirty-eight minutes, the lush, atmospheric sound draws the listener in, holding their attention. Before long, the listener has fallen in love. They fall in love with music that’s hauntingly beautiful, emotive, dramatic and pensive. Much of this is thanks to seven peerless vocal performances courtesy of Glasgow’s very own Frank Sinatra, Paul Buchanan. He plays the role of the troubled troubadour, to a tee. His worldweary, emotive, heartfelt and impassioned vocal sounds as if it’s lived the lyrics he’s singing about. Lived them not just once, but several times over. Paul’s vocal adds soulfulness to an album that references Brian Eno, Kraftwerk, Tim Buckley, classic soul and seventies funk. The result is a compelling, innovative album.
A Walk Across the Rooftops, was so innovative that it was way ahead of its time. Released in 1984, Blue Nile were miles ahead of other groups. They were innovators, leaders of a new wave of Scottish bands, who trailed in their wake. In many ways, A Walk Across the Rooftops is a very Scottish album, but not in a traditional way. On several of the seven songs on A Walk Across the Rooftops, the lyrics bring to mind Glasgow, its streets, its people and its secrets. For Glasgow, you could replace it with Philly, Berlin, New York or Oslo.
For anyone yet to discover The Blue Nile, you’ve yet to discover one of the greatest and underrated bands of the last thirty years. Although they have only made four albums in thirty years, they were four great albums. A Walk Across the Rooftops is one of the best debut albums released by a Scottish, or indeed British band. A Walk Across the Rooftops belongs in every self-respected record collection. It’s the perfect introduction to The Blue Nile, and their music. After just one listen to the seven tracks on A Walk Across the Rooftops, you’ll fall in love with the music of The Blue Nile. After that, I’d recommend Hats, which was the follow up to A Walk Across the Rooftops. It’s as good, if not better than A Walk Across the Rooftops. While Peace At Last and High had considerably more commercial success than the first two albums, I prefer A Walk Across the Rooftops and Hats. They’re the perfect introduction to one of Scotland’s best ever bands, the Blue Nile, whose music deserved to savorued and treasured. One listen to A Walk Across the Rooftops, and you’ll be smitten by The Blue Nile, and treasure their majestic music forevermore.
THE BLUE NILE-A WALK ACROSS THE ROOFTOPS.
SKADEDYR-CULTUREN.
SKADEDYR-CULTUREN.
Between the late sixties and the early eighties, a musical revolution took place in Germany. Groups like Amon Düül II, Ash Ra, Can, Cluster, Harmonia, Kraftwerk, Neu! and Popl Vuh released truly groundbreaking music. Sadly, much of that music was way ahead of its time, and passed the German record buying public by. It was a familiar story elsewhere.
Apart from a few dedicated fans in places like Britain and France, Krautrock and the music of the Berlin School were two of music’s best kept secrets. However, this all changed as the internet age dawned.
Suddenly, people around the world discovered Krautrock and the Berlin School. For record buyers worldwide, the internet allowed them to embark upon a voyage of discovery.
Over the next few years, music lovers tastes became much more exotic than ever. They searched the world from the comfort of their home looking for new music. Suddenly, people were listening to music from Africa, the Caribbean, Cuba and Latin America. They were heralded as the next big thing. However, often, it was a false dawn, and a search went on for where the next musical revolution would take place. It happened in what many people regarded as the unlikeliest of places,..Norway.
Those that were surprised at the rise and rise of Norwegian music, hadn’t documented what was a vibrant and thriving musical community. This didn’t happen overnight though. Instead, it took years for Norway to become home to some of the most inventive, innovative and influential musicians in Europe. This includes the twelve members of Skadedyr, a Norwegian supergroup, who are regarded as one of Norway’s most exciting live bands. They’re about to release their sophomore album Culturen, on Hubro Music on the 13th May 2016. Culturen marks a welcome return from one of Norways most groundbreaking bands. They released their debut album Kongekrabbe in 2013. However, Skadedyr’s roots can be traced back to 2011.
That was when Your Headlights Are On released their eponymous debut album. It was well received upon its release, and critics forecast a great future for Your Headlights Are On. Sadly, that wasn’t to be; and the band that Heida Karine Johannesdottir Mobeck and Anja Lauvdal had formed was no more.
From the ashes of Your Headlights Are On, came Skadedyr, which Heida and Anja were determined to make a success of. They’ve been the driving force behind, and brought together a Norwegian supergroup.
Having founded Skadedyr, Heida and Anja went looking for some of Norway’s most talented and innovative musicians. They were spoilt for choice, and brought onboard members of Broen Osk, Karokh, Moskus, Skrap and Hullyboo. The result was a Norwegian supergroup. However, this was no ordinary supergroup.
Instead, Skadedyr describe themselves as an anarchist/democratic band. This makes Skadedyr stand out from the crowd. So does the fact that there’s twelve members of Skadedyr.
These twelve musicians play an eclectic selection of instruments. This includes a brass, string and rhythm section. Even their rhythm section is unlike most other bands. Skadedyr’s rhythm section features two drummers. Then there’s guitars, keyboards and even an accordion. As you can see, Skadedyr aren’t more like other bands. Instead, they were more like pioneering collective of avant-garde musicians. Their recording career began in 2013.
That was when Skadedyr released Kongekrabbe. on Hubro Music. It was released in January 2013, to critical acclaim. Kongekrabbe was heralded as an unyielding, innovative, energetic and enthralling album. Here was a melting pot of musical influences that were guaranteed to captivate. And so it proved to be. Elements of psychedelia, rock, Krautrock, progressive rock and jazz were combined by Skadedyr on Kongekrabbe, which launched the career of the Norwegian supergroup.
Since then, the twelve members of Skadedyr had been busy with various other projects. Still, though, they find time to play live as Skadedyr, and record Culturen, Skadedyr’s long-awaited sophomore album.
For Culturen. the members of Skadedyr penned six new tracks. Hans Hulbækmo wrote Datavirus and Bie; while Lars Ove Fossheim contributed Muggen Loop and Nussi Sinusdatter. Anja Lauvdal and Heiða Karine Jóhannesdóttir Mobeck cowrote Trålertrall and Culturen, which features the poetry of Ivar Aasen. These six tracks became Culturen, which was recorded by Morgan Nicolaysen at Propeller Music Division.
When recording of Culturen began, there was no sign of Andreas Mjøs who had produced Skadedyr’s debut album Kongekrabbe. Not this time around. Instead, Morgan Nicolaysen and Skadedyr took charge of production on Culturen. This could quite easily have been a case of too many cooks spoil the broth. After all, there’s twelve members of Skadedyr, and Morgan Nicolaysen made thirteen. However, the members of Skadedyr were all experienced musicians, and the band was a democracy. They had always taken great care to stress this over the years, and nothing has changed. The democratic process has never failed Skadedyr, and certainly wouldn’t fail them when the recording of Culturen got underway.
Propeller Music Division was chosen for the recording of Culturen. That became the home for the twelve members of Skadedyr during the recording of their sophomore album. The lineup featured a rhythm section of drummers Hans Hulbækmo and Øystein Aarnes Vik; bassist Fredrik Luhr Dietrichson; and guitarists Lars Ove Fossheim and Marius Hirth Klovning. Heiða Karine Jóhannesdóttir Mobeck has a foot in the rhythm and horn section, given he can play bass and tuba. He’s joined in the horn section by trombonist Henrik Munkeby Nørstebø and trumpeter Torstein Lavik Larsen. They’re joined by violinist Adrian Løseth Waade, pianist Anja Lauvdal and accordionist Ida Løvli Hidle. This was the lineup of Skadedyr that featured on Culturen, which marks a change in sound from Skadedyr’s debut album Kongekrabbe.
Not many groups would change a winning sound. However, Skadedyr are unlike most bands. They’re innovators and mavericks, who will constantly seek to reinvent their music. This is what they’ve done on Culturen. The music on Culturen is closer to Skadedyr’s live sound, in that it showcases a much more acoustic sound. The members of Skadedyr believed this resulted “in much more of a team effort.” This soon becomes apparent.
Opening Culturen is Datavirus, a nine minute epic. Straight away, Skadedyr grab the listener’s attention. Drums combine with a piano, percussion and a slow, braying horn. It adds a jazzy influence while the drums and stabs of piano add a mesmeric backdrop. Meanwhile, percussion is sprinkled and gallops atop the arrangement. Soon, it’s all change, when the rest of the horn section adds a free jazz influence. Horns wail and growl, but sometimes, it sounds as if their origins are in New Orleans, not Norway. Joining the horns is a piano which adds an element of darkness and drama. Then at 3.33 the crystalline guitar that’s reminiscent of Johnny Marr enters. Along with a subtle accordion and wistful horn, they combine to create an understated but melodic backdrop. Skadedyr then continue to change tempo and style, as each member of the band gets the opportunity to shine. A hauntingly beautiful gypsy violin solo, comes close to stealing the show. It’s joined by an accordion, bass and tuba, as gradually, the arrangement builds. Joyous scatted vocals are added as the arrangement takes on a lovely loose sound that’s a tantalising taste of Skadedyr’s live sound.
A whirring sound opens Muggen Loop. This is another curveball. It’s quickly replaced by an arrangement that’s veers between melancholy to mournful. Horns are to the fore, creating a slow, jazzy arrangement. Meanwhile, a tack piano and double bass play supporting roles in what’s a hauntingly beautiful track. Sadly, after two minutes, it reaches a sudden ending, leaving just a pleasant a memory.
Bie is very different to the two previous track. There’s a much more experimental, avant-garde sound. The arrangement is understated, droning and meandering along. Skadedyr toy with the instruments, using them to tease out an array of alternative sounds. Gradually, a guitar chirps and a horns rasps. Other times, a droning buzzing sounds escape from the arrangement. So does a wheezing accordion. It’s as if Skadedyr are awakening from their slumber. As they do, elements of free jazz and avant-garde combine. The guitar is played with a degree of urgency. This is the case with the piano. It’s pounded, while the accordion wheezes and shrill strings signal that change is in the air. Soon, the tempo increases and a much more melodic sound makes its presence felt. At the heart of the arrangement, is a pounding piano, strings and rasping horns. They’re responsible for a rousing, joyous sound. Before long, the earlier experimental sound returns. An understated free jazz sound becomes urgent, and heads in the direction of avant-garde and musique concrète. There’s just one more surprise in store, and that’s when the melodic, joyous sound returns as the track reaches a crescendo.
Melancholy, eerie and cinematic describes Nussu Sinusdatter. There’s a sinister, haunting sound as the arrangement wails and drones. Sometimes, it’s as if Skadedyr are warning of some imminent danger. Other times, there’s an otherworldly sound to this fusion of avant-garde, experimental and post rock. However, the best way to describe Nussu Sinusdatter is cinematic. It’s a track that would be the perfect soundtrack to a Norwegian thriller or horror movie.
Trålertrall is another epic track. At nearly eleven minutes long, this allows Skadedyr the chance to experiment. They grab this opportunity with both hands. As the track begins, the arrangement is understated and spacious. Space is left in the arrangement, as a variety of disparate sounds are drizzled across the arrangement. Gradually, though space is at premium, and there’s a degree of urgency. Shakers accompany the sound of a train. Skadedyr it seems are taking the listener on a captivating journey. Sounds flit in and out, and this briefly, includes a brass band playing. Soon, the arrangement becomes minimalist and experimental, Strings are plucked and caressed. A piano is played tenderly, while an array of sounds are added. Later, this includes a melancholy guitar and ethereal vocal. They’re replaced by the horns and strings. Later, Skadedyr’s rhythm section enter, and power the arrangement along. Meanwhile, braying horns play slowly and deliberately, adding an element of melancholia and drama. They’re joined by an array of alternative percussion as musical chameleons Skadedyr continue to combine disparate musical genres, to create something new and innovative.
Culturen closes with the title-track. It features the poetry of Ivar Aasen. As it’s read, percussion scampers across the arrangement. Soon, the unmistakable sound of a tuba plays. It’s joined by a chiming guitar and handclaps. When the vocal drops out, the rest of the horn section replace it, and take centre-stage. They’re playing a starring role, while a wash of guitar, accordion and percussion combine with an array of otherworldly sounds. Together, they create a hypnotic, and irresistible sounding track. This is the perfect way to close, Culturel, with one of the album’s highlights, which marks a welcome return from Skadedyr.
Just over three years have passed since Skadedyr released their debut album Kongekrabbe. It launched the career of Skadedyr, who were already being referred to as one of the most exciting up-and-coming bands in the Norwegian music scene. That was saying something.
Over the last few year, Norway has one of the most vibrant music scenes in Europe. So when a group are described as most exciting up-and-coming bands, critics sat up and took notice. Skadedyr proved to be an exciting and innovative band, Their debut album Kongekrabbe found its way onto many critics best of 2013 lists. Since then, critics and record buyers have eagerly awaited the release of Skadedyr’s sophomore album. At last, the wait is nearly over.
On 13th May 2016, Skadedyr’s sophomore album Culturen, will be released by Hubro Music. Culturen is quite different from Kongekrabbe, and finds Skadedyr showcasing a much acoustic sound, that’s closer to their live sound. However, one thing hasn’t changed, and that still, Skadedyr are creating music that’s and ambitious and groundbreaking.
That was the case with their debut album, and its the case with their sophomore album Culturen. However, nobody should be surprised. Skadedyr are a Norwegian supergroup, that features twelve of the country’s most talented, inventive and innovative musicians. They’ve previously worked with some of the biggest names in Norwegian music, and in the three years since the release of Kongekrabbe have worked on countless different projects. However, when Skadedyr were able to find time, they were determined to record their sophomore album.
Eventually, the members of Skadedyr cleared space in their respective diaries, and the recording of Culturen went ahead. Everything went to plan, and with the pioneering democratic musical collective continued to make music their own way. This means that each member of Skadedyr had their say in the music making process. The result was Culturen, another captivating album where Skadedyr create a dazzling musical tapestry.
On Culturen, Skadedyr combine a disparate selection of musical influences. Everything from avant-garde, electronica, experimental, folk, free jazz and post rock shine through. So does brass band, jazz and industrial musique concrète. These musical genres become Skadedyr’s musical palette, which they put to good use on the six canvases that are Culturen.
These canvases veers between atmospheric, dark, dramatic and eerie, to ethereal, joyous and melodic. Other times, the music is minimalist and understated, but can quickly, become urgent, futuristic and otherworldly. Sometimes, the music becomes melancholy and wistful, but has an inherent beauty. Always, though, Skadedyr captivate with their unique brand of genre-melting music. It’s often cinematic, and allows the listener to paint pictures as they immerse themselves in the music, on Culturen which is a career-defining album from Skadedyr.
To create this career defining album, Skadedyr have moved towards their live sound on Culturen. This is a tantalising introducing to one of most exciting and dynamic bands in Norwegian music. Their sophomore album Culturen, is an album that manages to be accessible and innovative, while showcasing the considerable talents of the twelve members of Skadedyr. For newcomers to Skadedyr’s music, Culturen is the perfect introduction to one of the rising stars of the Nordic music scene.
SKADEDYR-CULTUREN.
I HAVE A TRIBE-BENEATH A YELLOW MOON.
I HAVE A TRIBE-BENEATH A YELLOW MOON.
Back in 2013, Patrick O’Laoghaire was a member of Slow Skies, the group he had formed with Karen Sheridan and Conal Herron in 2012. They released their debut E.P., Close in May 2013. Close was well received by critics, and a great future was forecast for the Dublin based trio.
This proved to a prescient comment. When Slow Skies released their sophomore E.P. Keepsake in September 2014, critics were taking notice of Slow Skies. They were now classed as “one to watch.” However, by then, Patrick O’Laoghaire had also embarked upon a solo career.
For the last few couple of years, Patrick had been contemplating a career as a singer-songwriter. So, he adopted the pseudonym I Have A Tribe, and was soon being described as one of music’s rising stars.
I Have A Tribe released their debut E.P. Yellow Raincoats on Grönland Records, in May 2014. It was released to widespread critical acclaim. Critics were won over by I Have A Tribe’s fusion of folk and pop. The highlight of the Yellow Raincoats E.P., was Monsoon, a beautiful ballad. It caught the attention of Anna Calvi.
Anna Calvi was about to head off on a tour of Europe. She was looking for an opening act. When she heard Monsoon, Anna decided that I Have A Tribe fitted the bill.
So, each night, during Anna Calvi’s European tour, I Have A Tribe opened for her. Suddenly, I Have A Tribe’s music was being heard across Europe. Patrick O’Laoghaire was winning friends and influencing people, including Villagers.
Just like Anna Calvi, Villagers were looking for someone to open their Irish homecoming show. Who better than fellow countryman, I Have A Tribe? Villagers couldn’t have picked a better act. I Have A Tribe charmed the audience with their unique fusion of pop and folk. This however, wasn’t the end of this whirlwind year.
Over a twelve month period, I Have A Tribe were asked to play at some of the biggest music festivals. This included The Great Escape, Electric Picnic, the Reeperbahn Festival and CMJ in New York. Things it seemed, couldn’t get much better. However, it did.
I Have A Tribe was asked to headline at The Button Factory in Dublin. For Dublin based Patrick O’Laoghaire this was a huge thrill. Especially when he was welcomed with open arms by his hometown audience. With every appearance, it seemed, I Have A Tribe’s star was in the ascendancy.
Given how busy Patrick O’Laoghaire’s schedule was, it wasn’t until October 2015 that I Have A Tribe released their sophomore E.P. No Countries on Grönland Records. Just like Yellow Raincoats, No Countries received the same critical acclaim and showcased a talented singer and songwriter. Given the critical reception and commercial success of I Have A Tribe’s two E.P.s, surely, surely their debut album wasn’t far away?
And so it proved to be. Since the release of No Countries, Patrick O’Laoghaire has been working on I Have A Tribe’s debut album Beneath A Yellow Moon. It will be released on 27th May 2016, on Grönland Records.
Beneath A Yellow Moon features eleven new songs from the pen of Patrick O’Laoghaire. They were recorded at the Chem 19 studio, in Blantyre, Scotland with ex-Delgado Paul Savage. He’s one of the Britain’s top producers, and was the perfect person to produce I Have A Tribe’s much-anticipated debut album, Beneath A Yellow Moon.
Paul Savage has over twenty years experience as a musician, songwriter and producer. The former Delgados’ drummer has around seventy production credits to his name, ranging from Frightened Rabbit, Mogwai, The Twilight Sad, King Creosote, Miaoux Miaoux, The Phantom Band and Emma Pollock. Given three decades worth of experience working with some of the biggest names in music, Paul was more than qualified to guide I Have A Tribe through the minefield that’s recording a debut album. The resulting album, Beneath A Yellow Moon should introduce I Have A Tribe’s music to a wider audience. That’s apparent from from the first time one listens to Beneath A Yellow Moon.
Opening Beneath A Yellow Moon is Passage There’s a degree of urgency as a guitar is strummed, before flourishes of piano, bass and chiming guitar combine. They accompany Patrick’s vocal which is mixture of confusion and despair. He’s at a crossroads in his life. “If I’m not welcome in this town, where should I go?” Meanwhile, washes of cinematic guitar and percussion punctuate the arrangement. Later he sings: “I confess, I undress and have sex and there’s no shame…I think I’m going to quit this scene.” By then, his vocal is an outpouring of an emotion, and Patrick isn’t so much singing the lyrics, but living him. He’s like an actor in a play, that’s directed by Paul Savage.
Just a lone piano accompanies Patrick’s heartfelt vocal on La Neige. Emotion fills his vocal, as the lyrics take on a cinematic quality. Soon, Patrick brings the characters to life. For the first minute it’s just the piano that accompanies the vocal. Briefly, some reverb is added to the piano and it booms adding an element of drama. Then ethereal, harmonies add to the drama, and add element of theatre. By then, Patrick has embraced the role of troubadour. It’s a role that suits him perfectly, and he wears with pride. As the ethereal harmonies coo, the arrangement grows. The piano is pounded, adding to the drama and theatre, while Patrick plays a starring role in what’s akin to a short story set to music.
After We Meet is piano lead ballad. The arrangement is spartan, with just a lone piano proving the perfect foil for Patrick’s vocal. His vocal takes centre-stage, and the listener hangs on his every word. He’s singing of the relationship he hope and dreams that one time he’ll find himself in, “After We Meet.” His vocal is needy and hopeful, as the arrangement builds. This begins at 2.30 when the rhythm section join with piano and impassioned vocal. Then at 3.12 it’s just the vocal and piano that remain. When the vocal drops out, just bold, deliberate chords remain. Along with a flourish of guitar, they provide the crescendo to this beautiful paean.
It’s just a slow, subtle guitar that accompanies Patrick’s vocal on Cold Fact. Soon, a piano and bass are added, as Patrick sings: “got this feeling I’m returning home again, it just took a little time to find again, I’m just grateful to the bodies that have carried me, my family and empathy.” As his vocal drops out, and the dark, deliberate piano combines with the piano and rhythm section. Then when Patrick’s vocal returns, it’s thoughtful sounding: “you’ve got skeletons to fight.” Gradually though, the tempo rises slightly and the arrangement flows melodically along. That’s until the reassuring refrain of: “you’ve got skeletons to fight, you’ve got time to feel safe, you’re not the last to loose faith, you’re not the first to curse the faith.” Later, having returned home and been reunited, Patrick sings: “while we’re here we’ll build a home, I think I’ll lay the first stone.” By then, the Dublin based troubadour, has delivered a spellbinding performance, while Paul Savage’s arrangement is one of the finest on the album. It’s reminiscent of what one would find on a Van Morrison’s seventies albums.
Straight away, Patrick has the listener captivated as he tells the story of the Battle Hardened Pacifist. Just a melancholy piano sets the scene for Patrick’s vocal. Slowly and deliberately he delivers the lyrics: “I have been chosen as a warrior, a Battle Hardened Pacifist and I like the taste of this.” It seems the one-time pacifist has a taste of bloodlust. Soon, the tempo rises and drama builds. The arrangement ebbs and flows, as Patrick combines emotion and power. Adding to the drama is the piano. Part from occasional handclaps, it’s a case of less is more, on one of the most thought-provoking tracks on Beneath A Yellow Moon.
At just over nine minutes, Casablanca is something of an epic track. During the track, Patrick pays homage to the 1942 movie, featuring Humphrey Bogart. This quickly becomes apparent as he incorporates lines from Casablanca. Straight away, it’s easy to imagine Patrick playing the piano in the famous club. Meanwhile, a lone piano accompanies Patrick’s wistful vocal. Soon, he delivers the line: “of all the bars in on world, of all the heads on all the girls, you had to come into mine.” Then comes another famous line: “whose looking at you kid.” However, he adds “I hope this letter finds you well, return address is hell.” As Patrick sings hurt and heartbreak is omnipresent. The song become a lament for the love he lost, and Patrick, the tormented troubadour, delivers a soul-baring vocal on what’s a , beautiful, heart wrenching song.
On Buddy Holly Patrick delivers a tender vocal as a guitar and piano accompany him. The piano is played slowly, and deliberately, so not to overpower a vocal that’s tender and heartfelt. Gradually though, the arrangement builds and grows, with harmonies joining the piano and guitar. Producer Paul Savage pans the harmonies left, while drums are panned right. This leaves plenty of space for the piano and vocal. Later, when the vocal drops out, a piano that’s big, bold and dramatic as the track reaches a crescendo.
Not for the first time, Patrick dawns the role of troubadour on Kamala. That’s the case from the moment he sings: “I would be tired if I was as wise as you.” By then, Patrick sounds not unlike Chris Thompson of The Bathers. Not only does Patrick sound like Chris. Stylistically there are similarities, with Chris’ vocal. Maybe Patrick was a fan of The Bathers? It certainly sounds like it. I Have A Tribe, like The Bathers are purveyors of sophisticated cerebral pop. That’s the perfect description of Kamala, which mostly, features Patrick, the piano and a guitar. Later drums are added, as Patrick’s quivering vocal soars above the arrangement He seems to draw inspiration from Scott Walker. Mostly, though, Patrick reminds me of Chris Thompson, on what’s another breathtaking ballad from I Have A Tribe.
The sound of footsteps opens Tango, before Patrick sings: “I think I’m in a little trouble, so I think I’m going to lie down over there, it was different when I was drinking and seeing double, sober is a quieter affair.” As he sings, he plays guitar and memories come flooding back. Not all are good. By then, a piano is added, and plays a supporting role. Mostly, though it’s just the guitar that accompanies Patrick’s vocal on this brisk arrangement. There’s almost disbelief in his vocal as he ruefully reflects: “it’s hard had to believe, that things have crumbled down to this, I don’t have the facts, I just have the names on a list, while holy man are praying, the devil takes the piss, and we must admire his timing.”
With just a tack piano accompanying Patrick, he delivers a weary vocal on Scandinavia. “I’m done with running, I fear the loss, so I’d rather be alone, so I’d rather be alone, I’m done with shaking.” As Patrick delivers his vocal, it’s akin to a confessional, where he voices his innermost secrets. Meanwhile, tender, soothing harmonies accompany Patrick, as he lays bare his soul.
Cuckoo closes Beneath A Yellow Moon. After a false start, it’s possible to hear Patrick adjust the strings of his guitar. This time, it’s in tune and ready to go. Patrick strums his guitar, and delivers heartfelt and emotive vocal. “Stand up she told me, stay strong she told me.” Still the arrangement is understated, and is reminiscent of Neil Young’s folk rock days. Midway through the track, a piano and harmonies accompany the vocal. The Neil Young influence becomes more apparent, and Cuckoo sounds like a song from the golden age of music. Melodic and almost anthemic, I Have A Tribe leave the listener wanting more. This is the way to close any album, especially a debut album like Beneath A Yellow Moon.
I Have A Tribe have come a long way in less than two years. They’ve released two E.P.s, and opened for Anna Calvi and Villagers. That’s not forgetting playing countless concerts on their own. However, that’s all been leading up to the release of I Have A Tribe’s debut album Beneath A Yellow Moon. It will be released on 27th May 2016, on Grönland Records, and marks a coming of age from a truly talented, singer, songwriter and musician Patrick O’Laoghaire.
He dawned the alias I Have A Tribe back in 2014, and since then, has been winning friends and influencing people. This includes critics and music lovers alike. They can’t fail to be captivated by songs that are beautiful, cerebral, cinematic, melancholy, poignant, thoughtful and touching. They’re framed by arrangements that are understated. They don’t get in the way of the vocal. Instead, the vocal is allowed to breath and becomes the focus of your attention. That’s as it should be.
Patrick’s vocal veers between heartfelt, emotive and melancholy, to needy and hopeful. Other times, hurt and heartbreak shine through on Beneath A Yellow Moon. It was a much-anticipated album. However, I Have A Tribe surpasses everything that’s been released previously. This can’t have been easy, as the two E.P.s set the bar high. However, with the help of producer Paul Savage, I Have A Tribe reach new heights on Beneath A Yellow Moon.
Bringing Paul Savage onboard was well worthwhile. He brought with him a wealth of experience. This includes producing numerous debut albums. Although he’s gone course and distance, Paul didn’t try and reinvent the wheel. Instead, the arrangements are understated, and allow the vocal to take centre-stage. Patrick then dawns the role of storyteller and troubled troubadour. These are roles that are perfectly suited to Patrick, and he embraces them both on I Have A Tribe’s much-anticipated debut album Beneath A Yellow Moon. It’s an album that had a lot to live up to,
Not only does Beneath A Yellow Moon live up people’s expectations, but surpasses them. That can’t have been easy, but I Have A Tribe have succeeded in doing so. However, we shouldn’t be surprised. Patrick O’Laoghaire, the man behind I Have A Tribe is a talented singer, songwriter and musician, who doesn’t so much deliver songs, but lives and experiences them. That is the case throughout Beneath A Yellow Moon, but is especially the case on After We Meet, Kamala. and Casablanca. These tracks just might be “the beginning of a beautiful friendship” with Have A Tribe and their debut album Beneath A Yellow Moon.
I HAVE A TRIBE-BENEATH A YELLOW MOON.
MOGWAI-ATOMIC- VINYL EDITION.
MOGWAI-ATOMIC- VINYL EDITION.
Glasgow-based post rock pioneers Mogwai, are no strangers to the world of soundtracks. They’ve previously released three soundtracks in the last ten years. The first was Zidane: A 21st Century Portrait in October 2006. Just a month later, Mogwai released the soundtrack to The Fountain in November 2006. After releasing two soundtracks in the space of two months, it was almost seven years passed before Mogwai released the soundtrack to Les Revenants in February 2013. It was released to critical acclaim, and was hailed as Mogwai’s the finest soundtrack of their career. That however, may be about to change, as Mogwai recently released their fourth soundtrack Atomic as vinyl on their own label, Rock Action Records.
Last summer, Mogwai had provided the soundtrack Mark Cousins documentary Atomic: Living In Dread and Promise. It was aired on BBC Four, and was a very personal memoir of growing up in the nuclear age. Using archive film, Mark Cousins constructed an impressionistic cinematic memoir of what was a harrowing time.
The Cold War was still dominating the news. America and the U.S.S.R. were at loggerheads, and the sabre-rattling continued into a second decade. For teenagers like Mark Cousins, it was a harrowing time. However, he public weren’t going to stand by and not have their say.
Suddenly, membership of C.N.D rocketed, and protest marches took place in cities across Britain. Placard wielding protesters marched to the tune of “band the bomb.” That became a rallying call as governments tried to reassure a terrified public.
The public service films that were meant to reassure the public, had the opposite effect. They seemed to make the fear even more real. Then on 26th April 1986, the world realised that it wasn’t just the nuclear war that they should fear.
That was the Chernobyl Disaster took place at the Chernobyl Nuclear Power Plant, in Pripyat, Ukraine. A worried public watched on, as the news of a catastrophic nuclear accident and explosion emerged. Then came the news that a fire resulted in a large quantity of radioactive particles escaping into the atmosphere. To make matters worse, they weren’t just heading which spread over much of the U.S.S.R., but Western Europe. When these particles landed in parts of Scotland, where Mogwai were growing up, suddenly, the Atomic Age seemed a very frightening time to grow up.
By then, Mark Cousins had discovered physics, and was discovering he advantages of Atomic Age. X-Rays and MRI scans he discovered were just two of the advantages of the Atomic Age. The subject that had once frightened Mark Cousins, now excited and interested him. So much, that he considered studying physics at university. That did’t happen, but later when Mark Cousins was a filmmaker, he decided to revisit the subject.
The result was his documentary Atomic: Living In Dread and Promise. To provide the soundtrack, post rock pioneers were commissioned to write the soundtrack. It was the perfect backdrop to Atomic: Living In Dread and Promise, which was a personal and poignant cinematic memoir. However, after the documentary was aired in the summer of 2015, Mogwai decided to rerecord the whole of the Atomic soundtrack.
At their Castle Of Doom Studios in Glasgow, Mogwai were joined be an old friend, occasional band member Luke Sutherland. Mogwai were also joined by Robin Proper-Sheppard formally of The God Machine and Glasgow composer Robert Newth. Together, they got to work on on Atomic, which was Mogwai’s twelfth album since they formed back in 1995.
That’s when Stuart Braithwaite and Dominic Aitchison first met in Glasgow. Four years later, they met drummer Martin Bulloch and formed Mogwai, which film buffs will remember, is a character from the movie Gremlins. Mogwai was always meant as a temporary name, but it stuck and was on the label of Tuner, their 1996 debut single.
Tuner was released to critical acclaim and the NME awarded it their single of the week award. Two other singles were released during 1996 Angels v. Aliens and Summer. By then Mogwai were a quartet.
Guitarist John Cummings joined the band in 1995. He’s also something of a maestro when it comes to all things technical and is described as playing “guitar and laptop.” He was part of one of the hottest bands of the late nineties, Mogwai who released two more singles in 1997.
The first of these was New Paths To Helicon Pt. 1 . It showed Mogwai growing and maturing as a band. NME agreed, and just like their debut single Tuner, New Paths To Helicon Pt. 1 was won NME’s single of the week award. Club Beatroot the followup to was also well received by critics. This was the perfect time for Mogwai to record their debut album, Mogwai Young Team.
Mogwai Young Team.
For Mogwai Young Team, Mogwai brought onboard Brendan O’Hare the Teenage Fanclub’s drummer. Another guest artist was Aidan Moffat of Falkirk based band Arab Strap. He added the vocal to R U Still In 2 It. The rest of Mogwai Young Team consisted of instrumentals. Mogwai Young Team was recorded at Chem 19 studios and produced by two of Scotland’s top producers, ex-Delgado Paul Savage and Andy Miller. Once Mogwai Young Team was completed, it was then released on Scotland’s biggest record label, Chemikal Underground.
Before its release, critics were one over by Mogwai Young Team. Mogwai were hailed Mogwai as a band with a big future. Mogwai Young Team was a hailed as a groundbreaking album of post-rock. It’s just one reason critics forecast a big future for Mogwai.
That proved to be a perceptive forecast. When Mogwai Young Team was released on 21st October 1997, sold over 30,000 copies and reached number seventy-five in the UK. The Mogwai Young Team were on their way. However, a few changes were about to take place.
Come On Die Young.
A year later, Mogwai were back in the studio recording their sophomore album Come On Die Young. Much had changed. A new member had joined the band. Barry Buns a flautist and sometimes pianist, had played a few gigs with the band. They then asked him to become the fifth member of Mogwai. Violinst Luke Sutherland joined Mogwai, but not on a full-time basis. This wasn’t the only change.
Recording was split between New York and Glasgow. This time, they’d forsaken Chem 19 in Blantyre and recorded parts of the album in Rarbox Road Studios, New York. Some sessions took place in Glasgow’s Cava Studios. Producing Come On Die Young was Dave Fridman. For some critics, his addition changed Mogwai’s sound.
Some critics felt his production style resulted in a much more orthodox sounding album. However Come On Die You was part of Mogwai discovering their “sound” and direction. Come On Die Young is a much more understated, but also ambient, experimental, multi-textured and melodic. There’s a fusion of ambient, grunge and post rock on Come On Die Young, which was released in 29th March 1999.
On its release, Come On Die Young reached number twenty-nine in the UK. Mogwai it seemed were now on their way to finding their sound and fulfilling the potential evident on their debut album. This was apparent with tracks of the quality of CODY, Hugh Dallas and Christmas Steps. However, like all innovative bands, Mogwai continued to reinvent their music.
This proved to the case on their eponymous E.P. This included Stanley Kubrick, which was recorded in the exotic surroundings of Cowdenbeath in Fife. Burn Girl Prom Queen was recorded at Cava Studios, in Mogwai’s hometown of Glasgow. These two tracks were part of E.P., which further enhanced Mogwai’s reputation as post rock pioneers. So did their third album Rock Action.
Rock Action.
Mogwai’s music continued to evolve on their third album 2001s Rock Action. More use was made of electronics on Rock Action. This was part of a process that would continue over the next few albums. There were even more layers and textures on Rock Action. It was as if Mogwai had expanded their palette. Seven of the songs were instrumentals, while Dial Revenge featured Gruff Rhys of Super Furry Animals.
Again, Rock Action was produced by Dave Fridman, while recording took place in New York and at Glasgow’s Cava Studios. Once Rock Action was completed, it became Mogwai’s first album to be released on Play It Again Sam.
Rock Action was released in April 2001, and proved to be Mogwai’s most successful album. It reached number twenty-three in the UK. Critics remarked upon how Rock Action wasn’t as dark an album as its predecessors. That didn’t mean that Mogwai’s view of the world had changed. They were still worldweary. That would become a Mogwai trademark.
Six months after the release of Rock Action, Mogwai returned with another single, The My Father My King. It was released in October 2001, and was described “as the companion piece to Rock Action.” A sticker on the cover bore Mogwai’s description of the single as: “two parts serenity and one part death metal.” That was about to change. Soon, they’d be happy people writing happy songs and making a breakthrough into the American market.
Happy Songs For Happy People.
Happy Songs For Happy People was released in 2003. Mogwai’s evolution continued. Their music continued further down the electronic road. Yes, electric guitars and a drummer were used, but synths were playing a more important role in Mogwai’s music. So were the addition of strings and a piano. They played their part in what was a much more understated album. Part of this change in style was a change of producer.
Tony Doogan was brought onboard as producer. He replaced Dave Fridman. Gone were transatlantic recording sessions. Happy Songs For Happy People was recorded at Cava Sound Studios, Glasgow. On its release in June 2003, Happy Songs For Happy People was well received by critics. Critics drew attention to I Know You Are But What Am I? and Hunted By A Freak. The critics welcomed Mogwai’s latest change in style. So did record buyers.
While Happy Songs For Happy People only reached number forty-seven in the UK, it spent a week in the American charts, reaching number 182 in the US Billboard 200. After four albums, Mogwai had broken into the American market. Happy Songs For Happy People it seemed, was a landmark album.
Having made inroads into the lucrative American market, Mogwai didn’t rush their fifth album. It was released three years after Happy Songs For Happy People. There’s a reason for this. They were working on tree separate projects.
The first was their fifth album Mr. Beast. Then there was the first soundtrack they’d written and recorded. This was for the 2006 movie Zidane: A 21st Century Soundtrack. Mogwai also collaborated with Clint Mansell on the soundtrack to The Fountain. Although soundtracks were a nice sideline for Mogwai, their fifth album Mr. Beast was of huge importance. Especially, if it was a commercial success in America.
Mr. Beast.
Recording of Mr. Beast took place at Mogwai’s new studio, Castle Of Doom Studios in Glasgow. Co-producing Mr.Beast with Mogwai, was Tony Doogan. Between April and October 2005, Mogwai honed their fifth album. Tony Doogan and Mogwai co-produced Mr. Beast. After six months, Mr. Beast was complete. It was Mogwai’s most important album.
Everyone realised the importance of Mr. Beast. Mogwai were on a verge of breaking into the American market. Happy Songs for Happy People had got Mogwai’s foot in the door. Now was the time for the Mogwai Young Team to kick it in, and make their presence felt. That’s what Mogwai intended to do with tracks like Travel Is Dangerous,Friend Of The Night and We’re No Here. They featured Mogwai at their best. This trio of tracks would please critics.
On its release, it was mostly, to critical acclaim. Critics were fascinated at how Mogwai’s music continued to evolve. For Mogwai, standing still was going backwards. Groundbreaking music was what record buyers expected from Mogwai.
When Mr. Beast was released on 5th March 2006, record buyers found an album of innovative music. It climbed thirty-one in the UK. Across the Atlantic, Mr. Beast reached number 128 in the US Billboard 200. Mogwai were now one of Scotland’s most successful musical exports. They were certainly Scotland’s most innovative band. This was a title they weren’t going to give up without a fight.
Zidane: A 21st Century Portrait.
Following the release of Mr. Beast, the other two projects that Mogwai had been working on, were released. The first was Zidane: A 21st Century Portrait. The project came about in late 2005, when artist Douglas Gordon asked Mogwai to write and record a soundtrack to a film he was making about Zinedine Zidane, Zidane: A 21st Century Portrait. Mogwai agreed, and this gave them their entry into the world of soundtracks.
Maogwai grasped this opportunity. They recorded Zidane: A 21st Century Portrait at Castle Of Doom Studios. At first hand, Mogwai had recorded ten tracks, which were produced by Tony Doogan. However, when the soundtrack was released, it came baring a secret.
That’s the hidden track Untitled, a twenty-three minute epic, featuring Mogwai at their most inventive. That was the case throughout Zidane: A 21st Century Portrait. Most critics realised this. A few, however, didn’t seem to ‘get’ Zidane: A 21st Century Portrait. However, the critics that mattered, gave Mogwai the recognition they deserved when Zidane: A 21st Century Portrait was released on 30th October 2006. Then less than a month later, the soundtrack to The Fountain was released on 27th November 2006.
The Fountain.
The Fountain was a collaboration between contemporary classic composer Clint Mansell, string quartet the Kronos Quartet and Mogwai. To some onlookers, it looked like an unlikely collaboration. That wasn’t the case though.
Mogwai had spent December 2005 locked away in their Castle Of Doom Studios with producer Tony Doogan. Other parts of The Fountain project were recorded in New York and Los Angeles. Then once the project was complete, The Fountain was released on 27th November 2006.
When The Fountain soundtrack was released, the reviews were positive. Mogwai’s contribution to the soundtrack had proved vital, while the Kronos Quartet proved a perfect foil the Mogwai Young Team. Mogwai’s lasted soundtrack had enhanced their reputation as the go-to guys for a soundtrack. That would their sideline in the future. However, before they released another soundtrack, Mogwai would release another two albums.
The Hawk Is Howling.
The first of these was The Hawk Is Howling. To ensure they kept their title of Scotland’s most innovative bands, Mogwai returned to the studio where it all began, Chem 19 in Blantyre.
Andy Miller who’d co-produced Mogwai Young Team, Mogwai’s debut album was chosen to produce what became The Hawk Is Howling. This was Mogwai’s sixth album and marked a first. It was Mogwai’s first album to consist of just instrumentals. Among them were I’m Jim Morrison, I’m Dead, The Sun Smells Too Loud, Batcat and Scotland’s Shame. They feature the post rock pioneers pushing musical boundaries to their limits, and sometimes, beyond. Once The Hawk Is Howling was recorded, Garth Jones mixed the album at Castle Of Doom Studios in Glasgow. After that, The Hawk Is Howling was ready for release.
The Hawk Is Howling was released on 22nd September 2008. Critics were won over by The Hawk Is Howling. There were no dissenting voices. This was one of Mogwai’s best albums. So, it was no surprise it sold well in the UK and America.
On its release, The Hawk Is Howling reached number thirty-five in the UK and number ninety-seven in the US Billboard 200. It seemed with each album, Mogwai’s music evolved and matured. This resulted in even more success coming their way. Would this continue with Hardcore Will Never Die?
Hardcore Will Never Die.
For their seventh album, Mogwai returned to Chem 19 Studios in Blantyre, where they hooked up with ex-Delgado Paul Savage. Since he’d produced Mogwai’s debut album, Mogwai Young Team Paul had established a reputation as one of Scotland’s best producers.
By then, Paul Savage had worked with everyone from Franz Ferdinand to R.M. Hubbert. However, it was a very different Mogwai Paul encountered. They were very different to the band who recorded Mogwai Young Team Paul. Their music had evolved and was continuing to do so. They’d matured as musicians and embraced the new technology. Hardcore Will Never Die, But You Will was proof of this.
Here was an album of groundbreaking, genre-melting post-rock with attitude. Hardcore Will Never Die, But You Will was also an album not short on humour. Poppy soulster Lionel Ritchie provided the inspiration for You’re Lionel Ritchine. There was also a celebratory sound to Hardcore Will Never Die, But You Will. It’s a reminder of an album of pioneering, post rock music crammed full of hooks, humour and attitude. Hardcore Will Never Die, But You Will was an album that couldn’t fail.
Before the release of Hardcore Will Never Die, But You Will, Rano Pano was released as a single. On the flip side was Hasenheide, which didn’t feature on Hardcore Will Never Die. It was a reminder that Mogwai’s B-Sides are better than most band’s singles. Things it seemed were looking good for Mogwai.
Yet again, Mogwai won over the majority of critics with Hardcore Will Never Die, But You Will. A couple of contrarian critics proved to be mere dissenting voices in the wilderness. Most critics realised that Hardcore Will Never Die, But You Will was one of Mogwai’s finest hours. Record buyers would agree.
Hardcore Will Never Die, But You Will reached number thirty-five in the UK and number ninety-seven in the US Billboard 200. For Mogwai, they were now into their third decade as band and had just enjoyed their biggest album to date. What next?
Les Revenants.
The answer to that was Les Revenants, a soundtrack to a French television series. Les Revenants or The Returned is essentially a television program about zombies. Unlike similar programs, when the “undead” return to the town they lived in, it’s as they were, not how most films portray zombies. Another difference was the way Mogwai were commissioned.
Usually, someone writing a soundtrack can see the film they’re writing music to. Not Mogwai. They were just shown a few scripts. Then they were given an overview of what the series was about. From there, Mogwai wrote thirteen of the fourteen tracks. The other track they chose was What Are They Doing In Heaven Today, which was written by Charles Elbert Tilney. These fourteen tracks were recorded by Mogwai, who produced Les Revenants with Neil MacMenamin. Once Les Revenants was finished, it was released in February 2013.
Before Les Revenants was released an E.P. was released. It featured four tracks. That was a tantalising taster of what was to come. After all, Mogwai would approach a soundtrack like Les Revenants in a different manner. They wouldn’t do anything predictable. Les Revenants was a case of expect the unexpected. Critics loved Les Revenants and hailed the album as one of the best albums Mogwai had released. However, Mogwai had other ideas.
Rave Tapes.
Rave Tapes features ten tracks which were written by Mogwai. These tracks were recorded at Mogwai’s Castle Of Doom Studios, in Glasgow. Producing Rave Tapes was ex-Delgado Paul Savage. He’s produced previous Mogwai albums and knew how the band worked. This was important, given Mogwai were at last, enjoying the critical acclaim and commercial success their music deserved. Work began on Rave Tapes on the 28th August 2013.
This was like the first day back at school. Mogwai were ready to begin recording what was their eighth studio album. The lineup of Mogwai has been settled for a few years. This included a rhythm section of bassist and guitarist Dominic Aitchison, drummer Martin Bulloch and guitarists Stuart Braithwaite and John Cummings who also played piano. Barry Burns plays organ, piano and guitar. at Castle Of Doom Studios, Glasgow, Mogwai recorded the ten tracks that became Rave Tapes, which was released on 20th January 2014.
Rave Tapes was one of the most anticipated albums of 2014. The big question was, what direction Mogwai’s music would head? After all, Mogwai’s music never stands still. It’s in a constant state of evolution. That’s no bad thing. Standing still is akin to going backwards in Mogwai’s book. On Rave Tapes, Mogwai’s music continues to evolve. Musical genres and influences melt into one on Remurdered, The Lord Is Out Of Control and Tell Everyone I Love Them, which all feature on the Central Belters’ box set. However, one of the most prominent influences on Rave was Krautrock. Add to this ambient, avant-garde, electronica, experimental, indie rock and rock. We hear different sides to Mogwai on Rave Tapes. Whether it’s fuzzy soundscapes or kicking out the jams, Mogwai don’t disappoint on Rave Tapes, their most recent album.
After the release of Rave Tapes, Mogwai released Music Industry 3. Fitness Industry E.P. on 1st of December 2014. Opening this six track E.P. is one of its highlights, Teenage Exorcists. So fittingly, it finds its way onto Mogwai’s three disc retrospective box set, Central Belters.
Central Belters.
For anyone yet to discover the delights of of post rock pioneers Mogwai, then the Central Belters’ box set is the perfect starting place. It was recently released on Rock Action Records, and costs no more than an individual CD. It’s Mogwai’s way of thanking their loyal fans who have supported them over the last twenty years. And what a roller coaster it’s been.
Since they formed in 1995, Mogwai have released eight albums and three soundtracks. Then there’s countless singles, E.P.s and two remix albums. Mogwai must be one of the hardest working bands in music. That’s not forgetting one of the most innovative.
For the last twenty years, Mogwai’s music has been ambitious, bold, challenging, influential and innovative music. It’s full of nuances, subtleties and surprises as Mogwai seamlessly combine musical genres. They fuse ambient, avant garde, classic rock, electronica, experimental, indie rock, psychedelia and Krautrock, to create their unique post rock sound. All the time, Mogwai continue to push musical boundaries to their limits and even sometimes, way beyond. This becomes apparent on Atomic.
Atomic.
Having made the decision to rerecord Atomic, Mogwai headed to their Castle Of Doom Studios in Glasgow, Mogwai were joined be an old friend, and occasional band member Luke Sutherland. Other guests included Robin Proper-Sheppard formally of The God Machine; and Glasgow composer Robert Newth. Together, they got to work on on Atomic,
At Castle Of Doom Studios, Mogwai and friends got to work. Mogwai’s rhythm section featured drummer Martin Bulloch; bassist and guitarist Dominic Aitchison; and guitarists Stuart Braithwaite and John Cummings who also played piano. Barry Burns played organ, piano and guitar. Occasional member of Mogwai, Luke Sutherland played violin on Are You A Dancer? Robin Newth adds French Horn on Ether; while Robin Proper-Sheppard added guitar on Tzar. Just like previous albums, Tony Doogan took charge of production on Atomic. Once the ten tracks were complete, Atomic was scheduled for release in the spring of 2016.
Given the sombre nature of parts of Mark Cousins’ documentary, there was a degree of irony that Atomic was released on April Fool’s Day. By the time, 1st of April 2016 came around, the reviews of Atomic had surpassed Les Revenants. Critics hailed Atomic Mogwai’s finest soundtrack album. It was a welcome return for Glasgow’s famous five, as they returned with their first studio album in three years…Atomic.
Ominous describes the introduction to Ether. Washes of synths draw closer, before drones sound ominously and a guitar is picked carefully. Then suddenly, ethereal keyboards play and a melancholy French horn punctuates the arrangement. Along with a piano, they provide a thoughtful backdrop. As swells of synths are added, so does the drama and sense of melancholia. It’s as if there’s a yearning for a simpler time, before the Atomic age. Later, synth strings sweep, and the French horn sounds as the rhythm section continue to add to the drama and melancholia. In doing so, they add to what’s a ruminative, dramatic and beautiful cinematic track.
As Scram unfolds, Mogwai pay homage to Kraftwerk, especially Radioactivity. Soon, however, Mogwai are replicating the sound of the man machine. It chatters, buzzes, crackles and chimes almost hypnotically; as drum machines that click and crack. In the midst of the arrangement, there’s what sounds like a warning. No wonder Mogwai advise people to Scram. The man machine has malfunctioned, and the wistful sound of a synth string is joined by buzzing, pulsating synths. Mesmeric and hypnotic the cogs in the machine grind and whine, their sound menacing as they lumber along.
Dramatic is the word that springs to mind as Bitterness Centrifuge gradually shares its secrets. It’s reminiscent of an Eastern European recording from the late-seventies or early eighties. The arrangement is slow, with ominous, gothic synths and dramatic drums combining. They lumber, as fuzzy guitars feedback and join synth that briefly, sound almost ethereal. Mostly, though dramatic, post apocalyptic sound to the arrangement.
It seems fitting that on an album entitled Atomic, Mogwai name a track U-235, which is an isotope of uranium. As the track unfolds, a buzzing bass synth taps out a code. It’s joined by washes of ethereal synths, a keyboard and drum machine. Together, they create another track that references Kraftwerk. As washes of of ethereal, haunting synths sweep in and out, a melodic keyboard joins the bass synth. All the time, the drum machine provides the heartbeat. That’s until later, when the arrangement is stripped bare. All that’s left are the sweeping synths. They create an ethereal, melodic and memorable backdrop
The name Pripyat may not mean much to most people. Chernobyl however, strikes fear into the heart of millions. Pripyat was the town where the Chernobyl Power Plant was situated, and where on 26th April 1986 a catastrophic nuclear accident took place. Given the backstory, it’s no wonder that Mogwai create an arrangement that’s not just big and bold, but dark, dramatic and gothic. It’s as if Mogwai are building up to the moment when the unthinkable happened. From there, they recreate the despair and heartbreak, as a once proud place becomes a desolate and barren, no-go area whose name thirty years later, is remembered with sadness.
In the distance, keyboards are played with a degree of urgency on Weak Force. Continually, they play the same chords, that sweep in and out, in and out. They grown in volume, power and drama. It’s as if they’re sending out a warning. Especially as differenet keyboards combine, and a dark, ominous sound emerges from the arrangement. Combined with the mesmeric, nature of the arrangement, this adds to the cinematic sound. Despite the darkness and drama, Mogwai still manage to create a melodic and is certainly memorable. It wouldn’t sound out of place in a blockbuster, instead of a television documentary.
In Mark Cousins’ documentary, Atomic: Living In Dread and Promise, Little Boy takes the listener back to when the filmmaker was growing up. It was at the height of the Cold War, with fingers never far from the big red button. For young Mark Cousins, it was the stuff of nightmares. That’s why the arrangemement is slow, moody and broody, with droning synths sitting atop the rhythm section and keyboards. It’s as if the drones are sirens warning of impending doom. Scorching guitar solos cut through the arrangement, as synths add to an arrangement that veers between dramatic, thoughtful and even hopeful. It’s as if Mogwai are providing the soundtrack to Mark Cousins nightmares and hopes, as he eventually discovers the positive effects of the Atomic age.
Straight away, Are You a Dancer? sounds like the soundtrack to a Cold War spy thriller. Mogwai conjur up images of Berlin, with spooks passing secrets in what was a game of bluff and double bluff. Drums are caressed, as a bass is plucked carefully and a Hammond organ adds to the atmospheric backdrop. Washes of shimmering guitar reverberate, while hypnotic perucsion joins Luke Sutherland’s haunting violin. By then, Mogwai are creating what’s without a beautiful, haunting and lysergic soundscape. It’s reminsicnent of David Lynch’s cinematic epics, albeit made by six guys from Glasgow,
Whirring, buzzing synths cut through the arrangement to Tzar. They’re soon joined by drums that have been panned left and right, and assail the listener. Meanwhile, stabs and swells of jangling, chiming keyboards play. Still, the synths buzz and whir. Gradually, instrumenets are added. Etheral synths are soon joined by blistering, screaming post rock guitar and a bounding bass. The bass is way back in the mix, while the guitars join the sythns in playing a leading role in the post rock anthem. With a minute to go, the arrangement has reached its crescendo, and begins to slow down. Instruments begin to drop out, as the arrangement is stripped bare. Eventually, all that’s left is a memory of Mogwai in their post rock prime.
Fat Man closes Atomic. Just a pulsating heartbeat can be heard, before a melancholy piano plays. Togther they create a wistful soundscape, Mideway throuhg the track, the arrangement grows in drama and power. Swells of synth and a guitar join the piano as the soundscape reaches a crescendo. Then Mogwai slow things down, and the arrangement features just the occasional beep and squeak that join the piano and pulsating heartbeat. Later, space is left as the piano plays. It’s like a pregnant pause, allowing the pulsating heartbeat to take centre-stage. As this happens, the listener can reflect on the themes explored in Mark Cousins’ documentary Atomic: Living In Dread and Promise.
Mogwai’s twleth album Atomic, is best described as a cinematic Magnus Opus. It’s an album of ambitious, bold, challenging, influential and innovative music. This is music full of nuances, subtleties and surprises. During ten tracksm the mood constantly shifts. One minute, the music is wistful and melancholy, the next pensive and thoughtful, and then dark, disturbing, eerie and moody. That’s not surprising given the subject matter of Mark Cousins’ documentary Atomic: Living In Dread and Promise.
It documents a period in time, when people on both sides of the Iron Curtain lived with a fear that the sabre rattling, would result in a nuclear war. This fear was like a dark cloud that blighted people’s lives, including Mark Cousins. The word Atomic caused him nighmares as he grewup in the seventies. However, this wasn’t just a period of darkness for Mark Cousins.
In the late seventies, Mark Cousins discovered physics, which helped him conquer his fear of the Atomic age. Soon, Mark Cousins discovered that there was a positive side to Atomic age. X-rays and MRI scans he was told had changed lives. That’s why sometimes, the music on Atomic is sometimes, beautiful and melancholy. It tugs at the listener’s heartstrings and poses questions. Constantly, the music paints pictures of the Atomic age in the seventies and eighties. This can’t have been an easy project.
Far from it. Setting out to create the soundtrack to Mark Cousins’ documentary Atomic: Living In Dread and Promise wasn’t going to be easy. It was an ambitious and challenging project. That’s why Mark Cousins brought onboard one of the most influential and innovative bands in Britain…Mogwai. They take the listener on a genre-hopping musical journey.
On Atomic’s ten tracks Mogwai combine everything from avant-garde and Berlin School to electronica and experimental via indie-rock, Krautrock and post-rock to psychedelia. This results in a genre-melting, cinematic album, Atomic, which was recently released on vinyl by Rock Action Records.
Atomic is a double album, and there are two vinyl versions available. The most common version is pressed on really high quality black vinyl. It would a welcome addition to any record collection. So is the second version, which is pressed on heavyweight orange vinyl. That’s the version I’m reviewing. Not only does it look fantastic, but sounds fantastic. It’s been beautifully mastered by Frank Arkwright. He’s made sure that the album isn’t over loud. Far too often, mastering engineers stomp the life out of an album. Not Frank Arkwright. He’s responsible for an album that not only has open sound, where the full dynamic range can be heard. All too often, albums have been over compressed, with the mids seemingly sucked out and the bass lacking punch. Thankfully, not here on this heavyweight orange vinyl version of Atomic. However, it’s got one secret still to reveal, and that’s an autographed screen print. This however, is a real rarity. Only 400 were produced, and it’s just the finishing touch to what is a luxurious and lovingly curated album that deserves to finds its way into every record collection.
Atomic is a mesmeric fusion that captivates and compels. The listener is taken on a musical journey, one that veers between dramatic and dreamy, to surreal and trippy, to beautiful, pensive and understated to melancholy and melodic. Other times the music is dramatic, moody and broody. One thing the music never is, is boring. Not at all. Certainly not with Mogwai providing the soundtrack to Atomic.
Subtleties and surprises are contantly sprung. Mogwai certainly aren’t afraid of changing direction. Using the musical equivalent of a handbrake turn, the Mogwai Young Team perform a volte face. That’s what makes Atomic such a captivating and groundbreaking soundtrack from Glasgow’s famous five…Mogwai.
Atomic is the first soundtrack that Mogwai have released since Les Revenants in 2013. It was regarded as Mogwai’s finest soundtrack. Not any more. Somehow, Mogwai have surpassed the quality of Les Revenants on Atomic. Each of the ten tracks have a story to tell. These stories are chapters in Mark Cousins journey as a child of the Cold War. However, unlike many soundtracks, Atomic works as a standalone album.
So much so, that Mogwai have decided to tour Atomic. This is yet another ambitious project from the post rock pioneers. Replicating the sound of Atomic won’t be easy. However, Mogwai like a challenge, and if anyone can replicate an album as complex as Atomic live, it’s Mogwai. They’ll so, later in 2016.
So much so, that Mogwai have decided to tour Atomic. This is yet another ambitious project from the post rock pioneers. Replicating the sound of Atomic won’t be easy. However, Mogwai like a challenge, and if anyone can replicate an album as complex as Atomic live, it’s Mogwai. They’ll do so, later in 2016.
Mogwai leave will leave their Castle Of Doom Studios in May 2016, as they embark upon their latest musical adventure. For the next three months, Mogwai will tour Europe and Japan showcasing their latest groundbreaking album of cinematic post rock, Atomic.
MOGWAI-ATOMIC-MONORAIL VINYL EDITION.
WILLIAM FITZSIMMONS-CHARLEROI: PITTSBURGH VOLUME 2.
WILLIAM FITZSIMMONS-CHARLEROI: PITTSBURGH VOLUME 2.
It was Mark Twain who wrote: “write about what you know.” Many aspiring writers have taken Mark Twain’s advice, and have gone on to enjoy long and successful careers. However, Mark Twain’s quote also applies to songwriters. This includes William Fitzsimmons who has drawn upon personal experience throughout his career. His latest mini album Charleroi: Pittsburgh Volume 2, which was recently released by Gronland Records.
Charleroi: Pittsburgh Volume 2 is the followup to William Fitzsimmons 2015 album Pittsburgh. It was an intensely personal, moving and hopefully, cathartic album that dealt with the death of the grandmother he knew and loved. However, Charleroi: Pittsburgh Volume 2 also deals with the death of William’s grandmother. This time, though, it’s the grandmother he never knew,
The story began when William’s grandmother took her son to the hospital, suffering from whooping cough. Although the baby recovered, his mother never returned. For several months, the orphan remained in the hospital. Fortunately, a doctor in the hospital adopted the baby, and brought the child up. Since then, mystery surrounded what happened to William’s grandmother.
As the years passed by, William’s father had almost given up finding out what happened to his parents. All William’s father knew about his parents, was that his father died when he was an infant. Apart from that, details were sketchy. The rest of William’s father family never tried to trace him. As the years passed by, there seemed less chance that William’s father would ever known the truth. Then in 2015, after neigh on sixty years, the Fitzsimmons’ family made a remarkable discovery.
After almost sixty years of wondering what happened to his parents, William’s father finally traced his mother. Her name was Thelma, and she had lived in Charleroi, Pennsylvania. Tragically, she had passed away a few years previously, and was never reunited with her song, and her grandson William Fitzsimmons. The songs on William Fitzsimmons’ mini Charleroi: Pittsburgh Volume 2 are about Thelma, the grandmother he never knew. Just like previous albums, Charleroi: Pittsburgh Volume 2 is a highly personal album from a William Fitzsimmons, a truly talented singer-songwriter.
William Fitzsimmons was born in Pittsburgh, Pennsylvania in 1978. He was the youngest child in the Fitzsimmons family. Both of William’s parents were blind. Despite this, both parents were talented musicians, capable of playing a variety of disparate instruments. Their talent rubbed off on William.
By the time William was in elementary school, he was already able to play piano and trombone. This meant that William could join in the impromptu musical evenings in the Fitzsimmons family home.
With William’s parents both blind, music played an important part in the family home. Some nights, William’s parents, and the rest of the family, sang, and played the musical instruments that filled the house. For the Fitzsimmons’ family, these were happy times, with everyone sharing in a common interest, music. It would play an important part in William’s life.
When William entered junior school he began to teach himself guitar. Later, William learnt how to play banjo, melodica and ukelele. This would stand William in good stead when he embarked upon his musical career. That was a long way off.
Before that, William headed to college. He had decided to pursue a career in the mental health. Eventually, William hoped to become a therapist. This meant many years of study at Geneva College in Pennsylvania. Eventually, William graduated with a Masters Degree in Counselling.
Already William had experience working with people with mental health problems. This came during the summer months, when William was on holiday. However, during one summer, William’s interest in music was rekindled.
It was towards the end of his training, that William started writing and recording music. William was on a summer break. As usual, William was working. However, this summer he had been asked to write some songs. Rhis was in preparation for William beginning work as a therapist. However, it was partly a cathartic experience.
For some time, William had been suffering from some psychological problems. Through writing and recording a collection of songs, he was able to exercise some ghosts from William’s past. These songs became William’s debut album Until When We Are Ghosts. William self-released Until When We Are Ghosts in 2005.
Until When We Are Ghosts.
William wrote the eleven tracks that became Until When We Are Ghosts. He also played all the instruments and produced the album. Until When We Are Ghosts was then sold via William’s My Space page. It was a very personal album.
For Until When We Are Ghosts,William drew upon personal experience. With titles like When I Come Home, My Life Changed, Forsake All Others, The Problem Of Pain, When You Were Young and Shattered, it’s a soul-baring album. Until When We Are Ghosts is almost a cathartic confessional. This would be the case with much of William’s music.
Goodnight.
A year after releasing Until When We Are Ghosts, William was still juggling his career as a therapist, and as a musician. However, he had found time to write and record his sophomore album, Goodnight. It too, was a very personal album.
Just like Until When We Are Ghosts, Goodnight which was released in 2006, was a personal album. It dealt with his parent’s divorce. This obviously affected William badly. Songs like It’s Not True, Everything Has Changed, Leave Me By Myself, Please Don’t Go, You Broke My Heart, Never Let You Go, I Don’t Love You Anymore and Goodnight show just how his parent’s divorce affected William. It was a huge body blow, where the foundations of his life were shaken to the core. Suddenly, nothing seemed the same again.
The Sparrow And The Crow.
After a gap of two years, William returned with his third album. Ever since he release his first two albums, William’s profile was on the rise. His music began to feature on national television programs. Professionally, William was just as busy. Something had to give,
Ever since the making of Goodnight, William had been struggling. Things had been difficult. His marriage had come to an end, and William was undergoing a painful divorce. As if that wasn’t bad enough, the demons that had long haunted William had returned. What’s more, psychologically, William was struggling. So when the time came to write and record his third album, William had plenty of experience to draw upon.
Just like his two previous albums, The Sparrow And The Crow was a very personal and intense album. It was akin to a confessional.
On The Sparrow And The Crow, William relived relived the pain and trauma of his divorce. That was apparent on I Don’t Feel It Anymore (Song Of The Sparrow), I Feel Alone, Further From You and Just Not Each Other. Then on Please Forgive Me (Song Of The Crow), William apologises to his wife. There’s a sense of hope on They’ll Never Take The Good Years. It finds William remembering that their time together wasn’t all bad. Like so much of The Sparrow And The Crow, the music is powerful, poignant and personal. So much so, that William revisited The Sparrow And The Crow the following year.
Derivatives.
Derivatives, which was William’s first release on Grönland Records, saw various songs from The Sparrow And The Crow reinvented.
For the reinvention of The Sparrow And The Crow guest artists and remixers were brought onboard. Guest artists included Brook Fraser. She featured on the George Raquet Remix of I Don’t Feel It Anymore. Loane featured on I Don’t Feel It Anymore. The Great Neck South High School Choir featured on You Still Hurt Me. Other tracks were remixed. Mikroboy remixed If You Would Come Back Home, while Pink Ganter remixed Good Morning and So This Is Goodbye. All this resulted in the reinvention of The Sparrow And The Crow. This showed a very different side to William Fitzsimmons’ music. Normal service was resumed on Gold In The Shadow.
Gold In The Shadow.
Three years after the release of The Sparrow and The Crow, William Fitzsimmons returned with his fourth studio album, Gold In The Shadow. It was another personal album, one where William reflected on what was one of the most difficult periods of his life.
Following his divorce, William was at his lowest. Psychologically, he wasn’t in a good place. He had been struggling to come to terms with his divorce, and the psychological problems that had long troubled him. It seemed that he had to reach his lowest, before rebuilding his life. That’s what he did.
Over the next couple of years, William confronted his inner demons. He came to terms with his divorce, and the other mistakes he had made. Most importantly, William sought help for the mental health problems that for a large part of his life, have afflicted him. With the problems of his past addressed, William set about healing his life. Part of this comes through music.
On Gold In The Shadow, William he describes the songs as: “a real and long coming confrontation with personal demons, past mistakes, and the spectre of mental illness that has hovered over me for the great majority of my life.” However, William concedes that the healing has begun.
No longer is William willing to submit to the illnesses and problems that have blighted his life. He had to change. There was no way he couldn’t continue as he had been doing. So William bravely confronted his problems and illnesses head-on. That was apparent on Gold In The Shadow.
There’s a sense of optimism and hope on some of the songs on Gold In The Shadow. Fade and Then Return is proof of this. However, Gold In The Shadow also sees William combine therapy and music. This is the first William has broached first external perspective taking musically. On Gold In The Shadow, William examines not just his own life and psychological struggle, but those around him. He does this on songs like Psychasthenia, Wounded Head, The Tide Pulls From The Moon Most and Blood And Bones. This results in a compelling, cerebral and personal album from singer, songwriter and therapist William Fitzsimmons, who was slowly, rebuilding his life.
Lions.
This continued on Lions, which was released in 2014. The long-awaited follow-up to Gold In The Shadow, was produced by Death Cab For Cutie guitarist Chris Walla. He played his part in what critics referred to as a “career defining album.”
Lions saw William pickup where he left off on Gold In The Shadow. He continued to document how he had rebuilt his life on Lions. It was an album to be proud of.
Prior to the release of Lions, William described his journey as “wonderful, painful, long, incredibly brief, and more educational and rewarding than any I’ve ever lived before. Lions is something I’m terribly proud of and utterly connected to.” And so he should be.
Critics hailed Lions, the finest album of William’s career. Songs like Well Enough, Josie’s Song, Hold On, From You and Speak were proof of this. Lions was a career defining album. It was the album many critics knew he was capable of producing. Everyone wondered what the future held for William Fitzsimmons?
Pittsburgh.
Just a year after Lions, William Fitzsimmons returns with another incredibly personal and poignant album, Pittsburgh.
Pittsburgh featured seven songs, which were written, and produced by William. They play their part in what William describes as: a memorial for my grandmother.” She died in late 2014, “having lived her whole life in Pittsburgh.” William was obviously close to his grandmother. He wanted to tell the wold how: “amazing a woman my grandmother was.” His way of doing this, is through the medium of music. The rest of Pittsburgh, is “an honorarium to my hometown” the city William and his grandmother shared for decades. It provided the inspiration for one of William Fitzsimmons’ most moving albums, Pittsburgh.
On its release, critics hailed Pittsburgh a fitting followup to Lions. Words like personal and poignant were used to describe an album that was incredibly moving, and hopefully cathartic for William. It was as if writing and recording Pittsburgh was part of the grieving process for William. However, Pittsburgh was also the finest album of William’s career. Maybe William was determined that Pittsburgh would a fitting homage to the grandmother he knew and loved. Just under year later, William would release a mini-album about the grandmother her never knew, Charleroi: Pittsburgh Volume 2.
Charleroi: Pittsburgh Volume 2.
Having gotten to the bottom of the mystery that had puzzled the Fitzsimmons’ family for sixty years, William set about making sense of this new information. Just like before, William expressed his feeling via songs.
So for Charleroi: Pittsburgh Volume 2, William penned six new songs. With titles like People Change Their Minds, Hear Your Heart, A Part, Charleroi, Fare Thee Well and Nothing Can Be Changed, William tried to make sense of the situation. His father had been wondering what happened to his family for nearly sixty years? So must William. Then after all the years of uncertainty, to discover that the grandmother he never knew must have been a devastating blow. Both William and his father must have felt cheated, at not knowing Thelma. So William poured his thoughts and feelings into the six songs that became Charleroi: Pittsburgh Volume 2.
Recently, Charleroi: Pittsburgh Volume 2 was released by Groenland Records as a mini album. These six tracks on this mini album are about Thelma, the grandmother he never knew. The result is another moving and poignant album, Charleroi: Pittsburgh Volume 2.
Opening Charleroi: Pittsburgh Volume 2 is People Change Their Minds. There’s almost a degree of urgency as William picks his guitar. It’s as if he’s desperate to tell Thelma’s story. Sadly, he only knows part of the story. Tenderly, he sings: “she was seventeen…as she left you.” Then a piano replaces the vocal and combines with an acoustic guitar and strings. Together, they create a melancholy backdrop, and frame William’s tender vocal as he sings: “you were just a boy as she moves on, I’m told that you were better off.” He wonders; “where did she go?” As haunting strings play; William reassures: “people change, Thelma she was happy once.” Much later, William sings to his father: “I know it’s been a real hard year, but I’m hoping you can let it go, cause you’ve still got so much love to give, to those that still need you.” By then the arrangement is slow, minimalist and quite beautiful. William’s vocal is heartfelt and emotive on this, poignant and moving song.
Just William’s pocked guitar opens Hide Your Heart, before it’s double-traced and panned right and left. In the middle, sits William’s vocal. He takes the listener back sixty years, to the day his father was born. Soon, William dawns the role of his father, and sings: “I never saw you face, before Jesus took my eyes.” Soon, he’s saying: “I don’t what I’d have said if I’d found you alive? I can hear your heart from hear.” Meanwhile, chiming guitar dominate the arrangement, as William sings: “I know it broke your heart, when they took away your son.” Tender, harmonies sweep in, adding to to the melodic nature of this heart-wrenching track about a mother who lost her son.
With a degree of frustration, William plays choppy guitar licks on A Part. Again, he dawns the role of his father: “I was I was born another, heard she was a teenager mother, told it was a painful birth.” By then, the vocal drops out and vibes and cooing harmonies combine. When the vocal returns, somewhere in the depths of Pittsburgh, there’s a kid who looks like me, sleeping softly with his mother, wonder if she thinks of me, I was apart from her.” As he delivers the lyrics frustration, sadness, loneliness and even anger shine through, at not knowing his mother. Meanwhile, the soothing, reassuring harmonies, the choppy guitar licks and wistful strings provide the perfect accompaniment to William’s hurt-filled vocal on this soul-baring song.
As William plays his guitar on Charleroi, he ruefully remembers: “summer was all that we had.” There’s a sense of melancholia to his vocal. Especially as he sings “you are on my shoulders.” The when he adds: “I will never know.” This realisation comes as he’s sorting through his father’s papers. Just tender, reassuring harmonies accompany his vocal. They take care not to overpower William’s vocal as he reflects. There’s a sadness in his voice at the thought of all the questions he’ll never receive an answer to. Although tinged with sadness, and dealing with loss and unanswered questions about his roots, Charleroi is also a beautiful, ruminative track.
Again, it’s just William’s guitar that opens Fare Thee Well. His chord changes are swift, and the listener cam hear each chord change. That’s no surprise, as William immerses himself in the song. He sings the song from the perspective of his grandmother. As the lyrics: “I left you on your own child” are delivered sadness and regret fills William’s voice. By then, a banjo and harmonies accompany him. and briefly replace his vocal. When it returns there’s still a sense of sadness as he sings “Fare Thee Well, Fare Thee Well.” It’s then that the arrangement grows and builds, adding me an element of drama. When the lyric: “you left me first” is sung. is this William’s father replying to his mother he never knew? If it is, she replies “Fare Thee Well, Fare Thee Well” as swells of strings, piano, banjo and harmonies combine on what’s one of the most moving songs on Charleroi: Pittsburgh Volume 2.
Nothing Can Be Changed closes William Fitzsimmons’ mini-album Charleroi: Pittsburgh Volume 2. There’s a melancholy hue to the guitar that sets the scene for William’s thoughtful vocal. As he briefly scats, rolls of drums accompany the guitar. Soon, he sings from the perspective of his father: “forgive my doubt, I was only only told I was better off.” Things might have been different if he had known his mother’s background. Later he learns, “in that motel room she passed alone… Nothing Can Be Changed.” When the vocal drops out, a xylophone is added to the understated arrangement. Equally understated, but full of sadness, regret and even frustration is William’s vocal. Although deep down he knows “Nothing Can Be Changed” he wishes that it could be, and then things would’ve been different for three generations of his family.
For Charleroi: Pittsburgh Volume 2, William Fitzsimmons heeded Mark Twain’s advice, to “write about what you know.” It just so happened that the Fitzsimmons’ family had solved a sixty year old mystery. This was what happened to William’s grandmother? She had left William’s father in the hospital, as he recovered from a bout of whooping cough. After a few months, it became obvious that she wasn’t returning, and the infant was adopted, Since then, William’s father wondered what happened to his mother?
It was only in 2015, that the truth emerged. William’s grandmother was just seventeen when her son was born. She left him in the hospital safe in the knowledge that he would be well looked after. While that turned out to be the case, not knowing his mother haunted William’s father. Eventually, after sixty years, parts of the story became clear, and this provided the inspiration for William Fitzsimmons’ new mini-album Charleroi: Pittsburgh Volume 2, which was recently released by Gronland Records. It’s fitting followup to Pittsburgh.
Just like Pittsburgh, Charleroi: Pittsburgh Volume 2 is a truly poignant and moving album. Charleroi: Pittsburgh Volume 2 is also an intensely personal album. Not every artist would be willing to share such intimate details of their life. However, it’s a story many people will be able to relate to. William, who was a therapist before embarking upon a musical career, will hope that Charleroi: Pittsburgh Volume 2 will help other people in similar circumstances. I’m sure that will be the case. However, Charleroi: Pittsburgh Volume 2 is also is a reminder that William Fitzsimmons is a talented singer, songwriter and musician.
He’s responsible for the six carefully crafted songs on Charleroi: Pittsburgh Volume 2. William wrote and produced each song. They’ve mostly got subtle, sparse and understated arrangements. These arrangements frame William’s vocal, which quite rightly, takes centre-stage. William’s vocals are heartfelt, and full of emotion, sadness, regret and melancholy. So are his lyrics. They range from between beautiful, melancholy and poignant, to thoughtful and moving. It’s impossible not to be moved by the lyrics on Charleroi: Pittsburgh Volume 2, which have a cinematic quality.
As one listens to Charleroi: Pittsburgh Volume 2, it’s almost possible to imagine the story unfolding before your eyes. The seventeen year old giving up her baby, and spending the rest of her life wondering what became of it? Similarly, one can image William’s father constantly wondering what happened to his mother? Has he passed her on the street, sat beside her on the bus or spoken to her in a shop. Sadly, Williams father: “never saw your face, before Jesus took my eyes.” This is another twist in what was a tragic story that took sixty years to solve.
Eventually, it emerges that the grandmother William never knew died alone in a motel room just a few years before. Neither William, nor his father got the chance to meet Thelma. However, William decided to tell Thelma’s story on Charleroi: Pittsburgh Volume 2. It’s a personal, poignant and moving album from William Fitzsimmons, where he tells the story of the grandmother he never knew on Charleroi: Pittsburgh Volume 2.
WILLIAM FITZSIMMONS-CHARLEROI: PITTSBURGH VOLUME 2.
MACARTHUR-MACARTHUR.
MACARTHUR-MACARTHUR.
Having completed a tour of duty with the United States Marine Corp, Ben MacArthur returned home to Sagina, Michigan in 1977. When Ben returned home, jobs were few and far between, and it looked as if a recession was about to hit the rustbelt. It was hardly the welcome home he had envisaged. The future looked bleak. Then he met Bill Heffelfinger a seventeen year old musical prodigy.
Since Ben had been away, Bill Heffelfinger had started dating his younger sister. When the two men met, Ben discovered that Bill was not just a talented musician, but a gifted arranger. One day, it became apparent that Bill wasn’t just a virtuoso guitarist, but was equally comfortable on keyboards.
Ben only realised this when he heard Bill playing the piano in his parent’s house. He was stopped in his tracks as Bill played Neil Young’s The Last Trip To Tulsa. What made this remarkable, was Bill didn’t even know the song. However, Bill could read music so was able to play The Last Trip To Tulsa. What’s more, Bill made it look so easy. Maybe Bill was just the person Ben MacArthur was looking for?
For some time, Ben had been writing poetry. This began when Ben was a member of the U.S. Marine Corp. In his spare time, he retired to his bunk and wrote poetry. Ben was unburdening himself emotionally via poetry. This was maybe a cathartic process, and helped Ben survive his tour of duty. However, when he returned home safely, Ben didn’t stop writing.
After watching Bill play The Last Trip To Tulsa, Ben began talking to his sister’s boyfriend. Soon, they were talking music. Ben told Bill about Neil Young, and then began to tell him about the poetry he had written. Not long after this, Ben went to watch Bill playing with the band Labyrinth.
They were playing at a local fair. When Labyrinth took to the stage, Ben noticed that Bill was playing guitar. Soon, it became apparent that he was an even better guitarist than keyboardist. With Bill giving a virtuoso performance on guitar, he had the band eating out of his hand. Especially, when Labyrinth covered Rush’s 2112. By then, Ben had made his mind up, that he would be in a band with Bill. That was in the future.
Soon, the two men began to write songs together.They were an unlikely partnership. Ben was the senior partner, who had already written a few songs. He was fresh out of the U.S. Marine Corp, and had seen a bit of the world. Bill was just seventeen, but already was regarded as a musical whizz kid. Both men however, had time on their hands.
With jobs scarce, the pair needed something to fill their days. So they grabbed a couple of guitars and began to write songs. For Ben, writing songs wasn’t much different to writing poetry. Both men unburdened themselves through music, and quickly they realised that the songs they were writing had potential. So Bill took them away to arrange them.
Despite being just seventeen, Bill was able to arrange the songs so that they took on a classic sound. By then, Ben MacArthur knew that Bill Heffelfinger was no ordinary seventeen year old. The word prodigy had been invented for him. With Bill’s arrangements in place, the two friends began to think about putting together a band. This band would become MacArthur, who released their eponymous debut album in 1979. MacArthur has recently been by reissued Out-Sider Music, an imprint of Guerssen Records. This is the first official reissue of MacArthur, an ambitious concept album.
What they needed was a rhythm section. Ben MacArthur found his bassist in the unlikeliest of places…on a building site. By then, Ben was working as a roofer, when he met guitarist Scott Stockford. As the two men became friends, they began to write songs together. Eventually, Ben asked Scott if he would interested in joining the nascent band. However, there was a rub, Ben wanted John to play bass. Straight away, he agreed.
That day, Scott Stockford went out and bought a brand new bass. When he arrived at the first band rehearsal, Scott brought along drummer Jeff Bauer. It seemed all Ben’s problems were solved in one fell swoop.
And so it proved. Not only did Jeff Bauer prove to be a talented drummer, but Scott Stockford soon mastered the bass. He was a natural and formed a potent partnership with drummer Jeff Bauer in the rhythm section. The final pieces in the jigsaw that was MacArthur had fallen into place.
By 1978, MacArthur began playing together regularly. They were soon honing their songs and sound. It didn’t take long for them to realise that the songs that MacArthur were playing had potential. So MacArthur decided to record an album in 1979.
Despite deciding to record an album in 1979, MacArthur didn’t play live often. There weren’t many venues who were putting on live bands. The late-seventies was the disco era, and many live venues had been converted into discos. When MacArthur played live, they combined their owns songs with covers of songs by Led Zeppelin, Yes, Pink Floyd and Neil Young. However, concerts were few and far between. Maybe after recording and releasing their debut album, doors would open for MacArthur?
In 1979, the four members of MacArthur began working on their eponymous debut album. Ben MacArthur wrote all the lyrics, while members of MacArthur wrote the music. Everyone had played their part in the album. The music to Laughing Like A Lark, Generations-First Contact and Of Only Then waspenned by the four members of MacArthur. Light Up and Push Up were credited to MacArthur and Bill Heffelfinger. He also penned the music to The Black Forest, Prelude No.1 In C Major and The Shock Of The New. These eight tracks were recorded by MacArthur using what was the latest piece of musical equipment for hobbyist musicians, the four-track recorder.
Using a four-track recorder to record MacArthur wasn’t going to be easy. Ideally, MacArthur could’ve used many more tracks than four. Luckily,Bill Heffelfinger proved to be a talented engineer, and managed to record what was an ambitious album. Partly that was because of how many instruments MacArthur used to record their eponymous debut album.
With their four-track recorder, MacArthur headed to the studio. This was familiar territory for them. With very few live venues where they could play, MacArthur spent most of their time in the studio. This time, though, MacArthur were about to record their eponymous debut album. So when the band began to setup, their must have been a degree of trepidation. The rhythm section of drummer and percussionist Jeff Bauer and bassist Scott Stockford would provide the album’s heartbeat. Lead vocalist Ben MacArthur played acoustic and electric guitar. Bill Heffelfinger played organ, piano, synths and acoustic, classical and electric guitar. He also produced MacArthur, bringing the album together over many a long night. Eventually, MacArthur was completed and now all that was left was to release MacArthur.
That was easier said than done. There was no record company riding to the rescue of MacArthur and offering to released their eponymous debut album. Instead, MacArthur had to find a record company that would press a small amount of albums. However, most labels required an order of 500 or 1,000 album. That was way beyond MacArthur’s budget. It also meant they could be left with piles of unsold albums. Eventually, Bill Heffelfinger’s father found a solution.
Eugene Heffelfinger was a teacher at the local high school, and had a contact at RPC Records, in Camden, New Jersey. Regularly, Euegen Heffelfinger put business RPC Records’ way. So they agreed to press 200 albums for $2,000. There was a problem though..money.
Eventually, Scott Stockford took out a loan for $2,000 and 200 copies of MacArthur were pressed. This left MacArthur to sell the copies.
Once the copies of the album arrived, the members of MacArthur spent time sticking labels on the front of plain white album covers, and then glueing credits on the back. With the money spent on pressing the 200 albums, and it was a case of needs must. After that, MacArthur concentrated on selling the albums.
The members of MacArthur spent their time travelling between Saginaw, Midland and Bay City. They sold copes of MacArthur to record shops, record dealers and at record fairs. MacArthur even managed to secure an appearance on the WKYO radio station, where they promoted the album. All their efforts paid off, and the majority of the MacArthur albums were sold by 1980.
By then, MacArthur had been well received locally. Reviews and radio stations forecast a great future for MacArthur. However, with most of the albums sold, and the members of the MacArthur were drifting apart. The band spent less time playing together, and more time completing college degrees. Gradually, MacArthur drifted apart, and eventually the band went their separate ways.
Since then, MacArthur has never been officially reissued. That’s until recently, when MacArthur was reissued Out-Sider Music, an imprint of Guerssen Records. The reissue of MacArthur is a welcome one, and means that this progressive, psychedelic concept album can be heard by a much wider audience. For too long, MacArthur has been one of the holy grails of record collecting. Record collectors speak almost reverentially in hushed tones about MacArthur. Original copies were almost impossible to find, and if one became available, the price was prohibitive to most record collectors. So the reissue of MacArthur, a cerebral concept album will be welcomed by MacArthur everywhere.
MacArthur is a concept album that looks at the human condition. Everything from new beginnings to difficulties and discoveries are considered by MacArthur, on what proved to be their one and only album…MacArthur.
Light Up, a three minute instrumental opens MacArthur. Crystalline, chiming guitars play while galloping drums join with a piano. Soon, a scorching guitar solo cuts through the arrangement. It’s panned right to left, as gradually, the arrangement builds. Already, it’s hard to believe the album was recorded using just four tracks Engineer and producer Bill Heffelfinger worked miracles. Instruments are spread across the stereo spectrum. The guitar that’s been panned hard right steals the show. This blistering solo is played with speed and accuracy, as the rest of MacArthur jam on what’s a hopeful sounding track. It allows MacArthur to showcase their considerable skills.
Just a quiet, wistful acoustic guitar opens Laughing Like A Lark. Soon, Ben’s impassioned vocal enters. Briefly, he sounds like Led Zeppelin’s Robert Plant. Then, the volume increases and his vocal grows in power as instruments enter. The rhythm section, synths and a droning organ combine. They accompany Ben whose vocal is a mixture of emotion, frustration and drama. When his vocal drops out, MacArthur jam, before the guitar takes centre-stage. As it drops out, rolls of drums are panned right to left, as an acoustic guitar is strummed. Each member of MacArthur gets the chance to shine. Especially Bill as another stunning, bristling guitar solo unfolds. Later, the tempo changes, and the urgency is gone. Replacing it isa much more laid back progressive sound. Gradually, the arrangement stirs as Ben’s vocal returns and he breathes meaning into the lyrics while washes of organ accompany him. Just like the previous track, MacArthur’s playing is almost flawless as they combine elements of classic and progressive rock with fusion.
As Generations-First Contact unfolds, just a guitar laden with effects plays. It’s joined by a wash of synths before Ben’s vocal enters. His vocal is full of emotion, as he sings of an over populated world and a solution to this. Meanwhile, the arrangement is slow, deliberate and moody. A strummed guitar, drums and searing electric guitar enter, and another solo unfolds. Again, it’s flawless as Bill delivers a virtuoso performance. Then at 4.39 the tempo changes, and the arrangement slows, and meanders alone before Ben’s vocal returns. He continues to consider the problem of an over populated world. Then when his vocal drops out, MacArthur enjoy the opportunity to jam, and reserve one of their best performances for a genre-melting track they cowrote.
Just a picked classical acoustic guitar opens Push On. It’s multi-tracked, and panned left and right. Soon, electric guitars replace their acoustic cousins, as the rhythm section enter. as MacArthur soon are combining classic and progressive rock with folk rock. By then, Ben’s singing about fear can haunt people if they fail to deal with it.So much so, that sometimes, they have to briefly escape from it. “In the woods out in the country, there’s a secret place you go, to walk out from reality, but never let it show.” Behind him, guitars, the rhythm section and an organ combine to create a mid-tempo arrangement. When the vocal drops out, the rest of MacArthur stretch their legs. A blistering guitar solo is at the heart of the arrangement. Meanwhile mesmeric guitars are panned right and left, and join with the rhythm section in creating what’s one of the best tracks on MacArthur. Especially given the quality of Ben MacArthur’s thought provoking lyrics.
A distant keyboard opens Of Only Then, and grows nearer.As it does, it’s joined by the rhythm section and guitar. They take care not to overpower Ben’s emotive vocal. Adding to the emotion is the keyboard, as an anthem begins to unfold. Meanwhile, Ben sings of loneliness, love, hopes, dreams and sadness. The most poignant lines are; “I won’t forget your loving stare…and now the time has come to go my weary way.” As the song unfolds, and heads into anthem territory, it’s reminiscent of REO Speedwagon, Styx and even early Chicago. Then at 3.22 the vocal drops out, and MacArthur the song becomes an instrumental. Again, this allows MacArthur to showcase their considerable musical skills. They seem to relish the opportunity to jam. Just like previous tracks, the guitar is at the heart of the song. So is the piano, which adds a beautiful, melancholy hue.
The Black Forest is a six part instrumental suite, lasting six minutes. From an understated introduction, MacArthur take the listener on a musical adventure. Just acoustic guitars play, before an effects laden guitar signals all change. The arrangement becomes rocky, as it explodes into life. Just the guitar and rhythm section kick loose, before the arrangement chugs along. Then when a bristling guitar is unleashed, and unites with the drums there’s an element of drama and urgency. It’s the scorching guitar that’s stealing the show. Briefly, it’s panned, before the drums take centre-stage as the track moves from progressive to futuristic. Later, as if spent, the arrangement takes on an understated sound with just subtle guitars meandering alone, and leaving just a pleasing and pleasant memory of a musical adventure.
Prelude No.1 In C Major is very different to previous tracks. Just a lone acoustic guitar is played in a classical style. It’s played slowly and gently, with space left in the arrangement. Then at 1.39 the track dissipates, and there’s near silence. That’s until a rumbling piano is played with power and passion. It continues the classical theme, as it’s played deliberately and dramatically. Towards the end, the arrangement slows, before reaching a crescendo. By then, this reinforces that MacArthur, a truly versatile band, were no ordinary group.
The Shock Of The New, a piano lead track closes MacArthur. Deliberate, mesmeric stabs and flourishes of piano are replaced by a buzzing synth. Music’s past is replaced by music’s future, as synths dominate the arrangement. A buzzing bass synth and whirling vortexes of synths are joined by an organ. It’s a reminder of music’s past. So are dark chords played on the piano. They’re allowed to take centre-stage, as MacArthur draws to a close. A flamboyant flourish brings to an end what surely the four members of MacArthur thought was only the start of the story.
Sadly, MacArthur was the only album that the band released. By 1980, the band had run its course. The members of the band were concentrating on careers and college degree. MacArthur just drifted apart.
Of the 200 albums that they had pressed, at most 180 had been sold. MacArthur was one of music’s best kept secrets. With its mixture of classic rock. folk rock,fusion, jazz, psychedelia and progressive rock, MacArthur was a truly timeless album. Sadly, it didn’t find the audience it deserved upon its release.Since then, MacArthur has never been officially released.
That’s until recently, when MacArthur was reissued Out-Sider Music, an imprint of Guerssen Records. The reissue of MacArthur is a welcome one, and means that this progressive, psychedelic concept album can be heard by a much wider audience. For far too long, MacArthur has been one of the holy grails of record collecting. Record collectors speak almost reverentially in hushed tones about MacArthur. Original copies were almost impossible to find, and if one became available, the price was prohibitive to most record collectors. So the reissue of MacArthur, a cerebral, timeless concept album will be welcomed.
MacArthur were a band who could’ve and should’ve reached greater heights. They oozed talent. In Ben MacArthur, they had a talented lyricists, vocalist and guitarist. Bill Heffelfinger was a virtuoso guitarist, who was also a gifted keyboardist and producer. Along with a rhythm section of bassist Scott Stockford and drummer Jeff Bauer, MacArthur were a band who were technically flawless. Part of the problem was, MacArthur had to release their eponymous debut album themselves.
They had to find $2,000 to press 200 albums, and then sell them. It must have been a soul-destroying experience, hauling albums from shop to shop, and city to city. Even then, MacArthur didn’t sell the 200 album. Ten albums were impounded by the police, when a record shop that was selling them was raided. Still, MacArthur persisted, and continued the round of record shop, record dealers, record fairs and radio stations. Eventually, the majority of the copies of MacArthur were sold. By then, MacArthur must have wondered how different things might have been if they had been signed to a record label?
If MacArthur had been signed to a record label, one can only wonder what producer Bill Heffelfinger would’ve been able to do with a forty-eight track recording studio at his disposal? He had worked wonder with the four-track recorder on MacArthur, and created an album that thirty-seven years later is a truly timeless, genre-melting cult classic.
MACARTHUR-MACARTHUR.
THE LADIES OF TOO SLOW TO DISCO.
THE LADIES OF TOO SLOW TO DISCO.
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’s a nineteen track compilation that features 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. 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.
MICHAEL CHAMPMAN-SAVAGE AMUSEMENT-VINYL EDITION-RECORD STORE DAY 2016.
MICHAEL CHAMPMAN-SAVAGE AMUSEMENT-VINYL EDITION-RECORD STORE DAY 2016.
Nowadays, artists can spent years recording an album. They announce that they’re about to start work on their next album. That’s the last anyone hears of the artist for years. They’re locked away in their home studio, with only a DAW and a handful of plug-ins for company. What follows is a never-ending quest for perfection. Songs are recorded and rerecorded. Every minor imperfection is removed. Autotune in used on the vocal, drums are programmed and every minor imperfection is removed. Years later, when the artist has completed their “masterpiece,” they’re in for a shock.
Often, music has moved on since they began recording their album. Their music is no longer is fashionable. If their music is still perceived as fashionable by critics, cultural commentators and tastemakers, then often the album is deemed soulless and over polished. Any soul the music ever had, has long been removed. As a result, the album sinks without trace. Not long after this, the artist is quietly dropped by their record company. When the artist is left to work out what went wrong, the root cause is the way music is recorded.
Forty years ago, the only way to record an album, was in a recording studio. This cost money. So, artists were prepared. Songs were written and arranged. Artists and backing bands had practised the songs. They were organised, so when the tapes started rolling, they were ready to role. Often, classic albums were recorded in a matter of a few weeks, or a couple of months at most. Artists and their managers remembered the maxim “time is money.” That was the case in 1976, when Michael Chapman was about to release the eighth album of his career, Savage Amusement, which was recently reissued by Secret Records.
That was quite a feat. Michael Chapman’s career began in 1969, when he released Rainmaker on the Harvest label. Since then, Michael had averaged an album a year.
In 1970, Michael released the most successful album of his career, Fully Qualified Survivor. It reached number forty-five in Britain. The following year, 1971, Michael Michael released two albums.
After the success of Fully Qualified Survivor, Michael was keen to build on the album’s success. So, he went into the studio, and recorded his third album, Window. It was the most controversial album of Michael’s career. After its release, Michael disowned Window, claiming it was an album of demos. However, the second album Michael released in 1971, Wrecked Again, was one of Michael’s finest albums. This proved to be a fitting way for Michael Chapman to leave Harvest.
Next stop for Michael Chapman was Decca Records. After a gap of two years, Michael returned with the fifth album of his career, Millstone Grit. Released in 1973, this was Michael’s Decca debut. It was a return to form from Michael, who was maturing as a singer and songwriter. Maybe, Michael had found his home at Decca Records?
Despite a busy touring schedule, Michael returned to the studio to record Deal Gone Down. It was released in 1974, and is one of the most underrated albums of Michael Chapman’s back-catalogue. Deal Gone Down is a showcase for Michael Chapman’s talent as a singer-songwriter, and his versatility. The thirty-three year old seemed to be maturing with every album.
That was the case with Pleasures Of The Street. Released in 1975, Pleasures of the Street was Michael’s seventh album since 1969. Sadly, despite the quality of music on Pleasures of the Street, Michael was no nearer making a return to the chart. However, Michael Chapman was still a successful artist.
While Michael was averaging an album a year, it was touring where Michael was making his money. This meant Michael had a tempestuous relationship with the recording studio. He realised the longer he spent recording an album, the more money he lost through not touring. Unlike many artists, Michael realised this early in his career. It was no epiphany. Instead, it was a realisation that “time was money.” So Michael worked quickly in the studio. He was always keen to get back on the road. So were his band. The road was their natural habitat. So, when Michael arrived at the studio he was always ready to role.
This was the case when Michael began recording Savage Amusement. Michael had penned seven songs, Shuffleboat River Farewell, Secret Of The Locks, Crocky Hill Disaster, Lovin’ Dove, Stranger, It Didn’t Work Out and Devastation Hotel, Michael had chosen to cover Jimmie Rodgers’ Hobo’s Lament and Jimmy Reed’s How Can A Poor Man? These nine tracks were recorded at various studios, where Don Nix, formerly a member of the Stax Records’ house band, was tasked with reinventing Michael Chapman.
The sessions didn’t get off to the best start. Don Nix, who was on medication, went to a party. Having enjoyed the party just a bit too much, Don fell of a roof. This didn’t please Michael. While Michael’s manager Max, tried to sort out this little local difficulty, there was already an atmosphere. Then Michael took a dislike to the Dolby noise reduction filters. Eventually, though, Michael and Don Nix, got to work on Savage Amusement.
Recording of Savage Amusement took place at Sawmills Studios, Cornwall, Tapestry Studios, London and Ardent Studios, Memphis. Michael was a accompanied by members of his regular band, and a few guest artists. The rhythm section included drummer Keef Hartley, bassist Rick Kemp and guitarists Andrew Latimer and Tim Renwick. They were joined by keyboardist Peter Wood and Leo LeBlanc on pedal steel. Backing vocals came courtesy of Fuzzy, Mutt and Stevie. Michael Chapman played guitar and added vocals. Once Savage Amusement was completed, Michael and his band returned to the road. His eighth album, Savage Amusement was released in 1976.
When critics heard Savage Amusement, they realised it was very different from Michael’s previous albums There was a reason for this. Many of Michael’s favourite guitarists came from Memphis. So, Michael wanted to make music where he could connect musically with them. This was Savage Amusement. However, that was all very well. What of Michael’s loyal fans? They were expecting something quite different? Maybe they, like the critics, would bewon over by the Michael Chapman heard on Savage Amusement?
Opening Savage Amusement is Shuffleboat At River Farewell. Straight away, it’s obvious that Michael’s music is heading in a different direction. Slowly, the warmth of searing electric guitars and an elegiac piano combine. Then a roll of drums signals Michael and his band to combine blues and rock. Blistering guitars soar above the arrangement as the rhythm section provide the heartbeat, driving the arrangement urgently along. Flourishes and stabs of piano accompany Michael’s worldweary vocal. So, do gospel tinged harmonies. By then, everything is seamlessly falling into place as we hear a new side to Michael Chapman. There’s even a nod to Steve Harley and Cockney Rebel’s 1975 hit Come Up and See Me (Make Me Smile). Sadly, Michael never enjoyed the same success after his reinvention by producer Don Nix. He’s responsible to a new and captivating side of Michael Chapman that means you hungrily await the rest of Savage Amusement.
Urgently, a slide guitar opens Secret of the Locks. Soon, guitars joins a moody bass and Michael’s vocal. It’s a mixture of anger, bitterness, frustration and sadness. Slowly, and deliberately he delivers the lyrics. Later, a blistering guitar and drums enter, helping frame Michael’s vocal. It’s now tinged with anger and cynicism. Especially when he delivers the lyrics: “you’ve made one mistake my love, that could have kept you free, you forgot to take your money, you’ll soon be back with me.” This clearly is one relationship that’s gone badly wrong.
The tempo drops on Crocky Hill Disaster. It has a slow, spacious arrangement. A loping bass, hypnotic drums and chiming guitars set the scene for Michael’s vocal. He sounds not unlike Bob Dylan on Blood On The Tracks. His vocal is tinged with hope as he sings “but only the birds were singing, never heard them sing so sweet, I wanted them to sing for evermore” Then hope becomes joy as Michael sings: “and the sweetest, sweetest sight In ever saw, was my lady standing there.” These lyrics are among the finest on Savage Amusement, and are delivered with hope and joy by Micheal.
Again, there’s a nod to Bob Dylan and Steve Harley and Cockney Rebel on Lovin’ Dove. This is another of the songs Michael penned. The rhythm section urgently drive the arrangement along. A piano adds drama and blistering guitar licks are unleashed. Then when Michael’s vocal enters, he sounds not unlike Bob Dylan. He’s accompanied by soaring gospel harmonies. They’re the perfect addition to this joyous, hook laden fusion of rock, gospel and soul.
Hobo’s Meditation was penned by country legend Jimmie Rodgers. Accompanied by washes of pedal steel, Michael delivers drawling, half-spoken vocal, as he tells of living the life of a hobo. This means riding trains and roaming. After a minute, Michael delivers a thoughtful country-tinged vocal. Accompanied by an understated rhythm section and pedal steel, Michael’s vocal is thoughtful and pensive, as he wonders what the future holds for the hobo?
Crystalline guitars chime as Stranger unfolds. A droning wash adds an element of drama. So do synths. They help build the drama. Before long, the stage is set for Michael. His vocal is equally urgent and emotive as he dawns the role of storyteller. He tells the story of this mysterious “Stranger” they hear “walking round the house and yard.” Hopefully, Michael sings “I thought that he might go…but he never made a move down the road.” Worst of all, he stole Michael’s partner and “sometimes I hear them talking in the yard.”
How Can a Poor Man is another cover version. It was penned by Jimmy Reed. While its still retains its bluesy hue, Michael reworks the track. Searing, blistering licks are unleashes while a hypnotic rhythm accompanies Michael’s lived-in vocal. Subtle, cooing, sweeping harmonies are added. They’re the finishing touch to Michael’s reworking of an old blues.
Ethereal harmonics, chiming guitars and a pounding bass open It Didn’t Work Out. Soon, drums and machine gun guitars are joined by keyboards. They provide the backdrop for Michael’s vocal. Again it’s reminiscent of Bob Dylan. Similarly, the arrangement is similar to those on Blood On The Tracks. Especially the way the soaring, cooing harmonies are deployed. Producer Don Nix seems to have the uncanny ability to drop instruments in where they belong. This result is one of the highlights of Savage Amusement, one where blues, folk, gospel and rock combine seamlessly.
Closing Savage Amusement is Devastation Hotel. A guitar weaves its way across the arrangement, before washes of Hammond organ usher in Michael’s despairing vocal. Meanwhile, the rhythm section concentrate on providing the heartbeat. Gospel tinged harmonies are added. They’re yin to Michael’s yang on this tale of despair that closes Savage Amusement, a true hidden gem in Michael Chapman’s back-catalogue.
Seven years after Michael Chapman released his debut album Rainmaker in 1969, he decided to reinvent himself. So, he enlisted the help of producer Don Nix, who formerly, had been a member of Stax Records’ house band. Don Nix was tasked with giving Michael’s music a Memphis makeover.
So, recording of Savage Amusement took place in Cornwall, London and Memphis. Michael and his band recorded what was one of the best albums of Michael Chapman’s career. Savage Amusement was a fusion of blues, country, folk, folk rock, gospel, rock and soul. Almost seamlessly, musical genres and influences are fused over nine tracks. Among the influences are Bob Dylan’s 1975 classic album Blood On The Tracks and Steve Harley and Cockney Rebel’s 1975 album The Best Years of Our Lives. These two albums appear to have influenced Michael when writing and recording Savage Amusement. Sadly, Savage Amusement never enjoyed the same success as Blood On The Tracks nor The Best Years of Our Lives.
Just like his previous album, Savage Amusement failed to chart on either side of the Atlantic. That was an opportunity lost. Stylistically, Savage Amusement could’ve broken Michael Chapman in the lucrative American market. However, that wasn’t to be.
Maybe if Michael had been signed to another label then they would’ve gotten behind Savage Amusement?However, in 1976 Michael Chapman was signed to Decca. They seemed reluctant to go all out to back Savage Amusement. So, after being well received by critics, Savage Amusement sunk without trace. By then, Michael and his band were back on the road.
For Michael, his fans had been divided by Savage Amusement. Some of his fans welcomed the change of sound, and realised that Savage Amusement was a lost classic. Others were shocked at Savage Amusement’s stylistic departure. They took some appeasing when touring Savage Amusement. Since then, Savage Amusement has continued to divide Michael Chapman’s loyal fans.
For newcomers to Michael Chapman, Savage Amusement is a very accessible album. Although quite different from some of Michael’s previous albums, Savage Amusement oozes quality. From the opening bars of Shuffleboat River Farewell, right through to the closing notes of Devastation Hotel, Savage Amusement is a captivating album from one of British music’s best kept secrets, Michael Chapman. Not any more.
Over the last few years, Michael Chapman’s albums have been reissued by various labels. However, one album was still to be reissued..,Savage Amusement. This was surprising, as it was one of the hidden gems of Michael Chapman’s back-catalogue. Thankfully, in 2o15, Secret Records decided to reissue Savage Amusement on CD during 2015. This was a welcome reissue, of an oft-overlooked album. Secret Records’ reissue was a lovingly curated reissue which restored the album to its formed glory. . Great care and attention had been taken with the mastering, which brought new life and meaning to the album. Still, though, a few purists bemoaned the lack of a vinyl reissue. Recently, this has been rectified.
When the list of releases for Record Store Day 2016 was announced, Secret Records announced that Savage Amusement on vinyl. Not just any type of vinyl Instead, Savage Amusement was released on 180 gram black vinyl. This would please purists, given black vinyl’s supposed superior sound quality. Whether that’s the case or not, the reissue of Savage Amusement sounds stunning. It’s been beautifully mastered, and unlike so many albums released over the last few years, hasn’t fallen victim to the loudness wars. That would’ve been act of sacrilege. Thankfully, that hasn’t happened, Instead, Secret Records’ lovingly curated reissue of Savage Amusement will allow a new generations of music lovers to discover Michael Chapman’s lost classic.
MICHAEL CHAMPMAN-SAVAGE AMUSEMENT-VINYL EDITION RECORD-STORE DAY 2016.
NUGGETS-HALLUCINATIONS: PSYCHEDELIC POP NUGGETS FROM THE WEA VAULTS.
NUGGETS-HALLUCINATIONS: PSYCHEDELIC POP NUGGETS FROM THE WEA VAULTS.
For many record collectors, Record Store Day is regarded as one of the most important days in the record collecting year. There’s a sense of anticipation about the day from weeks in advance.
This begins the moment the list of Record Store Day releases is published. Record collectors pore over the list, and begin to draw up a wish list of their wants. That list is fluid, and will change over the days and weeks leading up to Record Store Day. However, once the wish list is finalised, the planning begins for Record Store Day.
Military precision describes the record collector’s approach to Record Store Day. They realise that there’s no point rolling up at midday. By then, the best stuff will be long gone. Instead, an early start is required.
Most record collectors head to bed early on the night before Record Store Day. They’re tucked up early, with a copy of the Record Collector’s Guide for company. For them, it’s like Christmas all over again. There’s a sense of excitement, with record collectors scared they’ll oversleep. That can’t happen. So two alarms are set for 3am. After all, they want to be in the queue at 4am or 5am. This gives them every chance of getting everything on their list.
Having managed not to sleep through the two alarms, the record collectors dawns his several layers of clothing and fills a thermos flask. They even take a selection of snacks to keep their energy levels up. Record Store Day is a marathon not a sprint.
After making their way to their favourite record shop, the record collector joins the queue. There’s a few familiar faces who are swapping war stores of Record Store Day past. While there’s a sense of bonhomie at 6am, deep down everyone knows that when the doors open at 9am, it’s every man or woman for themselves. The rules of Record Store Day are there are no rules.
And so it proves to be. Having watched the lights being switched on and the staff prepare to open the doors to this musical nirvana, everyone tenses. It’s like the 100 metres final in the Olympics. A false start could prove fatal. However, when the doors open, the record collector is quick out the blocks and races towards the racks with the theme to Chariots Of Fire playing in his head. As he arrives at the promised land, the Record Store Day releases await.
Furiously, the record collector flicks through the racks, checking his list. It’s a lengthy list, and much of it is in stock. There’s other things that weren’t on the list, but tantalise. So they’re added to the pile. By now, he’s struggling to carry this weighty pile of vinyl. However, there’s no way he’s leaving his place to take them to the counter. Not until he’s double and triple checked that there’s nothing that’s been missed.
Having double and triple checked, incredibly, nothing has been missed. For the first time ever, he’s managed to find everything he wanted, and a bit more. As he strides to the till to pay, he feels ten feet tall. Record Store Day 2016 has been a good year. Especially when he hears there’s some stuff being released on the 23rd April. Until then, he’s a pile of new music to enjoy, including Nuggets Hallucinations: Psychedelic Pop Nuggets From The WEA Vaults. It’s a double album released on heavyweight purple marble vinyl by Rhino.
The release of Nuggets Hallucinations: Psychedelic Pop Nuggets From The WEA Vaults is a welcome reminder of Rhino’s much loved Nuggets compilation series. This series began in 1984 when Nuggets, Volume 1: The Hits was released. Little did anyone know that the Nuggets series would last twenty-five years, and include fifteen LP, five box sets and two CD compilations. Like all good things, the Nuggets series had to come to an end. The final chapter in the story was Where the Action Is! Los Angeles Nuggets: 1965–1968, which was released in 2009. Since then, it’s been all quiet on the Nuggets’ front.
With seven years passing since the release of Where the Action Is! Los Angeles Nuggets: 1965–1968, it seemed unlikely that there would another instalment in the series. That was until the list of Record Store Day 2016 releases was announced. That’s when eagle-eyed spotted the release of Nuggets Hallucinations: Psychedelic Pop Nuggets From The WEA Vaults, a double album featuring twenty-four tracks from familiar faces and new names alike.
So whose one Nuggets Hallucinations: Psychedelic Pop Nuggets From The WEA Vaults? There’s contributions from The Misty Wizards, The Last Exit, Adrian Pride, The Association, The Salt, Kim Fowley, The Tokens and Lee Mallory. That’s not forgetting The Glass Family, The Holy Mackerel and The West Coast Pop Art Experimental Band. Quite simply, Nuggets Hallucinations: Psychedelic Pop Nuggets From The WEA Vaults is a veritable psychedelic feast.
Having opened the shrink wrap, and taken the first slab of 180 gram purple marble vinyl out its sleeve, Nuggets Hallucinations: Psychedelic Pop Nuggets From The WEA Vaults looks great. Looks however, can be deceiving. The proof of the pudding is in the eating.
Side One.
Opening side one of Nuggets Hallucinations: Psychedelic Pop Nuggets From The WEA Vaults is Baker Knight and The Knightmares’ 1967 single Hallucinations. It was penned by Baker Knight, and produced by Jimmy Bowen. Hallucinations was then released on Reprise in February 1967. It’s the perfect way to open the compilation. Elements of garage rock, psychedelia and sunshine pop combine on a song that’s not just lysergic but melodic.
The Next Exit only ever released the only single, I’m The Only. It was produced by The Tokens, and released in August 1968 by Warner Bros. Sadly, the single disappeared without trace. Hidden away on the B-Side was Breakaway. It’s a track that epitomises the psychedelia, with elements of garage rock, pop and psychedelia combining to create a dreamy trippy track.
Many people will be familiar with The Association music. The Californian sextet were one of the finest purveyors of sunshine pop, and enjoyed several hit singles. This included Pandora’s Golden Heebie Jeebies, a track from their album Renaissance. Pandora’s Golden Heebie Jeebies was released on Valiant in 1966, and reached number thirty-five in the US Billboard 100. For The Association, this was a disappointment. Their previous single Cherish had given them their first number one. However, Pandora’s Golden Heebie Jeebies is regarded as the one that got away, and is something of a hidden gem in The Association’s back-catalogue. It’s a fine example of sunshine pop that’ll brighten even the dullest day,
Side Two
In the late sixties, Joel Kaplan, Dave Meyer, Bob Redding, Joe Odom and Delroy Bridgeman formed The World Column. Their sophomore single So Is The Sun ‘inspired’ The Jam’s Trans-Global Express. Some of The World Column’s singles are also extremely popular within the Northern Soul community. However, the single that started The World Column’s career was Midnite Thoughts.
It was released in July 1968, on Atco, On the flip-side was Lantern Gospel a Joel Kaplan and Dave Meyer composition. It’s The World Column’s most psychedelic sounding track. With a Hammond organ to the fore, a slow, moody and ruminative sounding track unfolds. Quite simply, it epitomises the psychedelic sound of the summer of 1968, and is one of the highlights of Nuggets Hallucinations: Psychedelic Pop Nuggets From The WEA Vaults.
John Wonderling’s recording career was sadly, all too brief. It began in 1968, and was over by 1973. During that period, he released just a trio of singles an album. His debut single was Midway Down, which he cowrote, arranged and produced. It was released by Warner Bros, in 1968. Hidden away on the flip-side was Man Of Straw, which falls into the category of hidden gem. Man Of Straw features a heartfelt vocal from John, while arrangement is a fusion of pop, folk rock and baroque. It’s a potent mix on a track where drama and beauty combine. Given the quality of Man Of Straw, one can only wonder why he didn’t enjoy a longer and more successful recording career?
Jeff Thomas is another artist whose career was all to brief. Between 1966 and 1970, he only released eight singles. This included Straight Aero, which was released in 1968 on Warner Bros.-Seven Arts Records. Straight Aero was penned by Jeff Thomas and produced by Dan Dalton. Sadly, when this slice of psychedelic rock was released, it passed record buyers by. That’s despite being catchy, melodic and memorable.
Side Three.
Brass Buttons open side three of Nuggets Hallucinations: Psychedelic Pop Nuggets From The WEA Vaults with Hell Will Take Care Of Her. This was the B-Side of their only single My Song. It was released on Cotillion in November 1968. Instantly, the listener is transported back to 1968. As the song unfolds, here’s more than a nod to The Beatles on this glorious slice of psychedelic sunshine pop. By the end of track one can’t help but wonder why Brass Buttons didn’t enjoy a longer and more successful career?
Kim Fowley needs no introduction to most music fans. He was a prolific singer, songwriter and producer. Later, Kim Fowley owned his own publishing company. However, back in March 1967, Kim Fowley was signed to Reprise, and about to release Strangers From The Sky as a single. It was a song that he wrote and produced. It’s been inspired by sci-fi and the space race, as Kim Fowley takes the listener on a trip. What follows is a futuristic slice of stomping, psychedelic garage rock. This is a welcome reminder of a musical pioneer, who sadly passed away in 2015.
In 1966, The Bonniwell Music Machine released their debut album (Turn On) The Music Machine on Warner Bros. A year later, they released Bottom Of The Soul as a single. On the B-Side was Astrologically Incompatible. Both sides were penned by the band and produced by Brian Ross and featured on. When the single was released on Warner Bros. in November 1967, it failed commercially. By then, original lineup of The Bonniwell Music Machine was fragmenting. Although the group continued with a new lineup, they broke up in 1969. Their legacy was two albums and a string on singles. That’s note forgetting B-Sides like Astrologically Incompatible, with its fusion of garage rock and psychedelia. It’s a reminder of an innovative group, whose proto=punk sound would influence future generations of musicians.
Side Four.
Lee Mallory opens side four of Nuggets Hallucinations: Psychedelic Pop Nuggets From The WEA Vaults with That’s The Way It’s Got To Be. It was Lee’s debut single, which was released on the Valliant label in September 1966. Poppy, soulful and melodic describes this timeless track which rumour has it, features the Mamas and Pappas on backing vocals.
The Holy Mackerel are another band whose recording career was all too brief. They released their debut single Love For Everyone on Reprise in April 1968, and by 1969 The Holy Mackerel’s career was over. Their discography consists of just three singles and their 1968 eponymous debut album. One of its highlights was Wildflowers, a slice of psychedelic pop with an Eastern twist. It epitomises everything that’s good about psychedelia, and is the perfect introduction to The Holy Mackerel, another oft-overlooked bands from the late-sixtes.
My final choice from Nuggets Hallucinations: Psychedelic Pop Nuggets From The WEA Vaults, comes from one of the most underrated bands of the psychedelic era, The West Coast Pop Art Experimental Band. Their recording career lasted just three years. It began in 1966, and was all over by 1969. However, during this period The West Coast Pop Art Experimental Band released a string of genre-melting singles. Their best known track is The Smell Of Incense, which was released on Reprise in October 1968. It’s a quite beautiful, laid-back and lysergic track that’s truly timeless. What better way to finish Nuggets Hallucinations: Psychedelic Pop Nuggets From The WEA Vaults?
Very few people thought that the Rhino’s Nuggets’ series would ever return. Never had seven years passed without a new instalment in the series. Then when the list of Record Store Day 2016 releases were announced, way down the list was Nuggets Hallucinations: Psychedelic Pop Nuggets From The WEA Vaults. Rhino had decided to revive the Nuggets’ series. It began in 1984, and thirty-two years later is still going strong.
Nuggets Hallucinations: Psychedelic Pop Nuggets From The WEA Vaults is a welcome addition to the series. It’s a reminder of a series that previously, included fifteen LPs, five box sets and two CD compilations. That number has risen by one, with the release of Nuggets Hallucinations: Psychedelic Pop Nuggets on 16th April 2016.
Just like previous volumes in the Nuggets’ series, it’s a luxurious and lovingly curated compilation. As befitting such a prestigious series, black vinyl isn’t good enough. So Rhino have used 180 gram purple marble vinyl. As a result, Nuggets From The WEA Vaults looks great. It also sounds great. The music has been carefully mastered, and isn’t over loud. Instead, the music is clear with all the subtleties and nuances making their presence felt on the twenty-four tracks on Nuggets Hallucinations: Psychedelic Pop Nuggets From The WEA Vaults. It’s sure to bring memories come flooding back.
For many people the Nuggets series was their introduction to psychedelia. It was akin to a musical education for newcomers to psychedelia. Hopefully, that will be case with a new generation of record buyers. Maybe after buying , Nuggets Hallucinations: Psychedelic Pop Nuggets From The WEA Vaults they’ll explore the rest of the Nuggets’ series? Meanwhile, veterans of the Nuggets’ series will enjoy taking a trip down memory lane on Nuggets Hallucinations: Psychedelic Pop Nuggets From The WEA Vaults.
NUGGETS-HALLUCINATIONS: PSYCHEDELIC POP NUGGETS FROM THE WEA VAULTS.
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