DIETER MOEBIUS-BLOTCH.
DIETER MOEBIUS-BLOTCH.
Probably, the most overused word in the English language is legend. Recently, it seems, the word has been used to describe overrated musical butterflies, who glibly flit between musical genres. They hang onto the coattails of much more talented musicians, hoping that some of their magic will rub off. When this didn’t result in commercial success beyond their home country, they returned to what they had been doing throughout their career, producing pop music that was shallow and vacuous. It was the musical equivalent of The King’s New Clothes.
Despite that, many albums that sold well in Britain. However, in Germany and America these albums didn’t sell in vast quantities. This artist wasn’t a national treasure, whose every word a slavish music press hung on. So when they died, cue an outpouring of grief. It would’ve brought a tear to a glass eye. Meanwhile, a true musical genius had passed away six month earlier. Sadly, many record buyers were unaware of this artist’s work.
Dieter Moebius, who had been a cofounded member of Kluster, Cluster and Harmonia, died on 20th July 2015 after a brave and lengthy battle against cancer. He had been a member of three of the most inventive, innovative and influential bands of the Kominische era. However, like many musical pioneers, Kluster, Cluster and Harmonia’s music was ahead of its time. As a result, their music never received the commercial success and critical acclaim in their own country. Instead, it were more popular abroad. Eventually, that began to change.
Somewhat belatedly, Kluster, Cluster and Harmonia are being recognised for being pioneers, who released ambitious, groundbreaking and timeless music. They’ve gone on to influence several generation of musicians. So has Dieter Moebius’ solo albums. This included Blotch, Dieter Moebius’ 1999 sophomore album. Blotch is the first of Dieter Moebius final four albums being reissued by Bureau B.
When Blotch was released in 1999, it marked the end of a sixteen years wait for Dieter Moebius’ fans. He had released his debut solo album Tonspuren, on Sky Records in 1983. This was two years after the two years after “Cluster had run its course.” Hans-Joachim Roedelius explains: “we decided to concentrate on other projects. There was no fall-out, Cluster just came to a natural end.” So the two friends embarked on separate projects.
Dieter Moebius’ first two post-Cluster albums, were collaborations with his old friend Conny Plank. He had been a member of Cluster when they released their eponymous debut album in 1971. Since then, they had worked on albums by Cluster and Harmonia. However, they had only collaborated together once on Rastakraut Pasta. Soon, one would become two.
Moebius and Plank.
Rastakraut Pasta.
In 1980, Dieter and Conny Plank entered Conny’s Studio to record seven tracks. They were joined by another giant of German music, Can bassist Holger Czukay. He played on Feedback 66, Missi Cacadou and Two Oldtimers. When the seven tracks were completed, Rastakraut Pasta was would be released later in 1980.
Critics hailed Moebius and Plank’s debut Rastakraut Pasta a truly groundbreaking album. It was a fusion of avant-garde Kominische, industrial, electronica, experimental and dub reggae. This disparate and unlikely fusion of genres proved a potent musical pot pourri, that proved popular with critics and record buyers. So Conny and Dieter released a second album together.
Material.
The Moebius and Plank partnership returned in 1981 with their sophomore album, Material. It featured five songs recorded at Conny’s Studio. This time, there was no sign of Holger Czukay. Instead, the two old friends and musical pioneers worked on another album of truly groundbreaking music. This became Material.
Just like Rastakraut Pasta, Material was hailed as another album of groundbreaking, genre-melting music. Elements of avant-garde Kominische, industrial, electronica, experimental and dub reggae. This resulted in music that wasn’t just innovative, but way ahead of its time. Material was also a timeless album, and one that resulted in what seemed like a queue of musicians wanting to collaborate with Dieter Moebius.
First in the queue was Gerd Beerbohm. They released their first collaboration, Strange Music in 1982. This was the first two albums the pair would record tougher. The followup Double Cut was released in 1983. That same year, Dieter Moebius released his debut album Tonspuren.
Tonspuren.
To record his debut solo album, Dieter Moebius headed for the familiar surroundings of Conny’s Studio, in Cologne. He had made this journey countless times before. In the second half of 1982, Dieter began recording ten soundscapes. With Conny looking on approvingly, and making a few suggestions, Tonspuren began to take shape. Once the album was recorded, Conny mixed Tonspuren. It was then released in 1983.
Just like his previous collaborations with Conny Plank, Tonspuren was released on Günter Körber’s Sky Records. It was the perfect label for an album of minimalist, experimental and ambient music. Günter Körbe had setup Sky Records in 1975, and had never been afraid to release music that many labels would’ve shied away from. Many other German labels were only interested in commercial music. However, Sky Records, just like Brain and Ohr before them, were determined to released groundbreaking music. This was how some critics described Tonspuren.
Critics had awaited the release of Tonspuren with interest. They wondered what direction Dieter Moebius’ music would head? When they heard Tonspuren, with its minimalist, ambient and sometimes experimental sound, they knew. It was a captivating debut album, and critics awaited Dieter’s sophomore album with interest. They would have a long wait.
Sixteen years to be exact. Dieter would released several collaborations, and Cluster would reunite before Dieter release his sophomore album. By then, Dieter had reinvented himself, while music, and the way it was made had changed.
Following the release of Tonspuren, Dieter continued to collaborate with other artists, This included two collaborations with Karl Renziehausen. Dieter also wrote the soundtrack to Blue Moon in 1986. However, it was Conny Plank that Dieter collaborated with most often. They recorded three further albums with Conny Plank, This included 1983s Zero Set which featured Guru Guru drummer Mani Neumeier; 1995s En Route; and Ludwig’s Law which featured Mayo Thompson. However, still, Dieter Moebius found time to reunite with Hans-Joachim Roedelius for the comeback of Cluster.
Apropos Cluster.
Recording of Cluster’s tenth album took place during 1989 and 1990. Dieter Moebius and Hans-Joachim Roedelius recorded five tracks, including the twenty-two minute epic title-track. It was part of an album that was similar to Grosses Wasser.
That is the comparisons critics drew, when Apropos Cluster was released in 1991. The only difference was, that Apropos Cluster wasn’t as rhythmic as Grosses Wasser. Instead, it was understated, ethereal and thoughtful ambient music. The followup to Apropos Cluster was the first of three live albums.
One Hour
The first of the trio of live albums Cluster released during the nineties, was One Hour. It came about after Cluster improvised in the studio for four hours. They edited this down to One Hour. The result is a truly captivating album that was released in 1995.
One Hour is Cluster at their most imaginative. They take their music in the most unexpected directions. Curveballs are constantly bowled, as what sounds like the soundtrack to a surrealist film unfolds. Elements of ambient, avant-garde and modern classical music combine, resulting in one of the most intriguing albums in Cluster’s discography.
Two years later, in 1997, Cluster released the first of two live albums. The first was Japan 1996 Live. It was followed by First Encounter Tour 1996, which was their thirteen album, was the first double album Cluster had released. It would also be the last album they released for eleven years. During that period, Dieter Moebius released four further solo albums. The first of this quartet of solo albums was Blotch.
Blotch.
After a sixteen year period where he was constantly collaborating with other artists, Blotch marked the start of a period where mostly, Dieter Moebius would concentrate on his solo career. While there was the occasional excursion with Cluster, and a collaboration with Asmus Tietchens in 2012, mostly, the period between 1999 and 2014 are best described as the solo years.
One thing that never changed during the solo the solo years, was Dieter Moebius’ determination to innovate. On what became Blotch, Dieter worked on a series of playful mesmeric loop based tracks. They’re atmospheric and experimental, with Dieter adding bursts of speech to the musical canvas. They’re painted by using vast musical palette.
When Dieter came to record Blotch in Berlin, he had bought an eight-track Yamaha recorder. Onto that, he recorded his E-mu Orbit 9090 sound module and a Korg Prophecy. It was way ahead of its time, and was able to replicate the sounds of various analogy synths. This didn’t come cheap, but was a lot easier and more reliable than their analog equivalent. Dieter added samples of speech throughout Blotch. The only guest artist was Tim Story, who played pedal steel guitar, piano and produced Balistory. The rest of Blotch was produced by Dieter. When Blotch was completed, it was mastered by Tim Story in his Ohio studio. Only then was Blotch released in 1999.
When Blotch was released, Dieter Moebius was hailed as the comeback King. He had reinvented himself musically, and recorded a much more experimental, genre-melting album. Dieter had made good use of new technology, and added snatches of speech to the seven soundscapes. This proved a potent combination, as you’ll realise.
Ondulation opens Blotch. Synths wah-wah before a myriad of sounds assail the listener. A broody bass synths provides the heartbeat, while bell rings and futuristic, sci-fi sounds flit in and out. So do brief snatches of speech. By then, the synths are adding drama and most importantly, a hypnotic backdrop to what sounds like the soundtrack to a space odyssey.
Drums that sound as if they’re a distance relation to those found on old seventies Afro-beat albums add hypnotic sound on Meltaway. Meanwhile, otherworldly, ethereal and space-age synth are added. So are what sounds like a sample of snarling animal. There’s even a synth sound that as it’s been influenced by David Bowie’s Fame. Mostly though, Dieter Moebius puts his extensive musical palette to good use, painting broad brush strokes using synths and samples. He creates a soundscape that’s variously mesmeric, otherworldly, dramatic and most of all cinematic.
The introduction to Temperate veers between understated and ambient, to experimental. Washes of ethereal synths sweep in, before Dieter unleashes an array of sound. Some are almost industrial, others elegiac and some are even otherworldly. However, a chirping, blinking synth adds a hypnotic backdrop. It acts like a beacon, attracting the array of sounds towards it. What sounds like a camera shutter accompanies the wash of ethereal synths, while clicks, whines and bubbling, squeaking sounds make an appearance. It’s a truly captivating soundscape, which reveals even more secrets with every listen.
Space is left within grinding, metallic sound as The Tracker begins. Soon, a mesmeric, hypnotic sound makes an appearance as Dieter combines avant-garde, experimental and industrial with Krautrock. What sounds like an alternative orchestra begins to play. They create a track that’s both robotic and fluid. Clicking, clanging, ringing and melodic sounds are joined by ethereal and sci-fi sounds. Incredibly, Düsseldorf based Sølyst have been doing something on their new album The Steam Age. However, Dieter Moebius’ recorded his compelling alternative symphony two decades ago, way before Sølyst’s career ever began. Maybe Sølyst are paying homage to one of the greatest German musicians ever?
Cinematic describes Im Raum. It sounds as if Dieter recorded the soundscape onboard a submarine, way below the Ocean. As a bubbling sound can be heard, codes are tapped out, as secrets are passed to shore. Meanwhile, a droning, buzzing sound replicates the engine, before space age sounds flit in and out. They play an important part in the success of this twelve minute cinematic epic, where the listener can let their imagination run riot.
The cinematic sound continues on Kohlzug. It’s a musical mystery, where the listener plays the role of detective. Their job is to recognise the various sounds. Is that the sound of someone digging? What sounds like a tap dripping can be heard. Or is it a steam engine skittering along? Meanwhile, a jazz saxophone plays, heads into free jazz territory. Occasionally, a cartoon boing can be heard, as if someone has sat on a broken sofa. These sounds come courtesy of Dieter’s musical palette. They’re varied and captivating. Especially, when what sounds like a chainsaw can be heard. Still, though, the saxophone and synths add a hypnotic backdrop, as Dieter leaves clues for the listener to solve.
Balistory closes Blotch. Just a wistful keyboard plays on what’s a minimalist soundscape. Occasionally, what sounds like steel pans are added. So are synths strings. What sounds like a melancholy track seems to be unfolding. That’s until 1.24 when a myriad disparate sound effects are added. They’re briefly sprayed across the arrangement, but in a controlled fashion. It’s almost a Hendrix-esque performance. By then, gone is the understated sound. Still the keyboards and steel pans can be heard. They’re joined by futuristic, bubbling, dramatic and hypnotic sounds. They assail the listener, swirling around like musical merry-go-round. It’s a case of hold on, and enjoy the ride, before the understated, melancholy sound returns. This proves a beautiful, poignant way to close another genre-melting track.
While Balistory closed the original version of Blotch, Bureau B’s recent reissue features a bonus track Neues. This is a welcome addition, and is a further reminder of one of the musicians in the history of modern German music.
Dieter Moebius played a huge part German music between 1970 and 2014. For five decades, Dieter Moebius was a giant of German music. That had been the case since his days with Kluster, Cluster and Harmonia, through to his collaborations, soundtrack work and solo career. Constantly, Dieter Moebius created music that was innovative and pushed musical boundaries to their limits, and sometimes beyond. That was the case on Blotch, his long-awaited sophomore album.
Sixteen years after the release of his 1983 debut Tonspuren, Dieter Moebius returned with Blotch. He named the album after seeing paint on a canvas. Suddenly, Dieter had the title to his genre-melting album. Everything from ambient and avant-garde, through to electronica and experimental sits side-by-side with industrial, Krautrock and musique concrète. The result was an album that was very different to different to Dieter’s debut album, Tonspuren.
Gone was the minimalist, ambient and sometimes, experimental sound of Tonspuren. It was replaced by music that was atmospheric, dramatic, futuristic and sometimes, ethereal, understated and beautiful. Always, though, Blotch is captivating. It’s a case of expect the unexpected, as Dieter Moebius bowls a series of curveballs. As he does, the music is always cinematic and mostly, hypnotic. Just like so much of the music Dieter had released it was innovative and influenced further generations of musicians.
That’s the case with much of the music Dieter Moebius recorded. It was always groundbreaking, innovative and pushed musical boundaries. Blotch proved to be the start of an Indian Summer for Dieter Moebius. He released another three albums, 2006s Nurton, 2009s Kram and 2011s Ding. That brought the curtain down on Dieter Moebius’ career.
Sadly, Dieter Moebius died on 20th July 2015. The man who cofounded Kluster, Cluster and Harmonia left behind a rich musical legacy, including Blotch. It’s just one reason who Dieter Moebius deserves to be called a musical legend.
DIETER MOEBIUS-BLOTCH.
MIKE HARRISON-MIKE HARRISON, SMOKESTACK LIGHTNING AND RAINBOW RIDER.
MIKE HARRISON-MIKE HARRISON, SMOKESTACK LIGHTNING AND RAINBOW RIDER.
There aren’t many artists who enjoy the longevity that Mike Harrison has enjoyed. His career has spanned six decades. During that period Mike Harrison has been the lead singer of The V.I.P.s, Art and the Hamburg Blues Band. However, Mike Harrison is best known as the lead singer of Spooky Tooth, who were signed to Island Records. It was on Island Records that Mike Harrison released a trio of solo albums between 1971 and 1975.
These albums were recorded when Spooky Tooth were neither recording nor touring. Mike’s debut album was Mike Harrison which was released in 1971. Smokestack Lightning followed in 1972, with Rainbow Rider completing the Island Records trilogy in 1973. The Island Records trilogy of Mike Harrison, Smokestack Lightning and Rainbow Rider will be rereleased as a double album by BGO Records on the 1st of April 2016. They’re a reminder of Mike Harrison’s solo career. However, by the time, Mike’s solo career got underway, he was a member of a band who were popular on both sides of the Atlantic, Spooky Tooth. Their roots can be traced to Carlisle.
That was when Mike Harrison’s career began in Carlisle in 1963, when he cofounded The V.I.P.s with bassist Greg Ridley. Over the next four years, The V.I.P.s lineup evolved. Rhythm guitarist Frank Kenyon and lead guitarist Jimmy Henshaw were members between 1963 and 1967. Other musicians played a walk-on role on The V.I.P.s’ story. This included Keith Emerson whose keyboards would play a starring role in The Nice and Emerson, Lake and Palmer. However, by the time The V.I.P.s decided to change direction musically, Keith Emerson had left the band.
For the four years they were together, The V.I.P.s played blues and R&B. By 1967, they decided that to change direction musically. So The V.I.P.s changed their name to Art. Then in October 1967, Gary Wright joined Art. He played on Art’s one and only album Supernatural Fairy Tales.
Art.
Supernatural Fairy Tales.
In 1967, the newly named Art found themselves signed to Chris Blackwell’s Island Records. Art were about to go into the studio with producer Guy Stevens, so began work on their debut album.
By then, Art still a quartet. However, only two original members of The V.I.P.s remained. Ironically, they were the founding members, vocalist and keyboardist Mike Harrison and bassist Greg Ridley. They were joined by drummer Mike Kellie and guitarist Luther Grosvenor. The four members of Art got to work on what became Supernatural Fairy Tales.
For their debut album Supernatural Fairy Tales, the four members of Art wrote ten tracks. They would be augmented by covers of The Young Rascals’ Come on Up and Buffalo Springfield’s For What It’s Worth. Recording took place at two studios.
Pye Studios was where the majority of Supernatural Fairy Tales was recorded. Some recording took place at Olympic Studios. At the two studios, producer Guy Stevens, whose career was in the ascendancy, took charge of production. He guided Art through the maze that’s recording a debut album. The result was Supernatural Fairy Tales, which became a cult classic.
When critics heard Supernatural Fairy Tales, the reviews of Art’s debut album were mostly positive. Its progressive, psychedelic rock sound was decidedly on trend. It tapped into a sound that was commercial. Surely, Supernatural Fairy Tales would prove a commercial success?
That proved not to be the case. When Supernatural Fairy Tales was released in the Autumn of 1967, the album wasn’t a commercial success. This was disappointing for Art and Island Records. Chris Blackwell wasn’t giving up on Art. Instead, he introduced them to Gary Wright, an American vocalist and organist.
Gary Wright was also a psychology student, who had travelled to Berlin to finish his studies. That was where Gary Wright formed the band The New York Times with some American expats and a German bassist. They had opened for Traffic, and were thinking about recording an album. So Gary Wright contacted his old friend Jimmy Miller. The producer was working for Island Records, and suggested that The New York Times hotfoot it to London.
When The New York Times arrived in London, the recording sessions didn’t go to plan. The rest of the band split, leaving Gary Wright. It was then, in October 1967, that Gary Wright was introduced to Art. Ironically, Art were just about history. However, a new band were about to be born, Spooky Tooth.
Spooky-Tooth.
It’s All About.
Straight away, work began on Spooky Tooth’s debut album. The new recruit quickly made his presence felt. Whereas the four members of Art cowrote most of their debut album Supernatural Fairy Tales, that wasn’t the case with Spooky Tooth.
Gary Wright penned Sunshine Help Me and cowrote another six tracks. This included It Hurts You So and Forget It and I Got It with his old buddy Jimmy Miller. The Wright and Miller partnership weren’t finished. They penned Love Really Changed Me with Luther Grosvenor. That trio joined Mike Harrison in writing Here I Lived So We. Luther Grosvenor and Chris Wight also wrote Bubbles. Spooky Tooth was quickly becoming the Chris Wright show.
If the other members felt uncomfortable that Chris Wight was playing a leading role in Spooky Tooth. He was friends with Jimmy Miller, who was chosen to produce It’s All About. He just happened to be friends with Island Records’ owner Chris Blackwell. To onlookers, these relationships looked too cosy. After all, it was Chris Blackwell who introduced Chris Wright. He would join the rest of Spooky Tooth at Olympic Studios.
Island Records’ recording sessions were notorious for only allotting a specific amount of time to record an album. Woe betide the band and producer who went over budget. Spooky Tooth had twelve songs to record when they entered the studio in November 1967. This included covers of Janis Ian’s Society’s Child, Bob Dylan’s Too Much Of Nothing and John D. Loudermilk’s Tobacco Road. Along with the songs penned by members of Spooky Tooth, the twelve songs became It’s All About.
Before the release of It’s All About in June 1968, critics had their say on Spooky Tooth’s debut album. They were won over by It’s All About. Many critics gave the albums rave reviews. Some critics liked that Spooky Tooth had two different vocalists. This was uncommon. However, with Mike Harrison and Chris Wright sharing the lead vocals, this allowed the band to take their music in a variety of directions. On It’s All About, this included blues, rock and psychedelia. Despite winning over critics, record buyers weren’t convinced.
When It’s All About was released in June 1968, the album wasn’t the success many had forecast. This would soon change.
Spooky Tooth were about to become one of Europe’s most popular live bands. Then in August 1968, Spooky Tooth were invited to tour America. This was a game-changer. Especially when Spooky Tooth were invited to play at one of the most prestigious venues in America, the Fillmore West in San Francisco.
Promoter Bill Graham invited Spooky Tooth to play the Fillmore West. This was a rite of passage for bands touring America. It was a signal they had arrived. Spooky Tooth were going up in the world, so Island Records’ thoughts turned to their sophomore album, Spooky Two.
Spooky Two.
Unlike their debut album, Spooky Two only featured eight songs. Partly, this was why Spooky Too was a leaner, more focused album. Again, Gary Wright who had assumed the role of Spooky Tooth’s songwriter-in-chief.
Gary Wright penned four tracks and cowrote three others. This included Feelin’ Bad and I’ve Got Enough Heartaches with drummer Mike Kellie. Mike Harrison and Luther Grosvenor cowrote Waitin’ for the Wind with Gary Wright. Spooky Two’s other track, was a cover of Larry Weiss’ Evil Woman. These songs were recorded at Morgan Studios, London.
Just like It’s About You, Spooky Too was produced by Jimmy Miller. Recording began in November 1968, and Spooky Tooth began recording what’s now considered their greatest album, Spooky Too.
Once Spooky Too was complete, the release was scheduled for March 1969. This didn’t leave much time to promote the album. However, the reviews did a good job of this. Spooky Too was hailed a masterpiece of blues, hard rock, psychedelia and classic rock. Luther Grosvenor’s guitar playing was at the heart of the album’s success. It was loose, but fluid. Spooky Tooth’s played hard, raw and rock on Spooky Too. Critics forecast that Spooky Too was going to be Spooky Tooth’s breakthrough album.
That proved to be the case. On its release in March 1969, Spooky Too reached number forty-four in the US Billboard 200. This resulted in Spooky Tooth’s profile rising.
Suddenly, they were playing in front of bigger audiences on nearly every continent. Other musicians wanted to work with Spooky Tooth. This included French electronic musician, Pierre Henry.
Ceremony.
After the release of Spooky Too, there was a change to Spooky Tooth’s lineup. In 1970, bassist Greg Ridley was asked to join Humble Pie. He agreed, and Andy Leigh was drafted in as his replacement. This was the first, but not the last change in Spooky Tooth’s lineup.
After the commercial success and critical acclaim of Spooky Too, Spooky Tooth’s star was in the ascendancy. Suddenly, people wanted to work with Spooky Tooth. This included French electronic musician, Pierre Henry.
He described himself as a found-object” composer. Pierre Henry took everyday objects and transformed them into an instrument. This wasn’t a new concept.
Pablo Picasso had pioneered the idea in 1912, when he pasted aprinted image of chair caning onto his painting Still Life with Chair Caning. Turning everyday objects into musical instruments took the idea further. That’s what Pierre Henry, and many other moderne musicians did.
Originally, Spooky Tooth were collaborating with Pierre Henry. It was his album. The new lineup of Spooky Tooth were essentially his backing band, on Ceremony.
For Ceremony, Pierre Henry and Gary Wright wrote six tracks. He and the rest of the new lineup of Spooky Tooth made their way to France. It was agreed that Pierre Henry and Spooky Tooth would co-produce Ceremony, due to the fact the album takes the form of a church service.
Quickly, Spooky Tooth recorded their parts. This left Pierre Henry to play synths and take charge of electronics on five tracks. On Hosanna, which closed Ceremony, Spooky Tooth took centre-stage. It was Ceremony’s Magnus Opus. Once the recording was complete, Spooky Tooth headed home.
Having returned home, Spooky Tooth were sent a copy of Ceremony. Gary Wright didn’t like what he heard. He was straight on the phone to Chris Blackwell, urging him not to release Ceremony. This didn’t work.
Chris Blackwell disagreed, telling Chris Wright: “people will love this album. We have to put this out.” According to Chris Wright, the rest of Spooky Tooth didn’t want Ceremony released. He went as far as to say: “it was against our wishes.” He thinks that the “release of the album lead to the initial breakup of the band.”
With Island Records determined to release Ceremony, December 1969 was scheduled as the release date. Before that, critics had their say on Ceremony. This fusion of rock and avant-garde was billed as an album from Spooky Tooth and Pierre Henry. Reviews were mixed. It wasn’t what most critics had expected from Spooky Tooth. The problem Mike Harrison says was; “people thought it was Spooky Tooth’s third album.”
When Ceremony was released in December 1969, it reached just ninety-two in the US Billboard 200. Spooky Tooth were going backwards. That was only part of the story.
All wasn’t well within Spooky Tooth. There was disharmony within the ranks. Mike Kellie believes things would’ve been different if Spooky Tooth: “had independent management.” They could have been an arbiter in the conflicts. Without that, Spooky Tooth split-up.
Spooky Tooth Featuring Mike Harrison.
The Last Puff.
That wasn’t the end of the Spooky Tooth story. Instead, it was just the end of a chapter. Mike Harrison, Mike Kellie and Luther Grosvenor remained. Chris Wright exited stage left. So did bassist Andy Leigh. In their place, came some new faces.
Among them, were guitarist Henry McCullough, bassist Alan Spenner and Chris Stainton. He played bass, piano and organ. His versatility would be put to good use on The Last Puff, which was billed as an album from Spooky Tooth Featuring Mike Harrison.
For The Last Puff, seven cover versions were chosen. Among them were Lennon and McCartney’s I Am The Walrus; Joe Cocker and Peter Nichols’ Something to Say; David Ackles’ Down River and Elton John and Bernie Taupin’s Son of Your Father. New recruit Chris Stainton contributed The Last Puff. Ironically, The Wrong Time a song penned by Gary Wright and Hugh McCracken. Given Gary Wright had just left Spooky Tooth this seemed a strange decision.
Recording of The Last Puff took place at Island Studios, London. Producing the album was Island Records’ owner Gary Blackwell and Chris Stainton. Once the new lineup of Spooky Tooth finished recording The Last Puff, it was released in July 1970.
Critics however, received advance copies of Spooky Tooth Featuring Mike Harrison’s album The Last Puff. Critical acclaim accompanied this album of psychedelia, rock and pop. It seemed the loss of two members hadn’t derailed Spooky Tooth.
That seemed to be the case. The Last Puff proved more successful than Ceremony, reaching number eighty-four in the US Billboard 200. However, not long after the release of The Last Puff, Spooky Tooth split-up. That looked like the end of the line for Spooky Tooth. Island Records were dismayed. They had just lost one of their most popular groups.
So a year later, in 1971, Island Records repackaged and rereleased It’s All About as Tobacco Road. When the album was released, it reached number 152 in the US Billboard 200. By then, they had signed a new solo artist..Mike Harrison.
Mike Harrison-The Solo Years.
With Spooky Tooth seemingly consigned to musical history, Mike Harrison embarked upon a solo career. He signed to Island Records, and began working on his eponymous debut album.
Mike Harrison.
For his eponymous debut album, Mike Harrison returned to where it all began for him, Carlisle, in Cumbria. That’s where he found The Junkyard Angels. They would become his backing band on Mike Harrison, and would also contribute several songs.
The Junkyard Angels were a cut above the local Carlisle bands of the early seventies. They weren’t just talented musicians, but also songwriters who played a part in five of the songs on Mike Harrison.
Bassist Peter Batey wrote Mother Nature and Lonely People. Peter also cowrote Call It A Day with Lan Herbert, Kevin Iverson and Mike Harrison. Lan Herbert and Kevin Iverson then penned Pain with Frank Kenyon. The final song penned by a member of The Junkyard Angels, was Damian, which was written by Lan Herbert and Mike Harrison. By then, it was obvious that The Junkyard Angels were more than a backing band. They had written most of Mike Harrison.
The other three tracks on Mike Harrison, were Wait Until Morning, a Harrison-Griffin composition; Cat Stevens’ Hard Headed Woman and Luther Grosvenor’s Here Comes The Queen. Along with the tracks written by The Junkyard Angels, this trio of tracks would become Mike Harrison.
When recording of Mike Harrison began, four members of The Junkyard Angels were ready to accompany Mike. The rhythm section featured drummer and percussionist Kevin Iverson; bassist and percussionist Peter Batey and guitarist Frank Kenyon. Lan Herbert played guitar, piano and organ and vibes. The four members of The Junkyard Angels would also add backing vocals Meanwhile, Mike Harrison added lead vocals, and played piano, harmonica and organ. When the eight tracks were recorded, Mike Harrison was scheduled to be released later in 1971.
On the release of Mike Harrison in October 1971, reviews of the album were mostly positive. Most critics were won over by the fusion of rock, blues, folk and pop. The songs were perfect for Mike’s vocal. That was the case from the opening track Mother Nature. It’s akin to a musical amuse bouche as Mike’s lived-in vocal brings meaning to the lyrics. That’s the case throughout the eight tracks on Mike Harrison. His worldweary vocal sounds as if he’s lived the lyrics to Call It A Day, Pain and Wait Until The Morning. Similarly, Mike sounds as if he can relate to Lonely People, and somewhat ruefully seems to sing Hard Headed Woman as if he’s met her, but lived to tell the tale. However, the Ballad Damian features a soul-baring vocal. Closing the album, is a cover of Here Comes The Queen, where Mike Harrison and The Junkyard Angels takes in a new direction, to Luther Grosvenor’s original. In doing so, it leaves the listener wanting more.
With eight tracks lasting just lasting around thirty-three minutes, Mike Harrison was just a taste of what was to come from Mike Harrison. Freed from the constraints of Spooky Tooth and Gary Wright’s ‘helping hand’, Mike had come in to his own. He had just cowrote three tracks on his eponymous debut album and produced it. Mike Harrison was well received, and although it wasn’t a huge selling album, it’s a hidden gem that showed Mike that there was like after Spooky Tooth.
Smokestack Lightning.
Buoyed by the reception his eponymous debut received, Mike Harrison’s thoughts turned to his sophomore album. This time, there was no sign of The Junkyard Angels, who played such an important part in his eponymous debut album. They cowrote five of the eight tracks. Mike had only written three tracks, including two with members of The Junkyard Angels. So this presented something of a problem. However, Mike Harrison had already thought of the solution.
His sophomore album would mostly feature cover versions. The exception was Turning Over, which Mike and Luther Grosvenor cowrote. However, the other five tracks were cover versions. This included Tears and Pay My Dues, which were penned by Jimmy Stevens. Other familiar songs included Fats Domino and Maddux-Jessup’s What A Price; Joe Tex’s Wanna Be Free and Howlin’ Wolf’s Smokestack Lightning. This blues classic lent its name to Mike’s sophomore album. It was recorded stateside.
To record Smokestack Lightning, Mike Harrison followed in the footsteps of countless musicians. His destination was Muscle Shoals, in Alabama, where he would work with the legendary Muscle Shoals Rhythm Section. They featured some of America’s top musicians, who had worked with everyone from Aretha Franklin, Candy Staton and Etta James to Percy Sledge and Wilson Pickett. Now Mike Harrison was ready to make that journey, and work with the legendary studio band.
When Mike Harrison arrived at Muscle Shoals, the Muscle Shoals Rhythm Section’s lineup featured some of the top session musicians America had to offer. The rhythm section featured drummer Roger Hawkins, bassist David Hood and guitarists Jimmy Johnson and Pete Carr. They were augmented by slide guitarist Wayne Perkins, keyboardists Barry Beckett and Clayton Ivey. Along with the horn section, they recorded six tracks. When it came to record Turning Over, the cowriter Luther Grosvenor added acoustic guitar. When Smokestack Lightning was complete, it was very different album to Mike Harrison.
The soulful and heart-wrenching ballad Tears opens Smokestack Lightning. It comes complete with lush strings and later, some stunning guitar licks. Paid My Dues is best described as mid-tempo slice of string drenched, blue eyed soul. This proved to be very different from the rest of Smokestack Lightning.
It’s all change on What A Price, Wanna Be Free, Turning Over and Smokestack Lightning. These songs see Mike head in the direction of the blues. Accompanied by a smoking band, he embraces the role of bluesman as the Muscle Shoals Rhythm Section jam. Smokestack Lightning is totally reinvented, and becomes a twelve minute hypnotic, smouldering bluesy jam. Mike has kept his best blues until last, as he pays homage to Howlin’ Wolf in a fitting fashion. In an album that oozes quality, Mike Harrison kept one his best songs until last.
When critics heard Smokestack Lightning, they were impressed by Mike Harrison’s new sound. They hailed Smokestack Lightning as Mike Harrison’s best album so far. Most critics preferred Smokestack Lightning, to Mike Harrison and wondered aloud what the Cumbrian’s third album would sound like? However, Mike had a surprise in store for his fans.
The Return Of Spooky Tooth.
You Broke My Heart So I Busted Your Jaw.
In September 1972, Spooky Tooth reformed, with a new lineup. The only musician who had played on The Last Puff was Mike Harrison.
Since then, Luther Grosvenor had joined Mott The Hoople, where he dawned the alias Ariel Bender. His replacement in Spooky Tooth, was future Foreigner guitarist Mick Jones. Mike Kellie was replaced by drummer and percussionist Bryson Graham. Chris Stewart became Spooky Tooth’s fourth bassist. However, the biggest surprise, was the return of Gary Wright.
Quickly, Gary Wright resumed the role of Spooky Tooth’s songwriter-in-chief. He wrote six of the eight songs, and cowrote Times Have Changed with Mick Jones. The other song on You Broke My Heart So I Busted Your Jaw was the Bryson Graham composition This Time Around. These eight songs were recorded at three London studios.
Recording of You Broke My Heart So I Busted Your Jaw. Olympic Studios, Island Studios and Apple Studios. It seemed no expense was being spared for Spooky Tooth’s comeback album. These were some of London’s top studios. One expense that was saved was a producer. Spooky Tooth produced You Broke My Heart So I Busted Your Jaw. It was scheduled for release in ay 1973.
Many of Spooky Tooth’s fans eagerly awaited their comeback album. However, when reviews were published, they were mixed. Some critics felt that You Broke My Heart So I Busted Your Jaw wasn’t Spooky Tooth’s finest hour. It stuck to Spooky Tooth’s familiar mixture of hard rock and psychedelia. While hard rock was still popular, progressive rock dominated the charts. However, other critics were won over by Spooky Tooth’s comeback album.
Other critics liked the dual keyboard sound on You Broke My Heart So I Busted Your Jaw. This brought a new dimension to Spooky Tooth’s sound. There was no consensus. For once, a Spooky Tooth album had divided the critics’ opinion. However, record buyers were of one mind.
On the release of You Broke My Heart So I Busted Your Jaw, in November 1973, the album reached number eighty-four in the US Billboard 200. This matched the popularity of The Last Puff. Spooky Tooth were back to where they were before Ceremony. What could go wrong?
Witness.
After making their comeback with You Broke My Heart So I Busted Your Jaw, Spooky Tooth looked as if their career was back on track. Then there was a change in Spooky Tooth’s lineup.
This time, Spooky Tooth’s original drummer Mike Kellie made a comeback, and replaced recent recruit Bryson Graham. However, that wasn’t the end of Bryson Graham. He played on some of the tracks on Witness. It was a tale of two drummers.
One thing didn’t change, Gary Wright wrote most of Witness. He penned six of the nine tracks, and cowrote the other three tracks with members of Spooky Tooth. Considering the other members weren’t regarded as songwriters, they were proving a reliable source of songs. Gary Wright and Chris Stewart penned Don’t Ever Stray Away. Mick Jones collaborated with Chris Wright on All Sewn Up. Drummer Mike Kellie celebrated his return by cowriting Pyramids with Chris Stewart. It seemed the other members of Spooky Tooth had hidden talents.
They also produced Witness, which was recorded at Olympic Studios and Island Studios, in London. At two of London’s premier studios, Spooky Tooth recorded their sixth studio album. Little did anyone realise, but this would be the last time one of the band set foot in a recording studio with Spooky Tooth. It was the end of an era.
Sadly, with one of the band about to call time on their career with Spooky Tooth, the reviews of Witness were mixed. Not for the first time, a Spooky Tooth album divided opinion. Some critics enjoyed Witness mixture of hard rock and psychedelia. Others felt the sound was dated. Record buyers had the deciding vote.
They too were undecided. When Witness was released in November 1973, it stalled at ninety-nine in the US Billboard 200. Witness hadn’t matched the commercial success of You Broke My Heart So I Busted Your Jaw. That was disappointing. However, it wasn’t as disappointing as losing one of the band’s most important figures.
Mike Harrison, who founded The V.I.P.s ten years previously, called time on the band he cofounded with Greg Ridley. The group’s cofounder wanted to pursue other projects. Another departure was bassist Chris Stewart. While he was a loss, his departure didn’t leave the void that Mike Harrison’s left. It was a case of the King is dead, long live the King.
The Solo Years Part Two.
Rainbow Rider.
After Spooky Tooth split-up, Mike Harrison resumed his solo career in 1974. Two years had passed since Mike had released Smokestack Lightning It was hailed as Mike’s best album. His third album, Rainbow Rider, had a lot to live up to.
For Rainbow Rider, Mike Harrison chose a mixture of new songs and cover versions. Among the cover versions were Somewhere Over The Rainbow; The Beatles’ We Can Work It Out; Bob Dylan’s I’ll Keep It With Mine and Don Nix’s Maverick Woman Blues. Don Nix also cowrote Like A Road (Leading Home) with Dan Penn. The other cover version was the Jennings-Seal composition You and Me. Mike had cowritten the rest of Rainbow Rider.
This includes Friend a Harrison-Belcher composition; while Easy was a Aitkin, Brown and Harrisona composition. Mike Harrison and Luther Grosvenor penned Okay Lay Lady Lay. Along with the six cover versions, they became Rainbow Rider.
As recording of Rainbow Rider began, Mike had a new band. It featured some of Nashville’s top session players. The rhythm section featured drummer Kenny Buttrey, bassist Norbert Putnam and guitarists Kirk Lorange and Bob Cohen. Two familiar faces were Spooky Tooth and then Foreigner guitarist Mick Jones, and Mott The Hoople keyboardist Morgan Fisher. They were joined by The Memphis Horns and a choir from the Corana Stage School. With Mike Harrison taking charge of production, Rainbow Rider soon took shape, and was released in 1975.
When Rainbow Rider was released in 1975, the album was well received by critics. Mike Harrison they said had picked up where he left off on Smokestack Lightning.
Elements of rock, blues, folk and soul shine through on Rainbow Rider. The blues are to the fore on Maverick Woman Blues, before You And Me is a fusion of blues, funk and rock. Mike struts his way through the lyrics, before delivering a soul-baring vocal on the ballad I’ll Keep It With Mine. Accompanied by gospel-tinged harmonies, it’s one of the highlights of Rainbow Rider. So is the Dylan-esque Like A Road (Leading Home). Strings and horns play leading roles in the song’s success. Then a familiar face makes a welcome appearance.
Although The Beatles’ We Can Work It Out had been covered by many artists by 1975, Mike brings something new to the song, and reinvents it. Funky, bluesy and rocky describes Okay Lay Lady Lay. Then Easy is a beautiful ballad, where a piano, stirring strings and gospel-tinged harmonies accompany Mike’s impassioned vocal. Easy proves to be another of the highlights of Rainbow Rider. Almost as beautiful is Mike’s cover of Somewhere Over The Rainbow. Somehow, he brings something new to an oft-covered song. Friend, another heartfelt and melancholy ballad brings Rainbow Rider and the Island Records trilogy to a memorable close.
Rainbow Rider completes the Island Records trilogy in 1973, and the story of Mike Harrison’s all too brief solo career. Sadly, Mike Harrison never quite enjoyed the commercial success his music deserved. That’s a great shame.
The three albums Mike Harrison released for Island Records showcase a talented singer, songwriter, musician and producer. Sadly, his music never found a wider audience. Instead, Mike Harrison, like Michael Chapman and to some extent John Martyn, is another artist who is another of music’s best kept secrets. Maybe not for much longer though. BGO Records will release the Island Records trilogy of Mike Harrison, Smokestack Lightning and Rainbow Rider on the 1st of April 2016 on two discs. This is the perfect way to discover Mike Harrison’s Island Years trio of Mike Harrison, Smokestack Lightning and Rainbow Rider.
CLUSTER 1971-1981.
CLUSTER 1971-1981.
The Cluster story began in the Zodiak Free Arts Lab in West Berlin. That’s where Hans-Joachim Roedelius first met Dieter Moebius. Little did they know that they were about to embark upon a musical journey that would last five decades.
During that period, Hans-Joachim Roedelius and Dieter Moebius were part of three of the most important, influential, and innovative bands of the Kominische era. This includes Kluster, Cluster and Harmonia. Each of these groups have inspired several generations of musicians. That’s still the case today. So it’s fitting that on 8th April 2016, Bureau B released the Cluster 1971-1981 box set.
The 1971-1981 box set is a lavish and lovingly curated box set. It features the eight albums Cluster recorded between 1971 and 1981. The ninth album features previously unreleased live recordings of Cluster. Quite simply, 1971-1981 is the definitive musical document of the first ten years of Cluster’s career. However, the Cluster story, Hans-Joachim Roedelius told me recently, began in the late sixties.
It was in 1968, at the height of the psychedelic era, that Hans-Joachim Roedelius “cofounded music commune Human Being. I also co-founded Zodiak Free Arts Lab in West Berlin with conceptual artist Conrad Schnitzler. At that period, I was a member of the group Human Being, a forerunner of Kluster.” For Hans-Joachim Roedelius: “this was an exciting time, where there was a sense that anything was possible. It was like a revolution. We were happy to have found this place to work. All the freelance musicians in the city found their way to Zodiak Free Arts Lab. There were members of Can, Tangerine Dream, Ash Ra, Neu! at Zodiak. They were great times.” The Zodiak Free Arts Lab was also where Hans-Joachim Roedelius met someone who would play a huge part in his career, Dieter Moebius.
“About the end of 1969, Dieter Moebius visited The Zodiak Free Arts Lab. He wasn’t a member. No. He just visiting, and we got talking.” The two men found they had a lot in common, including the way they believed music should be made. It was almost inevitable that Hans-Joachim Roedelius and Dieter Moebius would form a group.
Kluster.
“It was later, in 1970 that we founded Kluster.” Hans-Joachim Roedelius and Dieter Moebius joined with Conrad Schnitzler to form Kluster. However, Kluster was no ordinary band.
Initially, Cluster played an eclectic instruments and utensils. “Everything was spontaneous. Improvisation was key.” Kluster’s music was described in The Crack In The Cosmic Egg magazine as “unlike anything heard before.” Hans-Joachim Roedelius admits: “that was what Kluster set out to do. Kluster was about musical activism.” Soon, the musical activists would record their debut album.
Kluster’s debut album came about in the unlikeliest of circumstances. Although band were based in West Berlin; “one night we were playing a concert in Dusseldorf. A priest just happened to be walking past, and heard the music. He liked our music, and came in to the hall. Once the concert was finished, he asked if we would like to record an album of new church music? The answer was yes!” So Kluster made the journey to the Rhenus-Studio in Gordor.
When Kluster arrived at the Rhenus-Studio, “we met Conny Plank and producer Oskar Gottlieb Blarr. We went into the studio and recorded an hour of music in one take. Religious text was added to this, and became the ‘new church music.’ The music became our first two albums Klopfzeichen and Zwei-Osterei.
Only 300 copies of both albums were pressed. Klopfzeichen was released in 1970, with Zwei-Osterei following in 1971. Critics realised the importance of Kluster’s music. It was described as quite extraordinary, bleak, stark, unnerving and full of electricity. Despite the reviews, the sales of Klopfzeichen and Zwei-Osterei were small. However, later, Kluster would be recognised as one of the most influential groups of the early seventies. This influential and innovative group would only release one further album.
This was Eruption, which was recorded by Kluster during 1971. It featured an hour of experimental music, which was recorded by Klaus Freudigmann. Eruption is quite different from Kluster’s first two albums. There is no religious text, just Kluster at their innovative best. For many, Eruption is Kluster’s finest hour. However, 1971 marked the end of an era for Kluster. One group became two.
Cluster.
In the middle of 1971, Conrad Schnitzler left Kluster, and briefly, worked with another band, Eruption. This was the beginning of the end for Kluster.
After the original lineup of Kluster split-up, “Dieter Moebius and I anglicised the band’s name, and Kluster became Cluster.” Between 1971 and 1981, Cluster would release eight studio albums and a live album. These studio albums feature in Bureau B’s 1971-1981 box set. However, Cluster’s debut was released later in 1971.
Cluster.
When Cluster recorded their eponymous debut album, they were joined in the studio by another legend of German music, Conny Plank. He featured on Cluster, which marked a change in sound. Gone was the almost industrial, discordant sound, which was replaced by an electronic sound. “Dieter and I played all the instruments and Conny added all sorts of effects. For us this was the start of a new era.”
Cluster was released later in 1971 on Phillips. “This was Cluster’s major label debut. It found Cluster at a crossroads.” They were ready to turn their back on the avant-garde, almost discordant and industrial sound of Kluster, and begin the shift towards the ambient and rock-tinged sound of the late seventies. That was the future.
Before that, Cluster began work on their eponymous debut album. In the studio, Cluster set about honing and sculpting a trio of soundscapes. Hans-Joachim Roedelius remembers: Cluster which had very little melody, is a series of improvised and atmospheric soundscapes.” They’re best described as futuristic, moody, dramatic and truly captivating. Heavy rhythms, beeps, squeak and drones drenched in effects assail the listener. It’s as if Cluster have been inspired by avant-garde, free jazz, early electronica, industrial, free jazz and even rock. This fusion of influences became Cluster.
Once Cluster was completed, the album was released on Philips. Little did anyone, even Cluster themselves, realise the effect album bearing the serial number Philips 6305074 would have. Nowadays, Cluster is regarded as an innovative classic, and in a sense, this was the start of Cluster’s career in earnest.
Cluster II.
“For the followup to Cluster, Conny Plank was no longer a member of Cluster. We were now a duo, consisting of Dieter and I. Conny had other projects he wanted to concentrate on.” With three becoming two, the two remaining members took a different approach to recording.
Cluster had added to their impressive arsenal of equipment. As Conny Plank watched on, two organs, analog synths, a Hawaiian guitar, a bass and an electronically treated cello were brought into the studio. Cluster weren’t finished yet. The two members of Cluster started setting up array of effects. This included audio-generators which usually, was found in an electrician’s toolbox. They became part of Cluster’s alternative orchestra. With everything setup, Cluster got to work.
“To some extent, it was trial and error. We tried different things. Some worked, others didn’t,” Hans Hans-Joachim Roedelius explains. The end result, Cluster II “saw a further shift towards a more electronic sound.”
The music veered between futuristic and dramatic to hypnotic, dreamy, lysergic and otherworldly. Sometimes the music becomes pastoral; other times understated and occasionally, explodes into life. However, for much of the time, Cluster II is melodic and mesmeric. Again, Cluster had produced an album that was way ahead of its time.
When Cluster II was released, it was on Germany premier label when it came to ambitious and innovative music, Brain. Cluster II was assigned the serial number Brain 1006, and when in was released in 1972, it was well on its way to becoming a groundbreaking genre classic.
Ironically, many German critics and record buyers overlooked groups like Cluster. Instead, they were more interested in the music coming out of America and Britain. Incredibly, they never realised that some of the most innovative music was being made in their own backyard. This includes that made by musical chameleons, Cluster whose music would continue to evolve.
Zuckerzeit.
Zuckerzeit, Cluster’s third album, was released in 1974, and was co-produced by Michael Rother of Neu! “Michael first met Dieter and I in 1971. By 1973, Michael was on a break from Neu! We decided to head into the countryside to Forst, to build our own recording studio.” This could’ve been fraught with problems? “No. We knew what we were doing and trying to achieve. All of us had experience in studios, so knew what was required.” The result was a studio “where Michael, Dieter and I recorded the two Harmonia albums, Musik Von Harmonia and Deluxe.” However, before that, Zuckerzeit was released.
On the release of Zuckerzeit, in 1974 Michael Rother’s influence is noticeable. He placed more emphasis on melody, rhythm and the motorik beat.” Hans-Joachim Roedelius explains that previously, Cluster didn’t place the same importance on melody or structure. Michael introduced structure and discipline.” The result was a very different album.
That’s apparent from the opening bars of Hollywood. A crisp Motorik beat provides the backdrop for Cluster’s synths. They create music that’s variously melodic, ethereal, evocative, haunting and cinematic. Especially on tracks like Hollywood, Rosa, Fotschi Tong and Marzipan. Then on Rote Riki, the music becomes futuristic, with the man machine adding sci-fi sounds that sound as if they’re from a distant planet. Meanwhile, Caramel would influence future generations of dance music producers. Although Caramba has futuristic sound, it’s melodic and contemporary. It sounds as if it belongs on the dance-floors of Berlin’s clubs. This is incredible, given Zuckerzeit was released later in 1972.
Cluster had released two albums on Brain during 1972. Both would become future genre classics, and both would show a different side to Cluster. Zuckerzeit with its mixture of electronic pop, art rock and avant-garde, was an album way ahead of its time. It’s a truly innovative and timeless album, where Cluster continue to reinvent themselves. The decision to bring Michael Rother onboard as producer was a masterstroke; and also resulted in the birth of a new band, Harmonia.
Harmonia.
After completing their recording studio in Forst, it seemed only natural that the three friends record an album. So Harmonia was born. It was meeting of musical minds. The two members of Cluster were receptive to Michael Rother’s way of working. Hans-Joachim Roedelius explains: “there were no problems, we wanted to learn. Previously, we improvised, which made playing live problematic. A song was merely the starting point, it could go anywhere. Michael however, taught us about structure. We influenced him. It was a two-way thing.”
Musik von Harmonia.
That proved to be the case. “Harmonia’s 1974 debut album, Musik von Harmonia, was a move towards ambient rock.” While Michael Rother influence can be heard, so can the two members of Cluster. Their influence is more prominent. They adds an ambient influence to what’s a groundbreaking classic. It saw this nascent supergroup seamlessly embrace and incorporate disparate musical genres. In the process, Harmonia set the bar high for future ambient rock albums. However, Harmonia changed tack on the followup to Musik von Harmonia.
The three members of Harmonia reconvened in their studio in Forst for the recording of Deluxe. Co-producing Deluxe was Conny Plank. This just happened to coincide with Harmonia changing direction musically.
Deluxe.
Deluxe saw a move towards Krautrock or Kominische music. The music was more song oriented. However, still Harmonia were experimenting, pushing musical boundaries. This was Cluster’s influence. Other parts of Deluxe had been influenced by Michael Rother. Hans-Joachim Roedelius agrees. “Michael Rother’s influence can be heard on Deluxe, more so than on Musik von Harmonia.” What was also noticeable, was that Deluxe had a more commercial sound. “This wasn’t a conscious decision. The music morphed and evolved, and the result was Deluxe.” It was released in 1975, to the same critical acclaim as Musik von Harmonia. However, the end was nigh for Harmonia.
Tracks and Traces.
Little did the three members of Harmonia realise, that Deluxe was the last album they would release for thirty-two years. For what was their swan-song, Harmonia were joined by another legend, Brian Eno.
At the studio in Forst, Hans-Joachim Roedelius, Dieter Moebius, Michael Rother and Brian Eno spent eleven summer days recording what was meant to be their third album. The working title was Harmonia ’76. However, by then, “Michael Rother was wanting to concentrate on his solo career. Once the album was completed, it became apparent Harmonia had run its course. It was evolution.” So Cluster returned to the studio to record their fourth album,
A New Cluster Album-Sowiesoso.
After “Harmonia ran its course, we returned to Cluster. We had never stopped being Cluster. We played live, but didn’t release a new album until Sowiesoso, in 1976, which we recorded in just two days.”
Despite being recorded in just two days, Sowiesoso found Cluster at their creative zenith. They had recorded an album of understated, beautiful, poignant and melancholy melodies, including Umleitung, Zum Wohl and Es War Einma. The arrangements are often minimalist, but always, cinematic. Sometimes, the music is evocative and atmospheric. Occasionally, there’s an air of mystery. Especially, Halwa, with its cinematic sound. Just like the rest of Sowiesoso, the music paints pictures. That was the case in 1976, and is the case in 2016.
When Sowiesoso was released in 1976, it was on Günter Körber’s Sky Records. It had been formed in 1975, and by 1976, was already regarded as a label that released ambitious, influential and innovative music. This described Cluster’s first album in four years. However, Sowiesoso was a very different album to Zuckerzeit.
That was no surprise to those familiar with Cluster’s music. They were like musical chameleons, constantly reinventing their music. The musical chameleons were about to enter a three year period where Cluster could do no wrong.
Enter Brian Eno.
In June 1977, the two members of Cluster were joined by three old friends. The first was Holger Czukay of Can. “Dieter and I knew Holger from way back, back to Zodiak Free Arts Lab. We hung around with members of Can. Back then, there was a great sense of community. Everyone helped and influenced each other. We even went on to tour together.” Another of the guest artists on Cluster’s 1977 album first met Dieter and Hans at a Cluster concert.
That was Brian Eno: “who Cluster jammed with in 1974. Brian joined us on stage, and we spent the second half of the concert jamming. That was how we first met Brian. Then in 1977, he joined as for the recording of Cluster and Eno. We learnt a lot from Brian. Similarly, I like to think we influenced him. That was the case when we recorded After The Heat.” Before that, Cluster and Eno was recorded.
Cluster and Eno.
The four great innovators got to work. They spent part of June 1977 recording enough for two albums. Conny Plank laid down bass lines, while Dieter and Hans-Joachim Roedelius played synths and keyboards. So did Brian Eno who added bass and vocals. Once the recording session was complete, the first collaboration between Cluster and Brian Eno was released later in 1977.
When Cluster and Eno was released later in 1977, the album was a meeting of minds. Elements of both Cluster and Brian Eno’s music melted into one. Cluster supplied elements of avant-garde, while Brian Eno’s supplied the ambient influence. When this was combined with drone and world music, the result was another classic album.
Widespread critical acclaim accompanied the release of Cluster and Eno. It was hailed a groundbreaking album, one that was way ahead of its time. Cluster and Eno is an album that Hans-Joachim Roedelius: “is proud of.” He remembers the recording sessions fondly, and sees both Cluster and Eno, and its followup After The Heat, as an equally “influential album.”
After The Heat.
Just a year after the release of Cluster and Eno, the second collaboration between Cluster and Brian Eno was released. It too, was released to critical acclaim. This fusion of ambient, art rock, avant-garde, experimental and Krautrock were combined by Cluster and Brian Eno. Again, both Cluster and Brian Eno were influencing each other.
“This was not one way. We both influenced each other. On After The Heat, I believe we influenced Brian’s production style. If you listen to David Bowie’s Low and Lodger albums which Brian Eno produced, Cluster and Harmonia’s influence can be heard. So while Brian influenced Cluster, we certainly influenced him.” After two albums with Brian Eno, Cluster’s next album saw them return to a duo.
The Return Of The Cluster Duo.
Grosses Wasser.
Following two albums with Brian Eno, Cluster returned to the studio in 1979. This time, Cluster were joined by Peter Baumann of Tangerine Dream. He would produce Grosses Wasser, Cluster’s seventh album.
It was an album where Cluster drew inspiration from ambient, art rock and avant-garde to electronica and free jazz. The result was music that’s ambitious, challenging and experimental. Other times, the music becomes ethereal, elegiac, melancholy and cinematic. Sometimes, though, Cluster throw a curveball like on Breitengrad 20, and a track changes direction. This adds to avant-garde sound of Grosses Wasser.
When Cluster released Grosses Wasser later in 1979, it proved to be Cluster’s most avant-garde album. “This wasn’t a conscious decision. Instead, it was just a case of evolution. That was the way that the Cluster worked. It was the same live.” That became apparent on Cluster’s first live album.
Live In Vienna.
Despite releasing seven studio albums, Cluster had never released a live album. That changed when Cluster took to the stage at the Wiener Festwochen Alternativ, on June 12th, 1980. It was the only time that Cluster took to the stage with Joshi Farnbauer. The result was one of Cluster’s most experimental albums.
Sometimes, the music veered towards discordant, and was reminiscent of early performances by Kluster. Hans-Joachim Roedelius remembers: “a song was just the starting point. We never knew what direction it would take. It was improvisation at its purest. Partly, it was because we couldn’t replicate our music live.” That was the case on, Live In Vienna, which featured Cluster at their most ambitious and inventive. However, just like Harmonia four years earlier, the end was nigh for Cluster.
Curiosum.
Cluster recorded their ninth album Curiosum in 1981. Recording took place at Hamet Hof, in Vienna, which was now Hans-Joachim Roedelius adopted home.
At Hamet Hof, Cluster recorded seven tracks. Some were relatively short by Cluster standards. Given the title, the seven tracks on Curiosum were somewhat unorthodox. However, they were unusually melodic. It was a fitting way to end chapter one of the Cluster story.
Just like Harmonia, “Cluster had run its course. We decided to concentrate on other projects. There was no fall-out, Cluster just came to a natural end. After eight studio albums, which feature in Bureau B’s box set 1971-1981, Cluster was over. Or was it?
Cluster was put on hold until 1991, when Apropos Cluster was released. It was the ninth album from Cluster, as the Hans-Joachim Roedelius and Dieter Moebius partnership entered its third decade. They weren’t done yet.
One Hour followed in 1995, and became Cluster’s tenth album. Two years later, in 1997, Cluster’s second live album Japan 1996 was released. Two became three when First Encounter Tour 1996 followed later that year. After two albums in less than a year, it would be the next millennia before Cluster returned.
It wasn’t until 2008, when Cluster returned with the fourth live album of their career. Then in 2009, Cluster released Qua, which proved to be their swan-song.
Six years later and after a brave and lengthy battle against cancer, Dieter Moebius died on 20th July 2015. The man who had collaborated with Hans-Joachim Roedelius on some of his greatest and most ambitious musical triumphs had passed away. “After a lifelong friendship, losing Dieter has left a void. We were friends since 1969, and spent a lifetime making music. Many a month we spent on the road, talking, and enjoying friendship as the kilometres passed by. We travelled the world together, and enjoyed every minute. So losing Dieter has come as a shock, albeit it was expected. However, I have great memories of a great man, and a great friend, who I’ll never forget.” Nor will anyone who loves Kominische music. They too, mourned Dieter Moebius’ death, but forever his memory will live on through his music.
This includes the music Hans-Joachim Roedelius and Dieter Moebius recorded as Cluster. They were one of the most important, influential, and innovative bands of the Kominische era, and have inspired several generations of musicians. They like a several generations of music lovers will welcome Bureau B’s release of the Cluster 1971-1981 box set.
This lavish and lovingly curated box set 1971-1981, documents the first ten years of Cluster’s career. Each album has been remastered by Willem Makke. He’s one of the finest mastering engineers, and is responsible for the stunning sound quality. Similarly, Asmus Tietchens detailed and exhaustive sleeve-notes tell the story of each of the eight albums Cluster recorded between 1971 and 1981. It’s a fitting accompaniment to this luxurious box set.
Included in 1971-1981, are the eight albums Cluster recorded between 1971 and 1981. The ninth album, Konzerte 1972-1977 features previously unreleased live recordings of Cluster. They’re a fascinating reminder of how a song was merely a starting point for Cluster. What it became was anyone’s guess as Hans-Joachim Roedelius and Dieter Moebius improvised and experimented. The addition of Konzerte 1972-1977 is just one of nine reasons why 1971-1981 is the definitive musical document of the first ten years of Cluster’s career.
Cluster’s career is one that deserves to be celebrated. Nowadays, they sit at the top table of Kominische alongside Can, Neu! Harmonia and Kraftwerk. Just like each of these groups, Cluster were musical pioneers, who created music that was innovative and influential. However, like many musical pioneers, Cluster’s music was ahead of its time. As a result, Cluster never received the commercial success and critical acclaim in their own country. Instead, Cluster were more popular abroad. Nowadays, as a man once said, the time they are a changing.
Somewhat belatedly, Cluster are being recognised for being pioneers, who released ambitious, groundbreaking and timeless music. It’s gone on to influence several generation of musicians. They cite Cluster as one of the bands who influence them. Meanwhile, those who remember Cluster first time round, cherish their original albums. Those that weren’t around between 1971-1981 have paid ever increasing sums of money for copies of Cluster’s first eight albums. However, after the 8th of April 2016, that will all change when Bureau B release the Cluster 1971-1981 box set on CD, LP and as a digital vinyl. This will allow music lovers old and new, hear Cluster making musical history on 1971-1981.
CLUSTER-1971 1981.
SØLYST-THE STEAM AGE.
SØLYST-THE STEAM AGE.
Time management is important for any musician. Especially when they’re trying to juggle several projects at once. Some musicians struggle to do so, while others make it look ridiculously easy. This includes Düsseldorf based drummer Thomas Klein.
He has been combining musical projects over the last three decades. Originally, Thomas Klein was of Deux Baleines Blanches. However, by 1994 they had evolved into Kreidler. They would become one of the most successful and innovative bands of their generation. Still, though, Thomas Klein found time to work on a variety of side projects.
One of the most high profile side projects as La Neu?, Klaus Dinger’s post Neu! band. This was just the tip of the musical iceberg. Thomas Klein would go on to work with Petra Bosch as Fauna, and as a solo artist. However, Thomas Klein’s most high recent profile side project has been Sølyst.
Sølyst.
The Sølyst story began in August 2011, when Thomas Klein’s latest side project released their eponymous debut album on Bureau B. Sølyst was an inventive fusion of Krautrock and dub. It sounds as if it’s distant relation to Michael Karoli’s 1984 debut solo album Deluge. Just like Michael Karoli, Thomas Klein is a sonic adventurer who pushed musical boundaries. This was apparent when Sølyst was released.
When Sølyst was released, it was to widespread critical acclaim. Critics recognised that Sølyst was an innovative, genre-melting album. For Thomas Klein, Sølyst’s debut album had been a resounding success. Now it was a case of doing it all again.
Lead.
Nearly two years later, and Sølyst return with their sophomore album in April 2013 Lead. Just like Sølyst, two of Lead’s key ingredients were Kruatrock and dub. However, there was also a tribal influence on Lead. This was new, and showed that Thomas Klein wasn’t going to stand still.
Instead, Thomas Klein was keen to ensure Sølyst’s sound evolved. He had succeeded in doing so on Lead. When Lead was released, it was hailed by critics as another groundbreaking album from Sølyst. Buoyed by the critical acclaim and commercial success of Lead, Thomas Klein has returned with his most ambitious album yet, The Steam Age.
The Steam Age.
After a near three year absence, the announcement came, that Sølyst was about to return with their third album, The Steam Age. It was recently released by Bureau B, and is undoubtably the most ambitious so far.
The Steam Age finds Sølyst ushering in: “a new era of digital steam power.” Sølyst it seems, has decided to turn his back on the binary code. This was a brave decision. In doing so, Sølyst was turning his back on one piece of equipment that adorns most producer’s studios; a gleaming, turbo charged Mac Book. However, don’t worry, Sølyst had found the perfect replacement…a piano.
This wasn’t just any old piano. That wouldn’t do. Indeed, that would’ve make things too easy for Sølyst. He had managed to acquire an unloved, abandoned piano. It in modern day parlance, had been trashed. For Sølyst this was perfect.
That unloved, abandoned piano became the perfect source of sounds for The Steam Age. Sølyst was able to pluck, scrape, scratch and tap every part of the piano. This included the strings and the wooden body. There was something almost Faust like in what Sølyst was doing. This myriad of Faustian sounds were captured by Sølyst’s sampler, and became the building blocks for The Steam Age.
Next, Sølyst retired to his studio where he could begin to add to the sequences and patterns that he had captured. By then, Sølyst had added to his trusty drum kit. He had added a myriad of alternative percussion. This included a variety of everyday objects. Many of them are usually discarded. Not by musical maverick Sølyst. Instead, they became an addendum to his drum kit. As he sat down to play, a tin can, wooden board and even what he describes as an “electronically manipulated table percussion ensemble” surrounded him. Now it was time for the groove-meister to make some music with his alternative orchestra and analog synths.
Drawing inspiration from Krautrock, Berlin School, musique concrète, electronica, free jazz and avant-garde, Sølyst’s alternative mechanical orchestra began to lay down twelve tracks. Nothing was planned. Instead, everything he recored over the patterns and sequences played on the abandoned piano, was spontaneous. Sølyst played with freedom, improvising but knowing intuitively what came next. This was the case throughout The Steam Age. When The Steam Age was complete, it was a case of mission accomplished for Sølyst.
He had succeeded in creating an album with a hypnotic, mesmeric and rhythmic backdrop. This resulted in a machinelike backdrop to the tracks on The Steam Age. The music is atmospheric and cinematic. It’s as if Sølyst has captured machines at work. Not the cutting edge, almost futuristic machines found in the factories making BMW, Mercedes Benz and Audis. Instead, they’re machines from another age.
Think of the Industrial Revolution, and the dark, satanic mills that sprung up across the North-West of England. They were full of machines, that were badly maintained by owners who were determined to spend as little on maintenance; while making as much profit as possible. This meant the machines don’t have the same efficiency as their modern day counterparts.
Instead, they cough, splutter and strain as worn cogs, gears and pistons struggle to cope with a days workload. The machinery and its motors are tired, full of scratches, scrapes and gouges through lack of maintenance. Years of dust and grime has built up, and is described by modern day romantics as patina. Meanwhile, cogs and wheels, whine and protest. As motes of dust fill the air, all that everyone hears is the satisfyingly mesmeric, hypnotic and rhythmic backdrop they produce. It’s akin to an alternative orchestra, where pistons, cogs, wheels and gears replace the strings, horns and woodwind. They’re a musical and cinematic reminder the sounds of the dark, satanic mills of the Industrial Revolution, which you’ll soon realise Sølyst has captured perfectly on The Steam Age.
Opening The Steam Age, is the title-track. A lo-fi beeping sound is are panned from left to right. Then the machine awakens. Welcome To The Machine. Its sound is big and bold, dominating the soundscape. Meanwhile, Sølyst’s alternative percussion creates a hypnotic backdrop. They add an almost robotic, Faustian sound. By then, snarling cogs and wheels protest, as pipes rumble. Suddenly, the dark satanic mills seem very real, as a droning sound signals the day’s end.
Futuristic, dramatic and cinematic describes Autumn. It’s as if the machines have come to life, and are lumbering through the factory in search of their tormentor. Sølyst’s percussive orchestra join the march, adding a mesmeric backdrop. Meanwhile, droning synths add to the drama, as the hypnotic sound builds. It has a rhythmic quality. Especially as Sølyst powers his way round his heavily modified drum-kit. By then, melodic, rhythmic and hypnotic describes this cinematic epic.
Dark, droning synths encircle the arrangement to Eulenflug. As they buzz, Sølyst uses rest of the arrangement replicate the sounds of machines. Soon, though, they’re dancing. It’s as if once the owners away, the machines will play. And play they do. Sølyst seems determined to do for machines, what Disney did for toys in the Toy Story trilogy. In doing so, he creates an irresistible track could fill the dance-floor of the hipster clubs of Berlin and Hamburg.
Steamfield I lasts just over a minute. Despite that, Sølyst still has time to fuse elements of Krautrock, musique concrète, electronica and industrial. As flourishes of roller coaster synths zip across the arrangement, drums and a myriad of industrial sounds combine. They replicate the strangely hypnotic and alluringly musical sound of a factory at work.
On Nostalghia, drums pound and reverberate. They’re akin to a machine awakening. Soon, they’re joined by the myriad of alternative percussion who replicate the sound of pistons pumping and wheels turning. When synths are added, the ‘machine’ picks up speed. In the background, people hammer, while cogs grind. Then a bass synths bounds along, adding to the reassuringly hypnotic track. As the tempo increases, the machinery whines, as if in protest. Too fast it proclaims. Then as if by magic, the tempo drops and the machine briefs a sigh of relief. The day is done and rest awaits.
Clearly the sound of the piano being played and the strings being plucked can be heard on Mount Eiffel. He taps out a series of sequences on the woodwork. They grow quicker, and soon are galloping along like a badly maintained loom. As sci-fi sounds flit in and out, always, the rhythmic, hypnotic sound is comfortingly omnipresent.
Balletic and elegiac describes the introduction Catching Leafs. Gracefully it glides along serenely, before the machine stretches and awakens. Gradually, cogs and big wheels are turning. They provide the backdrop to this alternative. That’s until the machine develops a problem, and the tempo drops. It crawls along, cogs whirr, jam, stick and work themselves free, as the vocoded industrial sound protests. Later, a brief burst of the balletic sound reappears, as the machine grinds to a halt. Its last act, however, was a memorable, and indeed, melodic one.
A buzzing bass synth punctuates the arrangement to Tesla. Soon, the factory awakens. Maybe it is time to play again? Especially when the machines reform their orchestra. They’re soon chattering, as if offering up an alternative symphony. This range from metallic and buzzing sound, to whirring, grinding and jarring sounds. Meanwhile, a clock seems to chime repeatedly. Together, the with rest of the orchestra it creates a melodic, and mesmeric alternative symphony.
William lasts just four seconds during which, an otherworldly sound assails the listener. It gives way to Atomium where woodblocks are combined with a free jazz performance on the abandoned piano’s strings. When it disappears, a relentless pounding drum plays, and swells of distant melodic music tantalise. Then Sølyst briefly pounds, brushes and punishes the piano strings. It’s joined by a pulsating steam hammer synth. As it provides a backdrop, sounds flit in and out. They’re variously melodic, futuristic, challenging and dramatic. It’s what one would expect of an industrial backdrop. However, when the sounds unite into one pulsating, hypnotic mass they become memorable and melodic.
Steamfield II sounds like a rickety steam train making its way down to the track. As it does, it contributes to a cinematic industrial soundtrack, which sounds like a Victorian slice of drum ’n’ bass.
Shelf closes The Steam Age. As a pulsating bass synth dominates the arrangement, the sound of hammering is added. Incredibly, this proves melodic. So do the whirling, echoing sound. Just like the rest of the arrangement it’s raison d’être is to create a hypnotic backdrop. That’s what Sølyst’s been trying to achieve throughout The Steam Age. Again he’s succeed in doing so, on his genre-melting third album The Steam Age which was recently released by Bureau B.
The Steam, Age is without doubt, the most ambitious, innovative and groundbreaking album of Sølyst’s career. He turns his back on the binary code, and devotes an album to a time when the Mac Book wasn’t even a figment in the most fertile imagination. Not even within the dark, satanic mills of North-West England during the Industrial Revolution.
That’s what The Steam Age sounds like the soundtrack. Sølyst even manages to replicate the sound of a factory at work. It veers between dramatic, alluring and melodic, to mesmeric, reassuringly rhythmic and hypnotic. The sound of Sølyst’s factory at work provides a captivating soundtrack. Especially when the machines seem to dance with delight. Sølyst it seems , is providing the soundtrack of a factory at play. This conjures up visions of machines coming to life, a la Toy Story. Maybe, Sølyst has inadvertently provided the soundtrack to Disney Pixar’s next blockbuster? He certainly has created a cinematic epic.
When listening to The Steam Age, it’s best to let your imagination run riot. As you listen to the music, scenarios will unfold before your eyes. Suddenly, the dark satanic mills seem very real. Especially their sounds and dangers, as sounds assail one’s senses. For forty-nine minutes, The Steam Age proves an enthralling and captivating listen. It’s the closest thing to time travel you’ll experience with without Doctor Who’s Tardis.
SØLYST-THE STEAM AGE.
DAN WHITEHOUSE-INTRODUCING.
DAN WHITEHOUSE-INTRODUCING.
When Birmingham based Dan Whitehouse came to record his debut album, he didn’t head to one of the city’s many recording studios. Instead, his flat became a makeshift studio. That was where Dan Whitehouse recorded the eleven songs that became his eponymous debut album. It was released in 2012, and introduced Dan Whitehouse to the record buying public.
Since then, Dan Whitehouse has released another three albums. However, three will become four when Dan Whitehouse releases Introducing on the 22nd of April 2016. Introducing is Dan Whitehouse’s first album for Reveal Records, and a tantalising taster of what this talented singer-songwriter is capable of. His career however, began back in 1998.
That was when nineteen year old Dan Whitehouse joined a Naomi, a local band. Dan was a member of the band for two years, but left in 2000 to join the rock band Sonara.
Dan Whitehouse became Sonara’s frontman, and was a member of the band until 2007. During this period, Sonara played at the prestigious Reading Festival. However, by 2007 Dan announced he was leaving Sonara, to embark upon a solo career.
For the first two years of his career, Dan Whitehouse spent time writing songs, honing sound and playing live. This was akin to a musical apprenticeship. After two years, Dan felt confident enough to releases his debut E.P.
When Dan Whitehouse released The Balloon E,P. in early 2009, it featured seven tracks. This Dan explained, was only the first in a trilogy of E.P.s. They examined a variety of themes, including “life, love, loss and happiness.” The second instalment in the trilogy, followed later in 2009.
The Bubble E.P. picked up where The Balloon E,P. left off, examining “life, love, loss and happiness.” One of the most beautiful tracks on The Bubble E.P. was You Can’t Give Me Anymore. Unsurprisingly, it caught the attention of few discerning critics. Suddenly, people were taking notice of the young singer-songwriter. This included veteran pedal steel player B.J. Cole, who made a guest appearance on The Bubble E.P. This was be the start of a long working relationship between the pair that continues today.
Later in 2009, Dan Whitehouse released The Box E.P., which was the final instalment in the trilogy. This brought the examination “life, love, loss and happiness” to an eloquent and heartfelt end. Now surely, Dan’s thoughts would turn to his debut album?
Surprisingly, it wasn’t until 2012 that Dan Whitehouse returned with his eponymous debut album. It had been in Dan’s flat, and featured mainly acoustic instruments. This worked though, and allowed Dan’s vocal to take centre-stage. Five years after embarking upon a solo career, Dan Whitehouse had released his debut album. His sophomore album followed the in 2013.
When work began on Reaching For A State of Mind, Dan Whitehouse found himself in a recording studio with a full band. The band featured some familiar faces. This included P.J. Wright from Fairport Convention; Ezio guitarist Booga. percussionist Chip Bailey and Helen Lancaster of The Old Dance School. This all-star band accompanied Dan in the eleven tracks that became Reaching For A State of Mind. It was released in autumn 2013.
Reaching For A State of Mind was a genre sprawling album. Despite several folk musicians in Dan’s band, the album featured everything from Americana, folk, pop, rock and roots. Critics felt that Reaching For A State of Mind was a much more refined and polished album. It was launched in Dan’s adopted hometown of Birmingham, at the city’s Crescent Theatre. However, it wasn’t just Reaching For A State of Mind that was being launched, but Dan Whitehouse’s career.
Over the next year, Dan Whitehouse’s star was in the ascendancy. He spent the year touring and recording. Dan released his third album Raw State in 2013. It was well received by critics, and found Dan maturing as a singer and songwriter.Then later in 2014, Dan released the Reaching Further For A State of Mind E.P. It featured unreleased songs recorded during the Further For A State of Mind sessions. However, by then, Dan was on tour.
This included touring North America with German-American singer-songwriter Anja McCloskey. The pair even released the Still E.P. together. Then in August 2014, Dan played at the Moseley Folk Festival. He took to the stage after a set by The Felice Brothers, but quickly won the audience over. By the end of his set, Dan had the audience eating out of his hands. Watching from the wings was Richard Thompson, who followed Dan. The grand old man of British folk realised that he was watching one of genre’s rising stars. However, Dan was no stranger to working with some of the biggest names in music.
Over the years, Dan Whitehouse has toured with some major names. This includes Peter Green, 10CC, Maria McKee, World Party and Julian Cope. Dan has also opened for Josh Ritter, Caitlin Rose, Joseph Arthur, Willy Mason and Simone Felice since he embarked upon a solo career in 2007. Recently Dan Whitehouse has toured with Eddi Reader, and soon, will open for Kris Drever on his U.K. tour.
By the time Dan Whitehouse heads out on tour with Kris Drever, he will have released his first album for Tom Rose’s Reveal Records. Introducing is a limited edition CD which features eight tracks from Dan Whitehouse. They’re a mixture of cover versions and songs penned by Dan Whitehouse.
Among the songs on Introducing penned by Dan Whitehouse, are That’s Where I Belong, The Places We Have Been, Work and CCC. Apart from Work, which is a Radio Edit, the other three tracks are a taster of Dan’s forthcoming album. The other four tracks were recorded live at Kyoti Studios, in Glasgow without any overdubbing. This includes Dan’s duet with Jess Morgan on Close Up, which Boo Hewerdine cowrote. Other tracks include covers of The Cowboy Junkies’ Sun Comes Up, Its Tuesday Morning and Chris Wood’s Two Widows. These track introduce Dan Whitehouse on Introducing.
Opening Introducing is Close Up, where Dan duets with Jess Morgan. It’s the first of the tracks recorded live at Glasgow’s Kyoti Studios. From the opening bars, the arrangement is understated. Just a subtle, chiming guitar plays, while Dan delivers tenderly and sometimes ruefully, delivers the cinematic lyrics. Memories come flooding back to him. First about: “wait for four years till they got the call, I guess my blindness set us free.” As Dan delivers the lyrics, wistful describes his vocal. Later, as Jess accompanies Dan, her vocal proves the perfect accompaniment. Especially as he sings: “tonight we’ll have our first meal, you’ll sit beside me Close Up, Close Up it’s the only way I can see.” It’s a beautiful, moving ballad from Dan Whitehouse.
That’s Where I Belong is very different track. It’s a much more uptempo, hook-laden song, and features a full band. This includes a Hammond organ, rhythm section and guitars. They accompany Dan who sometimes sound like Michael Stipe. He combines power and emotion, as he delivers a heart-wrenching vocal. Behind him, washes of swirling Hammond organ, and soaring, cooing backing vocals play starring roles. They join the rhythm section and guitar in driving this irresistibly catchy relationship song along. It has single written all over, given its anthemic sound.
The anthemic sound continues on Nothing’s Gonna Change. Just drums and a chiming, crystalline guitar join washes of Hammond organ. They provide the backdrop for Dan on this love song. He delivers a hopeful, joyous vocal. It’s accompanied by gospel inspired harmonies and braying horns. At heart of songs success are the Hammond organ, harmonies and horns. So catchy is the song, that the backing vocalists can’t resist adding handclaps. No wonder; given the song’s joyous, hook-laden, anthemic sound.
Following two uptempo tracks, Dan drops the tempo on the ballad The Places We Have Been. It’s another song he wrote and recorded during the Kyoti Sessions, in Glasgow. The arrangement is sparse, with just a subtle guitar accompanying Dan’s soul-baring vocal. It’s also needy, and an akin to an outpouring of emotion. Especially as he sings: “I’ll never leave.”
The version of Work on Introducing is a Radio Edit. It’s another Dan Whitehouse composition, and features his band. The rhythm section join a with a searing guitar and washes of Hammond organ, before Dan delivers another melodic and catchy track. He’s accompanied by backing vocals, while the rhythm section underpin the arrangement. A blistering guitar cuts through the arrangement as Dan promises: “I’ll do anything for you, I’ll Work for you, do anything you ask me to.” This is the signal for the backing vocalists to step forward, and add the finishing touch to a track that’s coming to a radio near you, very soon.
Cooing harmonies opens CCC while the rhythm section, scorching guitar and swirling washes of Hammond organ unite. They provide a dramatic backdrop for Dan’s vocal, as the song heads into anthem territory. Accompanied by the cooing harmonies, a pounding rhythm section and a jangling guitar, Dan showcases his talent as a singer, songwriter and storyteller. The lyrics come to life, before as the drama builds. Then at the bridge, the band slow things down. This adds to the drama, before pounding drums and Dan’s vocal exits stage left. It’s replaced by cooing harmonies, washes of Hammond organ and searing guitars. They combine with the rhythm section, this allows Dan’s band to showcase their considerable talents.
The Cowboy Junkies’ Sun Comes up, It’s Tuesday Morning might sound like an unlikely song for Dan to cover. However, it takes on new life in Dan’s hands. He sounds as if he’s lived and experienced the heartbreak and loneliness in lyrics. His vocal is accompanied by a guitar. It’s used sparingly, so that Dan’s vocal takes centre-stage, and the listener focuses on the lyrics to song where hurt and heartbreak, sit side-by-side with loss and loneliness.
Chris Wood wrote Two Windows, which closes Introducing. It’s another song with an understated arrangement. This is perfect for the song. Just occasional bursts of shimmering guitars accompany Dan on this cinematic ballad. Dan’s vocal is slow, tender and full of emotion. His phrasing adds to the emotion, and poignancy of the lyrics. Later, washes of guitar shimmer and glisten, and prove the perfect foil for Dan’s heartfelt vocal. This proves a poignant way to close Introducing.
With its mixture of ballads and hook-laden anthems, Introducing is the perfect introduction to a truly talented singer-songwriter. Introducing features the musical coming of age of Dan Whitehouse, and should be the album that sees his music find a wider audience. Especially given the quality of music on Introducing, which will be released on Reveal Records on 22nd April 2016.
Introducing shows two sides to Dan Whitehouse. There’s the balladeer that features on Close Up, The Places We Have Been, Sun Comes up, It’s Tuesday Morning and Two Widows. They were recorded at Kyoti Studios, in Glasgow without any overdubbing. It’s just Dan and his trusty guitar. Then on the other tracks we hear another side to Dan Whitehouse.
The other four tracks on Introducing are much more uptempo tracks. This includes the irresistibly catchy, anthemic and hook-laden That’s Where I Belong and Nothing’s Gonna Change It. Both have the words single written all over them. They’re anthems in waiting, and could provide the soundtrack to the long hot summer. However, this still leaves two tracks.
On Work and CCC, the hooks certainly haven’t been spared. Just like That’s Where I Belong and Nothing’s Gonna Change It, catchy and memorable describes these tracks. They were produced by the production team of Chris Clarke and Danny George Wilson. Along with an all-star band, they look like transforming Dan Whitehouse’s career.
Hopefully, when Introducing is released, it will find a much wider audience than Dan Whitehouse’s three previous albums. Literally, there is something for everyone on Introducing. As he veers betweens the understated ballads, and hook-laden uptempo tracks, Dan combines elements of Americana, country, folk, perfect pop, R&B and rock. It’s a poignant and potent combination, that one minute will tug at the heartstrings, and next, have you dancing for joy. Not many albums are capable of this. However, Introducing is. Introducing is a and musical and emotional roller coaster, that you just won’t want to get off.
DAN WHITEHOUSE-INTRODUCING.
BLACK MOON CIRCLE-SEA OF CLOUDS.
BLACK MOON CIRCLE-SEA OF CLOUDS.
Last year, I described Norwegian space rock pioneers, Black Moon Circle as one of the rising stars of the Norwegian music scene. Since then, Black Moon Circle’s star has been in the ascendancy. Their third album, The Studio Jams Volume I: Yellow Nebula In The Sky was released to widespread critical. Soon, Black Moon Circle were being invited to play at major festivals across Europe. This included the prestigious Roadburn Festival, in the Netherlands.
The Roadburn Festival takes place in Tilburg, between the 14th-17th April 2016. Black Moon Circle will make their festival debut on the 15th of April. This is perfect timing. That day, Black Moon Circle will release their much anticipated fourth album Sea Of Clouds on vinyl, via Crispin Glover Records. By then, Sea Of Clouds will have been available digitally since the 1st of April. Sea Of Clouds finds Black Moon Circle continuing to reinvent themselves musically. They’ve been doing this since their career began in 2012.
That was when brothers Øyvin Engan and Vemund Engan formed Norwegian psychedelic space rock band, Black Moon Circle. This wasn’t the Engan brothers first band. No. They were previously, members of Trondheim-based punk rock band The Reilly Express. That was the past.
By 2012, the Engan brothers were ready to form their own band. However, it wasn’t another punk rock band. Instead, Black Moon Circle would become a psychedelic space rock band. Øyvin, played bass, guitar and takes charge of vocals. His brother Vemund was also a guitarist. Now all that Black Moon Circel needed was a drummer.
Completing Black Moon Circle’s lineup was drummer, Per Andreas Gulbrandsen on drums. He was the final piece of the jigsaw. Now Black Moon Circle could set about honing their sound.
Gradually, Black Moon Circle’s sound began to evolve. It’s essentially a combination of lengthy jams, searing guitar riffs and a myriad of effects added to the bass and guitar. This Black Moon Circle describe as psychedelic space rock. They’re not alone.
Black Moon Circle are just one of many Norwegian space rock bands. Earthless and Colour Haze are two other bands, who are flying the flag for space rock. In Black Moon Circle’s case, they’ve been doing this since 2013.
That’s when Black Moon Circle recorded their eponymous, debut, mini-album at Nautilus studios in 2013. Black Moon Circle was then released in February 2014 by Space Rock Productions, the label run by the Øresund Space Collective from Copenhagen, Denmark. However, Black Moon Circle aren’t the type of band to let the grass grow under their feet.
Andromeda
Instead, Black Moon Circle returned to the studio in April 2014. That’s when Black Moon Circle recorded Andromeda. They worked quickly and efficiently. As a result, the five songs on Andromeda were recorded in one day. Six months later, and Andromeda was ready to be released.
Black Moon Circle’s sophomore album, Andromeda, was released by Crispin Clover Records, to critical acclaim in October 2014. A great future was forecast for the Trondheim based trio. They were already hatching a plan that sounded like something from the seventies, the golden age of rock.
The Studio Jams Volume I: Yellow Nebula in the Sky.
What Black Moon Circle had in mind was a trilogy of studio jams. The first of this trilogy of albums is The Studio Jams Volume I: Yellow Nebula in the Sky. Fittingly, it features a trio tracks. One of the tracks was recorded during the first jam session in April 2013, while the other two tracks were recorded in 2014. These three tracks became The Studio Jams Volume I: Yellow Nebula in the Sky, which showcases the hugely talented Trondheim trio, Black Moon Circle.
The Studio Jams Volume I: Yellow Nebula in the Sky was the finest album of Black Moon Circle’s career. It features their unique brand of psychedelic space rock with elements of electronica, experimental music and free jazz added for good measure. Seamlessly, these disparate musical genres and influences merge into something new and innovative. It’s cinematic, dramatic, futuristic, moody, rocky and as Øyvin Engan says, “intense.
This intensity is deliberate. It comes courtesy of the three members of Black Moon Circle. They deployed layers of fuzzy guitars, spacey, lysergic synths and a mesmeric rhythm section on The Studio Jams Volume I: Yellow Nebula In The Sky. However, for their fourth album, Sea Of Clouds Black Moon Circle add two new ingredients to their successful musical formula.
Sea Of Clouds.
With The Studio Jams Volume I: Yellow Nebula In The Sky recorded, but not yet released, Black Moon Circle’s thoughts turned to their fourth album. This wasn’t another instalment in the Studio Jams’ series. Instead, what became Sea Of Clouds found Black Moon Circle changing direction slightly.
Having written four new tracks, the Trondheim based trio returned to the studio in June 2015. Øyvin Engan played guitar and bass, while his brother Vemund Engan added another layer of fuzzy guitars. Providing the heartbeat was drummer Per Andreas Gulbrandsen. Together they recorded flour lengthy jams in just one day, However, that wasn’t the end of the story.
A month later, during July 2015, Black Moon Circle returned to the studio. This time, vocals and keyboards were added. Only then, was Sea Of Clouds complete. Before that, The Studio Jams Volume I: Yellow Nebula in the Sky was still to be released.
Nearly nine months later, and buoyed by the critical acclaim thatThe Studio Jams Volume I: Yellow Nebula In The Sky received, Black Moon Circle are preparing to release ASea Of Clouds. Øyvin Engan describes the new album as: “prolonged jams with heavy riffage, the extensive use of effects on bass and guitar and analogue synths oscillating with echoes and delays.” This is sure to win over Black Moon Circle’s over growing fan-base, when Sea Of Clouds is released. You’ll realise why, when I tell you about Sea Of Clouds, the much anticipated album from space rock pioneer Black Moon Circle.
Lunar Rocket opens Sea Of Clouds. That’s a fitting title as the track will eventually, explode into life. Before that, just moody, spacious, bluesy and rocky guitar riffs are played. Sometimes, they tremble and shimmer. Then after a minute, it’s all change.
The arrangement literally explodes. Pounding, thunderous and relentless drums join the bass in powering the arrangement along. Buzzing, searing, rocky guitars accompany Øyvin’s powerhouse of a vocal. Soon, an array of effects are unleashed. They’ve always been Black Moon Circle’s secret weapons, and play an important part in their space rock sound. By then, Black Moon Circle are at their heaviest and most melodic. They seem to have drawn inspiration from April Wine, Black Sabbath, Deep Purple, Led Zeppelin, Hawkwind, Moster and Motorpsycho. Elements of space rock, psychedelia and heavy metal combine seamlessly. Guitars bristle, drums pound and a buzzing bass joins whirling, space-age, haunting synths. In the midst of this musical vortex is Øyvin’s vocal. He seems to embrace the roll of frontman, on this hard rocking, slice of melodic space rock, that shows a new side to Black Moon Circle.
A droning wash of feedback is joined by bass and guitars on The Magnificent Dude. As a crystalline guitar plays, the rhythm section provide a slow, moody, hypnotic backdrop. When Øyvin’s vocal enters, he combines emotion and drama. All the time, the arrangement builds. Soon, a scorching, blistering guitar solo plays; while a vortex of synths blow across the arrangement. Effects are deployed, as everything from post rock, psychedelia and space rock are combined with Krautrock. When the vocal returns, Øyvin and the rest of Black Moon Circle the track heads into anthem territory. Still, though, Black Moon Circle aren’t afraid the kick loose. When the vocal drops out again, a guitar masterclass unfolds. Literally, the blistering, trembling guitar cut through the arrangement as the rhythm section create a mesmeric backdrop. Later, the track veers between moody, rocky and futuristic, thanks to the sci-fi sounds and myriad of effects. Combined, they play their part in an alternative space rock anthem.
Moondog picks up where The Magnificent Dude left off. Just lone guitar is panned left. It’s soon joined by another guitar, bass and bubbling synths. Soon, sci-fi synths and keyboards are added; before Øyvin’s vocal enters. By then, a myriad of instruments and effects assail the listener. Still, though, the lone guitar is panned left. Meanwhile, the rest of Black Moon Circle are responsible for a futuristic, rocky soundscape. Playing leading roles are a blistering guitar, a vortex of whirling, ghostly synths and an array of sci-fi effects. They’re responsible for a myriad of beeps and squeaks. However, the vocal proves to be a game-changer. It adds the finishing touch to a track whose roots are in the seventies. There’s more than a nod to progressive rock, while elements of classic rock, psychedelia and space rock shine through. Later, memories of Yes and Emerson, Lake and Palmer come flooding back, before Øyvin’s vocal becomes briefly lysergic and the track become rocky, futuristic and again, anthemic.
Warp Speed closes Sea Of Clouds. Bursts of bass accompany a dubby, shimmering guitar. Meanwhile, cymbals are caressed before sci-fi synths and a machine gun guitar are unleashed. This is the signal for Øyvin to deliver a lived-in vocal. Accompanying him, are blasts of bass, scorching, searing guitars and relentless drums. By then, a vortex of synths, crunch guitar, bounding bass and driving drums. They provide a backdrop for Øyvin’s strutting vocal as Black Moon Circle become a rocking machine on this thirteen minute, genre-melting epic. It features Black Moon Circle at their hard rocking best as they set sail on the Sea Of Clouds at Warp Speed.
Just six months after the release of The Studio Jams Volume I: Yellow Nebula In The Sky, Black Moon Circle return with their fourth album Sea Of Clouds. It features the Trondheim-based space rockers at their groundbreaking best, as they continue to reinvent themselves.
To do this, Øyvin Engan’s added vocals to the four lengthy tracks on Sea Of Clouds. This results in a very different album to The Studio Jams Volume I: Yellow Nebula In The Sky. The music on Sea Of Clouds is melodic and anthemic. It’s also hard rocking.
This is what we’ve come to expect from Black Moon Circle. Their three previous albums have featured Black Moon Circle showcasing their hard rocking brand of psychedelic, space rock. On Sea Of Clouds, Black Moon Circle revisit this sound, but combine elements of heavy metal, Krautrock, avant-garde, free jazz and post rock. Black Moon Circle have also drawn inspiration from Black Sabbath, Can, Deep Purple, Emerson, Lake and Palmer, Hawkwind, Iron Maiden, Led Zeppelin, Hawkwind, Moster, Motorpsycho, Radiohead and Yes. These disparate musical genres and influences merge into something new and innovative on Sea Of Clouds.
This is best described as dramatic, futuristic, moody, otherworldly and gloriously rocky. Sometimes, Sea Of Clouds features Black Moon Circle at their hard rocking best. However, Sea Of Clouds is also “intense.” There’s always been an intensity to Black Moon Circle’s music. It’s as much a part of Black Moon Circle’s music as the layers of fuzzy guitars, spacey, lysergic synths and futuristic sci-fi sounds. That’s the case throughout Sea Of Clouds, which shows another side to space rock pioneers Black Moon Circle, as they prepare to releae the most accessible album of their career.
Sea Of Clouds will be released on digital on the 1st of April 2016. Then two weeks later, on the 15th of April, Sea Of Clouds will be released on vinyl by Crispin Glover Records. It features a truly distinctive album cover. The artwork for Sea Of Clouds was designed by Marius Martinussen. He assembled 100 12” canvasses into a larger unit. After that, he painted the main cover motif. The first 100 hundred copies of the album will each include one original piece from the painting. So not only does Sea Of Clouds feature some of the best music of Black Moon Circle’s career, but could include a piece of original artwork. That’s if you order your copy of Sea Of Clouds early. If you do. it will be well worthwhile.
Sea Of Clouds features Trondheim groove-meisters Black Moon Circle at their hard rocking best. They kick loose from the opening bars of Lunar Rock, and never let go until the closing notes of Warp Rock. In between you’re treated a glorious assault on the sensory system. This comes courtesy of those genre-melting innovators Black Moon Cirle, and their critically acclaimed, fourth album Sea Of Clouds.
BLACK MOON CIRCLE-SEA OF CLOUDS.
YURI GAGARIN-AT THE CENTER OF ALL INFINITY-VINYL EDITION.
YURI GAGARIN-AT THE CENTER OF ALL INFINITY-VINYL EDITION.
Since the dawn of the internet age, the way music has been made, released and consumed has been totally transformed. For unsigned bands this has been a game-changer. Yuri Gagarin are proof of this.
Swedish space rockers Yuri Gagarin were formed in Gothenburg, in early 2012. For the first few months of their career, the five members of Yuri Gagarin concentrated on honing their sound. Then when they were ready, the members of Yuri Gagarin decided to record a few songs.
No longer did recording a few songs necessitate booking a rerecording studio, which charged by the hour. Instead, Yuri Gagarin could record some songs in their own practice room using affordable equipment. It was changed days.
Previously, most bands who entered a recording studio were signed to a record label. There was a reason for this. Hiring a recording studio was prohibitively expensive. As a result, most unsigned bands were unable to afford to hire a recording studio. However, the computer-age changed this.
As computers become more affordable, so did digital audio workstations. Programs like Pro Tools, Cubase and later Ableton Live were within the budget of an unsigned band wanting to record either demos or even, an album.
All an unsigned band needed, was a computer running a DAW, an audio interface and some microphones. Then they had their own home studio. Initially, this would allow a band to record demos, which they could shop to record labels. Other bands recorded an album using their own label, and released it on their own label. This would soon become more commonplace.
Over the next few years, there was a revolution within the music. A catalyst for change was the internet. It had transformed how people made, released and consumed by mid-2012. Now it was possible for a band record a song in the morning; upload it onto the internet in the afternoon; and by the evening, people around the world could be listening to this. That’s what Yuri Gagarin did.
Having loaded their newly recorded songs onto Soundcloud, Yuri Gagarin couldn’t believe what happened next. Within a few weeks, Yuri Gagarin were named Soundcloud’s band of the week. That was quite an achievement, considering bands worldwide were submitting music. So it was no surprise that a couple of months later, Yuri Gagarin got the chance to record and release a new album.
The offer came from a new label based in Gothenburg. Yuri Gagarin jumped at opportunity, and soon, found themselves in the studio. They recorded four tracks which became their eponymous debut album. Yuri Gagarin was then released in October 2013 on Levande Begravd Records.
When Yuri Gagarin was released, the album was well received by critics and sold well. Despite this, Yuri Gagarin weren’t happy with the sound quality. So in 2014 a decision was made to remix the album.
Linus Andersson the head sound engineer at Liseberg, was drafted in to do the remix. He improved the sound of Yuri Gagarin, which was released as on vinyl by Sulatron-Records. Quickly, the album sold out, and since then, Yuri Gagarin’s star has been in ascendancy.
Word was spreading about Swedish space rockers Yuri Gagarin. Their unique brand of heavy, instrumental space rock was compared to Hawkwind. This was a huge complement for the Gothenburg based band who began recording their sophomore album during 2015.
So the five members of Yuri Gagarin headed to Elementstudio, in Gothenburg. That’s where Yuri Gagarin prepared to record the six new tracks they had written. They would be recorded by Linus Andersson who would guide the band through the recording of their debut album.
With Linus Andersson take charge of the recording sessions, the members of Yuri Gagarin got to work. Yuri Gagarin’s all important rhythm section were key to the band’s sound. Drummer Steffo, bassist Leif and rhythm guitarist Jon formed a formidable partnership. They were joined by lead guitarist Crille and Robin on synths and FX. Other instruments were brought into the studio, including a bouzouki, grand piano, monotron and percussion. These instruments were played by members of Yuri Gagarin and recordist Linus Andersson. He also mixed and mastered what Yuri Gagarin’s sophomore album. It became At The Center Of All Infinity.
Now that The Center Of All Infinity was complete, Yuri Gagarin began working towards the release of their sophomore album. At The Center Of All Infinity was the first album that Yuri Gagarin had recorded for Dave Schmidt’s Sulatron-Records. It was the perfect label for Yuri Gagarin. Space rock was one of the label’s specialities. Yuri Gagarin had picked the perfect label to recently release At The Center Of All Infinity on vinyl.
The New Order opens At The Center Of All Infinity. From the get-go, Yuri Gagarin kick loose. Machine gun guitars drive the arrangement along, while brief bursts of futuristic sounds can be heard in the distance. Soon, the rhythm section lock into a tight groove, and become one. Meanwhile the lead guitar that’s panned hard left plays a starring role. It unleashes a blistering solo. Fingers fly up and down the fretboard, while a relentless and impressive wall of sound assails the listener. Later, filters are deployed, taking the edge off the arrangement and adding the space rock sound. However, there’s more to Yuri Gagarin than space rock.
Apart from space rock, Yuri Gagarin combine elements of classic rock, heavy metal and psychedelia, before it’s all change at 5.48. The arrangement almost grinds to a halt, as feedback threatens to drench the arrangement. Somehow, the tiger is tamed, as the guitar continues to play, as Eastern influence and drones flit in and out during this epic opening track. It’s the perfect showcase for Yuri Gagarin’s considerable skills and versatility.
Cluster Of Minds features Yuri Gagarin at their heaviest. Straight away, the band play as one and a wall of sound assaults the listener’s senses. Anchoring the arrangement, are the rhythm section, as the twin guitars play starring roles. Again, Crille’s lead guitar is panned left, while the rhythm guitar is panned right. This has the effect of balancing the arrangement. Both guitarists unleash blistering, searing solo and rocky riffs. It’s as of they’re feeding off each other Meanwhile, washes of synths and effects add an dramatic “breathing” sound as space rock and heavy metal unite head on. However, it’s Crille’s lead guitar that steals the show as the track reaches a crescendo.
In The Abyss sees Yuri Gagarin pickup where they left off on Cluster Of Minds. Guitars ring out, before washes of synths and the ominous bass combine. Then the rhythm section cut loose. Drums aren’t so much played as pounded. Still the bass matches the drums every step of the way. It’s the guitars that take centre-stage. Crille’s guitar is panned left, and sometimes filters are used to transform the sound. That’s the case when Jon’s guitar is panned right. It’s almost hidden below the filters. As a result it plays a supporting role to Crille’s lead guitar, as he delivers what can only be described by a guitar masterclass. His playing seems to life the rest of the band, and they unleash a barnstorming performance.
I See No God Up Here is more like a soundscape, than a traditional song. It’s been sculpted over three minutes by Yuri Gagarin. Washes of synths play an important role, while a buzzing bass and feedback create a moody, dramatic and latterly, ethereal soundscape.
Normal service is resumed on At The Center Of All Infinity. Yuri Gagarin return to their space rock sound with what can only be described as impressive, but controlled explosion of sound. The rhythm section combine with relentless, driving guitars and washes of synths. They soar above the arrangement, before Crille steps up and unleashes another blistering, searing solo. Filters are then added, as Jon’s rhythm guitar takes centre-stage. The as washes of synths encircle the arrangement, one becomes two, and Yuri Gagarin duel guitars drive the arrangement along. Later, bursts of bubbling, futuristic sci-fi synths encircle enter, as the rest of the arrangement dissipates. All that’s left are sci-fi sounds and of course, the memories of Yuri Gagarin in full flow.
All too soon, Yuri Gagarin’s sophomore album At The Center Of All Infinity is almost over. Only Oblivion remains. It’s a nine minute epic, that’s driven along by searing guitars and the thunderous rhythm section. Trails of synths soar above the arrangement, as again, the guitars are key to the song’s success. Crille and Jon unleash machines gun guitars, and blistering solos. They’re fast, furious, flawless and melodic. Yuri Gagarin seem to have kept the best until last. Then at 8.20, the volume decreases and Yuri Gagarin disappear leaving just a trail of sci-fi sounds. The space rockers it seems, have left the building..,until the next time.
Hopefully, it won’t be another three years before Yuri Gagarin return with the followup to At The Center Of All Infinity. It was recently released on coloured vinyl Sulatron-Records. Not only does the album look great, but sounds great. It’s beautifully mastered, and isn’t over loud. Care and attention has been taken to the mastering of At The Center Of All Infinity. It features the coming of age Yuri Gagarin. The Gothenburg based band have matured into one of the finest exponents of instrumental space rock.
From the opening bars of The New Order, to the closing notes of Oblivion, it’s an almost flawless performance from Yuri Gagarin. They combine elements of classic rock, heavy metal and psychedelia with Yuri Gagarin’s unique brand of space rock. It’s fast, frenetic and melodic, as five hugely talented musicians showcase their considerable skills and versatility. Stealing the show are Yuri Gagarin’s guitarists, Crille and Jon. They both play starring roles. However, it’s lead guitarist Crille who gets more opportunities to shine. When he does, he grabs them with both hands, and unleashes a series of blistering, scorching, searing solos. They play an important part in the sound and success of Yuri Gagarin’s career defining album, At The Center Of All Infinity.
YURI GAGARIN-AT THE CENTER OF ALL INFINITY-VINYL EDITION.
JON BALKE-WARP.
JON BALKE-WARP.
There aren’t many twelve year olds that switch from classical music to the blues. That’s apart from the Norwegian pianist Jon Balke. He grew up learning to play classical piano. However, by the time he was twelve, Jon Balke was ready to turn his back on Bach and Beethoven.
The year was 1967, and psychedelia was at the peak of its popularity. In Europe and America, psychedelia a generation of musicians wanted to follow in the footsteps of The Beatles, The Byrds and Jimi Hendrix. Not Jon Balke. Instead, he wanted to follow in footsteps of Roosevelt Skyes, Pete Johnston and Amon Milburn and play the blues. As adults smiled knowingly, little did they know that this was the start of a lifelong musical adventure for Jon Balke.
Since then, Jon Balke’s life has revolved around music. He made his professional debut in 1973, when he joined Arild Andersen’s quartet. For the eighteen year old was the start of his jazz apprenticeship.
Jon Balke made his recording debut on the Arild Andersen Quartet’s 1975 album Clouds In The Sky.Soon, he was being asked to play on other people’s albums. This included Karin Krog and Archie Shepp’s 1977 collaboration Hi-Fly. Then in 1978, Jon featured on two albums Lars Klevstrand and Guttorm Guttormsen Kvintett’s Høysang, and Kråbøl and E’olén’s Club 7 jubileumsplate. It seemed there musicians were always looking for a talented and versatile musician, who was quite capable of switching between musical genres.
In 1979, Jon Balke’s phone kept ringing. He featured on E’Olen eponymous album. However, later in 1979, Jon Balke collaborated with Radka Toneff on the album It Dont Come Easy. This was Jon’s first collaboration, but certainly wouldn’t be the last.
By 1983, Jon Balke was a member of two bands. He was a member of Oslo 13, who released their eponymous debut album in 1983. So did Masqualero, which featured Arild Andersen. Masqualero was something of a supergroup. Its members were talented musicians and composers. Especially Jon Balke, whose star was in the ascendancy.
Jon Balke was well on his way to becoming one of the leading Norwegian jazz composers. Combined with his talent as a musician, it was no surprise that in 1984, Jon Balke won a Buddyprisen. This was the first, but wouldn’t be the last award he would win.
Since 1984, Jon Balke released three further albums with Oslo 13, and one with Masqualero. Jon Balke also played on countless albums by other artists, and founded three different groups.
The first band Jon Balke founded was JøKleBa in 1990. Their debut album On and On was released in 1991. Since then, they’ve released four further albums between 1993 and 2005. By then, Jon had founded the band he’s best known for, the Magnetic North Orchestra.
Jon Balke founded the Magnetic North Orchestra in 1992. They released their debut album Further, in 1992. Another trio of studio albums would be released by the Magnetic North Orchestra between 1999 and 2004. A year later, Jon formed his third band, Batagraf.
Having formed Batagraf in 2005, Jon Balke’s new group released its debut album album Further in 2005. It was released to critical acclaim. However, it was another six years before Batagraf returned with Say And Play. During the six years between Further and Say and Play, Jon Balke had been busy.
Despite all the things Jon Balke had achieved by 1988, he still had one thing to do, release a solo album. So in 1988, he released Saturation. Despite being well received by critics, a decade would pass before Jon Balke released his sophomore album.
When Jon Balke released Rotor in 1998, Jon Balke had won another prestigious award. He had been crowned Jazz Musician of the year in 1993. Soon, though, more awards would come Jon Balke’s way.
Jon Balke’s next award came in 2000, when he won an Edward Prize for the Magnetic North Orchestra’s 1999 sophomore album Solarized. Then three years later, Jon Balke was awarded the Oslo Bys kulturstipen in 2003. By then, his thoughts had turned to his next solo album.
Four years later, Jon Balke returned with Book Of Velocities in 2003. This was a very different solo album. On Book Of Velocities, Jon Balke eschewed overdubbing, editing and processing. He wanted the listener to hear what was essentially a live performance. It didn’t matter if the album wasn’t sonically or musically perfect. Overdubbing and editing could rob an album of its spontaneity and very soul. Jon Balke was determined this wouldn’t happen.
Book Of Velocities was well received by critics, and was hailed as one of Jon Balke most natural and honest albums. However, Jon would surpass this next time round. Before that, another award came his way.
This time, Jon Balke had won a Gammleng-prisen in 2008, in the jazz category. Buoyed by this sucess, Jon Balke began work on what many critics regarded as his finest solo album, Siwan.
Just a year later, Jon Balke returned with Siwan in 2009. It was a truly enchanting album, and one that was hailed as groundbreaking and full subtleties, secrets and surprises. Siwan received plaudit and praise upon its release. Jon was continuing to push musical boundaries. This wasn’t surprising.
After all, Jon Balke was by then, one of the most innovative Norwegian musicians of his generation. Having released one of his finest solo albums, the followup to Siwan was much anticipated. However, seven years would pass before Jon Balke returned with Warp, his much anticipated fifth solo album which was recently released on ECM.
Warp.
It’s not surprising that Jon Balke hasn’t released a solo album since 2009. Jon Balke’s certainly been kept busy. He’s released two albums with JøKleBa and an album with Batagraf. Jon has also guested on Mathias Eick’s 2007 album The Door. Then in 2010, he collaborated Hans Ulrik, Benjamin Koppe, Palle Danielsson and Alex Riel on The Adventures Of A Polar Expedition. Two years later, Jon Balke was named artist in residence at the 2012 Molde International Jazz Festival. All these projects have kept Jon Balke busy, and meant his solo career was on hold. That was until September 2014.
At last, Jon Balke found some time to record what would become his fifth album Warp. September 2014 was when Jon Balke would record the sixteen soundscapes he had composed. These soundscapes wouldn’t just feature Jon Balke on piano.
Instead, when Jon Balke arrived at Rainbow Studios, Oslo, he came bearing field recordings. These would be added to the sixteen soundscapes that would become Warp. Another addition would be a trio of vocalists who would augment the piano. For the recording of Warp, vocalists Mattis Myrland and Wenche Losnegaard had been chosen especially. So had the person that would make a reading on Warp, Ellinor Myskja Balke. Warp it seemed, was to some extent, a family affair.
When work began on Warp, it was just Jon Balke on piano. For most of the time, it was just Jon and engineer Jan Erik Kongshaug, and co-producer Manfred Eicher. He co-produced the album with Jon. Once the piano pieces were recorded, other parts were added. By the end of September 2014, Warp was complete. Surely it was just a matter of mixing and mastering the album, and a release would follow in late 2014 or early 2015?
That wasn’t to be. Instead, a year went post before Warp was mixed during September 2015. This took place at RSI Studio, Lugano. The final thing left to do, was master Warp. Mastering took place at MSM Studio, Munich. Now Warp was surely nearing completion?
Warp features sixteen soundscapes lasting fifty-three minutes. Throughout Warp, the word constantly minimalistic and cinematic spring to mind. Especially in Heliolatry, which is also atmospheric and to a degree, eerie and dramatic. That’s down to Jon Balke’s field recordings. They’re crucial to the cinematic sound, and result in a soundscape that’s akin to music for films that are yet to be made. Fittingly, Heliolatry gives way to This Is The Movie. It meanders beautifully along, its soothing cinematic sound cleansing even the weariest of souls.
Wistful and melancholy describes Bucolic, where Jon even leaves room for the listener to ruminate, as a beautiful soundscape washes over the listener. So does On and On, whose analog beauty caresses the senses. At the heart of the soundscape’s success are Jon’s slow impassioned piano and an angelic, soaring vocal and myriad of crackles that are reminiscent of worn vinyl.
After the briefest burst of drama, thoughtful, ponderous and spacious describes Bolide. Again, the music is minimalist and cinematic, as it paints pictures in the mind’s eye. Dark, dramatic and moody, the cinematic sound continues on Amarinthine. Especially when Jon plays big, bold chords that conjure up images of sadness and heartbreak.
Shibboleth is best described as jazz meets avant-garde. Jon deploys a myriad of Faustian alternative percussion, which provides a counterpoint to his piano, which sometimes, heads in the direction of free jazz. Although very different to what’s gone before, it’s a truly innovative soundtrack from a musical adventurer. The same can be said of Mute, which sounds like a homage to Kluster and their first two groundbreaking Krautrock albums. The combination of dialogue and piano gives the Kluster-esque sound.
Slow Spin marks another stylistic change.There’s an element of drama as the piano plays, and harmonies provide part of a moody, cinematic backdrop. Boodle continues the cinematic sound. The sound of joyful children playing, accompanies Jon’s almost urgent piano. His fingers flit up and down the keyboard, as he provides part of the script. The listener is left to finish the story.
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Worlds like slow and spacious, plus moody and minimalist describes Dragoman. There’s also an element of drama. This comes courtesy of a series of pregnant pauses. They say more than words ever could, and add to a captivating cinematic soundscape from master of suspense Jon Balke.
Very different is Kantor, which is melancholy, dreamy and almost sensual sound. It features just Jon’s piano, a soul-baring, vocal and a few of his array of sound effects. Later, the vocal becomes ethereal and the dreamy soundscape envelops and caresses the listener.
Geminate may last less than a minute, but it’s aptly titled. With its minimalist, spacious arrangement, it allows the listener to reflect and ideas to Geminate. Telesthesia is another short track. Again, space is left within the arrangement before Jon decisively and purposely plays. All that accompanies him, are some crackly, bristling effects. They add to what’s an almost haunting, otherworldly soundscape. This almost brings the curtain down on Warp,
That’s apart from two variations of Germinate and Heliolatry. It seems fitting that another version of the track that opened the album, bookends it. The variation of Heliolatry veers between eerie and otherworldly, to futuristic, dark and dramatic. Later, flourishes of piano accompany sci-fi sounds, before the soundscape reaches an ethereal ending. This is a satisfying way to close Warp, Jon Balke’s first album in seven years.
Warp has been a long time coming, but has been well worth the wait. It features a series of carefully sculpted soundscapes. They veer between to beautiful dreamy and ethereal, to dark and dramatic, to moody and broody. Other times, the music is melancholy and wistful. Often, space is left within the arrangements, allowing listeners to reflect. Always though, the music on Warp has a minimalist, cinematic sound.
An alternative title would’ve been Music For Films. However, Brian Eno thought of that forty years ago when he released his ambient classic in 1976. Warp however, has some commonality with Music For Films.
Just like Music For Films, there’s a cinematic sound to Warp. The listener will find themselves inventing scenarios to each of the sixteen soundscapes. It’s almost unavoidable. Especially on tracks where Jon Balke has left space. That’s why I wouldn’t be surprised if many of the soundscapes on Warp were used by filmmakers. However, Warp is also an album that listeners can wallow in.
Over fifty-three minutes, Warp washes over the listener, enveloping and embracing them. Sometimes, it’s lysergic, while other times it soothes their weary soul. Other times, Warp’s slow, spacious and cinematic sound is perfect to reflect and ruminate to. Warp it seems, is all things to everyone.
That’s not surprising. Jon Balke has drawn inspiration from a variety of sources for Warp. Although he’s primarily a jazz musician, he combines elements of ambient, avant-garde, classical, free jazz and Krautrock can be heard. This genre-hopping album is without doubt, the finest album of Jon Balke’s finest solo. Warp is a minimalist cinematic epic, where drama, melancholia and beauty are omnipresent during Jon Balke’s long-awaited comeback album.
JON BALKE-WARP.
CAUSA SUI-RETURN TO SKY.
CAUSA SUI-RETURN TO SKY.
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 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.
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.
WHOLEWHEAT-SONGS FROM MY PARENT’S BASEMENT.
WHOLEWHEAT-SONGS FROM MY PARENT’S BASEMENT.
A degree of mystery surrounds New Jersey based singer-songwriter, Wholewheat. Musically, Brian Austin a.k.a. Wholewheat is something an enigma. Very little is known of him. However, in September 2014, Wholewheat released his debut album Songs From My Parent’s Basement. It features songs that Wholewheat recorded between 1995 and 2003. Songs From My Parent’s Basement however, was very nearly never released.
Wholewheat had grown up listening to an eclectic selection of artists. In high school, he listened to The Ventures, The Animals and The Left Banke. Another influence was sixties soul music. Especially Curtis Mayfield and The Four Tops. However, as his musical career began, Wholewheat was listening to Beck, Daniel Johnston and Sebadoh. Each of these artists would shape Wholewheat as a musician.
It was around 1995, when Wholewheat set his sights on forging a career as a musician. By then, he was living in Toms River, Jersey Shore, New Jersey. That was where Wholewheat would enjoy his ‘glory days’.
These came when Wholewheat was playing around the New Jersey area. When he played lived, his gigs proved reasonably popular. However, Wholewheat didn’t play live as often as most artists. Instead, Wholewheat was content to concentrate on recording,
By then, Wholewheat had transformed the basement of home into a makeshift studio. At the heart of the studio, was a four-track cassette recorder, which Wholewheat recorded his lo-fi songs onto. These songs most people thought Wholewheat would release as an album. Little did they know, that Wholewheat never meant to release these songs.
Instead, recording the songs was almost like an act of confession for Wholewheat. Entering the recording studio, was akin to entering the confessional. It was as if there was a cathartic quality to recording, and that it allowed Wholewheat to cleanse his soul. For onlookers. it must have been frustrating knowing nobody was going to hear these songs.
After all, locally Wholewheat was a described as a talented singer-songwriter. When he played live, he was a popular draw. However, despite enjoying a following locally, Wholewheat was reluctant to release his music. Still, though, Wholewheat continued to record new songs.
Every month, the pile of four-track cassettes grew. Wholewheat was a truly prolific songwriter. Songwriting seemed to come easy for him. He continued to record songs in his basement studio. For eight years, Wholewheat disappeared into his studio, and recorded new songs. Then in 2003, everything changed.
Almost overnight, Wholewheat turned his back on music. No longer was he playing live. He didn’t even go down to his basement studio anymore. It was as if Wholewheat had drawn a line in the sand.
This his fans felt was disappointing. Wholewheat’s lyrics they felt, were perceptive and cerebral. He seemed to live the lyrics to a song. That he had turned his back on music was regarded a tragedy.
Over the next few years, Wholewheat made occasional sojourns into his basement studio. However, it wasn’t like it once been. No longer was Wholewheat in love with music.
Months would go by before Wholewheat returned to the studio. Meanwhile, the pile of four-track cassettes lay unloved. Some of these recordings went as far back as 1995. These tapes were stored in the basement of Wholewheat’s New Jersey home. Then in early 2014, some of Wholewheat’s music was put on the internet.
Soon, Wholewheat’s music found an audience on the internet. The next step was to take things further, and release an album. So the thirteen tracks that became Songs From My Parent’s Basemen were chosen from the cassettes in Wholewheat’s basement.
While most albums were being released digitally 500 copies of Songs From My Parent’s Basement pressed on vinyl. The reason for this was Wholewheat has always been more comfortable outside the digital world. Indeed, Wholewheat’s basement studio is a world away from the the DAWs, digital interfaces and Melodyne that could be found in many basement studios. However, Wholewheat wouldn’t be comfortable in such that environment.
What Wholewheat’s recordings lack in fidelity, he tries to is make up with clever songwriting and feel. Emotion and honesty is said to pervade the lo-fi recordings on Songs From My Parent’s Basement, which I’ll tell you about.
Tragic Death opens Songs From My Parent’s Basement. Just a slow, hypnotic drum machine gives way to synths. Together, they create a nineties lo-fi sound. Plenty of space is left in the arrangement. Some of it’s filled by Wholewheat’s emotionless vocal. Straight away, there’s a darkness to his lyrics: “I want a Tragic Death, some rookie cop to see my last breath.” Wholewheat’s vocal has been multi-tracked, so that he adds backing vocals to this melodic track. His lyrics are dark, nihilist and later, full of youthful angst: “I’m done with this world, all because of a girl.”
The guitar that opens Can You Divide Me Into You? sounds as if it’s been inspired by Nirvana unplugged. Again, Wholewheat’s urgent, emotive vocal has been multi-tracked. Behind him, a big bold, droning, see-saw keyboards play. They provide the backdrop to a heartfelt plea that’s reminiscent of Nirvana.
Just like the two previous tracks, Give You My All has a lo-fi sound. This adds an atmospheric backdrop, as percussion, drums and keyboards add an understated backdrop. At the front of the arrangement, is Wholewheat’s vocal. It delivers what’s alternative, but catchy and memorable paean. When the vocal drops out, beeping, squeaking synths add to the hook quotient to this catchy slice of pop.
He Knew How To Smile is another guitar lead track. Soon, it’s joined by Wholewheat’s vocal. By then, memories of Wilco circa Summerteeth come flooding back. Especially, when the keyboards are added. There’s also a nod to The Beatles post 1967. By then, memories come flooding back and Wholewheat’s delivers a rueful vocal full of sadness and regret.
As Wholewheat plays a crystalline guitar on It’s Alright, urgency and emotion fills his vocal. He’s been transformed into a guitar toting troubadour on what’s a quite beautiful ballad.
Anyhow Anyway Anyday is another song that’s brings back memories of Wilco. That’s despite it featuring just featuring Wholewheat’s vocal, firmly strummed guitar and droning keyboards. Again, Wholewheat’s thoughtful vocal has been multi-tracked, and he adds ethereal harmonies. They’re the perfect finishing touch to one of Wholewheat’s finest hours, which sonically is one of the best recorded songs on Songs From My Parent’s Basement.
Spread Eagle’s has a really lo-fi sound. It’s far removed from music recorded in the digital age. This for many people is part of Songs From My Parent’s Basement’s charm. Wholewheat plays his trusty guitar and also keyboards. His vocal however, sounds as if it’s been influenced by John Lennon’s Double Fantasy and Milk and Honey. Meanwhile, the arrangement has a dreamy, lysergic sound that envelops and captivates the listener.
From the opening bars of We Can Be So Happy, Wholewheat’s vocal is heartfelt and hopeful. Again, his influences seems to be John Lennon and The Beatles on this tender, ruminative ballad.
The clicking drum machine returns on Fields Of Loneliness. Sonically, it’s a track that’s reminiscent of the opening track Tragic Death. It sounds as if it was written and recorded at the same time. There’s a coldness to the vocal, which has been multi-tracked so that Wholewheat accompanies himself. Slowly, and sometimes with a degree of cynicism as Wholewheat delivers the lyrics. This however, is just bravado, as he sounds if he’s experienced the loneliness he’s singing about. Just like Tragic Death, Fields Of Loneliness has a strangely melodic sound.
Jaunty describes the arrangement to Seaworthy. It bobs along, while lo-fi keyboards accompany Wholewheat. He delivers lyrics full that that are like stream of consciousness. Other times, they’re reminiscent of Tom Waite’s early albums. The major difference is Wholewheat’s vocal. It’s almost bereft of emotion, as slowly and deliberately he delivers his cerebral lyrics.
It’s just a guitar that accompany Wholewheat on Cavity. His vocal has been multi-tracked, allowing him to accompany himself and harmonise. Again, there’s a darkness and also irony in the lyrics. “I went for a jog, got hit by a car, guess I’m just lucky.” Despite the irony and darkness, Cavity is still melodic, memorable, and showcases a talented singer-songwriter.
Depression Days sounds as if was recorded in the eighties, when synth pop was at the peak of its popularity. The synths that accompany Wholewheat on Depression Days are all that’s needed. They frame his pained vocal as he lays bare his soul for all he hear.
Closing Songs From My Parent’s Basement is I’ll Be Fine. It opens with dialogue between a child and its father asking “what happens when we die?” This gives way to a picked guitar, keyboards and Wholewheat’s vocal. It’s tender, heartfelt and accompanied by strummed and picked guitar. Washes of keyboards flit in and out, adding the final touch to a track that’s almost Beatles-esque, and oozes quality. It seems Wholewheat has kept the best until last.
That’s the story of Songs From My Parent’s Basement, the album that nearly never was. The master tapes was founding covered in mildew and rainwater. Songs From My Parent’s Basement was nearly over before the project had began.
Somehow, the tapes were rescued, and the songs converted to digital. Now there was no chance of the elements destroying Wholewheat’s debut album. It was safely backed up, and ready for release. However, Songs From My Parent’s Basement wasn’t like most albums released in September 2014.
Songs From My Parent’s Basement has a real lo-fi sound. Crackles and hiss can be heard on the album. That’s not surprising. Wholewheat recorded the album using a cheap four-track recorder. He didn’t have access to expensive equipment, and had to make do and mend. However, to some extent, the quality of the songs and Wholewheat’s delivery of them, makes up for the lo-fi sound. So do the mostly understated arrangements. The result is a compelling album, that’s variously dreamy, ethereal, lysergic, melodic and memorable. Other times, Wholewheat’s music is rueful, and full of hurt, sadness, cynicism and bravado. Mostly, though, Songs From My Parent’s Basement is an exploration of Wholewheat’s emotions and psyche.
One only needs to look at the song titles and listen to the lyrics to realise this. It seems songwriting and recording was therapeutic for Wholewheat. He poured so much of himself into the songs on Songs From My Parent’s Basement, which is a really personal album. Especially song like the nihilistic Tragic Death; the heartfelt and hopeful Give Me Your All; It’s Alright; the reassuring We Can Be So Happy; the darkness of Depression Days and the album closer I’ll Be Fine. Across thirteen tracks lasting forty minutes, Wholewheat lets you into his world. However, all we known about him, is his name Brian Austin. The man that’s better known as Wholewheat is a somewhat mysterious figure. Indeed, Wholewheat is best described as a musical riddle, wrapped in a mystery, inside an enigma.
WHOLEWHEAT-SONGS FROM MY PARENT’S BASEMENT.
STEVE KHAN-EYEWITNESS, MODERN TIMES AND CASA LOCO.
STEVE KHAN-EYEWITNESS, MODERN TIMES AND CASA LOCO.
During the seventies, Steve Khan was one of the top session musicians in New York. He seemed to work non-stop, and was the go to guy for anyone looking for a guitarist. Steve Khan had worked with some of the biggest names in music; including Steely Dan, Blood Sweat and Tears, Billy Joel and Thijs Van Leer. Mostly, though, it was soul, funk and jazz musicians that Steve Khan worked with.
From Esther Phillips and George Benson to Ashford and Simpson, The Brecker Brothers, Bob James, Larry Coryell and Hubert Laws, Steve Khan had worked with them all. However, this was just part of the Steve Khan story.
Part of the Steve Khan story is documented on BGO Records’ recent release. It’s a double album featuring three albums, Eyewitness, Modern Times and Casa Loco. They were released between 1981 and 1983. However, Steve Kahn’s career had started at the end of sixties.
The former drummer and pianist turned guitarist, had moved to L.A. in 1969. Since then, the youngest son of lyricist Sammy Cahn had been forging a career as a musician.
For eight years, Steve Khan was content to play on other people’s albums. However, eventually, Steve Khan decided to embark upon a solo career in 1977.
Despite making the decision to embark upon a solo career, Steve Khan continued to work as a session player. He also toured Japan with the CBS Jazz All Stars. Then later in 1977, he released his debut album Tightrope
When Steve Khan released his debut album in 1977, he was already thirty-seven. He had signed to Columbia, and his debut album Tightrope. It featured some of the top session musicians, including The Brecker Brothers and Bob James, who produced Tightrope. Bob James was forging a career as a producer, and gave the album his his trademark sound. Tightrope was well received and launched the career of Steve Kahn. He would return a year later with his sophomore album.
Just a year later, and Steve Khan returned with The Blue Man. This time around, Steve Khan decided to arrange and produce the album himself. What didn’t change, was that some of the top session musicians accompany Steve Kahn on The Blue Man.
Among them were The Brecker Brothers, David Sandborn, Ralph McDonald and Steve Gadd. With such an illustrious band accompanying Steve Khan, it was no surprise that The Blue Man well received by critics and was a success in the jazz charts. After just two albums, it looked like Steve Khan was about to enjoy a successful solo career.
In 1979, Steve Khan returned with his third solo album. Arrows. Again, Steve Kahn was joined by some of the top session musicians. Many had played on Steve Khan’s first two albums, and returned for Arrows with musicians like Errol “Crusher” Bennett, Will Lee and Jeff Mironov. Together, they played on what some critics regarded as the best album of Steve Khan’s three album solo career. However, when Arrows was released in 1979, music was in a state of flux.
1979 was a game-changer for music. Disco died at Comiskey Park, Chicago on 12th July 1979. Suddenly, record shops couldn’t even give disco records away. Meanwhile, major labels started dropping disco artists. Financially, this was a disaster, as disco had been a cash cow which everyone had milked. To make matters worse, other popular genres were struggling.
This included fusion, which was no longer as popular. Some of its biggest selling artists including Weather Report, Herbie Hancock and John McLaughlin were only selling a fraction of the albums they used to. These were worrying times as the seventies gave way to the eighties.
Luckily for Steve Khan, he still had plenty of session work. There was be no shortage of work for a top class guitarist. However, by 1981, Steve Khan’s thoughts turned to his next solo album, which would become Eyewitness.
Eyewitness.
For Eyewitness, Steve Khan’s usual band spent the weekend of the 7th-8th November 1981, recording five songs. Steve Khan had written Dr. Slump, Guy Lafleur and Eyewitness. The other two tracks Where’s Mumphrey? and Auxiliary Police were recorded by four friends who had jammed and recorded for years.
They had been doing so since drummer drummer Steve Jordan, bassist Anthony Jackson, percussionist Manolo Badrena and guitarist Steve Khan had been working on Steely Dan’s Gaucho album. Since then, the four musicians had worked together, and met at Steve Jordan’s Chelsea loft where they jammed. After a while, everything fell into place and the quartet were making music together. At first, it was recorded on a cheap tape recorder. However, when they listened back to the tapes, they realised that the music they were making deserved to recorded and released.
While the four friends had recorded fusion, it was a bit more innovative than much of the fusion being released. The music was intricate, complex and accessible. It was fusion with a twist. No wonder. Look at the equipment the band used.
Bassist Anthony Jackson preferred a six string bass. Steve Jordan’s drum kit featured timbales, a cowbell, two hi-hats, two snare drums and even a broken splash cymbal. Percussionist Manolo Badrena’s equipment was constantly evolving. As he went into the Eyewitness’ sessions, he deployed timbales, congas and even a turtle shell. Steve Khan’s band were it seemed, no ordinary fusion band.
When they went into the studio on 10th November 1981, everything clicked over the weekend at Mediasound studios. Steve Kahn and Doug Epstein co-produced the album, which was recorded over two days. Eyewitness was complete by the 11th of November 1981. Little did Steve Kahn realise, that he had recorded the best album of his solo career.
Eyewitness was released to widespread critical acclaim. Although described as an innovative album of fusion, Latin and blues can be heard on Eyewitness.
The Latin influence is most prominent on Eyewitness, a slow burner, which begins as a ballad and breaks out into a Latin groove. Guy Lafleur is another track with a Latin influence. It’s played in 6/8 time and features the band at their very best. At the heart of the action is the rhythm section, who power along the arrangement while percussion Steve Khan’s guitar intertwine. It’s a musical masterclass.
So is the tonal jam Auxiliary Police, where the band improvise seamlessly and showcase their versatility and undoubtable talent. However, one of Steve Khan’s finest moments comes on Dr. Slump. He delivers an almost Hendrix inspired performance on a memorable, bluesy track. For Steve Khan, Eyewitness had been a career defining album, and one that had proved popular in Japan.
When Eyewitness was released, the Japanese music market was one of the most lucrative in the Western world. It was in Japan that Eyewitness received some of the best reviews. Eyewitness received critically acclaimed reviews and this resulted in Steve Khan and his group being booked to play four nights in Tokyo.
Modern Times.
The venue for the four nights in Tokyo, was the Pitt Inn.That’s where Steve Khan’s band would take to the stage during four days in May. There was a problem though. The band had no named. So when it came to signing the contract, the other three members of the band were reluctant to sign it. So Steve Khan signed the contract, and when the band arrived at the show later that day, they were billed as Steve Khan and Eyewitness.
Over the next four days, Steve Khan and Eyewitness were booked to play four shows. Two of these shows, at the Pit Inn were to be recorded for a live album, Modern Times. The two dates that had been chosen, were May 3rd and 4th.
Choosing two days made sense. If there were any problems on the first night, they had a chance to make amends the following night. Each night, the whole set was recorded. This allowed the band to choose the best tracks when they returned home, and began working on their first live album, Modern Times.
Back home, Steve Khan and Eyewitness listened to the two nights that had been recorded. Eventually, they settled on four lengthy tracks lasting nearly forty-five minutes. This included Blades (For Wayne Gretzky), The Blue Shadow (For Folon), Penguin Village and Modern Times. However, what would become Modern Times wasn’t released in America.
Instead, Modern Times was only released in Japan. When it was released in 1982, it was to unequivocal critical acclaim. Japanese jazz critics were won over by Steve Khan and Eyewitness’ first live album Modern Times. It was a reminder of the groundbreaking quartet’s performance earlier that year.
Blades which opened Modern Times, is an explosive mixture of rock and Latin, with contrasts aplenty. From quiet sections, the arrangement explodes and the quartet are off and running; improvising and pushing musical boundaries to their very limits. Sometimes, futuristic sound effects are combined with an impressive array of urgent percussion. Then at the heart of The Blue Shadow’s success is the interplay between the rhythm section. They play as one, while Steve Khan unleashes a stellar solo. He’s joined by Steve Jackson, and he matches him every step of the way, as they play in double time. It’s a peerless performance, before they head into Penguin Valley.
Here, Steve Khan and Eyewitness improvise, and percussionist Manolo Badrena relies heavily on his arsenal of special effects. They’re used effectively, on both the percussion and vocal. All the time, the rhythmic powerhouse of Anthony Jackson and Steve Jordan drive the arrangement along, adding a Latin flavour to this genre-melting track. Then Modern Times closes with the title-track. Penned by the band, Anthony Jackson switches to his six string bass, which makes its debut. Soon, he’s pushing it to its limits, as the sonic adventurer discovers what it’s capable of. All the time, the band are improvising and taking the listener on a groundbreaking voyage of musical discovery which they’ll want to repeat. Sadly, only those in Japan were able to enjoy the musical journey that was Modern Times.
The album was only ever released in Japan, until 1985 when Modern Times received a release in America and Europe. By then, Steve Khan and the band had released another solo album, Casa Loco.
Casa Loco.
Just like Eyewitness, Casa Loco was recorded at Mediasound studios, in New York. However, originally the recording sessions were a bit more informal.
They began at Steve Jordan’s Chelsea loft. It was turned into a makeshift recording studio, where Steve Khan and Eyewitness would jam their way through the six tracks that became Casa Loco.
Four of the tracks, including The Breakaway, Casa Loco, Some Sharks and The Suitcame were penned by the band. Steve Khan wrote Uncle Roy; while Penetration was a cover of a surf rock classic. However, surf rock wasn’t the only genre that influenced Steve Khan and Eyewitness on Casa Loco.
Everything from surf rock to jazz, Latin, R&B, rock and world music shine through on Casa Loco. So does the influence of The Police, complete with Sting inspired vocals. These influences would result in the most eclectic album of Steve Khan’s career.
Critics were quick to point this out in their reviews. Most of the reviews of Casa Loco were positive, and remarked that Steve Khan and Eyewitness had reinvented their music since Eyewitness. Casa Loco was a much more eclectic album, that allowed the band to showcase their versatility.
That was the case from Casa Loco’s opening track. When engineer Doug Epstein asked the band to play at Mediasound, Steve Jordan started laying down an almost manic, propulsive beat. Next to the party was bassist Anthony Jackson. Suddenly, the rest of the band climbed onboard, and quickly launched into a three minute jam that was unlike anything they had recorded before. From there, they embark on the twelve minute genre-melting title-track. Everything from jazz, Latin, R&B, rock and world music is combined during this all conquering epic. It gives way to Penetration, a cover of The Pyramids surf rock classic. It’s given a makeover, where harmonies and a myriad of effects are added to what’s akin to a wall of sound, as Steve Khan and Eyewitness reinvent this familiar track. After this, it’s all change.
After some interplay between the rhythm section, Some Sharks becomes a moody, broody, meandering track. It’s played in 4/4 time, with the rhythm section and percussion playing leading roles. The vocal although delivered in Spanish, stylistically, has been influenced by Sting. Meanwhile, the band are enjoying the opportunity to improvise, as they showcase their individual and collective talents. Then on the final two tracks, one individual steals the show, Steve Khan.
On Uncle Roy, Steve Khan takes centre-stage, and unleashes some of his finest guitar solos. The rest of the group play a subtle supporting role. Atop the arrangement sits Steve Khan’s over-dubbed Stratocaster. Its addition adds the finishing touch to one of the album’s highlights. Closing Casa Loco was The Suitcase, which features another guitar masterclass from Steve Khan. This time, he’s playing high up the register, and his clean crystalline guitar at the heart of everything that’s good about this blistering, explosive track. It certainly leaves the listener wanting more.
Sadly, Casa Loco was the end of the road for Steve Khan and Eyewitness. They split-up in 1985. However, four years later, in 1989, they reunited to complete four unfinished tracks. These tracks became the album Public Access, which was one of their most successful albums. That would the last time the four members of Steve Khan and Eyewitness recorded together.
The best albums Steve Khan recorded with Eyewitness were Eyewitness, the live album Modern Times and Casa Loco. They were recently reissued by BGO Records, and celebrate the best years of fusion pioneers’ short career. Given the ambitious and groundbreaking music Steve Khan and Eyewitness released, they should’ve enjoyed much more success than they did.
The problem was, Steve Khan and Eyewitness came to the party too late. If they had released Eyewitness, Modern Times and Casa Loco a decade earlier, they would’ve enjoyed much more commercial success. Back then, fusion was at the peak of its popularity, and pioneers like Steve Khan and Eyewitness would’ve been rubbing shoulders with fusion royalty. However, between 1981 and 1983, when Steve Khan and Eyewitness released their trio of albums, fusion was no longer as popular. This affected sales of Eyewitness and Casa Loco. So it was almost inevitable that the band split-up in 1985.
Now, thirty-three years after the release of Casa Loco, Steve Khan and Eyewitness are receiving the recognition they so richly deserve. Eyewitness, Modern Times and Casa Loco have been remastered and reissued by BGO Records. Now a new generation of fusion fans have the chance to discover three albums of ambitious and innovative fusion from Steve Khan and Eyewitness.
STEVE KHAN-EYEWITNESS, MODERN TIMES AND CASA LOCO.
THE PRISONERS-THE WISEMISERDEMELZA.
THE PRISONERS-THE WISEMISERDEMELZA.
Musical history is littered with groups whose report card said could have done better. This includes The Prisoners, who were formed in Rochester, Kent in 1980, and released four albums, before splitting up in 1986. However, things could’ve been very different for The Prisoners.
That’s if The Prisoners hadn’t been determined to do their way. For some reason, The Prisoners weren’t willing to listen to advice. Even from music industry veterans. It didn’t seem to matter that these people had spent a lifetime in the music industry, and could’ve helped them make a commercial breakthrough. Instead, The Prisoners continued to continue on their contrarian way.
This meant The Prisoners never graduated from playing in smaller venues, in London’s now thriving underground psychedelic and mod scenes. Nor would The Prisoners’ albums sell in vast quantities. However, things looked promising in the early days.
The Prisoners were formed in 1980, at Rochester High School. Initially, the band was a trio featuring vocalist and guitarist
Graham Day, bassist Allan Crockford and drummer Johnny Symons. By the time organist James Taylor joined, The Prisoners seemed to be spending more time rehearsing than playing live. However, after the addition of James Taylor, the nascent band took its tentative steps onto the competitive Medway scene.
One of the leading lights of the Medway scene, was Billy Childish. Although some remember him as charismatic, others remember his strong, unyielding views on how a band should sound. Incredibly, rather than form their own opinions, The Prisoners became a prisoner to this worldview. However, by then, The Prisoners were only seventeen or eighteen. They were also newcomers to the scene, and would easily be impressed by someone who was in their eyes, was the kingpin in the local scene.
The Prisoners were soon familiar faces on the local Medway scene. Their influences ranged from R&B, garage, rock, psychedelia, plus The Kinks and The Pretty Things. These influences resulted in a band whose roots may have been in the past, but were capable of creating catch, melodic and memorable music.
At the heart of The Prisoners’ sound, was Graham Day’s lyrics; James Taylor’s Vox Continental organ; and choppy, punk inspired guitar licks. This was what the audience heard when The Prisoners began to share bills with Billy Childish’s The Milkshakes.
By then, The Milkshakes were regarded as the top band in the Medway scene. Soon, though, it became apparent that they had a rival in The Prisoners. The Milkshakes it seemed, had competition. However, that was until James Taylor announced he was heading to Newcastle University.
Given the importance of James Taylor’s Vox Continental organ in The Prisoners’ sound, this the other band members thought would spell the end of road for the group. So they decided to record an album A Taste Of Pink to document their short musical journey.
For A Taste Of Pink, The Prisoners had written eleven tracks. They were recorded at Oakwood Studios on the 12th September 1982, and were produced The Prisoners. Not long after this, James Taylor headed to Newcastle University.
When A Taste Of Pink was self-released by The Prisoners, on their Own Up label, only 500 copies had been pressed. They quickly sold out, and another 500 were pressed. By then, James Taylor was having second thoughts about life in academia, and returned home.
As James Taylor returned home, another 500 copies of A Taste Of Pink was pressed. Nobody, apart from The Prisoners know how many albums were sold. All that’s known, is that several times they returned for more stock. By then, The Prisoners were travelling further afield, leaving Billy Childish to remain the kingpin of the Medway scene.
Now The Prisoners were playing all over London. Sometimes, they ventured as far as St. Albans. That’s where Ace Records’ Roger Armstrong and Ted Carroll first saw The Prisoners. They saw The Prisoners again in the Hope and Anchor, in Islington, London. That night, The Prisoners were the support band. However, it was the headliner Roger Armstrong and Ted Carroll were there to see. By the end of the night though, it was The Prisoners that signed to Big Beat Records.
Originally, the plan was to get The Prisoners’ music heard by a much wider audience. To do this, Roger Armstrong and Ted Carrol decided to bring on Phillip Chevron to produce The Prisoners’ sophomore album The Wisermiserdemelza. It was recently reissued by Big Beat Records, an imprint of Ace Records together with eleven other tracks. These tracks comprise The Prisoners’ Big Beat Records’ years.
With The Prisoners signed to Bog Beat Records, the label began formulating a plan for their latest signing. From the start, this included Phillip Chevron producing The Prisoners’ sophomore album. He was a member of The Radiators, and later, would join The Pogues. However, in 1983, his main concern was getting The Prisoners’ music heard by a much wider audience. This began with recording their sophomore album, The Wisermiserdemelza.
The Wisermiserdemelza.
For The Wisermiserdemelza, Graham Day penned eleven of the twelve tracks. He also cowrote Tonight with James Taylor. These tracks would be recorded at ICC Studios, in Eastbourne, Sussex.
Before the recording sessions began, producer Roger Chevron made his way to Chatham to hear The Prisoners rehearse. The Prisoners ran through the songs they planned to record. As he listened to The Prisoners, he realised that here was a group it would be best to record live. There should be no overdubbing. For this to be possible, Roger had coax and cajole performances out of The Prisoners. This can’t have been easy.
By then, The Prisoners were regarded as talented, confident and assured group. However, The Prisoners achilles heel was that they didn’t like to take other people’s advice. This could make recording an album interesting.
Fortunately, choosing Roger Chevron to produce the album proved to be a mini masterstroke. He wasn’t a producer first and foremost. Instead, he was a musician who just happened to have produced a few albums. So The Prisoners could relate to Roger. Conversely, he could see where The Prisoners were coming from. This meant when the record session began, things would go relatively smoothly.
At ICC Studios, vocalist and guitarist Graham Day, was joined by organist James Taylor joined. Providing the album’s heartbeat was a rhythm section of bassist Allan Crockford and drummer Johnny Symons. Producing The Wisermiserdemelza was Phillip Chevron, who coaxed, cajoled and encouraged the twelve tracks were recorded out of The Prisoners. After six days, the album was recorded, and ready for release later in 1983.
Now the hard work began for Big Beat Records. They had to get The Prisoners’ music heard by a wider audience. Usually, bands are willing to do what it needs to get their album into the hands of record buyers. However, The Prisoners were different.
They were determined to do things on their terms. Whether it was their sound, image or advise about the music industry worked, The Prisoners dug their heels in. It was frustrating for those that were advising them. They had been around the music industry all their working lives; while The Prisoners were a young, inexperienced band, that never been been signed to a record label before. However, The Prisoners were also a talented band.
This became apparent when The Prisoners and producer Roger Chevron listened to The Wisermiserdemelza. Their sophomore album featured The Prisoners at their most psychedelic. Roger Chevron’s decision to record the band live had been vindicated. Here was an album that captured the energy of The Prisoners’ live shows.
From the opening bars of the album opener Go Go, right through to the closing notes of Go Go The Prisoners are firing on all cylinders on The Wisermiserdemelza. In between, they reference groups like The Pretty Things and The Kinks, while fusing elements of garage rock, pop, R&B and rock to their psychedelic sound. Among the highlights of The Wisermiserdemelza were Hurricane, Love Me Lies and Tonight. Then on Come the Misunderstood and The Dream Is Gone, the darkness descends, and The Prisoners showcase their trademark psychedelic sound that had proved popular on the live circuit. However, would their sophomore album The Wisermiserdemelza prove as popular?
The answer to that was no. When The Wisermiserdemelza was released, very few copies of the album sold. It didn’t even come close to replicating the success of their self-released debut album A Taste of Pink! For Big Beat Records who had place their faith in The Prisoners, it was a disappointing outcome. However, they weren’t giving up…yet.
Later in 1983, Hurricane was released as the lead single from The Wisermiserdemelza. On the flip-side was Tomorrow She Said. It’s one of the eleven bonus tracks on The Wisermiserdemelza. However, lightning struck twice and Tomorrow She Said failed commercially. Still, Big Beat Records weren’t giving up on The Prisoners.
In 1984, The Prisoners returned to the studio. This time, there was no sign of Roger Chevron. Instead, Russell Wilkins produced the four songs penned by Graham Day. They became The Electric Fit E.P. which featured Melanie, What I Want, The Last Thing On Your Mind and Revenge Of The Cybermen. They’re among the bonus tracks on The Wisermiserdemelza compilation. It’ll be the first time most people have heard these songs.
It wasn’t third time lucky for The Prisoners when they released The Electric Fit E.P. Again, it failed commercially. For The Prisoners this was a huge blow. Melanie was an stomping garage rock anthem, while Last Thing On Your Mind brings back memories of The Small Faces. Despite the undoubted quality of these tracks, The Electric Fit E.P. passed people by. Despite this, Big Beat Records were going to have one more roll of the dice.
Later in 1984, The Prisoners released the Love Changes E.P. It had been produced by Russell Wilkins and featured songs written by Graham Day. The title-track features on The Wisermiserdemelza. However, when the Love Changes E.P. was released, it failed commercially. This was the end of an era for The Prisoners and Big Beat Records.
After The Love Changes E.P. The Prisoners’ left Big Beat Records. No label could continue to release singles, E.P.s or albums which weren’t selling. It seemed that the plan to have The Prisoners’ music heard by a wider audience hadn’t worked. However, it wasn’t the end of the line for The Prisoners.
Following their departure from Big Beat Records, The Prisoners released another two albums. They self-released The Last Fourfathers in 1985. By 1986, The Prisoners had signed to a Countdown, an imprint of Stiff Records.
The Prisoners’ one and only album for Countdown was In From The Cold. It saw The Prisoner’ attempt to crossover. However, after the release of In From The Cold, The Prisoners’ split-up. This was no surprise.
Throughout their recording career, many people remarked that The Prisoners weren’t the easiest group to work with. The Prisoners were determined to do things their way. Ploughing their own furrow proved costly for The Prisoners.
By not listening to the advice of others, especially those that had been around the musical block a few times, The Prisoners recording career lasted just three years. During that period, they released four albums. These albums showcase a talented and assured band; and one who should’ve reached greater heights. Probably, The Prisoners’ best album is The Wisermiserdemelza which was recently reissued by Big Beat Records, along with eleven bonus tracks.
Among the bonus track include singles on The Wisermiserdemelza, are songs that featured on B-Sides and E.P.s. That’s not forgetting Coming Home, Reaching My Head and a second version of Revenge Of The Cybermen, which featured on the Revenge Of The Prisoners compilation. It was released by the American label Pink Dust in 1984. Back then, everything in The Prisoners’ garden looked rosy.
By 1986, two of The Prisoners’ songs described the situation the band found themselves in perfectly. A Dream Is Gone For Now And Forever. These were prophetic words and describe The Prisoners’ story perfectly. They were the band who had the talent to enjoy a long and successful career. However, in some ways, they were their own enemy. Their determination to do things their way, cut short their career. However, for six years, The Prisoners were one of the exciting bands on London’s live circuit, and in 1983, released the best album of their career, The Wisermiserdemelza.
THE PRISONERS-THE WISEMISERDEMELZA.
LAU-THE BELL THAT NEVER RANG-VINYL EDITION.
LAU-THE BELL THAT NEVER RANG-VINYL EDITION.
Ever since the release of their 2007 debut album. Lightweights and Gentlemen, Lau have been variously described as “adventurous,” and “modern folk’s most innovative band.” That’s no exaggeration. Lau are, without doubt, one of the most exciting and ambitious folk bands of their generation. That’s why Kris Drever, Martin Green and Aidan O’Rourke have been winning awards, praise and plaudits ever since. This includes, winning the BBC Folk Award for the best group four times in six years. That takes some doing. However, Lau are no ordinary band.
Far from it. Lau are a groundbreaking group who release pioneering music. They’re also perfectionists. They always have been.
Ever the perfectionists, Lau freely admit to spending up to three weeks on a song. That’s been the case since Lau’s early days. They spent a year honing their songs and sound before releasing their debut album, Lightweights and Gentlemen. There was no way that Lau were going to release Lightweights and Gentlemen until they, and the album was ready. Their patience paid off, and ever since the release of Lightweights and Gentlemen, Lau’s star has been in the ascendancy.
Over the next eight years, Lau have released four further albums. Their most recent album is The Bell That Never Rang. It was recently repackaged and rereleased on vinyl as a double album by Diverse Records. The original version of The Bell That Never Rang features on the first LP; while eleven bonus tracks feature on the second LP. Then as an added bonus, there’s a CD version of The Bell That Never Rang. This will be a welcome bonus for many people. So will the bonus tracks on the second LP. They show a different side to Lau, and will be a welcome release while the members of Lau work on other projects.
That’s not unusual though. Ever since the early days of Lau, the three members have worked on other projects. Despite these other projects, they’ve always returned to Lau, which the three members fondly describe as “the mothership.”
On their return to the “the mothership,” Kris Drever, Martin Green and Aidan O’Rourke hit the live circuit with Lau. Soon, Lau had established a reputation as one of Scotland’s best live bands. Whether it was festivals or small intimate venues, Lau lifted the roof with their unique brand of folk music. Proof of this came on their second album Live. Combining electronic and traditional instruments Lau soon garnered a large, loyal following, who waiting Lau’s next studio album with baited breath.
Two years after their debut album Lightweights and Gentlemen, Lau released their sophomore studio album Arc Light, in 2009. Released to critical acclaim, critics hailed Arc Light as further proof that Lau were the future of folk music. Soon, other artist were wanting to collaborate with Lau.
First to collaborate with Lau was Karine Polwart. Five new songs were recorded. When Lau Vs. Karine Polwart released Evergreen, this reinforced and enhanced both Lau and Karine’s reputation as two of modern folk’s most best artists. Then in 2010, acoustic and electronic artist and producer Adem collaborated with Lau. Together, they recorded seven new tracks, which were released as Lau Vs. Adem’s Ghosts. The second in the Vs. Lau series proved just as successful as the first. As if this wasn’t encouraging enough, Lau’s reputation as a live band was still growing at home and abroad. All that was needed was another studio album from Lau.
Back in Castlesound Studios, Pencaitland, Lau recorded the nine tracks that became Race The Loser in May 2012. Lead vocalist Kres Drever played guitars and harmonica, Martin Green played accordion, Wurlitzer organ and electronics, while Aidan O’Rourke played the fiddle. Producing Race The Loser was Grammy Award nominated producer Tucker Martine. With a C.V. that included working with Sufjan Stevens, Camera Obscura, R.E.M. and Laura Veirs, having Tucker produce Race The Loser was quite a coup. However, would it pay off?
When Race The Loser was released in 2012. Praise, plaudits and critical acclaim came Lau’s way. Race The Loser was no ordinary folk album. It was much more than that. While folk was the most predominant influence, but were elements of jazz, rock, electronica and soul. The soul comes in the shape of Kris’ world-weary, all-knowing vocal. His vocal played a part in what was a folk album for the 21st Century. Race The Loser was a career defining album from Lau. However, would Lau followup an album like Race The Loser?
Lau’s loyal fans have been waiting three years to find out the answer to that question. Now the wait is over. Lau released recently The Bell That Never Rang. This six track album is the next chapter in the Lau story.
For The Bell That Never Rang, Kris Drever penned the lyrics to the six songs. These six songs were recorded at Lau’s studio of choice, Castlesound Studios. Producing The Bell That Never Rang, was Joan Wasser, a.k.a. Joan As Police Woman. Adam Sachs and Stuart Hamilton took charge of engineering duties. This allowed Lau to do what they did best, make music.
As The Bell That Never Rang sessions got underway, vocalist Kres Drever played guitars, Martin Green played accordion and “electronics,” while Aidan O’Rourke played the fiddle. They were joined by the Elysian Quartet. Its lineup features violinists Emma Smith and Jennymay Logan, Vince Sipprell on viola and Laura Moody on cello. Joan Wasser added vocals on The Bell That Never Rang. Once the recording of The Bell That Never Rang was completed, it was mastered in New York by Fred Kevorkian. All that was left was for The Bell That Never Rang to be released.
Just like previous albums, The Bell That Never Rang was released to widespread critical acclaim. Lau were back, and back to their innovative best. The Bell That Never Rang was triumphant return from Lau. So, when The Bell That Never Rang was released it should’ve been a joyous occasion. It was. However, there was a sense of sadness. When recording The Bell That Never Rang, Lau brought onboard a string quartet, the Elysian Quartet. They player their part in The Bell That Never Rang’s sound and success. Sadly, their viola player, Vince Sipprell, had died on 30th January 2015. By then, The Bell That Never Rang recording session were completed. So, Lau dedicated The Bell That Never Rang to Vince Sipprell, a talented and dedicated musician. He played his part in the success of Lau’s new album The Bell That Never Rang.
Opening The Bell That Never Rang is First Homecoming. It’s a track that showcases Lau’s unique brand of innovative folk. A rumbling sound in joined by a plink plonk guitar and wistful strings. Soon, thunderous drums signal the arrival of Kris’ vocal and a chirping guitar. There’s a sense of hope and joy in Kris’ vocal as he delivers the cinematic lyrics. He’s a changed man. No longer is he alone, now that he’s found someone to love: “in this new place I call my home.” Previously, this seemed out of reach, but: “I’ve lost the urge to be by myself.” By the time Kris delivers that line, seamlessly, the arrangement has come together. As the strings dance, drums pound and the guitar chimes, as Kris experiences hope, happiness and joy.
Martin Green’s accordion and Kris Drever’s chirping guitar unite on the irresistible The Death of the Dining Car. Soon, the Elysian Quartet add dancing strings. Lau it seems are returning to their traditional Scottish roots. However, being Lau, there’s always expect a twist. It comes when pounding, mesmeric drums accompany Kris’ vocal. He dawns the role of a storyteller. Meanwhile the drums inject a sense of urgency and drama. It’s with a sense of sadness that Kris delivers the lyrics. They too have a cinematic quality, as the rest of Lau fuse musical genres. Everything from electronica, folk, indie rock and Scottish traditional music are combined seamlessly, on his stomping anthem.
Back in Love Again has a much more understated sound. Kris strums his trusty acoustic guitar. Soon, lush strings sweep in from the distance. They flit in and out of the arrangement, playing yin to Kris’ yan. That’s until gradually, things begin to change. From the distance, a wash of sound enters. Gradually, it grabs your attention. That was its raison d’être. Now you’re paying attention, Kris delivers another hopeful vocal. Or is should it be cautious optimism, given he’s: “falling Back in Love Again?” As he delivers his hopeful vocal, the accordion and guitar propel the arrangement along. Augmenting Kris’ vocal are tender harmonies, they add to the beauty and soulfulness of this captivating, ethereal ballad.
A Lau album is not unlike Forest Gump’s box of chocolates, you never know what you’re gonna get.” Tiger Hill (Armoured Man) marks another change of direction. With its plink plonk guitars and myriad of disparate sounds, it’s as if Lau have been inspired by Fridge. Soon, a wash of moody, broody music sees a change of tack, before briefly, Lau pay homage to firstly Cream and then C.S.N.&Y. It’s the harmonies that leads to the C.S.N.&Y comparison. Later, washes of strings and a quivering, shivering guitar are added. They play their part what’s beginning to sound like another a cinematic sounding track. That’s until later, when Lau are transformed into an innovative power trio. Stabs of mellow keyboard accompany harmonies, as musical chameleons Lau, bring this magical, musical mystery tour on a melodic high.
The one way to describe The Bell That Never Rang is a seventeen minute epic. Slowly, and gradually, the arrangement begins to take shape. At the heart of its sound and success are the Elysian Quartet. Their elegiac and balletic strings, meander and skip across the arrangement, adding an ethereal, and sometimes wistful beauty. Later, they add an element of drama, as they’re played firmly and with a sense of purpose. As they reach a crescendo, the arrangement briefly bubbles dramatically. It then returns to its wistful, ethereal sound. Especially with Kris adding guitar, Martin accordion and Aidan his fiddle. Seamlessly, Lau the Elysian Quartet feed off each other, inspiring each other to greater heights. Sometimes, the music becomes cinematic, other times the Celtic influence is unmistakable. The Celtic influence is the signal for Kris to deliver his vocal. With just Lau accompanying him, he delivers a pensive, wistful and emotive vocal. Sadness is omnipresent as he sings: “nobody knows when you’ll go and no-one thinks to tell you.” While Kris delivers a thoughtful vocal, the rest of Lau add harmonies adding to the ethereal beauty and wistfulness of this seventeen minute Magnus Opus.
Ghosts closes The Bell That Never Rang. It’s another understated ballad. This is something Lau do so well. As Kris plays his acoustic guitar, he hums. It’s as if he’s just sitting at home playing his guitar. Instead, the red light is shining, and the tape is running. He delivers an inspired performance, singing of the “Ghosts” of his past. They surround him, and are everywhere. He realises that as he wonders where he would go to escape them. His lyrics, and his delivery of them are both beautiful and haunting. Especially with washes of accordion and a pulsating drums that plays in the background. They prove the perfect accompaniment to Kris on this hauntingly beautiful ballad.
Although it’s three years since we last heard from Lau, the three year wait for The Bell That Never Rang has been well worth the wait. The Bell That Never Rang oozes quality and beauty. From the opening bars of First Homecoming, right through to the closing notes of Ghosts, The Bell That Never Rang is a captivating album. The music is beautiful, dramatic, elegiac, ethereal, haunting and wistful. Other times it’s anthemic, hopeful and joyous. Quite simply, it’s an album that’s designed to toy with your emotions.
Throughout The Bell That Never Rang, Lau toy with your emotions on what’s akin to a magical, musical mystery tour. As mystery tours go, Lau spring surprises aplenty. No two tracks are the same. Indeed, often during the same track, Lau throw a curveball. The song heads in a totally different direction. It’s as if Lau are determined to keep the listener on their toes during The Bell That Never Rang. They succeed in doing so, on this old school album.
There’s a reason I refer to The Bell That Never Rang as an old school album. It features just six songs and lasts forty-four minutes. This means that The Bell That Never Rang would fit perfectly onto a vinyl album. That’s what bands used to do. However, that’s until the CD.
Since then, bands release sprawling, fifteen track albums. It’s as if they feel obliged to fill the CD. Ironically, they’re doing themselves a huge disservice. Usually, by the tenth track, the quality is starting to suffer. By the fifteenth and final track, the track should’ve stayed on the cutting room floor. Quality control, it seems, is sadly lacking. That, however, isn’t case with Lau.
Far from it. Only the creme de la creme makes it onto a Lau album. Remember, Lau are the archetypal perfectionists. They home and shape song until they’re totally satisfied with it. Only then, will they make it onto an album. That was the case with The Bell That Never Rang.
Each of the six of songs that made it onto The Bell That Never Rang, feature the Edinburgh based musical alchemists at their innovative best. The Bell That Never Rang sees Lau seamlessly combine disparate musical genres. Everything from Celtic, electronica, electro, folk, indie rock and rock is thrown into Lau’s melting pot. Producer Joan Wasser sprinkles some sonic magic and then gives this musical melting pot a stir. Only then is this musical treat ready to serve.
And what a dish it is. It’s fit for a king or queen. Lau have surpassed their previous efforts. The Bell That Never Rang marks a triumphant return from Lau. After three years away, Edinburgh based musical mavericks Lau, made a welcome return with their genre defying Magnus Opus, The Bell That Never Rang. However, it’s just part of the story of Diverse Records’ newly released and repackaged The Bell That Never Tolls.
The second LP features eleven bonus tracks. This includes a radio mix of The Bell That Never Rang. Lau’s original seventeen minute epic is transformed into a radio friendly song. Sadly, the days of radio stations playing seventeen minute songs is long gone. So radio mix of The Bell That Never Rang will be perfect for radio DJs wanting to introduce their audience to Lau. Other tracks however, are remixed.
Among the remixes are Far From Portland, from from Race The Loser are reworked. So are Tiger Hill and Death Of The Dining Car from The Bell That Never Rang. These three tracks show another side to the original song, and indeed, Lau’s music. However, there’s still a lot more to discover on the album of bonus tracks.
There’s previously unreleased tracks on the second LP. For longtime fans of Lau, this will be a definitely be a welcome bonus. Tracks like Sunken Waltz (Calexico), One Hour In Hungary (Väsen), Armoured Man Interlude. Lucky Old Sun and Back To The Fens (Horizontigo Revisited) are tantalising reminder of why Lau have been described as “adventurous,” and “modern folk’s most innovative band.”. However, The Bell That Never Tolls isn’t over. Lau leave the listener with Elysian Table Synth and Elysian Mellotron. Just like the rest of the bonus tracks on The Bell That Never Tolls, they’re sure will keep fans of Lau happy until they return to “mothership” and begin work on the followup to The Bell That Never Rang. Meanwhile, they can enjoy The Bell That Never Tolls.
Recently, Diverse Records’ repackaged The Bell That Never Rang as The Bell That Never Tolls. It was repackaged and rereleased on heavyweight vinyl as a double album . The original version of The Bell That Never Rang features on the first LP; while eleven bonus tracks feature on the second LP. The two LPs have been mastered with care, and sound great. So has the CD version of The Bell That Never Rang that’s been included. What more could a Lau fan want? Given that there’s no sign of Lau recording the followup to their Magnus Opus The Bell That Never Rang, then a copy of The Bell That Never Tolls and Kris Drever’s new album If Wishes Were Horses are the next best things.
LAU-THE BELL THAT NEVER RANG-VINYL EDITION.
THE O’JAYS SHIP AHOY-VINYL EDITION.
THE O’JAYS SHIP AHOY-VINYL EDITION.
In August 1972, when The O’Jays’ released Back Stabbers, little did they realize how important an album it would become. Back Stabbers was certified gold, and fourteen years after The O’Jays were formed, were on their way to becoming one of the most critically acclaimed and commercially successful groups in the history of Philly Soul. Between 1972s Back Stabbers and 1979s Identify Yourself, The O’Jays released eight studio albums. Three were certified gold and five platinum.
Back Stabbers helped launch Gamble and Huff and their newly founded label, Philadelphia International Records as one of soul music’s premier labels. In the process, it established Gamble and Huff’s reputation as one of the most innovative, influential and pioneering production and songwriting teams. Indeed, The O’Jays followup to Back Stabbers, Ship Ahoy, released in October 1973, cemented Gamble and Huff’s reputation not just innovators and pioneers, but with a social conscience.
Ship Ahoy featured songs about slavery, racism, greed and pollution. Side-by-side on Ship Ahoy, sat love songs and songs with a social conscience. While The O’Jays may have sung sweetly about love, but they weren’t afraid to become the conscience of a nation, using their music to shame those who they thought were bringing their country to its knees, by their actions. Through the medium of music, politicians, corporate America and race, were all subjects that they dealt with in the music on Ship Ahoy, which will be rereleased on vinyl by Music On Vinyl on 26th January 2015. Before I tell you about some of the most powerful, potent and moving songs The O’Jays recorded, I’ll tell you about the background to Ship Ahoy.
By 1973, Philadelphia International Records had established its reputation as a pioneering label, who’d released critically acclaimed and commercially successful albums. During 1972, Philadelphia International Records had released Billy Paul’s 360 Degrees of Billy Paul, Harold Melvin and The Blue Notes’ I Miss You and The O’Jays’ Back Stabbers. Further success had come Philadelphia International Records’ way with Harold Melvin and The Blue Notes’ Black and Blue M.F.S.B’s sophomore album Love Is The Message and The Three Degrees’ eponymous album The Three Degrees. Gamble and Huff and Philadelphia International Records were on a roll by the time The O’Jays released Ship Ahoy.
Ship Ahoy featured four tracks penned by Gamble and Huff. They wrote Put Your Hands Together, Ship Ahoy and Now That We Found Love, while they cowrote the seven minute epic For The Love Of Money With Anthony Jackson. Kenny Gamble cowrote The Air That I Breathe and Don’t Call Me Brother with Bunny Sigler, who also contributed You Got Your Hooks Into Me. The songwriting team of Gene McFadden, John Whitehead and Victor Castarphen cowrote People Who Keep Tellin’ Me, which closes Ship Ahoy. Recording of Ship Ahoy took place at the familiar surroundings of Joe Tarsia’s Sigma Sound Studios.
At Philly’s Sigma Sound Studios, Gamble and Huff were joined by the classic lineup of M.F.S.B, Philadelphia International Records’ legendary house-band. This included the Baker, Harris, Young rhythm section, plus bassist Anthony Jackson and guitarist Bobby “Electronic” Eli. They were joined by organist Lenny Pakula, percussionist Larry Washington, vibes virtuoso Vince Montana Jr and violinist Don Renaldo, who was part of the trademark string and horn sound that featured on many Philadelphia International Records’ recordings. Arrangers who worked on Ship Ahoy included Norman Harris, Dennis Williams, Lenny Pakula and Bobby Martin. Producing Ship Ahoy at Sigma Sound Studios were Gamble and Huff. Once Ship Ahoy was recorded, it was released in October 1973. Would Ship Ahoy match the success of 1972s Back Stabbers?
On the release of Ship Ahoy in October 1973, it surpassed the success of Back Stabbers, reaching number eleven in the US Billboard 200 and number one in the US R&B Charts, resulting in The O’Jays first platinum disc. Put Your Hands Together was the lead single, released in November 1973. It reached number ten in the US Billboard 100 and number two in the US R&B Charts. For The Love Of Money was released in March 1974, reaching number nine in the US Billboard 100 and number three in the US R&B Charts. In the UK, three singles were released, Put Your Hands in November 1973, For The Love Of Money in March 1974 and Now That We Found Love in August 1974. Unbelievably, they all failed to chart. However, Ship Ahoy had surpassed the success of Back Stabbers, and in the process, transformed The O’Jays’ career. Why was that? That’s what I’ll tell you, when I tell you about the music on Ship Ahoy.
Put Your Hands Together opens Ship Ahoy. It’s a paean to cooperation and optimism in the face of hard times. Forty years later, The O’Jays message is just as relevant. When the track reveals its secrets, the sound is dramatic, moody and funky. The Baker, Harris, Young the rhythm section, guitars and keyboards combine drive the arrangement along. Having set the scene, Eddie Levert’s growling, vampish vocal enters. It soars passionately and emotively. Urgent harmonies sweep, sweetly and soulfully in. Meanwhile, strings dance and growl, while Earl Young’s drums and stabs of keyboards and percussion add to the drama. A funky bass and wah-wah guitar accompany The O’Jays, as they spread their message of optimism, in the face of adversity. Emotive and impassioned, filled hope and optimism The O’Jays, helped no end by M.F.S.B. create an uptempo, hook-laden track with a social message.
The title track, Ship Ahoy deals with a shameful subject, slavery. It tells the story African people being taken captive, transported on a ship as part of the slave trade. Originally, Gamble and Huff had hoped the track would be part of the soundtrack for the film Shaft In Africa, but this never happened. Complete with the sound of crashing waves and whips cracking this powerful track unfolds. They’re joined by keyboards, a slow plodding bass and a guitar, before deliberate strings enter. When Eddie’s emotive vocal enters, The O’Jays sing tight harmonies. Their voices are tinged in anger, as the drama builds and grows. Stirring, dramatic and pounding drums join strings that sweep in loud and grand. Blazing horns add to the drama and emotion. Later, guitars soar, screaming and screeching, as if empathising with the pain suffered. It’s impossible not to be moved by the lyrics, and their delivery. Like Norman Harris’ arrangement, they bring the lyrics to life. Such is the power of the music, that by the end, you feel moved, angry and upset. To be able to achieve these emotions through the power of soul music, is testament to the talent of The O’Jays and Gamble and Huff.
The Air That I Breathe has a slightly Latin sound and feel. Norman Harris’ chiming guitar, percussion, piano and rasping horns uniting. The Baker, Harris, Young rhythm section provide the heartbeat, as this anthemic, hooky song with a message unfolds. When Eddie’s vocal enters, it’s laden with emotion. Almost with disbelief he powerfully rages at the pollution around him. Still there’s a joyous sound, as M.F.S.B. and The O’Jays kick loose. His vocal soars heavenwards, his vocal tinged anger and resentment. As if spurred on, the harmonies are tighter, sweeter and more soulful. M.F.S.B. are similarly spurred on. Braying horns, Baker, Harris, Young, percussion and piano provide the backdrop for Eddie’s moving, emotive and soulful masterclass. Like Put Your Hands Together, their message is one of optimism, hoping things will improve. By the end of the track, you can only salute The O’Jays for managing to get their message across in such a deeply soulful and melodic way.
Bunny Sigler and Kenny Gamble cowrote You Got the Hooks In Me, which Bobby Martin arranged. A piano slowly and subtly plays, before Eddie’s vocal enters. It’s accompanied by Earl Young’s drums and short sharp bursts of organ. The tempo is slow, the playing subtle. Soon, the arrangement reveals is soulful secrets. Eddie’s heartfelt, heartbroken vocal soars, and soothing, soulful harmonies sweep in. They’re enveloped by melancholy horns, lush strings and Lenny Pakula’s Hammond organ. By now, The O’Jays are at their soulful best, delivering a track that’s heartbreakingly sad, where Eddie lays bare his soul, hurt and heartbreak to hear.
For the Love Of Money is another protest song, this time against materialism, that was and is, contributing to the world’s problems. During the track, Anthony Jackson contributes one of the most famous bass lines in popular music. It was played through a phaser, then bathed in echo. Since then, it’s been sampled by many hip hop artists. Originally, the track was written around the bass line. Straight away, that bass line pounds, weaving its way across the arrangement. It’s fast and funky, surrounded by crisp crashing cymbals, pounding drums, angry horns and harmonies. They yell “money” over and over. When Eddie’s vocal enters, it’s strong, angry and filled with frustration. His ire is directed at people’s “Love Of Money. Bobby Martin’s arrangement mixes elements of soul and funk masterfully. A combination of searing, soaring guitars solos, loud, angry, drums, percussion and grizzled horns accompany a vocal that’s angry, frustrated and impassioned. Like other tracks on Ship Ahoy, the lyrics, are still relevant today. Oh and that bass line sounds just as good, forty years on.
Now That We’ve Found Love is a beautiful, heartfelt love song, arranged by Norman Harris. This is what many people think of when The O’Jays are mentioned, beautiful love songs. They aren’t aware of their socially aware protest songs. Keyboards, percussion and the Baker, Harris, Young rhythm section unite, before tight, tender harmonies enter. Eddie’s vocal takes centre-stage, with a heartfelt delivery of the lyrics, which preach forgiveness. His vocal is swathed in lush strings and rasping horns. Like other tracks, the arrangement veers between lush and dramatic, as The O’Jays deliver another beautiful, heartfelt and impassioned love song. Indeed, it’s one of the most beautiful love songs The O’Jays ever recorded.
Don’t Call Me Brother is a protest song, and finds The O’Jays at their angriest and fieriest. A jazz-tinged backdrop, complete with Norman Harris’ chiming, jazz guitar, wistful horns and the lushest of strings cascades along. Dramatic bursts of Earl Young’s drums signal The O’Jays to unleash their anger. They do this is style that’s part Philly Soul, part doo wop. Close, impassioned and angry harmonies sing about the false claims of racial harmony from people who would just as soon stab you in the back. Eddie’s angry vocal rails against the hypocrisy and lies of politicians and leaders. Bobby Martin’s arrangement, like the anger and frustration, builds up, reaching a dramatic musical crescendo. Thunderous drums, blazing horns, strings and guitars unite. Then as if spent, returns to a much more gentle and melodic sound. For nearly nine minutes, The O’Jays vent their anger and frustration, passionately and peerlessly. By the end of the track, it’s impossible to not be touched and moved by their powerful, deeply moving message, where doo-wop, Philly Soul, jazz and gospel unite.
People Keep Tellin’ Me closes Ship Ahoy is People Keep Tellin’ Me. It’s an upbeat and uplifting track, arranged by Norman Harris. Strings sweep and swirl, horns rasp and growl and Baker, Harris, Young provide the track’s heartbeat. Harmonies sweep in soaring soulfully and joyously. Even the, you sense something special is unfolding. Washes of Hammond organ and Vince Montana Jr’s vibes join forces, before Eddie’s heartfelt, impassioned vocal enters. He and the other O’Jays drive each other to greater heights. M.F.S.B. are enjoying the opportunity to kick loose. Something very special has unfolded. Joyous and emotive describes this irresistible slice of Philly Soul. It features The O’Jays and M.F.S.B. at their very best, as they bookend Ship Ahoy perfectly. As the song closes, you can’t help but Put Your Hands Together for The O’Jays, as they close Ship Ahoy in a way that’s not just sweet and soulful, but uplifting, melodic and memorable.
Following up an album as critically acclaimed and commercially successful as Back Stabbers, wasn’t going to be easy for The O’Jays. However, they were no ordinary group. Even by their second album for Philadelphia International Records, The O’Jays had earned a reputation as one of Philly Soul’s great groups. By 1973, The O’Jays were seasoned performers, the group having been formed in 1957. Over the previous fifteen years, they’d refined their sound. A combination of Eddie Levert’s lead vocal and sweet, tight vocal harmonies becoming huge polished and deeply soulful. It was as if all these years of experience were coming to fruition on Back Stabbers and then Ship Ahoy. While Back Stabbers was critically acclaimed and commercially successful, Ship Ahoy surpassed its success.
During the eight tracks on Ship Ahoy, The O’Jays mixed beautiful love songs with songs filled with social comment. Ship Ahoy featured songs about slavery, racism, greed, materialism and pollution. Social comment and protest songs stood side by side, and the emotion, anger and frustration wells up in The O’Jays’ voices. They were also preaching a message of optimism and togetherness on Ship Ahoy. Many of the songs on Ship Ahoy, their messages are just as relevant forty years after the album’s release in 2013. Still people are seduced by materialism, greedy for money and willing to do anything to gain even more. Sadly, racial discrimination, like many other forms of discrimination is prevalent, and the backstabbers mentioned in Don’t Call Me Brother, are still around, still causing trouble, when they claim to be a force for good and harmony. Ship Ahoy features The O’Jays sing emotionally and passionately. Just below the surface, tension, frustration and anger is palpable, at the various problems that faced society. Then when The O’Jays sing the love songs on Ship Ahoy, we hear the side of their music most people are aware of. Their delivery of these gorgeous love songs feature the peerless combination of Eddie Levert’s vocal, laden with emotion and passion and tight, sweet and soulful harmonies. These two sides of The O’Jays’ music come to the fore on Ship Ahoy, which was recently reissued on vinyl by Real Gone Music. This is the best way to buy Ship Ahoy. Forget inferior sounding CD versions that were released a couple of years ago. This is the version to choose. It’s been well mastered, isn’t too loud and sounds stunning. Quite simply, this is the version of Ship Ahoy to choose.
Forty-three years after the release of The O’Jays sophomore album for Philadelphia International Records, the music Ship Ahoy is just as relevant in 2016, as it was in 1973. Indeed, Ship Ahoy with its mixture of social comment and beautiful love songs is one of The O’Jays finest albums. Ship Ahoy is also a Philly Soul classic, which is a reminder of the golden era of Philly Soul between 1972 and 1975.
THE O’JAYS SHIP AHOY-VINYL EDITION.
THE CHARLATANS-THE LIMIT OF THE MARVELLOUS-VINYL EDITION.
THE CHARLATANS-THE LIMIT OF THE MARVELLOUS-VINYL EDITION.
Between 1964 and 1969, The Charlatans’ star shawn bright. However, The Charlatans were larger than life mavericks. They dressed like 19th Century outlaws, and embraced the rock ’n’ roll lifestyle. L.S.D. and pot were part of The Charlatans’ diet. It fuelled The Charlatans as they took San Francisco by storm. Commercial success and critical acclaim looked a formality. It wasn’t to be.
By 1969, The Charlatans were no more. They were just the latest band that should’ve enjoyed widespread critical acclaim and commercial success. However, for whatever reason, commercial success passes these bands by. That was the case with The Charlatans whose music is celebrated on The Limit Of The Marvellous. It was recently reissued by Big Beat Records, an imprint of Ace Records on red vinyl. It looks and sounds great. This beautifully mastered and aesthetically pleasing release is a fitting reminder of The Charlatans’ finest songs.
The Limit Of The Marvellous features fifteen of The Charlatans’ greatest songs. They originally featured on a CD compilation The Amazing Charlatans, which was released by Big Beat Records twenty years ago, in 1996. Fifteen of the twenty-three tracks on The Amazing Charlatans feature on The Limit Of The Marvellous. These songs were recorded between 1966 and 1969. However, The Charlatans story begins in the summer 1964.
That’s when The Charlatans were formed in San Francisco, by autoharp player George Hunter, and bassist Richard Olsen. Soon, they were joined by lead guitarist Mike Wilhelm; keyboardist Mike Ferguson and drummer Sam Linde. With the lineup complete, The Charlatans began to practice. Before long the the band realised they had a problem.
The Charlatans had an achilles heel. This was drummer Sam Linde. He just wasn’t good enough for the band moving forward. So a decision was made to replace Sam Linde. His replacement was none other that Dan Hicks. With a new, improved lineup in place, The Charlatans moved forward.
When The Charlatans began to play live, they looked like a cross between 19th Century, wild west outlaws and Victorian dandies. This image wasn’t just thrown together. It was carefully cultivated. Despite this, it soon began to prove popular with the audience at their gigs. They arrived dressed in similar attire. Little did The Charlatans realise that their stage clothes would influence the a generation.
With the hippie counter culture about to blossom, The Charlatans image would go on to influence a generation. They would dress like dandies and outlaws. By then, The Charlatans a familiar face in the San Francisco music scene.
In June 1965, The Charlatans had secured a six week residency at at the Red Dog Saloon in Virginia City, Nevada.. For this residency, two members of The Charlatans had to produce a concert poster. What Mike Ferguson and George Hunter came up with, is regarded as the first psychedelic rock poster. Since
then, ordinal copies of The Seed have become prized items among collectors of psychedelia. However, the Red Dog Saloon residency marked a first for The Charlatans.
During the residency, the five members of The Charlatans took L.S.D. for the first time. It wouldn’t be the last. Soon, The Charlatans had a penchant for acid, and were tripping whenever they could. Despite their penchant for acid, The Charlatans weren’t an acid rock band. They were much more than that.
Instead, The Charlatans’ music would veer between folk rock, country rock and psychedelia over the next four years. Their recording career should’ve began in September 1965.
Fresh from their residency at the Red Dog Saloon, The Charlatans had an audition Autumn Records September 1965. They didn’t sign to Tom “Big Daddy” Donahue’s label. He was a local DJ, promoter and producer. However, The Charlatans didn’t sign to Autumn. There were disputes between Tom “Big Daddy” Donahue and The Charlatans over what they would record and money. Soon, though, it became apparent that The Charlatans had had a close escape.
Autumn Records was teetering on the edge of insolvency. Financially, the cupboards were bare. Eventually, Warner Bros. bailed Autumn Records out, and The Charlatans lived to fight another day.
As 1966 dawned, The Charlatans signed to Kama Sutra Records. The Charlatans wasted no time in recording a number of songs. Once the recording sessions were complete, The Charlatans had decided that they wanted to release Codine as their lead single. That executives at Kama Sutra Records said wasn’t going to happen.
They obviously hadn’t listened to Buffy Sainte-Marie’s song about the dangers of drugs. Mistakenly, executives at Kama Sutra Records thought that Codine glorified or encouraged drug taking. So Codine wasn’t releases as a single. It features on he Limit Of The Marvellous. So does The Shadow Knows and 30-20 as The Shadow Knows E.P.
Instead of Codine, The Shadow Knows was chosen as the lead single. On the B-Side was 32-20. When The Shadow Knows was released by Kapp Records in October 1966, the label failed to adequately promote The Charlatans’ debut. Unsurprisingly, The Charlatans debut single failed. This was The Charlatans’ one and only release on Kama Sutra Records. The remainder of the songs weren’t released until 1996, when they resurfaced on the Amazing Charlatans’ album.
Following their departure from Kama Sutra Records, The Charlatans’ lineup changed. Mike Ferguson was sacked in 1967, and replaced by Patrick Gogerty. Not long after this, Dan Hicks vacated The Charlatans’ drum stool. He moved to rhythm guitar and became the lead vocalist, singing many of his own compositions. It was a time of transition for The Charlatans.
During this period, The Charlatans were mostly playing live. They didn’t have a record contract, and watched as many of their contemporaries signed with record companies and enjoyed successful careers. This was galling as The Charlatans had played at the Fillmore Auditorium, California Hall, Avalon Ballroom and Longshoreman’s Hall. They were a popular live draw, and had been since their live debut in 1965. By 1968, The Charlatans must have wondered if a record contract would elude them?
By then, The Charlatans had embraced the rock ’n’ roll lifestyle fully. Their dropped L.S.D. and smoked pot regularly. Many who enjoyed the same diet of drugs would become acid casualties. Not The Charlatans. They were still one of San Francisco’s top live bands. Then in 1968, one of The Charlatans called it a day.
In 1968, Dan Hicks decided to form his own band, Dan Hicks and The Hot Licks. This was always going to happen. It was almost written in the stars. Dan Hicks was a talented singer, songwriter and musician. He seemed destined for greater things. However, this left a huge void in The Charlatans. Filling it wouldn’t be easy.
Worse was to come. Throughout 1968, arguments were commonplace within The Charlatans’ camp. Gradually, the escalated, and reached a breaking point. However, Mike Wilhelm, Richard Olsen and Terry Wilson had a cunning plan.
To all intents and purposes, it looked as if they had decided to disband The Charlatans. However, the cunning plan was that shortly afterwards, they would reform The Charlatans without George Hunter. It was a musical coup d’état. This would ultimately backfire on The Charlatans.
At first, things looked up for The Charlatans. They drafted in a new keyboardist and vocalist, Darrell DeVor. Not long after this, The Charlatans secured a deal with Phillips, and began recording their debut album.
Recording of what became The Charlatans took place at Pacific High Recorders, San Francisco. Dan Healy co-produced what became The Charlatans with the band. Eleven songs were recorded. Five were cover versions and six were written by members of The Charlatans Mike Wilhelm penned Ain’t Got the Time and The Blues Ain’t Nothin’; while Richard Olsen contributed When I Go Sailin’ By. New recruit Darrell DeVore wrote Easy When I’m Dead, Time to Get Straight, Doubtful Waltz and When the Movies Are Over. However, when the album was released, The Charlatans luck changed.
By then, music had changed, and the music on The Charlatans was beginning to sound dated. As a result, The Charlatans failed commercially. So did the the Van Dyke Parks’ penned lead single High Coin. To make matters worse, one of The Charlatans had been busted on a drugs charge.
Drummer Terry Wilson had been caught in possession of marijuana. In 1969, this was a serious offence in America, where the drug laws were quite strict. So when Terry Wilson received a prison sentence he had to leave The Charlatans. This resulted in a u-turn from two members of The Charlatans.
Mike Wilhelm and Richard Olsen agreed to join a reunited lineup of The Charlatans. Mike Ferguson who had previously been sacked returned. So did George Hunter who had been ‘misled’ into thinking that The Charlatans had disbanded in 1968, even was willing to let bygones be bygones. Even Dan Hicks returned to the fold.
While The Charlatans continued as a quintet until the end of 1969, the writing was on the wall. The Charlatans’ music was regarded as outdated, and yesterday’s sound. It was almost inevitable that The Charlatans would split-up at the end of 1969. This was the end of the road for The Charlatans.
Four years earlier, the future looked bright for The Charlatans when they enjoyed their six week residency at Red Dog Saloon. When they returned to San Francisco, The Charlatans looked as if they were going to join the elite of city’s music scene. They had the talent, and their music which veered between country rock to folk rock and psychedelic rock should’ve found a wider audience.
Sadly, The Charlatans struggled to get a record deal. The time they spent at Kama Sutra Records resulted in The Charlatans recording the best music of their five year career. That’s apparent on the songs that feature on The Limit Of The Marvellous.
It features fifteen of The Charlatans’ greatest songs. They originally featured on a CD compilation The Amazing Charlatans, which was released by Big Beat Records twenty years ago, in 1996. Fifteen of the twenty-three tracks on The Amazing Charlatans feature on The Limit Of The Marvellous.
This includes a covers of Alabama Bound and a folk rock take on Buffy Sainte-Marie’s Codine Blues. They’re two of the band’s finest moments, and welcome additions to The Limit Of The Marvellous. So are a trio of songs penned by Dan Hicks, We’re Not On The Same Trip, How Can I Miss You When You Won’t Go Away and By Hook Or By Crook. The George Hunter and Richard Olsen songwriting team were also capable of some moments of musical magic like I Always Wanted a Girl Like You and Walkin’. However, several familiar songs are reworked The Charlatans.
Among them, are Skip James Devil Got My Man; Robert Johnson’s 30-20 and Lieber and Stoller’s The Shadow Knows. Each of these songs take on new meaning in The Charlatans’ hands. The same can be said of the traditional song Jack Of Diamonds. These songs show the different sides to The Charlatans’ music, and feature the band at their very best. Sadly, Kama Sutra Records didn’t released more of The Charlatans’ music in 1966.
Little did Kama Sutra Records realise that, they had captured The Charlatans at the peak of their powers. At that moment in time, their music was bang on trend. That was the time to release an album, not 1969.
When The Charlatans released their eponymous debut album for Phillips in 1969, their music hadn’t evolved. Instead, it sound outdated to record buyers who had moved on musically. Sadly, The Charlatans hadn’t. They came late to the party with an album that would’ve fared better if released in 1967. However, by then, the end was neigh for The Charlatans.
Despite getting the classic quintet together, The Charlatans’ story was over by late 1969. Their musical legacy amounted to one album, two singles and material they had recorded for Kama Sutra Records. It features on The Limit Of The Marvellous, which was recently reissued by Big Beat Records, an imprint of Ace Records on red vinyl. The Limit Of The Marvellous is the perfect introduction to musical mavericks The Charlatans, who having taken San Francisco by storm, should’ve found fame and fortune. Sadly, it wasn’t to be. After several breakups, makeups and changes in lineup, The Charlatans, called time on a career that promised much, but ultimately, through bad luck and misfortune, came to little.
THE CHARLATANS-THE LIMIT OF THE MARVELLOUS-VINYL EDITION.
SUN-WANNA MAKE LOVE (COME FLICK MY BIC)/SUN-POWER AND SUNBURN.
SUN-WANNA MAKE LOVE (COME FLICK MY BIC)/SUN-POWER AND SUNBURN.
During the seventies, Dayton, Ohio was the funk capital of America. The region produced some of the greatest and most successful funk bands of the era. This included Funkadelic, Parliament, The Gap Band, The Ohio Players, Lakeside, Zapp, Slave and Platypus. However, they weren’t alone. Sun were another of Ohio’s most successful and prolific funk bands.
Between 1976 and 1984, Sun released eight albums. Sun’s most successful albums, were their first three albums; 1976s Wanna Make Love (Come Flick My Bic), 1977s Sun-Power and 1978s Sunburn. These three albums were recently rereleased on BGO Records on two discs. This is the perfect introduction to Sun, who in 1976, whose story began at Roosevelt High School in Dayton in the mid-sixties.
That’s when Byron Byrd who would go on to found Sun, started playing alto saxophone. Having mastered the alto-saxophone, Byron Byrd had founded his first group The Ohio Majestics. Soon though, The Ohio Majestics became the Overnight Low Band.
Quickly, the Overnight Low Band gained the reputation as one of Ohio’s top live bands. This lead to the Overnight Low Band recording singles for James Brown’s King label and Chicago’s Chess Records.
Having been encouraged to record a session for King by label vice-president Henry Glover, The Witch Doctor was released on the Deluxe label in 1972, but didn’t chart. The following year 1973, Chess released Get To Your Soul, but like The Witch Doctor, failed to chart. Having learned from the experience, the following year Byron Byrd and the rest of the Overnight Low Band’s luck changed.
1974 saw the Overnight Low Band embark on a national tour, playing mostly colleges and universities. This was the Overnight Low Band’s chance to join Ohio’s funk elite. However, even then, there was a disappointment in store, when three members decided to jump ship and join an early lineup of The Ohio Players. However, the Overnight Low Band was about to change.
The Overnight Low Band had been booked to open for Mandrill, in the Ohio Theatre Columbus. That night, producer Beau Ray Fleming was backstage. He had produced Mandrill and Jon Lucien’s 1970 album I Am Now. However, Beau Ray Fleming had decided to stay backstage, rather than watch the opening act. That was until he heard the reception the the Overnight Low Band received.
Beau Ray Fleming decided to see what the fuss was about. The audience were in raptures, and the Overnight Low Band hadn’t played a note. This wasn’t the usual reception a support band received. So as the Overnight Low Band started their set, Beau rushed from Mandrill’s dressing room into theatre and watched their show. By the time he took his seat, the Overnight Low Band had won the audience over with their uber funky music. Straight away Beau Ray Fleming was hooked. Instantly, he realised that they were a talented band. He knew had to speak to them later opn.
At a party after the show, Beau introduced himself and the following year 1975, signed the Overnight Low Band to a production deal. Before that, Beau and the Overnight Low Band began looking at an alternative name for the group.
By late 1975, the Overnight Low Band’s search for a new name was still ongoing. Then, totally out of the blue, someone suggested Celestial Sun. Beau liked part of the name, so when trumpeter and trombone player John Wagner suggested dropping the Celestial part, Sun was born, and the Overnight Low Band became a footnote in Ohio funk history. With a new name, Beau started looking for a record deal for the newly named Sun. Then Beau met one of his music industry contacts Larkin Arnold, who had a new job at Capitol Records.
Larkin Arnold was something of a music industry veteran, who had just been installed as head of Capitol Records newly formed music department. Together, Beau, Larkin and Sun concluded a deal which saw Sun at last, signed to a major label. With their luck changing, another DJ and Drayton native Shad O’Shea entered their lives, offering Sun a deal which meant they could record their debut album on a budget.
Shad O’Shea, or to use his real name Howard Lovdal had formed his Counterpart record label in 1963 and since then, Ohio bands had recorded there. So, rather than record at a bigger studio, the decision was made to record their debut album at Counterpart Creative Studios in Cincinnati, Ohio. The seven piece Sun, comprising Byron Byrd, John Wagner, bassist Hollis Melson, drummer Kym Yancey, guitarist Shawn Sandridge, percussionist Chris Jones, and Dean Hummons on keyboards set about recording their debut album in early 1976. Nine songs were recorded and they would become their debut album Live On, Dream On. However, there would be further changes to the album after its release.
For their debut single, the title-track Live On, Dream On was chosen as Sun’s debut single from Live On, Dream On. When the single was released it failed to chart and the album their debut album Live On, Dream On wasn’t making much of an impact. Things changed, and so would the album title, after the release of the second single.
Wanna Make Love (Come Flick My Bic) was chosen as the second single from Live On, Dream On. The single started climbing the US charts, reaching number seventy-six in the US Billboard 100, number thirty-one in the US R&B Charts and number fifteen in the US Dance Charts. This successful run was helped along by a promotional campaign by the makers of Bic pens. With Live On, Dream On also climbing the US charts, Capitol decided to reissue the album as Wanna Make Love (Flick My Bic).
Wanna Make Love (Flick My Bic).
This and the unorthodox promotional campaign gave the album the boost it needed. After this, Wanna Make Love (Flick My Bic) climbed all the way to number fifty-four in the US R&B Charts. This wasn’t surprising.
Wanna Make Love (Flick My Bic) oozed quality, and was a really polished and accomplished album. This wasn’t surprising, as Sun were a tight, talented and experienced band. No wonder. They had spent several years serving their musical apprenticeship. Now it was about to pay off.
Sun were also a versatile band. There were two sides to their music, one funky and the other soulful. Sun demonstrate their funky side as Wanna Make Love opens. The album almost explodes into life with the funk drenched Live On, Dream On. Given its title, this is apt. It could just as easily by Sun’s theme song. The tempo might drop on Tell the People, but it’s another course in this nine course veritable funky feast. They’re Calling For Me sees Sun’s rhythm and horn sections driving the track along while Byron pleas for fans to “buy your ticket, get your seat.” Once listeners are sitting comfortably, Sun show another side to their music.
My Women is is a slow, soulful and very beautiful ballad. It shows another side to Sun, and is a paean to the many roles women fill in life. It’s one of the best tracks Byron Byrd wrote on Wanna Make Love. However, the best known songs on Wanna Make Love (Flick My Bic) was anthemic title-track. It’s now regarded as a funk classic, and one of Sun’s finest hour. Having said that, there’s much more to Sun than one track .
Love Is Never Sure is another slow ballad, which has a gloriously dramatic introduction and one of the most heartfelt vocals on Wanna Make Love. It’s accompanied by horns that rasp gently add to the emotive, beautiful sound. The Show Is Over has a similar sound and feel to Love Is Never Sure. Byron’s weary vocal is accompanied by tender harmonies, keyboards and subtly, braying horns. They provide a gorgeous accompaniment to Byron’s vocal and play their part in what is one of the most emotive, soulful songs on Sun’s debut album. Similarly soulful It’s Killing Me, where Sun seem to have been inspired by Stevie Wonder. Even the chord progressions are similar to some of those on Stevie Wonder’s early seventies album. After this, the show is nearly over.
Give Your Love To Me closes Wanna Make Love and is and is a slower, but still funky track. A piano and Sun’s horn section play important parts in the arrangement. Byron’s vocal is punchy, with tight sweeping harmonies accompanying him as Sun close their debut album Wanna Make Love on an uber-funky high.
It’s somewhat ironic that it took what was almost a guerilla marketing campaign changed Sun’s fortunes. Sun had talent, and shouldn’t have had to rely in gimmicks. Sadly, talent alone, it seemed, wasn’t enough for a band to make a commercial breakthrough in 1977. However, thanks to the guerilla marketing campaign, Sun’s career was off and running.
Without it, Sun could’ve easily resulted joining the ranks of bands who release just one album. However, Wanna Make Love (Come Flick My Bic), which was a game-changer.
Somewhat belatedly, record buyers discovered Sun’s debut album , Wanna Make Love (Come Flick My Bic). It was an accomplished debut from Sun, where a tight, talented and experienced band, showcase the two sides to their music. One side was the good time funk sound, the other deeply soulful. This proved popular among record buyers. So Capitol Records believing that their Sun would shine bright, got Sun to begin work on their second album Sun-Power.
Sun-Powder.
After the success of Wanna Make Love (Flick My Bic), Sun were keen to record their sophomore album Sun-Power. By the time, eight new songs had been written, Sun’s lineup had changed.
For Sun’s sophomore album Sun-Power, an expanded lineup of the band entered the recording studio. Sun’s number had swelled from seven to ten. The new recruits included trumpeter, saxophonist and percussionist Ernie Kinsley; percussionist and trombonist Gary King percussionist; and guitarist Bruce Hastell. These new recruits joined Sun in time for the group to enter Counterpart Recording Studios with producer Beau Ray Fleming.
For their second album Sun-Power, Sun recorded eight songs. Beau Ray Fleming and Byron Byrd produced Sun-Power, which featured the new, expanded lineup of Sun. Once Sun-Power was completed, Capitol Records gave the album priority, believing Sun were a group who had a big future.
Prior to the release of Sun-Power in 1977, the album was well received by critics. Many critics were forecasting that Sun were about to join the ranks of Dayton funk royalty. They certainly had the talent. However, could they sell enough albums?
When Sun-Power was released, it fared better than Wanna Make Love, reaching number thirty-nine in the US R&B Charts. The lead single Boogie Bopper was the only single to chart, reaching number fifty in the US R&B Charts. We’re So Hot and Just A Minute of Your Time both failed to chart. At least, Sun were making progress, in their journey to joining Ohio’s funk elite. However, was Sun-Power a similar combination of funk and soul as Sun’s debut album Wanna Make Love?
Opening Sun-Power is the playful Light Me Up, with Sun’s expanded horn section punctuating this mid-tempo funky track. There’s a different sound to Wanna Make Love, with Sun sounding even tighter and more polished. The horns are punchier, the rhythm section funkier and the harmonies that accompany Byron’s vocal sweeter. Boogie Bopper sees Sun at their funkiest best, with the rhythm and blazing horns driving this slice of good time funk along. If you were to cross elements of Kool and The Gang with Earth, Wind and Fire this is what you’d get. There’s a change on We’re So Hot, with Sun delivering their very first instrumental. With the guitars and rhythm section driving the arrangement along, ferocious stabs of growling horns join the mix, and a driving, slab of funk unfolds at breakneck speed. Sometimes, the track heads in the direction of jazz-funk, but mostly, this track has made in Ohio stamped all over it. Conscience sees the funk of the previous tracks continue, but some delicious harmonies added to the equation. This is reminiscent of several tracks from Wanna Make Love and is an opportunity for Sun to showcase their harmonic skills. After four funky tracks, Sun decide to change things around, returning to their more soulful side on the next two tracks.
Time Is Passing is a slower dramatic track where Sun revisit their soulful side. The track features some of the best lyrics on Sun-Power. It offers another, alternative perspective on the subject of time and absence in relationships. Rather than absence making the heart grow fonder, Byron Byrd wonders whether absence can make the heart restless? Here, Sun get another opportunity to deliver some stunning harmonies, while Byron delivers a vocal full of confusion, guilt and regret. Strings add to the emotion, while the harmonies add to the song’s beauty. The result is one of the highlights of Sun-Power. Just A Minute of Your Time has a Philly Soul sound from the initial bursts of growling, rasping horns. Byron’s vocal and the sweeping harmonies add the Philly Sound. Add in the Hammond organ and the rhythm section, complete with its dramatic, crashing cymbals and you begin to wonder if this is a hidden Philly Soul gem?
After two soulful tracks, Sun return to the funky side of their music, with Organ Grinder is a mid-tempo funk-laden track that’s also laden with double entendres, and introduces a tougher, edgier side to Sun’s music Closing Sun-Power is another “relationship song,” sung from the point of view of a man whose partner took his love for granted. Byron’s vocal is full of anger, bitterness and resentment, as his relationship lies in tatters. Reinforcing his emotions are growling, angry horns, stabs of Hammond organ and soaring harmonies that accompany Byron’s embittered vocal. Given that this track fuses the two sides of Sun’s music and is one of the best tracks on Sun-Power, it’s the perfect way to close Sun-Power.
By Sun-Power, Sun were evolving as a group. Although Sun-Power was just the second album in Sun’s eight album musical adventure, Sun had already joined Ohio’s funk elite. They were ready to rub shoulders with the great and good of Ohio funk. Sun were no one hit wonder.
Not only did Sun pickup where they left off on Wanna Make Love (Come Flick My Bic), they surpassed its quality on Sun-Power. The newly expanded lineup of Sun was a masterstroke, and filled out the band’s already impressive sound as they switched between funk and soul. The future was looking bright for Sun as their thoughts turned to their third album, Sunburn.
Sunburn.
After two successful albums, Capitol Records must have been happy with the progress of Sun. Everything seemed to be going to plan. That was until 1978.
By then, there was dissent within Sun’s ranks. Some of the members of Sun began expressing their displeasure about the future of the group. It became increasingly likely that there was going to be a casualty. Or six.
Sun it seems wasn’t a democracy. Producer Beau Ray Fleming, not founder Byron Byrd. promptly dismissed six members of the band. This included Chris Jones, John Hampton Wagner, Dean Hummons, Shawn Sandbridge and Hollis Melson. However, two of those who left Sun decided to form a new band.
Chris Jones and Shaun Sandbridge went on to form Dayton, a rival funk band. While it didn’t scale the heights as some of Dayton funk bands, Dayton enjoyed a degree of success. Sun however, were about to begin a new era.
There was no way Sun would limp on as a quartet. Instead, new names joined the band. This included guitarist and vocalist Keith Cheatham; bassist, saxophonist and vocalist Curtis Hooks and keyboardist Sonnie Talbert. Joining the horn section were Robert Arnold and Nigel Boulton. With the new lineup in place, Sun began work on their third album Sunburn.
This time around, Sun headed to Cyberteknics Recording Studio, Dayton. This was another change. Sun’s first two albums had been recorded at Counterpart Creative Studios in Cincinnati, Ohio. Not this time though.
It was if it was out with the old, and in with the new for Sunburn. Eight songs were recorded, and produced by Beau Ray Fleming and Byron Byrd. Sunburn showcased Sun’s new slick, polished sound. This new sound, it seemed, marked the start of a new era for Sun.
The new era started with the most successful album of Sun’s career. Sunburn reached twenty-one in the US R&B chart, and became Sun’s first album to enter the US Billboard 200. It reached number sixty-nine, and in the process, sold over 500,000 copies. This meant Sunburn was certified gold. For the six former members of Sun sacked by producer Beau Ray Fleming, it must have been a bittersweet moment.
Especially, when Sun enjoyed two hit singles from Sunburn. The first was Dance (Do What You Wanna Do), which stalled at number ninety-two in the US R&B chart. While Dance (Do What You Wanna Do) was a minor hit single; Sun Is Here reached eighteen in the US R&B chart. Meanwhile, the new lineup of Sun were enjoying the fruits of the most successful album of their career.
Sunburn began with a cover of You Are My Sunshine, before Sun launched into the single Sun Is Here. It was followed by another single, Dance (Do What You Wanna Do) a deliciously smooth fusion of soul and funk. Harmonies and horns augment the pulsating rhythm section as some of the best vocals on Sunburn add the finishing touch. Then Sun change things around.
When You Put Your Hand In Mine finds Sun at their soulful best on this beautiful ballad. It features one of Byron Byrd’s best vocals on Sunburn. The quality continues on the Byron Byrd penned You’re The One. Aided and abetted by a sultry saxophone and pulsating backdrop, a truly irresistible paean unfolds. From there, Sun change tack.
Genre-melting describes Long Drawn Out Thang. It finds Sun fusing elements of soul, funk and even a hint of disco. The result is a track that’s funky, soulful and dance-floor friendly, and reminiscent of Earth, Wind and Fire. The quality continues on You Don’t Have To Hurry. It’s another ballad, and features Sun at their best. Elements of funk and jazz play their part in a song that’s smooth and soulful. So is I Had A Choice a wistful ballad full of sadness and regret. Byron Byrd delivers the lyrics as he’s lived them. Soon, though, Sun prepare to take their leave.
Sun Of A Gun closes Sunburn. It’s another song that showcases Sun Mk III. They shine brightly on Sun Of A Gun. Funky and soulful, Sun’s music is much more polished. Any remaining rough edges have been smoothed away, as they showcase their soulful side. At the heart of the song’s success are the tight, soulful harmonies and an intricate arrangement that heads in the direction of funk. By then, Sun aren’t sparing the hooks. They’re determined to leave listeners wanting more, and succeed in doing so.
By 1978, Sun were on a roll. Every album surpassed the qualiyut of the previous one. While Wanna Make Love (Come Flick My Bic) was an accomplished and polished debut, Sun came back even stronger on Sun-Power. This showcased Sun Mk. II.
Sun lineup had expanded from seven to ten. This filled out their already impressive sound, and resulted in the best album of their career, Sun-Power. That was until Sunburn.
Incredibly, Sun rebuilt after produced Beau Ray Fleming sacked six members of the band. Despite this, Sun came back stronger, and recorded a career defining album, Sunburn. Not only was it Sun’s most successful album selling over 500,000 copies in America alone; but was Sun’s best album.
Sunburn showcases the two sides of Sun. They were equally comfortable switching between soul and funk. While Sun were happy to kick loose on a funky workout; they were equally at home on a ballad. Indeed, some of the finest songs on Sunburn are ballads like You Put Your Hand In Mine, You’re The One and You Don’t Need To Hurry. Given Sun’s versatility, it was no surprise that they proved such a popular band. They appealed to both soul and funk fans. That had been the case since Wanna Make Love (Come Flick My Bic). However, by Sunburn things had changed.
Any remaining rough edges had been smoothed away on Sunburn. Slick, smooth and polished described Sunburn. They were now one of the biggest funk bands from Dayton. Surely, their star was in the ascendancy now?
That seemed to be the case when Sun released Destination Sun in 1970. It reached number eighty-five in the US Billboard 200 and number seventeen in the US R&B charts. While Destination Sun became Sun’s most successful album, after that the sun went down on their career.
Although Sun released another four albums, they didn’t enjoy the same commercial success. What probably didn’t help, was the constant changes in lineup. By the time Sun released their final album Eclipse in 1984, Byron Byrd was the last man standing. The other original members of Sun had moved on. Even Beau Ray Fleming had left after Sun’s penultimate album Let There Be Sun. It was a far cry from Sun’s first three albums.
Sun’s most successful albums, were their first three albums; 1976s Wanna Make Love (Come Flick My Bic), 1977s Sun-Power and 1978s Sunburn. These three albums were recently rereleased on BGO Records on two discs. This trio of albums are the perfect introduction to Sun, and feature the best, and most successful albums of their eight year and eight album career.
SUN-WANNA MAKE LOVE (COME FLICK MY BIC)/SUN-POWER AND SUNBURN.
KEV BEADLE PRESENTS THE BEST OF INNER CITY RECORDS.
KEV BEADLE PRESENTS THE BEST OF INNER CITY RECORDS.
When Irv Kratka and Eric Kriss decided to found a new jazz label, Inner City Records in 1976, they seemed the perfect partnership. Irv Kratka was music industry veteran, who was the CEO of MMO Music Group. What he didn’t know about the music industry, wasn’t worth knowing. Similarly, producer Eric Kriss had a wealth of experience to draw upon. Inner City Records looked like a musical marriage made in heaven.
And so it proved. By 1979, Inner City Records was voted Record Label Of The Year by International Jazz Critics Poll. Inner City Records’ star was in the ascendancy.
Since 1976, Inner City Records had established a reputation for releasing not just jazz, but much more avant-garde releases. This set Inner City Records apart from other labels.
Not many labels who were releasing albums by The Art Ensemble Of Chicago and Sun Ra, alongside releases by Heldon, The Jeff Lorber Fusion, Jean Luc Ponty, François Jeanneau, Spheroe and bluesmen Memphis Slim and Roosevelt Sykes. Inner City Records seemed to take pride on the eclecticism of its roster. They were releasing the music of the past and present, alongside the music of the future. This made them a popular label by 1979.
Given the eclecticism of its roster, record buyers of all ages and backgrounds bought Inner City Records’ releases. The label appealed to every type of jazzer. From those who preferred the classic jazz sound; to those who favoured new fusion sound; and the more adventurous record buyers who enjoyed the avant-garde and experimental releases, Inner City Records had something for everyone. It looked like Irv Kratka and Eric Kriss had a success story on their hands.
Just two years after winning the Record Label Of The Year award, the Inner City Records was over by 1981. The label had released around sixty labels between 1976 and 1981. Thirty-five years after Inner City Records shut its doors for the last time, these albums are highly prized among record collectors.
Especially in London, where DJs in the underground dance clubs of Soho and Covent Garden pepper their sets with tracks from Inner City Records’ back-catalogue. This includes London based DJ Kev Beadle, a stalwart of the capital’s underground music scene.
Recently, the veteran DJ compiled Kev Beadle Presents The Best Of Inner City Records for BBE Music. This sixteen track compilation will be released on the 18h March 2016. Kev Beadle Presents The Best Of Inner City Records is an eclectic compilation fearing contributions from Judy Roberts, Janet Lawson Quintet, Tom Lellis, The Jeff Lorber Fusion, Eddie Jefferson, Kellis Ethridge and Charlie Mariano. As you’ll realise, it’s a truly eclectic collection of tracks.
Opening Kev Beadle Presents The Best Of Inner City Records, is Hunt Up Wind, the title-track from Hiroshi Fukumura’s 1978 collaboration with Sadao Watanabe. Hunt Up Wind was recorded in Tokyo in June 1978, and features an all-star band. Its rhythm section featured drummer Harvey Mason, bassist Chuck Rainey and guitarist Cornell Dupree. Combined with for Hiroshi Fukumura’s keyboards and Sadao Watanabe’s saxophone, a sultry slice of jazz-funk unfolds.
In 1979, The Judy Roberts Band released their eponymous debut album. By 1980, Judy Roberts was about to release her debut solo album The Other World on Inner City Records. One of the album’s highlights was the title-track, where soul meets fusion. It’s the perfect showcase for Judy’s vocal and keyboard skills. Adding the finishing touch, is a guitar masterclass from Neal Seroka.
A year later, Judy Roberts released her sophomore album, Nights In Brazil in 1981. It featured the beautiful ballad Never Was Love, where fusion, Latin jazz and soul combine. It’s an irresistible combination that shows Judy Roberts’ versatility.
For three years, Japanese jazz trumpeter Terumaso Hino called Inner City Records home. In 1979, he released released what many regard as his finest album for Inner City Records, City Connection. Among the album’s highlights were Send Me Your Feelings, a soulful slice of jazz-funk. Quite different is Samba De-La Cruz. It’s an ambitious fusion of Latin jazz and jazz funk. It features a blistering, almost free jazz trumpet solo from Terumaso Hino. These two tracks show two very different sides to one of Japan’s finest jazz trumpeters, Terumaso Hino.
When Inner City Records signed the Janet Lawson Quintet, they saw a group who were capable of helping transform jazz’s ailing fortunes. The reason for this was Janet Lawson. She sounded as if she was descended from Ella Fitzgerald and Sarah Vaughan. Others compared Janet to Anita O’Day. The reason for this was her diction and interpretation. Janet didn’t just sing songs, she lived them. That’s apparent on the Janet Lawson Quintet’s eponymous debut album. It was released in 1981, but failed commercially. That’s despite songs of the quality of So High, which feature the Janet Lawson Quintet in full flight. It’s an impressive sound, and the perfect introduction the multitalented and versatile Janet Lawson Quintet.
Having released their eponymous debut album in 1977, Having released The Jeff Lorber Fusion returned a year later with their sophomore album Soft Space. It marked the coming of age of The Jeff Lorber Fusion. That was the case from the opening track The Samba, which features Chick Corea on Minimoog. Stealing the show, is Terry Layne’s saxophone as fusion meets Latin jazz. Curtains with its sultry, summery sound is another track that epitomises everything that’s good about fusion circa 1978.
Just like the Janet Lawson Quintet, Tom Lellis was billed as the future of jazz when he released his eponymous debut album in 1981.This was no surprise. Tom Lellis a talented singer, songwriter and pianist who had produced his eponymous debut album. It featured four songs penned by Tom Lellis and six cover versions. One of the cover versions was Lucky Southern, one of two songs on the album written by Keith Jarrett. Lucky Southern was the perfect showcase for Tom Lellis skills as a pianist and vocalist. Sadly, when the album was released, Tom’s fusion of contemporary jazz and post bop failed commercially. As a result, there was no followup to Tom Lellis, which is another hidden gem in the Inner City Records’ back-catalogue.
By the time Helen Merrill released Something Special in 1978, she had been releasing albums since 1954. Helen Merrill had released her eponymous debut album in 1954. Twenty-four years later, and she had lost none of her enthusiasm for music. Something Special had been recorded by a small band of jazz veterans, including Ron Carter and Thad Jones. They provided the backdrop for Helen Merrill’s vocal jazz. One of the album’s highlights was Vera Cruz which is Something Special from Helen Merrill.
Joe Lee Wilson was thirty-nine when he released his debut album Livin’ High Off Nickels And Dimes in 1974. Before that, Joe Lee Wilson had featured on several Archie Shepp albums. In 1976, Joe Lee Wilson was about to release his third album, Hey Look At You on Inner City Records. It wasn’t a new album. Far from it.
The songs that became Hey Look At You were recorded during two days in November 1969. For seven years, this modal jazz album had lain unreleased. That’s until Inner City Records took a chance on Hey Look At You. One of the tracks that was perfect for Joe Lee Wilson’s gospel roots and three octave baritone vocal, was Return Of The Prodigal Son. Joe Lee Wilson delivers an impassioned soulful vocal that’ll make you want to hear from of his impressive three octave baritone vocal.
In 1977, Eddie Jefferson released his second album for The Main Man, his second album for Inner City Records. By then, Eddie Jefferson was fifty-nine, and a vastly experienced vocalist. He had invented vocalese, where lyrics are added to an instrumental. However, Jeannine where Eddie Jefferson delivers a vocal masterclass. His timing and diction are perfect, before he seamlessly switches to a scat on what’s one of the highlights of The Main Man.
Kellis Ethridge released his one and only album Tomorrow Sky, in 1981. Tomorrow Sky featured Quickie Nirvana, a genre-melting track. From jazz-funk, the track heads in the direction of smooth jazz and later fusion. It’s a magical musical journey from Kellis Ethridge.
Polish jazz vocalist Urszula Dudziak’s career begin in the fifties, but in 1973, she moved to America. Within two years, Urszula Dudziak was signed to Arista where she released two albums. By 1979 Inner City Records was home to Urszula Dudziak. Her debut for Inner City Records was Future Talk, which featured Shenkansen. It’s an innovative marriage of free jazz and fusion, which is the best track on Kev Beadle Presents The Best Of Inner City Records.
Continuing the cosmopolitan nature of the compilation, is Pandora, a track from Argentine keyboardist and vocalist Carlos Franzetti. Pandora featured on Carlos Franzetti’s 1981 sophomore album Galaxy Dust. Elements of jazz-funk and fusion combine on Pandora, where Carlos Franzetti cut loose, and enjoy the opportunity to showcase their versatility and considerable talents.
Closing Kev Beadle Presents The Best Of Inner City Records is Charlie Mariano’s To An Elfin Princess. This is a track from the album October. Although October was released in 1978, the album had been released a year earlier in 1977, on the German label Contemp Records. October was produced by German producer Kurt Renker; while a band of German, American and Indian musicians featured the Charlie Mariano. The American jazz saxophonist is at his most innovative and inventive on To An Elfin Princess, an eight minute fusion epic. Kev Beadle it seems, has decided to close this sixteen track compilation on a high.
The sixteen tracks Kev Beadle Presents The Best Of Inner City Records are a suitably eclectic selection of tracks. That’s fitting, as the music Inner City Records’ released was eclectic. They weren’t a label who stuck to one genre. Instead, Inner City Records released everything from avant-garde and contemporary jazz to free jazz, fusion and jazz-funk right through to modal jazz, soul-jazz and vocal jazz. Each of these genres are represented on Kev Beadle Presents The Best Of Inner City Records, which will be released on BBE Music on 18th March 2016. It’s the perfect primer for anyone who wants an introduction to Inner City Records. However, this could be the start of an expensive journey.
Having heard Kev Beadle Presents The Best Of Inner City Records, most people will want to hear more from the artists on the compilation. While albums like the Janet Lawson Quintet and The Jeff Lorber Fusion have recently been reissued, many of the other albums have yet to be rereleased. Original vinyl copies of some of the albums don’t come cheap. So anyone looking to collect every album released by Inner City Records better have deep pockets. That’s a great shame.
During its lifetime, Inner City Records released many groundbreaking albums. Especially among the avant-garde releases. Sadly, they’re prized items among collectors, so the nearest most people will come to these rarities is on Kev Beadle Presents The Best Of Inner City Records. That’s until another label decides to release some of those groundbreaking releases. Until then, Kev Beadle Presents The Best Of Inner City Records is the perfect introduction into Inner City Records.
KEV BEADLE PRESENTS THE BEST OF INNER CITY RECORDS.
EDDI READER-THE BEST OF EDDI READER.
EDDI READER-THE BEST OF EDDI READER.
Eddi Reader was twenty-eight when Fairground Attraction signed to RCA. The next three years were a roller coaster for Fairground Attraction.
Their debut single Perfect was released in April 1988, and reached number one in the British singles charts. Fairground Attraction slice of pop perfection whetted record buyer’s attention for Fairground Attraction’s debut album.
Just a month later, the genre-melting The First Of A Million Kisses was released in May 1988. This captivating album of pop, folk, jazz and cajun began climbing the charts. Eventually, it reached number two, and was certified platinum in Britain. Meanwhile, Fairground Attraction’s music was finding an audience much further afield.
In Australia, Perfect had topped the singles charts, and in New Zealand it reached number four. Then The First Of A Million Kisses reached number nine in the Australian album charts. For Eddi Reader, Mark E. Nevin, Simon Edwards and Roy Dodds they were living the dream.
A year earlier, Fairground Attraction had just signed to RCA. By July 1988, their sophomore single Find My Love reached number seven in Britain. Then in November 1988, A Smile In A Whisper became the third single to be released from The First Of A Million Kisses. It reached just eighty-eight in the British charts. While this was disappointing, 1988 had been the stuff of dreams. Surely 1989 couldn’t get any better?
As 1989 dawned, Fairground Attraction released their fourth and final single from The First Of A Million Kisses. The song that was chosen, was Clare. However, it peaked at just forty-nine. Again, this was slightly disappointing. However, Fairground Attraction were in for a pleasant surprise.
On the 13th February 1989, the great and good of British music gathered together at the Royal Albert Hall. When the winners were announced, Fairground Attraction swept the board. Not only did Perfect win the award for best single; but The First Of A Million Kisses won award for the best album. For Eddi Reader, all the years she had spent serving her musical apprenticeship was worthwhile.
Following their triumph at the Brit Award, Fairground Attraction released a cover of Alan Block and Donn Hecht’s Walkin’ After Midnight. It was originally covered by Patsy Cline, and now, Fairground Attraction gave the song a makeover. However, the single reached just ninety-seven in the British charts. By then, Fairground Attraction were on tour.
Fairground Attraction had headed stateside, and toured America. Next stop was Japan, as Fairground Attraction continued to win friends and influence people. For the girl who had grown up in Glasgow and Irvine, in Scotland, Eddi Reader couldn’t believe how her life had been transformed. It was like a fairy tale.
Sadly, there was handsome Prince and no happy ending. By the time Fairground Attraction began recording their sophomore album in September 1989, rumours suggested that all wasn’t well within Fairground Attraction. Sources close to the band reported arguments in the studio. Sadly, this turned out to be true, and in January 1990, the announcement came that Fairground Attraction had split-up.
Incredibly, just eleven months after winning two Brit Awards, Fairground Attraction were no more. Despite this, Fairground Attraction released their sophomore album in July 1990. Ay Fond Kiss featured unreleased songs, B-Sides and cover versions. The misspelt Ay Fond Kiss still managed to reach fifty-five in Britain. By then, Eddi Reader had returned home to Scotland.
Although Eddi Reader had decided to embark upon a solo career, she was dipping her toe into the world of acting. Eddi Reader had been cast as Jolene Jowett, a singer and accordionist in Joh Byrne’s comedy drama Your Cheatin’ Heart. Acting would be something that Eddi Reader would return to. However, from now on, Eddi Reader would be concentrating on her solo career.
Eddi Reader’s solo career and her career with Fairground Attraction is documented and celebrated on The Best Of Eddi Reader. This thirty track double album was recently released by Reveal Records. Fittingly, The Best Of Eddi Reader starts with The Fairground Attraction years.
From the Fairground Attraction years, just a trio of songs have been chosen. This includes Fairground Attraction’s first two singles, Perfect and Find My Love. However, the other track Whispers, from The First Of A Million Kisses. It’s a beautiful ballad, which is the perfect showcase for Eddi Reader’s heartfelt, tender vocal. Even then, it was obvious that if push came to shove, that Eddi Reader could survive without the rest of Fairground Attraction.
After the recording of John Byrne’s comedy drama Your Cheatin’ Heart, Eddi Reader was ready to think about her solo career. It must have been a daunting prospect. Up until then, she had part of a band. That had been the case since she was a backing singer with the Gang Of Four, right through to her time with Fairground Attraction. Being a solo artist was a totally different prospect. Now Eddie Reader was the star of the show. It was her, and her alone that people came along to see. For most artists in a similar situation, this took some getting used to. Eddie Reader seemed to embrace her new role as a solo artist.
Mirmama.
Having moved home to Scotland, Eddi Reader returned to London to record her debut solo album. In London, Eddi began working with her new backing band, The Patron Saints of Imperfection. Roy Dodds, Neill and Calum MacColl would accompany Eddi on what became her debut album, Mirmama.
For Mirmama, Eddi recorded eleven songs. They were mixture of cover versions and new songs. Among the cover versions were Fred Neil’s Dolphins and Craig Wiseman and Steve McEwan’s My Old Friend The Blues. They feature on The Best Of Eddi Reader. So does What You Do With What You’ve Got, which Eddie cowrote. This trio of tracks were among the highlights of Mirmama.
Eddi reinvents Dolphins, where she briefly paying homage to Tim Buckely who also covered the song. Then Eddi delivers an understated country-tinged take of My Old Friend The Blues. They were just two of the highlights of Mirmama.
When critics received a copy of Mirmama, the album was credited to Eddi Reader With The Patron Saints Of Imperfection. The reviews of Mirmama were positive, and critics agreed that Eddi Reader had seamlessly made the transition to solo artist.
This became apparent when Mirmama reached number thirty-four in the British charts. Eddi Reader’s solo career was underway.
Eddi Reader.
By 1993, Eddi Reader was signed to ready to begin work on her sophomore album. She had enjoyed a spell as presenter of BBC Scotland’s short-lived music program No Stilettos. However, after that, it was a return to the “day job.”
This time, there was no sign of The Patron Saints Of Imperfection on her sophomore album. However, a familiar face made a return and Eddi worked with a new songwriting partner for the first time
Eddi’s new songwriting partner was Boo Hewerdine. He wrote two tracks, and cowrote three with Eddi. A familiar face from Eddi’s past contributed another four tracks, Mark E. Nevin. The former Fairground Attraction guitarist contributed three tracks; and Dear John which he had previously written with Kirsty MacColl. She decided not release the song, and offered it to Eddi. Her heart wrenching version of Dear John and Patience Of Angels features on The Best Of Eddie Reader, would become one of the highlights of Eddi’s sophomore album.
To record what became Eddi Reader, Eddi headed to El Mirador, California, where she worked with producer Greg Penny. He had previously produced K.D. Lang’s album Ingenue. With such an impressive track record, Eddi knew that Greg Penny would bring out the best in her.
That proved to be the case. When Eddi Reader was released in Britain in June 1994, it was to widespread critical acclaim. Critics hailed Eddi Reader’s sophomore album as a mini-masterpiece. Record buyers agreed.
When Eddie Reader was released, it was Eddi’s first release for Blanco y Negro Records, a subsidiary of Warner Bros. The major label machine got behind Eddi Reader, as her eponymous album was released in Britain, America and Japan. In Britain, Eddi Reader reached number four. Eddi had repaid Blanco y Negro Records’ faith in her.
Things got even better for Eddi Reader in February 1995, when Eddi Reader won her third Brit Award. This time, it was for the Best Female Singer. While this was Eddi’s first as a solo artist, it was the third Brit Award of her career. Eddi Reader’s glittering career continued.
Candyfloss and Medicine.
Just over a year after winning another Brit Award, Eddi Reader returned in July 1996 with her third album, Candyfloss and Medicine. This time, Eddi hadn’t journeyed to California to record Candyfloss and Medicine. Instead, she recorded the album in London.
By then, Eddi was maturing as a songwriter. She had penned eight of the ten tracks on the album with various songwriting partners. This included her half-brothers Neil and Calum MacColl and co-producer Teddy Borowiecki. However, Eddi’s most successful songwriting partnership was with Boo Hewerdine. They cowrote five of the songs on Candyfloss and Medicine. This included Semi Precious which they cowrote with co-producer Teddy Borowieck.
Recording of Candyfloss and Medicine took place at two studios in London. At The Snake Ranch and Eden Studios, Eddi and her band were joined by special guests Boo Hewerdine and Bernard Butler. Along with strings and horn sections, Candyfloss and Medicine took shape. One of its highlights was the beautiful, country-tinged ballad, Semi Precious, which features on The Best Of Eddi Reader. It was, critics said one of the album’s highlights.
Prior to the release of Candyfloss and Medicine in July 1996, critics penned reviews of Eddi Reader’s third album. Again, critical acclaim, praise and plaudits accompanied the release of Eddi’s third album. Eddi Reader critics felt, was maturing as a singer and songwriter with every album; and Candyfloss and Medicine was a truly captivating album.
When Candyfloss and Medicine was released, the album stalled at number twenty-four in Britain. This was slightly disappointing considering that Eddi Reader had reached number four. However, by 1996, Eddi was enjoying commercial success much further afield. Her albums were released in America and Japan, where she was a popular draw.
Angels and Electricity.
It was nearly another two years, before Eddi returned with the followup to Candyfloss and Medicine, Angels and Electricity. For Angels and Electricity, Eddi had reunited with some familiar musical faces.
This included Mark E. Nevin, who contributed the album opener Kiteflyer’s Hill. Eddi’s regular songwriting partner Boo Hewerdine penned four of the thirteen tracks on Angels and Electricity. This included Wings on My Heels and Hummingbird. Boo and Eddi also cowrote Follow My Tears. These four tracks were among the highlights of Angels and Electricity, and would become staples of Eddi’s live sets. So it’s fitting that they feature on The Best Of Eddi Reader. They’re a reminder of one of Eddi’s best albums which was recorded at various studios.
As work began on Angels and Electricity, Eddi’s band had a familiar look to it. Keyboardist Teddy Borowiecki, drummer Roy Dodds and guitarists Calum and Neill MacColl had played on previous albums, and played a crucial part in the sound and success of Angels and Electricity.
Before the release of Angels and Electricity in May 1998, critics had their say on Eddi’s fourth studio album. The reviews were positive, with songs like Kiteflyer’s Hil, Please Don’t Ask Me To Dance and a cover Ron Sexsmith’s On A Whim receiving praise from critics. Buoyed by the reviews of Angels and Electricity, Eddi eagerly awaited the release of the album.
Sadly, when Angels and Electricity was released, it peaked at forty-nine in the British charts. For Eddi this was a huge blow. Given the quality of the songs on Angels and Electricity, everyone expected the album to fare much better. However, things were about to get worse for Eddi.
Following the release of Angels and Electricity, Blanco y Negro Records didn’t renew Eddi’s contract. When her next album was released, she would no longer be signed to a major label.
Simple Soul.
Three years after the release of Angels and Electricity, Eddi returned with her new album Simple Soul. It would be released on Rough Trade Records. However, Simple Soul was an album that very nearly wasn’t released.
Eddi had bought a some new recording equipment, and wanted to try it out. So with Roy Dodds, her drummer, who she had known since they were in Fairground Attraction, they decided to record some demos of new songs.
Together, Eddi and Roy recorded twenty-seven songs. When Eddi listened to the song’s understated, sparse sound she liked what she heard. Suddenly, she begin to think about releasing some of the songs. Eventually, she had picked eleven songs, which became Simple Soul. It would be released in January 2001.
Simple Soul was an album divided the opinion of critics. The majority were won over by the more intimate, understated sound. It showed another side to Eddi Reader. However, a few critics weren’t convinced. So record buyers had the casting vote.
When Simple Soul was released in January 2001, it was Eddi Reader’s first release for Rough Trade Records. The album sold well, and proved popular among her fans. However, Simple Soul failed to chart. This was a first for Eddi Reader and an inauspicious start to life at Rough Trade Records.
Driftwood.
Given the popularity of Simple Soul amongst her fans, Eddi decided to release a followup album. She was in an unusual position of releasing a second album of what were essentially demos and outtakes. Despite this, there was an appetite for the new songs.
With another sixteen songs to choose from, she had plenty material to choose from. Eventually, Eddi decided on twelve tracks which became Driftwood.
Rather than release Driftwood via a record company, Eddi decided to self-release her sixth studio album. Copies of Driftwood were sold on her Simple Soul tour. Again, Driftwood’s much more intimate, understated sound found favour among Eddi’s fanbase. So would her next album.
Eddi Reader Sings The Songs Of Robert Burns.
Eddi’s next album was a very personal one. As a child, Eddi had moved from Glasgow to Irvine, Ayrshire. It was in Ayrshire, that Eddi discovered the work of Scotland’s bard Robert Burns. Suddenly, Eddi was introduced to what she called: “an alternative Scottish beauty and language.” She was captivated by Burns’ work; and this was the start of a lifelong love affair.
In 2003, Eddi decided to record an album of Robert Burns’ work set to music. So set about arranging and recording some of Robert Burns’ best known and best loved work.
With her regular band, plus Boo Hewerdine and folk artists like Phil Cunningham, Kate Rusby and John McCusker, Eddi headed to CaVa Studios in Glasgow. That’s where Eddi Reader recorded her tribute to Scotland’s bard.
When Eddi Reader Sings The Songs Of Robert Burns was complete, it featured eleven of the bard’s finest works. This included Ae Fond Kiss, Wild Mountainside, Willie Stewart and My Love Is Like A Red Red Rose, which feature on The Best Of Eddi Reader. These songs take on new meaning, as Eddi’s breathes new life and meaning into the familiar words. Critics agreed.
Eddi Reader Sings The Songs Of Robert Burns received critical acclaim. It received some of the best reviews of Eddi’s solo career, and is now regarded as one of her finest solo albums. That’s despite what a third rate politician said recently in the House Of Lords. Back in January 2003, Eddi Reader Sings The Songs Of Robert Burns was released to overwhelming critical acclaim.
After the release of Eddi Reader Sings The Songs Of Robert Burns, it became apparent that Eddi’s music was finding a much wider audience. Burns aficionados had discovered Eddi Reader’s music. They regarded the album as a fitting tribute to their hero. With praise, plaudits and critical acclaim ringing in her ears, it was a proud moment for Eddi Reader. She was a proud nationalist, who had sung one of the bard’s songs at the opening of the Scottish Parliament. Six years later, she would revisit Robert Burns’ work. By then Eddi would’ve released another album.
Peacetime.
Four years after the success of Eddi Reader Sings The Songs Of Robert Burns, the First Lady of Scottish music returned with another album, Peacetime. It would feature an all-star cast.
To play on Peacetime, Eddi had recruited some of the best British traditional folk musicians. They were joined by what Eddi believed were some of top contemporary musicians. This included some of the best players in their chosen genre. With such an experienced band, this was an exciting time for Eddi.
For Peacetime, Eddi chose a mixture of traditional and new songs. This included Robert Burns’ Leezie Lindsay, Boo Hewerdine’s Muddy Water and Declan O’Rourke’s Galileo (Someone Like You. They all feature on The Best Of Eddi Reader, and were regarded as highlights of Peacetime.
It had been recorded at Pure Records Studio, Yorkshire. Joining Eddi, were her regular band, Boo Hewerdine, John McCusker, Ian Carr, Ewen Vernal and Michael McGoldrick. They accompanied Eddi on the eleven songs that became Peacetime.
Just before the release of Peacetime in January 2007, reviews of Eddi’s eighth album were published. While most were positive, there was the odd dissenting voice. Mostly, though, critics were impressed with what was a genre-melting album. Everything from folk and jazz to a much more contemporary sound were showcased on Peacetime, which marked the return of Eddi Reader on Rough Trade Records.
It had been six years since Eddi released her last album on Rough Trade Records. A lot had happened since then. Her star was in the ascendancy, and she seemed as popular as ever. Especially in her native Scotland.
Eddi Reader Sings The Songs Of Robert Burns.
With Scotland about to celebrate the 250th anniversary of Robert Burns birth in 2009, Eddi decided to record another seven of the bard’s poems. They had been arranged and recorded, and would be released as part of a Deluxe Edition of Eddi Reader Sings The Songs Of Robert Burns.
The album was released on 12th January 2009, just in advance of the birth of 250th anniversary of Robert Burns birth, on 25th January 1759. Eddi Reader Sings The Songs Of Robert Burns was the perfect soundtrack as a nation celebrated the 250th anniversary of Robert Burns birth. For Eddi Reader it was another of her finest hours. However, before long, Eddi was back with a new album.
Love Is The Way.
Just four months after the release of Eddi’s second homage to Robert Burns, she was back with her ninth studio album, Love Is The Way. It was released on Rough Trade Records, in May 2009.
Love Is The Way featured thirteen songs from Eddi Reader. They were an interesting selection of song. This included cover versions of songs by Brian Wilson and Fleetwood Mac, plus new songs from Jack Maher and Sandy Wright. Among the other songs were Boo Hewerdine’s Dragonflies; Declan O’Rourke’s Love Is The Way; and John Douglas’ New York City. John Douglas also cowrote Roses with Eddi Reader. These songs were among Love Is The Way’s highlights; so it’s fitting that they feature on The Best Of Eddi Reader.
As the release of Love Is The Way approached, critics began to pen their reviews of Eddi’s ninth studio album. It was the first album that Eddi had produced herself. Mostly, the reviews were positive, but there were a few agnostics who hadn’t been won over by Love Is The Way. However, Eddi’s loyal fanbase begged to differ.
When Love Is The Way was released, the album reached number 109 in the British album charts. As Eddi Reader approached her fiftieth birthday, she was still a hugely popular artist. Still Eddi’s albums sold well, and her tours always sold out.
Vagabond.
There was a gap of five years before Eddi Reader returned with her tenth, and most recent album. Vagabond was released in February 2014, by Reveal Records. A lot had changed in the past five years.
Eddi had written the fourteen tracks on Vagabond. It was the first album where Eddi had written every track. She also produced Vagabond, which was recorded in Eddi’s native Scotland with some familiar faces.
Just like previous albums, Eddi was accompanied by some familiar faces. Boo Hewerdine, Ray Dodds, Ian Carr, John McCusker and Ewan Vernal all returned for Eddi’s tenth album. Along with Karen Matheson and Phil Cunningham, Vagabond took shape. Once Vagabond was complete, the release was scheduled for February 2014.
When critics and fans heard Vagabond, they realised that the five year wait had been worthwhile. Especially given the quality of songs like Vagabond, Snowflakes In The Sun and Baby’s Boat. They were among the highlights of Vagabond, and feature some of Eddi’s best lyrics and most impassioned and emotive vocal. So it’s fitting that these songs feature on The Best Of Eddi Reader. This thirty track compilation is the the most comprehensive retrospective of Eddi Reader’s career so far.
The Best Of Eddi Reader, which was recently released by Reveal Records, and encompasses a recording career that’s lasted twenty-nine eight years. From the Fairground Attraction years, right through to Eddi’s most recent solo album, Vagabond, it’s the most comprehensive overview of the career of the First Lady of Scottish music, Eddi Reader.
Now fifty-six, The Best Of Eddi Reader is a reminder, if any was needed of one of the most talented Scottish singer-songwriters of her generation. Proof of that are a number one single; platinum album and three Brit Awards. They’re just a few of the reasons why Eddi Reader is the First Lady of Scottish music. Thirty more can be found on The Best Of Eddi Reader.
EDDI READER-THE BEST OF EDDI READER.
CIRCLES-CIRCLES AND MORE CIRCLES.
CIRCLES-CIRCLES AND MORE CIRCLES.
Between 1969 and 1977, German music was thriving. In towns and cities, new groups were being formed. Many of these bands eschewed the Anglo-American, jazz-blues tradition, and decided to plough their own musical furrow. What followed, was a musical revolution…Krautrock.
The Krautrock era lasted for eight years, and nowadays, is regarded as a golden age for German music. No wonder. From 1969 to 1977, German bands were releasing some of the most innovative, influential and important music in Europe.
In the early days of Krautrock, groups like Amon Düül, Kluster, Kraftwerk, Tangerine Dream, and Can lead the way. They were pioneers who paved the way for groups like Amon Düül II, Ashra Tempel, Cluster, Neu!, Harmonia and Popol Vuh. These groups were just the tip of what was a musical iceberg.
A whole host of other groups were releasing groundbreaking music. From Sunbirds, Ikarus and Kollektiv, to Embryo, Guru Guru, Jane and Lava. Each and every one of these groups were musical pioneers. Sadly, like all good things, the Krautrock era came to an end.
Incredibly, many Krautrock groups didn’t enjoy the commercial success that their music deserved. Even groups like Harmonia struggled financially during the mid-seventies. The problem was, many German music lovers still preferred British and American music. Ironically, they were missing out on a musical revolution that by the early eighties, many critics and cultural commentators felt, would never be repeated.
By then, Krautrock had influenced a new generation of European musicians. Across Europe, a new generation of musicians were about to form bands. Many of them had grownup listening to Krautrock. It was now regarded as some of the most innovative, influential and important music of the late-sixties and early-seventies. This music was revolutionary and would go on to influence several generations of musicians. This included two musicians in Frankfurt, Dierk Leitert and Mike Bohrmann.
The pair were part of the post Krautrock underground scene. Its roots could be traced back to the end of the Krautrock era in the late seventies. By 1983, the post Krautrock underground scene was vibrant underground movement throughout Germany. This included Frankfurt, where Dierk Leitert and Mike Bohrmann were making music as Circles, and in 1983, were about to release their eponymous debut album.
Circles and the followup More Circles, have just reissued for the first time on the Mental Experience label, which is an imprint of Guerssen Records. These two albums take the listener back to an exciting time in German music.
In many ways, the “post Krautrock underground” scene brought back memories of the Krautrock era just a decade earlier. It was an exciting time, with a sense that anything was possible. Once again, a new generation of new bands were making new and innovative music. Many of these bands were releasing their music independently.
This had happened during the Krautrock era. Many bands had recorded albums, and then released them on small, independent labels. Other bands, even founded their own record label. Meanwhile, groups like Neu!, hired a recording studio to record an album. Only once they had recorded an album, they took it to a record company. This meant they were making music on their own terms. However, things had changed since then.
Imbued by the D.I.Y. spirit of punk, now bands had the confidence and nous to record, release and distribute their own albums. No longer did groups view record companies as a vital cog in the musical machine. Instead, they were determined to do things their way. This included Circles.
Circles.
By 1983, music and the way music was made had changed drastically. It was very different to how Can, Cluster and Neu! made music just a decade earlier. No longer were synths, sequencers and drum machines prohibitively expensive. Now they were within the budget of musicians like Dierk Leitert and Mike Bohrmann. For aspiring musicians about to record their debut album, suddenly, there was a level playing field.
So when Dierk Leitert and Mike Bohrmann began recording Circles’ eponymous debut album, they had access to technology that a decade earlier, would’ve been way beyond their budget. With a mixture of technology and traditional instruments Circles wanted to record an album that picked up where Cluster and Harmonia left off.
For their eponymous debut album, the two members of Circles Dierk Leitert and Mike Bormann cowrote six tracks. Dierk Leitert wrote Chant, Tropflut and Intermezzo. These nine tracks would become Circles, which was recorded in Eppstein, Frankfurt.
To do this, the two multi-instrumentalists deployed an impressive musical arsenal in a studio in the Frankfurt suburbs. Both musicians were versatile, and seamlessly, could switch between instruments. Dierk Leitert was a one man rhythm section, playing drums, bass and guitar. He also played saxophone, flute and vocals. However, Dierk Leitert was equally comfortable with technology had access to a wide selection of synths and sequencer. Mike Bohrmann was equally versatile, playing guitars, bass and synths. Along with a few musical friends, an arsenal of effects and an eight track Tascam recorder, the nine tracks that became Circles.’ eponymous debut album took shape.
Once Circles was recorded, the album’s distinctive and memorable album cover was designed. This was the finishing touch to Circles, which was released on Dierk Leitert and Mike Bohrmann’s own label, Einhorn Music.
Rather than trying to interest a record label in Circles, Dierk Leitert and Mike Bohrmann decided to form their own label, Einhorn Music. This was what a lot of groups within the post Krautrock underground scene were doing. It meant that Circles were recording and releasing music on their own terms.
When Dierk Leitert and Mike Bohrmann were preparing to release Circles’ eponymous debut album, many of their contemporaries were aware of the post Krautrock underground scene. Just like Krautrock and the Berlin School, the post Krautrock underground scene was another of Germany’s best kept musical secrets. As Circles was released in 1983, still, many German record buyers seemed to prefer British and American music. History was about to repeat itself all over again.
When Circles was released, it was well received by critics. They recognised that this was a groundbreaking band from one of the most talented groups in the post Krautrock underground scene. Despite the reviews, Circles didn’t sell well. Circles sold well within the post Krautrock underground scene. However, the album remained an underground album. It didn’t crossover into the mainstream. This meant that Circles were now rubbing shoulders with everyone from Amon Düül and Kluster, to Can, Cluster, Neu! and Harmonia. Each of these groups had watched as their debut album passed German record buyers by. They missed what was groundbreaking album of genre-melting music.
Those that discovered a copy of Circles in the record store, and took a chance on the album wrapped in the mysterious album cover, were in for a veritable musical feast. Over nine genre-melting tracks lasting forty minutes, Circles set out to pick up where Cluster and Harmonia left off. What followed was a musical journey where musical genres and influences melt into one.
Straight away, Circles roots be traced back to the Krautrock era. That’s apparent on the opening track Einblicke. It seems to reference Kluster and Amon Düül II. From there, Circles draw inspiration from numerous members of Kraftwerk royalty. Everyone from Can, Cluster, Harmonia and Neu! seem to have influenced Circles. The Neu! influence is apparent on Rockcola and 10º Unter Null, which feature Rother-esque guitar solos.
Throughout Circles, there’s also brief nods to a whole host of Krautrock pioneers. Anima, Embryo, Cosmic Jokers, Dueter and Irmin Schmidt have influenced and inspired Circles. Sometimes, the influence is brief, other times it’s more it’s noticeable as a captivating and innovative album unfolds. What becomes apparent, is it’s not just Krautrock that’s influenced Circles
On what’s a magical mystery tour, Circles take the listener on a journey through musical genres. Listeners will discover elements of ambient, avant-garde, electronica, free jazz, psychedelia and rock. There’s also hints of Eastern music as a series of captivating soundscapes share their secrets.
Listen carefully, and Circles pay homage Fripp and Eno on Reibend. Circles’ contemporaries Throbbing Gristle have been another influence for the Frankfurt based pioneers. They’re determined to push musical boundaries to their limits, and sometimes, way beyond.
This is apparent on Viele Wege. It’s starting point is a Faustian collage, before elements of rock, psychedelia, avant-garde and Krautrock are added. Soon, these musical ingredients are competing for your attention on Viele Wege. Hot on its heels comes Chant, a lysergic and mesmeric mixture of musical genres. From there, the journey continues with Circles as your musical tour guide.
Before long, Circles is almost over. The brief, but futuristic, sci-fi sound of Intermezzo sounds like the Cosmic Jokers at their lysergic best. However, Circles have kept the best until last. Woistich-Umgedreht is a twelve minute epic. Hypnotic and dreamy, it’s a Magnus Opus, and the highlight of Circles.
Once Circles is over, one can’t help but wonder why the album wasn’t a bigger success? It was a truly groundbreaking album, that picked up where the Krautrock pioneers left off. Their influence could be heard throughout Circles. It’s as if Circles are paying homage to Krautrock royalty, by taking their music as a starting point and adding elements of other musical genres. The result is an album that featured groundbreaking, innovative and influential music. Circles stood head and shoulders above the musical competition.
Apart from a few discerning musical connoisseurs, it was mainly those within the post Krautrock underground scene that were aware of Circles. They realised that here was an album that deserved to be heard by a much wider audience. That wouldn’t happen until much later. By then Circles would’ve released their sophomore album More Circles.
More Circles.
Just a year after the release of their eponymous debut album, Circles returned in 1984 with their sophomore album, More Circles. It featured ten new songs from Circles. They were penned by Dierk Leitert and Mike Bohrmann, and recorded in their studio in Eppstein, in the Frankfurt suburbs. Again, Circles had put their impressive of array of technology and traditional instruments to good use.
Synths again played an important part when Circles were recording More Circles. Circles had an access to impressive selection of synths, and they helped sculpt the nine soundscapes on More Circles. Aided and abetted by melodic, Rother-esque guitars and drums bathed in echo and an arsenal of effects, More Circles began to take shape. Eventually, with a little help from their friends, Circles sophomore album More Circles was completed.
For Dierk Leitert and Mike Bohrmann, they had been before. It was a case of deja vu, right down to mysterious, album cover. However, Circles were hoping that there would be a happier ending to the story when More Circles was released later in 1984.
When critics heard More Circles, they were won over by what was another ambitious, adventurous and innovative album. Circles hadn’t stood still. Their music had evolved, and metamorphosed. They knew that any group who stood still, risked their music becoming irrelevant. That wasn’t going to happen to Circles.
Despite continuing to create music that was ambitious and innovative, it failed to find an audience outwith the “post Krautrock underground” scene. For the members of Circles, this was a devastating blow. The only small crumb of comfort was that they had made music on their own terms, and music that they believed in. This music would stand the test of time, and eventually, found the audience it deserved.
Back in 1984, those that bought a copy of More Circles had struck musical gold. Minimal Instant found a free jazz saxophone accompanying synths and a motorik beat. They may sound like unlikely bedfellows, but proved a potent combination. Sadly, all too briefly and Minimal Instant is over, and Several Steps Leading Through Different Rooms-Escapades begins to unfold. It’s a dark, moody, meandering epic lasting twelve minutes. Circles seem to enjoy the opportunity to stretch their legs, while referencing Cluster’s Zuckerzeit and washes of guitar that’s reminiscent of Robert Fripp. This leads to the cinematic Escapades, complete with fuzz guitars, as it heads in the direction of avant-garde. Then it’s all change.
Tripletwin, which features drummer Gerde Poppe. His drums add a Faustian sound to the myriad of synths. Paris Cut is best described as a futuristic symphony, where nothing is as it seems. Circles’ array of effects are responsible for this. That’s is the case on Mental Dart, where a vocoded vocal has been added. It’s akin to Dadaist poetry that’s the perfect addition to an array of haunting, sci-fi sounds. By then, Circles it seems, at their most inventive and innovative.
This continues on Trio Atonale, where everything from avant-garde, free jazz, electronica and experimental music. Briefly, there’s a hint of Pharaoh Sanders and his sheets of sound. Words like eerie, haunting and cinematic described parts of Tranquilo Gonzales. It finds Circles drawing inspiration from Cluster and Harmonia. That’s their starting point, on this pulsating, spine-tingling, cinematic track.
The eerie cinematic sound continues on Sequences, which picks up where Paris Cut left off. Again, Cluster’s Zuckerzeit has obviously influenced Circles, who on More Circles seem to enjoy creating cinematic soundscapes. They provide the soundtrack, while the listener is left to come up with the script. Whether the listener dares to come up with a script to Consequences is another thing? Is that the sound of digging? What about the futuristic sounds? Do they come courtesy of bubbling synths; or is it something more sinister? By the end of track this space age soundscape, one can’t help but think of murderous aliens beating a hasty retreat to the planet Zogg. Having conjured up that image, Circles close More Circles with Spiral Dance. With its motorik beat, it’s a reminder of Krautrock, the music that inspired and influenced Circles to embark on a career as music. For that we should be grateful.
After releasing More Circles, Circles only released one further album, The 3rd Cycle. However, that wasn’t the end of the partnership between Dierk Leitert and Mike Bohrmann. They had to much too offer musically; and continued to release albums as D.O.C. and Leitert and Bohrmann. Even today, Dierk Leitert and Mike Bohrmann are still collaborating, and releasing music together as Circles. It’s a partnership that’s lasted over thirty years.
The albums that started the Circles’ story off were Circles and More Circles, which have been reissued for the first time on the Mental Experience label, which is an imprint of Guerssen Records. These two are classics of the post Krautrock underground era.
Both Circles and More Circles feature groundbreaking, genre-melting music. Circles combine everything from ambient and avant-garde to electronica, experimental and free jazz to Krautrock, psychedelia and rock. There’s even hints of Eastern music as Circles take the listener on a musical adventure. During that adventure, Circles draw inspiration from, and pay homage to Krautrock royalty. This includes everyone from Amon Düül II, Can, Cluster, Kluster, Neu! and Harmonia. Other influences include Michael Rother, Irmin Schmidt and Holger Czukay. They all seem to inspire Circles. So do do Fripp and Eno and Throbbing Gristle. The result are two genre classics that sadly, when they released, failed to find the audience they deserved.
For Circles, it was a case of everything comes to he who waits. Belatedly, a new generation of record buyers discovered Circles and More Circles. Suddenly, the two albums recorded in the Frankfurt suburbs now had a cult following. Copies of the albums became collector’s items, and were prized amongst collectors. So it’s no surprise that Mental Experience have reissued Circles and More Circles.
Both Circles and More Circles feature music groundbreaking music from two musical pioneers, Circles. This was the start of a lifetime making music together. Circles started as they meant to go on, creating music that was ambitious, innovative, inventive and went on to influence further generation of musicians. Circles and More Circles also show that there was life after Krautrock.
While the Kruatrock era was a golden age for German music, music continued to evolve over the next four decades. Circles played a part in the reinvention of German music in the post Krautrock era. Their first two albums Circles and More Circles were timeless genre classics, where Circles show that there was definitely life after Krautrock.
CIRCLES-CIRCLES AND MORE CIRCLES.
ALOHA GOT SOUL.
ALOHA GOT SOUL.
The 21st of August 1959 was the day the Hawaiian history was changed forever. That day, Hawaii became the fiftieth and most recent American state. This changed Hawaii forevermore; including its cultural identity.
From that day onwards, Hawaiian music changed. The next generation of Hawaiian musicians would be influenced the British Invasion that swept America in 1964. Soon, the influence of American music began to permeate Hawaiian music. By the the end of the sixties, Hawaiian music was very different from it had been just a decade earlier.
No longer was traditional Hawaiian music the most popular type of music on the island. Far from it. By the seventies, everything from rock, funk, soul, disco and R&B existed side-by-side with traditional Hawaiian folk music. It was the start of exciting times for the Hawaiian music industry.
During the seventies and eighties, the Hawaiian music scene was thriving. Many new bands had been formed, and had graduated to playing in the island’s pubs and clubs. So had a new generation of singers, who were among the first to eschew the traditional Hawaiian folk music. They sung A.O.R., R&B and soul, and were becoming a popular draw. The next logical step, was to record an album. This resulted in a mini boom in the Hawaiian music industry.
Everyone benefited from this mini boom, not just songwriters, session musicians, arrangers and producers. So did anyone who owned a record studio or practise room. Soon, the Hawaiian music industry grew, and new studios and practice rooms were needed. This helped a local industry that was almost reliant on the tourist industry. However, unlike most booms the Hawaiian music boom lasted longer than most.
It lasted not just through the seventies, but into the eighties. For nearly two decades, the Hawaiian music industry was thriving. This period is documented on Strut Records’ forthcoming compilation, Aloha Got Soul, which will be released on CD, LP and download on 18th March 2016. Aloha Got Soul features sixteen tracks, including contributions from Tender Leaf. Aura, Aina, Hal Bradbury, Mike Lundy, Nova, Brother Noland and Rockwell Fukino. Familiar faces and rarities sit side-by-side on Aloha Got Soul, which I’ll tell you about.
Opening Aloha Got Soul is Tender Leaf’s Countryside Beauty. It was penned by Darryl Valdez, featured on Tender Leaf’s 1982 eponymous album. It’s best described as a soulful slice of musical sunshine with a hint of funk.
1979 was a year of debuts for Aura, By then, they were one of the top bands on the Hawaiian music scene. On 1979, Aura they released their eponymous debut album. It was released on Fusion Music. The lead single was I’ll Remember You. Tucked away on the B-Side was a real hidden gem, Yesterday’s Love which was penned by Aura. Soulful and funky, the irresistibly catchy Yesterday’s Love deserved a better fate than a B-Side.
Back in 1980, Aina released their one and only album, Lead Me To The Garden on Kumanu Music. It showcased a talented band, who seamlessly married musical genres together. Psychedelia, rock folk, and jazz shine through on Lead Me To Your Garden. One of the album’s highlights is the jazzy On Your Light, which features a guitar masterclass from Michael Joao.
By 1978, Lemuria were one of Hawaii’s top band. This was the perfect time to release their eponymous debut album. It featured Get That Happy Feeling a delicious slice of jazz funk. Key to the song’s success is a virtuoso performance from guitarist John Rapoza. Despite the quality of Get That Happy Feeling, it was overlooked as a single. However, it’s a welcome addition Aloha Got Soul.
Ed Roy and David “Roe” Rorick worked together in Audio Media, one Hawaii’s recording studios. In their downtime, they became Roy and Roe, who spent between eight and ten months recording their eponymous debut album. Once the album was recorded, it was released on Bluewater Records. One of the highlights of the album was Just Don’t Come Back, a glorious fusion blue eyed soul, jazz and funk.
Although Hawaii are remembered as a Hawaiian surf rock band, they’re much more than that. Hawaii were a versatile and talented band, who in 1980, released their debut album Out Of The Dark. One of several highlights was Lady Of My Heart, which shows another side to Hawaii. It’s a tender ballad featuring one of Brian Hamilton’s best vocals.
One of Hawaiian’s music’s best kept secrets is Hal Bradbury. He released his debut single Call Me, on Fan Records in 1980. It’s a beautiful ballad where A.O.R. meets soul. A year later, in 1981, Fan Records would release Hal Bradbury’s debut This Is Love. It’s best described as a fusion of A.O.R. and soul. Call Me was one without doubt, the standout track on the album.
When Mike Lundy released his debut album Rhythm Of Life in 1980, on Secor, he was one of the biggest names in Hawaiian music. Rhythm Of Life was well received, and even today, the album is something of a collector’s items. Surprisingly, when the singles were being chosen, the anthem Love One Another was overlooked. It’s another slice of aural sunshine.
Nova were a Honolulu disco funk band led by Checo Tohomoso. He seems to have been ‘inspired’ by Marvin Gaye’s Got To Give It Up when he penned I Feel Like Getting Down. It featured on Nava’s eponymous debut album, and proved to be a popular song among DJs. They watched as the dance-floor filled when they dropped I Feel Like Getting Down.
After winning a talent show, Nohelan Cypriano released Lihue as a single. It gave her, her first hit single in 1978. Nohelan Cypriano’s debut album Nohelani followed in 1978. Four years later, and Nohelan Cypriano was back with the followup, In The Evening in 1982. However, O’Kailua wasn’t on either of Nohelan Cypriano albums. Maybe it was deemed too controversial?
The lyrics to O’Kailua criticise the continued development of Hawaii. Nohelan Cypriano sings: “Kailua needs no high-rise with her blue skies, not for our eyes. Can you realise?” Meanwhile, elements of soul, funk, boogie and traditional Hawaiian music are combined to create a memorable and catchy track with an important message.
Brother Noland’s Kawaihae is a funky jam from the 1980 album Speaking Brown. It was released on Solbrea Records, which it seems, was a vehicle for releases. Only Speaking Brown and Brother Noland and Solbrea’s 1981 album Paint The Island were released on Solbrea Records. Both are collector’s items, which isn’t surprising, given the quality of Kawaihae, an uber funky jam.
Marvin Franklin With Kimo and The Guys will be a new name to most people. That’s unless they’r the proud owner of Homegrown III, a compilation of Hawaiian music released in 1978, by KKUA Records. One of the featured tracks was Kona Winds, a surfer jam from Marvin Franklin With Kimo and The Guys.
During the seventies, Greenwood were a popular draw in Hawaiian clubs. Locals and tourists flocked to see Greenwood, as they covered hits of the day. Despite their popularity, Greenwood never recorded an album until 1985, when they recorded Lost In Paradise. It was reissued on CD on 2014 by Lost In Leaf Records. One of the many highlights was the opening track, Sparkle. With its carefree, feel good summery sound, it’s guaranteed to brighten up even the dullest day.
In Hawaiian music, Chucky Boy Chock and Mike Kaawa are familiar faces. So it made sense to collaborate. Chucky Boy Chock and Mike Kaawa with Brown Co. went into the studio and recorded Papa’A Tita. It’s a dreamy fusion of funk, soul, A.O.R. and traditional Hawaiian music.
Twenty-nine years after becoming the fiftieth American state, Hawaiian was made the official state language in 1978. Suddenly, many Hawaiian gathered together, in an effort to to revive hula and traditional music. Two musicians who longed for Hawaii’s musical past were Steve and Teresa.
In 1983, Steve and Teresa got the opportunity to record their debut album. They were invited back to a studio after a concert, and in three hours recorded their debut album Catching A Wave. It was released on Kealohi Productions, which was a vehicle for Steve and Teresa’s music. One of the songs on Catching A Wave, Kaho’Olawe Song looked longingly and wistfully back at the culture that Hawaii had lost.
Closing Aloha Got Soul is Rockwell Fukino Coast To Coast. It was released on Ivory Coast Records, in the late seventies. Coast To Coast is best described as Hawaiian yacht rock. It’s also the perfect way to close Aloha Got Soul, as it whets the listener’s appetite for Volume 2.
Hopefully, there will be a followup to Aloha Got Soul, which will be released by Strut Records on CD, LP and download on 18th March 2016. The Hawaiian music industry was thriving up until the mid-eighties. However, sadly, by then musical climate had changed drastically.
By the mid-eighties, DJ culture was born. Suddenly, DJs replaced live music. Incredibly, ‘music lovers’ preferred what was essentially a human jukebox to live music played by real musicians. This, some people believed, was musical evolution. Obviously, they hadn’t read Hans Christian Andersen’s The Emperor’s New Clothes. However, the effect of DJ culture proved catastrophic.
Given there was no longer the same appetite for live music, many clubs closed their doors for the last time. No longer had up-and-coming artists and bands a place to showcase their talents. It was the same for the bigger names in Hawaiian music. Venues they had previously played, sometimes for years, were no more. For artists who used clubs to showcase their albums and singles, this was disastrous.
Without a showcase for their music, suddenly, record sales began to fall. For some smaller labels this was the end of the road. The shockwaves were felt throughout the music industry. There was no longer the same business for recording studios and pressing plants. Even to arrangers, producers and songwriters suffered. So did the industries who relied upon the music industry, everyone suffered when the boom ended. The knock-on effect took its toll, not just in the music industry, but the wider Hawaiian economy. While the boom had lasted longer than most people expected, its after effects were felt throughout the island.
Thirty years after the boom in the Hawaiian music industry ended, interest in Hawaiian music continues to grow. For newcomers to Hawaiian of the seventies and eighties, Aloha Got Soul is the perfect primer. It’s a truly eclectic and lovingly compiled compilation, from Aloha Got Soul’s Roger Bong. He’s picked sixteen tracks that feature everything from disco, funk, rock, soul and traditional Hawaiian music. Aloha Got Soul is a tantalising taste of Hawaiian during its golden era.
ALOHA GOT SOUL.
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