BOY-WE WERE HERE.
BOY-WE WERE HERE.
Valeska Steiner and Sonja Glass first met in 2005, at the Hochschule für Musik und Theater Hamburg. They were both students on a pop music course.
Singer Valeska Steiner had travelled from Zurich in Switzerland, to join the course. Bassist Sonja Glass was local. She had been born in Hamburg, and lived in the city all her life. Soon, Valeska and Sonja became close friends. By 2007, they decided to form a band, and put what they had spent the last two years learning into practise.
Their nascent band was called BOY. Initially, BOY concentrated on playing live. This allowed them to hone their sound. It was a case of BOY were putting into practise what they had just learnt at Hochschule für Musik und Theater Hamburg into practise.
Given that BOY had just completed a course in pop music, this gave them an advantage over other bands. They knew the perils and pitfalls of the music industry. The two members of BOY knew how important it was to play live. Not only did it allow BOY find their voice and hone their sound, but it allowed the nascent band to build a following. So that’s what BOY spent the next three years doing.
It took time. BOY were no overnight success story. That never happens. Just like so many bands before then, BOY discovered it’s not easy for a new and inexperienced band to get gigs. So, they played wherever they could get a booking. During this period, Sonja Glass’ mother drove BOY to concerts. She believed in BOY, who after three years hard work and perseverance, were beginning to make a breakthrough.
By 2010, BOY’s popularity had grown. Their star was in the ascendancy. So the two members of BOY, decided to record their debut E.P.
Hungry Beast.
For their Hungry Beast E.P., five tracks were chosen. This included three penned by the two members of BOY. Drive Darling, July and Skin showcased Valeska Steiner and Sonja Glass’ songwriting skills. Valeska Steiner also cowrote Zapping with Adrian Stern. The final track on the Hungry Beast was a cover of Ben Folds Fred Jones, Pt. 2. These five tracks were recorded in Berlin in June 2010, and released later that year.
The Hungry Beast E.P. was well received by both critics and music fans. BOY’s music was beginning to find a wider audience. Surely, it was only a matter of time before BOY came to the attention of a record company?
And so it proved to be. In 2011, Berlin based Grönland Records swooped, and signed BOY. For BOY this was a coup. Grönland Records were one of Germany’s leading independent labels. Their career was in good hands.
Mutual Friends.
Before long, Grönland Records sent BOY into the studio. By then, the two members of BOY had penned twelve tracks. This included Drive Darling, July and Skin from BOY’s Hungry Beast E.P. A further nine new tracks would make their debut on what became Mutual Friends. It was produced by Philipp Steinke.
This made sense. Philipp Steinke had produced BOY’s debut E.P. The Hungry Beast. He was an experienced singer and musician, who was just beginning his production career. However, the advantage Philipp Steinke had, was he knew BOY, and had worked with them before. This stood him in good stead, as BOY recorded the twelve tracks that became their debut album Mutual Friends. Once the album was complete, it was scheduled for release in the autumn of 2011.
Before the release of Mutual Friends, critics had their say on BOY’s debut album. Rolling Stone, The New York Times and Filter were all won over by BOY’s debut album. So were record buyers.
Soon, Mutual Friends was selling well in Germany. This was helped by the success of four singles. The lead single was Little Numbers, with Waitress, Drive Darling and This Is The Beginning all proving popular. So popular, that Mutual Friends was released in 2013 in Britain, North America and Japan.
By then, Mutual Friends had won the 2012 European Border Breakers Award. This was just the start of a roller coaster year for BOY. Soon, they were playing at Hamburg’s prestigious Stadtpark, in front of a 4,000 audience. After that, BOY headed out on tour.
Across the world, BOY continued to wow audiences. They had enjoyed a number four single in Japan’s Hot 100 chart. By then, Mutual Friends was a hugely successful album. Tens of thousands of copies of Mutual Friends had been sold, and BOY had won a glittering array of awards. BOY had come a long way since they signed to Grönland Records.
This roller coaster journey has continued apace. For four years, BOY have become a musical phenomenon. They criss-cross the globe, winning friends and influencing people with their award winning sound. However, there’s been no sign of a followup to Mutual Friends. Until now.
We Were Here.
Ten years after Valeska Steiner’s and Sonja Glass’ first met, they rereleased their sophomore album, We Were Here on MVKA. It’s the latest chapter in BOY’s roller coaster career.
For We Were Here the two members of BOY penned nine new tracks. These nine tracks were recorded and produced by Philipp Steinke. The recording of We Were Here took place at various studios, where BOY were augmented by some of Germany’s best session musicians.
Just like on Mutual Friends, producer Philipp Steinke put his years of experience to practise. He played keyboards, Juno, percussion, guitars and took charge of programming. Both members of BOY, Valeska Steiner and Sonja Glass added vocals. That wasn’t their only part in the recording of We Were Here.
When recording began, some musicians played on several tracks, other featured just once. So at the various studios, the band kept evolving. This included the rhythm section, which featured drummers Marcello Romero, Thomas Hedlund and Marco Moeller; guitarist Denis Erarslan; and Sonja Glass who played bass, guitars and Juno. Valeska Steiner added percussion. Other musicians were brought onboard to play on just one track.
A horn section was needed for We Were Here. So trombonist Michael Flury and Gregor Lentjes were drafted in. Then when Hit My Heart was being recorded, the strings came courtesy of cellist Matthias Bartolomey and Klemens Bittman on viola and violin; while Eden Boucher and David Turley added choral vocals. Gradually, We Were Here began to take shape, and eventually, recording of BOY’s much-anticipated sophomore album was completed.
All that was left was for We Were Here to be mixed and mastered. Michael Ilbert mixed We Were Here at the Hansa Mix Room in Berlin. However, Tom Coyne at Sterling Sound was chosen to master We Were Here. Now BOY could prepare for the release of their long-awaited sophomore album, We Were Here.
A lot had happened in the four years since Mutual Friends was released in the autumn of 2011. BOY’s star had been in the ascendancy ever since, and their music was popular all over the world. Since then, they had sold tens of thousands of albums, won numerous awards and enjoyed hit singles around the world. Now they were ready to release their new album.
After four years away, BOY must have been nervous about how We Were Here would be received. They needn’t have worried. BOY were back with a bang. Critics called We Were Here a BOY fitting followup to Mutual Friends. The music was variously melodic, melancholy and mischievous. Other times, it was anthemic and hook-laden. It was impossible not to be captivated by BOY, as they continue to win friends and influence people. That’s the case from the start of We Were Here.
Opening We Were Here was the title-track. Just slow, deliberate chord changes on the keyboards accompany Valeska’s pensive vocal. Soon, memories come flooding back. Sadness is omnipresent as Valeska sings: “We Were Here.” By then, the rhythm section, keyboards and percussion accompany her vocal. Later, sci-fi synths are added. They become more prominent as the vocal begins to drop out. The arrangement becomes understated before the trombone and flugelhorn are added. Neither overpower the arrangement. Just like the rest of the instruments they complement the vocal on his carefully crafted slice of heartfelt, perfect pop.
From the opening bars, Fear reminds me of the Scottish band Chvrches. Stylistically and sonically there’s similarities. That’s down to the instruments used. A pulsating synth joins the rhythm section and chiming guitar. They provide a backdrop for Valeska’s vocal, and propel the arrangement along. By then, the Fear in Valeska’s vocal seems very real. It’s as if she’s lived with it. Frustration turns to anger as she sings: “I wish I could blow it off.” There’s sadness in her voice as she realises: “it won’t let you get away.” By then, Fear is a fully fledged anthem, that’s bound to be a favourite when BOY play live.
Subtle, bubbling pizzicato strings open Hit My Heart. Soon, drums join the keyboards, percussion and harmonies are accompanying Valeska’s jaunty vocal. She almost skips through the arrangement of this carefully crafted song. As she sings: “and we’ll fast forward to the chorus, join the choir, spread the word,” this signals the entrance of harmonies. This is a masterstroke. So is the addition of the subtle bursts of strings. Everything seems to fall into place, and another irresistible slice of classy pop unfolds.
Hotel marks a stylistic change from BOY. Just a lone guitar accompanies Valeska’s wistful vocal and the track takes on
a folk-tinged sound. Sometimes, Valeska sounds like Suzanne Vega as she sings the cinematic lyrics. Later, she reminds me of Karen Carpenter. Valeska brings the lyrics about an affair to life. She describes the clandestine meetings in a Hotel: “362 do not disturb, if no one knows no one gets hurt, if he turns off his mobile phone, he’s never been this far from home.” As Sonja’s bass underpins the arrangement, keyboards and percussion frame the vocal. The tempo quickens, and the vocals full of sadness and regret. It’s a wistful and cinematic song from BOY, who showcase another side to their music.
Just like Hotel, No Sleep For The Dreamer has an understated arrangement. That’s not the end of the similarities. The lyrics have a cinematic quality. They’re also some of the best on We Were Here. That soon becomes apparent. A lone guitar takes centre-stage, before drums usher in the vocal. The tempo is slow, as Valeska delivers a hopeful, joyous vocal. “And now I’m driving home from your house, something big’s about to begin.” Throughout the song, pictures are painted. “Of morning radio, and people leaving bars.” All this is going on around Valeska. She’s found love: there’s something in the wind, there’s something big about to start, no sleep no sleep for the dreamer.”
A guitar is strummed deliberately and subtly on Flames. It almost fades away as the two members of BOY sing in unison. They compliment each other perfectly, and bring the lyrics to life. That’s the case from: “an empty house, the roof’s on fire, you’re fighting with the flames.” From there, the listener is spellbound, as the story unfolds. BOY sound not unlike Wilson Phillips. Partly, that’s because of the way their vocals interact and compliment each other. Meanwhile, the arrangement of a
chiming guitar, pounding drums, percussion and jangling keyboards augments the vocals perfectly. It doesn’t overpower the arrangement. Instead, if frames the vocals, as the story to unfold. There’s a poignancy to the closing lines: “oh if only I could find, a way to ease your troubled mind.”
Galloping percussion and the rhythm section join a crystalline guitar on New York. Taking centre-stage is Valeska’s tender vocal. She’s misty-eyed, as she remembers her first visit to New York. Memories come flooding back. Valeska shares them, and is accompanied by occasional ethereal harmonies. They add to the beauty of this cinematic ballad.
Distant percussion, bass and drums combine as Rivers Or Oceans unfolds. A chiming guitar signals the arrival of Valeska’s vocal. Bravado, confidence and relief combine as she sings: “a pale blue rising, as I’m sailing away from the scene of the crime.” As a muted bass, keyboards and drums combine, Valeska adds: “no traces behind me, yeah the water will sweep away the blood and the gold.” This is described as: “such a shimmering misfortune, such a dark kind of bliss, I’ll cry Rivers Or Oceans, ’til I get over it.” It’s the perfect crime, courtesy of BOY. They use drama, humour and irony to cover their tracks.
Into The Wild closes We Were There. A droning sound grabs the listener’s attention, before percussion, drums and a guitar combine. They provide a slow, mesmeric backdrop to Valeska’s heartfelt, hopeful and impassioned vocal. That becomes apparent as she sings: “or I could follow you, into the wild…we’d live with the animals, play by the fire.” As Valeska delivers the lyrics, a crystalline guitar adds a wistful accompaniment. It plays a supporting role to Valeska as her vocal takes centre-stage, on this heartachingly beautiful vocal. It’s the perfect way to close We Were There.
Unlike so many modern albums, We Were There is a gloriously old school album from BOY. It features just nine songs, that last only thirty-five minutes. That’s how long albums used to last. It meant record buyers were hearing a band’s best work. Nowadays, albums are padded out, and feature fifteen tracks or more. This results in the quality suffering. After all, no artist or band can write fifteen flawless tracks. However, BOY wrote have written and recorded an album that’s almost flawless.
That’s no exaggeration. Rather than write and record a sprawling album, BOY have only committed their best songs to tape. From the opening bars of We Were Here, right through to the closing notes of Into The Wild, BOY continue to captivate with music that’s cinematic, beautiful, heartfelt and hook-laden. Other times, the music on We Were Here is melodic, melancholy, joyous, ironic, poignant, dreamy and dramatic. Quite simply, We Were Here is an emotional roller coaster, that anyone who enjoys good music will enjoy.
No wonder. The two members of BOY, Valeska Steiner and Sonja Glass are talented singer, songwriters and musicians. They write, craft and record music that’s cerebral and cinematic. There’s everything from tales of love and love lost, to hurt and heartache, to drama and tragedy on We Were Here. There’s also delicious anthems and carefully crafted perfect pop. Aided and abetted by producer Philipp Steinke, Valeska Steiner and Sonja Glass create a critically acclaimed followup to Mutual Friends.
BOY have come of age musically with We Were Here, which was recently rereleased by MVKA. We Were Here is a career defining album from BOY. The former pop music students have graduated summa cum laude with We Were Here, a carefully crafted album of hook-laden, perfect pop from BOY.
BOY-WE WERE HERE.
RAY STEVENS-FACE THE MUSIC-THE COMPLETE MONUMENT SINGLES 1965-1970.
RAY STEVENS-FACE THE MUSIC-THE COMPLETE MONUMENT SINGLES 1965-1970.
In a career that’s lasted the best part of sixty years, Ray Stevens has been a singer, songwriter, session musician, arranger and producer. He’s a member of various Halls Of Fame and has won two Grammy Awards. Ray Stevens is also a truly prolific, and has released over thirty albums and 100 singles.
Some of the the best of these 100 singles, are the ones Ray Stevens released for Monument between 1965 and 1970. They’re documented on Face The Music-The Complete Monument Singles 1965-1970, which was recently released by Ace Records. Most of these tracks have never featured on CD before, and feature the “new” Ray Stevens.
His career began in 1957, when former DJ turned music publisher Bill Lowery, introduced eighteen year old Ray Stevens to one of his contacts at Capitol Records. They signed him to their Prep imprint.
For the first few years of his career, Ray Stevens combined his solo career with working as an arranger and session musician. Ray Stevens was happy to work with other artists at NRC, and played piano on many sessions. This paid the bills, as his first few singles flopped. Rang Tang Ding Dong and Silver Bracelet never troubled the charts in 1957. Nor did the novelty single The Clown. So it was no surprise that Capitol cut loose when his contract expired. However, Bill Lowery would get his protege’s career back on track.
Bill Lowery had an in at NRC, which soon, became Ray Stevens’ new home. That was where Ray Stevens released another novelty record, Sgt. Preston Of The Yukon. It had been inspired by a popular television series, and featured an array of voices from Ray Steven. While the single only reached 108 in the US Billboard 100, the single caught the attention of Mercury Records’ A&R man, Shelby Singleton.
The A&R man realised that Ray Stevens was something of an all-rounder. He was a singer, songwriter, session musician and arranger. Ray Stevens was a also something of a hit maker.
Between 1961 and 1963, Ray Stevens enjoyed seven hit singles. Some of the most successful singles were novelty songs. While this paid the bills, Ray Stevens was in danger of being pigeon holed as someone who released just novelty singles. Ray Stevens knew he had more to offer than that, and began to lose interest in his solo career.
By 1963, Ray Stevens had turned his back on his solo career. Instead, he was working as a session musician, arranger and conductor. However, Mercury Records had recorded so much music, that they were able to continue to release music right through to early 1965. When his final single for Mercury Records failed commercially, the label that had been his home for five years, cut him loose. For Ray Stevens it was almost a relief.
Ray Steven didn’t want to continue releasing novelty singles for Mercury Records. Nobody was interested, and it could, potentially, hamper his chances of enjoying a career as a “serious” artists.
Maybe that’s why it wasn’t until late 1965 that Ray Stevens signed to Monument. Fred Foster, who ran the label, had high hopes for his latest signing. He saw him as the successor to Roy Orbison. Considering Ray Stevens had spent the last five years releasing mostly novelty singles, this was a brave call.
Fred Foster was willing to backup his belief. For his Monument debut, Ray Stevens recorded Joe South’s Party People, with A-B-C as the B-Side. When the single was released in late 1965, Monument took out a full page advert in Billboard magazine announcing Ray Stevens’ Monument debut. Despite this, the wistful sounding Party People stalled at just 130 in the US Billboard 100. While this may have seemed a disappointing result, Ray Stevens was having to rebuild his solo career. He had spent the best part of his career releasing novelty records. Party People was the start of Ray Stevens’ career as a serious artist.
For the followup to Party People, another Joe South composition was chosen, Devil May Care. Joe South also wrote the B-Side Make A Few Memories. Monument had hight hopes for Devil May Care, which was the perfect vehicle for the “new” Ray Stevens. It sounded like a homage to Bo Diddley, and featured a vocal powerhouse from Ray Stevens. Despite this, when the single was released in March 1966, it never troubled the charts. With two singles failing to chart, Ray Stevens had to hope there wasn’t a three strikes rule.
After his first two singles failed to chart, Ray Stevens reverted to type, and released Freddie Feelgood (And His Funky Little Five Piece Band) in June 1966. It was a return to his novelty sound. This it seemed was what the record buying public expected of Ray Stevens. Ironically, the B-Side There’s One In Every Crowd, was the better of the two tracks. Both were penned by Ray Stevens, but There’s One In Every Crowd won hands down. It was an impassioned ballad that played to Ray Stevens’ strengths. However, with Monument looking for that elusive hit single, Freddie Feelgood (And His Funky Little Five Piece Band) was chosen, and reached ninety-one on the US Billboard 100. For Ray Stevens, it was a Pyrrhic victory.
Another nine months passed before Ray Stevens returned with a new single. This time, it was a cover of Answer Me, My Love, which gave Frankie Laine a hit single. On the B-Side was one of Ray Stevens’ compositions Mary My Secretary. Sadly, when Answer Me, My Love was released as a single in March 1967, the single failed commercially. This was a huge blow, as Answer Me, My Love was Ray Stevens’ strongest single for Monument. It was also the only single Ray Stevens’ released during 1967.
During the rest of 1967, Ray Stevens combined working as Monument’s in-house arranger with recording his first album for Monument, Even Stevens. It was released eventually released in September 1968, and was the first Ray Stevens’ album for five years. While Even Stevens wasn’t a commercial success, it featured three hit singles.
Even Stevens featured a reflective Ray Stevens, as he reflected on the travails of life. It was as if he was trying to prove to the record buying public that he was a serious artist.
That became apparent when record buyers hard Unwind. It was was chosen as the lead single from Even Stevens. On the flip-side was the For He’s A Jolly Good Fellow. Both were penned by Ray Stevens, who had matured into talented songwriter and storyteller. When Unwind was released in January 1968, it reached number fifty-two on the US Billboard 100, and twenty-nine in Canada. This went some way to repaying Monument’s faith in Ray Stevens.
Six months after the release of Unwind, Mr. Businessman was released as a single in July 1968. It was a song full of stinging social comment. Tucked away on the B-Side was one of Even Stevens’ hidden gems, Face The Music a heart-wrenching ballad with a big, bold and impressive arrangement. Face The Music could easily have been released as a single. However, Monument’s decision to chase Mr. Businessman was vindicated when it reached twenty-eight on the US Billboard 100, and seven in Canada. This made it two consecutive singles for Ray Stevens during 1968. Would two become three?
Yes and no. For the third single from Even Stevens, Monument chose the another soul-baring ballad Isn’t It Lonely Together. It’s a tale of a relationship that’s on its last legs. Ray Stevens breathes life and meaning into the lyrics. The single should’ve been a single. However, Robert Knight had released a cover of the Ray Stevens’ song at the same time. As a result, neither charted. A small crumb of comfort, was that B-Side The Great Escape reached 114 on the US Billboard 100, and forty-three in Canada. With two hits in America, and three in Canada, 1968 had been a good year for Ray Stevens.
Apart from the hit singles, Ray Stevens was working on his second album for Monument. He was also asked to appear on Andy Williams television show. This was how by March 1969, Ray Stevens was about to make a return to novelty records.
Things had been going so well for Ray Stevens. He had worked hard to convince the record buying public he was a serious artist, and over the last two years had changed people’s perception of Ray Stevens. That was until Ray Stevens released Gitarzan.
The inspiration from Gitarzan, came from the Tarzan television series. Ray Stevens penned the song, and the B-Side was Bagpipes-That’s My Bag. Ironically, when Gitarzan was released in March 1969, the single reached number eight on US Billboard 100, and ten in Canada. Both songs would later feature on the Gitarzan album released later in 1969. By then, was Ray Stevens paying for his return to the novelty record.
The success of Gitarzan could be viewed as a short term gain, that in the medium and long-term, backfired on Monument and Ray Stevens. Suddenly, after releasing some of the best music of his career, he had returned the world of novelty single. This could be the way that Ray Stevens was perceived in the post-Gitarzan Monument era?
Especially, after Along Came Jones was chosen as Ray Stevens’ next single. On the flip-side was a cover of Yakety Yak. When Along Came Jones was released in July 1969, it reached just twenty-seven on US Billboard 100, and twenty-eight in Canada. Was Ray Stevens’ return to the world of the novelty song proving costly?
Ray Stevens hoped not. He was determined to forge a career as a serious artist. So when he began work on his third Monument album Have A Little Talk With Myself, which was released later in 1969, Ray Stevens was careful to choose the correct songs. There were several covers, including The Beatles’ Fool On The Hill, Help and Hey Jude. Other songs came from the pen of Bob Dylan, Joe South and Kris Kristofferson. He had penned Sunday Morning Comin’ Down. This should’ve been the perfect song for Ray Stevens’ worldweary voice.
Or so most people thought at Majority though. Sunday Morning Comin’ Down was chosen as Ray Stevens next single. On the B-Side was Minority, another Ray Stevens’ composition. When Sunday Morning Comin’ Down was released as a single in September 1969, the song reached just eighty-one on the US Billboard 100, and fifty=nine in Canada. For Ray Stevens this must have been a huge blow
Sunday Morning Comin’ Down was one of the best singles Ray Stevens had released in recent years. The song seemed tailor made for Ray Stevens’ voice. Despite this, the record buying public it seemed, preferred novelty songs about a gorilla. Maybe Ray Stevens’ decision to return to novelty songs was starting to cost him dearly?
Possibly, when record buyers saw Ray Stevens’ name, they remembered a string of novelty songs. That’s despite the reinvention of Ray Stevens, where he became a “serious” artist. Meanwhile, Monument were beginning to think they had come as far as possible with Ray Stevens.
So Monument didn’t waste time in releasing Ray Stevens’ next single. Have A Little Talk With Myself was the title-track from Ray Stevens third album. On the flip-side was Little Woman. Both were penned by Ray Stevens, who unleashes an impassioned vocal Have A Little Talk With Myself. Accompanied by gospel-tinged harmonies, it shows what Ray Stevens was capable of. However, when the single was released in November 1969, it stalled 123 on the US Billboard 200. That was the end of the road for Ray Stevens.
His contract expired in November 1969, and Monument chose not to renew it. They decided to release I’ll Be Your Baby Tonight,as a single in February 1970. On flip-side was a cover of The Beatles’ The Fool On The Hill. However, when I’ll Be Your Baby Tonight didn’t make inroads into the charts, it looked like Monument had made the right decision not to renew Ray Stevens’ contract.
Meanwhile, Ray Stevens had signed to Andy Williams’ Barnaby Records. For his first single, the gospel-tinged Everything Is Beautiful was chosen. It gave Ray Stevens his first number one single, and won him a Grammy Award for Best Contemporary Vocalist. This was the start of the rise and rise of Ray Stevens.
By the time he released Misty as a single in 1976, Ray Stevens was still releasing the occasional novelty record. However, Ray Stevens was at his best playing it straight, and releasing pop and country singles. Proof of this was Misty which won him his second Grammy Award. Novelty songs and parodies may have proved popular with some people, but resulted in many more people turning their back on Ray Stevens. This must have proved costly over the years.
Especially in the sixties, when Ray Stevens came close to becoming pigeon holed as someone who only released novelty singles. However, when he signed to Monument, the reinvention of Ray Stevens began.
Between 1965 and 1970, which is documented on the Ace Records’ completion Face The Music-The Complete Monument Singles 1965-1970, Ray Stevens reinvented himself as a “serious” artist. Occasionally, Ray Stevens lapsed, and released a novelty single. Mostly though, he released what was some of the best most of his career. It showed there was much more to Ray Stevens than third rate novelty songs and parodies. Far more.
Ray Stevens was a talented singer, songwriter and storyteller. However, he hadn’t found the right label. Fred Foster’s Monument was the perfect label for Ray Stevens to reinvent himself, and mature as a singer and songwriter. The Monument years, which are documented on Face The Music-The Complete Monument Singles 1965-1970 played an important part in the rise and rise of Ray Stevens.
RAY STEVENS-FACE THE MUSIC-THE COMPLETE MONUMENT SINGLES 1965-1970.
CHARLEY PRIDE-THE HAPPINESS OF HAVING YOU/SUNDAY MORNING WITH CHARLEY PRIDE/SHE’S JUST AN OLD LOVE TURNED MEMORY/SOMEONE LOVES YOU HONEY.
CHARLEY PRIDE-THE HAPPINESS OF HAVING YOU/SUNDAY MORNING WITH CHARLEY PRIDE/SHE’S JUST AN OLD LOVE TURNED MEMORY/SOMEONE LOVES YOU HONEY.
When Charley Pride released his debut album Country in April 1966, it reached number sixteen in the US Billboard Country charts, and was certified gold. This was the start of a six year period when Charley Pride was one of the most successful successful country artists.
Between 1966 and 1972, Charley Pride released a total of eighteen albums. Fifteen reached the top ten in the US Billboard Country charts; ten reached number one; and eleven were certified gold. Charley Pride it seemed could do no wrong.
And so it seemed. When Charley Pride released Sweet Country in April 1973, it reached number three in the US Billboard Country charts and 166 in the US Billboard 200. Sweet Country became Charley Pride’s least successful album in the US Billboard 200 since Songs of Pride…Charley That Is in September 1968. It had failed to chart. However, after that, Charley Pride’s album were entered the US Billboard 200 and found an audience outside of country music. Maybe Sweet Country was a blip?
When Amazing Love was released in October 1973, the album gave Charley Pride another number one on US Billboard Country charts. This was twelfth number one of Charley Pride’s career. However, the album failed to chart in the US Billboard 200. This was hugely disappointing. So was that Charley Pride had released another album, and still there was no sign of another gold disc.
The last gold disc Charley Pride received for a studio album came for Charley Pride Sings Heart Songs, which had been released in October 1971. Since then, only The Best of Charley Pride Volume 2, which was released in 1972, had been certified gold. While that was only two years ago, Charley Pride must have been worried. After all, he was no longer selling the same amount of albums. The problem was, nowadays, most of Charley Pride’s audience were country music fans. Previously, his music had crossed-over, and found an audience within mainstream music. Maybe this would change?
When Charley Pride returned with a new album in May 1974, Country Feelin’ stalled at number fifteen in the US Billboard Country charts. This was Charley Pride’s least successful album since The Pride of Country Music in June 1967. To make matters worse, Country Feelin’ became Charley Pride’s second consecutive album not to trouble the US Billboard 200. However, the Charley Pride bubble hadn’t burst.
We Could was chosen as a single from Country Feelin’. It reached number three in the US Billboard Country charts, and reached number one in the Canadian Country charts. This was a small crumb of comfort for Charley Pride and everyone at RCA Victor.
Six months later, Charley Pride bounced back with Pride Of America. It was released in November 1974, and reached number five on the US Billboard Country charts. This was an improvement on Country Feelin’. However, Pride Of America was the consecutive Charley Pride album that failed to enter the US Billboard 200. The frustrating thing for Charley Pride was, that the quality of his music deserved a much wider audience.
Charley Pride’s next album, Charley, was released in May 1975. It reached number five in the US Billboard Country charts. For Charley Pride it was one step forward, and one step back. Charley hadn’t quite matched the success of its predecessor Pride Of America. Still Charley Pride was no closer to reconquering the US Billboard 200. However, still Charley Pride was one of the biggest names in country music, and for the last nine years, a stalwart of US Billboard Country charts. Nineteen of Charley Pride’s twenty-three albums had reached the top ten. Charley Pride was country music royalty. He had come a long way from when he worked in the smelter. This drove Charley Pride on, and he was determined to stay at the top of the country music tree.
This wasn’t easy. By 1975, the competition in was fierce, and new artists were beginning to make their presence felt. Artists like Charley Pride were having to raise their game over the next few years. During the period 1975 and 1978, Charley Pride released three country albums and a gospel album. They’re being reissued by BGO Records on two discs on 18th March 2016. This quartet of albums are: The Happiness Of Having You, Sunday Morning With Charley Pride, She’s Just An Old Love Turned Memory and Someone Loves You Honey. They find Charley Pride as he try to recapture the commercial success he enjoyed between 1966 and 1972.
The Happiness of Having You.
Just six months would pass between the release of Charley in May 1975, and The Happiness Of Having You in November 1975. This wasn’t unusual, as Charley Pride averaged at just over two albums a year. By the time Charley Pride began to begin work on what became The Happiness of Having You, he was working with one of country music’s most successful producers, Jerry Bradley. Charley Pride was just one of the artists Jerry Bradley worked with. They would record ten songs that became The Happiness of Having You.
Charley Pride and producer Jerry Bradley had cherry picked some quality songs for The Happiness of Having You. The title-track and album opener was written by Ted Harris; while The songwriting team of Mack Vickery and Bobby Borchers cowrote I Can’t Keep My Hands Of You. Other tracks included Kenny O’Deil’s Everything I Am and Jimmy Payne and Naomi Martin’s My Eyes Can Only See As Far As You. Kris Kristofferson’s classic Help Me Make It Through The Night; Jim Owen’s I’ve Got A Woman To Lean On and Johnny Duncan’s Right Back Missing You Again. Along with Shirley Ann Worth’s Everything She Touches Turns To Love and Ben Peters’ Signs Of Love. Shirley Ann Worth, on paper, The Happiness of Having You looked an album that should ooze quality.
As usual, at RCA’s Nashville Sound Studio was chosen for the recording of The Happiness of Having You. Some of Nashville’s top musicians accompanied Charley Pride, and the recording went smoothly. So six months after the release of Charley, RCA Victor were getting ready to release The Happiness of Having You.
Reviews of The Happiness of Having You were mostly positive. Critics complimented Charley Pride on the quality and diversity of the material. The songs were well produced by Jerry Bradley, who was now one of Nashville’s top producers. He was no longer standing in his father’s shadow. Jerry Bradley had earned his stripes, and was determined to help Charley Pride to get back to the days when number one albums and gold discs were commonplace.
When The Happiness of Having You was released in November 1975, the album reached number two on the US Billboard Country charts. This made The Happiness of Having You Charley Pride’s most successful album since Amazing Love in October 1973. Was Charley Pride on the way back.
He certainly was. When The Happiness Of Having You was released as a single, it reached number three in the US Billboard Country charts, and number one on the Canadian Country charts. My Eyes Can Only See As Far As You was chosen as the followup, and reached number one in American and Canadian country charts. It looked like Charley Pride was back?
Charley Pride’s judicious choice of songs for The Happiness Of Having You had paid off. The Happiness Of Having You, an uptempo, joyous paean whetted listener’s appetite; before I Can’t Keep My Hands Off Of You is a tale of hurt, betrayal and unrequited love. Ballads like My Eyes Can Only See As Far As You epitomises the mid-seventies country, and come to life in Charley Pride’s hands. So does Kris Kristofferson’s oft-covered Help Me Make It Through The Night and Everything She Touches Turns To Love. They’re two of the highlights of The Happiness Of Having You. By the time the wistful Signs Of Love closes The Happiness Of Having You, it’s obvious that it’s one of the best albums Charley Pride has released in recent years. It’s no wonder Charley Pride was riding high in the charts, and had just enjoyed two hit singles. However, could Charley Pride build on The Happiness Of Having You.
Sunday Morning With Charley Pride.
Most people would’ve had expected Charley Pride to followup The Happiness Of Having You with a similar album. Charley Pride had a different idea, and decided to release another gospel album, Sunday Morning With Charley Pride. This was a risky strategy, and was an easy way to alienate record buyers. However, it was something Charley Pride believed in, and was determined to do.
At RCA Victor, executives must have had mixed feelings. They must have wondered why Charley Pride had decided to release his second gospel album after his most successful album in two years? However, Charley Pride’s last gospel album, Did You Think To Pray had reached number one on the US Billboard Country charts and seventy-six on the US Billboard 200. So maybe, Sunday Morning With Charley Pride would see the success Charley Pride was enjoying continue?
Unlike The Happiness Of Having You, Sunday Morning With Charley Pride didn’t feature songs by the creme de la creme of songwriting. Instead, Charley Pride chose songs by some lesser known names. After all, many of the songwriters whose songs featured on The Happiness Of Having You, were secular, not gospel or religious songwriters. So with ten songs by some lesser known names, Charley Pride headed to RCA’s Nashville Sound Studio.
At Nashville Sound Studio, some of Nashville’s top session players and producer Jerry Bradley awaited Charley Pride. As Charley Pride delivers a series heartfelt, impassioned vocals, his band provide a backdrop to songs that are moving, spiritual and often, beautiful. He’s The Man, Without Mama Here, Next Year Finally Came and He Took My Place were without doubt, the standout tracks as Charley Pride showcased his versatility on Sunday Morning With Charley Pride. However, what would critics think?
In America, critics were used to country artists releasing gospel albums. Sunday Morning With Charley Pride received a fair hearing, and garnered mainly, positive reviews. It was a moving, heartfelt album, and a project that Charley Pride believed in, and wanted to do. The problem was, who many people would buy Sunday Morning With Charley Pride?
When Sunday Morning With Charley Pride was released later in 1975, the album stalled at just fourteen in the US Billboard Country charts. Again, it was one step forward, one step back for Charley Pride. His next album was going be hugely important.
She’s Just An Old Love Turned Memory.
After the release of Sunday Morning With Charley Pride, it was over a year before Charley Pride released a studio album. His only solo album released during 1976 was The Best Of Charley Pride Volume 3. It reached number three in the US Billboard Country charts, and 188 in the US Billboard 200. Meanwhile, the album was certified four times platinum in Canada. For Charley Pride, this was a huge boost to his confidence.
After the success of The Best Of Charley Pride Volume 3, Charley Pride’s thought’s turned to his next studio album. For She’s Just An Old Love Turned Memory, Charley Pride would rely on some of the top songwriters.
This included John Schweers, who contributed She’s Just An Old Love Turned Memory and The Rose Is For Today. Singer-song-writer George Weiss had written Rhinestone Cowboy, which featured on his 1974 album Black and Blue Suite. Charley Pride spotted the potential in the song. It would feature on She’s Just An Old Love Turned Memory. So would Elijah Lee Fry’s The Hunger; Ben Peters’ A Whole Lotta Things To Sing About an Mac Davis I Feel The Country Callin’ Me. I’ll Be Leaving Alone was written by Dickie Lee and Waylard Holyfield; while the David-Dussia songwriting partnership contributed We Need Lovin’ and Get Up Off Your Good Intentions. Along with a cover of Country Music, these songs would become She’s Just An Old Love Turned Memory.
Recording of She’s Just An Old Love Turned Memory took place atRCA’s Nashville Sound Studio. Some of Nashville’s top musicians accompanied Charley Pride, who co-produced the album with Jerry Bradley. Charley Pride it seemed, was keen to add a new string to his bow. Unlike other country artists, he wasn’t known as a songwriter, and up until then, didn’t produce his own albums. In Jerry Bradley, Charley Pride had the perfect teacher. Their first lesson took place on She’s Just An Old Love Turned Memory.
The release of She’s Just An Old Love Turned Memory was schedule for March 1977. By then, critics had given the album positive reviews. Again, they remarked upon what was a judicious choice of songs. Charley Pride it seemed had picked songs that were tailor made for him. This included Rhinestone Cowboy, where Charley Pride seems to live the lyrics. Along song that drew praise from critics was I Feel The Country Callin’ Me. These two tracks, critics thought, were among the highlights of She’s Just An Old Love Turned Memory.
On its release, She’s Just An Old Love Turned Memory reached number six in the US Billboard Country charts. While this was an improvement on Sunday Morning With Charley Pride, the album didn’t match the success of The Happiness Of Having You. However, the singles more than made up for this.
A Whole Lotta Things to Sing About was released in 1976, as the lead single from She’s Just An Old Love Turned Memory. It reached number two in the US Billboard Country charts, and number one on the Canadian Country charts. She’s Just An Old Love Turned Memory then topped the American and Canadian Country charts. So did I’ll Be Leaving Alone in early 1977. For Charley Pride, She’s Just An Old Love Turned Memory was one of the most successful albums of recent years. Partly, because of his judicious choice of songs and his ability to bring lyrics to life.
Charley Pride does this throughout She’s Just An Old Love Turned Memory. That was the case from the opening bars of She’s Just An Old Love Turned Memory, right through to the closing notes of Get Up Off Your Good Intentions. The album is full of quality country cuts.
This includes the trio of singles A Whole Lotta Things To Sing About; She’s Just An Old Love Turned Memory and She’s Just An Old Love Turned Memory, where Charley Pride’s vocal is full of hurt and heartbreak. He rolls back the years. Especially on Rhinestone Cowboy and The Hunger where his voice is full of sadness. Then I Feel The Country Callin’ Me proves to be one of the most beautiful songs on She’s Just An Old Love Turned Memory. It’s if memories come flooding back for Charley Pride. He doesn’t deliver lyrics, but seems to have lived them. That’s the case on Country Music, a truly captivating ballad where the listener literally holds their breath, wondering where the song is heading? A more uptempo track is the album closer Get Up Off Your Good Intentions. It shows another side to Charley Pride and whets the listener’s appetite for his next album.
Someone Loves You Honey.
After the success of She’s Just An Old Love Turned Memory, Charley Pride returned with a a new album eleven months later, in February 1978. This was Someone Loves You Honey, which featured eleven new songs which Charley Pride hoped, would build on the success of She’s Just An Old Love Turned Memory.
Just like previous albums, Charley Pride chose songs by some of his favourite songwriters for Someone Loves You Honey. Among them, were Don Devaney who contributed the title-track. John Schweers wrote I Live You and Daydreams About Night Thing and cowrote Another I Love You Kind Of Day. Ben Peters penned More To Me and I’m Never Leaving You. Other songs included Conway Twitty’s Play, Guitar, Play and Marty Robbins wrote Days Of Our Lives. The Grindelle, Gibbons and Hatch songwriting partnership returned with Heaven Watches Over Fools Like Me; while Doyle Marsh and George Renau contributed The Days Of Sand and Shovels. These songs would be recorded in the familiar surroundings of RCA Nashville Sound Studio.
At RCA Nashville Sound Studio, Charley Pride and some f Nashville’s top session players prepared to record Someone Loves You Honey. Again, Jerry Bradley and Charley Pride co-produced the album. Charley Pride’s production debut featured three number one singles. How would Someone Loves You Honey fair?
As critics received their review copies of Someone Loves You Honey, Charley Pride held his breath. Reviews could make on album. After the success of She’s Just An Old Love Turned Memory, Charley Pride wanted to build on that success. To do that, he needed positive reviews of Turned Memory Someone Loves You Honey. That’s what he got.
Critics were won over be the almost laid-back, understated mellow sound of Someone Loves You Honey, Georgia Keeps Pulling On My Ring, I Live You and Play, Guitar, Play. With an understated sound, these songs epitomised everything that was good about country music. Another I Love You Kind Of Day and More To Me seemed to owe a debt of gratitude to country music’s past. Side one of Someone Loves You Honey seemed to pick up where She’s Just An Old Love Turned Memory, left off.
Side two didn’t disappoint either. Days Of Our Lives and Daydreams About Night Things are the perfect showcase for Charley Pride’s vocal. They ease the listener into the second side. Heaven Watches Over Fools Like Me feature a rueful vocal where hurt and heartbreak are omnipresent. The Days Of Sand And Shovels finds Charley Pride’s in a reflective mood; before a heartfelt rendition of I’m Never Leaving You proves the perfect way to close Someone Loves You Honey. It was released in February 1978.
When Someone Loves You Honey was released, it reached number four on the US Billboard Country charts, and just failed to enter the US Billboard 200, when it reached 207. In Canada, Someone Loves You Honey was certified gold. Then More To Me and When Someone You Loves You Honey were released as a single, both reached number one in America and Canada. This was meant that Charley Pride had enjoyed eighteen number one single in America; and twenty-two in Canada. Twelve years after his 1966 debut album Country, Charley Pride was one of the biggest names in country music.
While gold discs and number one albums seemed to be a thing of the past, Charley Pride was still one of the biggest selling American country artists. By 1975, the competition in was fierce, and new artists were beginning to make their presence felt in country music. Artists like Charley Pride would have to raise their game over the next few years. For a former ball player like Charley Pride, he liked nothing better than a challenge.
During the period 1975 and 1978, Charley Pride stepped up to the plate and released a trio of top quality country albums and his second gospel album. These four albums will be reissued by BGO Records on two discs on 18th March 2016. This quartet of albums are: The Happiness Of Having You, Sunday Morning With Charley Pride, She’s Just An Old Love-Turned Memory and Someone Loves You Honey. They find Charley Pride trying to recapture the commercial success he enjoyed between 1966 and 1972.
While the number albums and gold discs seemed to have dried up, Charley Pride had grown and matured as an artist. Lyrics come to life, as Charley Pride doesn’t so much sing them, but live them. His delivery is heartfelt, emotive and impassioned. It’s country music at his best. That’s not surprising, as Charley Pride is country music royalty.
Charley Pride is still, and always will be regarded as country music royalty. During a career that’s lasted six decades, he enjoyed thirty-nine number one singles on the US Billboard Country charts, and sold over seventy-million albums. Still, Charley Pride is RCA Victor’s second biggest selling artist of all time. The most successful period of Charley Pride’s career was between 1966 and 1972. However, there’s much more to Charley Pride’s career than that. This includes The Happiness Of Having You, Sunday Morning With Charley Pride, She’s Just An Old Love-Turned Memory and Someone Loves You Honey which were recently reissued as a double album by BGO Records.
CHARLEY PRIDE-THE HAPPINESS OF HAVING YOU/SUNDAY MORNING WITH CHARLEY PRIDE/SHE’S JUST AN OLD LOVE TURNED MEMORY/SOMEONE LOVES YOU HONEY.
QLUSTER-ECHTZEIT.
QLUSTER-ECHTZEIT.
Back in 1969, Hans-Joachim Roedelius, Dieter Moebius and Conrad Schnitzler founded Kluster, which would become one of the most important groups in the nascent Krautrock movement. Kluster went on to release two albums between 1969 and 1971, Zwei-Ostere and Klopfzeichen. However, in 1971 Conrad Schnitzler announced that he was leaving Kluster. So Hans-Joachim Roedelius and Dieter Moebius formed Cluster.
Just like Kluster, Cluster would prove to be a groundbreaking group. The music they released was among the most important, innovative and influential of the Krautrock, and post-Krautrock era.
Cluster released their eponymous debut album in 1971. This was the first of seven albums Cluster released between 1971 and 1981. Cluster II was released in 1972, with Zuckerzeit following in 1974. After this, Cluster was put on hold while Hans-Joachim Roedelius and Dieter Moebius formed Harmonia with Michael Rother.
Harmonia released two albums between 1974 and 1975. Their debut, Musik Von Harmonia was released later in 1974, with Deluxe following in 1975. Neither album was commercially successful, but later, would become Kraurock classics. So would’ve Tracks and Traces, Harmonia’s collaboration with Brian Eno.
The only problem was, the master tapes for Tracks and Traces were lost, and only rediscovered nearly twenty years later. Somewhat belatedly, Tracks and Traces was released in 1997, and the collaboration between Harmonia and Brian Eno was hailed a lost classic. This however , wasn’t the only time Brian Eno had worked with members of Harmonia.
After recording Tracks and Traces, Cluster collaborated with Brian Eno on Cluster and Eno. It was released in 1977, and featured the three innovators pushing musical boundaries to their limits. Cluster would continue to do this.
Two years later, and Cluster release their last studio album of the seventies, Grosses Wasser. It was released in 1979, and was Cluster’s first album of the post-Krautrock era. Seamlessly. Cluster reinvented themselves, and proved that they were still relevant, and capable of creating groundbreaking music.
As the seventies dawned, Hans-Joachim Roedelius and Dieter Moebius were about to celebrate three decides making music together. By then, the two men continued to effortlessly combine their solo careers with Cluster. However, Cluster’s first album of the eighties wasn’t a studio album.
Instead, Cluster and Farnbauer Live In Vienna was a live collaboration with Joshi Farnbauer. It had been recorded at Wiener Festwochen Alternativ on 12th June 1980. Just like previous projects, Cluster were out of their comfort zone and making ambitious, experimental music. For a group into their third decade making music, Cluster were still pioneers.
That continued right up until Cluster released Curiosum, in 1981. It was the last studio album Cluster would release this millennium.
After the release of Curiosum, Cluster was put on hold. Hans-Joachim Roedelius and Dieter Moebius decided to concentrate on other projects. That was until 1994, when Cluster made their comeback.
The comeback took place in July 1994 in Vienna, which Hans-Joachim Roedelius called home. For an hour, Cluster took to the stage and improvised, on one lengthy sixty minute track. It was an ambitious, innovative genre-melting album. After thirteen years away, One Hour was released in December 1994. For fans of Cluster, Christmas had come early. Cluster were back, and stood head and shoulders of the pretenders to their crown. However, were Cluster back for good?
It wasn’t until 1997, that Cluster released another album. This time, Cluster released not one, but two live albums. This included Japan 1996 Live, which documented Cluster’s Japanese tour. First Encounter Tour 1996 celebrated Clusters first American tour, where the two veterans were treated as conquering heroes. After twenty-eight years together, Hans-Joachim Roedelius and Dieter Moebius were receiving the critical acclaim and plaudits that their music so richly deserved.
Despite this, Hans-Joachim Roedelius and Dieter Moebius put Cluster on hold again. It wasn’t until 2008, when Cluster released another live album, Berlin 07. However, the next year Cluster would return with their first studio album since 1981.
Qua was released in 2008, some twenty-seven years after Cluster’s previous studio album. Since 1981, Hans-Joachim Roedelius had worked on countless projects, and his discography numbered well over one hundred. Cluster’s latest album Qua was a welcome addition from a group that were now regarded as one of the most important, innovative and influential bands of Krautrock, and post-Krautrock era. They had influenced and inspired several generations of musicians. Sadly, the Cluster story was almost at an end.
By 2010, Cluster disbanded. Hans-Joachim Roedelius was seventy-five; and Dieter Moebius sixty-four. They two fiends had spent a lifetime making music. Maybe now they wanted to take things easy?
Not Hans-Joachim Roedelius. The seventy-five year old,decided to form a new band, one that continued the work of Kluster and Cluster. So Qluster was born.
Initially, Qluster featured Hans-Joachim Roedelius and keyboardist and electronic musician Onnen Bock. heir debut was the studio album Rufen, which was released in 2011. This was the first in a trilogy.
Fragen, the second album in the trilogy was released by Qluster in 2011.Then the third, and final instalment, in the trilogy, Antworten. was released in 2012. By then, Qluster were being heralded as one of the most important modern day groups.
By the time Qluster were ready to record their fourth album, Lauschen, two had become three. Multi-instrumentalist Armin Metz had joined Qluster, and made his debut on Lauschen. It was released later in 2014.
When Lauschen was released,Hans-Joachim Roedelius was seventy-nine. He wasn’t slowing down, and certainly hadn’t lost any of his enthusiasm for music. Several generations of record buyers were drawn to Qluster’s music. From those who grew up listening to with Kluster, Cluster and Harmonia, Qluster was essential listening.
Qluster released their fifth album Tasten in 2015. Stylistically, it marked a departure in style. A triumvirate of pianos featured on Tasten. This wasn’t surprising given Hans-Joachim Roedelius love of the piano. However, less than a year later, and Qluster were preparing to release their sixth album in just five years, Echtzeit.
For their sixth album, Echtzeit the three members of Qluster decided to change direction. The triumvirate of pianos featured on Tasten was a thing of the past. Replacing it, would be a much more ambient sound.
The three members of Qluster would cowrite the ten soundscapes on Echtzeit. They would be recorded in two locations. Four tracks were recorded in Berlin; while Wolf Bock recorded the other six tracks in Schönberg in Austria. That’s where Qluster setup their impressive array of instruments and effects.
This included an ARP 2300 with a Steiner Masters Touch breath controller; Roland Jupiter 4, Korg MS 20, Yamaha CS-15, Mikromorg, Animoog, a DIY MOS Weird Sound Generator, a Boston Grand Piano GP-193, Farfisa VIP 345, Fender Rhodes and Rhythm Ace FR-8L. A church organ was used, and recorded in situ. The effects used on Echtzeit a Yamaha 1005, Boss RC-20, Cosmic AE-7000, Ken Multi DE-1000 and Evans Echoplet EP100. These instruments and effects were put to good use on the ten tracks on Echtzeit. Once Qluster had recorded the ten tracks, Onnen Bock and Armin Metz mixed Echtzeit. All that was left for Echtzeit to be mastered.
To master Echtzeit, Jonas Förster was chosen. As he worked on mastering Echtzeit, Qluster prepared for the release of the sixth album in just five years. This was a remarkable feat, especially considering founder Hans-Joachim Roedelius was eighty-one. However, he had twice the enthusiasm of men half his age. The grand old man of German music was still working in ten separate projects. This was the musical equivalent of spinning plates, which Hans-Joachim Roedelius was still a master of. However, as the release of Echtzeit approached, Hans-Joachim Roedelius was in for a surprise.
Hans-Joachim Roedelius was awarded a Schallwelle Award. This was in recognition of a lifetime spent making groundbreaking music. To date, this includes over 200 albums. Soon, one more would be added to that figure, when Echtzeit was released by the Hamburg based Bureau B label.
Opening Echtzeit is Stein Auf Stein. Futuristic sounds can be heard in the distance. As they grow closer, keyboards are caressed and what sounds like waves breaking on the beach can heard. Soon, a dramatic, cinematic, but minimalist soundscape is taking shape. Less is more, as keyboards flow slowly into the distance. Then the waves break on the beach, as Qluster take their leave.
By then, ethereal describes the subtle introduction to Beste Freunde. Slowly and almost deliberately, a piano plays. Notes are picked with the utmost care, as a myriad of sci-fi sounds flit in and out. They fill the space left the slow, deliberate, thoughtful piano. There’s a sense of melancholy in the track, and sometimes frustration and sadness. One can’t help but wonder if Hans-Joachim Roedelius is thinking of his dear friend Dieter Moebius, who sadly, died in July 2015? They were best friends who spent a lifetime making music and travelling the world. If that’s the case, then Beste Freunde is the perfect homage to the late, great Dieter Moebius.
Verweile Doch is very different from the previous track. A church organ plays, while bubbling, mesmeric synths add a hypnotic counterpart. Again, there’s an almost understated sound. Very few instruments are deployed, but the ones that have been chosen, prove hugely effective. They create a track that’s variously understated, hypnotic and dreamy ambient soundscape.
Distant washes of synths gradually make their presence felt on Von Weiter Ferne Ganz Nah. However, again, the arrangement has an understated sound and quality. Soon, its ethereal beauty envelops the listener. By then, another glorious ambient soundscape is sharing its secrets. As synths drone, a keyboard plays softly. It’s the perfect counterpoint to the mainstay of the arrangement. They’re like yin and yang as this this fuzzy, lysergic epic embraces, envelops and enthrals.
Glasperlenspiel may only be two minutes long, but it’s two magical minutes. The sparse arrangement is sonic subtly personified. As a piano plays slowly and deliberately, clinking keyboards prove the perfect complement. Together, they create a soundscape that’s understated, ruminative and reflective.
Zweites Kapitel sees Qluster change direction sonically. There’s a lo-fi sound to the keyboard, as a droning synth and hand drum combine. Quivering, shimmering sounds flit in and out. Then occasionally, the sound a tape slowing down is replicated. Brief bursts of sci-fi sounds can be heard. So are bursts of droning synths, as Qluster experiment. To do this, they combine traditional and electronic instruments; plus the music of the distant past and present. The result is what one has come to expect of Qluster, the music of tomorrow.
Das Seltsame Tier Aus Dem Norden sounds like the theme to a Cold War thriller. Just a lone, melancholy piano plays, while a myriad of electronic sounds and chatter add to the cinematic sound. Again, the piano is played slowly, thoughtfully and deliberately. Space is left between the notes, which are filled by bursts of futuristic, sci-fi sounds. Later, there’s some brief bursts of flamboyance and drama. By then, the listener is providing the script to the melancholy, but melodic delights of the Das Seltsame Tier Aus Dem Norden. It’s the most cinematic track on Echtzeit
There’s a thoughtful sound to the droning synths that drift in and out of Auf Der Lichtung. Meanwhile, a keyboard plays. As usual, the different parts of the arrangement compliment each other perfectly. They play their port in what’s a moody, genre-melting soundscape. It showcases a ruminative, but melodic and mesmeric sound which is compelling and captivating.
Dark, verging on menacing describes the synths that drift in on Weg Am Hang. They drone, linger and resonate. Meanwhile, swells of synths rise and fall, while what sounds like synth strings play. By then, a keyboard meanders across the arrangement, as instruments make an appearance, only to disappear and sometimes, reappear. Nothing however, is as it seems. Qluster deploy their array of effects, which transforms the original signal into something quite different. Soon, the arrangement veers between dramatic, ethereal, futuristic, cinematic and wisful. Sonic sculptors Qluster, take the listener on an epic emotional roller coaster.
In Deinen Händen closes Qluster’s sixth album Echtzeit. Slowly, and almost deliberately a keyboard accompanies the piano. They may sound quite different, but compliment each other perfectly. Soon, though, Hans-Joachim Roedelius’ beautiful, crystalline, piano takes centre-stage; while the rest of Qluster are left to add an array of sci-fi sounds. That’s until the arrangement is stripped bare, and all that remains is the dreamy sound of the keyboard. All too soon, Echtzeit is over.
Echtzeit is the sixth album that Qluster have released since 2011. It’s also the best album of Qluster’s career. While it’s very different from Tasten, that’s to be expected.
Never can Hans-Joachim Roedelius be accused of making the same album twice. That’s despite releasing over 200 albums. So he’s certainly not going to start now. Instead, Echtzeit is another album groundbreaking from Qluster.
Echtzeit marks a stylistic departure from Qluster. Their previous album Tasten, featured a triumvirate of pianos. This was something new, and was released to widespread critical acclaim. However, despite the plaudits, Hans-Joachim Roedelius was determined that Qluster to continue to reinvent their music on Echtzeit. The result was Echtzeit, a much more ambient sounding album.
On Echtzeit, Qluster combine elements of ambient, avant-garde and Berlin School with electronica and experimental music. The result is music that’s mostly understated, subtle and minimalist. It’s case of less is more. Occasionally, the music becomes dark, dramatic and briefly, menacing. This adds to the cinematic sound of Echtzeit. Mostly, the music on Echtzeit veers between beautiful, dreamy, ethereal and lysergic; to hypnotic and mesmeric and sometimes, melancholy, reflective, ruminative, thoughtful and wistful. Always though, Echtzeit is compelling, captivating and cinematic. Echtzeit is also melodic and harmonious, and is a fitting addition to the Kluster, Cluster and Qluster illustrious discography.
Forty-seven years after he first co-founded Kluster, Hans-Joachim Roedelius is keeping the memory of Kluster and Cluster alive with Qluster. Along with Onnen Bock and Armin Metz, Hans-Joachim Roedelius continues to innovate with Qluster. That’s what he’s been doing during a lifetime making music, including on Echtzeit which was recently released by Bureau B.
Echtzeit is the most accessible album of Qluster’s six album career. It’s the perfect introduction to Qluster, and an album that should introduce Qluster to a new and much wider audience. Veterans of Kluster, Cluster and Harmonia will enjoy and embrace Qluster’s new album Echtzeit. It finds the grand old man of German music, Hans-Joachim Roedelius continuing the legacy of Kluster and Cluster with Qluster on Echtzeit.
QLUSTER-ECHTZEIT.
CLEAR LIGHT-CLEAR LIGHT.
CLEAR LIGHT-CLEAR LIGHT.
There aren’t many record labels that are founded in a college dorm. However, that’s where the Elektra Records story began in 1950. Jac Holman and Paul Rickol were students at the prestigious and exclusive St. John’s College, in Santa Fe. They decided to form a record label, and agreed to invest $300 each into their new business venture. A year later Elektra Records was ready to release its album.
This was New Songs, a classical album featuring Georgianna Bannister and John Gruen. It was released as a limited edition in March 1951, but sold only a few copies. For Jac Holman and Paul Rickol it was an inauspicious start to the Elektra Records story.
Despite this setback, Elektra Records would thrive during the fifties and early sixties. Elektra Records was at the forefront of the folk revival. They signed Ed McCurdy, Oscar Brand, Judy Collins, Phil Ochs and Tom Paxton. These artists brought commercial success and critical acclaim the way of Elektra Records. However, by 1964, Elektra Records was ready to diversify.
Jac Holman had spotted a gap in the classical music market. There was room he realised, for a classical budget label, so launched Nonesuch Records. It was a huge success. So much so, that other labels launched similar ventures. However, Nonesuch Records was the market leader. Buoyed by this success, Elektra Records decided to enter the pop music market.
Elektra Records entered into a joint venture with Survey Music, and founded Bounty Records. It wasn’t a particularly successful venture, and ultimately floundered and folded. The only thing Elektra Records gained from Bounty Records, was The Paul Butterfield Band, which they fell heir to. This would play an important part in Elektra Records future.
With the new wave of psychedelic rock unfolding before their eyes, Elektra Records decided to sign some of the genre’s most promising acts. Soon, San Francisco’s based The Doors had signed to Elektra Records. Another new label was a band from Los Angeles, Love. However, they weren’t the only band from L.A. who would soon call Elektra Records home.
By 1967, so would Clear Light, another group from the City Of Angels. They had only been together since early 1966. However, this didn’t stop Clear Light releasing a psychedelic classic on Elektra Records in 1967. This was their eponymous debut album Clear Light, which was recently rereleased by Big Beat Records, an imprint of Ace Records. Clear Light had come along way since early 1966.
That was when Los Angeles’ based Michael Ney advertised for a guitarist for a pickup band he was organising. One of the first people to answer the advert was Clyde Edgar “Robbie” Robinson, who was already a stalwart of the local music scene.
In the early sixties, Robbie began performing as Robbie The Werewolf. He even released an album Live At The Whaleback in 1964. Then Robbie and his wife formed a duet, and sung in the local folk circuit. That was until Barbara Robison was asked to join the folk rock group The Ashes, who in 1966 became The Peanut Butter Conspiracy. With his wife now a member of a band, Robbie was looking for a new group.
As he set off for the audition, Robbie wondered if Michael Ney’s new group was where his future lay? When he arrived at the audition, and introduced himself to Michael Ney, straight away, the two men got on. Everything it seemed was going well. That was until Robbie failed the audition. At least Robbie came away having made a new friend, Michael Ney.
Just like Robbie, Michael Ney wasn’t a newcomer to music. For a while, he had been Tito Puente’s percussion. Then he played in a series of bands in Hollywood. However, recently he had been looking at forming a new band. He had been making these plans, whilst living alone in L.A.
When Robbie and Barbara Robison heard that Michael was living alone, they insisted that he move into their small, apartment on Manhattan Beach. There wasn’t much room for three adults and the Robison’s young child. However, everyone got on well, and soon, Robbie and Michael were making plans to form a new band.
This time, there were no adverts placed looking for musicians. Instead, Robbie and Michael went in search of the best musicians. The place to find them, was Hollywood and Sunset Strip clubs. So night after night, the two friends went in search of musicians for their new band. That was where Robbie and Michael would eventually meet two musicians from Phoenix, Arizona.
When Robbie and Michael began their search for band members, Bob Seal and Dallas Taylor were still playing in Phoenix. However, Dallas had played in L.A. before, but it had been a messy experience, literally.
Having answered an advert, drummer Dallas Taylor had travelled to L.A. for an audition. He landed the gig, and his new band were scheduled to open for The Mothers Of Invention. By then, Dallas had had an appendectomy. Rather than tell his new band mates, Dallas decided to play at the Shrine Auditorium. He played with such energy and enthusiasm, that his stitches burst. Dallas ended the gig with blood seeping through his burst stitches. Given the pain he was having to endure, Dallas wasn’t at his best, and was replaced as drummer. That’s how he ended up back in Phoenix. However, Dallas convinced Bob Seal to head to L.A.
Bob Seal and Dallas Taylor arrived in Los Angeles around September 1966, and straight away, began looking for fellow musical travellers. It was at a Peanut Butter Conspiracy concert, that Bob and Dallas began talking to the band’s bassist Alan Brackett. Eventually, Bob and Dallas asked Alan if he knew any musicians looking to form a band? Fortunately, Alan introduced them to Robbie.
When the three men began talking, Robbie explained that he and Michael were writing songs together, and explained what they were trying to achieve. It looked like Robbie and Michael had found the musicians they were looking for. There was a problem though.
Both Bob and Dallas were homeless. They had no idea where they were going to spend the night, after they finished talking to Robbie. So he invited them to stay at the small Manhattan Beach apartment.
By then, the hippie era was in full swing, and communal living was becoming the norm. It certainly was at the Robison’s house. They were joined by Michael Ley, Bob Seal and Dallas Taylor. This allowed the band to write, practise and jam.
As the musicians jammed over a couple of days, Michael and Dallas quickly realised that two drummer were better than one. It gave the band a unique sound where power and fluidity reigned. Along with Bob Seal’s guitar, the as yet unnamed band’s sound was being honed. However, they still needed more musicians, and a name.
One thing the band need was a vocalist. Barbara Robison was everyone’s first choice. She declined; so Wanda Watkins a friend of the Peanut Butter Conspiracy was recruited. All that the group needed was a name.
This came about when one of the group passed road sign saying Garnerfield Sanitarium. At last, the group had a name. However, still the lineup wasn’t complete.
Despite this Garnerfield Sanitarium were playing weekend live at various clubs in Manhattan Beach. It was at one of these shows, that a young, aspiring songwriter approached them. He was Wolfgang Dios, who already was already signed to a publishing company. So impressed was Wolfgang Dios with Garnerfield Sanitarium, that he hooked them up with his publishing company.
The publishing company was owned by a former professional boxer and aspiring songwriter, Bud Mathias. He was formerly the Arizona Lightweight Champion between 1951 and 1954. Now he was a musical entrepreneur, who was involved in songwriting, recording and publishing. There was, it seemed, no end to Bud Mathias’ talents.
After his boxing career was over, Bud Mathias was looking four a new career. He decided to get involved in music. That’s despite no experience in the music industry. However, Bud Mathias wrote Runnin’ Wild which was recorded by Brenton Wood. Bud Mathias had also formed the publishing company Little Giant Music which published and administered Wolfgang Dios’ songs. When Bud Mathias met Garnerfield Sanitarium, he thought the band had potential.
There was a but though, Garnerfield Sanitarium needed a decent bassist. As luck should have it, the musical entrepreneur just happened to know a bassist, Doug Lubahn, a former ski instructor.
When Mamma Cass first met Doug Lubahn in Aspen, Colorado, he was a ski instructor during the day, and played in a nightclub band at night. Mamma Cass thought Doug had potential, so encouraged him to move to L.A.
Things hadn’t gone well for Doug, and for a while he was homeless. For a time, Doug slept on L.A.’s streets. However, by the time he joined Garnerfield Sanitarium, Doug’s luck was changing.
After meeting the band, Doug moved into the Robison’s Manhattan Beach apartment. By then, space was at a premium. This was the end for Barbara Robison. For some time the Robison’s marriage has been on shaky ground. She and her baby Scotty, moved into Peanut Butter Conspiracy’s house in Silver Lake. Meanwhile, Manhattan Beach apartment became Garnerfield Sanitarium’s headquarters.
By then, the new lineup of Garnerfield Sanitarium had realised that the band’s name wasn’t right. After some debate, it was thought the name was “too long” and “not cool enough.” It was then that Alan Brackett suggested Brain Drain. This however, wasn’t the only change.
After a band meeting, it was announced that Wanda Watkins was no longer Brian Drain’s vocalist.However, before long, Wanda Watkins was back with a new band. Bud Mathias had recruited Wanda Watkins into Joint Effort. By then, Brain Drain had gone up in the world.
Brian Drain were now playing clubs around Hollywood. They were taking to the stage at Pandora’s Box, The Witch and The Hullabaloo. At these clubs, Brain Drain were a proving a popular draw. So it made sense for Brian Drain to record a couple of tracks.
For the recording session, two songs were chosen. The first was the Wolfgang Dios composition Black Roses. Me was penned by new bassist Doug Lubahn and Brain Drain’s manager Bud Mathias. One the two songs were recorded, Bud Mathias decided to swing by Elektra Records’ West Coast office with an acetate of Brain Drain’s new recording.
Bud Mathias had timed his run perfectly. The receptionist at Elektra Records was out having lunch, and had left the door unlocked. As Bud Mathias walked in, A&R man Billy Jones was about to head out for lunch. Bud Mathias managed to get Billy Jones to listen to the Brian Drain acetate. He liked the recording and agreed to send it to Jac Holman at Elektra Records’ headquarters.
Over the next couple of days, the members of Brian Drain waited for news from Elektra Records. When it came, it was good news. Jac Holman liked the recording, and wanted Brain Drain to sign to Elektra Records.
In early January 1967, Brain Drain were about to sign to one of the major labels. It was then that Bud Mathias inexperience caught up with. He had never got Brian Drain to sign a management contract with him. Bud Mathias was a worried man.
He had every right to be. At Elektra Records, staff producer Paul Rothchild was talking with Brain Drain. He had just produced The Doors’ recently released debut album, and previously, had worked with Love. This gave Paul kudos in the eyes of Brain Drain. Paul Rothchild had a propositions for Brain Drain.
This was that Paul Rothchild become Brain Drain’s new manager. Paul pointed out that they needed someone with music industry experience managing Brain Drain. Given his track record with The Doors, and especially Love, Brain Drain soon agreed. Bud Mathias was history, and left ruing his inexperience. He had lost a band signed to a major label, by forgetting to get a management agreement signed.
With Paul Rothchild managing Brain Drain, Elektra Records records rented an apartment for the band to live in. Their new home was situated in Franklin Avenue, and was once home to comedian W.C. Fields. Soon, it became known as the Light House.
The name came about, because in March 1967, Brain Drain had changed their name to Clear Light. The newly named band were also well on their way to transforming the faded grandeur of the Light into a rehearsal cum living space. Soon, Clear Light would be joined by The Doors, and the two Elektra Records’ bands would jam into the early hours, as they prepared to record new albums.
In The Doors’ case, they were preparing to record their sophomore album Strange Days. Their eponymous debut album had been released on January 4th 1967, and reached number two on the US Billboard 200. The Doors was well on its way to selling four million copies. Would lightning strike twice when Clear Light released their debut album?
Clear Light entered the studio with producer Paul Rothchild for the first time in the spring of 1967. The band recorded several songs, which they hoped would find their way onto their debut album. However, when producer Paul Rothchild listened to the recordings, he wasn’t happy with the results.
The problem Paul Rothchild felt, was that the band needed a vocalist who could make his presence felt. All the successful bands had a distinctive vocalist. That was what producer Paul Rothchild felt Clear Light were lacking. Despite this, Clear Light were about to become movie stars.
Meanwhile, Clear Light were asked to feature in Theodore J. Flicker’s film The President’s Analyst. Clear Light would play themselves in a nightclub scene. However, when it came time for Clear Light to play She’s Ready To Be Free, vocalist Robbie was unwell. He was replaced by Barry McGuire. While his delivery was perfectly acceptable, it was no match for Robbie’s recent recording.
After the filming of The President’s Analyst, Paul Rothchild began looking for a replacement vocalist. Eventually, Paul Rothchild found the vocalist he was looking for…Cliff De Young.
At first, Cliff De Young seemed to be in the wrong movie. While the rest of Clear Light looked like, and adopted the hippie lifestyle, Cliff De Young was preppy looking by comparison. It was an unlikely match, the aspiring actor, singer and songwriter. However, Cliff De Young possessed the distinctive vocal that Clear Light. Paul Rothchild realised this, and so did Robbie Robinson.
He didn’t make things difficult for the rest of Clear Light. Robbie resigned from Clear Light, and Cliff De Young replaced him. Now all Clear Light needed was a new guitarist.
Several guitarists were auditioned, including Doug Hastings of The Daily Flash. He had stood in for Neil Young in Buffalo Springfield. Despite his pedigree, Doug Hastings didn’t get the gig. Instead, Ralph Schuckett, who had played in various bands on Hollywood Strip and Topanga Canyon won the day. Soon, the new lineup of Clear Light were heading on a seventeen day residency in New York.
At their first gig in New York, new recruit Ralph Schuckett earned his Clear Light stripes. He wasn’t impressed by the crowd’s response and lack of enthusiasm. So he started chiding the audience, becoming more and more angry. By then, the venue manager was racing across the stage, and sacked Clear Light on the spot. His parting words were “you’ll never work in this town again.” How wrong he was.
The next day, Steve Paul phoned Clear Light and booked them to play at Scene East. It was a much more prestigious venue. By the time Clear Light took to the stage word of Ralph’s rant had spread like wildfire. Suddenly, everyone wanted to hear Clear Light. This resulted in Clear Light enjoying a longer stay in the Big Apple, and in the process, were able to hone their sound and songs. So when Clear Light returned to L.A. they were ready to finish recording their debut album.
For their eponymous debut album, the members of Clear Light had written nine new songs. They would later augment these songs with two cover versions. Clear Light penned Black Roses with Wolfgang Dios; and A Child’s Smile with Michael Ney. Doug Lubahn wrote Sand, Think Again and Night Sounds Loud. Bob Seal penned With All In Mind, They Who Have Nothing and How Many Days Have Passed. Clear Light’s new vocalist Cliff De Young cowrote The Ballad Of Freddie and Larry with keyboardist Ralph Schuckett. These nine songs would be recorded at one of the Hollywood’s top studios.
Before recording of Clear Light began at Sunset Sound Recorders, the newly named band had made their L.A. live debut. This took place at L.A.’s first love-in on Easter Sunday. Clear Light quickly won over what was an appreciative audience. Buoyed by the success of their live debut, Clear Light were ready to record their eponymous debut album.
When Clear Light arrived at Sunset Sound Recorders, they were met by their manager and producer Paul Rothchild. He was now one of the hottest producers in America, having just finished producing The Doors’ Strange Days. Joining Paul Rothchild in the studio was Elektra Records cofounder Jac Holman. He was the recording and production supervisor. As Paul Rothchild and Jac Holman watched on, Clear Light prepared to record their eponymous debut album.
By then, Clear Light’s lineup included a rhythm section of bassist Doug Lubahn, guitarist Bob Seal and drummers Dallas Taylor and Michael Ney who added percussion. They were joined by Ralph Schuckett, who switched between organ, piano and celesta. Cliff De Young add vocals on nine tracks, while Bob Seal takes charge of vocals on Black Roses and his composition All In Mind. With Paul Rothchild producing Clear Light, surely the album would soon be recorded?
With the addition of keyboardist Ralph Schuckett and new vocalist Cliff De Young, Clear Light could concentrate on completing their debut album. However, producer Paul Rothchild decided that songs recorded before Ralph Schuckett and Cliff De Young joined Clear Light, should be rerecorded. This meant the sessions would take longer. There was no other option though. Paul Rothchild saw the early versions as just work in progress. They just weren’t good enough to make the album. This was disappointing for Clear Light. However, the extra work was worthwhile.
When the songs were rerecorded, and keyboards and new vocals added, some of the songs took on new life and meaning. It was a total rransformation, and much more representative of the new Clear Light. Gradually, Paul Rothchild was moulding Clear Light, and began to steer them in a new direction.
With nine songs recorded, Paul Rothchild decided that to complete the album, Clear Light should record to songs by members of Elektra Records’ family. The songs he had chosen were Greg Copeland and Steve Noonan’s Street Singer and Tom Paxton’s Mr. Blue. These two songs Paul Rothchild felt, would be ideal for Cliff De Young’s “Hamlet on acid delivery.” This would prove true. However, by then, Clear Light were beginning to resent Paul Rothchild.
Members of Clear Light felt that their manager and producer was becoming too controlling. He was also a perfectionist, which was no bad thing. However, the band tired of Paul Rothchild’s constant changing things. It was as if he was on a search for sonic perfection. Given the success Paul Rothchild had enjoyed with Love, The Doors and The Paul Butterfield Band, most bands would’ve been willing to listen and learn. Not Clear Light. They rebelled.
Eventually, something snapped in Clear Light and they began to rebel. They felt Paul Rothchild was too controlling of the band. This may have worked with other bands, including Love, The Doors and The Paul Butterfield Band. However, the members of Clear Light had a rebellious streak, and didn’t take kindly to being constantly told what to do. This wasn’t the only thing the drove a wedge between Clear Light and Paul Rothchild.
By then, guitarist Bob Seals the oldest member of Clear Light was questioning the wisdom of having their producer as a manager. When he spoke out, Bob Seals claims he was singled out for criticism by Paul Rothchild. He remembers doing an guitar overdub on a song he had written. Meanwhile, Neil Young and some big name musicians were watching in the control room. By then, Bob Seals was wound up like a spring. When he stumbled over the guitar part, he claims Paul Rothchild said through the intercom: “you know, there are ten thousand guitar players in this town that can do this track if you can’t.” For Bob Seals this was a crushing blow. It was just as well that the album was almost completed.
When Clear Light was completed, the relationship between Clear Light and Paul Rothchild had sunk to a new low. Elektra Records had scheduled the release of Clear Light for October 1967. However, there was another problem.
Elektra Records had hired William S. Harvey to shoot the album cover. By then, Robbie Robinson was still a member of Clear Light. However, Elektra Records got round this by describing the former founder member as the band’s guru. Robbie wasn’t on the photos in the inner sleeve. They feature the new lineup of Clear Spot. So do the instructions “in order to appreciate the spectacular double drumming of Clear Light, play at high volume.”
Whether critics followed these instruction isn’t known. What’s known, is that the reviews of Clear Light were positive. The music veered between folk rock to heavy psychedelia. Bob Seal who provided the folk rock compositions, would turn out to be Clear Light’s secret weapon.
Bob Seal takes charge of the lead vocal on Black Roses and With All In Mind. He shows that he has hidden depth. While Bob Seal lays down driving, choppy and blistering guitar licks on Black Roses, he shows that he’s also a talented vocalist. If Clear Light had looked closer to home, they would’ve solved their vocalist problem. With All In Mind is another showcase for Bob’s vocal talents, on what’s another slice of folk rock, with a hint of psychedelia. How Many Days Have Passed is a veritable fusion of folk rock and psychedelia. There’s even a nod to The Doors courtesy of producer Paul Rothchild.
The three tracks bassist Doug Lubahn contributed, see Clear Light disappear further down the psychedelic rabbit hole. Sand, Think Again and Night Sounds Loud are prime cuts of heavy psychedelia. Lysergic, trippy and acidic they’re a reminder of the golden age of psychedelia. Of this trio of tracks, Think Again with its swirling organ and searing guitars is the standout. Not only does it showcase Doug Lubahn’s skill as a songwriter, but Paul Rothchild’s production skills.
Paul Rothchild’s decision to encourage Clear Light to record Street Singer and Tom Paxton’s Mr. Blue was vindicated when the album was released. Cliff De Young vocal on Street Singer was dramatic and lysergic. “Hamlet on acid delivery” was the perfect decryption of Cliff’s vocal on Mr. Blue. Dark, dramatic, theatrical and menacing described the vocal. It was one of Cliff’s finest vocals. Coming a close second was his almost manic, unhinged delivery of The Ballad Of Freddie and Larry. Cliff it seems is taking a trip, as Clear Light waltz their way through the song.
Another of the standout tracks on Clear Light was A Child’s Smile. It was penned by the band with Michael Ley. It’s folk rock ballad, that hints at psychedelic. There’s a darkness to the lyrics about childhood imagination. Accompanying Cliff’s vocal is Van Dyke Parks on harpsichord. It was an inspired decision by Paul Rothchild to add a harpsichord to the track. It’s the perfect contrast the vocal and the dark, disturbing lyrics. Sadly, Paul Rothchild never recorded another album with Clear Light.
Following the release of Clear Light, the band embarked on a second tour of the East Coast in December 1967. Clear Light had just released Black Roses as a single, with She’s Ready To Be Free on the flip side. It’s one of eight bonus tracks on Big Beat Records’ reissue of Clear Light.
The recent reissue of Clear Light features the album in its entirely, and then the eight bonus tracks. This includes Bye Bye Boogie Man, the versions of She’s Ready To Be Free, Dawn Lights The Way, The Susan Years and Eastern Valleys. There’s also the versions of Me and Black Roses recorded by Brain Drain. Quite simply Clear Light is the most comprehensive overview of Clear Light’s short career.
As Clear Light embarked upon their second tour of the East Coast, they were invited onto the Pat Boone In Hollywood to play Black Roses. Despite Clear Light’s star seemingly in the ascendancy, Doug Lubahn had turned down an invitation to join the band on a permanent basis. Instead, he was happy to divide his time between The Doors and Clear Light. That proved to be a wise decision.
When Clear Light arrived in New York, they started auditioning new guitarists. Bob Seal was about to be replaced. His bandmates had stabbed him in the back. They wanted someone less outspoken, someone who would toe the party line. Eventually, Danny “Kootch” Kortchmar won the day.A heartbroken Bob Seal left, and headed to Sausalito, where he began a new life as a bassist. However, Bob Seal had the last laugh.
The new guitarist needed time to learn the band’s songs. So some of the members of Clear Light picked up some session work. By the end of February 1968, the latest lineup of Clear Light opened for Jefferson Airplane. Meanwhile, Night Sounds Loud became Clear Light’s third single in Britain. Things seemed to be going well for Clear Light.
They even got as far as beginning work on their sophomore album. However, the loss of Bob Seal had hit Clear Light hard. They were no longer the same band. Cliff De Young realised this, and left the band in June 1969. This was perfect timing, as the rest of Clear Light had been looking for a new vocalist.
Dave Palmer who went on to join Steely Dan was first choice. When this didn’t work out, Duane Allman was approached, and talks took place. However, nothing came of it, and by September 1968, Clear Light split-up.
Looking back, the Clear Light story is one of what might have been. If Clear Light had continued to work with Paul Rothchild, what heights might they have reached? Would Clear Light have followed in the footsteps of their label mates and jamming partners The Doors? After all Paul Rothchild,had an enviable track record.
Paul Rothchild produced everyone from Tim Buckley to Love, The Doors, Janis Joplin, Fred Neil and The Paul Butterfield Blues Band. Part of his recipe for success was he was a perfectionist, who was constantly looking to improve the slightest detail. This worked and got results with many bands. However, Clear Light felt stifled, and rebelled.
This was a great shame. Clear Light were a talented band, who could’ve should’ve reached greater heights. However, by the end of the recording of Clear Light, their partnership with Paul Rothchild was all but over. Over the next eleven months, Clear Light seemed to implode. Guitarist Bob Seal, who had played an important part in the sound and success of Clear Light was betrayed, when his band mates started auditioning for a new guitarist. This backfired, and Clear Light were never the same tight unit. Their answer was to replace vocalist Cliff De Young. However, he beat them to it, and left Clear Spot. By then, the game was up for Clear Spot, and by September 1968 the band called time on their career.
Forty-eight years later, and Big Beat Records’ reissue of Clear Light showcases a talented and versatile band that could’ve and should’ve reached greater heights. Clear Light were certainly not lacking in talent. Sadly, just over two years after Michael Ney first met Robbie Robinson, the adventure was over. A lot had happened since then.
The lineup changed several times. So had the name. Managers had come and gone, and Clear Light had recorded a stonewall psychedelic classic. Sadly, Clear Light is one of music’s best kept secrets, and is only appreciated by a discerning few musical connoisseurs, who have discovered this psychedelic classic. Maybe Big Beat Records expanded reissue of Clear Light, will bring this classic album to the attention of a wider audience?
CLEAR LIGHT-CLEAR LIGHT.
HARMONY OF THE SOUL: VOCAL GROUPS 1962-1967.
HARMONY OF THE SOUL: VOCAL GROUPS 1962-1967.
For many record companies, especially smaller independent labels, a successful compilation can be the answer to a label manager’s prayers. Suddenly, all the small losses that they’ve accumulated over the financial year are wiped out. Even better, there’s some profit left over. So it’s no surprise that the label manager’s thoughts turn to a followup.
Soon work begins on the followup. Compiling the compilation is a slow, laborious process. Time is spent finding and licensing tracks. Then there are sleeve-notes to write and an album cover to design. It all takes time. However, when the second instalment in the series is released, it’s another commercial success. By then, there’s talk of the compilation becoming an annual occurrence.
After volumes three and four sell in larger quantities, the record company begin to pressure the compiler to release two volumes annually. This is where things can go wrong.
The compiler hasn’t the same time find and license the tracks. So instead of picking the tracks he really wants, he settles for second best. Suddenly, the reviews aren’t as good and the sales start to suffer. After another couple of volumes, the series is a pale shadow of what it once was. It lasts just one more volume, before the compilation is pensioned off. By then, it’s more off a mercy killing. It’s a sad end to what could’ve been a long and successful compilation series. Sadly, it was cut down in its prime by greed and avarice.
That will never happen to one of Kent Soul’s Harmony series, which makes a welcome comeback after a three year absence. Harmony Of The Soul: Vocal Groups 1962-1977 is only the forth volume in a series that began in 2003.
It was back in July 2003, that Kent Soul, a subsidiary of Ace Records released In Perfect Harmony: Sweet Soul Groups 1968-1977. When the compilation was released, it was well received by critics and commercially successful. However, despite the critical acclaim and commercial success, it was over two years before the followup to In Perfect Harmony: Sweet Soul Groups 1968-1977 was released.
As October 2005 drew to a close, Kent Soul released More Perfect Harmony: Sweet Soul Groups 1967-1975. The same critical acclaim accompanied the release of the second instalment in the Harmony series. Surely a third volume would follow quite quickly?
On 2nd December 2013, soul fans’ patience was rewarded when Kent Soul released Soul In Harmony: Vocal Groups 1967-1977. This was an early Christmas present for soul fans. When they played Soul In Harmony: Vocal Groups 1967-1977, they realised the reviews were right, and the eight year wait was worthwhile. However, the big question was when will the next instalment of this occasional series be released?
The answer came in late February, when Kent Soul released Harmony Of The Soul: Vocal Groups 1962-1977. It’s a twenty-four track compilation featuring a mixture of familiar faces an new names. There’s contributions from Choice of Colors, The Imaginations, The Perfections, The Lovers, The Pretenders, The Superbs, Special Delivery, The Webb People, The Dramatic Experience and Steelers. These artists are just a few of the names on Harmony Of The Soul: Vocal Groups 1962-1977, which I’ll pick the highlights of.
Opening Harmony Of The Soul: Vocal Groups 1962-1977 is The Pretenders’ For The Rest Of My Days. It was the B-Side to The Pretenders’ 1973 single Hearts Were Made To Love. For The Rest Of My Days was penned by Kenneth Ruffin, and produced by Joe Evans for his New Jersey based Carnival label. There’s a nod to Philly Soul, and especially Thom Bell’s work with The Delfonics and The Stylistics. Sadly, The Pretenders never enjoyed the same success as these giants of soul, despite releasing such beautiful, heartfelt ballad like For The Rest Of My Days.
Act 1 had changed their name Special Delivery in 1973, after discovering another group with the same name. So Act 1 became Special Delivery, who in 1975, were preparing to release their debut single Destroyed Your Love Parts 1 on Mainstream Records. It was penned by Terry Huff who takes charged of an impassioned lead vocal. Accompanied by emotive, needy harmonies, it should’ve been the perfect recipe for a hit single.
That was until Terry Huff and George Parker fell out. Two weeks before the release of the single, George Parker left Special Delivery. His timing was disastrous. Destroyed Your Love Parts charted, and began to climb the charts. So Terry Huff brought his two brothers onboard. Sadly, Destroyed Your Love Parts 1 reached just sixty-two on the US R&B charts. Despite that, it’s one of Special Delivery’s finest singles.
Brief described The Windjammers recording career. Sadly, it began in 1970 and was over by 1971. During that period, they released just one singles Poor Sad Child in 1970. However, The Windjammers recorded another potential single, Why Can’t It Be? It a heartfelt plea from the The Windjammers that’s full of social comment. However, through no fault of their own, the song was never released.
The Windjammers had recorded Why Can’t It Be? at Golden State Recorders, which was one of the city’s top studios. However, Willie Hoskins who owned their record label, neglected to pay the studio bill. So title remained with Leo Kluge, of Golden State Recorders, and Why Can’t It Be? only makes its debut on Harmony Of The Soul: Vocal Groups 1962-1977.
The Smith Brothers only ever recorded a quartet of songs for Jack Ashford’s Just Production in the early seventies. By 1973, The Smith Brothers were ready to release their debut single There Can Be A Better Way on the short-lived Soul Dimension label. When The Smith Brothers returned with the beautiful ballad Let Me Take Care Of Your Heart in 1976. It was released on the Miami based Shield label, but sadly, slipped into obscurity. Forty years later, and Let Me Take Care Of Your Heart makes a welcome return.
By 1974, producer Dave Hamilton had known Charles “Chuck” Webb for the best part of a decade. The pair had worked together, with Chuck adding backing vocals on various recordings. Then in 1974, Chuck formed The Webb People did. They featured brothers Charles and Dennis plus Ollie and Otis Peoples.
In 1974, The Webb People entered the studio with Dave Hamilton and recorded several songs. This included the 1974 single Bump With Me and the flip-side I’m Sending Vibrations. One song that was never released was Love (Our Favourite Pastime). It was penned and produced by Dave Hamilton, and this ballad is the perfect showcase for The Webb Brothers’ vocal prowess. Despite this, it’s lain unreleased since 1974, but is a welcome addition to Harmony Of The Soul: Vocal Groups 1962-1977.
For most of their career, the Detroit based Brothers Of Soul comprised Fred Bridges, Richard Knight and Bobby Eaton. That was until Colours Of Soul released their sixth and penultimate single, You Better Believe It. By then, Richard Knight was in prison. So when Colours Of Soul entered the studio with producer Roy Allen, Ben Knight had been drafted in. He played a part in what’s now regarded as one of Colours Of Soul’s finest singles. Sadly, when the single was released in 1970 on Boo Records, it wasn’t a commercial success. Despite that, the single is now in demand amongst collectors, who are willing to pay large sums of money for this hidden gem.
Although The M-Ms and The Peanuts released Without A Word in 1965, it’s a song that is reminiscent of the doo wop era. That’s despite the song being recorded in 1964. By then, doo wop was quickly becoming a distant memory. Soon, so would The M-Ms and The Peanuts. Without A Word was the last of three singles the The M-Ms and The Peanuts released on Money Records.
Fifty years ago, The Turn Arounds entered the studio in Atlanta, Georgia and recorded I Want You To Know. It was penned by Terry Evans and Jimmy Russell, and featured an understated arrangement. This allow the lead vocal that sounds not unlike Sam Cooke to shine. Despite the quality of the lead vocal and harmonies, I Want You To Know has lain unreleased, and the Los Angeles’ based group never enjoyed their moment in the sun..until now.
Following his time at Motown, former Funk Brother Jack Ashford embarked upon life as a career as a songwriter and producer for hire. Using his Pied Piper vehicle, he wrote and produced tracks for a variety of artists. This included The Perfections, just one of several Detroit based groups of that name.
In 1968, The Perfections recorded Don’t Take Your Love From Me as a single. On the flip-side was the Warren Moore and William Robinson composition Since I Lost My Baby. When Don’t Take Your Love From Me was released on Drumhead Records in 1968, the single flopped. Sadly, that was the end of The Perfections and Drumhead Records. their legacy is : Don’t Take Your Love From Me and hurt filled B-Side Since I Lost My Baby.
Back in 1971, Bobby Moore and The Rhythm Aces were just the latest in a long line of groups who journeyed to Fame Studios, hoping Rick Hall could work his magic. This worked the first time round, in 1966 when Searching For My Gave gave Bobby Moore and The Rhythm Aces a hit in the US Billboard 100 and US R&B charts. Commercial success was fleeting, and by 1968, it was a stranger to Bobby Moore and The Rhythm Aces. By 1971, fame was but a distant memory. So Bobby Moore and The Rhythm Aces retraced their steps to Fame Studios.
Bobby Moore and The Rhythm Aces recorded one last session at Fame Studios. However, the resultant tracks, including Is Love For Real were never released. Is Love For Real was the only ballad recorded, and features a heart-wrenching delivery. It’s as if Bobby Moore and The Rhythm Aces were determined to bow out in style, and certainly do so with Is Love For Real.
My final choice from Harmony Of The Soul: Vocal Groups 1962-1977 is The Fabulous Determinations’ Don’t Make Me Blue. It was penned by Sam Smith, while Bill Stith, Carl Edmondson and Stephen Helwig co-producer Don’t Make Me Blue. It was released on Mainstream Records in 1975. It’s The Fabulous Determinations only single. However, Don’t Make Me Blue is a delicious slice of the sweetest soul music from The Fabulous Determinations, and one of my favourite tracks on Harmony Of The Soul: Vocal Groups 1962-1977.
For anyone who has bought the previous instalments in the Harmony series, Harmony Of The Soul: Vocal Groups 1962-1977 is a must have compilation. It picks up where Soul In Harmony: Vocal Groups 1967-1977 left off. Not only does Harmony Of The Soul: Vocal Groups 1962-1977 pickup where left off, but surpasses the quality of previous volumes. It’s no exaggeration to say that Harmony Of The Soul: Vocal Groups 1962-1977 is the perfect starting point for a newcomer to the series.
If however, you’ve never bought any of the previous instalments in the Harmony series, then Harmony Of The Soul: Vocal Groups 1962-1977 is the perfect starting place. It was recently released by Kent Soul, an imprint of Ace Records.
Just like its predecessor Harmony Of The Soul: Vocal Groups 1962-1977 oozes not just quality, but music that’s variously beautiful, emotive, heart-wrenching and hurt-filled. Tales of hurt, heartbreak, love and love lost sit side-by-side with songs of betrayal and loss on what’s an emotional roller coaster. Harmony Of The Soul: Vocal Groups 1962-1977. That’s the only way to describe Harmony Of The Soul: Vocal Groups 1962-1977.
HARMONY OF THE SOUL: VOCAL GROUPS 1962-1967.
HANS-JOACHIM ROEDELIUS- AWARDS, HARMONIA, CLUSTER AND QLUSTER.
HANS-JOACHIM ROEDELIUS- AWARDS, HARMONIA, CLUSTER AND QLUSTER.
The words pioneer and innovator are often overused. However, it is a fitting description of Hans-Joachim Roedelius. He is, without doubt, one of the most inventive and influential musicians of the past fifty years. His music has influenced and inspired several generation of musician. That’s why recently, Hans-Joachim Roedelius was awarded a Schallwelle Award, in recognition of a lifetime spent making music. And Hans-Joachim Roedelius has released more music that most musicians.
Hans-Joachim Roedelius has released over 200 albums over the past six decades. This includes solo albums and the albums he made Kluster, Cluster and Harmonia, who Brian Eno called: “the most important band in the world.” By then, Harmonia had released two albums. Their debut album Deluxe, was released in 1974, with their sophomore album, Music Von Harmionia following in 1975. The same year, Harmonia recorded the material that would feature on Documents 1975, which was eventually released in 2007. Nine years later, and Documents 1975 is being reissued by Groenland Records on 18th March 2016. However, Documents 1975 isn’t the only album that’s issued or reissued that features Hans-Joachim Roedelius.
Far from it. On 4th March 216, Qluster, which carries on the tradition of Kluster and Cluster released their sixth album Echtzeit. The on 9th April 2016, Bureau B will release 9CD and 9LP box set 1971-1981, which documents Cluster’s ten year recording career. It’s the most comprehensive Cluster retrospective, and celebrates one of the most important musicians in the history of German musical history, Hans-Joachim Roedelius. He shows no sign of slowing down, and continues to work collaborate on a variety of projects. That’s been the case throughout Hans-Joachim Roedelius’ career.
Over the last forty years, Hans-Joachim Roedelius has collaborated with everyone from Brian Eno and Tim Story, to Lloyd Cole, Conrad Schnitzler, Morgan Fisher and Christopher Chaplin. He is a truly prolific musician, who even today is working on ten separate collaborations. It seems Hans-Joachim Roedelius, who I interviewed recently, has an insatiable appetite for music. His story began in 1934, some eighty-one years ago.
The Hans-Joachim Roedelius’ story began in Berlin, on 26th October 1934. That is when one of the future leading lights of the German music scene was born. However, unlike many future musicians, Hans-Joachim Roedelius didn’t grow up in a musical household.
Music was a luxury as Hans-Joachim Roedelius grew up. Like so many young Europeans, World War II interrupted his his childhood. He grew up “hearing bombs drop across the city” of Berlin. It must have been a terrifying sound and time for young Hans-Joachim Roedelius. However, better, more peaceful times were ahead for all Europeans. It was then that music entered Hans-Joachim Roedelius in earnest.
As Hans-Joachim Roedelius grew up, he begin to discover music. “It was classical composers who I listened to. Their music was played by the great orchestras, including The Bonn Orchestra. This was my eduction, and how I discovered music. I learnt through listening.” This was the first step in Hans-Joachim Roedelius’ journey to becoming a musician. Meanwhile, his future contemporaries were studying music.
By the sixties, many of the musicians who became leading lights of the German music scene were music students. Holger Czukay, Conny Plank and Irmin Schmidt were studying under the legendary Karlheinz Stockhausen in Cologne. Meanwhile, another aspiring musician, Dieter Moebius was studying under Joseph Beuys at Düsseldorf Fine Arts Academy. Their paths would cross with Hans-Joachim Roedelius’ after they graduated.
In 1968, at the height of the psychedelic era, 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.
This was 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. 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. Cluster which had very little melody, is a series of improvised and atmospheric soundscapes.” They would become part of Cluster, which is now 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. “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,” and an album that is seen as a influential classic. Cluster were evolving, and would continue to do so.
Zuckerzeit.
Zuckerzeit, Cluster’s third album released in 1974, 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 would be the case through Cluster’s career. However, by then Cluster’s career was on hold. Harmonia had been born.
The Birth Of 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, Harmonia ’76 was never released until 1997.
During the next thirty-one years, it was thought that the master tapes had gone missing. “That was a rumpur. Harmonia ’76 was released as Tracks and Traces in 1997.” Then ten years later, in 2007, Harmonia reunited.
The reunion was for the release of their Live 1974 album. It featured a a recording of Harmonia’s concert on the 23rd March 1974, at Penny Station Club in Griessem, Germany. To celebrate the release of Live 1974, Harmonia played live for the first time since 1976. This landmark concert took place at the Haus der Kulturen der Welt in Berlin, on November 27th 2007. By then, Hans-Joachim Roedelius had recorded nearly 200 other albums. However, following the breakup of Harmonia, Hans-Joachim Roedelius and Dieter Moebius returned to Cluster.
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, as they recorded an album of understated and beautiful melodies. This was the start of a three year period when 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.
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.
Cluster and Eno.
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.
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 nine albums, Cluster was over. Or was it?
The Solo Years.
By the time that Cluster came to an end, Hans-Joachim Roedelius’ was a respected solo artist. “My solo career began in 1972, and by 1978, I was working on various projects, including my debut album Durch die Wüste.” It featured Conny Plank and Dieter Moebius.” There was no ill feeling. The former member of Cluster was happy to help launch his friend’s solo career.
Durch die Wüste was released in 1978. Just like so many albums Hans-Joachim Roedelius had been involved with, critical acclaim accompanied the release of Durch die Wüste. A year later, Hans-Joachim Roedelius released his sophomore album, Jardin Au Fou. It was a fusion of ambient, avant-garde, electronica and new age music. Just like before, Hans-Joachim Roedelius was a pioneer, of what was being called new age music.
Selbstportrait, which was released in 1980, was another album of new age music. It’s described as understated and thoughtful album. That was the case with Selbstportrait Volume II and III. Already, Hans-Joachim Roedelius was showing that he was a prolific artists who is capable of juggling disparate projects “That has been the case throughout my career. Even today, I am working on seven, no ten projects. Back in 1978, I was combining Cluster and my solo career. Since then, I’ve continued to combine projects.”
Throughout the rest of the eighties, Hans-Joachim Roedelius released over a dozen solo albums. Some years he released two or three albums. It seemed Hans-Joachim Roedelius lived to work. “I love music, always have. Making music comes naturally to me. It’s what I enjoy doing.” So is innovating.
By 1986, Hans-Joachim Roedelius was still releasing groundbreaking music. This includes Wie das Wispern des Windes, an album of ambient piano music. The album had been recorded at Hans-Joachim Roedelius’ home, a friend’s house and at the Bloomsbury Theatre in London. Hans-Joachim Roedelius even designed the album cover. There seemed no end to his talents. Meanwhile, a new generation of artists were discovering the music of Hans-Joachim Roedelius.
From the early eighties, a new generation of artists had been influenced by Hans-Joachim Roedelius’ music. Whether it was the music he made with Cluster, Harmonia or Brian Eno, Hans-Joachim Roedelius’ music was proving influential. That would be the case over the next three decades.
As the eighties gave way to the nineties, groups like Primal Scream and the Stone Roses were being inspired by groups like Can, Cluster, Harmonia and Kraftwerk. So were the a new generation of electronic musicians, and even some hip hoppers. They were looking to the past for inspiration for the future. Meanwhile, Hans-Joachim Roedelius was still one of the hardest working musicians. He was looking forward.
During the nineties, Hans-Joachim Roedelius was averaging over an album a year. Still, his music was innovative, inventive and influential. There was no sign of Hans-Joachim Roedelius slowing down. Artists wanted to collaborate with hime. Then there was Hans-Joachim Roedelius various side-projects. Despite this, he managed to find time to reform Cluster.
The Return Of Cluster.
Cluster reformed in 1989, and straight away, began work on their first album for eight years. So Dieter Moebius made the journey to Austria, where his old friend was still living.
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, Hans-Joachim Roedelius released countless solo albums, side projects and collaborations.
Collaborations.
Throughout his career, Hans-Joachim Roedelius has collaborated with an eclectic selection of artists. Michael Rother and Brian Eno were among the first. That was just the start of Hans-Joachim Roedelius’ unquenchable thirst to make music.
From the eighties onwards, Hans-Joachim Roedelius would collaborate with everyone from Alexander Czjzek, keyboardist Richard Barbieri, Aqueous and Mexican vocalist Alquimia. However, one of his most high profile collaborations came with Tim Story.
As Lunz, Hans-Joachim Roedelius and Philly born composer and musician Tim Story recorded four albums. The story began in 2000, when Lunz released The Persistence of Memory. Two years later, in 2002, came Lunz’s eponymous sophomore album. Just like Lunz’s debut, it won favour with critics and cultural commentators. However, Lunz’s finest album came in 2008, when Inlandish was released. That is the album that Hans-Joachim Roedelius: “is most proud of. It’s the best album Lunz recorded and is the perfect introduction to Lunz. Recording these albums was an enjoyable period of my life, and I’ll be pleased to be reunited with Tim Story at the forthcoming festival celebrating my career.” Three other artists Hans-Joachim Roedelius has collaborated with will feature at the festival.
This includes Conrad Schnitzler, who back in 1968, co-founded the Zodiak Free Arts Lab with Hans-Joachim Roedelius. They collaborated on the album Acon 2000/1. “That brought back great memories, of the early days at Zodiak. Back then anything seemed possible. It was an exciting time not just for me, but everyone involved.” Then in 2012, Hans was joined by the son of a famous father.
Christopher Chaplin is the youngest son of comedian Charlie Chaplin. He began life as an actor, and became a composer. In 2012, Christopher Chaplin and Hans-Joachim Roedelius released their collaboration King Of Hearts. The following year, Hans-Joachim Roedelius worked with an honorary Scot.
Although he was born south of the border, Scots regard Lloyd Cole as one of their own. He was the lead singer Lloyd Cole and The Commotions, who released a quartet of albums. Their finest hour was Rattlesnakes, a stonewall classic. After Lloyd Cole and The Commotions split-up, Lloyd embarked upon a solo career. Not only has he released a string of successful albums, but has collaborated with a variety of artists. In 2013, this included Hans-Joachim Roedelius.
He has fond memories of their collaboration, Selected Studies Volume 1. “Lloyd is a nice guy, who I enjoyed working with. He is talented and interesting.” That is what everyone who has collaborated with Hans-Joachim Roedelius says.
There are so many people who have been fortunate enough to work with. Among them are Fabio Capanni, Felix Dorner, Hirishi Nagashima and Robin Storey. They collaborated with Hans-Joachim Roedelius on their 2001 album Evermore. Then there are the collaborations between Hans-Joachim Roedelius and Nikos Arvanitis, Morgan Fisher, David Bickley, Kava and Italian composer Alessandra Celletti. Each and every one of these artists have been fortunate enough to work with Hans-Joachim Roedelius. That list continues to grow, as “currently I’m working on ten separate projects.” Then there are Hans-Joachim Roedelius’ various side projects.
Side Projects.
Ever sice his days working with Harmonia, side projects have played an important part in Hans-Joachim Roedelius’ career. This includes Aquarello, who fused ambient music and jazz.
Aquarello were based in Austria, and featured Hans-Joachim Roedelius, multi-instrumentalist Fabio Capanni, and saxophonist Nicola Alesini. As Aquarello, they released three albums. The first was Friendly Game, which initially, was credited to Roedelius, Capanni, Alesini. It was released in 1991. By the time To Cover The Dark was released in 1993, the trio were known as Aquarello. Their swan-song was the 1998 live album Aquarello. A year later, and Hans-Joachim Roedelius embarked upon a new project.
This was the short-lived Globe Trotters. It featured Kenji Konishi, Susumu Hirasawa, Alquimia, David Bickley, Felix Jay, Alex Paterson of The Orb. The Globe Trotters only album was Drive, released in 1999. Later that year, a remix album was released. That however, was all that was heard from the Globe Trotters. They’re just one of the side projects that Hans-Joachim Roedelius has busied himself with. However, with a new millennia about to dawn, the sixty-six year old’s career was about to enjoy one of the most productive period of his career.
The Solo Years Continued.
As some artists struggled to complete one album in two years, Hans-Joachim Roedelius released eight albums between 2000 and 2001. This Hans-Joachim Roedelius acknowledges “was one of the most productive periods of my career. It’s also some of the music I’m most proud of.” Despite approaching the veteran stage, “I was still brimming with ideas, ideas that I wanted to record. It was what I enjoyed doing. There was hardly any time for anything else.”
That would be the case throughout the noughties. Hans-Joachim Roedelius’ album count was rising. He had long passed the hundred mark, and in 2015 “has released over 200 albums. I’m not finished yet. There are still the ten projects I’m working on, plus albums awaiting release.” However, back in 2007, Hans-Joachim Roedelius and Dieter Moebius decided to reform Cluster.
On The Road With Cluster..One Last Time.
It had been ten years since Cluster split-up. They reformed in 2007, and made their first appearance at the Kosmische Club, London. However, the main event was in Berlin.
Berlin ’07.
It had been thirty-eight years since Cluster played in Berlin. That was back in 1969, in the early days of Cluster. That time, Cluster played a twelve hour concert. This time around, Cluster were playing to a packed concert hall. The concert was recorded, and released in 2008 as Berlin ’07.
When Berlin ’07 was released, it featured just two lengthy tracks. This allowed Cluster to stretch their legs and experiment, while fusing musical genres. The album was well received, and resulted in Cluster returning to the studio.
Qua.
Qua was released on May 21st 2009, and showed that after making music for thirty years, Cluster were still relevant, and capable of making music that was imaginative and inventive. This was Cluster’s twelfth album, and first studio album in fourteen years.
It was described as variously cinematic, spartan, sombre and hymnal. Qua was also intriguing. Still Cluster were capable of taking the listener down avenues and alleyways that they never expected. That was what one would expect from one of the most innovative groups of the past forty years, Cluster. They decided to call it a day in November 2010. That wasn’t quite the end of the story.
Qluster.
Following the demise of Cluster, Hans-Joachim Roedelius announced he was forming a new group. Just like Cluster picked up where Kluster left off, Qluster was picking up where Cluster left off. It was an exciting time for Hans-Joachim Roedelius, and his new group.
Qluster were a trio, consisting of electronic musicians Onnen Bock and Armin Metz. They released four studio albums and a live album between 2011 and 2015. Their debut was the studio album Rufen, which was released in 2011. This was the first in a trilogy.
Fragen was also released by Qluster in 2011.The third and final instlemnt in the trilogy was released in 2012. That was Antworten. By then, Qluster were being heralded as one of the most important modern day groups. Age didn’t matter to Hans-Joachim Roedelius. What mattered was the music.
By the time Qluster released their fourth album, Lauschen Hans-Joachim Roedelius was seventy-nine. He wasn’t slowing down, and certainly hadn’t lost any of his enthusiasm for music. Several generations of record buyers were drawn to Qluster’s music. From those who grew up listening to with Kluster, Cluster or Harmonia, Qluster was essential listening.
Qluster released their fifth album Tasten in 2015. Stylistically, it marked a departure in style. A triumvirate of pianos featured on Tasten. This wasn’t surprising given Hans-Joachim Roedelius love of the piano. However, less than a year later, and Qluster were ready to release their sixth album in just five years, Echtzeit. It marks another change in sound from Qluster. Gone was the triumvirate of pianos on Tasten, to be replaced by a much more ambient sound on Echtzeit. Hans-Joachim Roedelius was determined that Qluster would continue to innovate. This was, after all, the legacy of Kluster and Qluster, something that was hugely important to him.
Throughout his career, Hans-Joachim Roedelius worked with his dear friend Dieter Moebius. The two pioneers and innovators first worked together in Kluster, and then as Cluster, whose music is about to be celebrated with the forthcoming release of Bureau B’s Cluster box set 1971-1981. Just like Grönland Records’ reissue of the Harmonia box set Complete Works in October 2015, the release of 1971-1981 will be tinged with sadness.
After a brave and lengthy battle against cancer, Dieter Moebius died on 20th July 2015. The man whose been at Hans-Joachim Roedelius during some of his greatest and most ambitious musical triumphs will be missing. “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.” Hopefully, when the star studded lineup celebrate Hans-Joachim Roedelius’ career over four days in Berlin, they’ll take time to remember Dieter Moebius. He played a huge part in life and career of Hans-Joachim Roedelius.
And what a life it has been so far. Hans-Joachim Roedelius’ career that has lasted forty-six years. During this period, Hans-Joachim Roedelius’ has released over 200 albums. This includes some truly innovative music.
While a very few artists will be part one groundbreaking group, Hans-Joachim Roedelius has been a member of several. This started with Kluster, then Cluster and Harmonia. For the last five years, Hans-Joachim Roedelius has been part of Qluster. Just like the other groups he has been part of, they continually made music that’s innovative, inventive, imaginative and inventive. That has been the case throughout Hans-Joachim Roedelius’ career.
During his career Hans-Joachim Roedelius hasn’t been afraid to push musical boundaries to their limits, and sometimes, way beyond. That’s what you expect from a true musical pioneer. Hans-Joachim Roedelius has boldly gone, where others musicians have feared to tread.
That has been the case throughout Hans-Joachim Roedelius’ long and successful career. Now eighty-one, Hans-Joachim Roedelius thoughts are the future. This means more music that is ambitious, innovative, inspiring and influential music. That is what Hans-Joachim Roedelius has been doing for fifty years, and why he’s been awarded a Schallwelle Award, in recognition of a lifetime spent making groundbreaking music.
HANS-JOACHIM ROEDELIUS- AWARDS, HARMONIA, CLUSTER AND QLUSTER.
EMMA POLLOCK-IN SEARCH OF HARPERFIELD-VINYL EDITION.
EMMA POLLOCK-IN SEARCH OF HARPERFIELD-VINYL EDITION.
Most people haven’t heard of Castle Douglas. Why should they? It’s a small market town in Dumfries and Galloway, in south-west Scotland. However, Castle Douglas has been home to some famous faces over the last 224 years. This includes a potter, politician, footballer and two rugby players. However, they’ve been usurped as Castle Douglas’ most famous former resident. Nowadays, former Delgado and singer-songwriter Emma Pollock is regarded as CD’s most famous former resident.
Emma Pollock just happens to have released her third solo album, In Search Of Harperfield on Glasgow’s premier label, on vinyl on Chemikal Underground. It’s Emma’s first solo album since The Law of Large Numbers in 2010. Since then, Emma has been busy, not just making music, but running Chemikal Underground, which in 2015, celebrated its twentieth anniversary. Businesswoman is just another addition to Emma Pollock’s impressive CV.
Her story began back in 1994, when The Delgados were formed. Emma’s boyfriend Paul Savage had been a member of the band Bubblegum. That was until a coup d’état. Suddenly, Paul, Alun Woodward and Stewart Henderson found themselves out in the cold. Their only option was to form a new band.
The Delgados.
That’s when The Delgados were born. The three former members of Bubblegum asked Emma to join the nascent band. She became The Delgados vocalist and guitarist. Little did Emma or the rest of the band realise that this was the start of an eleven year journey.
During that journey, The Delgados released a string of singles and E.P.s; not forgetting five albums. However, the first anyone heard of The Delgados was when Liquidation Girl featured on a compilation Skookum Chief Powered Teenage Zit Rock Angst. Those that heard Liquidation Girl realised that The Delgados were rising stars of the Scottish music scene. Surely, record companies would soon be chasing their signature?
That’s not how it worked out. Rather than sign to a record company, The Delgados decided to form their own record label, Chemikal Underground. Two of the new label’s first signings were Mogwai and Arab Strap. Just like The Delgados, they eventually became Scottish music royalty.
Chemikal Underground’s first release came in 1995, when The Delgados debut single Veronica Webster was released. This was the first of a string of singles and E.P.s that Mogwai would release over a ten year period. They would also release five albums. Their debut album was released in 1996.
Domestiques.
Just over years after The Delgados were formed, they released their debut album Domestiques in November 1996. By then, The Delgados were combining running a record label with touring and recording. It was like spinning plates. However, The Delgados made it seem easy.
When Domestiques was released. it was to almost overwhelming critical acclaim. Indie rock met pop and even a punk aesthetic on Domestiques, which was hook-laden and melodic. The Delgados hadn’t yet been shorn of their rough edges, had won over even the mist hard bitten gonzo music critic. So was DJ John Peel.
He began championing The Delgados music in 1996. Soon, his The Delgados were a favourite of his listeners. So much so, that when the votes were counted for John Peel’s Festive Fifty, The Delgados Under Canvas, Under Wraps was number three. This was an unexpected Christmas present, as the adventure continued for The Delgados.
Peloton.
In June 1998, The Delgados returned with their sophomore album, Peloton. Just like Domestiques, its title was another reference to cycling. Another similarity was that the critical acclaim accompanied the release of Peloton.
Critics pointed at a more polished album, which showcased The Delgados unique brand of indie rock. Gone were The Delgados rough edges. It was a very different band to the one that featured on Domestiques, and one that were about to enjoy their first hit single.
Pull the Wires From the Wall was released as a single, and reached number sixty-nine in the UK charts. For The Delgados this was definitely another step in the right direction.
The Great Eastern.
As the new millennia dawned, The Delgados returned with what was their Magnus Opus, The Great Eastern. It was produced by American producer Dave Fridmann, who previously, had worked with Mercury Rev and The Flaming Lips. Now he turned his attention to The Delgados, and played his part in a career-defining album.
Released in 2000, the title referenced a famous Glasgow landmark, a one-time textile mill that in 2000, was home to the city’s homeless. However, for a generation of music lovers, The Great Western meant The Delgados’ third, and best album. Critics agreed.
When the critics had their say, they hailed The Great Western The Delgado’s finest hour. Elements of folk and indie rock combined on The Great Western, a dreamy, sometimes elegiac, minimalist and thoughtful opus. Everything it seemed, had been leading up to The Great Western. The Delgados were hot property. However, things got even better for The Delgados.
American Trilogy reached sixty-one on the UK charts. Then when the end of year awards were announced, The Great Western won prizes galore. The Spirit Of Scotland Award, the Nordoff-Robbins Best Newcomer Award and Jockrock Tartan Cleft Award. Then The Great Western was nominated for the Mercury Music Prize. For Emma Polock and the rest of The Delgados, 2000 had been the most successful year of their six year career.
Hate.
Following up a career-defining album is never easy for a band. That’s been the case throughout musical history. That was the case for The Delgados. The Great Western was their finest hour, and nowadays, is regarded as one of the greatest Scottish albums. However, The Delgados were determined to produce another award winning album.
The four Delgados returned to the studio with producer Dave Fridmann. Over the next few months, they recorded what became Hate. This time around, Dave Fridmann who had worked with the Flaming Lips, seems to use them as a template. This was noticed by critics.
Unlike previous Delgados albums, Hate was released on the Mantra label in October 2002. Reviews of Hate were mostly positive. A few critics even compared Hate to The Flaming Lips 1999 album The Soft Bulletin. That wasn’t surprising.
Both albums had been produced by Dave Fridmann. His star was in the ascendancy. Despite that, Hate didn’t quite receive the same critical acclaim as The Great Western had. Normally, this would’ve been disappointing. However, that was almost expected. The Great Western had been The Delgados’ Magnus Opus. Most groups never reach the same heights as The Great Western, never mind releasing a quartet of successful albums. Soon, four would become five.
Universal Audio.
For The Delgados’ fifth album, they decided to change direction. Dave Fridmann didn’t return for a third time. Instead, Tony Doogan, who had worked with Mogwai, co-produced what became Universal Audio with The Delgados.
It was recorded at Chem 19, Chemikal Underground’s own recording studio. Universal Audio was a much more understated album. Gone was the orchestral sound of previous albums. The Delgados seemed to be reinventing their music. The did this with the help of Belle and Sebastian’s Stevie Jackson and Mother and The Addicts. Once Universal Audio was complete, it was released in September 2004.
Reviews of Universal Audio ranged from positive to critically acclaimed. Mostly, critics embraced the new Delagados. So did record buyers, when the album was released. When they bought Universal Audio, little did they realise it would be The Delgados swan-song.
Eight months after the release of Universal Audio, came the shock news that The Delgados were splitting up. Alan Henderson had announced that he was leaving the band. Rather than seek a replacement, The Delgados called time on their career, but continued to run Chemikal Underground. However, two former members of The Delgados embarked on solo careers, Alun Woodward and Emma Pollock.
The Solo Years.
Later in 2005, Emma Pollock signed a record contract with London based independent label 4AD. She was going to combine a solo career with running Chemikal Underground. It was by then, the most successful Scottish record label. Still, Emma was spinning plates. This was no problem for someone with a degree in physics from Strathclyde University.
Two years later, and Emma Pollock returned with her debut solo album, Watch The Fireworks.
Watch The Fireworks.
Watch The Fireworks featured eleven new songs written by Emma Pollock. She had recorded Watch the Fireworks with Australian producer, Victor Van Vugt. He had an impressive track record; and previously, had worked with everyone from Nick Cave and The Bad Seeds to Beth Orton, Depeche Mode and Einstürzende Neubauten. With a CV like that, he seemed the ideal person to produce Emma’s debut album, Watch The Fireworks. When it was complete, it was scheduled for release in September 2007.
Before then, Adrenaline was released as the lead single from Watch the Fireworks in May 2007. It was paired with A Glorious Day, a poem by Irish poet Brendan Cleary set to music. Adrenaline was a tantalising taste of what Emma Pollock had in store on Watch The Fireworks.
In the lead up the release of Watch The Fireworks, critics had their say on Emma Pollock’s debut album. For any artist, this is a nerve-wracking moment. It doesn’t matter if it’s their first or tenth album. Emma needn’t have worried. Watch The Fireworks was well received by critics. Most of the reviews were positive. They were won over by an eclectic album from a hugely talented, versatile vocalist.
There was everything from waltz, ballads, indie pop and indie rock on Watch The Fireworks. Some critics drew comparisons with The Degados. That wasn’t surprising. Paul Savage played on Watch The Fireworks, and watched as Emma made the transition from band member to solo artist seem ridiculously easy. Effortlessly, Emma changed direction on Watch The Firework as the music veered between atmospheric, emotive, melodic, mesmeric, playful, urgent and wistful. The result was a triumphant debut album from the former Delgado. Now all Emma Pollock had to do, was do it all again.
The Law Of Large Numbers.
And so she did. Three years later, and Emma Pollock returned with her sophomore album The Law Of Large Numbers in 2010. Emma had written twelve new tracks, and recorded them with a tight, talented band of Scottish musicians. This included her partner Paul Savage, who by then, had established a reputation as one of the top Scottish producers. He replaced Victor Van Vugt, and produced The Law Of Large Numbers. It was more than a fitting followup to Watch The Fireworks.
Critics agreed. Critical acclaim accompanied the release of The Law Of Large Numbers. Just like Watch The Firework, The Law Of Large Numbers showcased a talented songwriter. Emma Pollock was a skilled wordsmith, capable of writing clever, catchy songs that didn’t lack in hooks. She was also able to adapt her delivery to suit the song.
Seamlessly, Emma could deliver a vocal with emotion, anger, frustration, joy or even with a weariness. On Chemistry Will Find Me and The Loop, Emma’s thoughtful and introspective. The Child in Me and House on the Hill finds Emma transformed into a folk singer. She handles the role with aplomb, before changing direction again. Then on Hug the Harbour and Confessions are delicious slices of perfect pop. By the end of The Law Of Large Numbers, Emma Pollock had come of age as a solo artist. Surely a third album would follow soon?
In Search Of Harperfield.
That proved not to be the same. Nearly six years have passed since Emma released The Law Of Large Numbers. Since then, a lot has happened.
Chemikal Underground, the label Emma Pollock cofounded, has grown into the most successful Scottish record label. Nowadays, it has an enviable roster. Helping run Chemikal Underground understandably, takes up a lot of Emma’s time. Sadly, for a while, so did family matters.
At one point, both of Emma’s parents were ill at the same time. Her father who still lived in Castle Douglas, was in hospital there. Emma’s mother, who lived in Glasgow, was in one of the city’s hospitals. So Emma, who is an only child, found herself journeying up and down the motorway, visiting her parents in different hospitals. Sadly, things took a turn for the worst in February 2015, when Emma’s mother passed away. This must have been devastating for Emma. Part of the grieving process for Emma was writing what became her third album, In Search Of Harperfield.
It’s an incredibly personal and powerful album. Harperfield Lodge was the first home Emma’s parents, Guy and Kathleen Pollock bought. They eventually bought and sold thirty houses during their marriage. This includes the five Emma lived in, in Castle Douglas alone. However, it’s Harperfield Lodge that has a special place in Emma’s heart. She remembers it vividly. So much so, that she can remember how the light shawn, the sense of space and being surrounded by nature. Harperfield Lodge sounds like a rural idyll that will forever, be imprinted on Emma’s memory. So will her parents.
Maybe that’s why a photograph of a young Guy Pollock dawns the album cover of In Search Of Harperfield? He’s pictured tending his animals on the hillside, on his land at Blair Atholl. That’s not the only time Guy or Kathleen Pollock feature on In Search Of Harperfield. They’re forever in the shadows on what’s the most personal and intense album of Emma Pollock’s career, In Search Of Harperfield.
It’s almost an autobiographical album. Emma looks back at her youth, which was spent growing up in the beautiful Galloway countryside. Other times, Emma introduces a series of characters. They play walk-on parts as Emma deals with a variety of subjects, including some many people would’ve chosen to forget. This includes bullying on Parks and Recreation. It’s one of the eleven songs on In Search Of Harperfield. The making of the album was a family affair.
Producing In Search Of Harperfield, was Emma’s husband, Paul Savage. He’s aided and abetted by Malcolm Lindsay. They provide the perfect backdrops to Emma’s vocals. They frame her vocals beautifully, and are like yin to Emma’s yang. on her much anticipated third album In Search Of Harperfield.
Cannot Keep A Secret opens In Search Of Harperfield. It deals with what Emma describes as “patriarchal machinations of Irish gender politics.” From the opening bars the listener is captivated, and the story unfolds. A distant piano plays, before pensive cooing harmonies usher in Emma’s heartfelt, thoughtful vocal. It’s accompanied by just the bass and harmonies before the piano and drums enter. They augmented by occasional finger clicks, and later as what’s an enchanting and beautiful song literally waltzes along, clicking hi-hats. Later, the arrangement becomes dramatic, elegiac and cinematic. By then the listener is spellbound, as they wonder what every happened to the characters in the song? Did: “they eddy and they flow and bring your sisters home?”
Pizzicato strings and a strident muted guitar combine on Don’t Make Me Wait. As the strings sweep, Emma is transformed into a sixties siren, as she delivers a slice of perfect pop. The hooks haven’t been spared, as Emma accompanied by choppy guitars, lush strings and a tinkling piano. She delivers a needy, but frustrated vocal. Soon, she’s delivering an ultimatum, “Don’t Make Me Wait.” She then rubs salt into wound when she tells her errant love he’ll: “never make it on your own.” What a way to round off a gorgeous slice of perfect pop, with the perfect pay off.
Alabaster opens with the sound of a Tube announcement. “The next stop is Strawberry Hill” signals an arrangement that slowly, plods, lysergically along. Meanwhile, Emma’s vocal is rueful and tinged with sadness and regret. She remembers better days, when: “like king and queen we ruled it all.” Not any more. As the arrangement and drama builds, this tale of betrayal unfolds. Soon, dramatic becomes melancholy, as Emma’s sings: “these little secrets do betray you see.” It’s a four minute soap opera with a pay off that packs a punch.
Quivering, shivering strings join a piano and guitar on Clemency. They set the scene for Emma’s folk-tinged vocal, on what’s another song about betrayal and an errant partner. Anger and frustration are omnipresent. She won’t forgive him in a hurry. He’s looking for clemency. However, hell hath no fury like a woman scorned. “If you confess all, you really think you still won’t face the fire?” Emma is determined to make him suffer, and has revenge on her mind. No ordinary revenge. Instead, it’s Old Testament revenge. As shimmering strings and piano, combines Emma’s mind turns to revenge: “pushed down, fell down..,from every point of view you’ve tumbled.” The woman scorned has been avenged.
Intermission is a truly powerful song. It’s impossible not to be moved by a Intermission. A violin plays, and is joined by a cello. Soon, they’re reaching a dramatic crescendo. It’s then that Emma’s vocal enters. It’s a mixture a sadness, despair and panic. She’s having to watch her parents grow old, and become ill. Suddenly, she’s caring for the people who cared for her. They’re “the man I know best” and ‘“the woman who made me.” Now they’re dependant on Emma. Accompanied by swells of strings, Emma delivers what’s a heart-wrenching song, that many people will be able to relate to, and find solace in, knowing someone else has travelled the road they’re on.
As Parks and Recreation unfolds, there’s a rocky, sometimes post punk sound. Emma sounds like one time Pretender Chriss Hynde. As drums pound and guitars are sprayed across the arrangement, By then, memories come flooding back for Emma. She remembers the bullies who tormented her growing up. “I came down for a game of basketball, but you threw me a punch instead.” By then, the arrangement is rocky, rowdy and features call and response vocals. Mostly, Emma’s vocal is rueful. However, she’s had the last laugh. What are the bullies doing now? They’re certainly not making records, touring the world and running a record company.
Background chatter gives way to a motorbike, percussion and machine gun guitars on Vacant Stare. Soon, Emma’s delivering a questioning, rueful vocal. “How can I dive from over 15 metres high, when I can’t even swim?” Behind her, Paul is responsible for a stomping, rocky arrangement. It’s complete with chiming guitar, bubbling bass and harmonies. Emma’s vocal has been multi-tracked and they fit hand in glove with her vocal. It delivers what are clever, witty vocals. They become part of another hook laden song from Galloway’s finest singer-songwriter.
As In The Company Of The Damned unfolds, it sounds as it’s been recorded by a sixties girl group. The rhythm section and chumming guitars accompany Emma and her younger self. The older and wiser Emma, asks “do you really want to stay here, In the company of the damned, as they prepare to take your hanshd, torment with true ambition?” Like a seer, Emma can see if she had, there wouldn’t be a happy ending. Luckily, she had the courage and foresight to get out, and should be a shining light to a new generation, not just in CD, but small towns across Scotland.
Emma is accompanied by an acoustic guitar and the lushest of strings on Dark Skies. She’s in a thoughtful mood. Meanwhile occasional rolls of timpani and pizzicato strings punctuate the arrangement. All the time, Emma strums her guitar as she delivers a tender, pensive vocal, as the arrangement grows, becoming dramatic. Still there’s a sense of wonderment in Emma’s vocal as she delivers lyrics that are poetic and cerebral.
Monster In The Pack is another guitar lead track. Emma plays the guitar, before scrubbing at in. This adds an element of drama, before dark strings sweep in adding the perfect accompaniment to the cinematic lyrics. Desperation and loneliness in Emma’s voice. She’s also lost her faith. That’s apparent as she sings: “and I only go to church cause my friends are out today.” When Emma sings: “my head is full of noise, won’t you listen it’s so loud in here, my heart and my silence break,” despair and loneliness become a cry for help. That becomes apparent as she sings of the “Monster In The Pack,” in this emotive, cinematic, folk-tinged track.
Closing In Search Of Harperfield is Old Ghosts. What sounds like an eighties drum machine rings out. It’s joined by a poignant sounding piano. As the drum machine shuffles along, Emma who sounds like Karen Carpenter, is having a conversation with her mother. She’s older and wiser, and is speaking with the benefit of maturity. “I’m not sorry that you’re gone, the hell we raised was always fun, but I’m not sorry that you’re gone” is an acknowledgement that the pain and suffering is over, but the love Emma has for her mother isn’t. Soon, Emma is walking through her parents house, reminiscing, talking to them. Like so many adult Emma who’ve argued with their parents, she struggles to understand: “why so reasonable now?” As the song draws to a close, Emma realises she’s alone; and how am I supposed to speak to, those I ridiculed but still looked up to?” Poignant and moving describes what’s a truly beautiful way to end In Search Of Harperfield.
It’s the long-awaited, and much-anticipated, followup to Emma Pollock’s sophomore album In Search Of Large Numbers. It was released in 2010. Since then, a lot has happened in Emma Pollock’s life. At one point, both her parents were ill, and in hospital. Suddenly, Emma was no longer singer, songwriter or businesswoman. Instead, she was a loving and dutiful daughter, who was caring for “the man I know best” and ‘“the woman who made me.” Then in February 2015, Emma’s mother passed away. This must have left a massive void, and been a lot for Emma to cope with. She began to grieve, and part of the grieving process was writing and recording.
Hopefully, writing and recording Search Of Harperfield was cathartic. It’s certainly an album that many people will be able to relate to. Many of the songs are beautiful, moving and poignant. Especially Intermission and Old Ghosts, which is one of the most moving, emotive and beautiful songs I’ve heard in a long time. That’s testament to Emma Pollock’s skills as a singer and songwriter.
From the opening bars of Cannot Keep A Secret, right through to the closing notes of Old Ghosts, Emma Pollock tells a series of stories. Often, her lyrics are cinematic. That’s the case on Cannot Keep A Secret, where harmonies and an orchestral arrangement accompany and augment Emma’s vocal. The arrangement comes courtesy of Paul Savage. He provides a backdrop for Emma, as she sings of betrayal and revenge on Alabaster and Clemency. Very different is Don’t Make Me Wait, a delicious hook-laden slice of perfect pop. Hooks certainly have’t been rationed on In Search Of Harperfield. That’s the case on Cannot Keep A Secret, and Parks and Recreation where Emma remembers the bullies who tormented her younger self. Emma however, has the last laugh. Later, on In The Company Of The Damned an older, wiser Emma advises her younger self on her future. It has a happy ending, with Emma fulfilling her early potential.
That’s almost an understatement. Emma Pollock is the small town girl who headed to the city, and graduated with a degree in physics. She joined a band, they toured the world and released five albums. Then when the band broke up, Emma Pollock embarked on a solo career, and somewhere along the way, married the drummer. Now Emma has just released her third and best solo album, In Search Of Harperfield, on vinyl on Chemikal Underground. Just like the CD version, the sound quality is stunning. It’s a beautifully mastered release, that allows Emma Pollock to shine on a career defining album.
In Search Of Harperfield is a career defining, autobiographical album from Emma Pollock. Hopefully, writing and recording In Search Of Harperfield has been cathartic for Emma Pollock. The last few years have been tough for her. However, the future looks bright for CDs most famous famous former resident, if she continues to release albums of the quality of In Search Of Harperfield. It has to be an early contender for the 2016 Scottish Album Of The Year Award.
EMMA POLLOCK-IN SEARCH OF HARPERFIELD-VINYL EDITION.
SENEGAL 70-SONIC GEMS AND PREVIOUSLY UNRELEASED GEMS FROM THE 70S VINYL EDITION.
SENEGAL 70-SONIC GEMS AND PREVIOUSLY UNRELEASED GEMS FROM THE 70S VINYL EDITION.
For their first release of 2016, Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s, Analog Africa return to what was the musical capital of West Africa, Senegal. It had one of the most vibrant musical scenes in West Africa. That had been the case since the sixties. However, Senegal’s proud and eclectic musical heritage can be traced back to the late forties.
That was when American and Cuban sailors came bearing musical gifts. The American sailors brought with them jazz from New Orleans. Cuban sailors brought Son Montuno and Patchanga music. All this music was embraced in the major Senegalese cities, and quickly found an audience within the local music scene.
Soon, Caribbean music was providing the soundtrack to many clubs in Senegal. Before long, the locals had embraced this vibrant, exotic sound. The next stop was to combine Son Montuno and Patchanga with their own music.
Soon, Caribbean music was being combined with West African and Latin music. The result was a unique and unlike musical fusion, where the music of three continents combined. This new unique sound was quickly embraced by local musicians and producers.
Records were recorded, and the top bands became hot property. Club owners wanted the best bands to play at their clubs. This included Ibra Kassé, who also owned the Miami nightclub in Dakar. His club would at the heart of this new scene as it exploded into life.
Across Senegal, bands were being formed and ballroom parties were being thrown. However, the country’s capital Dakar, was where the best musicians gravitated. That was just as well.
In Dakar, there were hardly enough local musicians to fulfil the demand. So musicians were coming from much further afield. This included Amara Touré, a percussionist and singer from Guinea-Conakry.
Amara Touré was discovered by Ibra Kassé, owner of Dakar’s Miami nightclbub. He he was accompanying Dexter Johnson on tour. That was where Ibra Kassé first heard Amara Touré he realised the young percussionist and singer had potential, and was destined for greater things. So Ibra Kassé asked Amara Touré of he wanted to become part of a new band he was putting together in Dakar. It didn’t take Amara Touré long to agree. What he didn’t realise, was that this new band would change Senegalese music forever.
That band was Le Star Band de Dakar. It would become one of the most important bands in the history of modern Senegalese music. They played an important part to Senegal’s musical soundtrack during the sixties and seventies. Especially with Amara Touré at the helm. One of the twelve tracks on Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s, El Carretero, features the potent partnership of Amara Touré et Le Star Band de Dakar. By then, Senegal’s had one of the most vibrant musical scenes in West Africa.
That had been the case since the sixties. Bands were fusing everything from Afro-beat, blues, funk, jazz, Mbalax, R&B, soul, Son Montuno from Cuba and the inimitable Mandigue guitar sound. This potent fusion provided the soundtrack to many a night out in towns and cities across Senegal. However, none of the twelve tracks on Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s which will be released on vinyl by Analog Africa on 11th March 2016, were part of the soundtrack.
The twelve tracks on Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s have lain unreleased for forty years. However, the story behind the compilation started six years ago in 2009.
That’s when Adamantios Kafetzis made the journey from Senegal to Greece in search of a new tape recorder. The former owner of the famous Sangomar club in Thiés, had a pile of reel-to-reel tapes he wanted to digitise. To do that, he needed a new tape recorder. So he made the journey to Greece, to find the much needed tape recorder.
Having eventually found a new tape recorder Adamantios Kafetzis was ready to return home. He was eager to return home, so he could begin to digitise his collection of tapes. This was going to take time.
Back home in Thiés, Adamantios Kafetzis had four decades worth of reel-to-reel tapes. They had been recorded at the Sangomar club by sound engineer Moussa Diallo. Luckily, Adamantios Kafetzis was a patient man. His patience was rewarded when he discovered 300 songs that had never been heard before. Adamantios Kafetzis had struck gold, and five of these songs eventually, made their way onto Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s.
Compiling Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s took Samy Ben Redjeb four years. During that period, he worked with Teranga Beat, who currently, are the leading Senegalese record label. Aided and abetted by the Teranga Beat, Samy Ben Redjeb set about compiling a compilation that will transport the listener to Senegal during the seventies. The twelve tracks give the listener a flavour of the hot, heady nights in towns and cities across Senegal. This they can do, without leaving their home. Instead, all they need to do, is press play, on Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s, and instantly, they’re transported to Senegal in the seventies.
The listener is privileged to hear songs from Le Sahel, Orchestre Laye Thiam, Number One de Dakar, Orchestra Baobab and Dieuf Dieul de Thies and Xalam1. These bands and orchestras combined a mixture of traditional and modern instruments. From Senegal’s musical past, came the traditional percussive sound of the Sabra, Tama and Bougarabou. They were combined with a myriad of organs, keyboards and often, guitars. The result was a musical hybrid, which crossed not just generations, but centuries. Here was music that gave a nod to the past, including Senegalese folklore, the present, and given the experimental sound of some of the songs, the future. It was no wonder that this music was embraced by Senegalese youth. In one fell swoop, Cuban music was dethroned as the favoured sound amongst the Senegalese youth, who were being exposed to a much more eclectic selection of music.
It wasn’t just local artists who were finding an audience amongst the Senegalese youth. American, European and music from other African countries was finding its way into Senegal. Often, sailors brought the latest releases back from their travels. However, the Senegalese President was a man with a “vision.”
Unlike many of his counterparts across Africa, the Senegalese President’s plan neither involved five year plans nor nuclear weapons. Instead, President Senghor wanted Senegal to attract the biggest names in music. He was successful, to a degree. James Brown and The Jackson Five arrived from America. However, whether they can be regarded as the creme de la creme of international or even American music is debatable? After this, Cuban singer Celia Cruz and Haitian star Tabou Combo made their way to Senegal. For President Senghor this was good publicity for his regime. So was the arrival of some of the biggest names in African music.
From the Congo,Tabu Ley Rochereau arrived. So did Manu Dibango from Cameroon and Bembeya Jazz from Guinée. These stars of African music not only played in Senegalese cities, but were happy to play alongside local musicians. All these visiting musicians were influencing the local musicians, including some of the bands that featured on Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s.
The best way to describe Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s, which is Analog Africa’s nineteenth release, is eclectic. The compilation has been four years in the waiting. That has been four years in the waiting. This becomes apparent on the opening track.
That’s Fangool’s Mariama, which opens Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s. It’s something of a slow-burner, which has an almost spiritual quality to the vocal. Horns and a Hammond organ lock into a groove with percussion, as the track takes on a mesmeric sound. Then when the vocal returns, it’s truly heartfelt and hauntingly beautiful. One wonders how Samy Ben Redjeb will surpass Mariama?
Orchestre G.M.I then burst into life on Africa, a track that’s
funky, jazz-tinged and dance—floor friendly. It’s also joyous and up-lifting. Resistance is impossible. Best just submit to Africa’s charms. After this, a series of curveballs are thrown.
The first is Orchestre Bawobab’s Thiely, which has a much more understated, traditional sound. It’s just the vocal, percussion, guitar and dusty, braying horns. They respond to the soulful, impassioned vocal’s call. Thiely is proof that sometimes, less is more.
Le Sourouba De Louga haven’t just been influenced by Senegalese music, but funk and occasionally rock. That quickly becomes on Bour Sine, as they sing call and response, against an almost funky, hypnotic arrangement. Later, it features a blistering, rocky guitar solo, that tries to conjure up the spirit of Hendrix, as the music of two continents collide.
Further proof that less is more comes on King N´gom Viva Marvillas. The vocals dominate the arrangement, with percussion and guitars playing a supporting role on a track that more than hints at Senegal’s musical past.
That’s the case with Orchestre Laye Thiam, as they burst into life Massani Cicé. However, they add a healthy pinch of funk to this fusion of Afr0beat and jazz. It unfolds in mesmeric waves, that wash over the listener. Horns and a Hammond organ play starring roles on what’s another of the highlights of Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s.
That’s the case with Orchestre Laye Thiam, as they burst into life Massani Cicé. However, they add a healthy pinch of funk to the jazz-tinged arrangement. It unfolds in mesmeric waves, that wash over the listener. Horns and a Hammond organ play starring roles on what’s another of the highlights of Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s.
Two of the stars of Senegalese music feature on El Carretero, Amara Touré et Le Star Band de Dakar. Together, they play their part in a melodic, sultry and heart wrenching ballad. It’s a real find. So is the bustling, joyous sound of Le Tropical Jazz on the uptempo Kiko Medina. Following hard on its heels is Orchestre Laye Thiam’s Kokoriko. This is another irresistible call to dance. Propelled along by a myriad of percussive and a vocal that’s obviously been influenced by James Brown, it’s a potent mix that’s guaranteed to put a smile on even the saddest face. By then, Samy Ben Redjeb keeps pulling musical rabbits out of his hat? However, can he keep this up?
He can. Gestu De Dakar’s Ndiourel’s is up-lifting, joyful, good-time music. Propelled along my percussion, guitars and one of the best vocals on Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s, Ndiourel is another hidden gem that
Samy Ben Redjeb has discovered.
Ma Penda is the second contribution from Orchestre Bawobab. Their previous contribution Thiely, had a quite traditional sound. To some extent, so does Ma Penda. Other times, the music that was arriving from America and Europe affects the arrangement. This includes an effects laden guitar. It’s provides a contrast to the heartfelt, emotive vocal, shrill horns and futuristic keyboards. They exit stage left when the galloping arrangement is stripped bare. Percussion takes centre-stage, before a stunning, virtuoso scorching guitar solo steals the show. Breathtaking describes a performance singlehandedly transforms the song.
Orchestre Laye Thiam’s Sanga Té closes Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s. It has an understated, wistful sound that meanders along. Genres melt into one. Listen carefully, and elements of blues, Cuban, jazz, funk and soul can be heard on what’s a quite beautiful, melancholy song, proving a perfect way to close Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s.
So that’s the story of Analog Africa’s nineteenth release, proving a perfect way to close Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s. It’s taken four years to compile, but this has been four years well spent. The twelve hidden gems on Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s have lain unreleased for far too long.
That not always the case when an albums comes bearing the words unreleased recordings. Often, they’re tracks that were never meant to be released. They’re either demos or outtakes, and the artists would be embarrassed that they’re seeing the light of day. However, that’s definitely not the case with Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s.
Analog Africa have struck Senegalese gold, on these twelve glittering gems. They deserve to be heard by a much wider audience, and show how eclectic, Senegal’s vibrant music scene was during the seventies. It had been influenced by everything from Afro-beat, blues, funk, jazz, Mbalax, R&B, soul, Son Montuno from Cuba and the inimitable Mandigue guitar sound. That’s apparent on Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s, which will be released on vinyl by Analog Africa on 11th March 2016.
Whether you choose the vinyl or CD version of Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s is a matter of personal preference. Some genres are better suited to vinyl. While the vinyl sounds good, the CD seems to have an edge quality wise. It allows you to hear some hidden gems from some of the biggest names in Senegalese music.
There was no bigger names than Amara Touré et Le Star Band de Dakar. They became one of the most important bands in the history of modern Senegalese music. Especially with Amara Touré at the helm. Like everything, this relationship came to an end, and Amara Touré went off to form his own band. By then, Amara Touré et Le Star Band de Dakar had played an important part of the soundtrack to Senegal during the seventies. That’s the case with many of the bands on Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s, which was the most exciting and vibrant period during Senegal’s modern musical history.
SENEGAL 70-SONIC GEMS AND PREVIOUSLY UNRELEASED GEMS FROM THE 70S VINYL EDITION.
WHERE THE GIRLS ARE VOLUME 9.
WHERE THE GIRLS ARE VOLUME 9.
Recently, Ace Records released a new volume in one of their longest running, and most successful compilation series. The compilation series in question, is Where The Girls Are. Its story began back on 27th May 1997.
That’s when Ace Records released Where The Girls Are. Back then, hope was in the air in Britain. Labour’s Tony Blair had been elected Prime Minister, and the promise was Things Are Going To Get Better. They never did. Meanwhile, in America Bill Clinton was coming to the end of his first term in office. Nineteen years later, and another Clinton is vying for the title of President of the United States Of America.
This, time it’s the former First Lady, Hilary Clinton. She hopes to become the 45th President of the United States Of America. As Hilary Clinton campaign criss-crossed America, Ace Records prepared to release the latest instalment in the Where The Girls Are series, Where The Girls Are Volume 9, which features twenty-five tracks from the decade Hilary Clinton grew up in, the sixties.
Who knows, maybe when Hilary Clinton was growing up she listened to The Rag Dolls, Diane Christian, Popsicles, Evie Sands, Lovelites, The Francettes, The Penny Sisters and The Blossoms With Billy Strange. If she did, then Where The Girls Are Volume 9 are going to bring the memories come flooding back. That’ll be the case for all the baby boomers growing up in the sixties
Opening Where The Girls Are Volume 9 is The Sweet Three’s That’s The Way It Is (When A Girl’s In Love). It was the B-Side to Big Lovers Come In Small Packages. Just like That’s The Way It Is (When A Girl’s In Love), it was penned and produced by Leon Huff. The single was released on Decca in August 1966. Sadly, the single failed commercially, and by 1967 The Sweet Thing’s recording career was over. They returned to their career as backing vocalists in Philly studios. However, things might have been very different if the sweet, soulful The Sweet Three’s That’s The Way It Is (When A Girl’s In Love) had been released as a single.
The only group to feature twice on Where The Girls Are Volume 9 are The Popsicles. They feature none other than songwriter Ellie Greenwich, who started her career as a session singer. By 1965, she had formed a successful songwriting with Jeff Barry. However, Ellie Greenwich hadn’t given up dreams of making it as a singer. She was member of The Popsicles who released a trio of singles between 1964 and 1965.
This included I Don’t Want To Be Your Baby Anymore, which featured Baby I Miss You. Both tracks were penned by Mark Barkan and Ben Raleigh, who was Ellie Greenwich’s husband. The single was released in American on Crescendo, and in Britain on Vocallion. On both sides Ellie Greenwich takes charge of the lead vocal, and shows that she was not just a songwriter, but a talented singer.
Roddie Joy released Something Strange Is Going On as a single fifty years ago, in 1966. It was produced by Mike Lewis and Stuart Wiener, and released on the Philly based Parkway label. Sadly, nothing came of the single, and by 1967 Roddie Joy’s solo career was over. However, Something Strange Is Going On, with its mixture of mystery and romance, is one of Roddie Joy’s best singles.
Irresistible is the perfect way to describe Evie Sands’ 1968 single Billy Sunshine. It was produced by Al Gorgoni and Chip Taylor, and released on Philly based Cameo Parkway. Sadly, despite being a joyous slice of musical sunshine, Billy Sunshine passed record buyers by.
There’s a trio of unreleased tracks on Where The Girls Are Volume 9. This includes BlueZette’s With A Kiss. It was penned by Brill Building songwriters George Fischoff and Tony Powers. The date of the recording is unknown, and so is the identity of BlueZette. Whoever they were, they released a wistful, dreamy sounding track that epitomises the girl group sound.
Late in 2015, Ace Records released The Murmaids compilation A Few Of The Things We Love. It documented the career of The Murmaids. Their one and only hit was Popsicles and Icicles. That was only part of the story as A Few Of The Things We Love shows. The Murmaids recorded a string of singles and two album. On their sophomore album Resurface!, was Don’t Forget, a delicious hook-laden slice of pop.
1967 was an exciting time for sisters Patricia and Rosena Hamilton. They had founded The Lovelites with their friend Barbara Peterman and were about to release their debut single I Found Me A Lover. However, when the single was released on the Bandera label, it failed commercially. Tucked away on the flip side You Better Stop. It was penned by Ernie Hines with Patricia and Rosena Hamilton. You Better Stop It was catchy, memorable and soulful, and if released as a single, might have given The Lovelites a hit single?
When Reparata and The Delrons had enjoyed a hit single with Whenever A Teenager Cries in 1965, they were full-time student. Despite this they managed to squeeze in a tour with Dick Clark’s Caravan Of Stars. When Reparata and The Delrons returned, they recorded their sophomore single, Tommy. It was released on World Artists Records in 1965. On the B-Side was a cover of the folk song, Mama Don’t Allow. It’s given a makeover by Reparata and The Delrons who transformed the song, so that it could become the soundtrack to the latest dance craze.
Ramona King released around a dozen singles during her career. Ballyhoo was just the third single of her nascent career. Just like the first two, it was produced by Lee Hazelwood and released on his Eden Records. During the dance-floor friendly Ballyhoo, Ramona King names several dance crazes on this poppy slice of soul.
The Penny Sisters only ever released the one single, I Need A Boy in 1971. It was released on B.T. Puppy Records, which was founded by The Tokens in the mid-sixties. A year later after the release I Need A Boy, The Penny Sisters released their only album Wishing You Well. It’s now something of a rarity.
Phil Spector was obviously a big influence on The Drake Sisters’ What Did You Do Last Night. It was The Drake Sisters’ only single. What Did You Do Last Night was recorded by arranger and producer Stan Ross. For the recording, he used Phase—O-Phonic Sound at Goldstar Studios, in Los Angeles. What sounds like phasing and filters are heavily deployed. They give the Spector-esque sound. Despite the Phil Spector influence and a trademark girl group sound, the single failed commercially when it was released in 1964. Sadly, that was the only single the talented Drake Sisters released.
Straight away, The Flowers sound not unlike The Ronettes. Meanwhile, On A Rainy Night is reminiscent of The Shirelles’ 1960 cover of Gerry Goffin and Carole King’s Will You Still Love Me Tomorrow. The only difference is the tempo is slower. It’s more like the tempo of Carole King’s version on her classic album tapestry, which was released in 1971. By then, The Flowers had wilted.
The Flowers released On A Rainy Night in 1965. It was penned by Herb Ryals and Jerry Willis; while Bill Haney produced the single. On A Rainy Night was then released on Bill Haney’s Chant label. However, the tender, wistful and beautiful vocals, the single wasn’t a commercial success. Nowadays, the single is really rare, and the only way most people will hear it is on a compilation like Where The Girls Are Volume 9.
Closing Where The Girls Are Volume 9 is another of the three unreleased tracks, The Blossoms With Billy Strange’s Moon Walking. It was recorded around 1966. Darlene Love, Jean King and Fanita James add harmonies atop the Billy Strange’s surf inspired guitar. Moon Walking is a real hidden gem, which shows another side to The Blossoms and Mr. Guitar Billy Strange. It’s quite different to many of the other tracks on Where The Girls Are Volume 9.
Essentially, Where The Girls Are Volume 9 is an eclectic compilation. It features an captivating selection of quality music. The listener never knows what compiler Mick Patrick has in-store. He’s dug deep into the vaults of numerous labels, including Ballyhoo, Bandera, Bell Records, Cameo, Decca, Flip, Mint, Parkway and Vault. There’s surprises aplenty for the listener.
There everything from pop to soul and the classic sixties girl group sound. There’s even a couple of would-be dance crazes on Where The Girls Are Volume 9. It’s a welcome addition to one Ace Records’ longest running and critically acclaimed series, Where The Girls Are.
The latest instalment in the series, Where The Girls Are Volume 9 takes listeners back to the sixties. For baby boomers everywhere, Where The Girls Are Volume 9 will be a welcome reminder of the sixties they grew up. This includes Hilary Clinton as she criss-crosses America in search for the keys to the Oval Office.
WHERE THE GIRLS ARE VOLUME 9.
THINGS GONNA GET BETTER: STREET FUNK AND JAZZ GROOVES 1970-1977.
THINGS GONNA GET BETTER: STREET FUNK AND JAZZ GROOVES 1970-1977.
As the seventies dawned, America was still at war in Vietnam, and the struggle for racial equality continued. Things were improving, but still, when it came to racal equality, America’s report card said “could do better.” There was hope though.
The civil rights movement hoped that as the seventies progressed, the racial barriers that had blighted America’s recent past would become be consigned to the dustbin of history. After all, wasn’t America a more prosperous country than it had once been?
Following World War II, America went on to enjoy a prolonged period of economic expansion. The automobile, aviation and electronics industries thrived, while new industries prospered. Between 1940 and 1960, America’s Gross Domestic Product increased by 150%. Meanwhile, housing became more affordable, and more Americans qualified for mortgages. Many of these homebuyers, were the baby boomers. Their spending power helped fuel the economy during what economists called the Long Boom. By 1969, America was certainly a much more prosperous country.
Unemployment had fallen between from 6.7% in 1961 to 3.9%. With unemployment less than 5%, American economists referred to America as enjoying full employment. America it seemed, was a much better place as the seventies dawned.
Or so it seemed. There was still poverty and unemployment in both urban and rural America. Homelessness was still a problem, and every night, people slept on city streets. Many of those slewing rough were veterans who had returned home from Vietnam. They had suffered horrendous injuries; but in their hour of need, their country failed them. Across America, thousands of veterans were struggling financially, living in abject poverty. This included a disproportionate amount of young black men.
Civil rights activists had analysed the figures of those that died or were injured in Vietnam. They discovered that, a a disproportionate amount of those killed or injured were young black men. The injured were suffering from either of physical and psychological problems. Some of those let down by their country, turned to drugs to blot out the pain. Soon they had a drug problem. This would be one of the many problems that blighted America during the seventies.
Little did anyone know that the seventies would become one of the most turbulent decades in American history. America was consumed by Watergate, which lead to the impeachment and resignation of President Nixon on August 8th 1974. That day President Richard Nixon was transformed into Tricky Dicky. His presidency hadn’t been the most successful.
Just a year earlier, on March 29th 1973, America ended its military involvement in Vietnam. It was the war that America couldn’t win. The war in Vietnam cost America dearly. 58,282 American soldiers were killed in action, and another 303,644 Americans were wounded. Many of those that came home when the war ended, came home to a turbulent America.
No longer was America the prosperous country of the sixties. As the veterans returned home in 1973, they discovered an Oil Embargo. It had a serious affect on the American economy. Especially when the price of oil quickly quadrupled. To make matters worse, unemployment had risen and was 4.9%. It would continue to rise, reaching 8% later in the seventies. By 1979, there was another oil crisis, and stagflation had hit the American economy. Inflation at just over 10%, poverty rife and a feeling of discontent could be felt across America. Workers felt they had no option but to strike. Elsewhere, the ghettos in American cities became a breeding ground for disaffected youth. America wasn’t the same country as it had been during the hope filled sixties. However, one thing didn’t change, the quality of music.
Especially the music many black Americans were listening to. They enjoyed a soundtrack of groundbreaking music, which often had a social conscience. Everyone from Funkadelic and Vernon Garrett to Richard “Groove” Holmes, Idris Muhammad and Lonnie Liston Smith, to Don Julian and The Larks, Harold Alexander and Pretty Purdie and The Playboys provided the backdrop to black America between 1970 and 1977. These artist feature on the BGP Records’ compilation Things Gonna Get Better: Street Funk and Jazz Grooves 1970-1977, which is the latest instalment in Things Gonna Get Better series.
Things Gonna Get Better: Street Funk and Jazz Grooves 1970-1977 opens with Funkadelic’s A Joyful Process. It’s a track from Funkadelic’s 1972 album America Eats Its Young which was released on Westbound Records on May 22nd 1972. The album reached 123 on the US Billboard 200, and number twenty-two on the US R&B charts. When Loose Booty was released as a single, A Joyful Process was on the B-Side. Those that flipped over to the flip side, discovered a delicious and joyous slice of P-Funk produced by George Clinton. It veers between has a loose, lysergic and cinematic, to a much tougher funky sound. The addition of lush strings is a masterstroke, to a track that would grace any Blaxploitation soundtrack.
By 1975, Vernon Garrett had renewed his acquaintance with the Bihari brothers. They had worked with Vernon Garrett before, so when they launched their new label Big Town, gave him a call. Vernon Garrett went on to release one album and four singles for Big Town. The album was Going To My Place Baby as a single. Hidden away on the flip side was a cover of Billy Ray Charles’ One Man’s Loss. It was produced by Billy McCloud and features a truly impassioned, soul-baring vocal from Vernon Garett. It’s enough to make you seek out the original album. However, an original copy will set you back $329 or £253.
Richard “Groove” Holmes was one of the many Hammond organists who were popular during the sixties and seventies. However, Richard “Groove” Holmes stood out from the crowd, and was one of the most successful B3 players. He had enjoyed a top ten US R&B hit with Misty in 1966, when he was signed to Prestige. After leaving Prestige, Richard “Groove” Holmes had short spells with other labels, and in 1975 signed to Bob Thiele’s Flying Dutchman Productions.
That’s where Richard “Groove” Holmes released Six Million Dollar Man. Without doubt, one of the highlights of the album was 125th St And 7th Ave. It features a nimble fingered funky performance from one of the masters of the big burner.
In 1971, thirty-two year old drummer Idris Muhammad was signed to Prestige. Later that year, he released his debut album Peace and Rhythm. The following year, 1972, I’m A Believer was released as a single. It was easily, one of the highlight of Peace and Rhythm. No wonder. I’m A Believer featured the vocal prowess of Sakina Muhammad. She delivers the lyrics as if she means every word, while the all-star band combine jazz and funk seamlessly. So good is this song, it’ll make a believer out of you.
Lonnie Liston Smith has to be one of the most underrated jazz musicians of the seventies and eighties. He released a quartet of albums for Columbia between 1978 and 1980. They’re must haves for anyone interested in jazz-funk. Especially 1980s Love Is The Answer, which features Give Peace A Chance (Make Love Not War). It was easily the highlight of Love Is The Answer. So it was no surprise when this the hook-laden anthem was released as a single in 1980. It’s lyrics are just as relevant today, as they were in 1980.
The same year Richard “Groove” Holmes released Six Million Dollar Man on Flying Dutchman Productions, Oliver Nelson released Skull Sessions. By then, Oliver Nelson had established a reputation for providing the themes to television and movies. However, that was only part of the story.
In 1975, the alto saxophonist released the album Skull Session. It’s one real hidden gem of an album, which features a stunningly grotesque album cover. One of the highlights of Skull Session was the title-track, where Oliver Nelson combines traditional instruments and new technology. Synth are utilised on Skull Session which takes on a futuristic, cinematic sound. It showcases the multitalented Missouri born musician. Sadly, it was the final album released during Oliver Nelson’s lifetime. He died of heart attack later in 1975, aged just forty-three.
During the seventies, Blaxploitation movies became a phenomenon. The quality of films varied from genre classics like Shaft, Super Fly and Black Caesar. Other Blaxploitation movies were parodic, while some were decidedly average. However, many a Blaxploitation’s movies saving grace was an uber funky soundtrack. That’s no surprise. Some of the great and good of soul, jazz and funk recorded Blaxploitation soundtrack, including Curtis Mayfield, Isaac Hayes, Melvin Van Peebles, James Brown and Sun Ra. However, a name many people may not of heard about is Don Julian and The Larks.
They provided the soundtrack to the 1973 Blaxploitation movie Shorty The Pimp. It was later rereleased by Ace Records in 1998. The title track then featured on Don Julian and The Larks’ 1974 album Super Slick. Shorty The Pimp is one of the standout tracks from Super Slick. Soulful and funky, it epitomises the sort of track that featured on an early seventies Blaxploitation movie.
The Solicitors are one of hundreds and thousands of groups who released just a few singles, before calling time on their career. One of the singles The Solicitors released was Music For The Brothers, which was released on Excello in 1970. Music For The Brothers is a blistering slice of instrumental funk. It’s musical gold, that DJs and sample hungry producers will treasure.
Soulful and funky describes Billy Sha-Rae’s Do It. It sounds as if it belongs on Blaxploitation soundtrack. Do It was released by Billy Sha-Rae in 1970, on Spectrum Records. Later, Billy Sha-Rae seems to pay homage to James Brown as he vamps his way through the uber funky Do It.
Some people will remember Harold Alexander from his time with Pucho and His Latin Soul Brothers. However, by 1971 Harold Alexander was about to embark upon a solo career. He signed to Bob Thiele’s Flying Dutchman Productions. Harold Alexander released his debut album Sunshine Man in 1971. It featured a musical masterclass from Harold Alexander on The Rope, one of Sunshine Man highlights.
Back in 1971, Gil-Scott Heron was signed to Flying Dutchman Productions. That was when Gil-Scott Heron, Brian Jackson and vocalist Victor Brown formed a group Black and Blues. They recorded just a trio of tracks, including Chains. Sadly, none of the songs were released, until 2014. That’s when they featured on BGP Records extended reissue of Gil-Scott Heron’s Pieces Of A Man. Two years later, and Chains makes a welcome appearance on the BGP Records compilation Things Gonna Get Better: Street Funk and Jazz Grooves 1970-1977. Chains is a truly beautiful, heart-wrenching track which features an impassioned deliver from Victor Brown.
My final choice from Things Gonna Get Better: Street Funk and Jazz Grooves 1970-1977 is Pretty Purdie and The Playboys’ Whatcha See Is Whatcha You Get. This was a track from Stand By Me (Whatcha See Is Whatcha Get), the only album that Pretty Purdie and The Playboys ever released. It was released in 1971, on Flying Dutchman Productions, and features a stunning solo from New York session drummer, Bernard “Pretty” Purdie on this wistful sounding, timeless track.
Although funk and jazz compilations are plentiful, Things Gonna Get Better: Street Funk and Jazz Grooves 1970-1977 stands head and shoulders above the competition. They’re mere also-rans compared to Things Gonna Get Better: Street Funk and Jazz Grooves 1970-1977. It’s the second, and best instalment in BGP Records’ Things Gonna Get Better series.
BGP Records, an imprint of Ace Records have been releasing quality funk and jazz compilations for over twenty years. So much so, the BGP Records’ logo is synonymous with quality. So is Dean Rudland’s name.
Dean Rudland is a veteran of countless critically acclaimed compilations. The latest is Gonna Get Better: Street Funk and Jazz Grooves 1970-1977. It’s the latest in a long line of quality compilations bearing Dean Rudland’s name. Not for the first time, Dean Rudland has compiled what can only be described as a must have compilation for fans of jazz and funk. That’s no surprise.
Gonna Get Better: Street Funk and Jazz Grooves 1970-1977 oozes quality, and will be a welcome addition to any record collection. The twenty tracks are a mixture of singles, B-Sides, album tracks and Dave Hamilton’s unreleased track What’s The Matter With The World. That’s what many Americans must have been thinking during what was one of the most turbulent decades in modern day American history.
Between 1970 and 1977, America seemed to stumble from crisis crisis. By 1973, America had left Vietnam, having realised this was one war they couldn’t win. As the veterans returned home, the Oil Embargo began. Soon, the price of oil quadrupled. Less than a year later, President Nixon was impeached and resigned in 1974. When he left office, unemployed was rising, while poverty and inequality were still rife. It was a far cry from the hope of the sixties. However, one thing hadn’t changed, and that was the quality of music being produced in the land of the free. This includes the twenty tracks on Gonna Get Better: Street Funk and Jazz Grooves 1970-1977, which is must-have compilation for anyone who likes funk, jazz and soul.
THINGS GONNA GET BETTER: STREET FUNK AND JAZZ GROOVES 1970-1977.
WHITE LIGHT-PARABLE.
WHITE LIGHT-PARABLE.
Glasgow in the early seventies was a very different place to it is today. While it wasn’t the same place as portrayed in No Mean City, Glasgow was still a tough place to grow up. The second was still part of Scotland’s industrial heartland, where people worked hard and played hard. However, Glasgow was a city divided.
Dividing Glasgow in two were religions. You were either a Billy or Tim, and people weren’t shy about asking which side of sectarian the divide your loyalties lay. Usually, the question was “what school did you go tae son?” More often, it was which team do you support? There were two answers, Rangers and Celtic. If you gave the right answer, it was handshakes and drinks all round. However, if you gave the wrong answer, either get ready to run, and run fast, or risk finding yourself on the wrong end of a Glasgow kiss. Ironically, in a city where religion played seemed to play such an important part in daily life, Glasgow in the early seventies wasn’t really religious city.
Most Glaswegians were never near a church or chapel. That’s apart from hatches, matches and despatches. Instead, they worshipped at weekends at Ibrox and Parkhead, where Rangers and Celtic played. Then on Sunday morning when the church bells rang, many Glaswegians were sleeping off the hangover of the previous night. If the truth be told, many Glaswegians were neither God fearing, nor church going people. The members of White Light realised this, so when they played in Glasgow, they played in pubs and clubs. There was a reason for this.
Glasgow based White Light were no ordinary rock band. To the casual observer their fusion of rock, heavy metal, psychedelia and blues sounded no different to many other bands who played in Glasgow. However, when the audience listened more closely to White Light’s lyrics on songs like Prodigal and Pretty Big God, the picture became much more clear. White Light were a Christian rock band, who rather than play in churches, played in pub and clubs the length of Scotland. That had been the case since the early seventies.
That’s when White Light were born in Glasgow. In the early days, band’s lineup was fluid. Members came and go, but eventually, White Light arrived at a settled lineup. This included the rhythm section of drummer Alex Smith and bassist Dave McRoberts. They were joined by keyboardist David Murdoch and lead guitarist Doug McRoberts. With a settled lineup, White Light began touring not just Glasgow and the West of Scotland, but further afield.
Eventually, White Light were criss-crossing Scotland, playing it seemed everywhere from Dumfries to Inverness. Each night, White Light unleashes an impressive wall of sound, as they combined rock, heavy metal, psychedelia and blues. White Light’s inspirations were John Mayall and The Bluesbreakers, The Who, Deep Purple and Black Sabbath, and it showed. Soon, they were attracting larger audiences. It seemed that the Christian rockers were a popular draw.
Partly, that was because people were able to listen to White Light’s music on two levels. They could enjoy a hard rocking group, as they enjoyed a night out with friends. Other people listened to White Light’s message, and this lead to them discovering their faith. That was what White Light were hoping. However, by 1972, success had come White Light’s way.
Each year, Melody Maker magazine arranged a competition, which rock groups from across Britain could enter. White Light decided to enter, and made it to the final.
At the national final, other groups played a either their own material or cover versions. However, when White Light took to the stage, they were determined to things their way. They showcased their mini rock opera Prodigal, which was based around the parable of the Prodigal Son. While White Light didn’t win the Melody Maker competition, they were buoyed by getting so far in what was a prestigious nationwide competition.
Following the success at the Melody Maker competition, White Light returned to touring Scotland. They continued to tour until 1974, when White Light decided to record their debut album. This was a logical progression for them. They were an experienced band, with a loyal following.
Having made the decision to record their debut album, White Light decided the album should be a mixture of original material and cover versions. David Murdoch penned Mighty Big God. Then he cowrote Prodigal and Now I Realise with Doug McRobert. The cover versions included John Mayall’s Where Did I Belong; George Harrison’s Awaiting On You All and Edwin Hawkins’ In My Father’s House. These six songs became Parable, which was recorded in the nearby town of Paisley.
To record Parable, White Light decided to brave the journey along the M8 to bandit country, Paisley. That’s where they met Peter May, who nowadays, is better known as an author and purveyor of critically acclaimed Tartan Noir. However, back in 1974, Peter May it seems, had ambitions to become a record producer. He eagerly awaited the arrival of White Light, and was ready to produce their debut album, which became Parable.
Once White Light had unpacked their impressive array of equipment, White Light waited for Peter May to press record. Then, the rhythm section of drummer Alex Smith and bassist Dave McRoberts joined forces with keyboardist David Murdoch and lead guitarist Doug McRoberts. Soon, White Light were in full flow, recording six songs. This included their mini rock opera Prodigal. There was, it seemed, something for everyone on Parable. Blues, heavy metal, psychedelia and rock could be heard on Parable. Surely it would appeal to agnostics, atheists, Christians and rockers?
With Parable recorded, White Light listened to the playback of the album. Quickly, White Light realised that Parable was not unlike one their live performances. Somehow, Peter May had captured the same raw energy and power of one of White Light’s live performances. Surely, this would appeal to White Light’s fans?
When Parable was released in 1974, it was on the Scotia label. The album sported a lysergic cover designed by producer Peter May. It was quite unlike what most people would’ve expected a Christian rock album to look like. If ever there was a wolf in sheep’s clothing, it was Parable. Its cover should’ve drawn attention to the album. Sadly, that wasn’t the case.
There were very few reviews of Parable published. Those that were published, praised White Light’s debut album. However, when Parable went on sale, the album flopped. Hardly any copies were sold, and the album flopped. This would have ramifications over forty years later.
By then, Parable was a real rarity. Copies were literally impossible to find. Anyone wanting a copy of Parable was out of luck. Then a couple of years ago, an American record collector saw a copy of Parable for sale. The only problem it was advertised at $950.
Despite this, the record collector didn’t baulk at the $950 asking price. When word eventually got back to the former members of White Light, they were almost speechless. Parable was now one of the rarest and most expensive records. That’s still the case.
Nowadays, only one copy of Parable is being offered for sale. It’s not in as a condition as one that was sold a few years ago. Despite this, the copy of Parable will set record buyers back £370, $555 or €480. Luckily, then, that recently Sommor Records reissued Parable of CD and LP. At last, anyone who wants a copy of White Light’s debut album Parable, will be able to afford one. However, what does Parable have in-store for record buyers?
Opening Parable is Prodigal, is a near nineteen minute epic, based upon the parable of the Prodigal Son. It finds White Light are at their hard rocking best. They combine elements of blues, psychedelia and rock. There’s even a brief nod towards progressive rock. Mostly, though, White Light are rocking, and rocking hard, during this dramatic, epic musical Parable. It’s the first chapter in White Light’s mini rock opera.
The second is Mighty Big God. Although machine gun guitars opens Mighty Big God, White Light, are soon rolling back the years to the fifties. Suddenly, a slice of good time rock ’n’ roll unfolds.
Originally, the John Mayall penned Where Did I Belong was a moody blues. However, the song takes on new meaning in White Light’s hands; and fits perfectly with the rest of White Light. The song takes an almost spiritual sound, as emotion and drama combine on this slow blues. It’s a tale someone at a crossroads in their life, looking for answers and rediscovering their faith.
George Harrison wrote Awaiting On You All for his 1971 album All Things Must. Again, the song fits with the rest of Parable. It’s a akin to joyous slice of Christian rock in White Light’s hands, as they spread their message.
Now I Realise is the second song penned by David Murdoch and Doug McRobert. As the song unfolds, the songs roots are in the church. Soon, though, White Light are jamming and giving one of their best performances on Parable. There’s a nod to The Who, especially in some of the guitars and briefly, the bass. From there, the lyrics take on a celebratory sound on what becomes another tale of rediscovering faith.
Closing Parable is a cover of Edwin Hawkins’ In My Father’s House. It’s best described as a slice of uplifting piano lead gospel, with the merest hint of psychedelia added for good measure. After just six tracks lasting just thirty-nine minutes, White Light take their leave.
Forty-two years after White Light’s one and only album Parable, was released on Scotia, at last the Glasgow based band’s album is now available for everyone to enjoy. Parable was recently released by Sommor Records. This has resulted in an upsurge in interest in the album. Radio, press and television interest in White Light has been considerable. However, they’re very different to the band they once were.
No longer are they the young men that featured on the cover to White Light. They turned their back on music, and enjoyed careers as a commercial valuer, mortgage adviser, computer programmer and in Doug McRoberts’ case, a minister. The four members of White Light also have children and grandchildren of their own. They’re bemused that their father and grandfathers were once in a band. That’s the case though.
What’s more, White Light were a popular band, who played the length and breadth of Scotland. They took their message into pubs and clubs. In many places, this would’ve been like entering the lion’s den. After all, it wasn’t just Glasgow that was a tough place. So were other parts of industrial Scotland, where people weren’t shy about voicing their opinion. So to take to the stage and deliver a mini rock opera like Parable took guts. However, White Light survived to tell the tale forty-two years later.
Maybe Parable will find a more appreciative audience this time around; and White Light will enjoy the critical acclaim nor commercial success that passed them by in 1974?
WHITE LIGHT-PARABLE.
NICKLAS SORENSEN-SOLO.
NICKLAS SORENSEN-SOLO.
Back in late 2010, Copenhagen based instrumental rock trio Papir, released their eponymous debut album. Papir was released to critical acclaim, and in the process, launched the career of one of the rising stars of the Nordic music scene.
A year later, in 2011, Papir returned with their sophomore album Stundum. It was the first album Papir released on El Paraiso Records. Stundum featured Papir’s unique fusion of Krautrock, psychedelia and space rock. Again, this met with the approval of critics. They forecast a bright future for Papir, who it seemed, were beginning to make inroads into the vibrant Nordic music scene.
Over the next couple of years, Papir continued to tour. There was no shortcuts to success. Papir had to do what bands had been doing for over fifty years, play live. They embarked upon a gruelling schedule, touring the length and breath of Denmark, and sometimes further afield. From concert halls to festivals, Papir continued to hone and refined their sound. This all made Papir a much better band by the time they came to release their third album.
Papir returned in 2013 with not one, but two albums. This included their third album, II. Then later in 2013, Papir released their collaboration with fellow space rockers Electric Moon, The Papermoon Sessions. The album was released on Dave Schmidt’s Sulatron-Records, and helped introduce Papir’s music to a new audience.
Buoyed by the success of III and The Papermoon Sessions, Papir prepared to release their fourth studio album. In true Led Zeppelin style, Papir’s fourth album was simply entitled IIII. It was released on 11th February 2014, and hailed as the finest album of Papir’s four year recording career. The Copenhagen based trio had come a long way in just four years.
2015 saw Papir release another two albums. They released their second collaboration with Electric Moon. The second in the Papir Meets Electric Moon series was a live album, The Papermoon Sessions Live At Roadburn 2014. Then later in 2015, Papir released their first solo live album, Live At Roadburn. It was a tantalising taste of Papir live as they combined Krautrock, psychedelia and space rock. They were fast becoming one of the success stories of the Danish music scene. Despite that, one of the members of Papir was longing to try something different musically.
The musician in question was Papir’s guitarist Nicklas Sørensen. For some time, he had been toying with recording a solo album. This would allow him to experiment musically. So Nicklas Sørensen and a few friends entered the studio, and recorded six new songs. These six songs became Solo, Nicklas Sørensen’s debut solo album. Solo was recently released by El Paraiso Records, and showcases another side to Nicklas Sørensen.
Having made the decision to record his debut solo album, and told the other members of Papir his plan, Nicklas Sørensen began work on what became Solo.
For Solo, Nicklas Sørensen wrote six instrumentals. They were recorded at TABF Studio. This is El Paraiso Records’ newly built studio. It’s where a few friends joined guitarist and synth player Nicklas Sørensen. This included Papir’s rhythm section of drummer and percussionist Christoffer Brøchmann Christensenand and bassist Christian Becher Clausen. The final member of piece of the jigsaw was Causa Sui’s Jonas Munk. He added additional synths and electronics; and recorded two tracks. Peter Sloth recorded the other four tracks. However, it was Nicklas Sørensen and Jonas Munk that produced Solo, which was ready for release in late February 2016.
When Nicklas Sørensen released Solo, those that were familiar with Papir’s music, wondered if his debut solo album was going to have a similar hard rocking style? They were in for a surprise as Solo unfolded.
Solo 1 opens Nicklas Sørensen’s Solo. Straight away, Nicklas’ love of Krautrock shines through as the rhythm section lock into a groove. The bass is to the fore, as the rhythm section provide a hypnotic backdrop for Nicklas’ crystalline, shimmering guitar. Already, there’s a nod to guitarist Michael Rother of Kraftwerk, Neu! and Harmonia. That’s no surprise. Harmonia are one of the groups that have influenced Papir. Soon though, it’s all change, and drums pound creating a mesmeric backdrop. To that, Nicklas adds his glistening guitar and later, washes of synths. It’s a potent and heady brew. Later, the arrangement is stripped bare, and just the rhythm section remain. Then it’s time for Nicklas to return on this joyous, hypnotic and euphoric homage to classic Krautrock.
As Solo 2 begins, ominous, dramatic drums play. Meanwhile, Nicklas slowly and deliberately strums his guitar, producing shimmering, glistening washes of beautiful music. It’s joined by subtle washes of synths brief bursts of cymbals. They crash, rinse and resonate. By then, there’s a hypnotic, almost primal sound to the drums. By comparison, Nicklas’ guitar is akin to washes of ethereal beauty. They wash over the listener, as even the mesmeric drums proves comforting. Later, effects are briefly added to the guitar, transforming the sound. This adds an element of drama. Soon, normal service is resumed, and the ethereal beauty of this neo-ambient soundscape returns, before reaching a crescendo.
A shaker is joined by guitars on Solo 3. Just like previous tracks, Nicklas’ chiming guitar has a crystalline sound. It glistens and shimmers, leaving trails of aural sunshine. Soon, the bass and a mesmeric synth are added. This is Nicklas’ cue to create a hypnotic, chiming sound. It’s the latest layer of sound that’s added to a multi-layered arrangement. As chirping guitar is panned left, synths strings are penned right. Later, the track takes on a dreamy, mesmeric sound. By then, Solo 3’s cinematic sound sounds as if it would be the perfect soundtrack to a journey from Munich to Berlin aboard the Deutsche Bahn.
As the bass is plucked deliberately, and resonates on Solo 4. As it lingers, Nicklas’ shimmering guitar adds a melodic, but wistful hue. Panning is used to shift sounds across the arrangement. They squeak, while washes of synths trail into the distance. By now, Solo 4 is akin to an ambient soundscape. It washes beautifully over the listener. Especially when Nicklas slowly and almost deliberately plays his guitar. Soon, layer upon layer of shimmering, glistening and chiming guitars combine. They’re joined by keyboards and the bass. Together, they create what’s without the most beautiful, melodic and captivating soundscapes on Solo.
The whole of Papir’s rhythm section rejoin Nicklas on Solo 5. As the rhythm section lock into the tightest of grooves, Nicklas takes centre-stage. Soon, a rockier sounding track is beginning to unfold. Gone is the blissful sound of the previous track. A very different sound is unfolding. Soon, Nicklas’ guitar and keyboards add a brief dreamy sound. Mostly, though, Nicklas and his friends enjoy the opportunity to unleash a glorious slice of rocky music. It brings back memories of the heyday of the power trio. That’s until the track becomes dreamy, melodic, lysergic and hypnotic. Nicklas and his fiends are showcasing their versatility on what’s best described as a genre-melting track. Elements of rock, psychedelia, space rock, avant-garde and Berlin School combine seamlessly with Krautrock on Solo 5.
Closing Solo, is Solo 6, a twelve minute epic. Dubby drums are joined by a quivering guitar while the bass buzzes and hums. This combination adds a moody, broody backdrop. That’s until washes of synths and shimmering guitar are added. Suddenly, moody and melodic meet head-on. It’s an interesting and mesmeric combination, and one that works well. The listener is drawn in, and soon, are captivated by this melodic, mesmeric soundscape. Later, percussion and keyboards are added. Their addition works well as the Solo 6 decides to share its secrets. Washes of shimmering, glistening guitars veer between ethereal, melodic to briefly dramatic. Especially when Nicklas Sørensen and friends decide to improvise. A wah-wah guitar, synths and percussion combine; as the drums continue to create the moody, mesmeric backdrop on this ambitious sonic adventure.That describes Solo perfectly.
Solo which was recently released by El Paraiso Records, is a truly ambitious debut album from sonic adventurer Nicklas Sørensen. He set out to experiment, and does so on Solo. However, on other tracks, Nicklas Sørensen reminds the listener’s Papir’s trademark sound. For the listener, they enjoy the best of both worlds.
Especially, newcomers to Papir’s music. They hear a tantalising taste of the Copenhagen based trio. Then on other tracks, Nicklas Sørensen experiments. With a little help from his friends, he takes the listener on a genre-melting journey. This journey lasts just six tracks and forty-eight minutes. However, during this journey, Nicklas Sørensen combines musical genres and influences.
This includes the three genres that have influenced Papir, Krautrock, psychedelia and space rock. These influences can be heard on Solo. However, the Krautrock has been a big influence on Nicklas Sørensen. Especially Can, Neu!, Cluster and Harmonia. However, one particular Krautrock legend seems to have been a big influence on Nicklas Sørensen…Michael Rother.
The former Kraftwerk, Neu! and Harmonia guitarist seems to have been a reference point for Nicklas Sørensen on Solo. Especially Harmonia’s two classic albums Musik Von Harmonia and Deluxe; and Michael Rother’s first two solo albums, Flammende Herzen and Sterntaler. These four albums have influenced Nicklas Sørensen stylistically and sonically. This is apparent throughout Solo. Sometimes, Nicklas Sørensen sounds uncannily like Michael Rother, in this genre-melting journey.
Apart from Krautrock, psychedelia and space rock, Nicklas Sørensen combines elements of ambient, avant-garde, dub and rock as genres and influences melt into one. The result is Solo, an album that’s guaranteed to toy with the listener’s emotions.
Solo veers between blissful, euphoric and joyous, to moody and broody, through to lysergic and dramatic. For much of Solo, the music is hypnotic and mesmeric. That’s down to Krautrock influence. Other times, the music is cinematic. Then it’s up to the listener to provide the script to Nicklas Sørensen’s soundtrack. Often, though, the Solos are beautiful and dreamy, as trails of glistening, shimmering music captivate, and makes the world seem a much better place. Sadly, all too soon, Solo is over. All that’s left are the memories of Nicklas Sørensen’s genre-melting, sonic adventure, Solo. One can’t help but reach over and press play again, and enjoy Solo’s subtleties, nuances and beauty.
NICKLAS SORENSEN-SOLO.
YURI GAGARIN-AT THE CENTER OF ALL INFINITY.
YURI GAGARIN-AT THE CENTER OF ALL INFINITY.
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.
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 Sulatron-Records and 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.
SULA BASSANA-SHIPWRECKED.
SULA BASSANA-SHIPWRECKED.
Nowadays, most musicians are content to release an album every year or two. It’s a far cry from the sixties and seventies when bands would regularly release two albums a year. That most people thought, was a thing of the past. However, it’s not. Dave Schmidt is proof of this. His three groups have released fifty-eight albums since 1998.
That’s when the Dave Schmidt story began. Back then, Dave Schmidt was a member of Zone Six. He was the bassist and keyboardist for the German psychedelic space rockers. They were about to release their eponymous debut album in 1998. Zone Six launched the band’s career, and later in 1998 they returned with Live Pebbles Volumes One. This was a taste of what was to come from Dave Schmidt.
By 20002, Zone Six had released another trio of live albums. Live Pebbles Volume Two and Triprock Live ’99 were released in 1999. Three years later, and Live At RAW Tempel was released in 2002. However, by then, Dave Schmidt had launched Sula Bassana his latest musical project.
Sula Bassana was essentially, a musical vehicle for the multi-talented Dave Schmidt. This made sense. A new musical vehicle would allow Dave Schmidt to experiment musically. However, his name didn’t feature on Sula Bassana’s 2002 debut album, Dreamer.
Instead, Sula Bassana was credited as performer, producer and recordist. It seemed that musically, Dave Schmidt had been reborn, and was going to divide his time between Sula Bassana and Zone Six.
That was the case for the next few years. By 2006, Sula Bassana and Zone Six were both prolific bands. Zone Six released nine albums, including three studio albums and six live albums. Meanwhile, Sula Bassana had released seven albums. This included four studio albums and three collaborations. Two of Sula Bassana’s studio albums had been released on a new label, Sulatron-Records.
Not content with being a member of two of the most prolific European bands, Dave Scmidt had decided to launch his own label in 2006, Sulatron-Records. This made sense. Sula Bassana had released four albums during 2006. If the albums were released on another label, they were profiting from Sula Bassana’s success. So Dave Schmidt made the decision to found Sulatron-Records.
The new label’s first release was Sula Bassana’s Endless Winter. Not long after this, Sulatron-Records released Sula Bassana and Friends’ double album Spaced Out. Having released its first two releases, Sulatron-Records began to expand its roster.
One of the first bands to release an album on Sulatron-Records were Zone Six. They released two albums on Dave Schmidt’s new label during 2007. The first was Live At Burg Herzberg Open-Air 22.07 2006. It was the nascent label’s fourth release. Later in 2007, Zone One released 10 Years Of Aural Psychedelic Journeys, Rare and Unreleased. Zone Six would return to Sulatron-Records over the next few years.
By late 209, Dave Schmidt had joined a new band, Electric Moon. He was a still running Sulatron-Records and a member of Zone Six and Sula Bassana. Both were just as prolific.
As 2009 drew to a close, Zone Six had released fourteen albums. Eleven were live albums and three were studio albums. Dave Schmidt was still busy will Sula Bassana.
Just like Zone six, Sula Bassana hadreleased fourteen albums. Seven of these albums were collaborations. On Sula Bassana’s studio albums, Sula Bassana enjoyed the opportunity to experiment and journey in different directions from Zone Six. Dave Schmidt it seemed, had the best of both worlds. Now he was about to embark upon a new musical adventure with Electric Moon.
Having formed Electric Moon in late 2009, the psychedelic-space rockers began working on their debut album. Lunatics was released in 2010. Then later in 2010, Electric Moon released Live At Epplehaus 2010 on Sulaetron-Records. This was the start of a truly prolific period for Electric Moon.
When Electric Moon released Theory Of Mind in 2015, it was the band’s nineteenth album. This included studio albums, live albums and collaborations. Most of Electric Moon’s albums had been released on Sulaetron-Records. They were one of the label’s success stories.
So were Zone Six. By 2015, Zone Six had released nineteen albums since their debut album in 1998. Zone Six’s most recent album Love Monster, was one of five albums they had released on Dave Schmidt’s Sulaetron-Records. Love Monster also one of Zone’s Six’s most successful album. It was their first studio album since 2003, and one of the best albums Zone Six had ever released. Could the same be said of Sula Bassana?
Recently, Sula Bassana released their latest studio album, Shipwrecked on Sulaetron-Records. Shipwrecked was Sula Bassana’s twentieth album, and first studio album since Dark Days in 2012.
For Shipwrecked, Dave Schmidt has locked himself in the studio and has written, recorded, mixed and produced six new tracks. These tracks are described as electronic Krautrock. That’s despite mostly vintage instruments being used on Shipwrecked.
Before recording of Shipwrecked got underway Dave Schmidt gathered together the array of instruments he’s collected over the years. They were a mixture of traditional and electronic instruments. Synths, a sequencer, organs and drum machines sit side-by-side with a melotron, bass and guitar. There’s even a toy-Mandoline on Shipwrecked, the twentieth album of Sula Bassana’s career.
Moonbase Alpha Alpha opens Shipwrecked. A myriad of futuristic, sci-fi sounds are joined by what sounds like snippets of dialogue from an Apollo space mission. The words “the eagle has landed” signals the arrangement to unfold. Drums courtesy of a vintage drum machine crack; while synths pulsate. Panning is used extensively, shifting the the arrangement from side to side. This adds an element of drama to this pulsating slice of electronic Krautrock. Meanwhile, understated, deliberate keyboards sit low in the mix. They’re surrounded by layers on instruments, as the drums crack and the arrangement builds. By then, Dave Schmidt seems to be paying homage to Cluster, Kraftwerk, Michael Hoenig and even Rodion G.A.’s Misiunea Spațială Delta on Moonbase Alpha Alpha. By them a dramatic and cinematic soundscape that would be the perfect soundtrack to a new sci-fi short has evolved.
Understated and mesmeric, straight away, there’s an Eastern influence as the arrangement to Shushie Express unfolds. That’s down to the hypnotic, vocoded drone. It sits centre-stage, alongside the drums. They epitomise Krautrock, with the Apache or Dinger beat. Meanwhile, while wistful, almost eerie synth strings play slowly. They’re the polar opposite of the drums and drone. Synths fatten the sound, as the arrangement skips along.
Futuristic, sci-fi sounds add to the hypnotic, almost robotic nature of the track. Elements of Berlin School, Krautrock, avant-garde, electronica and world music combine seamlessly. The result is a hypnotic, melancholy and melodic fourteen minute epic, which references Can, Cluster, Kraftwerk and Neu!
A slow, deliberate and buzzing synth sets the scene on No Time: No Eternity. As the synth meanders deliberately along, drums crack and resonate. By then, the darkness has descended. Moody and broody describes the arrangement. So does mesmeric, lysergic and cinematic. Still, the arrangement continues to plod along at funeral pace. Despite the tempo, drama is omnipresent. That’s the case as slowly, and gradually, the arrangement changes. Instruments are added, including the buzzing synth and synths strings. They add a wistful sound to the dramatic, pensive and moody soundscape.
The introduction to Planeta Bur has an eighties sound, as drums and a bass synth combine in the introuduction. Soon, Dave Schmidt is deploying his array of instruments. Traditional instruments and synths are used to sculpt the soundscape. However, nothing is as it seems. Dave Schmidt deploys a myriad of effects. They transform the original signal, transforming it into something entirely different. Synths play an important part as a droning, churning multi-layered arrangement unfolds. Sometimes, there’s a robotic sound to parts of the arrangement. Other times there’s a nod to experimental music, Berlin School, eighties electronica and avant-garde. Washes of synths and drums combine with synth strings. By the words hypnotic and later dramatic spring to mind, as Sula Bassana continues to captivate in this latest musical adventure.
Just a mellotron plays slowly and thoughtfully on Shipwrecked. Space is left in the arrangement. Even when synths are added. This allows the listener to provide pictures to Sula Bassana’s melancholy, heart-wrenching soundtrack. This is down to the addition of synth strings which are the perfect counterpoint to the maudlin mellotron. Together, they create a quite beautiful, cinematic and sometimes, dramatic track.
No Way closes Shipwrecked. A guitar plays, feeding back. However, Dave Schmidt manages to tame the tiger. By then, instruments and effects are added. Synths and an organ combine with the guitar. As it feedbacks, synths bubbles and an organ plays. Its reference point is progressive rock. When this is combined, the result is another sci-fi inspired soundscape. This bookends Shipwrecked perfectly.
Shipwrecked is the fifty-eighth album that Dave Schmidt has released since 1998. That was when his career began with Zone Six. By 2002, Dave Schmidt was recording as Sula Bassana. It was the musical vehicle for his solo projects. However, Sula Bassana had to fit around Zone Six. So sometimes, Dave Schmidt had to put Sula Bassana.
Indeed, for three years between 2003 and 2006, Sula Bassana never released an album. Then they released a quartet of albums in 2006. Two of these albums were released on Sulatron-Records, the label Dave Schmidt founded in 2006. It would become home for Sula Bassana and sometimes, Zone Six and Electric Moon.
Formed in late 2009, Electric Moon was the third band that Dave Schmidt would join. It was by far, the most prolific of the triumvirate of bands. They’ve released nineteen albums between 2010 and 2015. However, Sula Bassana have gone one better.
Recently, Sula Bassana released their twentieth album since 2002, Shipwrecked. It was released on Dave Schmidt’s Sulatron-Records. Shipwrecked is best described as an album of electronic Krautrock, albeit with a few detours.
On Shipwrecked, Dave Schmidt combines elements of avant-garde, Berlin School, experimental and psychedelia with electronic Krautrock. In doing so, Sula Bassana draws inspiration from, and pay homage to Can, Cluster, Kraftwerk, Michael Hoenig, Neu! and Rodion G.A. When this heady brew of musical genres and influences is combined, the result is Sula Bassana’s twentieth album, Shipwrecked.
It features music that veers between dramatic to broody and moody, to hypnotic and mesmeric right through to melancholy and wistful. Other times, the music on Shipwrecked ranges from lysergic to futuristic and even beautiful. Always though, Sula Bassana’s music on Shipwrecked is innovative, captivating and cinematic. Shipwrecked sounds like the soundtrack to a film that’s yet to made, but if it ever is, is sure to be a blockbuster.
SULA BASSANA-SHIPWRECKED.
BAUMAN/KOEK-BAUMAN/KOEK-VINYL EDITION.
BAUMAN/KOEK-BAUMAN/KOEK-VINYL EDITION.
By 1978, German music was changing. The Krautrock era had ended in 1977, and there was a move towards electronic music. This wasn’t new.
The Berlin School had been around since the early seventies. It was also a precursor of ambient music, and went on to influence future generations of ambient musicians. Among the founding fathers of The Berlin School were Tangerine Dream, Klaus Schulze and Manuel Göttsching. They began to pioneer electronic music in West Berlin. Over the next few years, they recorded not just some of the most important, influential and innovative electronic music of the seventies, but in the history of music. This included many classic Berlin School albums.
Tangerine Dream, were are at the forefront of The Berlin School sousnd. Lead byEdgar Froese and Christopher Franke, they released back to-back classics. The first was Phaedra in 1974, with Rubycon following in 1975. The same year, a former member of Tangerine Dream released another classic album.
Klaus Schulze released his fifth album Timewind in 1975. Timewind was hailed a groundbreaking, Berlin School classic, and influenced other artists. So did an album Manuel Göttsching released in 1976,
When New Age Of Earth was released in 1976, the album was credited to the band Ash Ra. However, there was no doubt about it, New Age of Earth was a Manuel Göttsching solo album. New Age Of Earth was very different to many albums being released in 1976. With its ambient sound, it would influence several generations of ambient musicians, and nowadays, is regarded as an ambient classic. It seemed with every year that passed, Berlin School classic was released.
1978 was no different. That year, Michael Hoenig released his critically acclaimed album Departure From The Northern Wasteland. It was a career-defining classic, that nowadays, is regarded as a landmark album. However, it wasn’t until much later that Departure From The Northern Wasteland began to receive the critical acclaim it deserved. This wasn’t new.
It had been a familiar story since the birth of The Berlin School. Some of the most important, influential and innovative Berlin School albums passed almost unnoticed. Even in Germany. That was the case with an album from two musicians from Kempten, Bavaria, Wolfgang Baumann and Ata Koek.
They recorded just one album Baumann Koek, which was recently reissued by on vinyl Bureau B. It’s a welcome reissue of an album that’s one of the hidden gems of The Berlin School. Baumann/Koek deserves to be heard by a much wider audience than heard their eponymous album in 1978. That couldn’t be helped. They were a victim of circumstances, and their story is a case of what if?
The Baumann/Koek began in Kempten, Bavaria in 1978. That was home to Wolfgang Baumann and Ata Koek, two musicians who dreamt of making an album. This wasn’t going to be a traditional rock album. Instead, twenty-eight year old Wolfgang Baumann and twenty-two year Ata Koek wanted to follow in the footsteps of Tangerine Dream, Klaus Schulze and Manuel Göttsching. There was one problem though, they didn’t have the equipment necessary to record an album. So they headed to Bonn.
Back then, Bonn was the capital of West Germany. It was also a good place to buy the equipment they needed. One place especially, would have what Wolfgang and Ata needed to record an album, Synthesizerstudio Bonn. This was where German musical royalty came to buy electronic equipment. Knowing they were following in the footsteps of Kraftwerk, who were one of Germany’s most successful musical exports, meant their was an air of excitement as Wolfgang and Ata journeyed to Bonn. Eventually, they arrived and went shopping.
At Synthesizerstudio Bonn, Wolfgang and Ata bought a secondhand ARP 2600. This they hoped would allow them to record their album.
When Wolfgang and Ata returned home, they began experimenting with the ARP 2600, finding out what it could, and couldn’t do. It was with a heavy heart, that Wolfgang and Ata realised they needed more equipment. So they made another journey to Bonn.
This time, when Wolfgang and Ata they were determined to buy enough equipment to record their album. So in Synthesizerstudio Bonn they bought an ARP sequencer, a Solina String keyboard, and an EKO Computer rhythm drum computer. The final piece of the musical jigsaw was a four-track recorder, which allowed Wolfgang and Ata to record their album.
With this expensive array of equipment, a learning experience began for Wolfgang and Ata. They had to work out how to operate each piece of equipment. That was no mean feat. Especially since 1978 was the pre-MIDI age. There was no standardised interface that allowed equipment from different manufacturers to communicate. With Wolfgang and Ata owning equipment by ARP, Solina and EKO, this was problematic. However, patience, persistence and perseverance resulted in Wolfgang and Ata recording the five tracks that became Baumann/Koek. Now they needed someone to mix their album.
By 1978, there was no person better qualified for the job than the legendary Conny Plank. He had worked with the great and good of German music. However, Conny Plank was just as happy to mix Baumann/Koek. So Wolfgang and Ata booked Conny Plank’s studio for the mix, and watched as the master got to work. Conny Plank sprinkled his magic dust, and now Wolfgang and Ata began to plan for the release of Baumann/Koek.
Rather than take their album to one of Germany’s top labels, Wolfgang and Ata decided to release Baumann/Koek themselves. So they had 1,000 copies of Baumann/Koek pressed. Once the album was pressed, it was released later in 1978.
Reviews of Baumann/Koek were positive. The album was well received, and began to sell well in West Germany. It was then that the Swabian wholesaler Jaguar Records offered to distribute Baumann/Koek worldwide. This seemed like too good an offer to refuse. Sadly, it was.
Not long after Jaguar Records took over the worldwide distribution of Baumann/Koek, the company became insolvent. Soon, Jaguar Records was declared bankrupt. For Wolfgang and Ata, this was a huge blow.
Once they had time to digest how the bankruptcy of Jaguar Records would affect them, Wolfgang and Ata came to a decision. There would be no followup to Baumann/Koek. They weren’t willing to risk any more of their capital. This meant that Baumann/Koek was the one and only album from Baumann/Koek.
Sadly, for a while Baumann/Koek was overlooked by record buyers. It wasn’t until the dawn of the internet age, that a new generation of music lovers rediscovered Baumann/Koek. However, there was a degree of confusion over who played on the album.
When some people heard Baumann/Koek, they were convinced that the album featured Peter Bauman of Tangerine Dream. This was denied, but even today, the rumours persist. Other rumours were that Baumann/Koek featured Peter Bauman who sung on the MPS Records’ cover albums. This was also denied. Still, though, the rumours persist. Maybe Bureau B’s reissue of Baumann/Koek will finally put paid to these rumours, and ensure that Wolfgang Bauman and Ata Koek receive the credit they so richly deserve. Although they only released one album, Baumann/Koek is an album that will grace any self-respecting record or CD collection.
Opening Baumann/Koek, is Yarabbim, a twelve minute epic. The arrangement can be heard in the distance. It sounds like a train making its way down the line, ready to take listener on a musical journey aboard one of Deutsche Bahn’s futuristic looking trains. As the arrangement grows in power and drama, the train nears the station. When the listener climbs onboard, Baumann/Koek are ready to provide the soundtrack,
After a brief nod to Kraftwerk, the train leaves the station, and Baumann/Koek provide an irresistible soundtrack to the journey. As the kilometres go by, the arrangement pulsates, and veers between hypnotic and mesmeric, to elegiac and ethereal. Contrasts abound, as washes of synths join the pounding, hypnotic drums. By then, the listener is hooked, as they’re swept along atop swathes of synths strings. Dramatic, beautiful and full of subtle hooks, Yarabbim is a truly irresistible journey courtesy of musical master craftsmen, Baumann/Koek. One wonders if this is the music they dreamt of recording as they journeyed between Kempten to Bonn, to buy the instruments to record the album?
A myriad of beeps and squeaks are panned left to right on TD-Mem. Soon, urgent synths are added to the pulsating, mesmeric arrangement. It seems the journey that began on Yarabbim continues. Above the arrangement, what sounds like a light aircraft soars, as if surveying man and machine in perfect harmony. By then, swells of synth strings add en elegiac sound, which contrasts perfectly to urgency and mesmerism of the arrangement. Later, the tempo increases, and futuristic bursts of sci-fi synths are added. This adds to the cinematic nature of the track, as the tempo increases again. It’s as if Baumann/Koek are going through the gears as this captivating, cinematic journey continues apace.
Gamabol is another twelve minute epic. The introduction might sound understated and otherworldly. It’s not. Instead, it’s a radio is being tuned, and then a code being tapped out. Then the arrangement beeps, speaks and buzzes. Frantically, a code is tapped out, sounding like a desperate cry for help. Musical alchemists deploy their array of equipment and create an innovative cinematic soundscape. Later, washes of synths envelop the listener. The arrive from left and right, as hypnotic strings chug along. Again, Baumann/Koek are taking the listener on a journey. Melodic and dramatic, the arrangement flows along. After eight minutes, man and machine are in perfect harmony, creating an elegiac, graceful melodic, electronic symphony that sweeps the listener along as their journey continues.
A car races by, before pulsating bass synth dominates the arrangement of Where. It seems Baumann/Koek are taking the listener on a late night drive along the autobahn. Meanwhile, washes of synths sweep in and out. Sometimes, filters are used to transform the dry sound. This works well. Soon, the tempo increases and drums are added. So are synths strings. They add an ethereal backdrop. Filters continue to be used, and signal another increase in the tempo. However, Baumann/Koek don’t fall into the trap of overusing the filters. Instead, they use them sparingly, to compliment the arrangement to Where.
Sequencer Roll closes Baumann/Koek eponymous debut album, and is totally different to previous tracks. So much so, that one can’t help but wonder if I’ve strayed onto the wrong album? Baumann/Koek sound like Canned Heat or ZZ Top, as they boogie their way through this two minute track. It’s a truly irresistible track, and one that showcases Baumann/Koek’s versatility and talent. Not many people could create a track like Sequencer Roll, using the equipment they had available. However, the Kempten based poisoners managed to, and it’s a fitting finale to their one and only album, Baumann/Koek.
Sadly, there was no followup to Baumann/Koek, which was recently reissued by Bureau B. After Jaguar Records became insolvent and was declared bankrupt, Wolfgang Bauman and Ata Koek had to rethink their future plans. Eventually, they decided they couldn’t put more of their capital at risk. Releasing Baumann/Koek had proved expensive.
Wolfgang Bauman and Ata Koek had to buy the equipment to record the album. Then there was the production costs and hiring Conny Plank’s studio so the maestro could mix Baumann/Koek. After the album was mixed, 1,000 copies of Baumann/Koek were pressed. By then, the costs must have been escalating, and surely, Wolfgang Bauman and Ata Koek must have been rueing their decision to self release the album? If only they had taken Baumann/Koek to a record company.
Surely, there would’ve been no shortage of labels willing to release Baumann/Koek? After all, here was an album of innovative music that if promoted properly, could’ve and should’ve been a commercial success. It was an album that oozed quality.
The best way to describe Baumann/Koek was a musical journey. It lasts five tracks and thirty-nine magical minutes. The music veers between cinematic and dramatic, to elegiac and ethereal and even hypnotic and mesmeric. Other times the music is hook-laden, irresistible and melodic. Especially as the listener is swept along atop synth strings. Then as Baumann/Koek draws to a close, Wolfgang and Ata bowl a curveball. A slice of boogie unfolds and Baumann/Koek rock into the distance. Sadly, there was no encore.
Maybe things would’ve been different if a record company had released Baumann/Koek. They would’ve had the money and personnel to promote Baumann/Koek. However, Baumann/Koek valued their independence.
This would ultimately cost them the chance of a long and successful musical career. Neither Wolfgang Bauman nor Ata Koek released another album. Instead, they returned to where the dream began, in began in Kempten, Bavaria.
Thirty-seven years later, and Baumann/Koek has been reissued by vinyl Bureau B. This is a welcome reissue of one the hidden gems of The Berlin School. It’s been nicely mastered, and the sound quality is almost flawless. There’s a but though. Is it worth paying the extra for the vinyl version? Personally, I would say no. The CD version sound just as good. The important thing is that a new generation of music lovers embrace this timeless, cult classic which should’ve been the beginning a successful career for Baumann/Koek.
BAUMAN/KOEK-BAUMAN/KOEK-VINYL EDITION.
THE PARIS SISTERS- ALWAYS HEAVENLY-THE PARIS SISTERS ANTHOLOGY.
THE PARIS SISTERS- ALWAYS HEAVENLY-THE PARIS SISTERS ANTHOLOGY.
The Paris Sisters weren’t an overnight success. Far from it. It took nearly a decade of hard work and dedication before they made a commercial breakthrough. Suddenly, all the hard work was worthwhile.
Especially when I Love How You Love Me reached five on the US Billboard 100 in October 1961, and in the process, sold over one million copies. This is just one of The Paris Sisters’ hit singles that feature on Always Heavenly-The Paris Sisters Anthology, which was recently released by Ace Records. Featuring twenty-five tracks, Always Heavenly-The Paris Sisters Anthology is the most comprehensive compilation of The Paris Sisters music. Their story began in the early fifties.
That’s when former opera singer, Faye Filzer decided that her three talented daughters had the potential to pursue a career in the world of entertainment. So Priscilla, her elder sister Albeth and their middle sister Sherrell became The Paris Sisters, San Francisco’s latest singing trio.
Faye Flzer, it seemed had looked towards “sister groups” like the Andrews Sisters and McGuire Sisters for inspiration. She decided that her daughters would follow in their footsteps, and hopefully, enjoy the same success.
In the early days, The Paris Sisters appeared at Elk Clubs and Navy bases. However, soon, it became apparent that The Paris Sisters would have to hone their singing talents.
With their mother’s help, The Paris Sisters honed their voices. So much so, that by 1954, they were recording for the local Cavalier label. Faye Filzer wanted to document their progress. Anything else was a bonus. However, not long after this, Faye Filzer managed to secure the endorsement of the Andrews Sisters for The Paris Sisters. This lead to the nascent group signing to Decca Records.
By then, The Paris Sisters were constantly appearing at fairs and clubs. These appearances ensured that The Paris Sisters were already well known across the western states. This should’ve meant that Decca Records had a captive audience for The Paris Sisters’ singles.
That wasn’t the case. The Paris Sisters released six singles between 1955 and 1958 for Decca Records, and then Imperial. They all failed to catch the attention of record buyers. Maybe that’s why Faye Filzer decided to let a manager take charge of The Paris Sisters.
Norman Weiss became The Paris Sisters’ manager, in exchange for a twenty-five percent of their earnings. Straight away, he got them a booking in the Dunes Hotel, Las Vegas. The Paris Sisters were booked to do four fifty minute shows a night. It was no surprise that Priscilla’s vocal was damaged. Luckily, she recovered and soon, was back on the road.
By then, The Paris Sisters had all finished their schooling. Then in 1959, Albeth met dance instructor Clancy Grass in Vancouver. The Paris Sisters were in Vancouver to do a show, when Albeth met her future husband Clancy Grass. The relationship didn’t go down well with Albeth’s parents, Faye and Walter Filzer.
Norman Weiss tried to intervene, and act as a go-between, This backfired, and Faye Filzer started shopping The Paris Sisters to other management companies. Some of these companies were in Los Angeles, where Faye and Walter Filzer now lived. That’s where Faye Filzer met Lester Sill.
He was a veteran of the music business, and could spot talent at twenty paces. Lester Sill realised that The Paris Sisters had bags of potential, and began telling Faye Filzer about his new business partner Phil Spector, who was in the process of forging a career as a producer.
Before long, The Paris Sisters were were introduced to Phil Spector, who set about changing their style. It would be very different to other groups who Phil Spector would later work with. Priscilla’s almost reserved, demure vocal took charge of the lead, while Albeth and Sherrell added cooing harmonies. Sometimes, Sherrell switched to lead, the other two sisters added harmonies. With these changes in place, Phil Spector took The Paris Sisters into the recording studio.
For Phil Spector’s first recording session with The Paris Sisters, Gold Star Studios was chosen. That’s where the ballad Be My Boy was recorded. It features on Always Heavenly-The Paris Sisters Anthology. Once Be My Boy was recorded, Lester Sill struggled to sell the master.
So he decided to release the single on the Gregmark label, which he owned with Lee Hazelwood. When Be My Boy was released in March 1960, comparisons were drawn to The Teddy Bears. However, soon, the single was climbing the charts, but stalled at just fifty-six in the US Billboard 100. For The Paris Sisters, this was their first hit single. It wouldn’t be their last.
Following the success By My Boy, Phil Spector continued to hone The Paris Sisters’ sound. Only then, would he record The Paris Sisters’ next single I Love How You Love Me which saw a move towards rock ’n’ roll on this string drenched ballad. Again, comparisons were drawn with The Teddy Bears, and To Know Him Is To Love Him. However, when I Love How You Love Me was released in August 1961 on Gregmark, it quickly found favour with DJs and record buyers. Eventually, the single reached number five in the US Billboard 100, and sold one million copies. By then Norman Weiss was no longer The Paris Sisters’ manager.
Faye Wilzer has extricated her daughters from their contract with Norman Weiss. Replacing him was Jess Rand who was Sam Cooke’s manager. He had a busy schedule, managing The Letterman and Sam Cooke. However, after December 11th 1964, he would have much more space in his diary.
Little did Jess Rand realise that The Paris Sisters had enjoyed the biggest hit of their career. They would enjoy further hits, but never had as a big a hit as I Love How You Love Me. It wasn’t through trying though.
One of the first things Jess Rand did, was hire a publicist. They were in place as The Paris Sisters released He Knows I Love Him Too Much as a single in March 1962. It was released on Gregmark,but reached just thirty-two in the Billboard 100. Given the success of I Love How You Love Me this was a disappointment. However, Gregmark was just a small label. The Paris Sisters should’ve been signed to a major. This was hampering The Paris Sisters’ career.
Not long after the release He Knows I Love Him Too Much, Let Me Be The One was released as a single on Gregmark later in 1962. It looked like Phil Spector had been building up a supply of songs from The Paris Sisters. Maybe he feared they would leave for a bigger label, and wanted some songs in reserve?
When Let Me Be The One, which doesn’t feature on Always Heavenly-The Paris Sisters Anthology, stalled at just eighty-seven on the Billboard 100. This was another disappointment for The Paris Sisters. Less than a year earlier, they were enjoying a million selling single.
Things didn’t improve for The Paris Sisters. Neither Let Me Be The One, nor Yes, I Love, which was released in November 1962, charted. To make matters, Phil Spector and his business partner Lester Sill were clashing. At the root of the problem, was Phil Spector’s success, and his decision to found his own label, Phillies. Adding fuel to the fire, was Phil Spector encouraging Priscilla to pursue a solo career. By then, Phil Spector and Priscilla were alleged to have been dating. There were even rumours of a marriage proposal. Things were getting complicated.
Especially when Phil Spector and Lester Sill began a legal battle that lasted years. Then came the announcement that The Paris Sisters album was cancelled. It’s thought that Phil Spector had destroyed the tapes. By then, Jess Rand was spending more of his time managing The Letterman. So Clancy Grass became The Paris Sisters’ co-manager. This was perfect timing, as in August 1963, there was some good news for The Paris Sisters. They signed to Columbia Records.
At last The Paris Sisters were on a major. With a manager who was determined to look after The Paris Sisters’ best interests, things were looking good for The Paris Sisters as a period of change began.
No longer was Phil Spector producing The Paris Sisters. Instead, Terry Melcher, Doris Day’s son, took charge of producing The Paris Sisters. The rise and rise of Terry Melcher had been rapid.
Initially, Terry Melcher worked in the post room at his mother’s record company. Then he secured a junior post in A&R at Columbia. From there, he moved into production, where he was entrusted with The Paris Sisters’ career.
At his first session, with The Paris Sisters, Terry Melcher concentrated on building a big, bold arrangement on Play It One More Time. He also double-tracked Priscilla’s vocal, which was meant to give her vocal a teenage sound. This was no different to what Phil Spector had been doing. Despite recording several tracks, none of the tracks recorded during the Terry Melcher session were ever released by Columbia. However, Play It One More Time makes a welcome debut on Always Heavenly-The Paris Sisters Anthology. It’s a reminder of the Terry Melcher session.
After their encounter with ‘producer’ Terry Melcher, The Paris Sisters’ were assigned to a new production team. This time, Fred Benson and Nik Venet, took charge of production duties during the next The Paris Sisters’ session. Ben-Ven Productions were responsible for The Paris Sisters 1964 single Dream Lover, and the flip side Lonely Girl. Recording took place to fit in with The Paris Sisters’ schedule. They still seemed to be undertaking a gruelling schedule, and in 1964, appeared on American Bandstand. Still The Paris Sisters hugely successful.
Despite this, when Dream Lover was released later in 1964, it flopped. That’s despite being one of The Paris Sisters’ best singles in recent years. By then, The Paris Sisters were recording their long-awaited debut album. It was meant to feature a mixture of standards and pop covers. However, Columbia were having cold feet. The next single would be crucial.
In August 1964, The Paris Sisters covered Nat King Cole’s When I Fall In Love. It was released as a single, but failed commercially. A decision was made to cancel The Paris Sisters’ debut album. Another year would pass before Columbia released another single by The Paris Sisters.
A year after the release of their last single, The Paris Sisters entered the studio with producer Mike Curb. He produced the heartfelt ballad Always Waitin’ on MGM Records. On the B-Side was Why Do I Take It From You which was penned by Priscilla. She delivers a wistful, breathy vocal that’s so good, it deserved to fare better than a B-Side. Sadly, commercial success continued to elude The Paris Sisters. However, they were just as busy as ever with live work.
Despite this the next two years saw The Paris Sisters release a string of singles for Reprise Records. In 1966, The Paris Sisters entered the studio with producer Jack Nitzsche, and they cut two fine singles. My Good Friend was a much more uptempo track, that showed another side to The Paris Sisters. You was another uptempo cut, with I’m Me, a beautiful rueful ballad on the flip side. Although neither single charted, The Paris Sisters released their debut album.
When Sing From “The Glass House” was released, it wasn’t the album that The Paris Sisters had envisaged a few years earlier. They had been asked to provide the soundtrack to a television show The Glass House. So Priscilla Paris penned six of the ten tracks, and Mike Curb wrote Help Me. Once the album was complete, it was announced that The Glass Show wouldn’t be aired. For The Paris Sisters this was a huge blow, as the show was being aired coast to coast. Despite this Sing From “The Glass House” was released by Unifilms in 1966, but never was the success that The Paris Sisters had hoped. This was a disappointing end to what had been one of the busiest years of The Paris Sisters’ recording career.
1967 proved to be just as busy. Some Of Your Lovin’ was released as a single, but doesn’t feature on Always Heavenly-The Paris Sisters Anthology. The B-Side, I Came A Long Way To Nowhere which is a heart-wrenching ballad, was produced by Clancy Grass and Mike Curb. It shows how The Paris Sisters music was evolving, and moving with the times. Later in 1967, The Paris Sisters released their second and third album.
Sing Everything Under The Sun!!! was released by Reprise Records in 1967. It featured the tracks The Paris Sisters had recorded between 1966 and 1967. This included My Good Friend, You, It’s Me and See That Boy. They all feature on Always Heavenly-The Paris Sisters Anthology. These are among Sing Everything Under The Sun!!!’s highlight. Later in 1967, came The Paris Sisters’ third album.
It was Mike Curb who noticed that The Paris Sisters had never released a Greatest Hits album. So he suggested The Paris Sisters rerecord some of their earlier hits, and some new songs. Eventually, three new songs found their way onto Golden Hits Of The Paris Sisters. This included Together, See That Boy and Won’t You Help Me. Together and See That Boy seem to hark back to the golden age of the classic girl group sound. These new songs should’ve appealed to diehard fans of The Paris Sisters. Sadly, that wasn’t the case, and Golden Hits Of The Paris Sisters failed commercially. It seemed The Paris Sisters recording career was at a crossroads.
By 1968, The Paris Sisters were signed to Capitol Records, and released Greener Days as a single. On the B-Side was Greener Days, which features on Always Heavenly-The Paris Sisters Anthology. Greener Days failed commercially, and The Paris Sisters moved on.
Next stop was GNP-Crescendo, where in August 1968, The Paris Sisters released The Ugliest Girl In Town. On the flip-side was Stand Naked Clown. Sadly, history repeated itself and The Ugliest Girl In Town flopped. Three months later and The Paris Sisters were history.
In November 1968, The Paris Sisters announced they had split-up. Their recording career had lasted fourteen years, but three years had passed since The Paris Sisters enjoyed a hit single. It was the end of era for The Paris Sisters, which is documented on Always Heavenly-The Paris Sisters Anthology, which was recently released by Ace Records.
Always Heavenly-The Paris Sisters Anthology features singles, B-Sides and album tracks. That’s not forgetting the quartet of unreleased tracks on Always Heavenly-The Paris Sisters Anthology. This includes When I’m Alone With You. Baby That’s Me, Play It One More Time and Then Came Love. They’re a welcome addition to the compilation.
When I’m Alone With You is a ballad, that features a tender wistful vocal. Baby That’s Me has Phil Spector’s name written large all over it. It’s a real hidden gem that’s too good to have lain unreleased for fifty years. Play It One More Time is a much more uptempo track. Slick and full of hooks, cooing harmonies and horns augment a heartfelt vocal. An interesting addition for The Adams Sisters’ completists, is the Diet Rite Commercial that closes Always Heavenly-The Paris Sisters Anthology.
It documents the most successful period of The Paris Sisters’ career…the sixties. With its mixture of ballads and uptempo tracks, Always Heavenly-The Paris Sisters Anthology showcases The Paris Sisters versatility, and ability to reinvent themselves musically. That’s why for a while, they were one of the most successful girl groups of the sixties. However, The Paris Sisters weren’t an overnight success.
Far from it. It took nearly a decade of hard work and dedication before they made a commercial breakthrough. However, when Phil Spector produced their million selling single I Love How You Love Me Suddenly in 1961, all the hard work was worthwhile. After that, The Paris Sisters constantly toured America, going coast to coast and enjoying the success while it lasted.
Sadly, nothing lasts forever, and by 1966 the hits had dried up. Luckily, The Paris Sisters were still a popular live draw, and right throughout until they spilt up in 1968. A reminder of the most successful period of The Paris Sisters’ career can be found on Always Heavenly-The Paris Sisters Anthology, which is a welcome reminder of one of the most successful girl groups of the sixties.
THE PARIS SISTERS- ALWAYS HEAVENLY-THE PARIS SISTERS ANTHOLOGY.
CHARLEY PRIDE-DID YOU THINK TO PRAY/A SUNSHINE LOVE/SONGS OF LOVE/ SWEET COUNTRY.
CHARLEY PRIDE-DID YOU THINK TO PRAY/A SUNSHINE LOVE/SONGS OF LOVE/ SWEET COUNTRY.
Growing up, in Sledge, Mississippi, Charley Pride had two loves. The first was baseball, the other was music. Music however, was just a hobby for Charley Pride. His mother bought him a guitar in 1950, when Charley was just fourteen. Soon, he had taught himself to play the guitar. He was a natural. Still, Charley Pride’s dream was to make a living out of baseball.
By 1952, Charley Pride was pitching for the Memphis Red Sox in the Negro American League. Things went well for Charley Pride, and in 1953 he signed for the Boise Yankees. They were a Class C farm team of the legendary New York Yankees. Charley was one step closer to achieving his dream. Then injury interrupted his nascent career.
The injury resulted in a loss of form for Charley Pride, and he was sent to the New York Yankees’ Class D team, Fond du Lac, in Wisconsin. This was a setback for Charley.
Towards the end of the season Charley found himself playing for the Louisville Clippers. Charley’s career seemed to have stalled, and now was on the slide. It was then that Charley and and another player were traded to the Birmingham Black Barons for a team bus. That all but ended Charley’s hopes and dreams of becoming a pro ball player.
He spent another couple seasons in the minor leagues. Charley even got to play three games for the Missoula Timberjacks, the Cincinnati Reds farm team. However, when he was let go by the Missoula Timberjacks Charley ended up working in construction in Helena, Montana.
Soon, Charley had been signed by a semi-pro team the East Helena Smelterites. Initially, he was paid $10 a game. However, Charley was a crowd puller, so he was paid a bonus of $10. This augmented his weekly pay. So did the money Charley was making from playing with The Night Hawks and as a solo artist.
Before long, Charley was playing around the local area. He was even playing at company picnics and before the Helena Smelterites’ games. Charley was making a good living. Especially if he arranged his shifts so that nights were free for when he played the local live circuit. However, working at the smelter was hot and dangerous work, and Charley once broke his ankle. Other times he suffered burns. Despite this, Charley kept this up until 1967, when his musical career began in earnest.
With Charley needing to fly all over the country, he needed to live near an airport. So Great Falls, Montana became the Pride family home in 1967, before they moved to Texas, the Lone Star Stare, in 1969.
By 1969, Charley Pride had released seven albums. His debut Country was released in April 1966 and reached number sixteen in the US Billboard Country charts. This was enough for Country to be certified gold. Despite this, his first two singles The Snakes Crawl at Night and Before I Met You failed to chart. Then Just Between You and Me reached number nine in the US Billboard Country charts. For Charley Pride this was the start of a long and successful career. However, at one point it looked like Charley’s debut album had been a one-off.
When The Pride of Country Music was released in June 1967, it failed to replicate the success of Country. The Pride of Country Music reached number thirty-three in the US Billboard Country charts. At least the two singles Just Between You and Me and I Know reached number nine and six on the US Billboard Country charts. That was a small crumb of comfort for Charley Pride. However, in December 1967, Charley Pride bounced back.
Just before Christmas 1967, Charley Pride released his third album The Country Way. Not only did it reach number one on the US Billboard Country charts, but reached number 199 in the US Billboard 200. Charley Pride’s music it seemed, was already reaching a much wider audience. Things got even better for Charley when he enjoyed his second gold disc. That wasn’t the end of the commercial success.
The two singles released from The Country Way, Does My Ring Hurt Your Finger and The Day the World Stood Still reached number four on the US Billboard Country charts. Some of the veterans of country music scene forecast that Charley Pride was set to become one of the biggest names in country music.
1968 was a busy year for Charley Pride. he released another two albums. Make Mine Country was released in April 1968, and reached number four on the on the US Billboard Country charts. ThenSongs of Pride…Charley That Is was released in September 1968, and reached number six on the US Billboard Country charts. It featured the biggest single of Charley Pride’s career, The Easy Part’s Over which reached number two in US Billboard Country charts. For Charley, 1968 had been the most successful year of his career, until 1969.
During 1969, Charley Pride could do no wrong. Charley Pride in Person was released in January 1969, reaching number two in the US Billboard Country charts, and number sixty-two in the US Billboard 200. This resulted in another gold disc for Charley Pride. Then when The Sensational Charley Pride was released in May 1969, it number two in the US Billboard Country charts, and number forty-four in the US Billboard 200. Again, the album was certified gold. By June 1969, RCA Victor were ready to release The Best of Charley Pride. It reached number one in the US Billboard Country charts, and number twenty-four in the US Billboard 200. The Best of Charley Pride, which was certified gold in America and platinum in Canada, was Charley’s most successful album. What helped was it featured a number one single.
All I Have to Offer You (Is Me) featured on The Best of Charley Pride. It was released as a single, and reached number one in the US Billboard Country charts, and number ninety-one in the US Billboard 100. Later, in 1969, Charley enjoyed a second number one single, when (I’m So) Afraid of Losing You Again was released, and also reached seventy-four in the US Billboard 100. (I’m So) Afraid of Losing You Again would feature on Charley’s next album Just Plain Charley. However, by then, Charley Pride had just enjoyed the most successful year of his career. Surely it couldn’t get any better?
It did. As the seventies dawned, Charley Pride was about to begin the hottest streak of his career. Just Plain Charley was released in January 1970; reaching number one on the US Billboard Country charts and twenty-two on the US Billboard 200. This resulted in Charley’s sixth gold disc. Later in 1970, six became seven.
When Charley Pride’s 10th Album was released in June 1970; it reached number one on the US Billboard Country charts and thirty on the US Billboard 200. Charley was presented with his seventh gold disc. As if things couldn’t get any better, Is Anybody Goin’ To San Antone reached number one on the US Billboard Country charts and seventy on the US Billboard 200. However, this wasn’t the only number single Charley enjoyed during 1970.
From Me To You was released in December 1970, and became Charley Pride’s third album of the year. It reached number two on the US Billboard Country charts and forty-two on the US Billboard 200. This resulted in gold disc number eight for Charley Pride. Then when the Bill Rice penned Wonder Could I Live There Anymore was released as a single, it reached number one on the US Billboard Country charts and eighty-seven on the US Billboard 100. Lightning struck twice when I Can’t Believe That You’ve Stopped Loving Me reached number one on the US Billboard Country charts and seventy-one on the US Billboard 100. For Charley Pride the success he was enjoying was beyond his wildest dreams. Just a few years ago, he had been working in a smelter. Now he was one of the biggest names in country music. What would 1971 hold for Charley Pride?
June 1971 saw Charley Pride release I’m Just Me. It marked a return to number one on the US Billboard Country charts and fifty on the US Billboard 200. This time, there was no gold disc for Charley. However, I’d Rather Love You reached number one on the US Billboard Country charts and seventy-nine on the US Billboard 100. I’d Rather Love You gave Charley his seventh number one single. Soon, the number would rise to eight.
Charley Pride Sings Heart Songs was released in October 1970, the album reached number one on the US Billboard Country charts and thirty-eight on the US Billboard 200. This resulted in Charley receiving his eighth gold disc. Then when Kiss An Angel Good Mornin’ was released as a single it reached number one on the US Billboard Country charts and number twenty-one on the US Billboard 100. Kiss An Angel Good Mornin’ was Charley Pride’s eight number one single. By then, Charley Pride was one of RCA Victor’s most successful artists. However, it was then that Charley Pride through a curveball, and decided to record Do You Think To Pray, a country gospel album.
Did You Think To Pray is one of four albums released on two discs by BGO Records. The others are a trio of country albums A Sunshine Love, Songs Of Love and Sweet Country. These albums feature Charley Pride during the most successful period of his career. The next part of story begins with Did You Think To Pray, which was released in late 1971.
Did You Think To Pray.
Just like many country artists who had preceded Charley Pride, he wanted to record a country gospel album. Johnny Cash, Hank Snow and Roy Acuff had all recorded a country gospel album Now it was Charley Pride’s turn.
This was the music Charley Pride had grown up listening to in Sledge, Mississippi. In a way, it was Charley Pride going back to his roots. So he chose ten tracks that he would cover and record with producer Jack Clement at RCA’s Nashville Sound Studio.
Among the tracks Charley chose, were Did You Think To Pray, Angel Band, Whispering Hope and The Church In The Wildwood. Other tracks included Arthur Brumley’s I’ll Fly Away; Ann J. Morton’s Time Out For Jesus; Ben Peter’s Let Me Live; Lassaye Holmes’ This Highway Leads To Glory and Curtis Stewart’s Lord, Build Me A Cabin In Glory. These tracks were recorded in Nashville, the capital of country music.
A crack band of session players were assembled by producer Jack Clement, at RCA’s Nashville Sound Studio. Joining the session were The Jordanaires, who added backing vocals on This Highway Leads To Glory. This was a controversial move.
Charley Pride was the second biggest selling artist on RCA Victor. The biggest selling artist was Elvis Pressley. What would The King make of The Jordanaires appearing on the opposition’s album? Eventually, the featured on a couple of tracks on Did You Think To Pray. Just like previous sessions, the album was recorded quickly, and Did You Think To Pray was scheduled for release in late 1971.
Deep down, some executives at RCA Victor must have been worried, Charley Pride was one of the biggest names in country music. Here he was deviating from what was a successful formula. Releasing a country gospel album could alienate some record buyers. That was the least of their worries. Before that, critics had their say.
They like what they heard, and wrote approving, positive reviews. This was no surprise given the quality of music on Did You Think To Pray.
Seamlessly, Charley Pride made the switch from country to gospel on Did You Think To Pray. Tracks like Did You Think To Pray, Angel Band, Let Me Live, Whispering Hope and This Highway Leads To Glory showcased Charley Pride’s versatility.
His vocal veers between heartfelt and sincere to almost laid-back as sometimes, the album heads in the direction of bluegrass gospel. Other times, Charley Pride reinvents traditional tracks, bringing them into the twentieth century. Charley Pride’s first gospel album looked like being an unqualified success.
When Did You Think To Pray was released in late 1971, the album reached number one on the US Billboard Country charts and number seventy-six on the US Billboard 200. This meant another gold disc for Charley Pride. Executives at RCA Victor who had been worried by Charley’s gospel album were able to relax. The only disappointment was when Let Me Live stalled at number twenty-one on the US Billboard Country charts and stopped short of reaching the the US Billboard 100, at number 104. However, normal service would be resumed when Charley returned to country music. Before that, Charley released another compilation.
The Best of Charley Pride Volume 2 was released in early 1972. It reached number one on the US Billboard Country charts and number fifty on the US Billboard 200. This was another gold disc for Charley Pride’s collection. Would his next studio album A Sunshiny Day With Charley Pride prove as popular?
A Sunshiny Day With Charley Pride.
It wasn’t until June 1972, that Charley Pride returned with his next album, A Sunshiny Day With Charley Pride. A lot had happened since then.
Charley Pride had won two Grammy Awards. The first came when the single Let Me Live won Best Gospel Performance. Then Did You Think To Pray won the Grammy Award for Best Sacred Performance. Buoyed by winning two Grammy Awards, Charley Pride began to think about his next album.
For what became A Sunshiny Day With Charley Pride, Charley Pride chose ten tracks. They were all cover versions. Charley didn’t write much of his material. So he was reliant on other people’s songs.
This included Ben Peters who wrote Sunshiny Day and It’s Gonna Take A Little Bit Longer. Two Al Urban songs, When The Trains Come In and You’re Wanting Me To Stop Loving You were chosen. So were two songs from the songwriting team of A. L. Doodle Owens and Hal Bynum. Their contributions were She’s Helping Me Get Over You and One More Year. Other tracks included Richard Jarvis’ Back To The Country Roads; Gene Ash’s Put Back My Ring On Your Hand; Johnny Duncan’s Nothin’ Left But Leavin’ and Rev. Roland W. Davis’ Seven Years With A Wonderful Woman. These songs would become A Sunshiny Day With Charley Pride.
Again, Jack Clement produced at A Sunshiny Day With Charley Pride RCA’s Nashville Sound Studio. With a tight, talented band accompanying Charley, the recording went smoothly, and before long, RCA Victor were getting ready to release A Sunshiny Day With Charley Pride.
Before that, reviews of A Sunshiny Day With Charley Pride were published. The album received positive reviews, with critics complimenting Charley Pride on his choice of material. Much of it seemed tailor made for him. He had relied on tried and trusted songwriters. Ben Peters’ Sunshiny Day whetted the listener’s appetite for the rest of the album.
Al Urban’s You’re Wanting Me To Stop Loving You featured a soul-baring performance; while Put Back My Ring On Your Hand featured a needy hopeful vocal from Charley Pride. Then on Ben Peters’ other contribution, It’s Gonna Take A Little Bit Longer Charley’s vocal veers between wistful to hopeful. The highlight of A Sunshiny Day With Charley Pride, was the celebratory sound of Seven Years With A Wonderful Woman which came from the pen of Rev. Roland W. Davis. Then She’s Helping Me Get Over You features an emotive performance. Closing A Sunshiny Day With Charley Pride was Charley’s reading of Nothin’ Left But Leavin’. He sounds as if he’s lived and survived the lyrics. Given the quality of the songs on A Sunshiny Day With Charley Pride, surely commercial success was sure to follow?
A Sunshiny Day with Charley Pride was released in July 1972, and reached number one on US Billboard Country charts and number 115 on the US Billboard 200. The disappointing performance on the US Billboard 200, meant there was no gold disc for Charley Pride. At least It’s Gonna Take a Little Bit Long reached number one on the US Billboard Country charts, but stalled at 101 in the US Billboard 100. While Charley was still one of the Kings of country music, was he losing his crossover appeal?
Songs of Love By Charley Pride.
While Charley Pride was RCA Victor’s second biggest selling artist, the worry within the company’s headquarters was that one of their biggest assets was losing his magic touch. Between 1966 and 1971, ten of Charley Pride’s albums had been certified gold. For the last two albums, Did You Think To Pray and A Sunshiny Day with Charley Pride it looked as if Charley was no longer as popular outside of country music circles. So his next album was one of the most important of his six year career.
With this in mind, Charley Pride started choosing songs for his next album. Again, Charley chose songs by tried and trusted songwriters. This included two songs by Ben Peters, She’s That Kind and My Love Is Deep, My Love Is Wide. Johnny Duncan who contributed two tracks to A Sunshiny Day with Charley Pride wrote She’s Too Good To Be True. A Good Hearted Woman came from the pen of country music royalty, Waylon Jennings and Willie Nelson’s A Good Hearted Woman. Among the other tracks were the Davis and Pitt composition, Give A Lonely Heart A Home; and She’s Too Good To Be True, which was penned by Sonny Lamaire and J.P. Pennington. Along with Too Weak To Let You Go, You Were All The Good In Me and the album closer I’m Building Bridges, these songs became Songs of Love By Charley Pride.
For the recording of Songs of Love By Charley Pride, Charley andproducer Jack Clement headed to RCA’s Nashville Sound Studio. With a tight, talented band accompanying Charley, the recording went smoothly, and before long, RCA Victor were getting ready to release Songs of Love By Charley Pride.
With the lucrative Christmas market in mind, RCA Victor scheduled the release of Songs of Love By Charley Pride for December 1972. Before that, critics had their say on Songs of Love By Charley Pride.
They noted that Songs of Love By Charley Pride featured more songs designed to tug at the listener’s heartstrings. That was the case from the album opener Too Weak To Let You Go, She’s That Kind, Give A Lonely Heart A Home, Love You More In Memory and (Darlin’ Think Of Me) Every Now And Then. Songs of love, loneliness and love lost featured on Songs of Love By Charley Pride. Songs came to life in Charley’s hands.
It was as if he had been there and lived to tell the tale. On She’s Too Good To Be True there’s an air of cynicism; while hurt and heartbreak feature heavily on Songs of Love By Charley Pride. Among the highlights of Songs of Love By Charley Pride were the album opener Too Weak To Let You Go, Good Hearted Woman and the hurt-filled take on (Darlin’ Think Of Me) Every Now And Then. Despite songs of that quality, some of the critics felt that Songs of Love By Charley Pride wasn’t as good as A Sunshiny Day with Charley Pride. As usual, record buyers had the casting vote.
When Songs of Love By Charley Pride was released in December 1972, the album reached number one on the US Billboard Country charts, but stalled at 149 in the US Billboard 200. This was a disappointment, as Charley Pride’s crossover appeal seemed to be slipping. That became apparent when Too Good To Be True reached number one in the US Billboard Country charts, but failed to enter the US Billboard 100. Despite a number one album and single in US Billboard Country charts, it was a worrying time for Charley Pride.
Sweet Country.
For a country artist with crossover appeal, the difference financially can be huge. Granted Charley Pride was enjoying a successful career. However, he wasn’t as popular as he once been. Maybe his next album Sweet Country would result in a change in fortune for Charley Pride?
He wasted no time releasing another album. Charley it seemed was keen to get back on the horse. He had chosen and recorded ten new tracks.
Just like his two previous albums, Charley Pride recorded songs by songwriters he knew and trusted. This included Ben Peters, who contributed a trio of songs, The Happiest Song On The Jukebox, Just To Be Loved By You and Tennessee Girl. Johhny Duncan contributed I’m Learning To Love Her. Other tracks included Don Williams’ The Shelter Of Your Eyes; John Schweers’ Don’t Fight The Feelings Of Love; Hillman Hall’s Pass Me By and Merle Haggard’s A Shoulder To Cry On. Along with Along The Mississippi and Love Unending, these were the tracks that became Sweet Country.
It was recorded with producer Jack Clement at RCA’s Nashville Sound Studio. Some of Nashville’s top musicians accompanied Charley, and the recording went smoothly. So four months after the release of Songs of Love by Charley Pride, RCA Victor were getting ready to release Sweet Country.
When Sweet Country was released, it was well received by critics. Charley brought something new to Don Williams’ The Shelter Of Your Eyes; John Schweers’ Don’t Fight The Feelings Of Love and Merle Haggard’s A Shoulder To Cry On. Ben Peters was proving a reliable source of quality songs for Charley. He brought he Happiest Song On The Jukebox, Just To Be Loved By You and Tennessee Girl to life and in the process, made them his own. The same could be said of Johhny Duncan’s almost wistful I’m Learning To Love Her. Sweet Country was a return to form from Charley Pride. Would record buyers agree?
Sweet Country was released in April 1973, and became Charley Pride sixteenth albums since 1966. However, Charley narrowly missed out on his fifth consecutive number one album in the US Billboard Country charts, when Sweet Country reached number three. In the US Billboard 200, Sweet Country stalled at 166. This was Charley Pride’s lowest chart position in the US Billboard 200 since Songs of Pride…Charley That Is in 1968. If executives at RCA Victor weren’t worried, they were now.
Ever since the release of Did You Think to Pray in late 1971, Charley Pride seemed to more popular in country music circles. No longer was his music crossing over as it once had. Just three years ago, he had reached number twenty-two in the US Billboard 200 with Just Plain Charley in 1970. Later, that year, Charley Pride’s 10th Album had reached number thirty and From Me to You reached number forty-two. Then I’m Just Me reached just fifty in the US Billboard 200 in 1971. Charley Pride Sings Heart Songs arrested the slide, when it reached thirty-eight in the US Billboard 200. However, Did You Think to Pray was the turning point.
After the release of Did You Think to Pray, Charley Pride’s albums never reached the upper reaches of the US Billboard 200. Indeed, Sweet Country proved to be the end of an era.
Little did Charley Pride realise this, when he attended the American Music Awards, to collect the Favourite Country Male Artist award, A Sunshiny Day With Charley Pride won the Favourite Country Album Of 1973. For Charley This was another award to add to his eleven gold discs and the one platinum disc he had been awarded in Canada for The Best of Charley Pride. However, gold discs in America would be a thing of the past for Charley Pride.
While he was still one of the biggest names in country music, Charley Pride’s albums never again sold in the same quantities. It was across the border in Canada, where Charley Pride enjoyed two more gold discs and where The Best of Charley Pride Volume 3 was certified four times platinum in 1976. Since then, Charley Pride has continued to tour and release albums.
Charley Pride is still regarded as country music royalty. He’s enjoyed thirty-nine number one singles on the US Billboard Country charts, and sold over seventy-million albums. Still, Charley Pride is RCA Victor’s second biggest selling artist of all time. The boy who once dreamt of becoming a baseball player has come a long way.
The most successful period of Charley Pride’s career was between 1966 and 1972. This period includes the four albums that were recently released on two discs by BGO Records. The two disc set begins with the gospel country of Did You Think To Pray and includes a trio of country albums A Sunshine Love, Songs Of Love and Sweet Country. These albums feature Charley Pride during the most successful period of his career.
This quartet of albums is the perfect introduction to Charley Pride. His is a story like no other. He’s the failed ballplayer, who ended up working in a smelter in Montana, and four years later, found himself singing at the Grand Ole Opre. That’s Charley Pride, who went on to sell seventy million records and is the living embodiment of the American Dream.
CHARLEY PRIDE-DID YOU THINK TO PRAY/A SUNSHINE LOVE/SONGS OF LOVE/ SWEET COUNTRY.
CLARENCE CARTER-THIS IS CLARENCE CARTER & THE DYNAMIC CLARENCE CARTER.
CLARENCE CARTER-THIS IS CLARENCE CARTER & THE DYNAMIC CLARENCE CARTER.
The Clarence Carter story is one of triumph over adversity. Clarence Carter was born in Alabama, on January 14 1936. Sadly, shortly after his birth, doctors discovered that Clarence Carter was blind. This was a huge blow for the Carter family. They worried what the future held for young Clarence Carter?
As the time came Clarence Carter to go to school, he had to move to Talladega. That’s where he attended the Alabama School For The Blind, and West Side High School. However, by the time Clarence was attending West Side High School he had discovered how he would make a career…music.
Clarence Carter first took an interest in music when he was nine. So when Christmas came, Clarence’s grandmother gave him a guitar. It turned out that Clarence was a natural, and when he left high school, he headed to Alabama State University.
In 1960, Clarence Carter graduated from Alabama State University a degree in music. It was then that the twenty-four year old decided to pursue a career in music.
It wasn’t as a solo artist though. Clarence was part of a duo with Calvin Scott. As Clarence and Calvin, the pair released a string of singles between 1962 and 1965. Their debut single was 1962s I Don’t Know (School Girl), which they released as Clarence and Calvin. After that they became the C and C Boys, releasing four singles for Duke Records. Commercial success eluded them and in 1965 they left Duke Records. Down but not out, Clarence and Calvin headed to Rick Hall’s Fame Studios in Muscle Shoals.
There they recorded Step By Step, which was released on Atco Records, a subsidiary of Atlantic Records. Step By Step failed to chart. Worse was to come. Calvin Scott’s wife shot him, resulting in Calvin having to retire from music temporarily. This inadvertently lead to Clarence’s debut solo single.
In late 1966, Clarence Carter signed to Rick Hall’s Fame Records. His first solo single was Tell Daddy, which reached number thirty-five in the US R&B charts. The followup Thread The Needle reached number ninety-eight in the US Billboard 100 and thirty-eight in the US R&B charts. Then when She Ain’t Gonna Do Right was released later in 1967, it failed to chart. This lead to Atlantic Records’ Jerry Wexler suggest that maybe, it would be best if Clarence Carter’s next single was released on Atlantic Records?
This proved to a masterstroke, when Looking For A Fox reached number sixty-two in the US Billboard 100 and twenty in the US R&B charts. After the biggest hit of his career, Rick Hall chose Funky Fever for the followup. However, it stalled at just eighty-eight in the US Billboard 100 and forty-nine in the US R&B charts. The DJs flipped over the Funky Fever, and it started climbing the charts. Eventually, it reached number six on the US Billboard 100 and two in the US R&B charts. This was enough to earn Clarence Carter a gold disc. It was then that all thoughts turned to Clarence Carter’s debut album.
This Is Clarence Carter was released in 1968, and was recently reissued by Kent Soul with the followup album The Dynamic Clarence Carter. These two albums feature some of the best music Clarence Carter recorded for Fame Records.
This Is Clarence Carter.
After enjoying the most successful single of his career, Rick Hall wasted no time in putting together Clarence’s debut album, This Is Clarence Carter.
Already Rick Hall had amassed plenty of material. It had been recorded at Fame Studio, with the legendary Muscle Shoals Rhythm Section and horns. So it was a case of choosing the best of the material Clarence had already recorded, and then going into Fame Studio and recording some new material for This Is Clarence Carter.
Eventually, twelve tracks were chosen, including the singles She Ain’t Gonna Do Right; Thread The Needle; Looking For A Fox and its B-Side I Can’t See Myself (Crying About You); Slip Away and Funky Fox were included. Other tracks included covers of Jimmy Webb’s Do What You Wanna Do; Clay Hammond’s Part Time Love and Claude Putman’s Set Me Free. Along with Dan Penn and Spooner Oldham’s Slippin’ Around; Rick Hall and Quin Ivy’s I’m Qualified. The other track, Wind Up, was another Clarence Carter composition. He was already shaping up to be a talented songwriter, and had written the arrangements for several of the new songs on This Is Clarence Carter.
The new songs were recorded at Rick Hall’s Fame Studio. Accompanying Clarence Carter were the Muscle Shoals Rhythm Section and horns. Rick Hall produced the songs, which had to be recorded quickly. Atlantic Records wanted to build on the success of Funky Fever. Once the recorded was complete, Atlantic Records scheduled the release for later in 1968. However, before that, critics had their say on This Is Clarence Carter
Before This Is Clarence Carter was released in 1968, it was well received by critics. Clarence Carter had the ability to breath life and meaning into the lyrics. That was the case regardless if it was a ballad like Do What You Gotta Do, Part Time Love, the soul-baring Slip Away or uptempo tracks like I’m Qualified and Wind It Up. Critics thought the versatile and talented Clarence Carter was destined to become Southern Soul’s next big star.
Rick Hall had high hopes for This Is Clarence Carter when it was released. Sadly, the album stalled at just forty-nine and stayed in the charts just two weeks. However, This Is Clarence Carter was just Clarence’s debut album. Maybe his luck would improve with the followup The Dynamic Clarence Carter?
The Dynamic Clarence Carter.
After the release of This Is Clarence Carter, Rick Hall and Clarence Carter began thinking about the followup to Funky Fever. Eventually, the settled on Too Weak To Fight, which Clarence, Rick Hall, George Jackson and John Keyes cowrote. On the flip side, was Back Door Santa. When Too Weak To Fight was released in time for Christmas 1968, the album reached number thirteen in the US Billboard 100 and number three in the US R&B charts. This gave Clarence another gold disc. Then Back Door Santa reached number four on Billboard Christmas chart. Clarence Carter enjoyed two hits as 1968 drew to a close. This should’ve been a time celebration. However, there was a problem.
The cupboard was bare for Clarence Carter. He had used up the supply of songs he had recorded for Rick Hall. There was nothing left for a new album. So as 1969 dawned Clarence and Rick Hall began to think of the followup to This Is Clarence Carter.
With no new material, a decision was made that Clarence Carter should record an album of recent hits and cover versions. This included a cover of Etta James and Ellington Jordan’s I’d Rather Go Blind; Don Covay and Otis Redding’s Think About It and Barry Mann and Cynthia Weil’s You’ve Been A Long Time Coming. One of the covers that caused raised eyebrows was The Doors’ Light My Fire seemed. However, Jimmy Hughes’ Steal Away seemed the perfect song for Clarence to cover. So did Obie Burnett McClinton’s Let Me Comfort You and Charles Chalmers and Donna Rhodes’ Look What I Got. Other covers included Tom Hall’s Harper Valley Pta and Weekend Love, which had been penned by Larry Chambers, George Jackson, Melvin Leakes and Raymond Moore. The other two tracks on what became The Dynamic Clarence Carter, were Too Weak To Fight and the Clarence Carter composition The Road Of Love. These songs were recorded at Fame Studio.
The twelve songs that became The Dynamic Clarence Carter were recorded at Rick Hall’s Fame Studio. Accompanying Clarence Carter were the Muscle Shoals Rhythm Section and horns. Rick Hall produced The Dynamic Clarence Carter, which was released in February 1969.
Despite the lack of the new songs, The Dynamic Clarence Carter was well received by critics. They felt that Clarence Carter brought something new to each of the songs. That was the case with a heart-wrenching cover of I’d Rather Go Blind that opened The Dynamic Clarence Carter. Rick Hall slows the tempo, and Clarence takes the song in a new direction. That’s just a taste of what’s to come.
Clarence delivers emotive readings of Think About It and You’ve Been A Long Time Coming. There’s a wistful quality to The Road Of Love; before Clarence reinvents The Doors’ Light My Fire as a ballad. Jimmy Hughes’ Steal Away seems almost tailor made for Clarence as he delivers a needy, hopeful vocal. It’s followed by one of the album’s highlights, Let Me Comfort You. This slice of country soul features an impassioned vocal from Clarence Carter. One of the most powerful songs is Too Weak To Fight, which gave Clarence a hit single. It’s easily one of the album’s highlights. However, it’s the sultry sounding Weekend Love which closes The Dynamic Clarence Carter. Although it was lacking in new material, this mixture of a familiar songs and cover versions was the perfect showcase for Clarence Carter.
Record buyers agreed, and The Dynamic Clarence Carter reached twenty-two in the US R&B charts. This was a vast improvement on his debut album. However, that wasn’t the end of the commercial success.
By the time The Dynamic Clarence Carter was released in February 1969, Clarence was enjoying another hit single. Snatching It Back reached number thirty-one in the US Billboard 100, and number four in the US R&B charts. Clarence Carter was on a roll, and thanks to Rick Hall, was well on his way to becoming one of the stars of Southern Soul.
Over the next two years, commercial success and critical success came Clarence Carter’s way. He enjoyed another six hit singles before 1970 drew to a close. By then, Clarence Carter had enjoyed the biggest single of his career, Patches, which reached number four in the US Billboard 100, and number two in the US R&B charts. This was just one of seven top ten US R&B singles that Clarence Carter enjoyed between 1968 and 1970. They all had one thing in common, they were produced by Rick Hall at Fame Studio.
Rick Hall transformed the career of Clarence Carter. With Rick Hall’s guidance Clarence Carter became one of the stars of Southern Soul. The most successful period of Clarence Carter’s career was between 196 and 1970. During that period, Clarence Carter produced some of the best music of his career. This includes the first two albums of Clarence Carter’s career, This Is Clarence Carter and The Dynamic Carter. They’ve been reissued by Kent Soul, an imprint of Ace Records, complete with five bonus tracks. These two albums are a tantalising taste of Clarence Carter, who triumphed over adversity to became one of the stars of Southern Soul during the late sixties.
CLARENCE CARTER-THIS IS CLARENCE CARTER & THE DYNAMIC CLARENCE CARTER.
KRIS DREVER-IF WISHES WERE HORSES.
KRIS DREVER-IF WISHES WERE HORSES.
For the last decade, Kris Drever has managed to combine his solo career, with being a member of Lau, who nowadays, are one of the most successful, respected and progressive British folk bands of their generation. However, to reach the heights Lau have, hasn’t been easy. Each of the three members of Lau have had to make sacrifices.
In the case of Kris Drever, he’s had to put recording his third solo album on hold. This must have been frustrating for Kris Drever. His first two albums, 2006s Black Water and 2010s Mark The Hard Earth had been released to widespread critical acclaim. However, Lau were on the verge of making a big breakthrough. Everyone had to make a sacrifice. So Kris Drever’s solo career put recording his third solo album on hold.
By 2015, Lau had established themselves as one of the premier British folk groups. They had just released their fourth studio album, The Bell That Never Rang in May 2015. The Joan Wasser produced album was released to critical acclaim, further cementing and enhancing Lau’s reputation as one of the most progressive and successful folk trios. All the hard work and constant touring had been worthwhile. Now Lau could enjoy the fruits of their labour; and Kris Drever could record his third studio album.
Eventually, Kris Drever had written eleven new songs, which he recorded with his band. These songs became If Wishes Were Horses, which will be released by Reveal Records on 25th March 2016. Not only does If Wishes Were Horses marks the return of Kris Drever, but finds him celebrating ten years as a solo artist. He’s come a long way in a short space of time.
The Kris Drever story began in 1978, in Kirkwall, on the beautiful island of Orkney. That’s where Kris Drever was born into a musical family.
Ivan Drever, Kris’ father, had been a folk musician since he was a teenager. By then, Ivan Drever had been winning talent shows all over Orkney. Then in 1974, Ivan Drever founded his first folk group, Knowe O’Deil. He would be a member right up until the late eighties, when Ivan Drever left and released his debut album Homeland in 1989. A year later, in 1990, Ivan Drever joined Celtic rockers Wolfstone. By then, his son was getting ready to follow in his footsteps.
Already, Kris Drever had learnt to play the guitar. Soon, he would become an active participant in Orkney’s folk scene. This was akin to the first part of a musical apprenticeship for Kris Drever. The highlight of Kris Drever’s nascent musical career came when he took part in the Orkney Folk Festival. However, by the time he was seventeen, Kris Drever decided to move to the mainland.
Having left home, Kris Drever settled in Edinburgh in 1995. Soon, he became a familiar face at the Tron Ceilidh House, where he played several nights a week. At one point, Kris played double bass, but soon, returned to his trusty guitar. By then, as he had honed his own unique style, and was able to seamlessly, switch between musical genres. Kris was just as happy playing country, folk, jazz and rock. This made Kris an ideal candidate for session work.
Given his versatility and unique playing style, Kris Drever was constantly in demand for session work. He could come in learn a part, and lay it down. Soon, word was out that anyone looking for a guitarist should try this “young guy from Shetland.” However, Kris had set his sights higher than session work.
Towards the end of 2000, Kris Drever formed his first folk trio, Fine Friday with Nuala Kennedy and Anna-Wendy Stevenson. In the early days, they played a weekly gig in an Edinburgh pub. However, despite such humble beginnings, Fine Friday were destined for greater things.
They went on to release two albums, Mowing The Machair and Gone Dancing. Suddenly, the band that made its debut in an Edinburgh pub were touring Britain, Europe and even as far away as Australia. Eventually, though, Fine Friday ran its natural course and the group disbanded. However, as door closed, another opened.
No longer part of a band, Kris Drever was able to work with a variety of different musicians and bands. This included Cathy Ryan of Irish-American supergroup Cherish the Ladies. After this, Kris worked alongside two top Scottish fiddlers John McCusker and Bruce MacGregor. He also got the opportunity to work with Irish accordionist Leo McCann; Gaelic band Tannas. All this was good experience for the future, whatever it had in store for him.
By 2005, Kris Drever had just co-founded Lau Martin Green and Aidan O’Rourke. From the earliest days of Lau, the three men agreed that they should all be free to embark on other projects; as long as they came back to “the mothership.” Since then, the members of Lau have combined being a member of “modern folk’s most innovative band,” with their various projects. In Kris Drever’s case, this has included various projects over the years.
In 2005, Kris Drever got the opportunity to play on Kate Rusby’s album The Girl Who Couldn’t Fly. It was released in October 2005. By then, Kris was working on his debut solo album.
Black Water.
This was the first time that Kris Drever had left “the mothership” since he cofounded Lau. However, he was determined that his solo career could coexist with life as a member of Lau.
For his debut album Black Water, Kris Drever had penned eleven new songs. They were recorded in Pure Records Studio, Yorkshire. Producing the album, was another Scottish folk musician John McClusker. Once the album was complete, it was scheduled for release on Reveal Records on October 23rd 2006.
Prior to the release of Black Water, critics had their say. This can be a nervous time for artists, especially new artists. Bad reviews can derail a career. However, Black Water was released to widespread critical acclaim. Critics forecast that Kris Drever was a rising star of the folk scene.
That proved to be the case. When the BBC 2 Radio Folk Awards were announced in 2007, Kris Drever had been shortlisted. He went one further, and won his first BBC 2 Radio Folk Award; the Horizon Award For Best Newcomer. By then, Lau were preparing release their debut album. However, Kris beat them to it, with his collaboration with Éamonn Coyne.
Honk Toot Suite.
As 2007 dawned, Kris Drever and Éamonn Coyne released their first collaboration Honk Toot Suite. It was an album that featured both new songs and traditional songs. On Honk Toot Suite, had been recorded in Edinburgh, where Kris Drever and Éamonn Coyne were joined by the great and good of British folk. Kate Rusby, Eddie Reader, Roddy Woomble and Ian Carr all featured on Honk Toot Suite. It was an impressive lineup for Kris Drever and Éamonn Coyne’s first collaboration.
When Honk Toot Suite was released, the reviews were positive. Critics hoped that Kris Drever and Éamonn Coyne would repeat the exercise, and that a followup to Honk Toot Suite would followup. However, that would be if Kris could find time. He would be busy for the next few years with Lau.
Lightweights and Gentlemen,
Nearly two years after Lau were first formed, they released their debut album Lightweights and Gentlemen in March 2007. It had been recorded at Castle Sound in Edinburgh. Producing Lightweights and Gentlemen was Callum Malcolm, who had previously, had worked with The Blue Nile.
Since then, he had worked with a wide variety of artists. Now he was an experienced producer, and the perfect person to produce Lau’s debut album. He could and would bring out the best in Lau.
Before the release of Lightweights and Gentlemen, critics received a copy of Lau’s debut album. Critics were excited by what they heard, and soon, were calling Lau one of the most exciting modern folk bands of recent years. Lau it seemed had come a long way in a short space of time. They didn’t know how far though.
Despite, Lightweights and Gentlemen being Lau’s debut album, Lau were and won their first BBC 2 Radio Folk Award. Lau won the award for the Best Group. By then, Lau were about to release another album.
Live.
By then, Lau had established a reputation as one of Scotland’s best live bands. Whether it was festivals or small intimate venues, Lau were guaranteed to lift the roof with their unique brand of folk music. So it made sense that Lau released a live album.
Live was released in 2008, and was a tantalising taste of Lau live. The album featured Lau at their very best, as they combine electronic and traditional instruments, and take folk a new direction. Lau, who had already garnered a large, loyal following, were being hailed as musical pioneers.
Again, the judges of the BBC 2 Radio Folk Awards realised this. For the second time, Lau won the award for the Best Group. Meanwhile, Lau’s fans awaited their next studio album with baited breath.
Arc Light
Two years after their debut album Lightweights and Gentlemen, Lau released their sophomore studio album Arc Light in March 2009. Again, Arc Light had been produced by Callum Malcolm at various Edinburgh studios during December 2008. Once Arc Light was complete, the spotlight would shine in Lau’s direction again.
Arc Light caught the attention of critics. They hailed the album Lau’s finest album. Superlatives aplenty were expounded in critically acclaimed reviews of Arc Light. It was further proof that Lau were the future of folk music. However, Kris Drever was ready to leave “the mothership” again.
Mark The Hard Earth.
Ever since the release of Black Water in 2006, Kris Drever had mainly concentrated on Lau. Granted, he had made the occasional appearance on other artists’ albums. This included Kate Rusby’s Awkward Annie in 2007. Then in 2008, Kris played on Heidi Talbot’s In Love and Light and Duncan Chisholm’s Farrar. Later in 2008, Kris’ collaboration with Roddy Woomble and John McCusker Before The Ruin was released in September. What was hailed as an album from three of Scotland’s finest folk musicians was well received by critics. However, after the release of Before The Ruin, Kris returned to “the mothership.” A year later, he left again.
Kris had returned to the studio with producer John McCusker during 2009. With a band that included, Phil Cunningham and Karine Polwart, another eleven new songs were recorded. These songs became Mark The Hard Earth which was premiered at a concert Celtic Connections in Glasgow, during January 2010.
The premiere of Mark The Hard Earth received rave reviews. This augured well for the release of Kris Drever’s sophomore album. It was released two months later, on 8th March 2010. Critical acclaim accompanied the release of Mark The Hard Earth, which was regarded as Kris’ finest album. His fans hoped that it wouldn’t be four years until Kris returned with his third album. It wasn’t. Instead, six years passed before Kris released If Wishes Were Horses. However, he had a good excuse. Lau were about to become one of the biggest, and most progressive British folk bands of their generation.
Race The Loser.
Three years after the release of Arc Light, Lau reyturned Castlesound Studios, Pencaitland. This time, there was no sign of Callum Malcolm. Instead, Grammy Award nominated producer Tucker Martine would produce the nine tracks that became Race The Loser.
When Race The Loser was released in 2012, it was to widespread critical acclaim. Critics hailed Race The Loser as Lau’s most ambitious, and eclectic album of Lau’s career. Tucker Martine had taken Lau right out of their comfort zone.
Although it would’ve been easy to describe Race The Loser as a folk album, it was much more than that. Granted folk is the most predominant influence, but there’s elements of jazz, rock, electronica and soul. The soul comes in the shape of Kris’ world-weary, all-knowing vocal. It plays an important part in what was a career-defining album from Lau.
Following the release of Race The Loser, “the mothership” took off, and Lau’s star was in the ascendancy. They were regarded as one of the leading lights and pioneers of British modern folk. For the next three years, Lau would spend much of their time touring. There was little time for Kris Drever to even contemplate recording his third album.
Storymap.
The only album Kris found time to record was Storymap, the long-awaited followup to Honk Toot Suite, his 2007 collaboration with Éamonn Coyne. Just like Honk Toot Suite, Storymap was a mixture of old and new songs. A total of nine songs were recorded by Kris Drever and Éamonn Coyne, with a tight, talented band. Once the album was complete, it was released in 2013.
When Storymap was released, the reviews of the album were positive. Critics noted that the music on Storymap was quite different to that on Kris’ solo albums, and Lau’s four studio albums. It seemed that his collaborations with Éamonn Coyne, allowed Kris to record and release a different style of music. However, soon, Kris would return to “the mothership” once more.
The Bell That Never Rang.
Race The Loser had been the most successful album of Lau’s seven year career. Now they were faced with following up what had been a career defining album. However, rather than record another album with producer Tucker Martine, a decision was made to change producer. For The Bell That Never Rang, Joan Wasser was chosen to record what was the most important album of Lau’s career.
Their profile had never been higher, and they were one of the most successful, respected and progressive British folk bands of their generation. So when Lau returned to Castlesound Studio, in Edinburgh, it was with a degree of trepidation. They devoted ten years of their life to Lau. However, Joan Wasser was an experienced producer who would ensure that Lau picked up where they left off on Race The Loser.
That proved to the case. The Bell That Never Rang featured a triumphant return from musical alchemists Lau. They’re at their at their innovative best, seamlessly combining disparate musical genres. Everything from Celtic, electronica, electro, folk, indie rock and rock is thrown into Lau’s melting pot on The Bell That Never Rang. Producer Joan Wasser sprinkles some sonic seasoning, and the result is a dish that’s fit for a King or Queen.
Critics agreed. The Bell That Never Rang was regarded as Lau’s greatest album. It surpassed everything that had gone before. Lau had released a musical Magnus Opus, that saw them cement their place at British folk’s top table. Suddenly, all the hard work and sacrifices the members of Lau had made seemed worthwhile.
After touring The Bell That Never Rang, the three members of Lau left ”the mothership.” For the last six years, they had been working seemingly non stop. It was time for some R&R. However, R&R for Kris Drever meant recording his long-awaited third album If Wishes Were Horses.
If Wishes Were Horses.
When Kris Drever began to work on his third album, five years had passed since he released Mark The Hard Earth. Kris had only released two albums in nine years. However, Lau had kept him busy. In a way, Kris had the perfect excuse. However, it didn’t stop people asking when he would be releasing his next album. Soon, he would be able to say.
Just like his two previous albums, Kris wrote the eleven songs on that became If Wishes Were Horses He then began to record the album with his tight, talented band.
The rhythm section featured drummer and percussionist Louis Abbott; bassist Euan Burton, who played piano and Wurlitzer; while guitarist Ian Carr also added trumpet. Yolanda Quartey added backing vocals. Kris played guitar, added vocals and produced If Wishes Were Horses. Stuart Hamilton took charge of engineering at Castlesound Studio, while Tim Matthew looked after engineering duties at Mareel Studio, Shetland. Once the album was recorded, all that was left was mixing and mastering.
If Wishes Were Horses was mixed in Glasgow, by Mark Freegard, at Kyoti Studio. Then the album was mastered in London, by Nick Watson at Fluid Mastering. Now all that was left was Reveal Records to set a release date for If Wishes Were Horses. Eventually, they settled on 23rd March 2016, just over six years since Kris Drever released Mark The Hard Earth. However, If Wishes Were Horses is definitely well worth the six year wait.
Opening If Wishes Were Horses is I Didn’t Try Hard Enough. Just a firmly strummed, crystalline guitar is joined by a ponderous bass. They set the scene for Kris’ hurt-filled. It’s tinged with regret and guilt, as he rues “I Didn’t Try Hard Enough.” Then Kris realises its really his “factory job” and “the repetition” that he misses. He confesses: “I miss it more than I miss you.” When his vocal drops out, just guitars combine. Soon, the arrangement builds, and Kris admits: “I couldn’t see the road ahead for tears.” Ruefully, he sings “oh well,” as the arrangement to this confusional reaches a thoughtful crescendo.
When We Roll in the Morning deals with subject of a broken relationship, and new love. Carefully, Kris strums the his guitar which was been close miked. A slow, thoughtful drum plays, Kris remembers breaking up with his former parter. There’s guilt in his voice as he sings “though she’s still alive, we don’t talk anymore.” Soon, there’s a change in his tone. “I thought that was as good as it got, but now I’m with a girl whose beautiful and wise.” In an instant, the guilt is gone, to be replaced by happiness and joy. Deep down though, he can’t quite believe his relationship will last, as he he’s loved and lost before. However, having: “fallen in love for the third time,” Kris hopes it’s third time lucky in this beautiful paean.
Capernaum the only song on the album not penned by Kris. He’s responsible for the fuller, jauntier arrangement. Guitars and bass combine before Kris’ vocal enters. He follows the lead of the guitars and rhythm section. Soon, he’s singing of old Edinburgh. The lyrics were written in traditional Scots. Despite this, Kris almost makes them swing as he reels off local landmarks, including The Tron, kirks, mills, wynd and braes are all mentioned. Behind Kris, his band enjoy the opportunity to change direction, and like Kris showcase their versatility.
There’s a degree of urgency and drama as the band play on Shipwrecked. They ensure the arrangement almost gallops along. Drums are caressed with brushes and guitars strummed and picked. A weary Kris sings to his lover, as prepares to set sail for home. His lyrics have a cinematic quality. As the bass walks the arrangement along, and a piano adds a melancholy hue, Kris longs to be home. Deep down he’s worried. Especially when he sings: “if our boat hits the rock below, we’ll swim for shore.” Worriedly he wonders and asks “nobody gets shipwrecked any more” on this powerful, cinematic song.
Firmly and confidently Kris strums his guitar on If Wishes Were Horses. Soon, galloping percussion and another guitar accompany Kris’ vocal as wistfully he sings: “I wish that we were made of gold, I wish we would never grow old.” Later, frustration and anger fill Kris’ voice as he sings: “I wish that politicians ties, would tighten when they tell lies.” Sadness fills Kris’ vocal when he delivers the line: “when you get what you want, and it’s not what it seems.” One can’t help but wonder if this is a comment on the fame that’s come Lau’s way? After all, it’s come at a cost. The band are away from home for long periods of time. However, throughout the song, Kris seems to be wishing and longing for change, proving that rock stars are no different from everyone else.
Carefully and slowly, Kris strums his guitar on The Longest Day. Its crystalline sound chimes, adding a melancholy hue to. This is perfect for Kris’ vocal, as memories come flooding back. To him “it was The Longest Day, the air was still and I was too.” He seems to remember everything as it was. Especially, “and when I kissed you then.” That seems: “a million years ago. Soon, some of the most beautiful lyrics on the album unfold: “Thomas Wolfe says we can never go home, it’s okay I need the right to roam, we’re all wondering this world, looking for paradise, you can never set foot in same town twice.” All the time, the understated arrangement compliments the lyrics to what’s one of the highlights of If Wishes Were Horses.
A lone chiming guitar plays, before a guitar is strummed slowly and Kris whistles on When the Shouting Is Over. When his vocal enters, his delivery is impassioned. His lyrics have a cinematic quality, and his delivery bring them to life. Soon, the scenes are unfolding before the listener’s eyes.The other noticeable thing, is how melodic the song is. Even after one listen, you’re hooked and for the rest of the day will find yourself singing When the Shouting Is Over.
The tempo to Don’t Tell Me That (Human Nature) is slow, and Kris’ delivery of the lyrics is almost deliberate. It tells the story of two men from the same place, who come from the same background. One is Kris, an other someone whose unemployed. Accompanied by guitars, disbelief fills his voice as he sings “don’t tell me that because of dumb luck, you can’t see the flip side.” Nor is he willing to accept “that it’s just human nature, to grasp and keep grasping.” There’s an alternative to benefits Kris believes..,self-employment. His advice is: “if the lifeboats are rotten, and so is the ship, you better slip your shoes on, or learn how to swim.”
There’s a change of style and tempo on Hard Year. Straightg away, the rhythm section lock into a groove, joining the guitars in accompanying Kris’ vocal. Adding backing vocals is Yolanda Quartey, whose vocal sits just bellows Kris. He’s trying to remain positive; I know it’s been a Hard Year, we’ve cried a thousand tears.” By then, a Wurlitzer has been added. Just like the addition of a backing vocalist, it takes the song in a new direction. Later, Kris suggests: “so bring things to the fore and let them know, voice your doubts and call them to the sky, grab your chances before you go, you probably won’t choose the day you die.” Just like When the Shouting Is Over, this is another song that’s melodic, memorable and hugely catchy.
The guitars on Five Past Two ring out, chiming as Kris’ forlorn, melancholy vocal delivers the lyrics. They’re about a man whose given up on life. He’s locked away in his flat, and no longer even bothers to clean his flat. As he sits alone “I cant seem to open this document.” Soon, he’s pouring his heart out. When he delivers the line: “my MU bills are still unpaid,” one can’t help but wonder if the worry of being unable to pay for his education is the cause of this despair?
Going To The North is a homecoming song, that closes If Wishes Were Horses. Just galloping percussion, bass and guitars combine with Kris’ vocal. He’s travelling home to see his parents in “this old frozen railway car, we’re only going to the North to see our parents there, they’ll always find a bed for us, though there is no space to spare.” There’s a sense of anticipation as the train makes its way North. Kris sings “there’s a magnet in the north, you’re never really gone, the Lodestone it can’t but spin, and it knows where you belong.” As he delivers the lyrics, Kris seems happy to be back where he belongs.
That’s where it all began for Kris Drever. He left a long time ago, 1995 to be precise. Since then, he’s spent the last twenty-one years making music. He’s come a long way from his days as a session guitarist. Now he’s a member of one of the successful, respected and progressive British folk bands of their generation, Lau. That’s not all. Kris Drever also celebrates ten years as a solo artist during 2016. What better way to do this, than with the release of his long-awaited third album, If Wishes Were Horses. It will be released by Reveal Records on 25th March 2016, and is without doubt, the best of Kris Drever’s trio of solo albums.
With its understated, and sometimes sparse arrangements, Kris Drever’s vocal takes centre-stage. Other times, the understated arrangements showcase catchy, melodic and memorable tracks where hooks haven’t been rationed. Always, though, the arrangements allow the listener to concentrate on the lyrics. Kris tackles a variety of subjects, from education and social migration to politics, self-employment and Shetland where Kris Drever now lives. There’s also songs about love and sex. No subject is off-limits, on what’s a semi-autobiographical album from Kris Drever. He’s matured as singer and songwriter since his sophomore album Mark The Hard Earth.
That’s not surprising, as it’s six years since Mark The Hard Earth was released. However, If Wishes Were Horses has been well worth the wait. If Wishes Were Horses is a cerebral, career defining album from Orkney born troubadour Kris Drever. He ponders and philosophises on a variety of subjects on If Wishes Were Horses, and in the process, breathes life and meaning into his cerebral, insightful lyrics.
KRIS DREVER-IF WISHES WERE HORSES.
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