THE KING AND DELUXE ACETATE SERIES: BEEF BALL BABY! THE NEW ORLEANS SESSIONS.
THE KING AND DELUXE ACETATE SERIES: BEEF BALL BABY! THE NEW ORLEANS SESSIONS.
While Deluxe Records headquarters were in New York, the label’s founders David and Jules Braun weren’t averse to heading out on the road in search of new artists to add to their rooster. Previous trips to L.A. and Charlotte, North Carolina during 1946 had proved fruitful. So in February 1947, the Braun brothers prepared for a trip to the Big Easy.
New Orleans always had a rich musical heritage. That had been the case since the dawn of the twentieth century. Ever since then, New Orleans was known to have a vibrant and thriving music scene. The Braun brothers had high hopes for their first trip to the Big Easy.
Having made their way to New Orleans, the Braun brothers struck musical gold when they got the opportunity to record a veteran of the city’s music scene, singer and pianist Walter “Fats” Pichon. Then the Braun brothers got the opportunity to record the Cajun band of Luderin Darbone. Gradually, the Braun brothers were making inroads into the New Orleans’ musical scene. Guiding them was Paul Gayten.
He would soon become Deluxe Records’ A&R man in New Orleans, and was signed to the label. Paul Gayten is also one of the artists that features on Ace Records’ recent released compilation The King and Deluxe Acetate Series: Beef Ball Baby! The New Orleans R&B Sessions. It’s the eighth and latest instalment The King and Deluxe Acetate Series.
The King and Deluxe Acetate Series: Beef Ball Baby! The New Orleans R&B Sessions features twenty-four tracks from Eddie Gorman, Paul Gayten and His Band, Smiling Lewis, Cousin Joe And His Sextette, Jewel King Dave Bartholomew and His Sextette and Chubby “Hip Shakin’” Newsom and Her Hip Shakers. Eight of the twenty-four tracks have never been released before. This includes some real finds, which are a reminder of New Orleans’ illustrious musical past.
Opening The King and Deluxe Acetate Series: Beef Ball Baby! The New Orleans R&B Sessions is Answer To Chubby’s Bedroom Blues, the first of six tracks from bluesman Eddie Gorman. They were recorded just before New Year’s Eve 1947, when the recording ban came into effect. Sadly, only one the six tracks Eddie Gorman recorded was ever released.
Beef Ball Baby was released by Deluxe Records in 1949. The remainder of the tracks Eddie Gorman recorded with producer Paul Gayten lay in Deluxe Records’ vaults.
This included Answer To Chubby’s Bedroom Blues, Hey Now, Telephone Blues, You Don’t Move Me No More and an alternate take of Eddie Gorman’s 1948 single Worrying About My Love. Each of these tracks showcase Eddie Gorman’s versatility, and his ability to breath life and meaning into the lyrics. Sadly, Eddie Gorman’s recording career lasted just the two years he was signed to Deluxe Records.
Paul Gatyen played an important part in Deluxe Records’ musical mining expeditions to New Orleans. He was the company’s talent A&R man and producer. However, at one point, Paul Gatyen and His Band were signed to Deluxe Records.
In 1948, Paul Gayten and His Band released Don’t Worry ‘Bout Nothin’ as a single. It featured a vocal from one of Paul Gayten’s discoveries, Eddie Gorman. However, the single failed commercially, and Paul Gatyen decided to concentrate on his work as A&R man and producer.
Smiling Lewis was another of Paul Gatyen’s discoveries. He recorded two singles during 1947. The first was Swimming Blues, which featured Turn On Your Volume, Baby on the flip side. The follow was meant to be Here Comes Smiley, with Love Is Like A Gamble on the B-Side. Both singles were recorded with David Braun. However, it’s unknown if either single was ever released? They were given a catalogue number, but whether the New Orleans’ bluesman’s singles were ever released is unknown?
It was Cousin Joe who recorded the first R&B side for Deluxe Records. Previously, Cousin Joe had recorded for various labels. Mostly, the sessions had taken place in New York. This was a long way from home for the Louisiana born singer. Then in 1947, Cousin Joe and His Sextette got the opportunity to record four sides in the Big Easy.
Sadly, only three of the sides that Cousin Joe And His Sextette recorded have survived. One of the the acetate was so badly damaged, that it was unplayable. At least Phoney Women Blues, Little Woman Blues and It’s Dangerous To Be A Husband have survived, and are a reminder of the first R&B session recorded for Deluxe Records.
Jewel King made her recording debut in 1948, when she recorded a session with Dave Bartholomew. The session was split, with Jewel King and Dave Bartholomew both recording tracks.
For her recording debut, Jewel King recorded three songs. The first was an impassioned version of Give Me A Clue Baby. Her defiant take of Go Now heads in the direction of jump blues. Then on Passion Blues, Jewel King delivers a heartfelt, soul-baring vocal. It’s so full of hurt and heartache, that it’s as if Jewel King has lived and survived the lyrics.
After Jewel King had laid down her trio of tracks, it was time for Dave Bartholomew And His Sextette to record nine tracks. Sadly, only two of the acetates remain. This includes what’s regarded as Dave Bartholomew And His Sextette’s finest hour, She’s Got Great Big Eyes (And Great Big Thighs). Playing a part in the track’s sound and success is drummer Earl Palmer.
He would go on to play a huge future in shaping the rock ’n’ roll sound during the fifties. However, Earl Palmer doesn’t play a starring role on Dave’s Boogie Woogie. It’s a reminder of New Orleans’ illustrious musical past, from Dave Bartholomew And His Sextette.
Chubby “Hip Shakin'” Newsom and Her Hip Shakers contribute the five remaining tracks on The King and Deluxe Acetate Series: Beef Ball Baby! The New Orleans R&B Sessions. The five tracks were recorded in 1949, and were an attempt to match the commercial success of Chubby Newsom’s hit single Hip Shakin’ Mama. It had been released in December 1948, and gradually, went from being a local number one, to reaching number eight on the US R&B charts. Sadly, Hip Shakin’ Mama doesn’t feature on the compilation, as the acetate hasn’t survived. At least, the flip-side to Hip Shakin’ Mama, Chubby’s Confession has survived. So have the other four sides Chubby Newsom cut for Deluxe Records.
This includes the followup single Back Bitin’ Woman, and the B-Side Bedroom Blues. While Back Bitin’ Woman sold reasonably well, it failed to match the success of Hip Shakin’ Mama. So Chubby “Hip Shakin'” Newsom and Her Hip Shakers returned to the studio with Dave Bartholomew.
The next single Chubby “Hip Shakin'” Newsom and Her Hip Shakers recorded was Close To Train Time. On the B-Side was New Orleans Lover Man. However, Close To Train Time failed to replicate the success of Hip Shakin’ Mama. Since then, Close To Train Time and Back Bitin’ Woman have been a tantalising taste of what Chubby Newsom was capable of.
Just a few weeks after cutting Close To Train Time, the Braun brothers left New Orleans for the last time. Their time in New Orleans had been productive.
They had discovered Roy Brown, one of the label’s most successful artists. Later, they discovered Chubby “Hip Shakin'” Newsom and Her Hip Shakers, who was responsible for one of Deluxe Records’ most successful hits nationally, Hip Shakin’ Mama. While her other releases weren’t as successful nationally, they sold well locally. These singles brought to an end Deluxe Records’ two year adventure in the Big Easy.
The Braun brothers moved on, in search of the next big thing. There were still plenty of cities with musical gold awaiting discovery. Similarly, those that had played an important role in Deluxe Records’ New Orleans adventure moved.
A&R man and producer Paul Gayten, and Dave Bartholomew both moved on. So did Chubby Newsom, who in 1951, was reunited with the Braun brothers, when she signed for their latest venture Regal Records. Chubby Newsom was a reminder of the two years the Braun brothers spent travelling between New York and the Big Easy, seeking musical riches.
Not everything that glittered proved to be musical gold. Some of the music the Braun brothers discovered in New Orleans wasn’t a commercial success. Some of the recordings made in New Orleans weren’t even released, and make their debut on Ace Records’ recent released compilation The King and Deluxe Acetate Series: Beef Ball Baby! The New Orleans R&B Sessions. It’s the eighth and latest instalment The King and Deluxe Acetate Series, and documents the Braun brothers’ two year musical adventure in the Big Easy.
THE KING AND DELUXE ACETATE SERIES: BEEF BALL BABY! THE NEW ORLEANS SESSIONS.
FIRE!-SHE SLEEPS, SHE SLEEPS.
FIRE!-SHE SLEEPS, SHE SLEEPS.
During the sixties and seventies, jazz musicians thought nothing of releasing two and sometimes three albums a year. Often albums were recorded in a few days. This included many a classic album, including John Coltrane’s A Love Supreme. Nowadays, recording an album can be a long, drawn out process.
That’s been the case since the advent of the home studio. No longer do artists have to hire a recording studio, and discipline themselves to record an album within a certain timeframe. Instead, it’s possible for artists to record an album at home. All they need is a laptop with a DAW and a handful of plug-ins installed plus a digital audio interface. Then they’re ready to record their Magnus Opus. However, often, things don’t go to plan.
When bands disappear into their home studio determined to record a career defining album, they’ve not a worry in the world. They’re happy not to be renting a studio by the hour. This means they can take their time honing, refining and tweaking even the tiniest detail.
Before the band realises it, days become weeks, and weeks become months. For some bands, months turn into a year, and often two. That’s not uncommon in the age of a home recording studio. However, while some bands take two years to record an album, the three members of Fire! have recorded five albums in seven years, plus another three albums with Fire Orchestra. It seems that the Mats Gustafsson , Johan Berthling and Andreas Werliin are the hardest working men in Swedish music.
Their latest album as Fire! is She Sleeps, She Sleeps, which was reissued on Rune Grammofon on 19th February. She Sleeps, She Sleeps was recorded in Stockholm in March 2015. By the time She Sleeps, She Sleeps was mixed during the summer of 2015, the three members of Fire! were back making music. There was no way that the members of Fire! would spend two years recording an album. They’ve recorded several albums during a two year period before, and will continue to do so.
Ever since Fire! released their debut album You Liked Me Five Minutes Ago on Rune Grammofon, in 2009, Mats Gustafsson ,Johan Berthling and Andreas Werliin have had to fit the project around their other musical commitments.
Reeds player and saxophonist Mats Gustafsson is the elder statesmen of Fire! He was born in 1964, and has been involved in the Swedish music scene since 1988. Since then, Mats Gustafsson has worked as a musician, arranger, composer, conductor and producer. He’s played and performed on over 200 albums. That’s just the tip of the iceberg.
Currently, Mats Gustafsson is a a member of jazz trio The Thing. However, over the past three decides Mats Gustafsson has collaborated with everyone from Jim O’Rourke to Sonic Youth and Lasse Marhaug. Then there’s the solo albums Mats Gustafsson has released. These solo albums and collaborations add another seventy albums to Mats Gustafsson’s C.V. However, he’s not the only member of Fire! with an impressive C.V.
Just like Mats, bassist Johan Berthling is a veteran of numerous bands. Previously, he’s been a member of Angles, Angles 9, Boots Brown, Nacka Forum, Ohayo, Pipeline, Sten Sandell Trio, Tape, The Godforgottens, The Tiny and Time Is A Mountain. Away from these bands, Johan has worked as a hired hand.
Johan has worked as an arranger, musician, producer and songwriter. Already, he has around 170 credits to his name. When Johan’s not working on other people’s albums, he runs a record label.
In 1999, John and Klas Augustsson founded the Häpna record label. It’s based in Stockholm, and has released nearly sixty releases. This includes albums by Tape, who released their eighth album Casino in 2014. Just like other members of Fire!, Johan has a voracious appetite for making music.
The same can be said of drummer and percussionist, Andreas Werliin. He was born in 1982, and is the youngest member of Fire! Although he’s only thirty-four, Andreas is almost veteran of Swedish music. Andreas has worked as an arranger, musician, singer, songwriter and producer. He’s happy to work as a hired hand, when not been working with the various bands he’s been a member of.
Among the groups that Andreas has played in, are Angles 9, Time Is a Mountain, Tonbruket and Wildbirds and Peacedrums. In both Angles 9 and Time Is a Mountain, Andreas is joined by Johan in the rhythm section. They’ve formed a formidable partnership, since Fire! released their debut album in 2009.
You Liked Me Five Minutes Ago.
You Liked Me Five Minutes Ago was Fire!’s debut album. It showcased what was a new and innovative approach to improvised music. Fire! stepped out of their comfort zone on You Liked Me Five Minutes Ago, seamlessly combining free jazz, psychedelic rock and noise. This was the perfect showcase for the three members of Fire!’s considerable musical skills. Critics were won over by Fire!, and forecast a bright future from the Swedish trio.
Unreleased?
Two years later, and Fire! returned with the first collaboration of their career. They had recorded four lengthy improvised pieces with Chicago born, but Tokyo based performer, composer and record producer. He was a veteran of countless collaborations since his career began in the late eighties. Now he was ready to hitch a ride with Fire!
When the album was ready for release in 2011, Fire! received star billing. Fire! With Jim O’Rourke Unreleased? was released on Rune Grammofon. This genre-melting album saw Fire! continue to push musical boundaries, taking the music in hitherto unexpected directions. The collaboration with Jim O’Rourke was regarded as an overwhelming success. So it was no surprise when another artist asked to collaborate with Fire!
In The Mouth-A Hand.
This time, it was Australian experimental electronic guitarist and percussionist, Oren Ambarchi. He was no stranger to collaborations, and previously, had worked a variety of artists, including Keith Rowe. Fire! agreed to the collaboration, and the result was the album In The Mouth-A Hand.
It featured another four lengthy, improvised tracks. This allowed Fire! and Oren Ambarchi to take the listener on a musical adventure, where musical genres and influences were combined. Three of the most prevalent influences were free jazz, noise and psychedelic rock. Just like previous albums, this was a crucial part of Fire!’s sound.
When In The Mouth-A Hand was released on Rune Grammofon, again, Fire! received top billing. They played a huge part in what was another important album collaboration. With Oren Ambarchi, Fire! had created another album of groundbreaking, innovative music. Despite this, Fire!’s next album wasn’t a collaboration. Instead, it featured just the three members of Fire!
(Without Noticing).
By the time, Fire! began work on (Without Noticing), they were regarded as one of the most exciting and innovative groups in the Nordic music scene. Fire! had released three albums in three years. Now they were four for four.
When (Without Noticing) was released on Rune Grammofon in 2013, it was hailed a career defining album. It was a fusion of free jazz and psychedelic rock via a more traditional rocky and jazz-tinged sound. Fire! weren’t afraid of pushing musical boundaries, and on (Without Noticing), continued to do so. This resulted in critically acclaimed reviews from critics. However, by then, Fire! had realised the limitations of a trio, and founded the Fire! Orchestra.
Exit.
In 2011, that the members of Fire decided to expand beyond the core trio. They hit on the idea to expand the group. The way Fire! did this, was to bring onboard the great and the good of Scandinavian jazz, improvisation and avant rock players and vocalists. They called this new musical venture Fire! Orchestra. It was a musical first in Sweden.
The newly named Fire! Orchestra were building on the music of some of the legendary free jazz big bands. This includes the big bands of Sun Ra, Charlie Haden’s Liberation Orchestra, Mike Westbrook and Mike McGregor. There was more to the Fire! Orchestra that free jazz. They incorporated funk, blues, rock and jazz. This became apparent when the Fire! Orchestra made their tentative first steps.
In the beginning, the Fire! Orchestra played just a handful of shows. They were finding their feet musically. Gradually, they were finding their sound. It’s best described as genre-melting and was showcased on their live debut album, Exit.
It was in 2013, when Fire! released their live debut album Exit. Released to widespread critical acclaim, Exit was a genre-melting sound that people wanted to hear more of.
Enter.
So after playing a couple of concerts early in January 2014, the Fire! Orchestra entered the Svenska Grammofonstudion, in Gothenberg on 10th January 2014. This wasn’t going to be a long session. Instead, the Fire! Orchestra took just one day to record Enter.
The result was an album of music that critics called innovative and progressive. Enter showcased the Fire! Orchestra in full flight. This was an impressive sound. Especially given their fusion of mesomorphic rock rhythms, funk, free jazz and the bluesy, soul-baring vocals of the Fire! Orchestra’s three vocalists. Add to this the scorching free jazz saxophone of Joe McPhee and Enter, has a potent, powerful and captivating sound; which succeeded in bringing back memories of musical luminaries like Sun Ra, Charlie Haden’s Liberation Orchestra, Mike Westbrook and Mike McGregor. So successful was Enter, that Fire! Orchestra released one more album.
Exit Again.
Just like Exit, Exit Again was another live album. The concert was recorded on 2nd September 2012 at Festival Les Rendez-Vous de L’erdre, in Nantes, France. Joining a slimmed down version of the Fire! Orchestra that night, was guitarist Oren Ambarchi. Joined the great and good of Scandinavian music for what was the Fire! Orchestra’s encore.
When Exit Again was released on 14th January 2014, it was a limited edition release. Only 500 copies of the Exit Again were released on vinyl. Again, the Fire! Orchestra in full flight was an impressive sound. On Second Exit Part One and Second Exit Part Two, the Fire! Orchestra showcase their considerable skills and seamlessly, switch between disparate musical genres. Somehow, it all makes sense, and has the listener wanting to hear more of the Fire! Orchestra. A new album is planned later in 2016. Before that, Fire released their new album She Sleeps, She Sleeps on Rune Grammofon.
She Sleeps, She Sleeps.
Work began on She Sleeps, She Sleeps back in March 2015. That’s when the three members of Fire! recorded the four songs they had written, and would produce.
Recording of She Sleeps, She Sleeps took place at Orionteatern studios in Stockholm. When the three members of Fire! began setting up their instruments. Drummer Andreas Werliin unpacked a lap pedal steel guitarist Andreas Werliin. Johan Berthling carefully tuned his trusty double bass. Mats Gustafsson arranged his tenor, baritone and bass saxophones. Meanwhile, Mikael Werliin was preparing to record the session. He also recorded cellist Leo Svensson Sander at Rud Studios, in Stockholm. Halfway around the world, in Melbourne, Australia, guitarist Oren Ambarchi laid down his parts for She Bid A Meaningless Farewell. Once the sessions were complete, the members of Fire! continued to make music with the various projects they were involved with.
Then in the summer of 2015, Mikael Werliin mixed what became She Sleeps, She Sleeps at Studio Oodion, in Gothenberg. All that was left was for Lupo to master the album at Calyx Mastering in Berlin. Once She Sleeps, She Sleeps was mastered, then Fire! could work towards a release date.
Eventually, She Sleeps, She Sleeps was scheduled for release on 19th February 2016, by Rune Grammofon. This was Fire!’s fifth album in seven years, and eight if the three albums by Fire! Orchestra were included. Mats Gustafsson, Johan Berthling and Andreas Werliin, it seemed, were the hardest working men in Swedish music. Their latest album was She Sleeps, She Sleeps, the long-awaited fifth album from Fire!
She Penetrates The Distant Silence, Slowly opens She Sleeps, She Sleeps. Dramatic bursts of music hang in the air, resonating, before dissipating, only to return. In the process, Fire! have succeeded in grabbing listener’s attention. Then hissing hi-hats, rolls of drums and a plucked bass propel the arrangement along. As the tempo rises, a braying saxophone takes centre-stage. It’s the star of the show. Slowly and carefully, Mats plays, choosing each note with the utmost care. Behind him, the rhythm section have kicked loose, and are into overdrive. Later, just cymbals and bass provide the backdrop for Mats’ saxophone. His playing is akin to a cathartic outpouring of hurt and heartache. What follows is like a free jazz confessional. By the six minute mark, Mats seems almost spent. He’s not though. His playing is like a musical equivalent of Primal Scream Therapy, before the track reaches a crescendo.
There’s an Eastern sound to the bells that chime on She Sleeps, She Sleeps. Meanwhile, the rest of Fire! march to the beat of Andreas’ drum. Slowly and thoughtfully, Johan plucks his bass adding to the moody, broody and understated soundscape. Cymbals crash, bells chime and gradually, a wailing sound grows in power. Soon, Mats’ droning saxophone drifts in and out. Still, understated describes the arrangement. Then Mats unleashes a growling saxophone. Gradually, it becomes melodic, as sounds flit in and out of the arrangement. Some make only a fleeting appearance, others stay longer. This includes Oren Ambarchi’s buzzing, droning guitar. Effects transform the dry sound, giving it an otherworldly, experimental sound. By then, Mats is combining power, passion and his determination to innovate as his saxophone plays the leading role. Behind him, the rhythm section create a hypnotic backdrop on this genre-melting epic, which features Fire! at their innovative best.
Rolls of drums open She Bid A Meaningless Farewell. It sounds as if Andreas’ drums have been multi-tracked, and the merest hint of delay seems to have been added to the double. This means he accompanies himself. Then the groaning saxophone and bass join. Usually, Mats’ saxophone dominates the arrangement. However, Andreas matches Mats all the way, and soon, it’s just the rhythm section that remain. They create a mesmeric, exotic and cinematic sounding arrangement, that sometimes, sounds as if it’s been influenced by world music.
Closing She Sleeps, She Sleeps is She Penetrates The Distant Silence, Slowly is a seventeen minute musical adventure. They’re in no hurry though. For nearly three minutes, it’s just a slow, moody bass that plays. Eventually, percussion and a droning saxophone are joined cymbals that are caressed. Gradually, though, the arrangement seems to have wakened from its slumbers. Bells ring and chime. So do cymbals. Drum rolls and the groaning, growling, howling saxophone combine. By 8.00, Mats is unleashing one of his best solos. It veers between moody, inventive and innovative to melodic. Behind him, the rhythm section lock into a hypnotic groove. Adding to the atmospheric, mesmeric sound is a droning, buzzing cello. It adds to the ominous sound of what sounds like the perfect soundtrack to a new Scandinavian drama or film noir. Fire! it seems, have kept the best until last on She Sleeps, She Sleeps, with what’s worthy of being described as a Magnus Opus.
Just like previous albums by Fire! and the Fire! Orchestra, the music on She Sleeps, She Sleeps is groundbreaking, influential and innovative. It’s music that should influence a new generation of Swedish musicians. Hopefully, they’ll decide to follow in the footsteps of Fire! and create music an album of captivating, progressive album of genre-melting music.
Key to the success of She Sleeps, She Sleeps is Fire!’s ability to seamlessly combine elements of avant-garde, experimental, free jazz, noise and psychedelic rock. Fire! are like a musical shaman, combining an eclectic and disparate selection of musical genres and influences. Playing a leading role in their potent musical potion, are mesomorphic rock rhythms and a braying free jazz saxophone. Opposites it seem, do attract, and indeed, are like a musical yin and yang on She Sleeps, She Sleeps, complimenting the other perfectly. It’s no surprise that She Sleeps, She Sleeps is Fire!’s finest hour.
The music on She Sleeps, She Sleeps veers between moody and broody, to dark and dramatic, through to hypnotic and mesmeric. Other times, the music is akin to a soul-baring confessional, where pain, hurt and heartache pours out of
Mats Gustafson’s saxophone. Then his playing is akin to a musical equivalent of Primal Scream Therapy. Once he’s seemingly exercised of demons, it’s all change, and often, the music becomes beautiful and melodic. Always, though, Fire!’s potent and powerful musical cocktail continues to captivate, and proves to be just as progressive and innovative on their latest album She Sleeps, She Sleeps.
FIRE!-SHE SLEEPS, SHE SLEEPS.
MIKE OLDFIELD-DISCOVERY-VINYL EDITION.
MIKE OLDFIELD-DISCOVERY-VINYL EDITION.
By June 1984, thirty-one year old Mike Oldfield prepared to release the ninth album of his career, Discovery which was recently reissued by on vinyl by UMC. This was the followup to 1983s Crises, which was Mike Oldfield’s most successful album of recent years. Crises was certified platinum in Germany and Sweden; and gold in Britain, France and Holland. This surpassed the success of his six previous albums. However, the roots of the success can be traced back to Five Miles Out, which Mike released in 1982.
Five Miles Out had been recorded during 1981 and 1982. Before the sessions began, Mike Oldfield had been thinking about the future. His albums were no longer as popular as they had once been. He discovered this in 1980.
QE2.
As the new decade dawned, a new Mike Oldfield seemed to have been born. His first album of the eighties, was very different from previous albums. It was a far certainly a far cry from the symphonic majesty of Tubular Bells, Hergest Ridge and Ommadawn. These were the albums that launched Mike’s career. Since then, his music continued to evolve.
QE2 was no different. However, a more than a few eyebrows were raised when QE2 featured cover versions of Abba’s Arrival and The Shadows’ Wonderful Land featured on QE2. It seemed Mike Oldfield was determined to reinvent his music.
He did this with the help of vocalist Maggie Reilly, who would become a familiar face on future Mike Oldfield albums. She made her debut on QE2, which was co-produced by Mike and David Hentschel, and scheduled for release in October 1980.
Before the release of QE2, the reviews were mixed. It was a long way from Mike Oldfield’s first three albums. Some critics went as far as to say that QE2 was the weakest album of Mike Oldfield’s six album career. Record buyers agreed.
When QE2 was released in 1980, it reached just number twenty-seven in Britain. Despite this, QE2 solid 100,000 copies and was certified gold. Elsewhere in Europe, QE2 didn’t sell in the same quantities as previous albums. The exceptions were Germany and Spain, where QE2 was certified gold. That was as good as it got. In America, QE2 stalled at number 174 in the US Billboard 200. While QE2 was Mike’s first album since 1975s Ommadawn to chart in the US, it was nothing to go overboard about. Far from it.
Mike Oldfield’s music at a crossroads. If he didn’t do something to address the problem, he risked becoming irrelevant. Gone were the days when prog rock was King and two lengthy musical movements appealed to music buyers. That was long gone. Times and music had changed, and not necessary for the better. Mike realised this and his music began to change direction on QE2. However, QE2 saw Mike heading in the wrong direction.
The problem Mike Oldfield faced, was that since the late seventies, music seemed to be in a constant state of flux. Fashion changed quickly. Musical genres seemed to fall quickly out of fashion. As a result, so did artists. Careers were becoming shorter. Mike who was just twenty-seven had already released six albums. However, he had to rethink his musical future. If Mike’s music didn’t change, he risked alienating a generation of record buyers.
While Mike Oldfield was popular within a certain age group, he wanted to appeal to younger record buyers too. This made sense. Those that had bought Mike’s albums in the early seventies were growing older. Many were married, with families and didn’t have the same money to spend on music. This was impacting on record sales. So Mike needed the new generation of record buyers to embrace his music. The “baby boomers” were the ones with the disposable income, who were buying albums. However, there was a problem with their perception of Mike’s music.
Many of the new generation of record buyers saw Mike Oldfield as the music their parents listened to. When they thought of Mike Oldfield, they thought of grandiose, symphonic music and of course, prog rock. That was the problem.
People’s perception of Mike was problematic. It also meant that a whole generation of record buyers were potentially overlooking Mike’s music. This was ironic because throughout his career, Mike Oldfield’s music evolved. It never stood still. Instead, Mike was a musical shapeshifter, who continued to reinvent his music. Sometimes, the changes were subtle; other times, they were more radical. Mike however never shied away from change.
He had changed direction on QE2. That hadn’t gone to plan. So it was time for a rethink, and a further reinvention of Mike Oldfield, It wouldn’t happen overnight. Instead, it would take three albums, and began on Five Miles Out.
Five Miles Out.
Before the recording sessions for Five Miles Out began, Mike Oldfield realised that his music had to evolve, or risk becoming irrelevant. It was like playing a game of high stakes musical poker. At stake was Mike Oldfield’s career. If his reinvention didn’t work, his career could be all but over. So Mike had to record an album that would appeal to a wider audience.
No longer could Mike record the symphonic albums of his past. That wasn’t what the record public wanted in the early eighties. With this in mind, Mike Oldfield decided his music should move towards a much more accessible pop style. Already Mike had introduced vocalists, cover versions and shorter songs. More changes were afoot for his seventh album Five Miles Out.
When Mike started recording Five Miles Out, synths, sequencers and drum machines were starting to replace real musicians. Mike had been using synths since 1979s Platinum, where he’d used a Roland SH-2000 and Sequential Prophet. For his seventh album Five Miles Out, Mike used a Fairlight CMI.
The Fairlight CMI was a digital sampling synth, which Mike Oldfield would put to good use on Five Miles Out. This lead to a change in style. Gone was the symphonic style of earlier albums. Replacing it, were short, poppy songs. Full of slick, poppy hooks, Mike Oldfield had tried to make his music more accessible, and succeed.
For some of his older fans, the stylistic change didn’t please them. They preferred the symphonic style of earlier albums. This was a step too far. Some went as far as to say Mike had sold out. was being a realist. If he didn’t change, he’d become irrelevant. His decision to change direction musically was vindicated.
Five Miles Out was well received by critics. Many of them embraced the stylistic change. Although a few critics yearned for the symphonic rock opus’ of the past, they realised music had changed. Mike had moved on, and in doing so, maybe won some of the younger record buyers who had previously, criticised his music.
The lead single from Five Miles Out was the title-track, which reached number forty-three in the UK. This gave Mike his first single in six years. Released in March 1982 Five Miles Out was Mike most successful album since 1975s Ommadawn. It reached number seven in the UK, where it was certified gold. Five Miles Out was certified gold in Germany and even reached number 164 in the US Billboard 200. Then when Mike released Family Man, which featured the vocals of Maggie Reilly, it reached number forty-five in the UK. Two hit singles and a gold disc in Britain, Five Miles Out marked the beginning of the reinvention of Mike Oldfield. It continued on Crises.
Crises.
For the followup to Five Milles Out, Mike Oldfield decided to appeal to fans old and new. The title-track filled side one, and was a twenty minute opus that his old fans would enjoy. It was written by Mike. The five short songs on side two showcased the “new” Mike Oldfield. This included Moonlight Shadow, Taurus 3 and Shadow On The Wall. The other two tracks were collaborations. Foreign Affair was written by Mike and Maggie Reilly, a frequent collaborator with Mike and regular guest vocalist. Jon Anderson of Yes, cowrote in High Places with Mike. These six tracks became Crises.
Crises was co-produced by Mike and Simon Phillip. Mike decided that it was best to stick with what was a winning formula. This meant hiring the best session musicians, for what the slimmed-down band that played on Crises. There was a reason for that. Mike was relying more on drum machines and synths. Many of the other instruments, Mike played himself. That was the benefit of being a skilled multi-instrumentalist. However, for backing vocals, Maggie Reilly, Jon Anderson and Roger Chapman of Family were drafted in. This was the personnel that featured on Crises, which was recorded at his own studio between November 1982 and April 1983. A month later, Crises was released.
On 27th May 1983, Crises was released to widespread critical acclaim. Crises picked up where Five Miles Out left off, reaching number six in the UK. This resulted in Mike’s third gold disc. Around Europe, Crises was a huge success, reaching the top ten in eight countries. In Sweden and Germany, Crises reached number one, and was certified gold in France, Germany and the Netherlands. In Germany, Spain and Sweden, Crises was certified platinum. Mike was back, with one of the most successful albums of his career. However, this wasn’t an end to the commercial success Mike would enjoy.
Moonlight Shadow which was chosen as the lead single from Crises, and reached number four in the UK. Elsewhere, it was a huge commercial success, reaching number one in eleven countries in Europe. For Mike, Moonlight Shadow was the biggest single of his ten year career. The second single was Shadow On The Wall, which featured Roger Chapman from Family on lead vocal, stalled at just number ninety-five in the UK. Despite that disappointment, Crises had been a huge commercial success, further vindicating Mike’s decision to change direction musically.
After the success of Crises, Mike Oldfield was hailed the comeback King. He had rescued his career, and by June 1984, was preparing to release his ninth album, Discovery, which was recently reissued by UMC.
Discovery.
By the time Mike Oldfield was ready to write what became Discovery, he was living as a tax exile. Home for Mike was Villars-sur-Ollon in the canton of Vaud, in Switzerland. That was where Mike Oldfield wrote and recorded what became Discovery.
For Discovery, Mike Oldfield wrote eight tracks. Mainly, they were short songs, apart from The Lake, which was twelve minutes long. However, compared to Mike’s early albums, The Lake was almost an excercise in brevity. Just like the rest of Discovery, The Lake was recorded in Villars-sur-Ollon.
Gone were the days when Mike would be joined by a full band. These days were in the past. Instead, just drummer Simon Phillips; and vocalists Maggie Reilly and Barry Palmer made their way to Villars-sur-Ollon. Mike a multi-instrumentalist, utilised both traditional instrumehts and technology. Seamlessly, Mike switched from acoutic and electric guitars to a bass and mandolin. He also used guitar and bass synths, and the Fairlight CMI. Mike who was an early adopter of the Fairlight CMI, used it for sampling and sequencing. Sonically, it was a far cry from Tubular Bells, Mike’s classc debut album. However, Mike new in his heart of hearts that his music had to contnue to evolve on Discovery. It was released on 25th June 1984.
Before the release of Discovery, critics had their say on Mike’s ninth album in eleven years. Mostly, the reviews were positive. Some critics preferred Mike’s “old” sound, and found some of the poppier songs too lightweight. However, Mike had been ecouraged to include the more poppy songs by Virgin Records.
They wanted another Moonlight Shadow. So Mike sat at his Fairlight CMI trying to compose another hit single. It wasn’t easy. Moonlight Shadow had taken eight years hard work. So the chances of lighting striking twice were slim. However, Mike had to be seen to appeasing his paymasters at Virgin Records. He knew that record buyers would have the final say. They may not be the arbiters of taste, but they certainly were the arbiters of popularity.
When Discovery was relased in Britain, it failed to replicate the sucess of Crises, reaching just fifteen. However, this was enough for another gold disc. Elsewhere in Europe, Discovery proved popular. It reached number one in Germany and Switzerland; number two in Holland; and number three in Austria, Norway and Sweden. This resulted in Discovery being certified platinum in Spain; and gold in France, Germany and Sweden. While Discovery didn’t quite replcate the success of Crises, the reinvention of Mike Oldfield ensured that his comeback continued.
That’s despite the singles not replicating the success of Moonlight Shadow. Mary, Queen Of Scots reached the top ten in eight European countries. In France it reached number one. However, in Britain, Mary, Queen Of Scote stalled at forty-eight. Tricks Of The Light failed to matche the success of Mary, Queen Of Scots. It reached just ninety-one in Britain and forty-six in Germany. By then, Discovery, the third album from the new Mike Oldfield, was well on its way to selling over a million copies in Europe.
Opening Discovery, is To France, a song about Mary, Queen Of Scots. Straight away, there’s a Celtic influence before eighties drums accompany Maggie Reilly’s heartfelt, emotoive vocal. Soon, guitars, bass and keyboards are provding the backdrop to Maggie’s vocal. She brings the lyrics to life, so much so, that it’s possible to imagine Mary fleeing, seeking sanctuary and safety. By then Maggie’s vocal is etheral, and at the heart of the arrangement. When it drops out, a keyboards, guitar, flugelhorn and drums replace the vocal. Insruments are introdced and just as importantly, withdrawn at the right moment. This includes a searing guitar that cuts across through the arrangement. It’s just the latest addition to this hook-laden fusion of pop and Celtic music, which features a vocal masterclass from Maggie Reilly.
A bass synths opens Poison Arrows, addimg an element of drama. Soon, drums pound deliberately and a guitar cheeps, and accompanies Barry Palmer’s dramatic vocal. Fear is in his voice as he warns: “someone’s out to get you, hiding in the shadows.” Rolls of drums, bass and later, blistering rocky guitars are added. They replace Barry’s vocal. Then Mike Oldfield is transformed into guitar hero. It’s the latest dramatic element. So are a pulsating bass synth and howls, which add to the cinematic nature of the track.
A crystalline guitar joins hypnotic drums on Crystal Gazing. It features the return of Maggie Reilly. Her elegiac, etheral vocal is swept along on the arrangement whichg now includes keyboards and synths. Then when the vocal drops out, a guitar gives way to a horn, before reaching a sudden ending. All that’s left is a pleasnt memory of Maggie Crystal Gazing.
Tricks Of The Light has a real eighties sound to it. The telltale signs are the drums, synths and even the bass. They provide the backdrop for Maggie and Barry, who share vocal duties. That’s despite not meeting until after Discovery was recorded. Their vocals are envloloped by synths and searing guitars. Harmonies augment the vocal, before Mike Oldfield makes another welcome appearance. He adds to the urgency, on what’s another catchy fusion of pop and eighties electronica.
Drums pound, while the blisterng guitar cuts through Discovery’s arrangement. Then when Barry’s vocal enters, it’s a throaty, impassioned roar. He delivers the lyrics with feeling, while banks of keyboards and synths joins machine guitars and ocasional harmonies. Barry’s vocal is a mixture of anger and frustration; especially when he asks: “how can you sleep, how can you turn away, thinking’s so cheap, some day you’ll pay.” By then, Mike Oldfield is firmly in fistpumping, stomping eighties anthem territitory. It’s a long way from Tubular Bells, and QE2, the album the nearly sunk the good ship Oldfield. Three albums later, and Discvery finds the new Mike Oldfield in calmer waters, having rediscovered his Midas Touch.
Talk About Your Life is an elegiac ballad featuring Maggie Reilly. She’s accompanied by a slow arrangement where synths and keyboards dominate. It provides the backdrop to a vocal that can only be described as ethereal. Gradually, the tempo quickens slightly, as different instruments are introdced. This includes a what could be a church organ and even guitar. They’re joined by harmonies, as the drama builds, and Maggie delivers an emotional and hearfelt vocal.
Saved By A Bell has a much more understated, dreamy arrangement. Mike deploys his synths, and they frame the vocal. Soon, the arrangenent begins to unfold. Drums are dropped in. So are the bass, guitars and bold keyboards. By now, the track has been transformed. It’s two sides of the same coin, which are part and parcel of the same song, which later, heads in the direction of an impassioned power ballad.
The Lake, a twlve minute track closes Discovery. It’s a nod to Mike’s older fans, who embraced his symhponic epics. Often, these albums only featured two lengthy tracks. For them, he offers up The Lake. Hpynotic see-saw synths are eventually joined by a dark, pulsating bass. Then Mike throws a curveball, and the arranegennt races away. Drums power the arrangement away, as it references Mike’s seventies heyday. At one point, there’s even a nod to Status Quo. Sci-fi are added, as Mike Oldfield takes the listener on a musical adventure. The arrangement veers between eerie and haunting, futuristic and cinematic. See-saw synths are joined by guitars as the track veers between grandiose and understated. By then, The Lake sounds like the soundtrack to a film that’s yet to be made. Later, Mike’s rocks along before the elgiac soundscape returns. It seems Mike Oldfield has kept the best to last, and at the same time, keeps his old fans onside.
That was important. Mike Oldfield couldn’t risk alienating his old fans. They had been buying his albums since Tubular Bells was released in 1973. Eleven years later, and Discovery was Mike’s ninth album. Many of his old fans had turned their back on Mike’s music. They didn’t like the lightweight, poppy sound. Instead, they preferred the symphonic, preogressive sound of Mike’s early albums.
Ever since QE2, many of Mike’s older fans felt neglected. Things had changed slightly on Five Miles Out, with its twenty-fove minute epic Taurus II. Then on Crises, the title-track was a twenty minute opus. Both albums featured the new and old Mike Oldfield. Mostly, though Mike’s older fans had t watch their onetime hero trying to win over a new generation of music lovers. Some of Mike’s old fans felt neglected and unloved. So on Discovery, he pampered his old fans with the twelve minute epic, The Lake. It was the nearest thing Mike Oldfield’s old sound. Ironically, The Lake was the best track on Discovery. However, there’s more to Discovery than one track.
From the opening bars of To France, right through to The Lake, Mike Oldfield and his friends captivate, and take the listener on a musical journey. Aided and abetted by Maggie Reilly, Barry Palmer and Simon Phillips, Mike Oldfield combines pop, rock and eighties electronica with progressive rock. The result is hook-laden album that should’ve appealed to Mike Oldfield’s fans old and new. As a result, Mike Oldfield’s comeback continued with Discovery, whcoh was recently reissued by on vinyl UMC. The sound quality is excellent, with great care and attention taken with the mastering. Nor is the music too loud. Too many albums have been wasted during the loudness wars. Not Discovery, which was released a crucial time in Mike Oldfield’s career.
It seems a longtime ago since Mike Oldfield stood at the musical crossroads. However, he didn’t make the mistake many musicians had made before, and changed direction. This ensured that Mike Oldfield’s career continued, and thirty years later, in 2014 Mike Oldfieled released Man On The Rocks, his twenty-fifth studio album. However, that might not have happened. Especially if Mike Oldfield hadn’t began to reinvent his on Five Miles Out. The reinvention of Mike Oldfield continued on Crises and was complete on his ninth studio album, Discovery.
MIKE OLDFIELD-DISCOVERY-VINYL EDITION.
SHAZAM! AND OTHER INSTRUMENTALS WRITTEN BY LEE HAZLEWOOD.
SHAZAM! AND OTHER INSTRUMENTALS WRITTEN BY LEE HAZLEWOOD.
During a career that spanned six decades, Lee Hazlewood was a singer, songwriter, musician and producer. He even founded his own record label LHI Records in 1967. By then, Lee Hazlewood had been involved with music since the the early fifties.
By then, Lee Hazlewood’s life was at a crossroads. He had just left the US Army, and had decided not to pursue his medical degree. Instead, Lee Hazelwood began work as a disc jockey. This was only temporary, he hoped.
What Lee Haeelwood really wanted to do with his life, was write songs. This must have seemed like a pipe dream to his friends and family. However, Lee Hazlewood had the last laugh. His songs were recorded by Duane Eddy, The Ventures, The Vanguards, Al Casey, The Astronauts, Jack Nitzsche, Rhythm Rockers and Hal Blaine and The Young Cougars. These artists all feature on Ace Records recently released compilation, Shazam! and Other Instrumentals Written By Lee Hazlewood. This twenty-four track compilation is a reminder of Lee Hazelwood’s skills as a songwriter. However, Lee Hazlewood was a latecomer to songwriting. His story began the year of Great Depression, 1929.
Lee Hazlewood was born in Mannford, Oklahoma on the 9th July 1929. During his early years, Lee and his family moved between Arkansas, Kansas, Oklahoma and Louisiana. Brought up on a diet of bluegrass and pop, Lee’s tastes broadened when his family moved to Texas. Music it seemed was in his blood. Despite that, Lee didn’t make a career out of music when he left high school.
No. On leaving high school, Lee headed to Dallas’ Southern Methodist University, where he decided to study medicine. After university, Lee joined the US Army during the Korean War. When he was discharged from the Army, Lee decided medicine wasn’t for him.
Instead, Lee took a job as a disc jockey. His reason for doing so, was it allowed him to work on his songwriting skills. Lee had decided to pursue a career in music. That didn’t mean spinning records. No. It meant writing them.
The first hit Lee wrote and produced was Sanford Clark’s 1956 rockabilly hit The Fool. That was just the start of Lee’s musical career. He went on to pen two more hits for Sanford Clark, 1956s Usta Be My Baby and 1957s The Man Who Made An Angel Cry. Lee then wrote Leroy Vandyke’s 1957s The Pocket Book Song and Pat Boone’s 1957 single Why Did I Choose You? However, Lee’s career really took off when he met innovative guitarist Duane Eddy.
Best known for his twangy guitar sound, Duane Eddy will always be remembered as a pioneering guitar player. With Lee Hazelwood writing and producing many of his singles, Duane Eddy went onto enjoy a successful career. Lee penned and produced 1958s The Walker, Rebel Rouser, Dixie Part 1 and Peter Gunn. Soon, Lee writing for other artists, including Sam Horn and His Orchestra, Mark Robinson and Das Hazy Osterwald Sextet. However, just like 1958, most of the hits he wrote were for Dune Eddy.
During 1959, Duane Eddy enjoyed a string of hit singles. Forty Miles of Bad Road, Only Child, The Quiet Three and Shazam. Duane Eddy was now one of the biggest names in music. Although Lee had to keep the hits coming for Duane, he penned singles for Hans Brandel and Sanford Clark. This was no bad thing, as the hits started drying up for Duane Eddy.
1960 saw Duane Eddy release just three singles, one of which Rebel Walk, had been released before. Luckily, Lee was writing for other artists including Paul Rich, Tony Castle and Greg Connors. Another artist who’d release a single during 1960 was Lee Hazlewood.
Lee’s debut single was Words Mean Nothing. which Lee recorded with Duane Eddy and His Orchestra. It wasn’t a commercial success, so Lee went back to songwriting and production. However, Lee had enjoyed a tantalising taste of life as a recording artist. His return to songwriting and production was only going to be temporary.
For the next three years, Lee Hazlewood was busy working as songwriter and producer. During 1961, Lee worked penned songs for Tom and Jerry, Donnie Owens, Tony Gunner and Bud Ashton and His Group. Then in 1962, Duane Eddy enjoyed a string of hit singles. With The Shadows and The Ventures recording songs written by Lee, Lee Hazelwood could’ve continued to enjoy a career as a successful songwriter. He didn’t.
Instead, Lee decided to relaunch his solo career. He signed to Mercury and began work in what was his 1963 debut album, Trouble Is A Lonesome Town. This was first album of Lee’s five decade recording career. However, despite release over twenty solo studio albums, still many people remember Le for the songs he’s written for other people. This includes the artists on Shazam! and Other Instrumentals Written By Lee Hazlewood.
Fittingly, Duane Eddy’s Shazam opens Shazam! and Other Instrumentals Written By Lee Hazlewood. It’s one of four tracks Lee penned and produced for Duane Eddy on the compilation.
The earliest song from Duane Eddy is the moody sounding Stalkin’ the B-Side of Rebel Rouser, which was released on Jamie in 1958. It reached number six in the US Billboard 100 and number nineteen in the UK. It’s a track from the 1958 album Have “Twangy” Guitar Will Travel. Then in late 1959, Duane Eddy released one of his best known songs, Shazam.
When Shazam was released on Jamie, it fared better in the UK than the US. While the single stalled at forty-five in the US Billboard 100 in Spring 1960, Shazam soared to number four in the UK. Since then, Shazam, with its nod to Captain Marvel, is regarded as an instrumental classic. By the time Duane Eddy released his next contribution Shazam! and Other Instrumentals Written By Lee Hazlewood times, and indeed music had changed.
Eight years later, in 1968, Duane Eddy was signed to Reprise. He hadn’t enjoyed a hit since 1964, when The Son of Rebel Rouser reached a lowly ninety-seven in the US Billboard 100. Still, thought, Lee Hazelwood continued to produce Duane Eddy, For his next single When There Is A Mountain was chosen, and released as a single on 31st January 1968, Again, the single never troubled on the charts. Hidden away on the B-Side was the moody, atmospheric and cinematic sounding This Town. It’s a hidden gem that again, shows another side to Duane Eddy.
Al Casey contributes a two tracks to Shazam! and Other Instrumentals Written By Lee Hazlewood. The first is The Stinger, which Al Casey and Lee cowrote. It was
released in 1958 on the Highland label, and later, on United Artists. The Stinger is the perfect showcase for Al Casey’s surf guitar. He was a hugely talented guitarist. So much so, that he quickly became Lee Hazelwood’s go-to guitarist for sessions. Five years later, and Al Casey returned with another slice of surf music, Surf’s You Right. Instead of being released as a single, Surf’s You Right found its way onto Al Casey’s debut album Surfin’ Hootenanny. Sadly, it was also the only album the prodigiously talented guitarist released.
Tony Castle was another of the session guitarists Lee had on speed dial. If Al Casey wasn’t available, Tony Castle got the call. However, in February 1961, Tony Castle and The Raiders released Salty as a single on the Gone label. It was written by Lee Hazlewood, who produced Salty with Lester Sill. Salty sees Tony Castle and The Raiders paying homage to Duane Eddy with whoops, hollers and a blistering saxophone solo.
The Astronauts were a surf group from Boulder, Colorado. They were formed in 1960, and initially, called The Stormtroopers. When RCA saw the success that the Beach Boys were enjoying, they signed The Astronauts. Soon, RCA’s latest signing were enjoying a degree of success.
In 1963, The Astronauts released K U K as a single. On the flip side was Movin’, which also featured on their debut album Surfin’ With The Astronauts. Movin’ was a hidden surf gem, that was too good for a B-Side. It featured a surf group that were a cut above the competition. It looked like the future was bright for The Astronauts.
Then in 1964, music changed, when the British Invasion arrived. By the time they released their third album Competition Coupe, in 1964, The Astronauts music began to fall out of favour. As a result Competition Coupe wasn’t a commercial success, and record buyers missed out on sparking slices of surf like El Aguila (The Eagle) and The Hearse.
In 1963, drummer Hal Blaine, a future member of the legendary Wrecking Crew, was a session musician. Producers all over L.A. had his number in their contacts book. However, by 1963, the hot rod and surf songs instrumentals filled the charts. Hal Blaine decided he wanted a piece of the action, and formed Hal Blaine and The Young Cougars, who would cash in on the hot rod sound.
Hal Blaine and The Young Cougars teamed up with Lee Hazlewood. He wrote and produced Challenger II, which was released as a single on RCA Victor in 1963. Challenger II also featured on the 1963 album Deuces, T’s, Roadsters and Drums. So does The Phantom Driver another track penned and produced by Lee Hazlewood. Just like Challenger II, The Phantom Driver epitomises everything that’s good about the hot road sound.
Jack Nitzsche was born in the Windy City of Chicago, but brought up in Michigan. Growing up, he learnt to play piano, clarinet and saxophone. When Jack Nitzsche was eighteen in 1955, he moved to Hollywood. By 1961, Jack Nitzsche found himself sharing an office with Lee Hazlewood. Two years later, Jack Nitzsche recorded Baja, a Lee Hazlewood composition.
Baja was one of twelve tracks Jack Nitzsche recorded his debut album The Lonely Surfer. It was released on Reprise Records in 1963, and saw Jack Nitzsche combine surf and lounge. Dramatic and cinematic describes Baja, which was produced by Jimmy Bowen. Then in 1964, Jack Nitzsche recorded another Lee Hazlewood composition.
Zapata was chosen as the flip side to Theme From The Long Ships. Again, it was produced by Jimmy Bowen, and released on Reprise Records in 1964. Just Baja, Zapata has a cinematic sound, and wouldn’t sound out of place on the soundtrack to a Spaghetti Western.
The Ventures recorded a cover of the Duane Eddy and Lee Hazlewood composition Rebel-‘Rouser in 1964. For some reason, it wasn’t released until 1967, when it featured on the compilation Golden Greats By The Ventures. By then, The Ventures weren’t enjoying the same popularity as they had earlier in the decade. However, their music was still as good as it had always been.
As the lyrics to King Of The Surf Guitar say, “Dick Dale is the King Of The Surf Guitar.” That’s apparent from Angry Generation a track Dick Dale and His Del-Tones recorded in 1965. Penned by Lee Hazlewood this version is taken from the 1965 album Rock Out With Dick Dale and His Del-Tones Live At Ciro’s. It’s a tantalising taste of what the King Of The Surf Guitar is capable of.
In 1966, Frenesi (Cancion Tropical) was released as a single on MGM Records. It was credited to Lee Hazlewood Woodchucks. What those that heard the single didn’t realise, is the group didn’t exist. Instead, Lee Hazlewood had drafted in members of the Wrecking Crew to recorded two treacks. This included the B-Side Muchacho, a Mexican sounding arrangement which has a dramatic, cinematic sound.
The Vanguards instrumental version of A Stranger In Your Town sounds as if it was recorded in New Orleans. It was written by Lee Hazelwood and Marty Cooper, who like Jack Nitzsche, was a member of The Shaklefords. Marty Cooper also produced what was a delicious fusion of Dixieland, Cajun, folk and country.
The Afro Blues Quintet’s Some Velvet Morning closes Shazam! and Other Instrumentals Written By Lee Hazlewood. It’s very different from the other tracks on the compilation. This is a track from The Afro Blues’ Next Album. It was released in 1968, on Mira Records. Producers George Steel and Randall Wood, this Lee Hazlewood composition a wistful, jazz-tinged sound. Literally, the arrangement sashays along, all the time heading in the direction of Latin jazz. Although very different to the rest of the songs on Shazam! and Other Instrumentals Written By Lee Hazlewood, Some Velvet Morning has one thing in common…it oozes quality. That’s thanks to Lee Hazlewood skills as a songwriter.
On Shazam! and Other Instrumentals Written By Lee Hazlewood, it’s not just Lee’s songwriting skills that are showcased, but his talents as a producer. Lee Hazlewood started out as a producer in the late fifties, when equipment was very basic. It was a far cry from what the equipment he used later in his career. Still, though, Lee Hazlewood was able to create groundbreaking music.
This was the case from his work with Duane Eddy, right through to the music he created during the surf and hot rod crazes. It seemed Lee Hazelwood knew how to make the most of the basic equipment found in studios. What he produced, left other producers scratching their head. They wondered how they could create similar results? Other songwriters were in a similar boat.
They watched as Lee Hazlewood penned hit after hit. Duane Eddy, The Astronauts and The Ventures were all beneficiaries of Lee’s songwriting skills. So were Nancy Sinatra and Dean Martin. Later, Lee wrote for Frank and Nancy Sinatra. Then later in his career, Lee Hazlewood’s music was discovered by a new breed of indie rockers.
Suddenly, Primal Scream, the Jesus and Mary Chain, Beck, Nick Cave and Einstürzende Neubauten all recorded Lee Hazelwood’s songs. Ironically, Lee Hazlewood had written and recorded his first songs before many of these artists were even born. It seemed that Lee Hazelwood’s music appealed to artists of all generations. That’s not surprising.
Much of the music Lee Hazlewood wrote and produced has a timeless quality. It sounds just as good as did, when it was first recorded in the fifties and sixties. That’s apparent when one listens to Shazam! and Other Instrumentals Written By Lee Hazlewood, which was recently released by Ace Records.
SHAZAM! AND OTHER INSTRUMENTALS WRITTEN BY LEE HAZLEWOOD.
JERRY LEE LEWIS-COUNTRY CLASS AND COUNTRY MEMORIES.
JERRY LEE LEWIS-COUNTRY CLASS AND COUNTRY MEMORIES.
March 12th 1968 will forever be a date that looms large in Jerry Lee Lewis’ memory. That was the day when he released his first country single, Another Place, Another Time. Soon, it was climbing the US Country charts, and reached number five. This was the start of a new era in Jerry Lee Lewis’ career, and marked the end of what had been a frustrating time for him.
Before Jerry Lee Lewis decided to head to Nashville and reinvented himself as a country singer, his career had stalled. He couldn’t buy a hit. To make matters worse, his contract with Smash Records was almost over. He had to do something to get his career back on track.
Jerry Lee Lewis was one of the great survivors of the music industry. He had been stuck behind the black ball before. However, Jerry Lee Lewis never gave up, and aways seemed to manage to rescue his career. Critics weren’t willing to bet against Jerry Lee Lewis getting back to the top again.
Four years earlier, in 1964, Jerry Lee Lewis was on the comeback trail. He was still seeking redemption. Persona non gratis in his home country, Jerry Lee Lewis was trying to rebuild his tattered reputation in Europe. So, in 1964, Jerry and The Nashville Teens had agreed to appear at The Star Club, Hamburg. That night, Jerry powered his way through thirteen tracks. It was a peerless performance, which was recorded for posterity.
Later in 1964, that legendary concert was released as Live at the Star Club, Hamburg. Released to critical acclaim, Live at the Star Club, Hamburg was a tantalising reminder of of what the man they called The Killer, was capable of. However, to many Americans, Jerry Lee Lewis was still persona non gratis. They never could, and never would forgive him, never mind buy his records.
This presented a problem, Jerry Lee Lewis had signed to Smash Records in 1963. He regularly released rock recordings over the next four years, but they failed to find an audience. It was a far cry from the early days of his career when Jerry Lee Lewis was one of the biggest selling American artists. Something had to change.
That’s when Jerry Lee Lewis decided to reinvent himself as a country singer. This was a masterstroke, and resulted in the man they called The Killer beginning his climb to the top.
Soon, Jerry Lee Lewis was hot property again. So much so, that in 1969, Shelby Singleton, his former producer at Smash Records, went so far as to purchase Sun Records from Sam Phillips. The big attraction was Jerry Lee Lewis’ country recordings.
Over the next few years, three or four Jerry Lee Lewis albums were repackaged. Many unsuspecting record buyers thinking that the albums were new releases, bought them. Little did they know, that Jerry Lee Lewis had recorded them years before, when his career was in the doldrums. Not any more.
By 1970, Jerry Lee Lewis was signed to Mercury Records. He was well on the way to becoming one of their most prized assets. The Killer was back, and well on his way to becoming a country music icon. His redemption may not be complete in the eyes of many Americans, but Jerry Lee Lewis was about to enjoy one of the most successful periods of his career.
Between 1970 and 1973, Jerry Lee Lewis’ popularity soared. He was one of the biggest selling country artists. He enjoyed fourteen top twenty US Billboard Country singles, including four number ones. That was just the tip of the iceberg.
Eleven of Jerry Lee Lewis’ albums reached the top twenty in the US Billboard Country charts. Eight of these albums charted in the US Billboard 200. It looked like Jerry Lee Lewis going to be an ever-present at the top of the country charts.
I-40 Country.
That was until 1974, when Jerry Lee Lewis released the album I-40 Country. It wasn’t well received by critics, and stalled at number twenty-five in the US Billboard Country charts. Those that seemed desperate for Jerry Lee Lewis to fail, forecast that his career was about to stall. However, the two singles released from I-40 Country reached the top twenty in the US Billboard Country charts. Tell Tale Signs reached eighteen and He Can’t Fill My Shoes number eight. Given the success of the singles, maybe the ‘lowly’ chart position of I-40 Country was a mere hiccup?
Boogie Woogie Country Man.
That’s what it looked like. When Jerry Lee Lewis released Boogie Woogie Country Man in 1975, it reached number sixteen on the US Billboard Country charts. The lead single from Boogie Woogie Country Man, I Can Still Hear The Music In The Restroom, reached number thirteen in the US Billboard Country charts. However, when the title-track was released as a single, it reached just twenty-four in the US Billboard Country charts. While this wasn’t disastrous, it was enough to worry executives at Mercury Records.
Jerry Lee Lewis’ last two albums hadn’t reached the top ten in the US Billboard Country charts. After six consecutive top ten albums, executives at Mercury Records couldn’t ignore the commercial failure of I-40 Country and Boogie Woogie Country Man. After all, Jerry Lee Lewis had been one of Mercury Records’ success stories. He was one of the biggest selling country artists of the late-sixties and early seventies. Surely, this wasn’t the end of another chapter in Jerry Lee Lewis’ career?
Odd Man In.
Later in 1975, Jerry Lee Lewis released Odd Man In, an album of cover versions. Shake, Rattle and Roll, Leadbelly’s Goodnight Irene, Crawdad Song and Hank Williams’ Your Cheatin’ Heart were some of the songs Jerry Lee Lewis had chosen to cover. They were recorded in Nashville with producer Jerry Kennedy and a crack band of session musicians and backing vocalists. Their addition was to sweeten the sound of Jerry Lee Lewis’ vocal.
When Jerry Lee Lewis had arrived at the studio, it was apparent his voice wasn’t in good shape. Some onlookers feared his vocal was shot. It seemed that years of hard living had caught up with The Killer. Once the album was recorded, executives at Mercury Records held their breath as Odd Man In was released.
Just like Boogie Woogie Country, Odd Man In wasn’t well received by critics. Record buyers didn’t rush out to buy Odd Man In. It stalled at just thirty-three on the US Billboard Country charts. This was the worst chart placing since Country Songs for City Folks in 1965. To rub salt into the wound, even the singles bombed.
A Damn Good Country Song reached a lowly sixty-eight in the US Billboard Country charts. Don’t Boogie Woogie fared slightly better, reaching fifty-eight in the US Billboard Country charts. For Jerry Lee Lewis, this was a disaster.
After three albums that hadn’t sold well, Jerry Lee Lewis’ career was at the crossroads. It was crucial that his next album was a commercial success. So in December 1975, Jerry Lee Lewis went into the studio to record most of his next album Country Class. It’s been paired with the followup Country Memories, for a reissue on the one disc by BGO Records on 19th February 2016. With Country Class and Country Memories feature another comeback from Jerry Lee Lewis?
Country Class.
In December 1975, Jerry Lee Lewis began to work on the followup to Odd Man In. It was hoped that things would improve for Jerry Lee Lewis. Since he recorded Odd Man In, he had undergone an operation on his sinuses. No longer would Jerry Lee Lewis have to rerecord vocals. Nor would there be complaints about the standard of his vocals. For The Killer, it was hopefully, a new beginning.
For this new beginning, Jerry Lee Lewis returned to the music of his roots, and decided to cover songs made famous by some of the greats of country music. This included three songs synonymous with Hank Williams. They were Mel Foree and Fred Rose’s No One Will Ever Know; Old Country Church and Claude Boone’s Wedding Bells. Another country standard was The One Rose (That’s Left in My Hand). It had been recorded by many artists, but Jerry Lee Lewis wanted to pay homage to Gene Autry and Jimmie Rodgers’ versions. These country standards were joined by a trio of tracks penned by Jerry Foster and Bill Rice.
They contributed Let’s Put It Back Together Again, After the Fool You’ve Made of Me and Jerry Lee’s Rock and Roll Revival Show. The other tracks chosen for Country Class were Mack Vickery’s I Sure Miss Those Good Old Times; Bob McDill’s Closest Thing to You; After The Fool You’ve Made Of Me and Only Love Can Get You in My Door. These songs would recorded in the country music capital, Nashville, Tennessee.
Recording of Country Class took place at US Recording Studios, Inc, Nashville. This time around, two producers were used. Charles Fach recorded three tracks, and Jerry Kennedy the other eight. Cam Mullins was drafted in to arrange the strings and horns on three tracks. Along with a crack band of session players, everything was in place for Jerry Lee Lewis’ comeback.
Many of the songs were cut during the December 1975 sessions. However, Jerry Lee Lewis had to return to the studio in May 1976. Soon, ten songs were completed. The finishing touch was another cover of a song from country music’s past, You Belong To me. It was penned by Pee Wee King, Chilton Price and Redd Stewart, and had been recorded in 1969. Somewhat belatedly, it was about to make its debut on Country Class.
When Country Class was released, critics called the album a return to form from Jerry Lee Lewis. Some critics pointed at the noticeable improvement in the quality of his vocals. Critics who said Jerry Lee Lewis’ vocal was shot were wrong.
The operation to Jerry Lee Lewis’ sinuses had improved his vocal no end. He delivered some of his best vocals of recent years. Especially on Country Class’ ballads. Heartfelt, emotive, soulful and impassioned, described his delivery. What also helped that Jerry Lee Lewis had the right material to cover.
When he covered No One Will Ever Know, Old Country Church and Wedding Bells it was as if Jerry Lee Lewis wanted to make Hank Williams proud. Jerry Lee Lewis’ reading of Wedding Bells was wistful and full of hurt and heartache. It’s as if he’s lived the lyrics. Then On The One Rose (That’s Left in My Hand), he continues breathes life and meaning into the lyrics. Equally heartfelt was the 1969 cover of You Belong to Me and the album closer Closest Thing to You. However, another of the highlights of Country Class saw The Killer change direction,
Jerry Lee’s Rock and Roll Revival Show, sees The Killer kick loose on what’s a slice of good time music. This was the perfect showcase for Jerry Lee Lewis’ piano playing skills. It features a musical masterclass from The Killer. By then, it was obvious that Jerry Lee Lewis was back on form. However, would record buyers agree?
After three disappointing albums, the big question was, would record buyers stay true to Jerry Lee Lewis? Fortunately, for Jerry Lee Lewis his fans gave their hero one more chance, and Country Class reached number sixteen in the US Billboard Country charts. While this was a far cry from his glory days, it was a vast improvement on Odd Man In. So were the singles.
Let’s Put It Back Together Again reached number six in the US Billboard Country charts. This was Jerry Lee Lewis’ most successful single since Sometimes a Memory Ain’t Enough in 1973. The followup single, The Closest Thing to You didn’t fare as well, and stalled at just twenty-seven on the US Billboard Country charts. Despite this, it was a vast improvement on the singles released from Odd Man In. Things were looking good for Jerry Lee Lewis, as his latest comeback continued.
That was until September 29th 1976. Butch Owens, Jerry Lee Lewis’ bass player was celebrating his forty-first birthday. Everything was going fine until Jerry Lee Lewis began fooling with a Colt .357. Suddenly, the gun accidentally went off in his hand, and in the process, nearly killed Butch Owens. Luckily, the bassist survived. However, less than two months later, Jerry Lee Lewis had another controversial encounter with a gun.
On 23rd November 1976, Jerry Lee Lewis was in Vapors nightclub, Memphis. He had spent much of the day trying to bail his father out of jail, on a drink-driving charge. By the evening Jerry Lee Lewis was drinking champagne in Vapors. By the time someone handed him a gun, Jerry Lee Lewis was drunk. It was then that he remembered that Elvis Presley wanted him to visit Graceland.
So Jerry Lee Lewis left Vapors, and climbed into his Lincoln Continental. As he drove off, his pistol sat on the dashboard and he had a bottle of champagne under his arm. With Jerry Lee Lewis at the wheel, the Lincoln Continental raced off, and when it reached Graceland at 3am, crashed into the gates. Manning the gate that night, was Elvis Presley’s cousin Harold Lloyd. Jerry Lee Lewis climbed out the car carrying the bottle of champagne. Then for some reason, The Killer decided to hurl the bottle through the car window. The only problem was, the window was shut. Meanwhile, an alarmed Elvis Presley watched all this play out. Eventually, he told the Graceland guards to call the police.
When the police arrived, and realised that it was Jerry Lee Lewis who had crashed into Graceland’s gates, they asked ‘The King’ what they should do? His reply was “lock him up.” This seemed strange as Jerry Lee Lewis was a friend of Elvis Presley. He watched as Jerry Lee Lewis was arrested, cuffed and taken to the police station.
It was there that things went from bad to worse. Jerry Lee Lewis was charged not just with public drunkenness, but with carrying. Eventually, he was released on a $250 bond. By the following day, newspapers were carrying the story of Jerry Lee Lewis’ arrest. It was the latest controversy in The Killer’s career. Just as things were going so well. How would this affect Jerry Lee Lewis’ comeback?
Country Memories.
After the Graceland controversy, Jerry Lee Lewis seemed to be lying low. There was no sign of him beginning work on the followup to Country Class during the first half of 1977. I entered the studio since May 1976. It wasn’t until the 3rd of August 1977, Jerry Lee Lewis began recording what became Country Memories. By then, an era was about to end.
Jerry Kennedy had been Jerry Lee Lewis’ producer for many years. They had been working together since 1963, and had played a part in Jerry Lee Lewis’ two comebacks. However, their final album together would be Country Memories.
For Country Memories, Jerry Lee Lewis had chosen eleven tracks. This included the classics Georgia on My Mind and Who’s Sorry Now. One of The Killer’s favourite songwriting teams seemed to be Jerry Foster and Bill Rice. They contributed (You’d Think By Now) I’d Be Over You and the title-track. The others songs were a mixture of old, blue and new songs.
One of the new songs was Sonny Throckmorton’s Middle Age Crazy. Other tracks included Jimmie Skinner and Ernest Tubbs’ Let’s Say Goodbye Like We Said Hello; Jenny Carson’s Jealous Heart; Bobby Braddock’s Come on In; Dorsey Burnette’s As Long as I Live; Bob McDill’s What’s So Good About Goodbye and Billy Hughes’ Tennessee Saturday Night. These tracks would be recorded in Nashville, over two days.
The recording began on the 3rd of August 1977, and by the 4th of August, the eleven tracks had been cut. Country Memories was the quickest album that Jerry Lee Lewis had recorded in recent years. Would this affect the reviews of Country Memories?
That wasn’t the case. When reviews of Country Memories were published in November 1977, critics were won over by Jerry Lee Lewis’ latest album. Billboard called the music “smooth and spirited.” It was the critic said a “potent collection” containing “a rock number to classic steel and fiddle tunes and country ballads.” This described what was a polished collection from the comeback King.
Throughout Country Memories, Jerry Lee Lewis seems back to his best. His vocal is fully recovered, and is more reminiscent of the early years of his country career. Jerry Lee Lewis’ vocals are much more considered, and bring something new to oft covered classics like Georgia On Mind and Whose Sorry Now. His reading of the Jenny Carson penned Jealous Heart oozes emotion. So does (You’d Think By Now) I’d Be Over You which features a wistful, heartbroken vocal from The Killer. Let’s Say Goodbye Like We Said Hello manages to be both hopeful and hurt-filled. However, one of the most successful and indeed poignant songs from Country Memories was the Sonny Throckmorton penned Middle Age Crazy.
Rather than featuring The Killer on piano, Middle Age Crazy features the legendary blind session player Hargus “Pig” Robbins. He laid down his part before Jerry Lee Lewis arrived at the studio. When he arrived, The Killer wasn’t looking wasn’t looking well. Despite that, he laid down the song about a man wanting to live forever. However, not long after this, Jerry Lee Lewis was admitted to hospital for the first, but not the last time. It seemed like three decades of hard living and making music were catching up on him.
Over the years, The Killer was regarded as one of the hardest living men in music. He drank, smoked cigars and popped pills. This caught up on him. By the time Country Memories was released, Jerry Lee Lewis suffered from stomach tears and ulcers which had began to bleed. It seemed Jerry Lee Lewis’ stomach was just one drink or pill away from haemorrhaging. To make matters worse, Jerry Lee Lewis was becoming hoarse. All the years of constant touring were taking their toll. However, when Country Memories was released, there was no sign of this.
When Country Memories was released in late 1977, it reached number twenty-one in the Billboard Country charts. While the album wasn’t as successful as Country Class, the singles were.
Middle Age Crazy was chosen as the lead single, and reached number four in the Billboard Country charts. This was Jerry Lee Lewis most successful single, since his number one single Chantilly Lace in 1972. Come On In was chosen as the followup to Middle Age Crazy, and reached number ten in the Billboard Country charts. For Jerry Lee Lewis two top ten singles and a top thirty album meant that the comeback continued.
Those that written Jerry Lee Lewis off, realised they do so at their peril. The Killer had been down and out before, but twice had made a comeback. Country Class was the start of the third comeback of his career. It continued on Country Memories, which was the final album Jerry Kennedy produced for Jerry Lee Lewis. The veteran producer had bowed out in style.
He had produced two critically acclaimed albums, Country Class and Country Memories, which have been remastered, and will be reissued on one CD by BGO Records on 19th February 2016. These two albums feature Jerry Lee Lewis, the comeback King as he rolls back the years.
Still Jerry Lee Lewis was one of country music’s hottest properties. Country Class and Country Memories recused the career of the one time rock ’n’ roller turned country singer. Jerry Lee Lewis seemed to have nine musical lives, and despite a controversial and sometimes chaotic private life, continued to produce albums of the quality of Country Class and Country Memories.
JERRY LEE LEWIS-COUNTRY CLASS AND COUNTRY MEMORIES.
SAINT ETIENNE PRESENT SONGS FOR THE CARNEGIE DELI.
SAINT ETIENNE PRESENT SONGS FOR THE CARNEGIE DELI.
Back in 1984, Woody Allen wrote, directed and starred in the black and white comedy, Broadway Danny Rose. Part of the film takes place over lunch in New York’s famous Carnegie Deli. It’s situated at 854 7th Avenue, and has been called the:”most famous” deli in the United States” by USA Today. Quite simply, The Carnegie Deli is a culinary institution. That’s why many visitors to the Big Apple beat a path to its door. This included Bob Stanley of Saint Etienne in 1991.
Bob Stanley had heard of the legendary deli, and promised himself that on his next visit to New York, he was going to eat at The Carnegie Deli. He wasn’t disappointed. It was everything he expected, and much more. This set Bob Stanley thinking, what kind of music was played in The Carnegie Deli, and similar diners over the years?
Soon, Bob Stanley’s mind was racing as he thought of songs that might, at one time, have provided a backdrop to life in a New York diner. Before long, Bob Stanley had a list of possible song that might provided the soundtrack to life in The Carnegie Deli. However, this was a purely academic exercise. Nothing he thought would come of it.
That was until Ace Records asked Bob Stanley and Pete Wiggs to compile Saint Etienne Presents Songs For The Carnegie Deli. This twenty-four track compilation was recently released by Ace Records and features sleeve-notes from Bob Stanley. He and Pete Wiggs have provided what could easily have been the soundtrack to life in The Carnegie Deli over the years.
When compiling Saint Etienne Presents Songs For The Carnegie Deli, Bob Stanley and Pete Wiggs delved into the vaults of Smash, United Artists, Wand, Big Hill, Sue, Barry, Sylvia, Cameo, GWO and Arock. From these labels, they picked twenty-four tracks. Among them, were contributions from Irma Thomas, Chuck Jackson, Lou Johnson, The Chiffons, Baby Washington, Junior Lewis, David Coleman, Lesley Gore, The Shirelles and The Hesitations. They’re just a taste of the musical delights on Saint Etienne Presents Songs For The Carnegie Deli. Choosing just a few dishes to taste, won’t be easy.
The Valli Boys’ Night Hawk opens Saint Etienne Presents Songs For The Carnegie Deli. It was the B-Side to Frankie Vali’s (You’re Gonna) Hurt Yourself, which was released fifty years ago, in 1966, on the Smash label. Night Hawk is described as a “finger snapper.” It’s hard to argue with that. There’s even a slightly cinematic sound to a song that was recorded by a group of New York’s session musicians.
Irma Thomas the Soul Queen Of New Orleans contributes Live Again to Saint Etienne Presents Songs For The Carnegie Deli. It’s a cover of a Bacharach and David song that Irma had recorded for Mint but lay unreleased until 1992. That was when Live Again was released on Time Is On My Side-The Best Of Irma Thomas, Volume 1. Belatedly this soulful gem was released and shows just why Irma Thomas is regarded as the Soul Queen Of New Orleans.
By 1965, Chuck Jackson had been signed to Wand since 1961. He was averaging an album a year, and in 1965 released his Mr. Everything album. It features I’m Your Man, a tender, heartfelt ballad from Chuck Jackson.
In 1964, Lou Johnson released Please Stop The Wedding as a single on Big Hit Records. It was penned by the Baum-Giant-Kaye songwriting team. So was the flip side Park Avenue. It’s the perfect showcases for Lou’s vocal prowess, as he dreams of leaving his life as a chauffeur behind.
When The Chiffons released Up On The Bridge as a single in 1968, their days of releasing million selling singles were long gone. Even a hit single was a rarity by 1968. Up On The Bridge, which was released on the Laurie label, could’ve been a game-changer. With its dreamy, soulful sound, it would’ve given The Chiffons a hit single a few years previously. However, music had changed by 1968, and Up On The Bridge became the one that got away.
Baby Washington released Your Fool as a single on Sue in 1965. Anyone who flipped the single over, discovered an impassioned, soul-baring ballad Run My Heart. It epitomises everything that’s good about Baby Washington, whose still one of soul music’s best kept secrets.
Dawn may be a new to many people. She only released a quartet of singles between 1966 and 1967. This included two singles on Laurie Records. One of them was I’m Afraid They’re All Talking About Me, a Doug Morris and Eliot Greenberg composition. They also cowrote the B-Side Lover’s Melody, a thoughtful, and slightly sassy slice of poppy soul.
Joan Moody released four singles for Sylvia Records between 1965 and 1966. Boy You Move Me was recorded has never been released before. It makes its debut on Saint Etienne Presents Songs For The Carnegie Deli. This a real find, and a song that could find favour within the UK Northern Soul scene.
Eight years after they released their debut single, The Shirelles released After Midnight as a single in 1966. During that eight year period, The Shirelles had stuck with Scepter Records. They were the label that discovered them, and gave the teenage group their big break. However, by 1966 the singles were drying up. So it has been alleged, was the money that was meant to be held in a trust fund for The Shirelles. When they tried to withdraw money from the trust fund, The Shirelles discovered the cupboard was bare. So it’s no surprise that there’s a sense of sadness and melancholia in The Shirelles vocal on Shades Of Blue, the B-Side to After Midnight.
It was in 1969, that The Hesitations released Is This The Way To Treat A Girl (You Bet It Is) as a single. Sadly, it was their swan-song for GWP Records, and indeed the last single The Hesitations released. They seemed determined to bow out in style with an impassioned, accusing vocal powerhouse. As a result, Is This The Way To Treat A Girl (You Bet It Is) is one of the highlights of Saint Etienne Presents Songs For The Carnegie Deli.
Tutti Hill only ever released one single, He’s A Lover in 1964. It was released on Arock Records and features an understated arrangement. With just harmonies, and later a sultry saxophone for company Tutti Hill’s vocal takes centre-stage, where it belongs.
Closing Saint Etienne Presents Songs For The Carnegie Deli is The Tradewinds Catch Me In The Meadow. This is a Don Ciccone, Pete Andreoli and Vince Poncia composition. It was released on the Kama Sutra label in 1966. Catch Me In The Meadow was one of a quartet of singles The Tradewinds released on the Kama Sutra label. It’s a dramatic, heartfelt slice of soulful pop that maybe fifty years ago, part of the soundtrack to daily life in The Carnegie Del?
During that period, The Carnegie Deli have catered for several generations of hungry New Yorkers, and countless curious tourists. They’ve come to taste what the: ”most famous” deli in the United States” has to offer. That includes pastrami, corned beef, and burgers that would satisfy Popeye at his hungriest. That’s not forgetting matzoh ball soup, potato pancakes and to round it all off, a slice of what some say is the best cheesecake the Big Apple has to offer. As they await their order, hungry New Yorkers and tourists can compile what they believe the soundtrack to The Carnegie Deli should be. Then they can compare it to Saint Etienne Presents Songs For The Carnegie Deli, which was compiled by Bob Stanley and Pete Wiggs.
Instantly, the listener is transformed to the sixties when The Carnegie Deli was run by the Parker family. They would work as Irma Thomas, Chuck Jackson, Lou Johnson, The Chiffons, Baby Washington, Junior Lewis, David Coleman, Lesley Gore, The Shirelles and The Hesitations played on the radio. This was the soundtrack for first dates, anniversaries and sometimes, even a breakups. Other times, people were enjoying a meal before heading to the adjacent Carnegie Hall. Nearly fifty years later, and The Carnegie Deli is still going strong. However, there’s been a few changes.
Nowadays, Marian Harper Levine own and runs The Carnegie Deli. The food is just as good, and still, it’s the: ”most famous” deli in the United States.” The other thing that’s changed is the soundtrack to daily life in The Carnegie Deli. It’s very different to the music on Saint Etienne Presents Songs For The Carnegie Deli. It features twenty-four songs from the sixties, which many people regard as the golden age of music, and the American diner. Sadly, nowadays, the American diner is becoming something of a rarity.
One of the survivors is The Carnegie Deli. Sadly, it’s one of the last diners left standing in the Big Apple. It’s a magical reminder of a golden age. So is the music on Saint Etienne Presents Songs For The Carnegie Deli. Maybe Ace Records should send Marian Harper Levine a copy of Saint Etienne Presents Songs For The Carnegie Deli, which would be the perfect soundtrack to what is, the: ”most famous” deli in the United States?
SAINT ETIENNE PRESENT SONGS FOR THE CARNEGIE DELI.
DIES IRAE-FIRST.
DIES IRAE-FIRST.
For many new bands, their main objective is to release a “record.” They want to do this as quickly as possible. For them, it’s a sign that they’ve “arrived” and have one foot on the musical ladder. Sadly, for some bands, that’s as far as it goes. The album fails to sell and that’s the last that’s heard of them. Sadly, they’re in the majority. Musical history is littered with bands that “could’ve been contenders.”
What many people fail to realise, is that the difference between success and failure is often, akin to a toss of coin. Many bands could’ve gone on to have a glittering career, or influence future generations of musicians. That was the case with Dies Irae, one of the earliest bands of the Krautrock era.
Dies Irae could’ve and should’ve reached far greater heights. They were founded in 1968, and by the time Dies Irae released their debut album First in 1971, the band looked like they were destined for greatness.
By then, Dies Irae were a popular band on the live circuit. Regularly, Dies Irae shared the bill with bands that would become some of the biggest names in Krautrock history. Night after night, Dies Irae held their own agains future Krautrock greats. Critics embraced Dies Irae’s psychedelic-progressive sound. So did concert goes. So when Dies Irae announced they were about to release their debut album First in 1971, it looked like they were about to be promoted to the Bundeslegia.
When First was released in 1971, there was a problem. The lyrical content of First was controversial. So much so, that the majority of West German radio stations promptly banned the album. With little or no radio play, First failed to find the audience it deserved. For the members of Dies Irae, this was a huge disappointment. This hadn’t been part of their hopes and dreams when Dies Irae as founded in 1968.
That’s when Rainer Wahlmann, Andreas F. Cornelius, Harald H.G. Thoma and Robert J. Schiff founded Dies Irae. However, Rainer Wahlmann can trace roots of the band can be traced back to the late-fifties and early sixties.
That’s when Rainer Wahlmann first remembers listening to the music of Elvis Pressley, Eddie Cochran, Buddy Holly, Little Richard and Bill Haley. This was to all intents and purposes his musical education. However, Rainer’s music didn’t go well with everyone. His father and other adults in the village were angry that Rainer and his friends were listening to American music. For Rainer, this made the music all the more appealing.
“I was honestly impressed. This kind of weird music really disturbed the adult world so much, and was able to make them really angry!” This resulted in Rainer’s father deciding to teach his son a musical lesson. “My father played the guitar and he always tried to teach me the songs he used to sing. I hated those songs and as a result I never really learned to play the guitar.” Despite this Rainer go not to make a career out of music. Before then, his musical tastes began to change.
“Later, about 1963/64, I started to listen to early British beat bands like The Searchers, The Kinks, The Animals and The Who.” By then, British groups were popular in America and Europe. However, Rainer’s father wasn’t a fan. “My first records were of the Rolling Stones and my record player got thrown out the window by my father.” For Rainer this was the last straw.
“I decided to fight with music for freedom of thought and against intolerance. With some schoolmates we began practicing. I couldn’t play anything, but I thought I had something to say. I pretended to be the singer.” Soon, what started out as a protest and act of defiance, inadvertently launched Rainer’s musical career.
By 1968, a new wave of bands were being formed across West Germany. Many were inspired by psychedelia, which was popular on both sides of the Atlantic. However, Dies Irae would be more like Amon Düül and Guru Guru, with a darker sound.
The four men behind Dies Irae’s darker sound were harmonica player and vocalist Rainer Wahlmann, drummer Andreas F. Cornelius, bassist Robert J. Schiff and guitarist Harald H.G. Thoma. They cofounded Dies Irae in 1968, began working on honing their sound.
Over the next weeks and months, Dies Irae gradually honed and refined their sound. It became much more closely aligned with Amon Düül and Guru Guru. Dies Irae’s music had a similar darkness. However, unlike many bands who were pioneers of the nascent Krautrock scene, Dies Irae didn’t reject American musical influences.
As the Krautrock era began in 1969, many groups turned their back on American music. Especially the influence blues had had on music. That for many Krautrock pioneers was the music of the past. They were determined reinvent music. Many bands, including Amon Düül and Can pioneered improvisation. However, Dies Irae didn’t turn their back on the blues influence. Instead, the kept their options open.
As the sixties became the seventies, Dies Irae were a favourite of the live scene. They shared concert and festival bills with future Krautrock favourites. Audiences were won over by Dies Irae’s crowd pleasing fusion of psychedelia, progressive rock, blues and rock. Their music seemed to appeal to a wider audience than some bands. This augured well for Dies Irae who were preparing to release their debut album First.
For their debut album, nine tracks were penned. Seven were written by Rainer Wahlmann and the other three members of Dies Irae. Salve Oimel and Run Off were credited to the four members of Dies Irae. These tracks would become First, which was recorded in Hamburg, with a legend of German music.
Recording of what what became First took place at the Star Studio Hamburg. The engineer was none other than Conny Plank. He had already worked with some of the most innovative groups of the Krautrock era. By the time the Krautrock era drew to a close in 1977, Conny Plank would’ve played a leading role in recording and producing everyone from Kraftwerk and Cluster, to Guru Guru, Neu!, Lava, Kollectiv, Harmonia and Grobschnitt. The man that Michael Rother would later call “the genius,” would’ve more than played his role in the Krautrock era. However, for the recording of First, Conny left the production to Jürgen Schmeisser.
He was an experienced producer, who initially, ran the Pliz label, which was a subsidiary of the BASF corporation. Already, Jürgen Schmeisser had produced Ardo Dombec, Blackwater Park, McChurch Soundroom and Virus for the Pilz label. Now he was set to work with Dies Irae.
Dies Irae arrived at Star Studio Hamburg on the 3rd of June 1971. Harmonica player and vocalist Rainer Wahlmann watched as the rhythm section of drummer Andreas F. Cornelius and bassist Robert J. Schiff setup. They were joined by guitarist Harald H.G. Thoma. Once the equipment was setup, the members of Dies Irae realised that now was the movement they had spent three years working towards. The next two days could make or break their career.
After two days recording the nine tracks, First was completed and now, their debut album would be released on the Pliz label. They were about to follow in the footsteps of Ardo Dombec, Blackwater Park, McChurch Soundroom and Virus.
Later in 1971, First was released on the Pliz label. While the album was well received by critics, there was a problem. Rainer’s lyrics were deemed too controversial to be played on West German radio stations. They banned the album. This was a huge blow for the members of Dies Irae.
Without radio play, people how were people going to hear about First? To make matters worse, Pliz, a subsidiary of BASF wasn’t like other record labels.
Part of the problem was, by 1971, BASF was a vast conglomerate. A record company was just part of its business portfolio. However, BASF didn’t seem to have the personnel to run what was a pan European record company.
They seemed to lack the expertise to promote First. That essentially killed the album. BASF seemed to lack a proper distribution network that ensure the album found its way into shops. That was the last straw.
Just like other albums released by BASF’s record label, First failed commercially. Albums were lucky to sell even a couple of thousand copies. That’s if they were really lucky. It seemed Dies Irae had signed to the wrong label. Things could’ve and should’ve been very different. After all, First was album that deserved to reach a much wider audience.
Lucifer literally bursts into life, opening First. There’s a blues-rock sound as Rainer’s harmonica and the rhythm section drive the arrangement along. That’s until Rainer dawns the role of psychedelic preacher. With chiming guitars for company, his languid, lysergic vocal begins to delivers his message. Then the blues rock arrangement explodes, and Dies Irae cut loose. Rainer’s vocal becomes an impassioned roar, that surely, influenced the punk generation? Meanwhile, the rhythm section provide the pounding heartbeat, and sometimes, produce a proto-punk sound. Harald H.G. Thoma’s blistering, searing guitar plays a starring role. When it’s panned, it adds to the trippy, freakbeat sound. With less than a minute to go, Rainer revives the role of psychedelic preacher, and proclaims: “theirs is the dawn of the new era,” on what’s one of the most memorable starts to any Krautrock album.
Another Room is best described as a spoken word, lysergic sketch lasting just thirty seconds. It sounds as if one of Dies Irae has taken a Trip, as he giggles uncontrollably.
Straight away, Another Room combines classic rock and blues. There’s a nod to Led Zeppelin as the rhythm section and guitar combine. They set the scene for Rainer’s as he sings: “ I moved away some days ago, away from my home town, into the bright city lights.” Then when Rainer’s vocal drops out, the rest of the band fuse elements of psychedelia and progressive rock. By then, it’s apparent just how tight and talented a group Dies Irae are. As they showcase their considerable skills, they seem to relish this opportunity. Then with a minute to go, Rainer’s vocal returns. It’s a mixture of power, passion and emotion. He passes the baton to the rest of the band, as the song reaches a blistering, rocky crescendo.
As Rainer advises “tune in,” the arrangement to Trip heads in the direction of avant-garde, psychedelia and free jazz. Dies Irae jam for just over a minute, before the arrangement almost dissipates. All that’s left is Rainer’s whispery vocal, which is accompanied by what’s an eerie, cinematic and lysergic backdrop. A guitar weeps, a bass bounds in the distance and drums are caressed as what’s easily the most psychedelic track on First unfolds. Rainer seems to pickup where the Lizard King left off. As a guitar shimmers across the arrangement, the rhythm section play subtly. Later, avant-garde, psychedelia and free jazz combine on this magical, mesmeric and lysergic Trip.
Harmagedon Dragonlove finds Dies Irae at their hard rocking best. They sound like one of the unholy trinity of rock, as the rhythm section drive the arrangement relentlessly along. Then there’s a brief, dreamy burst of what sounds like mid-seventies Pink Floyd. Then Dies Irae are off and running. Rainer sounds every inch the strutting frontman of a rock ’n’ roll band. Behind him, the rest of Dies Irae are at their hard rocking best. That’s apart from the brief bursts of dreamy, lysergic music, and a diversion via progressive rock. Mostly, though Dies Irae are kicking loose. A blistering, searing guitar and the thunderous rhythm provide the perfect backdrop to Rainer’s swaggering vocal.
Tired was one of the songs that attracted controversy. It has an understated introduction. Just the bass and guitar combine with Rainer’s bluesy harmonica, before the drums drive the arrangement along. Soon, Rainer’s singing: “start living in your dreams, fly a dovetail joint, get on a trip.” This was a controversial lyric. Especially in conservative West Germany in 1971. Then in the next verse, Rainer adds to the controversy with an attitude filled vocal. He sings: “get rid of those mindfuc-ers, fu-k you too.” Later, it’s just the harmonica that plays, before the rest of Dies Irae return. Rainer and guitarist Harald H.G. Thoma play call and response, while the rhythm section power this bluesy jam along.
Witches’ Meeting, a nine minute epic, has a jazz-tinged introduction. The bass walks the arrangement along, while blistering guitar and drums combine. Rainer’s vocal has a jazz influence, before it drops out. Then Dies Irae jam, combining jazz with elements of blues, classic rock and progressive rock. At 2.10 the song literally grinds to a halt, before the bass walks the arrangement along. Later, washes of shimmering, effects laden psychedelic guitar join rumbling drums as Dies Irae jam and improvise. Again, this gives them the opportunity to show that they belonged in the musical Bundeslegia. It’s another stunning genre-melting jam.
Red Lebanese is another of the songs that attracted controversy in 1971. With its references to smoking hash, this was just another reason for the authorities to ban the album from being played on radio. The decision of West Germany’s moral guardians, meant that a wider audience were denied the opportunity of hearing First on radio stations.
That was a great shame, as Red Lebanese finds Dies Irae at their very hard rocking best. That’s the case from the get-go. Bursts of blistering guitars join the driving the rhythm section. Rainer’s vocal fills left the gaps by the rest of the band. Then when his vocal drops out, the arrangement takes on a bluesy hue. Later, Dies Irae take a diversion via jazz. This comes courtesy of the walking bass. Bursts of guitar are panned right and left. Then at 2.38 the arrangement almost grinds to a halt. As, Dies Irae rebuild, a crystalline acoustic guitar plays, adding a sunshine sound. Later, lysergic guitars give way to a choppy, hard rocking rocking arrangement, before Rainer and the band veer between blues and rock. Seamlessly, they switch between genres, and in the process, showcase their versatility and considerable skills.
Run Off closes First. It starts offs a jam, before the tape speed is increased. This results in a cartoonish sound, which Dies Irae must have thought would leave a smile on the listeners’ faces…until the next time.
Sadly, there wasn’t a next time. First was Dies Irae’s first and last album. They never released another album for Pliz, or indeed any other label during the Krautrock era.
Rainer Wahlmann left Dies Irae in 1972. He wasn’t just the frontman and harmonica player, he was Dies Irae’s lyricist. Without him, Dies Irae weren’t the same band. That’s despite Andreas F. Cornelius, Harald H.G. Thoma and Robert J. Schiff being hugely talented musicians. However, without their frontman and lyricist, it was just about the end of the road for Dies Irae.
They continued until 1973, when eventually, they called time on their five year career. It was yet another case of what if?
Dies Irae are another band from the Krautrock era who should’ve enjoyed widespread critical acclaim and commercial success. The band featured four hugely talented musicians, who seamlessly, could switch between genres.
Although referred to as a band who combined psychedelia and progressive rock, there’s much more to Dies Irae’s music than that. They combine elements of avant garde, blues, classic rock, experimental, free jazz and jazz on First. Sometimes, though, when Dies Irae combine blues and rock, they sound not unlike Led Zeppelin. Sadly, Dies Irae didn’t enjoy the same success. However, what would’ve happened if Dies Irae had been signed to another label?
The problem was, Dies Irae signed to the wrong label. Pliz in 1971, seemed to a be somewhat dysfunctional record company. It wasn’t equipped to promote new artists. If they had been, then First would’ve found a much wider audience. Dies Irae it seemed, had signed to the wrong label.
Who knows what might have happened if Dies Irae had signed to Ohr, Brain or even Liberty? Maybe these labels would’ve promoted Dies Rae more effectively? Sadly, that wasn’t the case. However, Dies Irae weren’t alone.
Far from it. In the early seventies, countless bands were in a similar music. Many were releasing groundbreaking music. Despite that, many of these albums sunk without trace. Often, it was through no fault of the band. Many had the misfortune to sign to the wrong label. Some of these labels lacked the knowledge, nous or funds to promote an album. As a result, albums that could’ve played an important part in German musical history were lost for a generation.
It was no surprise that after the failure of First, and the demise of Dies Irae that Rainer Wahlmann was bitter about the failure of First. He had been part of a group that should’ve enjoyed a long and successful career. Instead, they only released one album, which West Germany’s moral guardians banned from the radio. For Rainer Wahlmann and the rest of Dies Irae the dream was over. They weren’t going to rub shoulders with the leading lights of German music.
Instead, Rainer Wahlmann turned his back on music, and returned to the ‘real world.’ With the dream over, he found a steady job and settled down. While it wasn’t the rock ’n’ roll lifestyle he had dreamed of, he enjoyed the security the 9-5 slog brings. However, like many musicians he still loved music and performing. It was in his blood.
Unlike many musicians, Rainer Wahlmann wasn’t willing to turn his back on security for another taste of the rock ’n’ roll lifestyle. He had been there. Instead, he was going to make music on his terms. This time round, music was going to be a hobby for Rainer Wahlmann, and his new group Green Wave. The second chapter in the Rainer Wahlmann story was about to begin.
DIES IRAE-FIRST.
NEW BREED WORKIN’-BLUES WITH A RHYTHM.
NEW BREED WORKIN’-BLUES WITH A RHYTHM.
Not many compilation series survive to release six volumes, never mind thirteen. That’s almost unheard of. However, recently, two compilation series celebrated the release of their sixth and thirteenth volumes. They seem to have found the ‘secret’ of a successful compilation.
For those waiting with baited breath, there’s no magic formula to a successful compilation. The key thing is a knowledgeable and enthusiastic compiler. They must have an almost encyclopaedic knowledge of their subject, and know where the hidden gems and musical treasure is buried. That’s been the key to two of the most successful and critically acclaimed compilations of recent years.
Recently, Ace Records released new instalments in two of their longest running, and most successful compilation series. The By The Bayou series celebrated the release of its thirteenth volume. Still, compiler Ian Saddler continues to uncover hidden gems from Louisiana. It’s a similar story with the New Breed compilation series, which released its sixth volume New Breed Workin’-Blues With A Rhythm the same day.
New Breed Workin’-Blues With A Rhythm was released on Kent Dance, an imprint of Ace Records. It was compiled by the hardest working man in music, Ady Croasdell. Hardly a month passes without a compilation bearing his name being released. They all have one thing in common…their quality. New Breed Workin’-Blues With A Rhythm is no different.
Ady Croasdell has dug deep to find the twenty-four tracks that feature on New Breed Workin’-Blues With A Rhythm. He’s searched the vaults of labels like Frisco, Cleveland, Dore, Brent, Kent, Krafton, RPM, Music City and Cator. Carefully, Ady Croasdell searched for the perfect mixture of familiar faces, new names, hidden gems and several rarities. This took time.
Eventually, though, Ady Croasdell managed to whittle his long-list down to just twenty-four tracks. They became New Breed Workin’-Blues With A Rhythm, the sixth instalment in the series.
Just like previous volumes in the New Breed series, Ady Croasdell had chosen the perfect mixture of familiar faces, new names, hidden gems and rarities. New Breed Workin’-Blues With A Rhythm included contributions from from Danny White, Pee Wee Foster, B.B. King, Bertha Tillman, Nookie Boy, Mary Johnson, Cool Papa Jarvis, Billy Ray, Richard Berry and Chet “Poison” Ivey. There were also eight tracks that have never featured on CD before. They’re a welcome addition to New Breed Workin’-Blues With A Rhythm. Especially, with veterans collectors of R&B.
Just like collectors of rock, psychedelia or soul, collectors of R&B are always looking for something new to add to their burgeoning collection. Especially, veteran collectors who have spent a lifetime look for those elusive rarities. However, times have changed in the last few years.
Previously, many collectors saw themselves as purists, who were only willing to an original vinyl 45 to their collection. Not any more. Nowadays, many collectors are realists. The price of many 45s are prohibitively expensive. No longer can they warrant paying $100-$200 for one 45. Not in these recession hit times. So when the same track can be found on a compilation, along with twenty-three other tracks it’s a no brainer. Suddenly, this makes financial sense, and compilations like Breed Workin’-Blues With A Rhythm seem like the bargain of the year. That you’ll soon realise, is the case.
Danny White’s The Twitch opens. New Breed Workin’-Blues With A Rhythm. It was released in 1963, on the Frisco label. This was Danny’s third single, but first attempt at a launching a dance craze. Despite Danny’s popularity in New Orleans, where he was a stalwart of Bourbon Street, The Twitch sunk without trace. However, fifty-three years later, The Twitch is a favourite of many DJs on the R&B and soul scene.
When looking for tracks for what became New Breed Workin’-Blues With A Rhythm, Ady Croasdell found a trio of tracks in the Arock vaults. They were just what Ady Croasdell was looking for. However, there was a problem. Nobody knew who wrote or recorded two of them. The easiest solution would be to forget about them, and pick two more tracks. Not Ady Croasdell. He decided to include them, and rather than credit them to unknown artist gave these unknown artists an alias. If at a later date, the artist’s name is discovered, then they’ll be credited.
Cruel World is first of the two mystery tracks. It was recorded in 1957, and can only be described as an impassioned soul-baring plea. It was credited to Roosevelt Powers. The second mystery track was a cover of Buddy Lucas’ Steamboat, which gave The Drifters a hit single in 1955. Then on 30th March 1963, Steamboat was cut at Sound Plus Studios, in Philly. Sadly, the artist’s name of this delicious cover of Steamboat is unknown. So they became Arthur Grant and The Red Shoes. Unless of course, you know the true identity of the artist.
By 1963, B.B. King had signed to Kent Records. His third single for his new label was The Letter. Hidden away on the B-Side was You Never Know, which features a barnstorming performance from the legendary bluesman. You Never Know also featured on his 1963 eponymous album. However, it was released on Crown Records. Three years later, in 1966, the B.B. King album was repackaged and released by Custom Records. One of the highlights was that barnstorming performance of You Never Know from B.B. King Lucille.
In 1962, Nookie Boy recorded Oliver Morgan’s I’ve Got A Feeling For You Baby. It was released on AFO, a New Orleans label founded in 1961. Mystery surrounded the identity of Nookie Boy. Who was the mystery vocalist record buyers asked? The clue was on the label. Nookie Boy was an alias of Oliver Morgan who penned the song. He combines elements of pop and jazz on his one and only single as Nookie Boy. By the time he released his next single Who Shot The La La La, his Nookie Boy alias had been laid to rest. Since then, copies of I’ve Got A Feeling For You Baby have become a real rarity. They change hands for considerable sums of money, much more than it would cost to buy a copy of New Breed Workin’-Blues With A Rhythm.
Two unreleased tracks are back-to-back on New Breed Workin’-Blues With A Rhythm. The first is an alternate version of Mary Johnson’s These Tears. It was released on the Foxy label in 1961. The original version doesn’t feature the brass and saxophone solo that’s on the alternate take. This transforms the track, and is the perfect accompaniment to Mary’s powerhouse of a vocal.
Joan Duvalle’s Lucky Girl is the second consecutive unreleased track. It was recorded for the New Orleans’ based AFO label. It was only in existence for two years, and released eighteen singles. Lucky Girl is the one that got away. However, fifty-two years after AFO closed its doors for the last time, Joan Duvalle’s Lucky Girl makes a belated and welcome debut.
Prolific describes Ray Agee. He recorded over seventy singles over a twenty year period. Ray Agee seemed determined to claim the title, the hardest working man in music. In 1967, he recorded Your Thingerma-Do as a single for the Krafton label. On the flip-side was Real Real Love, a stomper that found favour on the UK Northern Soul scene.
When the hits ran dry for Varetta Dillard in 1961, executives at Brent paired her with a group of male backing singers. This marriage of convenience became Varetta and The Thomases Breaking Hearts. Their recording career was brief, and amounted to just one memorable and soulful single Breaking Hearts. It was released on Brent in 1962, and features an emotive powerhouse of a vocal from Varetta.
Back in 1956, Big Boy Groves and Little Margie, his latest musical partner entered the studio to record some new tracks. This included Yes It’s You, and what was meant to be the followup, Another Ticket. Things didn’t quite go to plan, and neither track was released as a single. It wasn’t until 2009, that Yes It’s You featured on Ace Records’ Toast Of The Coast Volume 1 compilation. Six years later, and Big Boy Groves and Little Margie make a welcome return with Yes It’s You, a hidden gem that’s sure to be appreciated on the retro dance scene.
The Music City Soul Brothers only ever released two singles. Their second and final single was Something In My Eye. Tucked away on the B-Side was the Robert Walker penned Looking For My Baby. Robert Walker was the alias of Jimmy Norman who briefly, was the lead singer of The Music City Soul Brothers. His one and only single with The Music City Soul Brothers was Something In My Eye. When it failed to make an impression on the charts, Jimmy Norman moved on. The finest moment of his all too brief career with The Music City Soul Brothers was Looking For My Baby, which features a needy, pain-filled vocal.
Closing New Breed Workin’-Blues With A Rhythm is Chet “Poison” Ivey’s heart-wrenching versions of Now We Must Part. It was penned by Chet, and released on the Gator label in 1962. As Chet sings: “and Now We Must Part,” this proved the perfect way to close the sixth instalment in the New Breed compilation series. Hopefully, it won’t be for long, and volume seven will follow hot on the heels of New Breed Workin’-Blues With A Rhythm.
Despite reaching the sixth instalment in the New Breed compilation series, the music on New Breed Workin’-Blues With A Rhythm is still of the highest quality. It was released on Kent Dance, the same day as another of Ace Records’ most successful compilation series, By The Bayou. Much of the success of these two compilation series’ is down to the compiler.
Ian Saddler has masterminded thirteen instalments in the Bayou series. This side of the Atlantic, Ady Croasdell has some catching up to do. New Breed Workin’-Blues With A Rhythm is ‘only’ the sixth instalment in the New Breed series. Just like previous volumes, New Breed Workin’-Blues With A Rhythm oozes quality. That’s down to Ady Croasdell’s crate-digging skills.
He’s searched the vaults on countless record companies, including Frisco, Cleveland, Dore, Brent, Kent, Krafton, RPM, Music City and Cator. He’s struck gold several times on New Breed Workin’-Blues With A Rhythm, discovering hidden gems rarities and eight tracks that are new to CD. That’s not forgetting six previously unreleased tracks. Ady Croasdell has surpassed himself in his search for tracks for the sixth instalment in the New Breed series, New Breed Workin’-Blues With A Rhythm. However, I’m sure it won’t be long before Ady Croasdell sets out in search of more musical treasure.
There’s still plenty more musical gems awaiting discovery by Ady Croasdell. He has an uncanny knack for finding rarities, hidden gems and unreleased tracks. These he mixes with some familiar faces and old friends. This proves a potent combination, and one that’s proved successful. Especially on New Breed Workin’-Blues With A Rhythm, which has the perfect mixture of old friends, familiar faces, new names, hidden gems, rarities and unreleased tracks. It’s a welcome addition to the New Breed series.
NEW BREED WORKIN’-BLUES WITH A RHYTHM.
THE TEMPERANCE MOVEMENT-WHITE BEAR.
THE TEMPERANCE MOVEMENT-WHITE BEAR.
Hardly a month goes by without another band being touted as the future of rock ’n’ roll. These bands are hailed as the next Led Zeppelin or Rolling Stones. Often though, these bands have sunk like a musical Titanic. However, in September 2013, the future of rock ’n’ roll strutted into the spotlight, when The Temperance Movement released their critically acclaimed eponymous debut album.
The Temperance Movement showcased an old fashioned rock ’n’ roll band at their swaggering best. Seamlessly, The Temperance Movement fused blistering, old-school rock ‘n’ roll with blues and country. This was a heady and potent brew from a truly versatile group.
They were equally comfortable delivering ballads, as they were kicking loose on raucous rockers. When they did, The Temperance Movement exuded attitude and confidence on what was a flawless debut album. Critics went into overdrive, calling The Temperance Movement rock ’n’ roll’s rising stars. I went further and said: “the future of rock ‘n’ roll is The Temperance Movement. Many people agreed.
Soon, The Temperance Movement was climbing the UK charts. Eventually, it reached number twelve. For a debut album, especially one from a band that had only been formed two years earlier, this was regarded as a huge success. The months spent touring The Temperance Movement had been well spent. Now it was a case of doing it all again.
Just over two years later, and The Temperance Movement make a triumphant return with their sophomore album, White Bear. It was released on Earache Records on 15th January 2016. Soon, White Bear was racing up the UK rock charts, and nine days later, reached number one on 24th January 2016. No longer were The Temperance Movement just rising stars of the British music scene. Instead, they were one of the most exciting British bands of recent years. However, a lot of hard work had gone into getting The Temperance Movement to where they were.
It was 2011, that The Temperance Movement story began. That’s when five veterans of the music industry decided to form a band.
By then, Glasgow born lead vocalist Phil Campbell had already released a string of solo albums, including 2008s After The Garden, 2009s Daddy’s Table and 2010s Saviour’s Song. Bassist Nick Fyffe had been in Jamiroquai’s band; while Australian-born drummer Damon Wilson counted Feeder, The Waterboy’s and Ray Davies as former employers. This left just the two guitarists Paul Sayer and Luke Potashnick. Just like other members of The Temperance Movement, Luke was had played in several bands. Among them, were Rooster and Ben’s Brother. These five experienced and talented musicians joined forces to form The Temperance Movement.
Between 2011 and September 2012, The Temperance Movement concentrated on honing their sound. Quickly, they’d established a loyal following. Whether it was pubs, clubs, concert halls or festivals, the word was out. The Temperance Movement were seen as a group with a huge future. Already, some critics were referring to The Temperance Movement as the future of rock ‘n’ roll. Despite the rave reviews, The Temperance Movement weren’t signed to a record label
So when the time came to release their debut E.P, The Temperance Movement released it themselves. The Pride E.P. was released on 10th September 2012 and featured five tracks. Pride, No Lucky, Only Friend, Ain’t No Telling and Lovers and Fighters were an introduction to The Temperance Movement’s kick ass brand of blistering rock ‘n’ roll. Pride was released to critical acclaim, and lead to The Temperance Movement playing at The Sunflower Jam Super Jam at the Royal Albert Hall.
Every year, The Sunflower Jam Super Jam takes place at the Royal Albert Hall. This charity concert raises funds for The Sunflower Jam, a cancer charity. In September 2012, just a week after the release of the Pride E.P, The Temperance Movement were the opening act at the Super Jam. They played the first two tracks from the Pride E.P. The Temperance Movement were going places.
Two months later, in November 2012, The Temperance Movement were asked to play at Futurerock in the 100 Club, in Oxford Street, London. This was another prestigious venue, where the great and good of rock ’n’ roll had once played. Usually later in the career. The Temperance Movement it seemed were overachievers, playing such a prestigious venue early in their career. 2012 had been a good year for The Temperance Movement. However, 2013 would be even better.
During 2013, The Temperance Movement didn’t stop working. In April and May, they headed out on a gruelling British tour. Then during the summer, they became festival favourites. It was just as well that in between, tours and festivals, The Temperance Movement managed to find time to record their eponymous debut album.
The Temperance Movement was released to widespread critical acclaim on 16th September 2013. Soon, it began to climb the UK charts, and eventually reached number twelve. For a band that had only been formed two years previously, this was an incredible feat. Despite this, The Temperance Movement weren’t going to rest on their laurels.
They continued to tour during the first few months of 2014. Then on 10th June 2014, The Temperance Movement found themselves at the Waldbühne in Berlin. They were due to warm up for one of the biggest names in music, the Rolling Stones. This was almost ironic, as The Temperance Movement had the same swagger and attitude as the Rolling Stones once had. Maybe that’s why six days later The Temperance Movement were reunited with the Rolling Stones.
This time, it was in Vienna, at the Vienna Ernst Happel Stadion. On 16th June 2014 The Temperance Movement took to the stage. Soon their swaggering brand of good time rock ’n’ roll was winning over the audience. Wherever they went on what seemed like a never-ending tour, The Temperance Movement won new friends and influenced people. However, there were still people who hadn’t The Temperance Movement. They had a cunning plan.
So on 6th October 2014, The Temperance Movement was reissued as a double album. The second disc featured five live tracks from a concert in Portsmouth, England. They were chosen by the band, and allowed those that hadn’t yet heard the band live, to hear what they were missing. This should keep The Temperance Movement’s fans happy until they recorded their sophomore album. That was still to come.
2015 started well for The Temperance Movement. In January, came the announcement on Planet Rock Radio that The Temperance Movement were due to feature at the prestigious Planet Rockstock in Marrakech. This wasn’t until June.
By then, The Temperance Movement were continuing what was a gruelling live schedule. They seemed to live on the road. However, this would eventually take its toll on a band member.
In September 2015, The Temperance Movement made an announcement just prior to their appearance at the Ullapool Festival. Founding member and guitarist Luke Potashnick had left the band. “Luke has being playing and touring internationally for many years, but he has always preferred the studio to the stage. As long as TTM have been together, Luke has quietly enjoyed a writer/producer career of his own which he now wishes to fully dedicate himself to.” For many, this came as a shock.
Those that had followed The Temperance Movement’s career, were aware that Luke Potashnick wanted to forge a career as a songwriter and producer. This wasn’t possible when he was part of a band who spent large parts of the year touring. Something had to change. So Luke Potashnick left The Temperance Movement.
Replacing Luke Potashnick for The Temperance Movement’s gig at the Ullapool Festival was guitarist Jacob Hildebrand. At the time, it was unclear whether he was a just a temporary or permanent member of The Temperance Movement?
It turned out, that Jacob Hildebrand had only a walk-on part in The Temperance Movement story. Matt White was brought onboard and became The Temperance Movement’s new guitarist. He would feature on White Bear, The Temperance Movement’s sophomore album.
For White Bear producer Sam Miller was drafted in. He worked with The Temperance Movement in three studios in London, Northamptonshire and Monmouthshire. The Temperance Movement had written eleven songs. These songs marked the debut of The Temperance Movement’s latest lineup.
Joining Phil Campbell, the voice of The Temperance Movementm was the rhythm section of bassist Nick Fyffe, drummer and guitarists Paul Sayer. They were augmented by the band’s newest recruit Matt White. Quickly, the shops took shape, and by the end of 2015, The Temperance Movement were ready to unleash the White Bear.
On the 15th January 2016, The Temperance Movement’s sophomore album White Bear was released to overwhelming critical acclaim. Soon, it racing up the UK rock charts, and reached number one on 24th January 2016. The Temperance Movement “the future of rock ’n’ roll” were back.
Three Bulleits opens White Bear. The song takes its title from a brand of bourbon, which apparently is a favourite of some members of The Temperance Movement. Guitars shriek, drums pound and the bass bounds. Together, they provide a backdrop for Phil’s lived-in, and bourbon honed vocal. Behind, him searing, machine gun guitars and a buzzing bass combine. By then, The Temperance Movement are heading into anthem territory. Crucial to this anthem are sing song harmonies, reminiscent of The Faces. They’re augmented by screaming and blistering blues guitars. There’s even nod to the Rolling Stones and Led Zeppelin on this anthemic, swaggering start to White Bear. Time for Three Bulleits I think?
From the opening bars, Get Yourself Free has good time rock ’n’ roll written all over. A chiming, chirping guitar guitar sits above the rhythm section. They lock into a tight groove, the bass buzzing, drums rumbling and guitar chiming. Phil’s vocal is soulful and impassioned, before The Temperance Movement kick loose at forty-five seconds. By then, Phil’s vocal is a mixture of raw power and passion, while the rest of the band draw inspiration from The Black Crowes, The Faces and Led Zeppelin. Meanwhile the twin guitar sear, scream and soar above the arrangement. It’s driven along by the powerhouse of a rhythm section. Adding the finishing touch are the harmonies. They’re the perfect foil to Phil’s pleas “Get Yourself Free” on what’s a fist-pumping rocky opus.
Just the bass and crystalline guitar combine on A Pleasant Peace I Feel. Soon, they’re joined drums and braying saxophone. They set the scene for Phil’s needy vocal, on what’s an underrated arrangement. At any moment, it could explode, and The Temperance Movement rock out. It takes to 1.43 and the scorching guitars join the powerhouse of a rhythm section. The drums pay homage to Keith Moon, while Phil’s vocal has a classic rock influence. Then when the chorus kicks in, euphoric and exhilarating describes this joyous, hook-laden rocky anthem. Soon, it’s heading towards a glorious rocky crescendo. By then, it’s obvious that A Pleasant Peace I Feel is sure to be a festival favourite during 2016.
Bursts of machine gun guitar and pounding drums combine on Modern Massacre, and create a backdrop for Phil’s gravelly vocal. He sounds as if he’s survived on the traditional rock ’n’ roll diet of whisky, beer and Marlboro. If he has, this has served him well. His vocal is tailor made for the song. The rest of band unleash one of their heaviest songs. Phil struts and swaggers his way through the lyrics. Meanwhile drums pound relentlessly, guitars scream as The Temperance Movement cut loose, before reaching a dramatic, rocky crescendo.
A lone guitar is panned right on Battle Lines, while Phil’s vocal is panned left. Dramatic drums and a hesitant buzzing bass take centre-stage. That’s until The Temperance Movement kick loose. When they do, they sound like an early seventies classic rock group. It seems real rock is alive and kicking. Especially with scorching, blistering guitars and the pounding rhythm section locking horns. Later, the sing song harmonies and guitars laden with effects are added to what’s a musical masterclass from The Temperance Movement.
Phil howls a warning, as The Temperance Movement unleash the White Bear. Its arrangement is a wall of sound. This comes courtesy of the searing guitars and stomping rhythm section. Then the arrangement becomes understated, allowing Phil to deliver a tender vocal. Soon, though, The Temperance Movement up the tempo and the wall of sound reappears. Phil’s vocal is a mixture of power and passion. Later, as the tempo drops, country-tinged guitars accompany Phil as the arrangement becomes melodic and wistful. That’s until the powerhouse of the arrangement returns. Guitars scream, threaten to feedback, while cooing harmonies and the thunderous rhythm section accompany Phil’s heartfelt, impassioned vocal. Emotion and power combine, before the arrangement dissipates, as if The Temperance Movement are spent. No wonder after four minutes of musical magic.
Oh Lorraine was released as the lead single from White Bear. It’s the perfect choice for a single. It’s a hook-laden anthem. Driven along by the twin guitars and rhythm section, harmonies accompany Phil’s rocky vocal. When his vocal drops out, the rest of the band take centre-stage, and showcase their considerable talents, combining rock and boogie on this irresistible, hook-laden single.
Stylistically, the introduction to Magnify is quite different from previous tracks. There’s a more experimental sound with crystalline guitars, a moody rumbling bass and futuristic effects combining. This is what frames Phil’s heartfelt, hopeful vocal as he sings: “you take your time and I’ll be there.” Soon, though, The Temperance Movement have kicked loose, and are showcasing their good time rock ’n’ roll sound. The Faces, Rolling Stones, Black Crowes and Primal Scream seem to have influenced The Temperance Movement as they strut their way through what’s become a delicious slice of good time rock ’n’ roll.
As The Sun And Moon Roll Around Too Soon begins to unfold, there’s more than a nod to Led Zeppelin. That’s the case from the stripped down introduction, where guitars accompany Phil’s vocal. Then when The Temperance Movement revisit their trademark hard rocking sound, they pay homage to Jimmy Page and Co. From there, The Temperance Movement strut their way through the arrangement where crunchy guitars and mesmeric rhythm section combine with harmonies. They play a part in this hook heavy track. It features The Temperance Movement at their very best, and is sure to be another crowd pleaser.
Closing White Bear, is the ballad I Hope I’m Not Losing My Mind. A guitar rings out, before drums play slowly and deliberately. They’re the perfect backdrop for Phil’s soul-baring vocal. It’s akin to to a confessional as he sings: “I Hope I’m Not Losing My Mind.” Accompanied by harmonies, a beautiful, poignant balls unfolds, where country, soul and rock combine seamlessly, and shows another side to Temperance Movement. It seems they’ve kept the best until last. That’s saying something, given the quality of music on White Bear.
From the opening bars of Three Bulleits, right through to the closing notes of I Hope I’m Not Losing My Mind, White Bear is a near flawless album. It seems that The Temperance Movement haven’t suffered from second album syndrome. Far from it.
White Bear oozes quality. With its rocky anthems and the soulful ballad I Hope I’m Not Losing My Mind, it’s the perfect followup to The Temperance Movement.
It was never going to be easy to followup an album as good The Temperance Movement, but Phil Campbell and Co. have managed to do so with apparent ease. The band wrote the ten tracks on White Bear, and recorded them in three takes or less. That’s no bad thing.
Nowadays, many albums are too polished. Rock albums should be a bit rough around the edges. Look at some of the greatest albums in the history of rock. They were recorded quickly, with a degree of spontaneity. That’s what The Temperance Movement set out to do, and achieved on White Bear, which was recently released by Earache Records.
It’s no exaggeration to say that White Bear features The Temperance Movement at the peak of their powers. They literally strut and swagger their way through White Bear, creating music that’s anthemic, hook-laden, melodic and nine times out of ten, always rocky and memorable. The Temperance Movement don’t ration hooks, as they follow in the footsteps of The Faces, Led Zeppelin, Rolling Stones and Black Crowes on what’s a career changing album, White Bear.
White Bear reached number one on the UK rock charts. It seems that The Temperance Movement are the real, deal and the future of rock ’n’ roll. The Temperance Movement’s sophomore album White Bear showcases an old fashioned rock ’n’ roll band at their swaggering best. Seamlessly, The Temperance Movement fused blistering, old-school rock ‘n’ roll with blues and country on White Bear. This is a heady and potent brew from a truly versatile group, The Temperance Movement.
THE TEMPERANCE MOVEMENT-WHITE BEAR.
THE VELVET UNDERGROUND-LIVE AT MAX’S KANSAS CITY-VINYL EDITION.
THE VELVET UNDERGROUND-LIVE AT MAX’S KANSAS CITY-VINYL EDITION.
1970 should’ve been the start of a new era for The Velvet Underground. They had just signed a two album deal with Atlantic Records in late 1969. This should’ve been the dawn of a new era for The Velvet Underground, where they belatedly made a commercial breakthrough.
Instead, 1970 was The Velvet Underground’s annus horribilis. They released their fourth studio album Loaded, on 15th November 1970. By then, Lou Reed had left the group he had cofounded.
This presented a problem for The Velvet Underground. They were due to tour North America, promoting Loaded. So bassist Doug Yule switched to bass and took charge of lead vocals. To play bass, Walter Power was drafted in. This new lineup of The Velvet Underground spent part of 1971 touring North America. During the tour, the members of The Velvet Underground wrote some new songs for the album they owed Atlantic Records.
When The Velvet Underground returned home, they headed to Atlantic Records’ headquarters, where they showcased their new songs. These songs, they hoped, would feature on their fifth album. However, The Velvet Underground without Lou Reed was a totally different band to the one Atlantic Records had signed in 1969. They were like a rudderless ship heading perilously close to the rocks.
Executives at Atlantic Records realised this. They also realised that the new songs weren’t good enough, so rejected them out of hand. For the members of The Velvet Underground this was a crushing blow. To make matters worse, The Velvet Underground still owed Atlantic Records an album. Atlantic Records had a solution though.
They looked through the Atlantic Records’ archives, and decided to release an album of live material. This became Live at Max’s Kansas City, which was released on May 30th 1972. It became The Velvet Underground’s first live album, which was reissued on vinyl by Rhino on 22nd January 2016. Live at Max’s Kansas City also fulfilled The Velvet Underground’s contractual obligations to Atlantic Records, and marked the end of an era. Things had been so different in 1969. It was the start of a bright new dawn.
For The Velvet Underground, 1969 had been a turbulent year. They had released their third album The Velvet Underground in March 1969. It featured the debut of Doug Yule, who was brought in to replace John Cale. This was meant to the start of a bright new future for The Velvet Underground.
After two albums which had failed commercially, Lou Reed decided that The Velvet Underground had to change tack. They had to release music that was much more pop oriented, and therefore, commercial. John Cale however, didn’t agree with how Lou Reed’s master-plan.
This had been a bone of contention between the pair for some time. John Cale wanted The Velvet Underground to continue to innovate, and create experimental music like White Light/White Heat, The Velvet Underground’s sophomore album. Lou Reed didn’t agree.
Lou Reed believed that The Velvet Underground’s music should become more pop oriented. This he felt, would broaden their appeal. No longer would they be an art rock group whose music appealed to discerning music lovers. Eventually, Lou Reed won over the rest of The Velvet Underground. For John Cale this was hugely disappointing. So, he decided the only option was to leave The Velvet Underground.
The Velvet Underground.
Following the departure of John Cale, The Velvet Underground began looking for a replacement. Eventually, Doug Yule was chosen as John Cale’s replacement. He made his Velvet Underground eponymous third album in November 1968, at TTG Studios, Hollywood. The Velvet Underground recorded ten songs penned by Lou Reed. By December 1968, The Velvet Underground was completed it was released in March 1969.
Before that, critics had their say on The Velvet Underground. The majority of the critics were won over by The Velvet Underground’s new sound. Some critics went as far as to say that the album was The Velvet Underground’s finest hour. They were impressed The Velvet Underground’s much more accessible sound. The Velvet Underground were congratulated on the quality of songwriting, and the delivery of the lyrics. However, there was a but.
Some critics felt that The Murder Mystery was an experiment that hadn’t worked. Others ant further, lamenting that The Murder Mystery fell short of the quality of White Light/White Heat. Other critics remarked that The Velvet Underground lacked the eclectic sound of its predecessors. Even the quality of recording was criticised. Mostly though, critics thought that The Velvet Underground were on the right road. However, as usual, record buyers had the casting vote.
When The Velvet Underground was released in March 1969, the album crept into the US Billboard 200, reaching just 197. This was a disaster for The Velvet Underground. Lou Reed’s decision to embrace a more commercial sound had backfired.
Following the release of The Velvet Underground, the band headed out on tour. They spent much of 1969 touring America and Canada. Night after night, they reworked tracks from their first three albums. The audience watched as a tight band fought for their very future. Some nights, The Velvet Underground debuted new songs.
New Age, Rock and Roll and Sweet Jane found their way onto the set list. This trio of songs found their way onto Loaded, which was released in 1970. Throughout the tour, The Velvet Underground showcased these new songs on what was a lengthy tour.
As The Velvet Underground’s seemingly never ending tour continued, they continued to hone their sound. They were a very different band to just a few years previously when they were Warholian disciples. That was the past. Now The Velvet Underground were willing to forsake what many thought was their true sound, for commercial success. That proved ironic.
After three albums that had failed commercially, MGM were starting to loose patience with The Velvet Underground. It didn’t help that MGM had been haemorrhaging money for a couple of years. They had too many loss making acts on their roster. Something had to give.
During the night of the long knives, executives at MGM decided to cancel the contracts of eighteen loss making acts. This included The Velvet Underground. They were invited to the headquarters of MGM, and told that their contract had been cancelled. However, was the decision to cut The Velvet Underground loose purely a business decision?
Since then, there has been speculation that The Velvet Underground were dropped just because they were losing MGM money. Maybe, it was more to do with The Velvet Underground’s image being at odds with MGM’s corporate image? That proved to be the case. In 1970, an executive of MGM said: “it wasn’t eighteen groups, Mike Curb was misquoted. The cuts were made partly to do with the drug scene—like maybe a third of them had to do with drug reasons. The others were dropped because they weren’t selling.” It seemed that MGM’s mattered more than selling records. MGM it seemed, only wanted artists whose lifestyle they approved of.
Many thought that being dropped by MGM must have been devastating for The Velvet Underground. It seems it was, and it wasn’t. When Lou Reed was interviewed in 1987, he admitted: “we wanted to get out of there.” That may just be bravado. After all, the music industry is a small village, and word would’ve spread like wildfire why The Velvet Underground had been dropped. Some critics however, thought the situation was ironic.
Back in 1968, The Velvet Underground had made what many regarded as the ultimate musical sacrifice. They had changed direction musically on their eponymous third album. No longer were they seen as an art rock band by championed by many critics and cultural commentators. Instead, the move towards a more populist sound was seen as the ultimate betrayal from The Velvet Underground. This resulted in John Cale’s departure from the band. Now that The Velvet Underground had been dropped by MGM, the loss of one of their main creative forces, had been for nothing. Given what had happened, it was the ultimate irony.
Now without a record contract, The Velvet Underground headed back out on tour. Touring was now their main source of income. So they spent much of 1969 on the road. Mostly, it was the tight version of The Velvet Underground that took to the stage. Other times, they revisited their past.
The Velvet Underground decided to reinvent songs, during lengthy improvisations. This mixture of art rock, avant garde and free jazz showed that the old Velvet Underground weren’t dead. Some critics believed it was merely being suppressed in the search for commercial success.
During their gruelling touring schedule, The Velvet Underground made occasional forays into the recording studio. Some of the songs The Velvet Underground recorded, were seen as having potential. However, they couldn’t be released, as The Velvet Underground were in dispute with MGM. With no recording contract, and locked in what could prove a biter, lengthy and expensive dispute with MGM, things looked bleak for The Velvet Underground.
By November 1969, The Velvet Underground arrived in San Francisco, and were due to play at The Matrix and The Family Dog. These shows were recorded, and were meant to be released as live albums. However, that didn’t happen until the next millennia.
The Bootleg Series Volume 1: The Quine Tapes were released in 2001, and The Complete Matrix Tapes box set was released in 2015. 1969 was fast proving to by The Velvet Underground’s Annus horriblis. Surely, things would improve as when the new decade dawned.
That proved to be the case. 1970 saw The Velvet Underground’s luck improve. They were signed by Atlantic Records, and told to record an album: “loaded with hits.” This would be a first.
Loaded.
Commercial success had eluded The Velvet Underground. Three albums into their career, and they hadn’t enjoyed a hit single. The nearest they came to commercial success was when their 1967 debut album, The Velvet Underground and Nico reached 129 in the US Billboard 200. It was all downhill from there. In 1968, White Light/White Heat struggled into the US Billboard 200 at 199. Then when The Velvet Underground was released in 1969, it stalled at 197 in the US Billboard 200. The Velvet Underground were faced with a mammoth task to produce an album: “loaded with hits.”
With these words ringing in his ears, Lou Reed went away and wrote the ten tracks that became Loaded. Then recording began at Atlantic Recording Studios, New York with Geoff Haslam, Shel Kagan and The Velvet Underground producing Loaded. However, one member of The Velvet Underground was missing.
Maureen Tucker missed the Loaded recording sessions. They took place between April and August 1970. Her only contribution was singing on the outtake I’m Sticking With You, and adding drums on a demo of I Found a Reason. Loaded was the first Velvet Underground album Maureen Tucker was missing from.
Various musicians replaced Maureen Tucker on Loaded. Engineer Adrian Barber, who played on Who Loves the Sun and Sweet Jane. Tommy Castagnaro then played drums on Cool It Down” and Head Held High. Billy Yule, Doug Yule’s brother deputised on drums on Lonesome Cowboy Bill and Oh! Sweet Nuthin.’ Even bassist Doug Yule played drums.
Although hired as a bassist, Doug Yule played fuzz bass, piano, keyboards, lead guitar, percussion and added backing vocals. He added the lead vocals on Who Loves the Sun, New Age, Lonesome Cowboy Bill and Oh! Sweet Nuthin’. Sterling Morrison played lead and rhythm guitar. Lou Reed, who was now The Velvet Underground’s main creative and driving force, played lead and rhythm guitar, plus the piano. This depleted version of The Velvet Underground, plus a few friends eventually, finished recording of Loaded in August 1968. The release was scheduled for 15th November 1970. A lot would happen before then.
With Loaded completed, usually, The Velvet Underground would’ve been readying themselves for the usual round of promotion that takes place before an album is released. Not this time.
Lou Reed called time on his career with The Velvet Underground on 23rd August 1970. This left The Velvet Underground like a rudderless ship.
With The Velvet Underground having lost their leader and creative force, others took charge of final mix of the album. That was fatal. Lou Reed should’ve handed Atlantic Records the final mix, and then left.
When Lou Reed saw and heard a copy of Loaded, he was in for a shock. The claimed that Loaded had been re-sequenced. This hadn’t been authorised. That was bad enough. No longer would Loaded flow as it was meant to. Much worse, was that some of Lou Reed alleged that some of the songs on Loaded had been edited.
Lou Reed railed against the edited version of Mary Jane. So badly edited was the song, that it was bereft of its very melody. A heartbroken Lou Reed described the melody as: “heavenly wine and roses.” Sadly, it was gone. New Age was another song that had fallen victim to the razor blade in the editing suite. However, one of the remaining members of The Velvet Underground disputed Lou Reed’s claims.
It was newcomer Doug Yule who spoke out. Despite being a relative newcomer to the band, he disputed what Lou Reed said. Doug Yule claimed that it was Lou Reed who edited Mary Jane, before he left The Velvet Underground. This essence of his explanation was that Lou Reed edited the song so that it would be a hit. However, it was claim and counter-claim. If Lou Reed edited the song, why did he edit the “heavenly wine and roses” of the melody from the song? The editing was just one of several grievances Lou Reed had.
The ten songs on Loaded came from the pen of Lou Reed. However, when Lou Reed received his copy of Loaded, he discovered that the songs were credited to The Velvet Underground. What made this worse, was that Lou Reed was third in the credits. He felt he wasn’t receiving the credit he deserved. Rubbing salt into the wound was a large photograph of Doug Yule playing the piano. The Velvet Underground’s creative force was overshadowed by the newcomer. Was this a deliberate slight seen Lou Reed had left The Velvet Underground?
As Lou Reed studied Loaded album’s cover, he discovered that Maureen Tucker was credited as the drummer. She hadn’t played on Loaded, as she was pregnant. It was the only Velvet Underground she didn’t play on. Ironically, many critics felt Loaded was one The Velvet Underground’s finest albums. However, even another member of the band didn’t agree with this.
Sterling Morrison had been ever-present on the four albums The Velvet Underground had released. This made him well qualified to critique the album. He had mixed feelings on the absence of Maureen Tucker and Doug Yule’s increased influence on Loaded. Without Maureen Tucker: “it’s still called a Velvet Underground record. But what it really is is something else.” Then when asked about Doug Yule playing a bigger part on Loaded he said: ”the album came out okay, as far as production it’s the best, but it would have been better if it had real good Lou vocals on all the tracks.” It seems the newcomer hadn’t convinced The Velvet Underground guitarist. What did the critics think?
Most critics were won over by Loaded. It followed in the footsteps of The Velvet Underground, which showcased a much more populist, commercial sound. Among Loaded’s highlights were the hook-laden, Sweet Jane and Rock and Roll. Even without the “heavenly wine and roses” of the melody, Sweet Jane was a timeless classic. Along with Rock and Roll, they became favourites on American FM radio stations. Other tracks that were mentioned in dispatches by critics were the soulful infused I Found a Reason and New Age. However, not everyone was convinced by Loaded.
Rolling Stone magazine wasn’t impressed by Loaded. They were the highest profile critic of Loaded. Ironically, they’ve performed a volte face, and nowadays, Loaded is one Rolling Stone magazine’s 500 best albums of all time. However, Rolling Stone weren’t being contrarian, like some critics.
While Loaded is indeed, a minor classic, it could’ve and would’ve been a better album. Especially, if Lou Reed took charge of all the lead vocals. Sterling Morrison had a point. Lou Reed was The Velvet Underground’s best vocalist. Having written the lyrics, he was able to bring them to life. From Sweet Jane and Rock and Roll, to Cool It Down, Head Held High, I Found A Reason and Train Round The Bend, Lou Reed unleashes a series of vocal masterclasses. Sadly, he only sung six of the ten vocals. That proved to be a a mistake.
In another group, Doug Yule would’ve been a more than adequate replacement. However, he couldn’t quite live the lyrics like Lou Reed. That’s not to say his performance is disappointing on on Who Loves the Sun, New Age, Lonesome Cowboy Bill and “Oh! Sweet Nuthin’. Far from it. Instead, they’re just not as good as The Velvet Underground’s worldweary leader, Lou Reed. Those were big shoes to fill. Even Sterling Morrison agreed.
Similarly, Maureen Turner was missed. While her replacements are more than adequate, it could be argued that there’s no continuity. Each drummer has their own sound and style. Despite that, Loaded came to be regarded as a minor classic. Very few people thought that would be the case in 1970.
When Loaded was released on 15th November 1970, the album failed to chart. It stopped just short, reaching 202 in the US Billboard 200. So near, but yet so far. This was a familiar story for The Velvet Underground.
Their fourth album Loaded deserved to fare better. They had sacrificed and suppressed their true sound to deliver an “album loaded with hits.” Loaded had everything going for it. It benefited from a much more commercial sound, and plethora of hooks. This meant that Loaded was The Velvet Underground’s most accessible album. Surely this was what record buyers wanted The Velvet Underground reasoned?
Record buyers had shied away from The Velvet Underground and Nico and White Light/White Heat. Then on The Velvet Underground, which was released in 1969, Lou Reed and Co. moved towards a more populist, accessible sound. This came at the cost of John Cale. Still The Velvet Underground failed commercially, and MGM dropped the Velvets. This proved the ultimate irony.
Just under a year later, and Lou Reed was gone too. This left just Sterling Morrison and the returning Maureen Tucker. That presented a problem for The Velvet Underground. They were due to tour America and Canada promoting Loaded.
It was bassist Doug Yule who came up with a solution. He switched to bass and took charge of lead vocals. To play bass, Walter Power was drafted in. Drummer Maureen Tucker returned, and her place behind her drum kit. While this was a long way from the classic lineup of The Velvet Underground, it meant that the group would be to tour North America.
After rehearsing, and Walter Power learning The Velvet Underground’s songs, the band headed out on tour. It was with a degree of trepidation that they took to the stage for the first time. Never before had this lineup played live. Gradually, though, they found their feet, and for part of 1971, this new lineup of The Velvet Underground toured North America.
During the tour, the members of The Velvet Underground began working on their fifth studio album. They were some new songs for the album they owed Atlantic Records. Maybe, it would the album that saw The Velvet Underground make their long-awaited commercial breakthrough?
That wasn’t the case. The Velvet Underground didn’t even come close to getting the opportunity to record another album for Atlantic Records.
Once The Velvet Underground’s North American tour was over, the band returned home. Now they were ready to begin work on their fifth album. So, they made an appointment with executives at Atlantic Records, where The Velvet Underground played some of their new songs. These songs, they hoped, would feature on their fifth album. However, The Velvet Underground without Lou Reed was a totally different band to the one Atlantic Records had signed in 1969.
Executives at Atlantic Records realised this. They also realised that the new songs weren’t good enough, so rejected them out of hand. For the members of The Velvet Underground this was a crushing blow. To make matters worse, The Velvet Underground still owed Atlantic Records an album. Atlantic Records had a solution though.
They looked through the Atlantic Records’ archives, and decided to release an album of live material. This became Live at Max’s Kansas City, which was released by Atlantic Records on May 30th 1972.
Live At Max’s Kansas City.
It’s fitting that The Velvet Underground’s Atlantic Records’ swan-song had been recorded at Max’s Kansas City, in New York. It was one of The Velvet Underground’s favourite venues. So much so, that it was like a second home.
It was in 1965, that Max’s Kansas City first opened its doors. This just the year that The Velvet Underground were born. Since then, Max’s Kansas City had been a favourite hangout for The Velvet Underground. They weren’t alone.
Max’s Kansas City was a hangout for the actors, hipsters, models, scenesters and singers. It was where the beautiful, famous and contrarian came to play. Even Andy Warhol and his Warholian disciples were known to hang out at Max’s Kansas City. So was Rolling Stone Mick Jagger. Even the staff at Max’s Kansas City had designs of fame and fortune.
This included Debbie Harry in her pre-Blondie days. She waited tables, while awaiting her big break. Debbie Harry would witness the recording of The Velvet Underground’s first live album, Live At Max’s Kansas City.
The album may never have happened, if Brigid Polk, a close friend of The Velvet Underground hadn’t decided to tape the show. For some reason, that night, Brigid Polk brought along her tape recorder and pressed play.
She captured the essence of The Velvet Underground live on Live At Max’s Kansas City. It was remastered by Rhino for its recent release. This has improved the sound slightly. Despite that, its still slightly rough around the edges. That can’t be helped. Brigid Polk didn’t have access to top quality recording equipment. Her recording was probably only ever meant for her own, and band’s enjoyment. She didn’t know she was recording history being made, as Live At Max’s Kansas City features Lou Reed’s last performance with The Velvet Underground.
When Lou Reed takes to the stage, he’s part entertainer, part bon viveur. As the band tune their instruments and audience make small talk, Lou Reed takes to the stage. Drolly he says “you’re allowed to dance, in case you don’t know.” Then The Velvet Underground start with a stonewall classic.
That’s the only way to describe I’m Waiting For The Man, from The Velvet Underground and Nico. That grabs the audience’s attention, before The Velvet Underground showcase Sweet Jane and Lonesome Cowboy Bill from what would be Lou Reed’s swan-song Loaded. Then The Velvets go back in time.
Beginning To See The Light was from the 1969 album The Velvet Underground. This was the first Velvet Underground album since the departure of cofounder John Cale. After that, Lou delivers a heartfelt version of I’ll Be Your Mirror, one of the most beautiful songs in The Velvet Underground’s back-catalogue. It’s another song from The Velvet Underground and Nico, which is a classic album. That’s the case with the first four Velvet Underground albums.
That includes their 1969 eponymous album. It featured Pale Blue Eyes, which The Velvet Underground revisit on Live At Max’s Kansas City. It’s akin to a best of live, with Sunday Morning from The Velvet Underground and Nico being next on the setlist. Lou Reed seems to reserve one of his finest vocals. Then he brings things up to date with New Age, which would feature on Loaded. That was the straw that broke the camel’s back. Things had been so different three years earlier.
Back in 1966, when The Velvet Underground and Nico was released, the band’s whole career was stretching out in front of them. Anything was possible. That included releasing one of the greatest and most influential albums in musical history, The Velvet Underground and Nico. One of its highlights was the timeless Femme Fatale. As Lou Reed delivers the lyrics, was he remembering four years ago, when their career was in its infancy? Maybe that’s the case, as he prepares to deliver his final song as The Velvet Underground’s frontman.
The song he chose, was After Hours, from The Velvet Underground. This seems fitting, as its nearly the wee small hours of the morning. As The Velvet Underground prepare to take their leave, on what became Live At Max’s Kansas City, the audience treat The Velvet Underground like conquering heroes. However, it proved to be a pyrrhic victory.
The Velvet Underground had won over the crowd at Max’s Kansas City. However, Lou Reed lost the battle that was Loaded.
The album didn’t turn out as he had planned. Songs he alleged had been edited, and the running order changed. This didn’t please Lou Reed. He felt he had no option but to call time on his career with The Velvet Underground on 23rd August 1970. This left The Velvet Underground like a rudderless ship.
The Velvet Underground had not just lost its creative and driving force, but its de facto leader. Without Lou Reed, The Velvet Underground were but a shadow of their former self. It didn’t take Atlantic Records long to realise that. After hearing a few new songs, executives at Atlantic Records rejected the songs. They weren’t good enough, and The Velvet Underground never recorded another album for Atlantic Records.
This left a problem. The Velvet Underground owed Atlantic Records an album. They solved this by searching the Atlantic Records archives, where they found the tapes to Live at Max’s Kansas City, which was released on May 30th 1972. It became The Velvet Underground’s first live album, which was reissued on vinyl by Rhino on 22nd January 2016. While great care has been taken with the mastering, and the sound quality is as good as can be expected, many people will be loathe to spend the extra on a vinyl copy. After all, the master tapes weren’t the best quality. However, Live at Max’s Kansas City also fulfilled The Velvet Underground’s contractual obligations to Atlantic Records, and marked the end of an era.
Live at Max’s Kansas City was Lou Reed’s swan-song, and essentially, the end of one of the greatest bands in rock history. Without Lou Reed, The Velvet Underground were a pale shadow of the band they had once been.
When The Velvet Underground headed out on their North American tour, to promote Loaded, the end was neigh. Bassist turned guitarist and vocalist Doug Yale was never going to replace Lou Reed as The Velvet Underground’s frontman. It was the end of the road for The Velvet Underground.
While The Velvet Underground struggled on without Lou Reed, they were never the same again. Loaded was the last album The Velvet Underground released. Squeeze which was released in 1972, was a Velvet Underground in name only. The band had long ceased to exist.
Live at Max’s Kansas City was the last time Lou Reed played live with The Velvet Underground. His swan-song was captured by Brigid Polk, a friend of The Velvet Underground. It was lucky she brought along her tape recorder and pressed play.
If she hadn’t, there would be no document of Lou Reed’s Velvet Underground swan-song. It would’ve have passed into the mists of musical history, and most likely, have achieved near mythical status. However, Brigid Polk captured musical history being made on what became Live At Max’s Kansas City. While the sound quality is slightly rough around the edges, the recent remastering has improved the sound quality, and Live At Max’s Kansas City is a fitting celebration of Lou Reed’s Velvet Underground swan-song.
THE VELVET UNDERGROUND-LIVE AT MAX’S KANSAS CITY-VINYL EDITION.
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MASTERPIECES OF MODERN SOUL-VINYL EDITION.
MASTERPIECES OF MODERN SOUL-VINYL EDITION.
Over the last few years, there’s been an upsurge in interest in vinyl. In 2014, reached a record high. For the first time in over twenty years, vinyl sales in America surpassed the nine million mark. Things got even better in the first quarter of 2015, with sales increasing by 53%. It seems vinyl is back, and is here to stay.
That’s ironic, as back in the late-eighties, early-nineties, the CD was seen as the future of music. People were selling vinyl collections they had built up over many years. With sellers outnumbering buyers, prices dropped like a stone. Sellers sold their collections at knockdown prices. Shrewd record buyers realised that this was an investment opportunity. Vinyl, they knew, would return.
And so it has. After nearly two decades in the doldrums, vinyl is back. So are turntables. Suddenly, vinyl and turntables are the must have of the hipster and the chattering classes. They talk of pre-amps, cartridges and counterweights. That’s not forgetting Record Store Day and heavyweight vinyl. Vinyl is very definitely back, and now, it’s possible to buy just about any release on vinyl.
Whether it’s a the latest release, reissues or compilations, there’s most likely a vinyl version available. A recent convert to the vinyl revolution is Kent Soul’s hugely popular Masterpieces Of Modern Soul series.
Recently, Kent Soul, an imprint of Ace Records, decided that now was the time, to start releasing Masterpieces Of Modern Soul series onto vinyl. The first instalment in this series is simply entitled Masterpieces Of Modern Soul, and features twelve tracks. This includes Act 1, The Mayberry Movement, Gail Anderson, Nightchill, The Hesitations, Street People and Herman Davis. This as you’ll realise, is a tantalising taste of what’s in-store for soul fans as the Masterpieces Of Modern Soul series converts from CD to vinyl.
Opening Masterpieces Of Modern Soul is Act I’s It’s The Same Old Story. Act 1 were a Detroit based studio band. They were assembled by producer Raeford Gerald. He produced their two US R&B hit singles Friends Or Lovers and Takes Two Of Us. Then in 1974, Raeford Gerald produced Act 1’s eponymous debut album. It was released on Spring Records, It’s The Same Old Story. Just like the two singles, It’s The Same Old Story is melodic and soulful song from Act 1.
Originally, The Mayberry Movement were signed to the Event label, and released two singles in 1974. Then in 2002, a long forgotten song was discovered by Kent Soul. This was The Mayberry Movement’s Two Wrongs Don’t Make A Right. It found its way onto the B-Side of Millie Jackson’s Kent single Don’t Send Nobody Else. This was a limited edition release, so many people will be unfamiliar with Two Wrongs Don’t Make A Right. Not any more. This delicious, smooth, hook-laden dancer epitomises everything that’s good about Modern Soul.
The same can be said of Eddie Billups and The C.C.C.s Shake Off That Dream. It was released in 1973, on the Seventy 7 label, but failed commercially. That’s despite Shake Off That Dream being a joyous anthem that’s akin to a call to dance. Resistance is impossible. Instead, submit to the charms of Shake Off That Dream and dance like you’ve never danced before.
In 1981, Gail Anderson released We Communicate as a single on the Dore label. The single wasn’t a commercial success. However, hidden away on the B-Side was Just A Little Ugly. It was penned by Gail and Wilbert James. He then co-produced the song with Jesse Antoine and John Stephens. They provide a tough, funky backdrop for Gail’s soulful, sassy vocal on this hidden, modern soul gem.
Nightchill’s I Don’t Play Games is a song that many people won’t be familiar with. At first glance, this Dexter Dixon composition sounds like a song from the sixties. It’s not though. There’s a modern soul sound to this Dave Hamilton recording from the eighties.
Darondo released his Listen To My Song: The Music City Sessions album in 2011. It was released by Omnivore Recordings, and then in 2013, by BGP Records in Britain. One of the highlights of the album was Do You Really Love Me, a needy, heartfelt ballad. This is the perfect way to close side one of Masterpieces Of Modern Soul.
A radio friendly edit of Millie Jackson’s If That Don’t Turn You On opens side two of Masterpieces Of Modern Soul. It’s a track from Millie’s 1980 album For Men Only. It was released on Spring Records, and finds Millie Jackson at her sassiest and feistiest. This radio edit of If That Don’t Turn You is a toned down taster of For Men Only.
The Natural Resources recorded If There Were No You in the seventies. It was a Bobby Swayne composition, produced by Lew Bedell. For some reason, this joyful, string drenched, soulful dancer was never released. That was until it found its way onto Kent Soul’s 2014 compilation Doré: L.A. Soul Sides. If There Were No You takes makes a welcome reappearance on Masterpieces Of Modern Soul.
The Hesitations were from Cleveland, Ohio. They first came to the notice of soul fans in 1966, when they released their debut single Soul Superman on Kapp Records. By 1969, The Hesitations were signed to the New York label GWP. That’s where The Hesitations recorded Go Away. However, Go Away wasn’t released until 2007, when it found its way onto the flip side of a Kent Records anniversary special single. At last, this slick, smooth and polished slice of soul found the audience it so richly deserved.
Street People were a soul quintet consisting of Roy Daniels and Milton Daniels, Thomas “Toot” Williams, Joe Gardner and Rick Johnson. They signed to Spring Records in 1974, and released I Wanna Get Over as their debut single. It was written and produced by Ray Dahrouge. Tucked away on the flip side was the irresistible Baby, You Got It All. It’s got everything. A hopeful lead vocal, tight, soulful harmonies and dancing strings. So good is Baby, You Got It All it could’ve been a single.
The New Experience’s Never Felt This Way Before is another Dave Hamilton production from the eighties. However, it was never released until 2011, when it found its way onto the Dave Hamilton’s Detroit Soul compilation. This anguished, impassioned confessional of a vocal makes a very welcome reappearance on Masterpieces Of Modern Soul.
Closing side two of Masterpieces Of Modern Soul, and indeed the compilation, is Herman Davis’ Gotta Be Loved. It was released on the Venus V label in October 1971, and is a real rarity. That’s not surprising, given the quality of this single. Herman Davis delivers a needy, heartfelt and hopeful vocal on this beautiful ballad. It’s a perfect way to close Masterpieces Of Modern Soul, and whet’s the listener’s appetite for the next instalment in the series.
That’s still to come. In the meantime, the vinyl edition of Masterpieces Of Modern Soul will be of interest to anyone that’s joined the vinyl revolution. Whether veterans of vinyl releases or newcomers to the medium, Masterpieces Of Modern Soul is the perfect addition to a burgeoning record collection. It’s a release that oozes quality and sound great.
Featuring twelve tasty slices of modern soul, Masterpieces Of Modern Soul is a mouthwatering proposition for soul fans. It sees familiar faces, rub shoulders with minor classics and hidden gems. Similarly, some of the biggest names in soul sit side-by-side with one hit wonders and contenders. However, they all have one thing in common. They’ve all contributed one of the Masterpieces Of Modern Soul on this latest compilation from Kent Soul.
MASTERPIECES OF MODERN SOUL-VINYL EDITION.
DISCO LOVE VOLUME 4-MORE DISCO AND SOUL UNCOVERED.
DISCO LOVE VOLUME 4-MORE DISCO AND SOUL UNCOVERED.
For nearly three years, Al Kent, disco’s international man of mystery has been missing in action. Nobody has heard from the Glasgow-based DJ and remixer. There’s not been as much as a postcard home. That’s not surprising. Al’s not had time. He’s been busy looking for the fifteen tracks that became Disco Love Volume 4-More Disco and Soul Uncovered. which was recently released by BBE Records. It’s the result of three years spent create-digging .
Al Kent is a veteran crate-digger and record collector. He’s been collecting records for longer than he cares to remember, and has takem crate-digging to a new level. Like a crate digging superhero, Al Kent digs where other DJs dare to dig..
His mission in life is to seek out rarities and hidden gems. He’s journeyed to small towns in search of backstreet record shops. Other times, he’s clambered down into dusty basements. Even though the owner passes a striking resemblance to Norman Bates. It could be worth it he keeps telling himself. There could be piles of long-forgotten, unloved music.
That’s what Al keeps telling when he’s searching through damp, dark warehouses crammed full of ageing vinyl. Maybe, just maybe, there will be long-forgotten private press that somehow, has escaped other crate-diggers’ attention. That however, is the life of a veteran record collector and crate-digger.
They’ve many a tale to tell. They can tell stories bagged bargains in thrift stores. Then they remember finding vinyl gold in second hand shops full of commodes and three-legged chairs. These are the crate-digger’s equivalent of war stories. Instead, of Basra and Kabul, they’ve survived trips to back-street record shops, thrift stores and dusty warehouses. During these trips, Al Kent employs his sixth sense for vinyl.
He knows if its in the vicinity, and is soon on the scent. he’s a bit like Scooby Doo with a series case of the munchies. Soon, Al’s off in search of thrift stores, flea markets and second hand shops. There’s always the possibility that some hidden gem may be lurking in the bargain bins? That could be how Al Kent found the fifteen slices of sou or disco that features on Disco Love Volume 4-More Disco and Soul Uncovered? It’s the latest, and as you’ll soon realise, a welcome addition to the Disco Love series.
Opening Disco Love Volume 4-More Disco and Soul Uncovered is an Al Kent edit of Clear featuring Lee Edwards’ single Equal Love Opportunity. This is a real rarity, that was released in 1980 on the Detroit based DT Records. Equal Love Opportunity was written and arranged by Robert Evans, who produced the single with Vera Jenkins. They’re responsible for soulful, sultry and jazz-tinged dance-floor friendly single.
Barbara Jean English wrote If It Feels This Good, which was the B-Side to her single House Of Strangers. It was released on Royal Flush Records in 1976. By then, Barbara’s career was well into its second decade. She had been releasing singles since she signed to Roulette in 1962. Fourteen years later, and Barbara was jumping onboard the disco bandwagon with If It Feels This Good. Arranged by Phil Medley and produced by Buddy Scott, Barbara Jean English is transformed to disco diva on this soulful hidden gem.
In 1981, Genobia Jeter released her sophomore album Things ‘Have’ Got To Get Better on Savoy Records. It was the second of a trio of gospel albums Genobia Jeter released. Accompanied by backing vocals from gospel group The Modulations, soulful slice of anthem gospel unfolds. It’s a real find from Al Kent, crate-digger extraordinaire.
Another release on DT Records was Emanuel Laskey’s I’d Rather Leave On My Feet. It was released in 1980, just after the disco bubble burst. As a result, the soulful delights of I’d Rather Leave On My Feet passed many people by. It was penned by Chris Milton; who co-produced the single with Bob Dennis and Dennis Talley. The version chosen by Al Kent, is the six minute Full Length Disco Version. Soulful, jazz-tinged and dance-floor friendly, it’s also irresistible.
Hazel Rambaransingh will be a new name to even disco diehards and dedicated crate-diggers. She released her one and only single I Want To Give You Everything, in 1978 on the HIR label. It’s a slice of tropical disco which was edited by disco don, Al Kent for Disco Love Volume 4-More Disco and Soul Uncovered.
Always check on B-Side of a single. Every crate-digger knows this. Occasionally, they’ll find a track of the quality of Mary Mundy’s Love Is Gone, which was the flip-side to Mary’s 1983 single Those Were The Days. It was released on Laurie Records in 1983. It’s another track edited by Al Kent. In his hands, this piano driven disco track is extended to four minutes, and is a delicious fusion of disco, funk, gospel and soul.
Marva Hicks’ Looking Over My Shoulder was released on Infinity Records in 1978. By then, disco was at the peak of its popularity. Former soul singers were reinventing themselves as disco divas. This included Marva on Looking Over My Shoulder. Her vocal is augmented by stabs of horns and swirling strings as the one-time soul singer is reborn as a disco diva.
Old (M) Pressions only ever released the one single, Let Me Know. It was released on the Brooks Brothers’ label in 1978, but sunk without trace. Tucked away on the B-Side was Right On, a Richard A. Brookes composition. It was produced by Art-Rich Productions. Their arrangement fuses funk and soul with the merest hint of disco. The final addition to the mix is a raw, impassioned and uncompromising vocal.
When Lee Edwards’ came to record I Found Love, he didn’t head to a studio. Instead, his cousin’s kitchen became a makeshift studio. The pair pushed their aunt’s eclectic organ into the kitchen, and pressed play on the cassette recorder. By 1981, I Found Love was being released as a single on DT Records. Again, it’s written by Robert Evans, who produced the single with Vera Jenkins. Straight away, there’s a hint of boogie, before elements of disco, funk, jazz and soul melt seamlessly into this ghetto disco production.
Symbol 8’s Call Me has a similar tough, street sound to the previous track.There’s almost a hint of P-Funk on what was the B-Side to Symbol 8’s single I Thought You Wanted To Dance. It was produced by Michael R. Birzon and Richard H. Royal and released on the Shock label. It’s another example of ghetto disco, and shows how broad a church disco was.
Joe Casey And Fresh Heir only ever released one single. That was I Found A Lady, which was released on GMI Records. Just like the rest of the singles on Disco Love Volume 4-More Disco and Soul Uncovered, it failed commercially. However, Al Kent’s edit of I Found A Lady revives this long lost single. String-drenched, with a hustle influence, it owes a owes a debt of gratitude to the theme to the Love Boat.
Perfect Touch only ever released three singles and an album. Their swan-song was Keep On Loving You, which Al Kent edited. It was written and arranged by Leonard McDonald, and produced by Odell Bailey. Together, they create a soulful slice of post disco.
Betty Everett is without doubt, the biggest names on Disco Love Volume 4-More Disco and Soul Uncovered. Even she jumped onto the disco bandwagon with the Lamont Dozier penned Prophecy. It was the B-Side to Secrets, which was produced by Archie Russell, and released on the Sound Stage 7 label in 1977. Nineteen years after releasing her debut single, Ain’t Gonna Cry in 1958, Betty Everett was still relevant, having reinvented herself as a disco diva.
Skip Mahoaney and The Casuals released Running Away From Love on the Abet label, in 1976. It’s a real find, which Al Kent edits and extends to five magical minutes of disco. They can only be described as joyous, soulful and anthemic. So much so, that Running Away From Love is one of the highlights of Disco Love Volume 4-More Disco and Soul Uncovered.
Closing Disco Love Volume 4-More Disco and Soul Uncovered is Fresh Fruit’s A Song For You. It was penned by Carl Smith, and produced by Martin and Berlunstien. They create a song that’s very different from the rest of those on the compilation. There’s neither strings nor horns. Instead, the bass is to the fore in what’s an almost minimalist, but soulful and funky arrangement. Although very different to the rest of Disco Love Volume 4-More Disco and Soul Uncovered, A Song For You shows that Al Kent digs deeper and digs where other DJs dare to dig.
Proof of this is Disco Love Volume 4-More Disco and Soul Uncovered, which was recently released by BBE Records. It’s the first instalment in the Disco Love series since 2013. Glasgow’s disco don seems to believe in quality, rather than quantity. That’s the way it should be.
While other compilers release a volume of their disco ‘delights’ annually, Al Kent rations his output. He’s determined only to release compilation containing the finest soulful and disco cuts. To do this, Al Kent has to head on crate-digging expeditions.
These crate digging expeditions have taken Al to dusty basements, warehouses and backstreet record shops have all been scoured. So too, has Al’s extensive record collection. He’s decided to share some of the soulful and funky disco delights, that, until now, have been tucked away in his arsenal of secret disco weapons. No wonder.
Many of the tracks onDisco Love Volume 4-More Disco and Soul Uncovered are almost too good to share. However, Al Kent is a generous guy, and is more than willing to share his music secrets on the latest instalment in the Disco Love series, Disco Love Volume 4-More Disco and Soul Uncovered.
DISCO LOVE VOLUME 4-MORE DISCO AND SOUL UNCOVERED.
BEATSPOKE-THE JOURNEY IS THE DESTINATION.
BEATSPOKE-THE JOURNEY IS THE DESTINATION.
It’s been twelve years since Josh Fontan and Sarah Gessler formed Beatspoke in 2004. Since then, singer Sarah Gessler and beat maker and producer have released two albums as Beatspoke. Their debut album No Rush was released to critical acclaim in 2009. It caught the imagination of critics, and was hailed as an innovative album. Spinner Magazine Spain went as far as to describe Beatspoke as the “best new act” of 2009. Then as 2009 drew to a close, and the annual awards were handed out, French radio Grenouille called No Rush the “best debut” album of 2009. For Beatspoke, and what they described as their unique brand of future vintage soul, the future looked bright.
Especially considering how No Rush had been received within the the Nu Beats and soul communities. Nu Rush was a fusion of the two genres. So two disparate communities sat in judgement on No Rush, Beatspoke’s manifesto for slow living. They were both impressed by music that wasn’t just moderne and innovative, but paid homage to the classic soul sound of yesteryear. Beatspoke’s contemporaries and peers realised that here No Rush was a groundbreaking album. So did promoters and festival bookers.
Soon, Beatspoke were rubbing shoulders with some of the biggest names in the Nu Beats and soul communities. This included Alice Russell, Bonobo, Dam Funk, Diplo, DJ Vadim, Simbad, Theo Parrish and Wax Tailor. Before long, Beatspoke’s music was being heard by a much wider audience. It seemed that Beatspoke’s star was in the ascendancy. Surely, this was the perfect time for Beatspoke to release their sophomore album?
Beatspoke seemed to be in no rush to release their sophomore album. A year and then two years passed. Soon, three years became four, five and six. However, Beatspoke hadn’t split-up. No. They were still touring their impressive live show. During their downtime, Beatspoke were working on their sophomore album, The Journey Is The Destination, which is out now on BBE Records.
Many people didn’t realise this. Like many artists, Beatspoke had been working on their album in between live dates. To do this, beat maker and producer Josh Fontan and singer Sarah Gessler brought onboard a few of their musical friends. This included Joseph Derteano, Metropolis and Pumpkin, RQM and Sneaky. They feature on five of The Journey Is The Destination’s ten tracks. So do beats, analogue synths, live looping, harmonies, spoken word vocals, video game controllers, tambourines and Sarah Gessler’s soaring soulful vocal. When all this is combined, the result is The Journey Is The Destination, a musical roller coaster from Beatspoke.
Opening The Journey Is The Destination is Seed Of Doubt, which features trumpeter Joseph Derteano. Keyboards are joined by a sultry sounding trumpet and thunderous drums. Then comes Sarah’s soulful, soul-baring vocal. Meanwhile, synths bubble and buzz, fingers click and the trumpet sympathises at Sarah’s plight. Her vocal and Joseph’s trumpet, play crucial roles in bringing the lyrics to Seed Of Doubt to life.
The introduction to Untended sounds like listening to a really old, much loved vinyl album. That’s down to the clicks, crackles and pops. Soon, however, Sarah’s powerhouse of a vocal enters. Her vocal has been multi-tracked, so she sings harmonies. Behind her, synths buzz, bubble and meander, drums crack and percussion is added. Their raison d’être is to frame Sarah’s soulful powerhouse.
Washes of synths and crunchy drums open Beg and Plead. They’re joined by handclaps and Sarah at her most soulful. She combines power and sass, as her vocal soars above the arrangement. Harmonies accompany her. So do old school, Acid House synths. They’re an interesting addition, and prove a contrast as Sarah struts her way through a sassy slice of Nu Soul.
Mellow keyboards open Sink Or Swim, before Sarah delivers a vocal that veers between needy and hopeful. Handclaps, pounding drums and washes of keyboards accompany Sarah, who also adds harmonies. As Sarah delivers her vocal, it’s as if she’s been searching, searching for who she really is. Sometimes, her vocal is full of hope, other times it’s tinged with despair. She experiences a range of emotions, and in doing so, reminds me of Erykah Badu, Ledisi and Angie Stone.
On Solid Intervention Beatspoke are joined by hip hoppers Metropolis and Pumpkin. Washes of synths are panned right to left. Soon, beeps punctuate the arrangement, synths buzz and drums crack. Atop the arrangement sits Sarah’s soulful, emotive vocal. She’s joined by a swaggering rap, handclaps and buzzing synths. Later, a sultry spoken word vocal is added. This is just the latest contrasting layer, in track that’s variously edgy, urban, futuristic, soulful and sultry.
As Joy unfolds, keyboards play, the arrangement reverberates. Soon, drums crack as Joy features Sarah Gessler vocal that’s variously heartfelt, haunting and emotive. It’s without doubt Sarah’s best vocal on The Journey Is The Destination.
Futuristic, sci-fi synths and combine with thunderous drums that crack on Never Enough. This grabs your attention. So does Sarah’s vocal. As usual, it’s soulful, but this time, is subtle and almost understated. Soon, though, it’s growing in power and passion. From there, it veers between understated and powerful, to soulful, sassy and thoughtful, as later, she vamps and struts her way through Never Enough questioning: “where does this chain break?”
Fading Fast sees the return of Pumpkin, who earlier, featured on Solid Intervention. He plays his part in an arrangement that’s starts off, understated. Swathes slow rippling synths provide a backdrop for Sarah’s despairing vocal. It’s captivating. That’s what grabs your attention. Then percussion and drums join slow, deliberate keyboards. Later, buzzing synths are used to add an element of drama. They fill the spaces left by drums and vocal. Later, Sarah adds another of her spoken word vocals. Her vocal is almost a rap, as she adds vampish harmonies, on an innovative fusion of musical genres and influences.
Lately features another of the guest artists, RQM who collaborated with The Tape on Hip Hop Is Dead. Again, there’s an old school analog sound, before swathes of synths add an element of drama. They’re a scene setter for Sarah’s deliberate, dramatic vocal. She’s soon joined by RQM. He’s the perfect foil for Sarah, his vocal adding to the drama. Later, Sarah’s vocal grows in power, before she delivers a soliloquy. It’s full of frustration and anger, as she delivers lyrics full of social comment. Sarah’s impassioned delivery of the lyrics are at heart of track’s success.
Closing The Journey Is The Destination, is Fortress which features another guest artist, Sneaky. A prolonged stab of keyboard, scrabbling bass, a thunderous buzzing synth and crisp drums provide a backdrop for Sarah’s pensive vocal. Instruments flit in and out of the arrangement. It’s full of contrasts. One minute synths beep and buzz, the next wistful strings play. They reflect the sadness and despair in Sarah’s vocal, as one last time, she lays bare her soul for all to hear.
Six years after the release of their debut album No Rush, Beatspoke return with their sophomore album The Journey Is The Destination which is out now on BBE Music. It’s been a long time coming, but features Beatspoke doing what they did on No Rush, fusing disparate musical genres.
Just like they did on No Rush, Beatspoke fuse Nu Beats and Nu Soul with electronica and hip hop. They’re four of the musical mainstays that have influenced Beatspoke on The Journey Is The Destination. So has classic soul. Along with Nu Soul, it’s influenced Sarah Gessler as a vocalist .Listen carefully, however, and other musical genres shine through on The Journey Is The Destination.
Sometimes, Beatspoke’s squelch synths reference late eighties Acid House. Then there’s Beatspoke’s thunderous drums. They’re a feature of many recent Nu Soul albums. Other times, The Journey Is The Destination briefly takes on an experimental sound. That’s not surprising, as Beatspoke were hailed as innovators following the release of No Rush. They’ve decided to continue innovating on The Journey Is The Destination.
Beatspoke it seems, aren’t content to stand still. That’s been the case since they released their debut album No Rush, in 2009. It was released in 2009 to critical acclaim, and Beatspoke were hailed as innovators. Beatspoke’s star was firmly in the ascendancy.
Since then, they’ve worked with some of the biggest names in Nu Beats and Nu Soul, including Alice Russell, Bonobo, Dam Funk, Diplo, DJ Vadim, Simbad, Theo Parrish and Wax Tailor. However, Beatspoke haven’t released an album since 2009. So they had no alternative to innovate, again.
If Beatspoke released No Rush II, it would’ve been the wrong album, at the wrong time. Instead, Beatspoke had to innovate. So, they headed into the studios, where they recorded ten tracks. Joining them were some of Beatspoke’s musical friends. This included Joseph Derteano, Metropolis and Pumpkin, RQM and Sneaky. They played their part in what Beatspoke describe as their pursuit of “soulful high-fidelity.” Eventually, The Journey Is The Destination was complete and Beatspoke were belatedly back.
Nearly six years after the release of their debut album No Rush, Beatspoke were back with their sophomore album The Journey Is The Destination. Six years had passed since Beatspoke released No Rush. That’s not surprising. Josh Fontan and Sarah Gessler, wrote Beatspoke’s manifesto for slow living. They believe in a slower pace of life. This extends to making music. So, who knows when we’ll next hear from Beatspoke again? Until then, Beatspoke’s pursuit of “soulful high-fidelity,” The Journey Is The Destination, can provide the soundtrack to Beatspoke’s manifesto for slow living.
BEATSPOKE-THE JOURNEY IS THE DESTINATION.
THE BATHERS-KELVINGROVE BABY.
THE BATHERS-KELVINGROVE BABY.
January 2016 marked the comeback of a Scottish musical institution, The Bathers. They were formed in Glasgow, in 1985, by singer, songwriter and troubled troubadour Chris Thomson and released six albums between 1987 and 1999. The Bathers fifth album was Kelvingrove Baby, a minor classic, that’s one of the finest Scottish albums ever released. Sadly, Kelvingrove Baby and The Bathers is a story of what might have been.
With Chris Thomson at the helm, the Glasgow based quintet could’ve, and should’ve, been one the biggest Scottish bands ever. After all, The Bathers music is articulate, beautiful, dramatic, ethereal, elegiac, emotive, languid, literate and melancholy. This is music for those that have loved, lost and survived to tell the tale. Sadly, however, The Bathers never reached the heady heights their music deserved. As a result, the six albums The Bathers released between 1987s Unusual Places To Die and 1999s Pandemonia, never reached the audience it deserved. For Chris Thomson, history was repeating itself.
The Bathers were formed in Glasgow in 1985. They formed after Chris Thomson’s previous group Friends Again split up. Initially, The Bathers were a vehicle for singer-songwriter Chris Thomson. However, in 1987, The Bathers secured their first record deal with Go! Discs Records, and released their debut album Unusual Places To Die.
Unusual Places To Die.
For their debut album Unusual Places To Die, Chris Thomson penned ten tracks. These tracks were recorded by The Bathers’ original lineup. This included bassist Sam Loup, drummer James Locke and Chris on guitar and keyboards. Joining The Bathers, were Michael Peden of The Chimes, Douglas Macintyre and James Grant of Love and Money. They played walk on parts on Unusual Places To Die, which was released later in 1987.
When Unusual Places To Die was released in 1987, it was to widespread critical acclaim. Chris Thompson’s songs seemed to strike a nerve with critics. They described the music as variously engaging, emotive and dramatic. One critic went as far to wonder whether Unusual Places To Die was the work of a genius? Despite this critical acclaim Unusual Places To Die wasn’t a commercial success. This was nothing to do with the music though.
Instead, Unusual Places To Die fell victim to the internal politics within the record company. As a result, sales of Unusual Places To Die were poor. Given the critical response to Unusual Places To Die, this was disappointing. So, it wasn’t a surprise when The Bathers switched labels for their sophomore album, Sweet Deceit.
Sweet Deceit.
After the Go Discs! internal problems sabotaged the release of Unusual Places To Die, The Bathers moved to Island Records, where the recorded Sweet Deceit.
Sweet Deceit was an epic album, featuring fifteen tracks. Chris wrote thirteen of the tracks, and cowrote the other two. He co-produced Sweet Deceit with Keith Mitchell, and the album was released in 1990.
Three years had passed since Unusual Places To Die was released. The Bathers were back, and according to critics, better than ever. Sweet Deceit was described as impressionistic, beautiful and spellbinding. One critic, quite rightly referred to the album as a mini masterpiece. However, The Bathers had been here before with Unusual Places To Die.
On Sweet Deceit’s release, lightning struck twice for The Bathers. Sales of Sweet Deceit were disappointing. Despite the critically acclaimed reviews, Sweet Deceit seemed to pass record buyers by. For The Bathers, this was a huge disappointment.
Especially when Island Records didn’t renew The Bathers’ contract. There would be another gap of three years before we heard from The Bathers again. However, Chris was still making music.
Following Sweet Deceit, Chris Thomson joined with two former members of Lloyd Cole and the Commotions, Stephen Irvine and Neil Clark, to create a Scottish supergroup, Bloomsday. They released just one album, Fortuny, which is now regarded as a classic Scottish album. Just like The Bathers two previous albums, Bloomsday’s debut album, Fortuny, was released to critical acclaim. Unfortunately, commercial success eluded Fortuny. However, a more fruitful period was round the corner for The Bathers.
Lagoon Blues.
After signing a record contract with a German record label Marina, the group released three albums in a four year period. In 1993, they released Lagoon Blues, their Marina debut.
Just like Sweet Deceit, Lagoon Blues was another epic album penned by Chris Thompson. It featured sixteen songs, which were the perfect showcase for Chris’ octave defying vocal. Accompanied by what was essentially The Bathers and friends, sixteen tracks were recorded at Palladium Studios, Edinburgh and mixed at Palladium Studios and Cava Studios, Glasgow. Once Lagoon Blues was completed, it was released in 1993.
On its release in 1993, critics remarked that Lagoon Blues was a more eclectic album. There were diversions into jazz-skiffle on Pissor, while the album opener Lagoon Blues showcased a string quartet. The strings would play an important part on Lagoon Blues, which was hailed as poetic, elegant, sumptuous and intense. The same critical acclaim accompanied Lagoon Blues, however, this time The Bathers’ music found a wider audience. It seemed after three albums, The Bathers’ star was in the ascendancy.
Sunpowder.
For The Bathers’ fourth album, and followup to Lagoon Blues, they returned with Sunpowder. It marked the debut of a new lineup of The Bathers.
Sunpowder marked The Bathers’ debut of drummer and percussionist Hazel Morrison, keyboardist Carlo Scattini and string players Ian White and Mark Wilson. These new additions would change The Bathers’ sound greatly. Many people refer to this as the classic lineup of The Bathers. This classic lineup, plus guest artist ex-Cocteau Twin, Liz Fraser, who features on four tracks, made its debut on Sunpowder.
For Sunpowder, Chris Thomson had written eleven new songs. They were recorded a at Palladium Studios, Edinburgh. Chris and Keith Mitchell produced Sunpowder, which was released in 1995.
When Sunpowder was released, it received the same critical acclaim as The Bathers’ three previous albums. Sunpowder was called sumptuous, sensual, dramatic and ethereal. Liz Fraser, an honorary Bather was the perfect foil to Chris, forever the troubled, tortured troubadour. The result was, what was The Bathers most successful album, Sunpowder. That however, would change with Kelvingrove Baby.
Kelvingrove Baby.
Kelvingrove Baby would be The Bathers’ Marina swan-song. They were certainly eaving the German label on a high.
Chris Thomson had written thirteen new songs for Kelvingrove Baby, which was recorded in Glasgow and Edinburgh. It was at these locations that The Bathers’ expanded lineup reconvened.
Picking up where they left off, were The Bathers’ new lineup, plus a few friends. The Bathers’ rhythm section included bassists Sam Loup, Douglas MacIntyre and Ken McHugh, drummers Hazel Morrison and James Locke, who also played percussion. Joining them in the rhythm section were guitarist Colin McIlroy. They were joined by accordionist, pianist and and organist Carlo Scattini, string players Ian White and Mark Wilson. Fermina Haze plays organ, James Grant of Love and Money plays acoustic guitar and with with Hazel Morrison and Justin Currie of Del Amitri, adds backing vocals. Chris plays acoustic guitar, piano and adds his unmistakable vocals. He produced most of Kelvingrove Baby, apart from Thrive, which was produced by James Locke. Once Kelvingrove Baby was completed, it was released in 1997.
Just like each of The Bathers’ four previous albums, Kelvingrove Baby was released to overwhelming critical acclaim. Kelvingrove Baby was hailed The Bathers’ finest hour. It seemed everything had been leading up to Kelvingrove Baby.
Opening Kelvingrove Baby, is the James Locke produced Thrive. Just a strummed acoustic guitar takes centre-stage, while subtle washes of keyboards flit in and out. They provide the backdrop for Chris Thompson’s vocal. For the first time on Kelvingrove Baby, Chris dawns the role of troubled troubadour, playing it to perfection. It’s as if he’s experience, lived through, and survived someone leaving him. His vocal is full of emotion of swells of strings sweep in. They’re the perfect accompaniment as Chris delivers the lyrics “up on the west coast waiting, I wear the rain like tears.” In doing so, Chris’ hurt and loneliness is there for all to see and hear.
Girlfriend is akin to a devotional from the pen of Chris Thomson. A piano and bass probe, while a cymbal is caresses. This sets the stage for Chris’ tender, emotive vocal. There’s almost disbelief in his voice that he’s found someone to call his own. He’s fallen head over heels, hence lyrics like “I’m the kind of guy, whose dreams rise unashamed, who will love you ’til the end, cos you’re my girlfriend.” With just a subtle, meandering piano, understated drums, washes of ethereal harmonies and crystalline guitar, Chris delivers a heartfelt devotional.
If Love Could Last Forever is the perfect showcase for The Bathers’ unique brand of cerebral, literate and poetic pop. After all, who apart from The Bathers write: “they flutter down like fireflies, tugging at your sleeves, somehow rise to shame you, bring you to your knees?” It’s a beautiful, soul-searching song about love. That’s the case from the opening bars, when an acoustic guitar is strummed, a guitar chimes and drums mark the beat. Then, longingly and hopefully, Chris, accompanied by cooing harmonies, sings “ If Love Could Last Forever, forever and a day.” Effortlessly, Chris breathes life, meaning and emotion into what’s a timeless paean.
While East Of East Delier has an understated arrangement, it allows Chris to unleash his full and impressive vocal range. Drums are caressed and a piano meanders. Meanwhile, a bass adds an element of darkness. This is reflected in the hurt, loneliness and regret in Chris’ vocal. His vocal soars above the arrangement, with frustration omnipresent at the love he once had and lost.
Accompanied by firmly strummed acoustic guitar No Risk No Glory, unfolds. A guitar chimes as fingers flit up and down the fretboard. Meanwhile, Chris’ vocal is a mixture of power, emotion and hurt. The hurt is obvious from the moment he sings “I was born to love her,” it’s a case of infatuation and unrequited love. With harmonies, an accordion and guitars for company, Chris delivers a cathartic outpouring of hurt. He wouldn’t have it any other way, singing ruefully “no risk, no glory.”
Dramatic and moody describes the dark, but sparse piano lead introduction to Once Upon A Time On The Rapenburg. If a picture tells a thousand stories, so does a piano. It sets the scene for Chris, as once again, he dawns the role of troubled troubadour. With shimmering strings and a deliberate gothic piano for company, Chris remembers the love affair that almost was.
Kelvingrove Baby is the centre-piece of Kelvingrove Baby. It’s a seven minute epic about an unnamed femme fatale from Glasgow’s West End who toyed with Chris’ affections. From just a strummed guitar and subtle piano, the arrangement builds. The piano plays a more prominent role, adding an element of drama. After ninety seconds drums pound and ethereal harmonies sweep in. They give way to Chris’ worldweary, lived-in vocal. Meanwhile, Hazel Morrison adds ethereal, elegiac harmonies. This seems to spur Chris on. Using his wide vocal range, he unleashes a needy vocal tour de force. Hopefully, he sings “someday I know, that you’ll be back…I don’t know, maybe then you can be my Kelvingrove Baby.” Behind him, the epic, ethereal and dramatic arrangement is the perfect accompaniment for what’s without doubt, The Bathers’ finest hour on Kelvingrove Baby.
Memories come flooding back to Chris on Girl From The Polders. Instantly, he’s transported back to another time and place. That’s when they first met, and where “I first kissed you.” With the rhythm section and piano providing a backdrop, Chris delivers another hopeful, needy vocal. He hopes that when summer returns, and heads back to Poolewe, his “songbird, melodious and pure,” is there.
Against a backdrop of quivering strings, Chris delivers a vocal on Lost Certainties that’s equal parts power, passion, frustration and sadness. Below the vocal and strings, the rhythm section drives the arrangement along, adding to the drama and intensity of this soul-baring refrain about a bewitching woman.
After the intensity of Lost Certainties, Dial has a much looser, laid-back sound. Chris eschews the power of the previous track, as The Bathers deliver an understated, spacious, melodic track. Hazel Morrison, James Grant and Justin Currie add harmonies that are yin to Chris’ yang, as he almost croons his way through Dial.
Orchestral strings and a pounding rhythm section set the scene for Chris’ vocal on The Fragrance Remains Insane. There’s an intensity in Chris’ lovelorn vocal, on this tale of love gone wrong. He’s struggling to come to terms with the breakup of his relationship, despite his claims “that I’m not crazy about you.”
If Chris Thomson had been born twenty years earlier, he’d have been a crooner. That’s apparent on Hellespont In A Storm, where he literally croons his way through the track. Accompanied by washes of accordion, swathes of strings, a subtle rhythm section and acoustic guitar. As Chris croons, emotion and regret are omnipresent. Especially when he sings “spread your wings, above you, the time has come to fly away, where I can’t follow.” Given this is the ultimate sacrifice, the beauty and emotion is almost overwhelming.
The piano lead Twelve, closes Kelvingrove Baby. Chris lays bare his soul, accompanied by his trusty piano. Later, swathes of lush strings sweep in. They provide the accompaniment to a telephone conversation, on this story of everlasting love.
For The Bathers, Kelvingrove Baby was a musical coming of age. It’s as if everything they’d been working towards was leading to Kelvingrove Baby. The music was variously atmospheric, cerebral, dramatic, ethereal, heartfelt, hopeful, literate, needy and sensual. It’s also tinged with pathos, regret and sadness. No wonder, given the tales of love found and lost. They’re brought to life by The Bathers’ very own troubled troubadour Chris Thomson. Along with the rest of The Bathers, they’re responsible for Kelvingrove Baby, a truly enthralling album.
On Kelvingrove Baby, the music is captivating. So much so, that you’re drawn into Kelvingrove Baby’s lush, atmospheric sound. Having captured your attention, The Bathers don’t let go. Before long, the listener has fallen in love. They fall in love with music that’s hauntingly beautiful, emotive, dramatic and pensive. Much of this is thanks to Chris Thomson’s peerless vocal performances. He plays the role of the troubled troubadour, to a tee. His worldweary, emotive, heartfelt and impassioned vocal sounds as if it’s lived the lyrics he’s singing about. Lived them not just once, but several times over. As a result, Kelvingrove Baby is akin to a snapshot into Chris Thomson’s life, and very soul. Indeed, Kelvingrove Baby sounds a very personal album from The Bathers’ troubled troubadour, Chris Thomson. Kelvingrove Baby was a career high from The Bathers. However, two years later, somehow, The Bathers managed to top Kelvingrove Baby.
Pandemonia, which was released in 1999, was The Bathers’ swan-song. Just like Kelvingrove Baby, the critically acclaimed Pandemonia, should’ve transformed The Bathers’ career. Sadly, despite oozing quality, The Bathers’ cerebral, literate and melodic brand of chamber pop failed to find the wider audience it deserved. As a result, The Bathers remained almost unknown apart from loyal band of discerning music lovers.
After Pandemonia, most people expected The Bathers to return after a couple of years with their seventh album. That wasn’t to be. Two years became three, became five, ten and fifteen. Now, sixteen years have passed since the release of Pandemonia. Throughout the last sixteen years, there have been rumours that another Bathers album is in the pipeline. With every year, that looks even more unlikely. However, maybe in the year that marks the thirtieth anniversary of The Bathers, they’ll return with their seventh album. We can only hope. After all, The Bathers have always strived to do things their way.
The Bathers are unlike most bands. They’re enigmatic, almost reclusive and publicity shy. Quite simply, The Bathers aren’t exactly your normal band. Not for them the rock “n” roll lifestyle favoured by other bands. In many ways, musical fashions and fads didn’t affect them. Their attitude was almost contrarian. Albums were recorded slowly and methodically. It was as if The Bathers were striving for perfection. On Kelvingrove Baby and Pandemonia, they almost achieved the impossible. What’s more they did it their way.
This means The Bathers aren’t willing to jump onto a musical bandwagon in pursuit of fame, fortune or starlets. Quite the opposite. It seemed to be their way or no way, in the pursuit of musical perfection. By perfection this means music that cerebral, dramatic, emotive, ethereal, literate and melodic. That describes The Bathers’ fifth album Kelvingrove Baby perfectly. Kelvingrove Baby saw The Bathers strive for perfection, and very nearly, achieve the impossible.
THE BATHERS-KELVINGROVE BABY.
THE OTHER SIDE OF THE TRAX-STAX-VOLT 45PRM RARITIES 1964-1968.
THE OTHER SIDE OF THE TRAX-STAX-VOLT 45PRM RARITIES 1964-1968.
Just like Picasso, the Stax and Volt labels had a blue period. In Stax and Volt’s case, this began in 1964, and lasted until mid-1968. During this period, Stax released over 300 singles and Volt in excess of 120 singles. This included some of best music in in the labels eighteen year history. That’s not surprising, Stax and Volt had enviable rosters. Especially between 1964 and 1968.
During this period, Stax was home to three of the biggest names in soul, Sam and Dave, Otis Redding and Booker T and The MGs. Other names included Johnnie Taylor, Carla Thomas, William Bell, The Mar-Keys, Eddie Floyd and Lynda Lyndell. These artists enjoyed a string of hit singles, and brought even more commercial success the way of Stax and Volt.
The pressure was on songwriters and producers at Stax’s Memphis’ headquarters. Unlike one of their major competitors, songs were carefully crafted at Stax. There was no recycling of backing tracks that had been used before. This was left to lesser labels. Instead, songwriters and producers at Stax took pride in their work. They weren’t willing to rush when it came to writing or recording a song. Not even when it came to a B-Side.
Especially not when it came to a B-Side. They received the same care and attention as a single. Record buyers appreciated this, and when they bought a new single always flipped over to the B-Side to hear what treat was in store. If the single was a ballad, often the B-Side would be a joyous uptempo tracks. Similarly, with an uptempo single, a heart-wrenching ballad would feature on the flip-side. On many an occasion, record buyers felt that the B-Side rivalled the single. That was the case many times during Stax and Volt’s blue period.
Between 1964 and 1968, countless hidden gems found their way on to B-Sides of Stax and Volt singles. Since then, none of these B-Sides have been released on CD before. That’s until now. Twenty-four B-Sides from Stax and Volt’s blue period are celebrate on The Other Side Of The Trax-Stax-Volt 45rpm Rarities 1964-1968, which was recently released by Kent Soul, an imprint of Ace Records.
The Other Side Of The Trax-Stax-Volt 45rpm Rarities 1964-1968 features tracks from some of the biggest names on Stax and Volt’s roster during the blue period. This includes Johnnie Taylor, Carla Thomas, William Bell, The Mar-Keys, Eddie Jefferson, Dorothy Williams, Oscar Mack, Eddie Floyd and Lynda Lyndell. They’re just a few of the artists that feature on The Other Side Of The Trax-Stax-Volt 45rpm Rarities 1964-1968, which is a reminder of the delights tucked away on B-Sides during Stax and Volt’s blue period.
Opening The Other Side Of The Trax-Stax-Volt 45rpm Rarities 1964-1968 is Changes. This was the B-Side of Johnnie Taylor’s 1966 Stax single I Had A Drea. Changes was penned by Johnnie with Isaac Hayes and David Porter. When Changes was recorded, the Stax house band provided a stomping beat, while stabs of horns punctuate the arrangement. Meanwhile, Johnnie literally struts his way through the lyrics, on this hidden gem, which describes Johnnie’s other contribution, Strange Things (Happening In My Heart).
It was the flip-side to one of Johnnie Taylor’s best known, and most successful single Somebody’s Sleeping In My Bed. It was released on Stax in 1967. Accompanied by soulful harmonies, Johnnie delivers an emotive, vocal powerhouse on this Homer Banks and Allen Jones song.
Carla Thomas features twice on The Other Side Of The Trax-Stax-Volt 45rpm Rarities 1964-1968. When she released A Boy Named Tom in 1964, Carla Thomas was just twenty-two. However, her recording career began when she was just seventeen. A Boy Named Tom was penned by Carla, and was the flip-side to I’ve Got No Time To Lose. Just like so many singles released during the blue period, A Boy Named Tom oozed quality and emotion. Carla seems to have lived the hurt and heartache in the lyrics. It seemed she was well on her way to being crowned the Queen Of Memphis Soul.
By the the time Carla Thomas released Pick Up The Pieces as a single on Stax in 1967, the queen had been crowned. That’s apparent on Separation, the B-Side to Pick Up The Pieces. It’s a David Porter and Isaac Hayes composition which features a feisty, assured performance from Carla Thomas. Not only had she matured as a singer, but had been crowned the Queen Of Memphis Soul.
In 1964, Barbara and The Browns released two singles for Stax. The first was Big Party, which was written by Jerry L. Williams and recorded at Chips Moman American Studios in Memphis. Big Party was originally released on Jerry L. Williams Wil-Mo label. and became a local hit. However, Jerry L. Williams knew his small label didn’t have the money to break the single nationwide. So he took it to Stax, who released it in 1964. Sadly, the single just scraped into the lower reaches of the charts, before quickly disappearing without trace. Those that bought Big Party and decided to flip it over, were rewarded with You Belong To Her, another Jerry L. Williams composition. It’s a tale of betrayal, heartbreak and love gone wrong, that’s brought to life by Barbara and The Browns. They do the same on Please Be Honest With Me.
This was the B-Side to Barbara and The Browns’ sophomore single In My Heart. It was released on Stax in 1964, and tucked away on the B-Side was Please Be Honest With Me. It’s a William Bell and Steve Cropper composition that Barbara and The Browns bring to life. Barbara combines power, passion and soulfulness as she asks, begs Please Be Honest With Me. Aided and abetted by The Browns, it’s three minutes of raw emotion.
William Bell played an important part in the rise and rise of Stax Records. Although he’s remembered as a singer, William Bell was also a talented songwriter. He wrote songs for many artists on the Stax and Volt labels. However, William Bell and Steve Cropper cowrote Don’t Stop Now. It’s the B-Side to Crying All By Myself, which was released in the summer of 1965. Don’t Stop Now is a anthemic stomper, which fifty-one years later, sounds just as good as the day it was released. The same could be said of the ballad Ain’t Got No Girl.
It’s a song penned by some of Stax’s best songwriters. William cowrote Ain’t Got No Girl with Steve Cropper, Isaac Hayes and David Porter. Then when William Bell released Everyday Will Be Like A Holiday in time for Christmas 1967, Ain’t Got No Girl was chosen for the flip-side. This was a huge mistake. If ever a song deserved better it’s Ain’t Got No Girl. It could’ve and should’ve been released as a single. Especially the way William Bell sings it. Ain’t Got No Girl becomes an impassioned, needy confessional, where heartache and loneliness shine through. Sadly, the only people who heard Ain’t Got No Girl were those that listened to B-Sides. They enjoyed a very special Christmas present from William Bell and Stax, Ain’t Got No Girl.
Back in 1967, Detroit born Eddie Purell released The Spoiler as a single on Volt in America. The single quickly disappeared without trace. Meanwhile, in Britain, The Spoiler was proving popular in discos. However, if curious DJs had flipped the single over, they would’ve discovered a heart-wrenching ballad, My Pride Won’t Let Me. It’s akin to an outpouring of emotion from Eddie Purell. His hurt and betrayal seems almost real on this spine-tingling slice of soulfulness.
Dorothy Williams career at Volt was short, but memorable. Her one and only single was Closer To My Baby, which was released in 1964. It sunk without trace. That might not have been the case if Volt had released Watchdog, which Dorothy cowrote with Steve Cropper. It’s truly irresistible and would’ve filled any dance-floor in 1964. Fifty-two years later, and Watchdog is still capable of packing dance-floors at all-nighters and soul weekenders.
Gorgeous George will be a new name to many soul fans. He was born Theodopholos George Odell, and released his debut single Now I Believe in 1961 on the Shaw brothers’ Neptune label. Soon, Gorgeous George had established a reputation as a flamboyant, colourfully attired showman. However, success seemed to elude him. However, in 1965, Gorgeous George signed to one of soul’s biggest labels Stax.
By then, Gorgeous George was writing his own songs. He had penned his first Stax single Biggest Fool In Town and the B-Side Sweet Thing. When Biggest Fool In Town was released, the single failed commercially. That was the end of Gorgeous George’s time at Stax. Things could’ve been very different though. Especially, if the flip side Sweet Thing, another Gorgeous George composition, had been chosen as the single. It finds Gorgeous George literally strutting and vamping his way through the lyrics, as if paying homage to James Brown on this sassy soulful hidden gem.
Eddie Floyd is another artist that played an important part in the Stax story. He was one of the label’s most successful artists. In 1967, Eddie Floyd released Love Is A Doggone Good Thing, which reached number twenty-two in the US R&B charts. On the B-Side was Hey Now, which Eddie cowrote with Steve Cropper. Irresistible, funky and soulful, it’s almost too good to be a B-Side. So is the bluesy Under My Nose. It was the B-Side to On A Saturday Night. Penned by Isaac Hayes and David Porter, Under My Knows showcases Eddie Floyd’s versatility and ability to bring a song to life.
My final choice from The Other Side Of The Trax-Stax-Volt 45rpm Rarities 1964-1968 comes courtesy of Lynda Lyndell. She signed to Stax in 1968. By then, she had supported James Brown and Ike and Tina Turner. Then in 1967, Lynda Lyndell joined The Fabulous Georgia Soul Twisters. That’s where DJ Dave Crawford came across Lynda Lyndell. He recommended her to Stax, who signed her.
Lynda Lyndell’s debut single was Bring Your Love Back To Me. However, it failed to chart. Hidden away on the B-Side was Here Am I. It was penned by DJ Dave Crawford, who hoped to forge a career as a songwriter and producer. The dance-floor friendly Here Am I showed what he was capable of. It also became a favourite in British clubs and on the nascent Northern Soul scene. However, Lynda Lyndell’s Stax debut proved to be the end of an era.
Never again would a single be released on the Stax label in both Britain and America. This marked not just the of an era, but the end of Stax and Volt’s blue period. It had been good while it lasted.
Since 1964, Stax had released over 300 singles and Volt had released over 120 singles. This included singles from some of the biggest names in the labels’ history, plus artists who played a mere walk-on part. Many of these familiar faces and new names feature on The Other Side Of The Trax-Stax-Volt 45rpm Rarities 1964-1968.
Among the familiar faces are Johnnie Taylor, Carla Thomas, William Bell, The Mar-Keys and Eddie Floyd. New names include Eddie Purrell, Johnny Jenkins and Lynda Lyndell. They all feature on The Other Side Of The Trax-Stax-Volt 45rpm Rarities 1964-1968. However, the tracks that are included aren’t singles. Instead, they’re the hidden gems that were tucked away on the B-Sides of singles during the blue period.
Just like the singles, the B-Sides were carefully crafted. The utmost care and attention was paid to songs that many people would never even listen to.
Many record buyers were only interested in the single. The B-Side they saw as a makeweight. In a way, that wasn’t surprising. By 1964, B-Sides had gotten a bad reputation. Some lesser labels didn’t care about B-Sides. They stuck any second or third rate songs on the flip-side. However, Stax and Volt were one of the exceptions.
Often, the B-Side to a Stax or Volt surpassed the quality of the single. Those that flipped over were richly rewarded, and heard joyous, uptempo, dance tracks or heartbreaking ballads. Twenty-four of Stax and Volt’s finest B-Sides feature on The Other Side Of The Trax-Stax-Volt 45rpm Rarities 1964-1968. These songs are a reminder to always flip over to the B-Side, as musical gold may be awaiting discovery.
THE OTHER SIDE OF THE TRAX-STAX-VOLT 45PRM RARITIES 1964-1968.
BLACK ROOTS-SON OF MAN.
BLACK ROOTS-SON OF MAN.
In the British reggae scene, Black Roots are viewed as respected elder statesmen. That’s fitting. Black Roots have been making music for over thirty years. Still, though, their music is powerful and full of social comment. That’s the case on their new album Son Of Man, which was released on Soulbeat Records. It features eleven new songs, where Black Roots highlight injustice and speak up for the poor, disenfranchised and dispossessed. This is something that Black Roots have been doing since they were first formed in 1979.
As the Black Roots story began in 1979, change swept across Britain on 3rd May 1979. Margaret Thatcher was elected Prime Minister with a majority of sixty. Britain now had a Conservative government. Among the interested onlookers were the members of Black Roots. They wondered what the future held for them, and the rest of their generation?
By the early eighties, many people had discovered that Britain wasn’t a particularly pleasant place to live in anymore. Especially the unemployed, disabled, poor or elderly. They were all part of an underclass who it seemed, were despised by the right wing Thatcherite government. Britain in the words of the politicians was “broken.”
Unemployment was over two million, and Inflation was rising. The future looked bleak. To make matters worse, poverty and racism was rife. It was no surprise that eventually, riots broke out in Liverpool, London, Leeds, Sheffield and Birmingham. Some commentators saw this as the disenfranchised fighting back.
Many of those who fought back, thought there was no other way. They had had enough. No longer could they walk the streets without being constantly stopped and searched.
Stop and search was one of the most controversial pieces of legislation the police had been using. The powers to stop and search had been instigated under The Vagrancy Act 1824. The new powers enabled police officers to stop and search anyone based upon “reasonable suspicion” that an offence had been committed. In reality, stop and search was often used a fishing trip by the police. To make matters worse, in many inner cities, a disproportionate amount of young black men were victims of stop and search. They had done nothing wrong, and instead, were British citizens going about their lawful business in a peaceful manner. This wasn’t going to end well.
That was the case in 1981, “the year of the riots.” Across England, communities literally exploded. Often, when the dust settled, heavy handed policing was to blame. Especially, when it came to the use of stop and search. So on 27th August 1981, the power to stop and search was repealed when the Criminal Attempts Act 1981 received assent. Maybe things were starting to change?
That looked unlikely. In 1980, Margaret Thatcher gave her “the lady’s not for turning” speech. It seemed the Conservatives were not going to be derailed. Those that took to the streets saw a government that seemed unwilling to listen, never mind change. The only alternative was to make the government listen.
The chances of this happening were slim. Those that weren’t poor, unemployed, disabled or elderly weren’t willing to upset the apple cart. They led comfortable lives in middle class, middle England. Safe in the suburbs, they weren’t willing to stand shoulder-to-shoulder with disenfranchised and dispossessed. So it was left to writers, philosophers, poets and musicians to provide a voice for the disenfranchised and dispossessed. This would include Black Roots.
By 1983, the eight piece Bristol-based band were one of the rising stars of the reggae scene. Black Roots had toured the length and breadth of Britain, and soon, had a large following. Especially, in colleges and universities. Audiences were won over by what Black Roots described as “militant pacifism” roots reggae. It struck a nerve with the bright young minds who were hoping to graduate from colleges and universities across Britain, and enter the workplace. In 1983, this seemed unlikely.
Unemployment was at record levels since the depression. Still the ‘lady’ wasn’t for turning. Things were break in Britain. Bristol, Black Roots’ home city was no different. Unemployment, poverty, racism, disquiet and unrest were almost omnipresent. However, the disenfranchised and dispossessed didn’t have a voice. The eight members of Black Roots decided they would became their voice.
Later in 1983, Black Roots released their eponymous debut album. It featured Black Roots’ unique brand of militant roots reggae. They highlighted injustice and the way large parts of communities had become alienated by the political reform introduced by the Thatcher government. Britain it seemed, was broken; maybe even beyond repair?
That’s how it looked. Right up until 1985, many parts of England were like a powder keg, just waiting to explode. Often it did, The disenfranchised and dispossessed felt they had no option but to take to the streets, and riots broke out. However, as 1985 drew to a close, the riot years were over.
By 1986, a lot had happened to Black Roots. They continued to tour constantly. Black Roots had also released their sophomore album The Front Line in 1984. This seemed fitting, as in parts of Britain, it was like a war zone, with the disenfranchised and dispossessed taking to The Front Line in an effort to have their voice heard. Black Roots were also The Front Line, but used their music to provide a voice for the disenfranchised and dispossessed. Someone was listening.
Soon, Black Roots were making their way to Broadcasting House to record a series of sessions for Radio 1. These sessions allowed Black Roots’ music to be heard by a much wider audience than they played to in several tours. This was a huge break. So was when highlights of the sessions were released in 1985 as the Black Roots ‘In Session’ cassette. By the end of 1985, things were looking up for Black Roots.
The remainder of the eighties saw Black Roots continue to tour and record. Their third album All Day All Night, was released in 1987, but was their first album for Nubian Records. It would become home to Black Roots for over a decade.
When Ina Different Style was released on Nubian Records in 1988, it marked a stylistic change from Black Roots. This was their first adventure in dub. It wouldn’t be their last. Before that Black Roots would release two more albums.
The first was their first live album, Live Power. Released in 1989, Live Power was a reminder of how good a live band Black Roots were. That was no surprise. Black Roots had spent much of the last ten years touring Britain. They were a familiar face in venues the length and breadth of Britain. Especially in colleges and universities, where their songs about injustice would be welcomed and embraced. Some of the people in the audience could they hoped, in the future, make a difference and make Britain a better place.
As the nineties dawned, Black Roots were now into their third decade making music. However, it had been nearly three years since Black Roots had released a studio album. It was time to rectify this.
Later in 1990, Natural Reaction, another album of roots reggae was released by Black Roots. This was the Bristol-based eight-piece’s fifth studio album. It’s not just social comment than can be found on Natural Reaction. There’s emotion and spiritually on an album that was well received by critics. This didn’t stop Black Roots going for another adventure in dub.
Dub Factor: The Mad Professor Mixes was released in 1991, and was Black Roots’ second dub album. Just like Ina Different Style, this latest adventure in dub was well received. It seemed Black Roots were willing to experiment, so that their music stayed relevant. This included collaborating with some familiar faces within the British reggae scene.
Two years passed before Black Roots returned with With Friends in 1993. It was a collaboration with some of the biggest names in the British reggae scene. This included Dub Judah, Mickey Forbes, Trevor Dixon and B.B. Seaton. They joined Black Roots on ten new tracks. While this was a welcome release, and one that was well received by critics and cultural commentators, some of Black Roots’ fans wondered when they would next release a noter studio album?
When Black Roots announced the release of their next album in 1994, the wait for a studio album went on. Fans weaned on militant roots reggae discovered that the next album was Dub Factor 2-The Dub Judah Mixes. The wait went on in 1995, when Dub Factor 3-“In Captivity” Dub Chronicles-Dub Judah/Mad Professor Mixes was released. Still the wait for a studio album continued.
Two years became three and four. Still there was no sign of another studio album from Black Roots. Was this the end of the group once hailed as “the next great hope for [British] reggae?” It seemed like it. Black Roots decided to call time on their career in the mid-nineties.
Nothing was heard of Black Roots until the next millennia. Then in 2004, a compilation On The Frontline was released. Things went all quiet until 2011, when The Reggae Singles Anthology was released on Bristol Archive Records. Some critics thought that was release meant it was the end of the road for Black Roots. If it was, The Reggae Singles Anthology a limited edition release, seemed a fitting farewell to one of the most eloquent of the British roots reggae groups. Little did anyone realise that Black Roots were about to make a comeback.
This came in April 2012, when six of the original members of Black Roots began to record an album of new material, On The Ground. It was well received upon its release in 2012, some nineteen years after their Black Roots’ previous studio album, With Friends. Belatedly, Black Roots were back, just in time. They were the musical superheroes with a social conscience.
Two years previously, a Conservative-Liberal Democrat coalition came to power in 2010. By 2012, the junior partners were enjoying the once in a lifetime opportunity to be part of the decision making process. Suddenly, principles forgotten about as the heady scent of power hung in the air. With a seat at the Cabinet at stake, the disenfranchised and dispossessed were forgotten about. The worst that could happen to the junior partners was they loose their seats at the next election, and retire with a healthy pension and string of directorships.
That’s what happened in 2015. By then, Black Roots had released another new album Ghetto Feel in 2014. It was released on the Soulbeats’ label. The voice of the disenfranchised and dispossessed were back, and were determined to make a difference. However, in 2015, things took a turn for the worse.
Politically, Britain lurched to the right. Many of the junior partners lost their seats, and retired with their pension pots and directorships. This left the the most right wing government in living history with a mandate to govern. Things were about to get messy, very quickly.
The newly elected government announced their plans for the age of austerity. They were determined to go further than previous Conservative governments had gone. Public spending wasn’t just cut, it was slashed. Especially on the welfare state. Hardest hit were the unemployed, disabled, poor and elderly. Suddenly, they that found themselves choosing between eating or heating their home. However, the Conservatives weren’t finished yet.
With wars raging around the Middle East and North Africa, many refugees were came to Britain seeking political asylum from tyrannical regimes. However, they discovered that there was no room at the inn. This was after all, the age of austerity. For many onlookers and commentators this was just the straw that broke the camel’s back. This included Black Roots.
They returned to the studio in 2015, and recorded eleven new songs. These songs became Son Of Man, which was recently released on Soulbeat Records. Just like on previous albums, Black Roots combine social comment, melodies and hooks on Son Of Man. Accompanied by harmonies and horns, Black Roots deliver lyrics that are uncompromising, and provide a voice for the poor, disenfranchised and dispossessed. Especially the victims of the age of austerity and the refugees fleeing the Middle East and North Africa. These are two of the subjects that feature on Son Of Man.
Son of Man opens with the title-track. Quickly, Black Roots’ thirty-seven years of experience shines through. The rhythm section unite with stabs of braying horns. They’re the perfect backdrop for the vocal, which asks: “hey you Son Of Man where’s your heart?” Augmented by harmonies, Hammond organ and the crack rhythm, with the bass to the fore, anger frustration and disappointment shine through in the vocal. Especially when delivering lyrics like: “corruption are their only paradise.” Even then, there’s a soulfulness to this melodic slice of roots reggae with a social conscience. It seems thirty-seven years after Black Roots were founded, they’ve not lost their ability to deliver lyrics full of social comment.
This continues on War Zone, where a hypnotic fusion of horns and the rhythm section set the scene for the vocal. When it enters, it grabs your attention with “it’s like a War Zone, people leave their children and go, it’ll be me or you, that’s what they want us to do.” In an instant, Black Roots at their most eloquent, provide a voice for the dispossessed.
All Sing The Song Key sees Black Roots turn their attention to religion. Keyboards and an electric piano combine with the rhythm section. They provide the heartbeat as horns blaze and bray. When the vocal enters, the lyrics seem to have a spiritual quality. Especially with lyrics like: “repent and your Lord will save you.” That’s until the lyric: “my God is the one Bob Marley, look no further than yourself for your saviour.” Black Roots are too worldly-wise than to pin their colours to the mast of a religion. “When you hear one, your hear them all.” This doesn’t stop Black Roots asking: “heal him, to make ends meet.” Like many people, it seems, when they’re desperate, religion is their last resort. By then, synths strings and harmonies have swept in, and join the horns in providing a backdrop to Black Roots as they explore the subject of religion, in what’s a thoughtful, melodic and hook-heavy song.
There’s another change of style and tempo on One Ebony Girl. A drum roll gives way to synths, before the rhythm section, percussion and horns create a jaunty, joyous arrangement. The vocal sings of a new life coming into the world, “One Ebony Girl.” This is a cause for celebration, so the rhythm section, percussion, Hammond organ and harmonies augment the vocal, on this celebration of the miracle of life.
Drums rattle earnestly on Prevention, as if demanding the listener’s attention. Soon horns bray, while washes of the Hammond organ lock join the rhythm section in creating a tight, groove. This is perfect backdrop for the vocal, as it delivers a words of wisdom. They apply to many facets of modern life, and if heeded, the world might be a better place “Prevention is better than the cure.”
The drums that open Guess Who are similar to those on Prevention. Soon horns blaze, while washes of the Hammond organ lock join the rhythm section in creating a churning, backdrop. As the vocal delivers the spiritual lyrics, chiming guitars and a big, bold, bounding bass play leading roles. So does the heartfelt vocal as this melodic musical parable unfolds.
Wake Up’s roots seem to be in classic seventies reggae. There’s more than a nod to Bob Marley and The Wailers. That’s not surprising. The members of Black Roots may have grown up listening to his music. However, Black Roots are a tight, talented group, with thirty-seven years experience behind them. Together, they create a slow, shuffling arrangement. Washes of Hammond organ join stabs of horns while the rhythm section put their experience to good use. Meanwhile, a heartfelt vocal is sung in a call and response style. It asks: “won’t you Wake Up and penetrate my soul.” By then, it’s obvious that this is Black Roots’ finest hour, as they roll back the years.
The first few chords to Can’t Get Out Of That sound not unlike the introduction The Beatles’ Magical Mystery Tour. That’s the only similarity as horns blaze, percussion plays and the rhythm section combine with harmonies and the Hammond organ. It’s a heady and irresistible brew. There’s a degree of sadness in the vocal, as with an air of resignation it delivers the lyrics: “Can’t Get Out Of That.” One can’t help but wonder what crime was committed? When the vocal drops out, a guitar takes centre-stage, a delivers a crystalline solo. All too soon, it’s over and the story continues, with “the police siren wails, can’t get you out of that.” Still there’s an air of resignation and despair. That’s despite the irresistible backdrop created by the rest of Black Roots.
Black Roots hit the ground running on Trickle Trickle Treat. Horns blaze, while keyboards accompany the rhythm section. Together, they provide a dramatic backdrop, as lyrically Black Roots remember a night out in Manchester. What should’ve been a night with friends, takes a sinister turn, in the stop and search days. It sounds a painful reminder of the past, as the conversation with the police is recollected. Harmonies augment the vocal, while growling horns add an angry backdrop. It’s a a shameful reminder of what life for many people was like, in English cities in the early eighties.
Deliberate drums, stabs of horns and keyboards combine to create an element of drama on Poor Old Mama. As perfusions plays, a rumbling bass accompanies the vocal. Soon, memories come flooding back, of a family all “living together under the one roof.” Not any more. Poor Old Mama has grown old, and is a victim of austerity. She lives a hand to mouth existence. Sadness and frustration fill the vocal and harmonies. Then at the breakdown, it’s the guitar that takes centre-stage again. It’s allowed longer in the spotlight, before the vocal returns. When it does, it’s impassioned and emotive, and realises that around the world there’s lots of people in the same situation as Poor Old Mama. The only difference is where they live, and in some cases, ‘the colour of their skin.”
Rolls of drums signal the arrival of horns, keyboards and the rhythm section on One Thing, which closes Son Of Man. Again, the bass is at the front of the mix, playing a prominent role. Meanwhile, vocal sings “a penny overdrawn they charge you, and write you a letter, £27 it costs you.” This brings home the irony, that the banks are only making a bad situation worse. However, Black Roots realise: “it’s a case that you can’t win.” Later, Black Roots ponder the banking bail out, wondering: “where it’s all gone?” Anger fills the vocal, as Black Roots sing about: “institutional bankers giving to the rich.” Back then, Rome was burning, but nobody had noticed, or if they had, wanted to phone the fire brigade. So it’s no wonder Black Roots are angry. Just like with other subjects, they speak for those without a voice on Son Of Man.
Throughout Son Of Man, Black Roots provide a voice for the poor, disenfranchised and dispossessed. They’ve been doing that since they released their eponymous debut album in 1983. Since then, they’ve doing this eloquently. Their latest album Son Of Man, is no different.
Black Roots highlight injustice, while speaking for those who can’t speak for themselves. They’re the people who have been let down and betrayed by successive governments. This includes the old and infirm, the disabled, unemployed and poor. None of these people have a voice. They’ve been forced to sit back whilst one government almost ruined Britain financially forever. However, the guilty parties don’t pay a price. Instead, its an voiceless underclass who can’t fight back. They don’t have a voice. On Son Of Man, Black Roots provide a voice for them on One Thing. Then on other tracks, they turn their attention to other matters.
This includes the refugees fleeing persecution in the Middle East and North Africa. Black Roots go to bat for them, and provide a voice for them. However, this is no surprise. Black Roots have been providing a voice for the poor, disenfranchised and dispossessed since they released their eponymous debut album in 1979.
Thirty-seven years later, and nothing has changed. Still, Black Roots are highlighting injustice and speaking up for the poor, disenfranchised and dispossessed on Son Of Man, where they mix social comment with a health supply of hooks and melodies.
BLACK ROOTS-SON OF MAN.
SWAMP POP BY THE BAYOU-TROUBLES, TEARS AND TRAINS.
SWAMP POP BY THE BAYOU-TROUBLES, TEARS AND TRAINS.
One of Ace Records longest-running, and most successful compilation series, is their By The Bayou series. Compiled by Ian Saddler, the thirteenth instalment in the By The Bayou series was recently released. However, Swamp Pop By The Bayou-Troubles, Tears and Trains is only the second compilation of swamp pop.
The first compilation of swamp pop was, Swamp Pop By The Bayou, which released back in May 2014. Since then, Ian Saddler’s had his listeners bopping and bluesin’. However, Swamp Pop By The Bayou-Troubles, Tears and Trains sees Ian Saddler return to the vaults of J.D. Miller, Eddie Shuler, Floyd Soileau, Sam Montel, Huey Meaux and Joe Ruffino, Pappy Daily, Murray Nash and Jim Rentz. Ian Saddler even looked for hidden gems with the Hitt and Mercury labels. He struck gold.
Among the treasure unearthed by Ian Sadlder are six tracks that have never been released before. This includes tracks from swamp pop royalty Warren Storm plus Frankie Lowery, The Boogie Kings, Larry Hart, Frankie Lowery and Buck Rodgers. There’s also a trio of alternate tracks on Swamp Pop By The Bayou-Troubles, Tears and Trains. The other nineteen tracks are real rarities. They’re a mixture of skirt swirlers and buckle polishers.
For those unfamiliar with the parlance of swamp pop, skirt swirlers are the uptempo dance tracks; while buckle polishers are the slow songs. Providing the skirt swirlers and buckle polishers are Roy Perkins With Jerry Starr and The Clippers, Dale Houston, Phil Clay, John Fred, Gene Dunlap and The Jokers,Warren Storm, Dale Houston, Johnny Preston and Jay Richards.
Just like previous volumes in the By The Bayou series, familiar faces and new names rub shoulders on Swamp Pop By The Bayou-Troubles, Tears and Trains. So do skirt swirlers and buckle polishers from the land of “gaters and gumbo.” However, how does Swamp Pop By The Bayou-Troubles, Tears and Trains compare with Swamp Pop By The Bayou?
Complier Ian Saddler knows the importance of picking the right track to open a compilation. Swamp Pop By The Bayou-Troubles, Tears and Trains is the thirteenth in the series. He’s almost a veteran. Just like previous volumes, Ian picks the perfect track to open Swamp Pop By The Bayou-Troubles, Tears and Trains, Train To Nowhere.
Just like many tracks on Swamp Pop By The Bayou-Troubles, Tears and Trains, Train To Nowhere is a real obscurity. This buckle polisher from Roy Perkins With Jerry Starr and The Clippers was penned by Ernest Suarez, and recorded at Eddie Shuler’s Goldband studio. It then became the B-Side to Jole Blon, which was released on the Eric label in 1962. Sadly, the single sunk without trace. Since then, Train To Nowhere has been a hidden gem awaiting discovery. It’s tale of heartbreak, hurt and betrayal where Roy Perkins doesn’t so much deliver the lyrics, but live then with his worldweary vocal. He makes a reappearance later in the compilation.
Roy Perkins had released Sweet Lilly three years earlier in 1959. This is a very different from track Train To Nowhere. It’s a skirt swirler, recorded at Mira Smith’s studio. The single was then released on Huey Meaux’s Dart label. Sadly, despite being capable of filling many a Louisiana dance-floor, Sweet Lilly failed commercially. It makes a welcome reappearance on Swamp Pop By The Bayou-Troubles, Tears and Train.
So do two tracks from Dale Houston. The first is Won’t You Believe Me, which was recorded at J.D. Miller’s studio. This heartfelt, needy buckle polisher was released on Rocko in 1958. Three years later, Dale Houston was signed to Sam Montel’s Montel label.
One night in 1960, Sam Montel heard Dale playing in a bar in Baton Rouge. That night, Dale’s set consisted of some of his own songs. Sam Montel like these songs, and signed Dale Houston to his Montel label. In December 1961, Dale Houston released (Big Bad) City Police on Sam Montel’s Montel label. With a much tougher, modern sound Sam Montel hoped that Dale Houston would enjoy a hit single. Sadly, commercial success eluded Dale Houston, and this would be a familiar story as his solo career progressed.
John Fred is another artist that features twice on Swamp Pop By The Bayou-Troubles, Tears and Train. His first contribution is You Know You Made Me Cry, which was the B-Side to Good Lovin’, which was released on Montel in 1959. It’s another tale of hurt and heartbreak. Shirley however is a truly irresistible skirt swirler from John Fred and His Playboy Band. It was released on Montel, and is a truly timeless track.
King Savoy and The Rhythm Rockers released I Beg Of You on the Rocket label in 1957. It’s another buckle polisher, featuring a needy, pleading and impassioned vocal. Sadly, I Beg Of You was the band’s only single. Their career was cut shot when King Savoy left the band, to follow in his father’s footsteps and become a chef. Thus the King Savoy and The Rhythm Rockers’ story is one of what-if?
One of the previously unreleased tracks comes courtesy of Frankie Lowery. Baby What Can I Do is an irresistible skirt swirler, that surely, would’ve filed any Louisiana dance-floor?
The Boogie Kings were one of the most successful of the South Louisiana swamp pop bands. Given the quality of Please Forgive Me, that’s no surprise. With a slow, bluesy arrangement, where horns punctuate the arrangement, lead vocalist Doug (Charles) Ardoin begs and pleads for forgiveness on this buckle polisher. Despite the quality of Please Forgive Me, it was never released. Ian Saddler has rescued this hidden gem from obscurity, and for that, we should be grateful.
Buck Rogers is another artist who features twice. Born Lawrence Rodrigues in 1936, he was discovered by Sam Montel. Crazy Baby was Buck Rogers’ most successful single. However, an alternate take features on Swamp Pop By The Bayou-Troubles, Tears and Trains, allowing listeners to hear a different take on a swamp pop favourite. I Can’t Live Alone is Buck Rogers’ other contribution. It was released on Montel in 1958, and Buck’s vocal is a mixture of hurt and loneliness on this buckle polisher.
Warren Storm is swamp pop royalty, so it’s no surprise that he features twice on Swamp Pop By The Bayou-Troubles, Tears and Trains. Neither the jaunty skirt swirler Troubles, Troubles (Troubles On My Mind), nor the blues-tinged take on I’m A Fool To Care have been released before. The version of I’m A Fool To Care finds compiler Ian Saddler finding swamp pop gold in J.D. Miller’s vaults.
Another hidden gem from J.D. Miller’s vaults is Al “Puddler” Harris’ Wait A Minute. It was released on J.D. Miller’s Rocko label in 1959. Featuring a heartfelt, needy vocal from Al “Puddler” Harris, who also plays piano, Wait A Minute a beautiful belt buckler, is musical gold.
Blazing horns usher in Johnny Preston’s vocal on Satan In Satin. With its jaunty arrangement, hooks haven’t been rationed. Despite this, Satan In Satin was never released and has lain in the Mercury vaults. Thankfully, not any more. This skirt swirler been rescued from obscurity by Ian Saddler, and is the perfect addition Swamp Pop By The Bayou-Troubles, Tears and Trains.
Originally, Forest Rye recorded My Sweet Baby’s Gone for Murray Nash’s Nashville based Do-Re-Me. However, the single was never released, and made its debut on the Stomper Time Records compilation My Sweet Baby’s Gone. Emotive and heartfelt, My Sweet Baby’s Gone is another buckle polisher, this time, from Forest Rye.
Before recording So Many Tears, Johnny Jano had recorded for both Eddie Shuler and J.D. Miller. The ballad Shed So Many Tears was recorded at Eddie Shuler’s Goldband studio, with Johnny playing a steel guitar. The single was then released on the Jador label in 1964, and featured a soul-baring vocal from Johnny Jano, whose a veteran of the By The Bayou series. Given the quality of Shed So Many Tears, that’s no surprise.
My final choice from Swamp Pop By The Bayou-Troubles, Tears and Trains, is Jay Richards’ Sneaking Home. It was recorded at Huey Meaux’s studio, and released on the Tear Drop label in 1962. It’s a delicious horn driven skirt swirler, where Jay Richards shows why producers like J.D. Miller and Huey Meaux were so keen to work with him. Sadly, despite being a talented singer, commercial success seemed to elude Jay Richards. That was the case with many of the artists on Swamp Pop By The Bayou-Troubles, Tears and Trains.
That’s why many of the tracks on Swamp Pop By The Bayou-Troubles, Tears and Trains are such rarities. Those that have been released as a single, are almost possible to find. Far fans of swamp pop, and the music on Louisiana, this has been frustrating in the past. Not any more.
Ian Saddler’s thirteen volume By The Bayou compilation series features many swamp pop rarities. They can be found on Swamp Pop By The Bayou and Swamp Pop By The Bayou-Troubles, Tears and Trains. These two compilations concentrate purely on swamp pop, and for anyone interested in the genre, are a must have. They feature rarities, obscurities, hidden gems, familiar faces old favourites. That’s the case with Swamp Pop By The Bayou-Troubles, Tears and Trains, which was recently released by Ace Records.
It’s packed full of quality swamp pop. This includes skirt swirlers and buckle polishers from the vaults of J.D. Miller, Eddie Shuler, Floyd Soileau, Sam Montel, Huey Meaux and Joe Ruffino, Pappy Daily, Murray Nash and Jim Rentz. Ian Saddler even looked for hidden gems with the Hitt and Mercury labels. He struck gold several times, finding unreleased tracks from swamp pop royalty Warren Storm plus Frankie Lowery, The Boogie Kings, Larry Hart, Frankie Lowery and Buck Rodgers. There’s also a trio of alternate tracks on Swamp Pop By The Bayou-Troubles, Tears and Trains. This is just the tip of the musical iceberg.
The other nineteen tracks on Swamp Pop By The Bayou-Troubles, Tears and Trains feature a mixture of familiar faces, hidden gems, obscurities and rarities from Roy Perkins With Jerry Starr and The Clippers, Dale Houston, Phil Clay, John Fred, Gene Dunlap and The Jokers,Warren Storm, Dale Houston, Johnny Preston and Jay Richards. This mixture of skirt swirlers and buckle polishers on Swamp Pop By The Bayou-Troubles, Tears and Trains brings a taste of the music of Louisiana in the late-fifties and early-sixties to your living room. All you’ve got to do is clear the floor, and let the party begin.
SWAMP POP BY THE BAYOU-TROUBLES, TEARS AND TRAINS.
THE CURTIS COUNCE QUINTET-EXPLORING THE FUTURE-VINYL.
THE CURTIS COUNCE QUINTET-EXPLORING THE FUTURE-VINYL.
One of jazz’s best kept secrets is hard bop, double bassist Curtis Counce. He may not have enjoyed the longevity of many of his contemporaries, but was one of the leading lights of West Coast jazz. Curtis played alongside Teddy Charles, Shelly Manne, Lyle Murphy and Clifford Brown. Then in 1956, Curtis moved from sideman to centre-stage, forming The Curtis Counce Quintet. They released just four albums between 1957 and 1958. The Curtis Counce Quintet’s final album was the inventive and innovative, Exploring The Future, which was recently rereleased by Jazz Workshop on 180 gram heavyweight vinyl. Five years after the release of Exploring The Future, Curtis Counce died aged just thirty-six. West Coast jazz had lost one of its stalwarts. Fifty years after his death, his music is being introduced to a new audience. However, what about the man behind the music?
Curtis Counce was born In Kansas City, in the Midwest. From an early age, it was apparent that Curtis would end up being a musician. He was a gifted musician, who played violin and tuba before he first clapped eyes on a double bass. Straight away, Curtis knew this was the instrument for him. Indeed, it was the double bass Curtis played when he headed out on the road aged just sixteen.
Aged sixteen, Curtis was playing with the Nat Towles Band in Ohama. That was a tantalizing taste of what life was like as a professional musician. Curtis was hooked. From their he became a session music. He picked up session work wherever he could. While he enjoyed that, Ohama was hardly jazz central. So he headed to Los Angeles.
Now living and working in Los Angeles, Curtis become a member of Johnny Otis’ band. Johnny was a legendary bandleader, one who had exacting standards. That gave Curtis a good grounding when he made recording debut in 1946. Curtis was unfazed about shared a studio with jazz greats Charlie Parker and Lester Young. People started to take notice of Curtis, and soon, he was the go-to-guy for anyone looking for a double bass player.
Among the artists he accompanied, were the Stan Kenton Orchestra, Max Roach, Teddy Charles and the Clifford Brown Group. All these legendary musicians wanted Curtis’ bluesy sound. Unique, it was evocative and emotive, painting pictures. With just a few notes, Curtis could change your mood. All was going well for Curtis until 1949, when Miles Davis released one of his landmark albums.
Never has an album had a better title than Birth Of The Cool. It gave birth to the cool jazz sound. Jazz was at a crossroads. Musicians were either members of the cool school or disciples of bebop. Curtis, wisely, kept his options open. Rather than throw in his lot with either group, he kept a foot in both camps. He was a talented and versatile player, so whether it was cool jazz or bebop, Curtis could play it. That worked in his favor. Right up until 1956, Curtis was busy as a sideman. Then he decided to take centre-stage.
In 1956 Curtis formed The Curtis Counce Quintet. The initial lineup featured drummer Frank Butler, pianist Carl Perkins, trumpeter Jack Sheldon, saxophonist Harold Land. With such a multitalented lineup, surprisingly, their 1957 debut album received rave reviews. You Get More Bounce With Curtis Counce was released on the Contemporary label, but sales proved disappointing. It was the age old problem, sales didn’t match the record company’s expectations. After such good reviews, they thought the album would’ve fared better. It didn’t. A blistering set of hard bop, at least, You Get More Bounce With Curtis Counce got the Quintet noticed. Things would surely get better?
Later in 1957, Curtis released his sophomore album Landslide. It was also released on Contemporary. Curtis it seemed had chosen his band well. They all pitched in with ideas and songs. Sadly, success still eluded the Quintet. Record sales were disappointing and sales didn’t reflect their undoubted talent.
Given record sales were disappointing, they toured the West Coast and they toured hard, honing their sound. Soon, they were a tight unit. Even Harold Land, the least experienced member of the band shawn like a star in waiting. The only problem was, the East Coast, West Coast rivalry. This resulted in bands not heading out on the road. West Coast groups like the Quintet didn’t set foot on the East Coast. It was territorial and proprietorial. ironically, jazz lovers lost out. For the rest of 1957, concentrated on playing live. The in 1958, just like 1957, the Quintet released two albums.
History repeated itself in 1958. The Curtis Counce Quintet released two albums within the year. The first was Sonority, their last release on Contemporary. Just like their two previous albums, sales proved disappointing. Again, the sales didn’t reflect the quality of music. For Curtis and the rest of the Quintet, it must have been both disappointing and frustration. Here they were, releasing some inventive music, yet people were neither buying nor hearing it. Following Sonority, the Quintet and Contemporary parted company. Next stop for The Curtis Counce Quintet was the Dooto label, where they’d release their final album Exploring The Future.
As recording of Exploring The Future began, the Quintet had lost two members. Pianist Carl Perkins had tragically died of a drug overdose and trumpeter Jack Sheldon left the Quintet. Their replacements were pianist Elmo Hope and trumpeter Rolf Ericson. They were more than capable replacements. Elmo is seen as one of the greatest bebop players, while Rolf Ericson’s playing is fast, fluid and accurate. Both players added something new to what was essentially The Curtis Counce Quintet Mk. II.
Exploring The Future saw Elmo Hope play an important part in the album. He wrote four of the eight songs on Exploring The Future, So Nice, Into Orbit, Race For Space and The Countdown. Dootsie Williams who founded Dooto, had been a trumpeter, songwriter and bandleader. His contribution was Exploring The Future. Along with Denzil Best’s Move, Earl Brent and Matt Dennis’ Angel Eyes plus Ira and George Gershwin’s Someone To Watch Over Me, these eight tracks became Exploring The Future, a somewhat ironic title.
Rather than moving forward and releasing an album of innovative, progressive music, Exploring The Future saw the Quintet revisit their familiar hard bop sound. They’d perfected this during their first three albums and were among the finest practitioners of the hard bop sound. However, Exploring The Future saw The Curtis Counce Quintet with two new members. Would this affect the quality of music on , Exploring The Future? That’s what I’ll now tell you.
So Nice opens The Curtis Counce Quintet’s fourth album Exploring The Future. Bursting into life, the horns join the piano while the drums are played with brushes. Curtis’ bass provides the heartbeat, powering the arrangement along. Soon, it’s time for Rolf Ericson to deliver his first solo. He doesn’t disappoint, producing a breathtaking display of power, speed and accuracy. The rest of the band play behind him, before saxophonist Harold Land steps up. As if inspired he unleashes a blistering, rasping solo. From there, Elmo Hope takes centre-stage unleashing a fluid piano solo. He’s then joined by Curtis. They feed off each other. From there, the rest of the Quintet enjoy their moment in the sun, as they enjoy Exploring The Future.
Angel Eyes is very different from the previous track. A truly beautiful track, it has a late night, wistful sound. Rolf’s piano sets the scene, for the heartbreaking sound of the horns. Ralph’s trumpet gives way to Harold Land’s saxophone. Emotion and sadness are omnipresent. They take centre-stage, where they quite rightly belong. Each take turns at tugging at your heartstrings, before the song reaches its heartbreaking, melancholy high.
Into The Orbit sees Rolf piano join forces with the horns. Punchy, sharp bursts of horns grab your attention, before a virtuoso performance from Rolf. This seems to result in the Quintet upping their game. It’s like a game daring do. Anything you can do, I can do better. Horns are blown with more power and passion. There’s an urgency in Harold and Ralph’s playing. Rasping and growling their way through the track, they throw down the gauntlet. Meanwhile, Curtis bass provides the heartbeat. Although he enjoys his moment in the sun, he seems quite content to allow the rest of his band to take turns in outdoing each other. After all, the harder they try, the better they play. Proof of this is Into The Orbit.
Rather than Move, this track should be called explode. That’s what happens. Move explodes into life. Drums and horns take charge. What follows is a mesmeric performance. The star of the show is drummer Frank Butler. He produces a breathtaking performance. A mixture of power and speed, it’s as if he feels left out and wants to shine. This he does and never misses a beat. With thirty-seconds to go, the horns come charging in, but good as they are, Frank Butler’s better.
Race For Space has a jaunty introduction. Piano and drums briefly, take the track in the direction of free jazz. They leave space within the arrangement, which is akin to a dramatic pause. Then it’s all change. The tempo increases and another blistering slice of hard bop explodes into life. Horns to the fore, they’re punchy and dramatic. Behind them, drummer Frank Butler and pianist Elmo Hope dramatically fills in the gaps. Curtis bass powers the arrangement. His finger flying up and down the fretboard. Things hot up when the solos are unleashed. Again, everyone seems to be trying to outdo each other. In doing so, they play their part a storming, dramatic and blistering example of hard bop.
Someone To Watch Over Me was written by George and Ira Gershwin. It allows us another opportunity to hear another side of the Quintet. Horns bray, producing a needy cry. Having set the scene, Frank plays the drums with brushes and Curtis tenderly plucks thoughtfully at his bass. Elmo’s deliberate and pensive piano playing is a like a paean or plaintive cry for Someone To Watch Over Me.
Elmo’s piano and drums rolls asks a series of question as Exploring The Future unfolds. It’s another mid-tempo track, one that sees the Quintet play to their strengths. Featuring a series of poignant chord changes, the Quintet quickly shift through the gears. They’re equally at home playing together, or when they embark on solo. As for the solos, Ralph’s trumpet solo is a show stealer. The rest of the group play around him, exploring the subtleties and nuances of the track. Not to be outdone, the other newcomer, Elmo produces another of his trademark solos, where he more than proves his worth.
Closing Exploring The Future is The Countdown. It’s the perfect track to close the album. There’s something about the track, that if this closed a set, you wouldn’t be disappointed. The arrangement meanders along, managing somehow, to sound both melancholy and hopeful. Elmo on piano takes centre-stage while Frank on drums and Curtis on bass provide the heartbeat. Soon, he’s stretching his legs, deciding its time to indulge in some showboating. For that you’re thankful, as what is his finest piano solo on Exploring The Future brings the album to a delicious close. Quite simply, The Countdown is a tantalizing reminder of what jazz music once was. When will we see your likes again?
Exploring The Future proved to be farewell from The Curtis Counce Quintet. It was their final album. While Exploring The Future didn’t exactly offer anything new and innovative from the Quintet, it did find them at their very best. They’d been honing their sound since 1956, and had been playing live constantly. That was the only way to hone their sound and build a following. Sadly, they were restricted in where they could play. The jazz wars were raging. There was a fierce rivalry between the West Coast and East Coast. This meant the East Coast was off-limits for the Quintet. Audiences in the East Coast weren’t fans of the West Coast sound. That meant New York never heard the Quintet live. They might, just have appreciated their sound and transformed The Curtis Counce Quintet’s career. That wasn’t to be.
The Curtis Counce Quintet released just four albums released between 1957 and 1958. That isn’t a fair reflection on their combined talents. None of the albums sold well. Not even Exploring The Future, with its delicious mixture of blistering hard bop and beautiful ballads. Even the delights of Exploring The Future went undiscovered and unloved. Fifty-seven years after its release Exploring The Future has been rereleased on 180 gram heavyweight vinyl by Jazz Workshop. . The sound quality is excellent, with great care and attention taken with the mastering. Nor is the music too loud. Too many albums have been wasted during the loudness wars. Not however, Exploring The Future. This is a welcome reissue of an oft-overlooked album. Maybe now, a new generation of music lovers will realize what jazz fans missed first time round. Sadly, Curtis Counce never found the fame and fortune he deserved.
Five years after the release of Exploring The Future, Curtis Counce died on 31st July 1963. He was just thirty-seven. Jazz lost one of the stalwarts of West Coast jazz and one of the best practitioners of hard bop. At least the final album The Curtis Counce Quintet released, Exploring The Future was their best. A delicious fusion of blistering hard bop and beautiful ballads, Exploring The Future was The Curtis Counce Quintet’s finest moment.
THE CURTIS COUNCE QUINTET-EXPLORING THE FUTURE.
OUT OF LEFT FIELD-WHERE COUNTRY MEETS SOUL.
OUT OF LEFT FIELD-WHERE COUNTRY MEETS SOUL.
Country music has always been inextricably linked with soul music. In some cases, the two go hand-in-hand. This has been documented by Ace Records on their Where Country Meets Soul series.
The series began in June 2012, with the release of Behind Closed Doors: Where Country Meets Soul. It found twenty-three stars of soul covering songs made famous by country artists. With names like Aaron Neville, Esther Phillips, Al Green, James Carr, Candi Staton, Bettye Swann and Millie Jackson, it was no surprise when Behind Closed Doors: Where Country Meets Soul was released to critical acclaim and commercial success. Surely, there would a followup?
There was. Just eleven months later, Sweet Dreams: Where Country Meets Soul Volume 2 was released. The track listing was star-studded, featuring contributions from The Sweet Inspirations, Otis Redding, Bobby Bland, David Ruffin and Dorothy Moore. That’s not forgetting James Carr, Bettye Swann, and Millie Jackson. It was no surprise that Sweet Dreams: Where Country Meets Soul Volume 2 received the same plaudits, and enjoyed the same commercial success as Behind Closed Doors: Where Country Meets Soul. Ace Records had another successful compilation on their hands. Fans of the series crossed their fingers, and awaited Volume 3.
Luckily, the didn’t have long to wait. In August 2014, Cold Cold Heart-Where Country Meets Soul Volume 3 was released. Referring to the track listing as star-studded was almost an understatement. There were contributions from Percy Sledge, Margie Joseph, Arthur Alexander, The Supremes, Bobby Bland, Brook Benton, Esther Phillips and The Isley Brothers. Ace Records had surpassed themselves. Cold Cold Heart-Where Country Meets Soul Volume 3. Critics and music lovers agreed that the third instalment in the series was the finest. Despite this, it’s been eighteen months since the last instalment in the Where Country Meets Soul series.
At last, the wait is over, and Ace Records return with another instalment in the Where Country Meets Soul series, Out Of Left Field-Where Soul Meets Country. It was recently released by Ace Records and is described as as “a complement to this well-received series.” On Out Of Left Field-Where Soul Meets Country, Ace Records flip over the coin, and present an album where country artists cover soul and R&B songs. There’s even a few classics thrown in for good measure, as the great and good of country music reinvent some familiar songs.
Playing a starring role on Out Of Left Field-Where Soul Meets Country, are Hank Williams Jr., Waylon Jennings And Willie Nelson, Anita Carter, Skeeter Davis, Don Gibson, Ronnie Milsap, Tanya Tucker, Conway Twitty and Loretta Lynn and the one and only Man In Black, Johnny Cash. These are just a few members of the great and good of country music who feature on On Out Of Left Field-Where Soul Meets Country. With a compilation that oozes quality, choosing the highlights isn’t going to be neigh on impossible. However, here goes.
Opening Out Of Left Field-Where Soul Meets Country, is Daaron Lee’s cover of Johnny Taylor’s million selling single Who’s Making Love. This was the first release on Stax Records’ Hip Records imprint in 1969. Daaron Lee, which was the alias of Billy Lee Riley, was the perfect choice to launch Hip Records.
He had previously released singles on Sun, Mercury, Rita and Myrl. Despite what was an irresistible, and full full-blown country makeover of Who’s Making Love, Daaron Lee’s cover failed commercially. It seemed that Stax Records lacked the skills required to break a country single. Sadly, since then, Daaron Lee’s cover of Whose Making Love has become a mere footnote in the sometimes turbulent history of Stax Records. Not any more. Now a new generation will hear Daaron Lee’s hidden gem, Who’s Making Love.
Spooner Oldham and Dan Penn’s Out Of Left Field gave Percy Sledge a hit in 1967. Twenty-six years later, and Hank Williams Jr. decided Out Of Left Field. It lent its name to Hank Williams Jr’s 1993 album, which was released on Capricorn Records. One of the highlights was the title-track, a delicious fusion of country, soul and gospel harmonies. By the closing notes of the song, Hank Williams Jr. is no longer just the son of a famous father, but a star in his own right.
Ever since Otis Redding released Sitting On The Dock in 1966, it’s been an oft-covered song. These cover versions have varied in quality. They’re best described as good, bad and indifferent. One of the best covers of Sitting On The Dock Of The Bay, came in 1982, when Waylon Jennings and Willie Nelson covered the song for their sophomore album WWII. Four of the songs were produced by Chips Moman, including Sitting On The Dock Of The Bay. He worked his magic. With a crack band accompanying them, Waylon Jennings and Willie Nelson deliver a beautiful, but understated, wistful and soulful cover of a classic.
Just before he cofounded Philadelphia International Records with Kenny Gamble, Leon Huff cowrote Only The Strong Survive with Jerry Butler. It gave hime one of the biggest hits of his career in 1969. A year later, Skeeter Davis covered Only The Strong Survive for her 1970 album Maryfrances. By then, Skeeter Davis had enjoyed forty hit singles. She certainly knew how to breath life and meaning into a song. Skeeter Davis certainly does that on Only The Strong Survive. Rueful and tinged with hurt and regret, it’s a heart-wrenching fusion of soul and country.
For most people, When Something Is Wrong With My Baby is synonymous with Sam and Dave. They were the first people to enjoy a hit with the Isaac Hayes and David Porter song. However, Charlie Rich recorded the song a week earlier, but his version lay unreleased until the eighties. By then, Sonny James had covered When Something Is Wrong With My Baby in 1976. It was released on Columbia, reaching number six in the US Billboard 100. Heartfelt and emotive, Sonny James doesn’t just deliver the lyrics, but it seems is living them. It’s a truly moving rendition of a familiar song.
In 1978, Don Gibson covered Starting All Over Again. It was penned by Prince Phillip Mitchell, but made famous by Mel and Tim in 1972. Six years later, and fifty year old Don Gibson entered the studio and recorded Staring All Over Again. He was looking for the sixty-sixth hit of his solo career. Staring All Over Again didn’t disappoint. Don Gibson’s lived-in, worldweary vocal sounds as if he’s lived and survived the lyrics. Augmented by soulful harmonies, a peerless cover of Starting All Over unfolds. Later in 1978, the single lents its name to Don Gibson’s latest album. By then, Don Gibson was looking for his sixty-seventh hit single.
Oft-covered describes Warm And Tender Love. Joe Heywood, Percy Sledge, Arthur Prysock and Joe Simon had all cut versions of Warm And Tender Love. However, its hadn’t been cut by a country artist. So Archie Campbell and Lorene Mann decided to do so. They were an unlikely pairing. Lorene Mann was a singer who sometimes, dabbled in songwriting; while Archie Campbell was a DJ, hosted a television chat show, writer, comedian and singer. Archie Campbell was drafted in to replace Lorene Mann’s former partner by RCA Victor. Their debut came in 1968.
That’s when Archie Campbell and Lorene Mann entered the studio with producer Bob Ferguson, and later in 1968, their version of Warm And Tender Love was released as a single on RCA Victor. It also featured on their 1968 album Archie And Lorene Tell It Like It Is, which featured another cover of a soul classic, The Dark End Of The Street. These tracks were two of the highlights of Archie Campbell and Lorene Mann one and only collaboration.
From the opening bars of Ronnie Milsap’s cover of Any Day Now, there’s sense of anticipation. Soon, there’s a sense of sadness as Ronnie delivers Burt Bacharach and Bob Hilliard’s song. It was originally a hit for soul singer. That was ironic.
For years, Ronnie Milsap had tried to make it as a soul singer. However, commercial success eluded him. When he tried his hand as a country singer, Ronnie Milsap enjoyed the commercial success that had eluded him. By the time Ronnie Milsap covered Any Day Now in 1982, he had enjoyed thirty-four country hit singles. When the rueful, soulful strains of Any Day Now reached number one, thirty-four became thirty-five.
By 1982, Tanya Tucker was one of the biggest names in country music, and had just covered Baby I’m Yours. Penned by Van McCoy, it had originally been covered by Barbara Lewis in 1965. Six years later, Jody Miller enjoyed a hit single with Baby I’m Yours. Then in 1982, Tanya Tucker recorded Baby I’m Yours for her Changes album. A heartfelt, soulful ballad, it’s the perfect showcase for the Texan born Tanya Tucker.
Covering a classic is never easy. By then, definitive version has been recorded. The Kendalls must have known this when they covered Dark End Of The Street in 1983. Penned by Chips Moman and Dan Penn, and brought to life by James Carr, it’s a stonewall classic. This didn’t stop Royce and Jeannie Kendall enjoying a top twenty country single with their heart wrenching cover of James Carr’s classic.
Another song written by Chips Moman and Dan Penn is Do Right Woman Do Right Man. They were one of the most successful songwriting team of their generation, and penned countless classics including Do Right Woman Do Right Man. It was originally cut by Aretha Franklin. After that, it was a favourite of country singers.
Barbara Mandrell released it as a single in 1971, before Billie Jo Spears recorded Do Right Woman Do Right Man for her Blanket On The Ground album in 1976. By then, Billy Jo Spears was one of country music’s most successful singers. She was also vying for the title of first lady of country. No wonder. Her vocal bring the lyrics to life, as she this classic song.
My final choice from is David Allen Coe’s He Will Break Your Heart. He had a chequered life before making a career out of music. Thirty years of David’s life were spent in either reform school or prison. However, music offered David an escape.
Originally, he was a blues singer. However, when he turned to country music, he had found his musical niche. His first hit came in 1975 with You Never Even Called Me By My Name. Over the next eight years, David enjoyed a degree of success. Then in 1983, he covered He Will Break Your Heart, for his Hello In The album. He Will Break Your Heart had originally given Jerry Butler a hit on 1961. Producer by Billy Sherrill, David Allen Coe, makes the song his own delivering an impassioned, emotive cover. It’s a truly powerful song from David Allen Coe and one of the highlights of Out Of Left Field-Where Soul Meets Country.
It’s a welcome addendum to the Where Country Meets Soul series, Ace Records Out Of Left Field-Where Soul Meets Country. It certainly complements the Where Country Meets Soul series.
On Out Of Left Field-Where Soul Meets Country, Ace Records flip over the coin, and present an album where country artists cover twenty-four soul and R&B songs. A few classics are thrown in for good measure, and are reinvented by the great and good of country music. Some familiar faces play starring role on Out Of Left Field-Where Soul Meets Country.
Among them are Hank Williams Jr., who was no longer just the son of a famous father. There’s two collaboration between tow country greats, Waylon Jennings And Willie Nelson; and Conway Twitty And Loretta Lynn. Then vying for the title of the first lady of country music are Anita Carter, Skeeter Davis, Tanya Tucker, Linda Martell and Billy Jo Spears. That’s not forgetting Don Gibson sixty-sixth solo country hit, Starting All Over Again. Don’s worldweary vocal make the lyrics sound personal. So does Ronnie Milsap on Any Day Now. Closing Out Of Left Field-Where Soul Meets Country is Johnny Cash. It wouldn’t be a country compilation without the Man In Black, who reworks Joe Tex’s Look At Them Beans (Papa’s Dream). These are just a few of the tantalising tastes of Out Of Left Field-Where Soul Meets Country.
With its star-studded lineup, Out Of Left Field-Where Soul Meets Country is the perfect addendum to Ace Records’ Where Soul Meets Country series. Out Of Left Field-Where Soul Meets Country also “complements” the three previous volumes of Where Soul Meets Country series. Just like Out Of Left Field-Where Soul Meets Country, they belong in the collection of anyone interested in soul or country music.
OUT OF LEFT FIELD-WHERE COUNTRY MEETS SOUL.
SPLASHGIRL-HIBERNATION.
SPLASHGIRL-HIBERNATION.
When doom jazz trio Splashgirl released their sophomore album Arbor in 2009, it was the first release on the newly formed Hubro Music label. Since then, a lot has happened to both Splashgirl and Hubro Music.
Both Splashgirl and Hubro Music’s star have been in the ascendancy. Splashgirl have released two critically acclaimed albums, 2011s Pressure and 2013s Field Day Rituals. These two albums reinforced Splashgirl’s reputation’s one of Norwegian music’s most innovative groups. As a result, their music has been embraced my music lovers far and wide. That’s the case with Hubro Music.
Ever since 2009, Hubro Music has released groundbreaking music. It’s roster includes some of the most groundbreaking artists and bands. They release albums that pushes musical boundaries. These albums are released to widespread critical acclaim. That’s why nowadays, the Hubro Music’s logo is a sign of quality and music that’s innovative and inventive. The same can be said about Splashgirl’s new album Hibernation.
It’s one of the most anticipated albums of 2016 so far. Hibernation, which will be released by Hubro Music on 12th February 2016, is the long-awaited fifth album from musical mavericks Splashgirl. Hibernation finds Splashgirl continue to work closely with producer Randall Dunn. He has guided Splashgirl as they change direction musically on Hibernation. It seems that Splashgirl aren’t willing to stand still. They never have been.
The Splashgirl story began in Oslo in 2003. That’s when Andreas Lønmo Knudsrød, Andreas Stensland Løwe and Jo Berger Myhre decided to form a group together. This group they called Splasgirl. It was no ordinary group.
Splashgirl were a doom jazz group who decided to combine traditional instruments and technology. This was new, exciting and innovative. The members of Splashgirls were one part musician, to one part musical alchemist. Practice rooms and recording studios became a place where Splashgirl experimented with their arsenal of musical instruments and technology
Drummer and percussionist Andreas Lønmo Knudsrø also deployed drum machines when Splashgirl made music. Andreas’ partner in the rhythm section Jo Berger Myhre switches between double bass and a tone generator. The final member of Splashgirl was
pianist Andreas Stensland Løwe. He also played various synths, a clavinet and organ. This captivating combination would be showcased on Splashgirl’s debut album Doors Keys.
Doors. Keys.
By 2007, Splashgirl had been together for four years. They had spent four years honing and tightening their sound. Having taken tentative steps onto the live scene, Splashgirl were now a familiar face around Oslo. However, many people remarked that still, Splashgirl hadn’t released a debut album. It was time to rectify this.
Nine tracks were composed, and would be recorded at Bugge’s Room, the studio owned by Bugge Wesseltoft. At Bugge’s Room, Splashgirl took charge of production. They were joined by guest artists Lars Holmen Kurverud on bass clarinet, tenor saxophonist Joel Wästberg an violinist Sebastian Gruchot. They played their part on what became Doors. Keys., Splashgirl’s debut album.
Later in 2007, the Oslo based jazz trio Splashgirl released their debut album Doors. Keys. It was well received by critics, who forecast a bright future for one of the newest names in Norwegian jazz.
Arbor.
Two year after the release of their debut album, Splashgirl returned with their sophomore album Arbor. By then, Splashgirl’s profile was rising. They were a regular fixture on the live circuit, and were being tipped as one of Norwegian music’s rising stars.
Especially, once Arbor was released. It featured nine new tracks which were penned and produced by Splashgirl. These songs were recorded at Biermannsgården, where Splashgirl were joined by multi-instrumentalist Lasse Passage and Anders Hofstad Sørås on pedal steel. The two guest artists augmented Splashgirl’s considerable skills on this sonic adventure. It was released in 2009 on a new label, Hubro Music.
Arbor was released in 2009, bearing the the serial number HUBRO CD2500. Hubro Music was a new name for many people. Not for long. Especially if they continued to release albums of the quality of Arbor. Here was an album that caught the imagination of critics. Arbor marked the coming of age for Splashgirl. They had released an album of ambitious, groundbreaking and innovative music. It was the perfect way to launch a new label. Little did anyone know this was the start of the rise and rise of Splashgirl and Hubro Music.
Pressure.
Another two years passed before Splashgirl released another album. However, by then, their music was finding a wider audience. So 2011 was the perfect time to release a new album.
Recording of Pressure, Splashgirl’s third album, took place at Malabar Studios. There, Splashgirl were joined by several guest artists. This included Lasse Passage, who would experiment with tape and field recordings. He was joined by guitarist Juhani Silvola, tubaist Martin Taxt, trombonist Erik Johannessen and vocalist Mari Kvien Brunvoll. Together, they helped Splashgirl create what was the best album of their career.
When Pressure was released on Hubro Music in 2011, it was to widespread critical acclaim. It was their most ambitious, inventive and innovative album. Splashgirl were at their most experimental on Pressure, where they were joined by some of the leading lights of the Norwegian music scene. Pressure was their finest hour, and the album that saw Splashgirl and Hubro Music move into the limelight.
Soon, Splashgirl were touring Europe, where their music was embraced by a much wider audience. Meanwhile, Hubro Music were now regarded as a record label that was synonymous with groundbreaking music. Everyone it seemed was a winner, and that would continue to be the case.
Field Day Rituals.
Nearly another two years passed, and Splashgirl returned with the fourth album of their career in February 2013. By then, it was fast approaching Splashgirl’s tenth anniversary. However, only six years had passed since Splashgirl released their debut. Now they were about to release Field Day Rituals on Hubro music. It marked a change for Splashgirl.
Previously, Splashgirl had produced their first three albums. For Field Day Rituals, they brought onboard producer Randall Dunn. He had an impressive track record, having worked with Earth, Sunn O))), Marissa Nadler, Black Mountian and The Cave Singers. His C.V. convinced Splashgirl to bring him onboard for the recording of Field Day Rituals.
Randall Dunn wasn’t the only recruit for the Field Day Rituals’ sessions. Joining team Splashgirl, were Timothy Mason and Eyvind Kang on viola. They aided and abetted Splashgirl as the album took shape at Avast! Recording Co., in Seattle. Eventually, Field Day Rituals was completed, and Splashgirl could celebrate their tenth anniversary with the release of their fourth album.
When Field Day Rituals was released in February 2013, by Hubro Music, it was hailed as Splashgirl’s greatest album. This wasn’t the first time critics had said this. However, Splashgirl weren’t going to tire of hearing this. Critical acclaim was sweet music to their ears. That was no surprise.
Field Day Rituals found Splashgirl at their most adventurous and ambitious. They seemed determined to push musical boundaries to their limits, and sometimes, it seemed way beyond. It was no surprise that Splashgirl were now regarded as one of leading lights of the Norwegian jazz scene. Their rise and rise had mimicked that of Hubro Music.
No longer was Hubro Music the small label it had been in 2009. By 2013, it was one of the most respected and forward thinking European labels. It released an eclectic selection of groundbreaking music. That wasn’t surprising. Hubro Music’s roster was like a who’s who of Norwegian music. One of the “crown jewels” were doom jazz trio Splashgirl.
Hibernation.
They had been busy since the release of Field Day Rituals. Splashgirl had toured as Europe, America and Japan. This didn’t leave much time to record an album. However, somehow, Splashgirl found time to record their fifth album Hibernation with producer Randall Dunn.
Hibernation featured another nine new compositions from Splashgirl. Andreas Stensland Løwe wrote Hibernation, Scorch, Redshift and Rebounds. He also cowrote Community and Two Degrees with Jo Berger Myhre; who wrote Bleak Warm Future. The other track Rounds, was penned by the three members of Splashgirl. Once the nine songs were written, Splashgirl headed to HIjóðriti Studio in Hafnarfjördur, Iceland.
It wasn’t just Splashgirl that made the journey to HIjóðriti Studio at the start of September 2015, it was their array of equipment. In Andreas Lønmo Knudsrød’s case, this meant drums, percussion and a drum machine. This was almost travelling light. Especially when compared to Andreas Stensland Løwe. He played a grand piano, and had to unpack and setup a several synths, including an Arp Solina, Korg Delta and Prophet 5. That’s not forgetting a clavinet, harmonium and “electronics.” This left Jo Berger Myhre, who travelled with his trusty double bass, a halldorophone plus two synths. A Mini Moog and Jupiter 8 were Jo Berger Myhre’s weapon of choice. Despite such an impressive array of equipment, Splashgirl were lacking a saxophonist. Luckily, they knew the very man.
This was none other Eric Walton, or Skerik as the Seattle based saxophonist is known as in musical circles. A pioneer of saxophonics, Skerik combines electronics and his loops in his music. Just like the three members of Splashgirl, Skerik was an innovator. This made him the perfect person to play on Hibernation. So Skerit made the journey to HIjóðriti Studio in Hafnarfjördur, with his tenor and baritone saxophones. He was the missing piece in the musical jigsaw.
With just a week to record the nine tracks that became Hibernation, Splashgirl had to work quickly. That can’t have been easy, given they were using such an array of instruments and equipment. Some of the synths were vintage synths, which can be unreliable. However, Splashgirl began recording on 5th September 2015, and had managed to record Hibernation by the 11th September 2015. All that was left was for Hibernation to be mixed.
Producer Randall Dunn mixed Hibernation at Avast! Recording Co., in Seattle. Then Jason Ward mastered Hibernation at Chicago Mastering Service. Now Hibernation was ready for release.
Before that, Hibernation was scrutinised by the critics. When they heard the album, they realised that musical mavericks Splashgirl had changed direction sonically. Synths, electronics and processing was used much more than on previous albums. While this was very different to previous albums, the reinvention of Splashgirl had been a success.
Hibernation was hailed as the most ambitious and innovative album from doom jazz pioneers Splashgirl. That’s apparent from the opening bars of Hibernation.
Opening Hibernation is the title-track. Deliberately, a piano plays slowly and ominously. Soon, drones emerge from the arrangement, filling the space left the piano. When it returns, it’s accompanied by what sounds like one of Iceland’s volcanos erupting. Despite that, there’s an ethereal and elegiac sound. Contrasts it seems, are everywhere. Later, the sculpted eruption combines with drones and a harmonium. Its unmistakable sound adds another layer and texture to a slow almost pedestrian and pensive soundscape. It showcases the new Splashgirl, as they reinvent their music.
A synth adds a droning sound as Reducer unfolds. It’s not unlike a warning signal from a ship making its way through the mist. Soon, the drone is honed and sculpted, as a myriad of electronics and sound effects are added. So is a scrubbed guitar, drums and plink plonk piano. Together, they create a dramatic cinematic soundscape, which would grace the soundtrack to any Nordic drama or film noir.
Bleak Warm Future sees doom jazz trio Splashgirl seemingly head in in the direction of post rock. The piano, guitar and drums combine, playing slowly and deliberately, as they explore the theme. Their jazz background shines through. Soon, it’s the time for star of saxophonics Skerik to make his debut. His braying, scorching saxophone adds an element of drama, before dropping out. Then the arrangement becomes mesmeric, before Splashgirl drop the tempo and an understated sound takes shape. Just drums, percussion and piano combine as the soundscape takes on a thoughtful, wistful sound. Later, sound effects are added as the piano is played confidently and firmly. Everything else is playing a supporting role, including the double bass and drums. After five minutes, three become four, and Skerik sprays his scorching saxophone across the soundscape. It proves the perfect addition, as Splashgirl head for the finish line, on this glorious fusion of doom jazz, post rock, avant-garde and free jazz.
There’s an almost industrial sound to Rounds. Drums and percussion play slowly, leaving plenty of space in the arrangement. Soon, a gong sounds, a pensive piano plays and a bell rings. Washes of synths are then added as a beautiful, almost ethereal soundscape unfolds. It’s sculpted and hued by Splashgirl. They have the uncanny ability to add the right instrument at the right time. That’s the case whether its the piano, guitar and gently rasping, braying guitar. Then at 3.51 the soundscape almost grinds to a halt, leaving just the occasional brief reminder of what’s beatific, elegiac and cinematic soundscape.
Just like previous tracks, Scorch paints pictures in the listener’s mind’s eye. All the listener needs to do, is follow Funkadelic’s advice and “free your mind.” A drone arrives from the distance. It’s the result of Jo’s double bass, with effects added. Soon, the soundscape crackles and drones. Listen carefully, and sounds flit in and out. Some make a brief appearance, others stay longer. This includes the piano. It’s probed, while synths produce an array of sounds. They crackle, bristle and drone. However, Splashgirl tame the tiger, and sculpt these disparate sounds into a dramatic and intense slice of doom jazz. Later, musical alchemists Spashgirl unleash an array of futuristic sounds that compliment the melancholy beauty of the piano. They’re augmented by what sound like explosions and later, fireworks. As they soar above the rest of soundscape, it’s as if they’re celebrating the triumphant return of Splashgirl, with this latest sonic masterpiece.
The skin of Andreas’ bass drum is pounded on Community. His snare drum cracks, while a piano and shakers combine. Reverb is added to the drums, and they head into the distance, before dissipating. As the piano plays, it has a Cuban influence. Jo’s bass adds a moody, ominous sound. In the background, feedback shrieks, and deep within the mix a myriad of sound can be heard.This is all part of the plan and Splashgirl’s musical palette. They use each of these elements, carefully honing and sculpting them so that they become another texture or layer on this moody, sometimes hypnotic, genre-melting soundscape. Elements of dub, doom jazz, free jazz, avant-garde and experimental music.
With a firmly plucked bass at the forefront of the arrangement, Redshift quickly showcases a dramatic, cinematic backdrop. It’s up the listener to supply the script. Flourishes of piano and washes of synths add to the drama and urgency. Cymbals ring out and occasionally, the bass drum is pounded. Soon, effects are added to the piano. It sounds not just distant, but elegiac. Later, what sounds like angelic, ethereal harmonies are added, as the arrangement briefly crackles, beeps and squeaks before reaching a beatific crescendo.
Jo’s bass is a scene-setter on Two Degrees. He plays carefully and firmly, plucking notes slowly. Soon, he’s joined by a piano and drums caressed by brushes. By then, the soundscape is reminiscent to a sixties film noir. Suspense and mystery spring to mind as Splashgirl play. Especially, as the tempo begins to rise slightly and Splashgirl play with a degree of purpose. It’s as if they’re following a script to a remake of a film noir favourite like Quicksand or Shoot to Kill. The addition of washes elegiac synths are the icing on what’s a delicious musical cake.
Rebounds closes Hibernation. Firmly and insistently the piano is played, a melancholy sound quickly unfolding. Soon, a bass and shakers join the piano. Later, so does a harmonium. It adds to Rebounds’ rueful, wistful sound and later, dramatic sound. The drama occurs as the soundscape reaches a crescendo, and Splashgirl bid the listener farewell, on Hibernation a career defining album.
Hibernation is the fifth album from Norwegian doom jazz pioneers, Splashgirl. It’s also the finest album of their twelve year career. That’s despite Splasgirl deciding to change direction musically on Hibernation which will be released bu Hubro Music on 12th February 2016.
That was a huge risk. Splashgirl had found and honed their sound over four critically acclaimed albums. However, Splashgirl aren’t the type of group who could or would rerecord the same album. That’s for lesser bands, not musical mavericks and pioneers like Splashgirl. So when they made their way to Hljodriti Studio in Hafnarfjördur in September 2015, the decision was made. Splashgirl would make more use of synths, electronics and processing. They play a more important part in Hibernation, which features Splashgirl at their most inventive and innovative.
As Splashgirl innovate, the combine disparate musical genres. Elements of avant-garde, classical, drone, free jazz, post rock jazz and rock. All these genres play their part in Hibernation. It veers between cinematic, dramatic, melancholy and wistful, and sometimes, beautiful, elegiac and ethereal. Hibernation is an album to embrace and cherish, where musical alchemists Splashgirl create a cinematic Magnus Opus.
SPLASHGIRL-HIBERNATION.
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