THE FIFTY-FIVE BEST COMPILATIONS OF 2015-PART 4.
THE FIFTY-FIVE BEST COMPILATIONS OF 2015-PART 4.
KEB DARGE AND LITTLE EDITH’S LEGENDARY WILD ROCKERS VOLUME 5.
Summer wouldn’t be summer without the latest instalment of the Legendary Wild Rockers’ series. So, in May 2015, Keb Darge and Little Edith’s Legendary Wild Rockers Volume 5 was released by BBE Music.
Somehow, Keb Darge and Little Edith’s Legendary Wild Rockers Volume 5 have managed to do what looked almost impossible, and surpassed the quality of the previous volumes in the series. That took some doing. Volume 4 especially, was crammed full of quality cuts. However, Keb Darge and Little Edith pulled out all the stops for Keb Darge and Little Edith’s Legendary Wild Rockers Volume 5. The result is the finest instalment in the series, Keb Darge and Little Edith’s Legendary Wild Rockers Volume 5.
KEEP A HOLD ON HIM! MORE GARPAX GIRLS.
Eleven years passed before Ace Records announced the release of Keep A Hold On Him! More Garpax Girls. The long awaited sequel to Boy Trouble: Garpax Girls hit the shops at the end of May 2015. That was almost eleven years to the day since Ace Records released Boy Trouble: Garpax Girls. However, it was well worth the wait.
Keep A Hold On Him! More Garpax Girls featured another twenty-four of Gary S. Paxton’s finest productions for a variety of female singers between 1960 and 1966. During this period, Gary S. Paxton was establishing his reputation as a hotshot producer. He had the ability to transform an artists career and fortunes. So, it’s no surprise that The Idols, Beatrice Lee, Josephine Sunday, Chris Darlin and Dorothy Berry and The Swans all found their way to Gary’s Hollywood studio.
With various songwriters, arrangers and producers, Gary set about making dreams come true. Sometimes it worked, and artists enjoyed hits single. Other times, commercial success eluded artists. Often that’s despite creating a single that oozed quality. That’s the case on the thirteen singles, and the eleven unreleased tracks on Keep A Hold On Him! More Garpax Girls. They’re part of what’s a worthy sequel to Boy Trouble: Garpax Girls. Although it may have been eleven years in the making, but Keep A Hold On Him! More Garpax Girls has been well worth the wait.
LOS ANGELES SOUL-KENT-MODERN’S BLACK MUSIC LEGACY.
During the fifties, the Los Angeles’ based, Modern and Kent labels were two of the most successful independent record labels. They signed some of the most successful soul, blues and R&B artists of the fifties. However, as the sixties dawned, music was changing. That was the case right through to the seventies. While some labels stood still, the Biharis were determined to released music that was relevant. So, between 1962 and 1972, the period Los Angeles Soul-Kent-Modern’s Black Music Legacy covers, the Modern and Kent labels released an eclectic selection of music. This includes country soul, funk, gospel, psychedelia, R&B, soul, Southern Soul and sweet soul. It seemed the Bihari brothers were covering all bases in their constant search for his. That’s reflected in Los Angeles Soul-Kent-Modern’s Black Music Legacy’s track listing.
Los Angeles Soul-Kent-Modern’s Black Music Legacy was recently released by Kent Soul, an imprint of Ace Records, featured twenty-four tracks. They’re an eclectic selection. Everyone from Johnny Adams to Johnny Copeland, The Intentions, Jimmy Bee, Earl Wright, Pat Hunt, The Windjammers, Tommy Youngblood, Jackie Shane, Millie Foster, Ruth Davis and Wally Cox all feature. They’re just a few of the artists on Los Angeles Soul-Kent-Modern’s Black Music Legacy. It’s the perfect introduction to a pioneering label, who constantly, sought to reinvent itself.
LOST WITHOUT YOU-THE BEST OF KENT BALLADS 2.
Secretly, everyone loves a ballad. At least everyone of a certain age. For many, it’s something they grow into, and cherish. If that’s the case, then Lost Without You-The Best Of Kent Ballads 2, which was released by Kent Soul, an imprint of Ace Records, will be a must have. It found Mick Patrick and Tony Rounce digging deep into the Kent vaults, and coming up with twenty-four heartbreaking ballads. They became Lost Without You-The Best Of Kent Ballads 2.
Included on Lost Without You-The Best Of Kent Ballads 2, were songs from Jerry Washington, Lorraine Chandler, J.J. Jackson and The Jackaels, Julius Wright, The Exotics, Peggy Gaines and The Turquinettes. They’re just some of the tracks that make a belated debut on Lost Without You-The Best Of Kent Ballads 2. Some of these tracks are good enough to have been released as a single. For whatever reason, that never happened. Now somewhat belatedly, this plethora of hidden gems prove a welcome addition to Lost Without You-The Best Of Kent Ballads 2, the latest addition to Kent Soul’s burgeoning discography.
LOW DOWN-ORIGINAL MOTION PICTURE SOUNDTRACK.
One of my favourite jazz compilations of 2015, was Low Down-Original Motion Soundtrack, which was released by Cinewax and Light In The Attic. Low Down-Original Motion Soundtrack tells the story of jazz pianist Joe Albany. It’s based on his daughter Amy-Jo Albany’s memoirs. She chose the fifteen tracks on Low Down-Original Motion Soundtrack. It includes seven tracks from Joe’s back-catalogue. This Amy-Jo Albany hopes that will be a primer for her father’s work. There’s also tracks from Coleman Hawkins, Max Roach and Thelonious Monk. These tracks may introduce a new generation to three jazz giants. There’s also tracks from Ohad Talmor’s score. His tracks pay stylistic homage to Joe Albany, whose been described as “Hollywood’s notorious jazz hustler.”
Joe Albany was hugely talented pianist whose music is cherished by many. However, sadly, there are still people have yet to discover Joe Albany’s music. Amy-Jo Albany hopes that the Low Down-Original Motion Soundtrack will act as a primer for her father’s music. I certainly hope that that’s the case. Let’s also hope that any newcomer to jazz who buys the Low Down-Original Motion Soundtrack, will embark upon a lifelong love affair with jazz.
MOGWAI-CENTRAL BELTERS.
2015 finds post rock pioneers Mogwai celebrating their twentieth anniversary. A lot has happened in that twenty year period. Mogwai have released eight studio albums and three soundtracks. These albums have been critical acclaimed and commercially successful not just in Britain, but in America. That’s why nowadays, Mogwai are regarded as Scottish music’s elder statesmen. So it was fitting when Mogwai released a three disc retrospective box set, Central Belters, on Rock Action Records. Central Belters tells the story of twenty years of Mogwai.
For the last twenty years, Mogwai’s music has been ambitious, bold, challenging, influential and innovative music. It’s full of nuances, subtleties and surprises as Mogwai seamlessly combine musical genres. They fuse ambient, avant garde, classic rock, electronica, experimental, indie rock, psychedelia and Krautrock, to create their unique post rock sound. All the time, Mogwai continue to push musical boundaries to their limits and even sometimes, way beyond. Mogwai have never been willing to stand still. The Mogwai Young Team’s music has continued to evolve, and doubtless will continue to do so.
Glasgow’s famous five are due a new musical adventure. It’s nearly two years since the release of Rave Tapes. Hopefully, Mogwai are hard at work in their Castle Of Doom studios on their next adventure. This isn’t the type of adventure Enid Blyton’s Famous Five once enjoyed. There’s no picnics, lemonade and bicycle trips. Instead, it’s a bit more edgy and gritty.That’s the case with Central Belters Mogwai’s career retrospective.
NEXT STOP SOWETO-ZULU ROCK, AFRO DISCO AND MBQANGA 1975-1985.
March 2015 saw Strut Records release Next Stop Soweto-Zulu Rock, Afro Disco and Mbqanga 1975-1985. This was the fifth volume in Duncan Brooker’s Next Stop Soweto critically series. The latest volume found Duncan choosing fifteen tracks from what was an dark period, in South South Africa’s history, Apartheid period. During this period, South Africa was a county divided. However, music was beginning to play an important part in bringing about change.
The songs chosen by Duncan Brooker document the changing face of South Africa. His in-depth knowledge of South African music means he knows where musical gold is buried. Next Stop Soweto-Zulu Rock, Afro Disco and Mbqanga 1975-1985 is literally a musical treasure trove. As compilations go, oNext Stop Soweto-Zulu Rock, Afro Disco and Mbqanga 1975-1985 oozes quality, and is crammed full of quality music. So much so, that Next Stop Soweto-Zulu Rock, Afro Disco and Mbqanga 1975-1985 is the finest instalment in the Next Stop Soweto series. That’s saying something.
NICK CAVE HEARD THEM HERE FIRST.
For the fourth volume in Ace Records’ Heard Them Here First series, the latest artist in the spotlight is shawn on Australian troubadour, Nick Cave. On Nick Cave Heard Them Here First, there’s twenty-two tracks that have influence the career of Nick Cave. His career began over thirty hers ago, when he was the lead singer of Australian band The Birthday Party. In the post Birthday Party years, Nick Cave embarked upon what was to prove to be, a successful solo career. His music however, has always been influenced by the music he heard growing up.
Some of the music that influenced Nick Cave featured on Nick Cave Heard Them Here First. He was impeccable and discerning taste. The Stooges, Nina Simone, Johnny Cash, Gene Pitney, The Sensational Alex Harvey Band, Leonard Cohen, Serge Gainsbourg and Jane Birkin, Bob Dylan, Hank Williams, Blind Willie Johnson and John Lee Hooker all feature on Nick Cave Heard Them Here First, which quite simply, is crammed full of quality music.
NORTHERN SOUL’S CLASSIEST RARITIES VOLUME 5.
Through their Kent imprint, Ace Records have been releasing Northern Soul compilations for over twenty years. Their most recent Northern Soul compilation, was Northern Soul’s Most Classiest Rarities Volume 5, which was released by their Kent Dance subsidiary. It has everything you could want in a Northern Soul compilation.
That’s not surprising. Northern Soul’s Most Classiest Rarities Volume 5 was compiled by veteran compiler Ady Croasdell. He’s a man steeped in Northern Soul. With an almost encyclopaedic knowledge of all things soulful, Ady combines classics and collectors items with future classics, hidden gems, obscurities, rarities and a even a quartet of unissued tracks. The result is Northern Soul’s Most Classiest Rarities Volume 5, a welcome addition to the Northern Soul’s Most Classiest Rarities’ series.
PIED PIPER FOLLOW YOUR SOUL.
Back in 2013, Kent Soul, released Pied Piper Presents A New Concept In Detroit Soul. It was one of the most eagerly anticipated compilations of 2013. Soul fans weren’t disappointing, and Pied Piper Presents A New Concept In Detroit Soul made its way onto many end of year lists. Since then, soul fans have been wondering when a followup to Pied Piper Presents A New Concept In Detroit Soul would be released? During 2015, Kent Soul announced the release of Pied Piper Follow Your Soul.
Compiler Ady Croasdell returned to the Pied Piper vaults, and chose twenty-four tracks for Pied Piper Follow Your Soul. They’re a mixture of classics, old favourites and hidden gems. Fifteen tracks have been released before. This includes contributions from Sharon Scott, The Cavaliers, The Dynamics, The Metros, The Dynamics and Freddy Butler. The other nine, make their debut on Pied Piper Follow Your Soul. This includes some soulful delights from September Jones, Nancy Wilcox and Lorraine Chandler. Throughout, Ady Croasdell’s exquisite taste and encyclopaedic knowledge of all things soulful, shines through on what’s the perfect followup and companion to Pied Piper Presents A New Concept In Detroit Soul.
THE FIFTY-FIVE BEST COMPILATIONS OF 2015-PART 5.
THE FIFTY-FIVE BEST COMPILATIONS OF 2015-PART 5.
PRIVATE WAX VOLUME TWO.
Private Wax Volume Two was released on BBE Music in October 2015. This is another compilation of “Super Rare Boogie and Disco Compiled By Zaflovevinyl.” Given their rarity, it’s no wonder it’s taken three years to compile Private Wax Volume Two. However, if anyone was going to hunt down the vinyl on Private Wax Volume Two, it was going to be Zaf Chaudry. He’s a veteran crate-digger and record collector whose been collecting records since the mid-seventies. Zaf’s impeccable taste in music shines through on Private Wax Volume Two.
It’s quality all the way on Private Wax Volume Two. Zaf Cahudry has chosen well. The sixteen tracks rarities are funky, soulful and dance-floor friendly. There’s also disco and boogie on Private Wax Volume Two, which somehow, manages to surpass the quality of Private Wax. That’s down to the compiler. Zaf Chaudry’s time spent searching for long lost rarities and hidden gem has been time well spent.
REACHING OUT! CHESS RECORDS AT FAME STUDIOS.
Reaching Out! Chess Records At Fame Studios, which was released on Kent Soul, an imprint of Ace Records, featured twenty-four tracks recorded the legendary studios. This included tracks by Irma Thomas, Charles Chalmers, Etta James, Laura Lee, Lee Webber and Maurice and Mac. Each artist made the long journey to Alabama. By then. the Chess brothers no longer had their own studio band So they sent their artists to Alabama, hoping that they would enjoy the same success as their counterparts at Atlantic Records.
Sadly, that wasn’t to be. While the music had a similar quality, Chess Records didn’t have the same power as Atlantic Records. They didn’t have the budget for promotion. Nor did Chess Records have the staff to ensure their singles were played on radio. To some extent, labels like Chess Records were fighting a losing battle. As a result, singles that oozed quality, stalled in the lower reaches of the charts. For artists, this was heartbreaking. Some, including Irma Thomas, turned their back on music. Nearly fifty years later, and the singles on Reaching Out! Chess Records At Fame Studios can be heard by a new generation of music lovers, who will surely cherish each and every hidden, soulful gems.
RHYTHM ’N’ BLUESIN’ BY THE BAYOU-MAD DOGS, SWEET DADDIES AND PRETTY BABIES.
It was back in August 2012, that Ian Saddler released what was the first in the By The Bayou series, Boppin’ By The Bayou. Critics welcomed this lovingly compiled retrospective of Louisiana’s musical past. Surely a followup would be released? That proved to be the case. Soon two became three, and three four. Last year, Ace Records’ By The Bayou series celebrated its tenth anniversary with Rhythm ‘N’ Bluesin’ By The Bayou-Mad Dogs, Sweet Daddies and Pretty Babies. Compiler Ian Saddler had pulled out all the stops for this anniversary.
The twenty-eight tracks on Rhythm ‘N’ Bluesin’ By The Bayou-Mad Dogs, Sweet Daddies and Pretty Babies come from the vaults of five of South Louisiana’s top producers. This includes tracks recorded at J.D. Miller’s Crowley studio and Eddie Shuler’s Goldband studio. Other tracks were released on, Floyd Soileau’s Rod label, Sam Montel’s Montel label and Golen Richard’s Richland imprint. Most of these tracks were discovered in the musical goldmine that’s the music store originally founded by J.D. Miller. It yielded much of the “rompin’, stompin’ music” on Rhythm ‘N’ Bluesin’ By The Bayou-Mad Dogs, Sweet Daddies and Pretty Babies, that’s bound to set “feet a-tappin’.”
RHYTHM ‘N’ BLUESIN’ BY THE BAYOU-VOCAL GROUPS.
For too long, the music of the state of Louisiana was neglected by compilers. Ian Saddler decided to rectify this a few years ago, and in 2015, Ace Records released the twelfth instalment of his critically acclaimed By The Bayou series, Rhythm ’N’ Bluesin’ By the Bayou-Vocal Groups. It features twenty-eight tracks, where familiar faces and new names rub shoulders. Among them, are The Velvetiers, Sonny Martin, Charles Morris, The Del-Chords, Henry Clement, Sticks Herman, The Raves and Katie Webster. The result is a very welcome addition to the long running By The Bayou series.
Whereas most compilations loose their mojo after just a few volumes, the By The Bayou series is still going strong after twelve volumes. That’s thanks to compiler Ian Saddler. He’s responsible for what’s one of the best compilation series of recent years, By The Bayou compilation series. After its twelfth instalment, Rhythm ’N’ Bluesin’ By the Bayou-Vocal Groups its going strong and Ian Saddler continues to document and celebrate Louisiana’s rich and illustrious musical past.
SAM DEES-IT’S OVER-70s SONGWRITER DEMOS AND MASTERS.
Sometimes, for whatever, reason, an artist doesn’t enjoy the commercial success and critical acclaim they deserve. Instead, their music is only enjoyed a discerning circle of music lovers. That’s the case with Sam Dees, whose been described as: “a prolific songwriter and occasional performer.” As a singer and songwriter, Sam Dees excels. That’s apparent on It’s Over-70s Songwriter Demos and Masters, which was released by Kent Soul, an imprint of Ace Records.
It’s Over-70s Songwriter Demos and Masters is the most comprehensive retrospective of Sam Dees time at Clintone Records. There’s singles, demos and thirteen unreleased tracks. This includes two alternate takes of tracks from Sam Dees’ 1975 album, The Show Must Go On. Quite simply, It’s Over-70s Songwriter Demos and Masters is essential listening for anyone interested in Sam Dees music, and a tantalising taste of Sam Dees during his seventies heyday.
SENEGAL 70-SONIC GEMS AND PREVIOUSLY UNRELEASED GEMS FROM THE 70S.
For their final release of 2015, Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s, Analog Africa return to what was the musical capital of West Africa, Senegal. It had one of the most vibrant musical scenes in West Africa. That’s apparent on this compilation.
Eclectic describes the music on Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s. It’s a reminder of Senegal’s vibrant music scene was during the seventies. The twelve artists fuse elements of everything from Afro-beat, blues, funk, jazz, Mbalax, R&B, soul, Son Montuno from Cuba and the inimitable Mandigue. The result is Senegal 70 Sonic Gems and Previously Unreleased Recordings From The 70s, which features twelve glittering gems from some of the biggest names in Senegalese music.
SOAPKILLS-THE BEST OF SOAPKILLS.
Back in 2005, that Soapkills, one of the most influential and innovative bands in Lebanese musical history split-up. Soapkills were a trailblazing band, and one of the first indie bands to emerge from the Middle East’s nascent music scene. Since then, Soapkills’ music has continued to influence a new generation of music lovers. The Soapkills story began in Beirut, in the late-nineties, and is documented on The Best Of Soapkills, which was released by Crammed Discs during 2015.
The Best Of Soapkills, which is a musical reminder of Lebanese indie pioneers, Soapkills. They were trailblazers, who inspired a new generation of musicians to embark upon a musical career. That’s not all. Soapkills are a hugely talented band, one who deserved to enjoy widespread critical acclaim and commercial success. Sadly, Soapkills never qute enjoyed the critical acclaim and commercial success, their music deserved. Maybe the release of The Best Of Soapkills will introduce Soapkills music to a much wider audience, and no longer will they be one of music’s best kept secrets.
SOUL EMISSARIES-SUPERFUNK.
2015 saw the release of the SuperFunk series, Soul Emissaries-SuperFunk. It was released by BGP, an imprint of Ace Records. Soul Emissaries-SuperFunk, and is the eighth volume in the SuperFunk series. However, nearly four years have passed since the previous volume, SuperFunk’s Mission Impossible: Hard To Find And Unreleased Funk Masters was released in July 2011. Since then, compiler Dean Rudland has been looking for tracks for Soul Emissaries-SuperFunk.
With only the occasional volume in the SuperFunk series being released, the compiler has plenty time to seek out the best music. That’s how it should be, and why after fourteen years, the SuperFunk series is stroll going strong. No wonder. Soul Emissaries-SuperFunk oozes quality. Forgotten classics, hidden gems, rarities and killer tracks sit side-by-side on Soul Emissaries-SuperFunk, the latest instalment in the SuperFunk series. Soul Emissaries-SuperFunk features music that’s best described as funky soul. That’s why Soul Emissaries-SuperFunk is bound to appeal to both funk and soul fans alike.
SOUTH TEXAS RHYTHM ’N’ SOUL REVUEW 2-FROM THE VAULTS OF CRAZY CAJUN RECORDS.
South Texas Rhythm ‘N’ Soul Revue 2-From The Vaults Of Crazy Cajun Records was released by Kent Soul, an imprint of Ace Records, during 2015. It’s a twenty-four track compilation, featuring some old friends. Among them, are Johnny Adams, Jackie Paine, Jean Knight, Warren Storm and Margo White. They’re joined by Chet McDowell, Eugene Gamble, Ronnie Milsap, Henry Moore and Joe Hughes. These are just a few of the artists that feature on South Texas Rhythm ‘N’ Soul Revue 2-From The Vaults Of Crazy Cajun Records, the much anticipated followup to South Texas Rhythm ‘N’ Soul Revue. Was South Texas Rhythm ‘N’ Soul Revue 2-From The Vaults Of Crazy Cajun Records been worth the two-and-a-half year wait?
Definitely. South Texas Rhythm ‘N’ Soul Revue 2-From The Vaults Of Crazy Cajun Records isnot just a fitting follow to South Texas Rhythm ‘N’ Soul Revue, but a compilation that surpasses the quality of its predecessor. The much anticipated followup to South Texas Rhythm ‘N’ Soul Revue has been worth the long wait. As compilations go, it’s all killer, and no fillr..
There’s everything from blues and Northern Soul, through to R&B and Southern Soul. Similarly, dancers and ballads feature on South Texas Rhythm ‘N’ Soul Revue 2-From The Vaults Of Crazy Cajun Records, which anyone who likes their music soulful, will enjoy and cherish.
STONED-A PSYCH TRIBUTE TO THE ROLLING STONES.
Early in 2015, Cleopatra Records released Stoned-A Psych Tribute To The Rolling Stones. This is the long awaited, next instalment in the A Psych Tribute series. This time around, groups like Lorelle Meets The Obsolete, The KVB, Shiny Darkly, Sons of Hippies, The Vacant Lots, Celestial Burns, Pink Velvet, Pure X and The Tulips. They cover what can only be described as Rolling Stones classics, old favourites and hidden gems.
Every band on Stoned-A Psych Tribute To The Rolling Stones combines musical genres. The result is a captivating fusion of musical genres and influences. This makes Stoned-A Psych Tribute To The Rolling Stones a fitting followup to A Psych Tribute To The Doors. Just like its predecessor, Stoned-A Psych Tribute To The Rolling Stones is one of the best tribute albums money can buy. No wonder. Stoned-A Psych Tribute To The Rolling Stones, features fourteen of the best up-and-coming bands, paying homage to one of the biggest names in music, The Rolling Stones.
THE FIFTY-FIVE BEST COMPILATIONS OF 2015-PART 6.
THE FIFTY-FIVE BEST COMPILATIONS OF 2015-PART 6.
SWEET THINGS FROM THE ELLIE GREENWICH AND JEFF BARRY SONGBOOK.
Ellie Greenwich and Jeff Barry formed what would prove to one of the Brill Building’s most successful songwriting partnerships. So much so, that it’s taken Ace Records three compilations to celebrate the Ellie Greenwich and Jeff Barry partnership. The latest volume is Sweet Things From The Ellie Greenwich and Jeff Barry Songbook, was recently released on Ace Records.
Sweet Things From The Ellie Greenwich and Jeff Barry Songbook features twenty-four tracks. There’s contributions from Darlene Love, The Crystals, Dusty Springfield, Lesley Gore, The Shangri-Las, The Ronettes, The Strangeloves, Wilson Pickett and Freddie Scott, to name but a few. These artist help celebrate one of the most successful and prolific songwriting partnerships ever, on Sweet Things From The Ellie Greenwich and Jeff Barry Songbook.
THE BIRTH OF SURF VOLUME 3,
The Birth Of Surf Volume 3 was a twenty-six track compilation. It was compiled by Alan Taylor and Dave Burke of Pipeline Magazine. They also put their extensive knowledge of surf rock to good use, when thy wrote the sleeve-notes. They’re detailed and informative, which is ideal for the newcomer to surf rock. What better way to learn out the genre, than through Ace Records The Birth Of Surf compilation series.
This lovingly compiled compilation series guaranteed to whet the appetite of veterans and newcomers to surf rock. No wonder. It features some of the genre’s best known names, plus a few new names. The Best Of Surf Volume 3, with its mixture of familiar faces and hidden gems, is not just a welcome addition to the series, but the perfect primer to surf music.
TOJOURS CHIC! MORE FRENCH GIRL SINGERS OF THE 1960s.
Tojours Chic! More French Girl Singers Of The 1960s, which was recently released by Ace International. It’s the third in Ace Records’ series which looks back at France’s vibrant ye-ye scene. The series began nearly five years ago, when C’est Chic: French Girl Singers Of The 1960s was released in November 2010. Just under three years later, and Chic! More French Girl Singers Of The 1960s followed in July 2013. Since then, compiler Mick Patrick has been working on Tojours Chic! More French Girl Singers Of The 1960s. The result is a twenty-four track compilation that features not just the great and good of the French ye-ye scene, but some new names.
Among the twenty-four tracks on Tojours Chic! More French Girl Singers Of The 1960s France Gall, Annie Philippe, Valérie Lagrange and Françoise Hardy rub shoulders with Brigitte Bardot, Charlotte Walters, Christie Laume, Fabienne, Laura Ulmer, Pussy Cat, Sheila Stone and Zouzou all feature. The majority of the tracks were released between 1964 and 1970. That’s apart from Laura Ulmer’s Amoureux D’une Affiche. It’s never been released before, and makes its debut on Tojours Chic! More French Girl Singers Of The 1960s.
The tracks on Tojours Chic! More French Girl Singers Of The 1960s are reminder of a thriving, exciting, vibrant and colourful. It was also a cosmopolitan scene. Many of the artists, including Françoise Hardy, were happy to record their singles and E.P.s in numerous languages. They could switch between German, Italian, Portuguese, English and French. This helped the ye-ye scene to spread the length and breadth of Europe. This proves that ye-ye music was far from the throwaway pop its critics would have you believe. That’s why the ye-ye music scene lasted longer than most musical genres. It lasted the whole of the sixties, and in the process, outlived even The Beatles. However, ye-ye music didn’t have the same impact or enjoy the same success. Many artists careers lasted just two or three years. Then they turned their back on music. However, for a few short years, ye-ye music, including that on Tojours Chic! More French Girl Singers Of The 1960s, succeeded where generations of politicians had failed to do, and unified Europe.
TOO SLOW TO DISCO VOLUME 2.
In 2014, How Dare You Are Recordings released Too Slow To Disco. It was compiled by DJ Supermarket. Featuring nineteen tracks, Too Slow To Disco was like a who’s who of the West Coast sound. So it’s no surprise that Too Slow To Disco caught the attention of music lovers. In a compilation market full of third rate compilations, Too Slow To Disco was a glittering gem. Surely there had to be a followup?
Just over a year later, and Too Slow To Disco Volume 2 was released in June 2015. Just like Too Slow To Disco, it featured a glittering array of artists, including Daryl Hall and John Oates, Jimmy Gray Hall, Eric Kaz, Dave Raynor, Paul Davis, Michael Omartian and Michael Nesmit. These artists were part of compilation that was a fitting addition to the series, and ensure that the resurgence in interest of the West Coast sound continues. If that continues to be the case, then Too Slow To Disco Volume 2 won’t be the last in the series.
WARREN STORM-THE BAD TIMES MAKE THE GOOD TUNES-CLASSIC TEXAS RECORDINGS 1964-1986.
Warren Storm first worked with Huey Meaux in 1964. They worked together right through until 1982. However, Warren Storm had recorded so much music with Huey Meaux, that there was plenty of music left in the vaults. Right through to 1986, singles Huey Meaux produced for Warren Storm were being released. Many of these singles Huey Meaux produced for Warren Storm feature on a recent compilation released by Ace Records, The Good Times Make The Good Tunes-Classic Texas Recordings 1964-1986. It documents the most successful and productive period of Warren Storm’s career.
This became part of Warren Storm’s musical legacy. It is a rich one. However, some of the best music of Warren Storm’s career was recorded with producer Huey Meaux. It’s featured on The Good Times Make The Good Tunes-Classic Texas Recordings 1964-1986, which was recently released by Ace Records. The Good Times Make The Good Tunes-Classic Texas Recordings 1964-1986 features the best music of Warren Storm’s long and illustrious career.
ZAKARY THAKS-IT’S THE END-THE DEFINITIVE COLLECTION.
One name looms large in the history of Texan garage rock, Zakary Thaks. They’re now regarded as the Kings of Texan garage rock. That’s why recently, Big Beat, an imprint of Ace Records, released It’s The End-The Definitive Collection, a twenty-two track compilation of Zakary Thaks’ music.
It’s The End-The Definitive Collection was, without doubt, the most comprehensive compilation of Zakary Thaks’ music.ever released It features singles, B-Sides, alternate takes, rarities and unreleased tracks. This makes It’s The End-The Definitive Collection, the perfect introduction to Kings of Texan garage rock, Zakary Thaks.
So that’s my fifty-five best compilations of 2015. It’s a six part guide to what were the best compilations of 2015. It was a good year for compilations. I could easily have picked sixty or seventy compilations. However, I limited myself to fifty-five of the compilations I reviewed. The compilations I reviewed were the creme de la creme. Mind you, I had plenty to choose from.
Last year, Even more compilations were released than previous years. They came from all over the world, and feature just about every genre possible. Some are from major labels, other are from a variety of independent labels. While some of the compilations feature familiar music, many others feature music that will be new to most people. Sometimes, one of these compilations take the listener on a voyage of discovery, where they investigate a label or artist’s back-catalogue.
That’s the beauty of compilation, they introduce people to new music. For that, we should be grateful to the people that spend countless hours compiling a compilation. Often, it’s for little or no reward. Don’t be fooled into thinking that every compilation that’s released makes someone rich. Far from it. Sometimes, compilations lose money, and often, those that are involved, do do for the love of the music. For that we should be grateful, and hope they’ll continue to do so for years to come.
2016 looks like being another good year for music, compilations included. However, before you look at 2016s releases, check out the compilations released during 2015, there might be something that’s escape your attention. The way to do so, is by checking out this six part series that will be published over three days.
JO MANGO-WRACK LINES.
JO MANGO-WRACK LINES.
Over the last few years, Glasgow based Jo Mango has been busier than most singer-songwriters. She managed to combine her solo career, with being a member of Vashti Bunyan’s band; yet still found time to collaborate with some of the biggest names in music. Then in her downtime, Jo Mango found time to complete her Doctorate in Musicology. This meant that Jo Mango is in fact, Dr. Jo Mango. However, the good doctor shows no sign of slowing down.
Jo Mango is just about to release her new E.P. Wrack Lines, on Glasgow’s Olive Grove Records on 15th January 2016. Wrack Lines will be launched at Celtic Connections, in Glasgow, at a very special one-off concert on the 21st January 2016. The profits from the Wrack Lines E.P. will go to the charity Creative Carbon Scotland, and will hep to support their work to put culture at the heart of a sustainable Scotland. This is part of a wider project.
The Wrack Lines E.P. is part of a research project called “Fields of Green: Addressing Climate Change Through Music Festival Communities”. Its aims are to investigate what stakeholders, including audiences, organisers and musicians can do to encourage environmentally sustainable behaviour around and within music festivals. They’re something that Jo Mango, and her collaborators on Wrack Lines have plenty of experience of.
Wrack Lines finds Jo collaborating with some of the biggest names in Scottish music, including Rachel Sermanni, R.M. Hubbert, Louis Abbott of Admiral Fallow and The Pictish Trail. They feature on five: “songs they have written together that explore a gamut of emotions related to travel, the environment and music.” Inspiration for what became Wrack Lines, came about back in 2007.
Back in 2007, Jo was touring with singer-songwriter Vashti Bunyan, who was on the comeback trail. Jo was part of Vashti Bunyan’s band. They were in America, on what was their third flight of the day. There was no sign of the flight landing. Instead, it was in what pilots call a holding pattern. It was then that Jo began to think of the nomadic lifestyle of a musician; and what the possible effect it could have on her and the wider world. This was the start of Jo beginning to question how sustainable the lifestyle of a musician was in the longterm? Surely, it would eventually take its toll? Could anyone continue such a gruelling schedule indefinitely? For an academic like Jo, this needed further investigation. However, given Jo’s gruelling schedule, this took longer than she had hoped.
Ever since Jo Mango’s career began, she’s been one of the hardest working Scottish artists. It was back in 2005, that Jo released her debut album, Paperclips and Sand. This was the debut album from Scotland’s latest, up-and-coming folk singer. Paperclips and Sand wasreleased on Lo-Five Records, and introduced the world to a hugely talented singer, songwriter and multi-instrumentalist. Jo showcases her versatility on Paperclips and Sand, proving equally comfortable playing kalimba, harmonium, omnichord, bowed glock and piano. Meanwhile, she delivered a series of vocals that were variously ethereal, emotive and heartfelt. Jo Mango it seemed, was an artist with a big future.
Two year later, Jo released her single My Lung, in 2007. Just like Paperclips and Sand, it was released on Lo-Five Records. Later that year, Jo collaborated with David Byrne at the Carnegie Hall, in New 2007. Working with such a musical luminary showed how highly regarded Jo Mango was. However, David Byrne wasn’t the only big name Jo was working with by then.
By 2007, Jo was part of Vashti Bunyan’s band. Vashti Bunyan had been on the comeback trail for a few years. She had released her long-awaited sophomore album, Lookaftering, in 2005. Since then, Vashti Bunyan’s star was in the ascendancy. Jo Mango was now part of Vashti Bunyan’s band, and would play an important part in the followup to Lookaftering, in 2005. Since then, Vashti Bunyan’s star was in the ascendancy, Heartleap. It was released in 2014. Before, that, Jo was busy.
In 2010, Jo released the limited edition The Moth and The Moon on Lo-Five Records. The following year, 2011, was a busy year for Jo. She worked with Glasgow based Teenage Fanclub, Devendra Banhart and Coco Rosie in 2011. In 2012, Jo worked with another another Scottish band, Admiral Fallow. That year, Jo released her sophomore album Murmuration.
Murmuration was released on Olive Grove Records. Producing Murmuration, was Adem Ilhan, who Jo knew from her time touring with Vashti Bunyan. On its release in November 2012, Murmuration received critical acclaim. Critics were enchanted by her voice and the way she delivered her cerebral, thoughtful lyrics. Then there’s the eclectic choice of instruments that feature on Murmuration. This was a winning combination, that resulted in a career defining album from Jo Mango. She was about to head out on tour again.
Less than a month after the release of Murmuration, Jo was asked to support Laetitia Sadlier of Sterolab. This resulted in Jo’s music being heard by a much wider audience. Seven years after releasing her debut album, Jo Mango’s career was in the ascendancy. However, she wasn’t going to rest on her laurels.
Within a month, she’d penned and recorded what became her latest E.P. When We Lived In The Crook Of A Tree. The songs on When We Lived In The Crook Of A Tree are based upon Angela Carter’s Book Of Fairy Tales. This famous book was the perfect inspiration for Jo. An eclectic collection of enthralling stories, they gave birth to the four songs that became Jo Mango’s When We Lived In The Crook Of A Tree E.P. They were ethereal, bewitching, captivating and haunting, and believe me, made a lasting impression. Since then, Jo Mango has been busier than ever.
She’s continued to work with Vashti Bunyan, and played an important part in the sound and success of her critically acclaimed third album, Heartleap. Jo played kalimba and dulcimer, on what was Vashti Vunyan’s first album for nine years. After the release of Heartleap, Jo has continued to tour with Vashti Vunyan. However, that’s not all she’s been doing.
Jo Mango recently completed her Doctorate in Musicology, and is now Dr. Jo Mango. However, Jo Mango hasn’t neglected her solo career. She continues to play live, write and record. This includes Wrack Lines, Jo’s new E.P.
For Wrack Lines, Jo decided to collaborate with other Scottish artists. This includes by Rachel Sermanni, RM Hubbert, Louis Abbott of Admiral Fallow and The Pictish Trail. This however, was an ambitious project.
On Wrack Lines, Jo Mango was going to be joined by some of the biggest names in Scottish music. It was going to be almost impossible to get them into a studio together. So, it was a case of writing and recording the five songs when their schedules permitted. Eventually, five very special songs were recorded. Jo explains: “they explore a gamut of emotions related to travel, the environment and music.” However, many people will be wondering how Jo came up with the title to the E.P.?
Anyone whose walked along a deserted beach after the tide has gone out, will have seen a Wrack Lines. It’s the trail of flotsam and jetsam that’s left behind by the tide. For Jo Mango, not only did this conjure up images of travelling across the ocean; but also the waste and pollution that’s left behind as a result of this journey. Jo also relates Wrack Lines to the music making process, and points out that “music itself is made of waves.”
Having written and recorded the five songs that became Wrack Lines, all that was left to do, was the artwork. That was the one time the five artists touring schedules came in useful. Each musician involved in the Wrack Lines’ project, supplied a map of their touring schedule. The five schedules were then combined, and became the basis for Wrack Lines’ artwork. It showed where Jo Mango, Rachel Sermanni, R.M. Hubbert, Louis Abbott of Admiral Fallow and The Pictish Trail. They had travelled far and wide, all in the name of music. That had also been the case for the Wrack Lines E.P., which was nearing completion.
All that was left was to schedule a release date. The 15th of January 2016 was chosen, which was just before the Celtic Connections’ festival brings Glasgow to a standstill. What better time to release such a captivating and enchanting E.P. as Wrack Lines.
Loneliness and Rhythm opens the Wrack Lines E.P. It was written by Louis Abbott and Jo Mango. Straight away, there’s a sense of sadness to this piano lead track. That’s even before Jo is joined by Louis Abbott of Admiral Fallow. Their voices unite and together, they deliver the cinematic lyrics, while subtle waves of the rhythmic arrangement seems to rise and fall. By the time an understated plucked guitar enters, Jo and Louis are living the lyrics; breathing life, meaning and emotion into them. Later, chiming guitars are panned left and right, adding to the mesmeric nature of a melodic, cathartic confessional.
Sustain sees Jo joined by RM Hubbert, who in 2014, won the Scottish Album Of The Year Award. Hubby has a very distinctive style of playing the guitar. It provides a contrast to; and compliments Jo’s tender, pensive vocal. She leaves space as she delivers the vocal. It adds an element of drama, and Jo sounds not unlike Suzanne Vega. By then, the distinctive sound of the harmonium joins Hubby’s guitar. There’s a sense of sadness and longing in Jo’s voice; longing to return home. However, “there’s always another” concert. That’s the nomadic and lonely life of the musician, as they travel from town to town, week after week, year after year.
The Pictish Trail joins Jo Mango on Believe Me, I Know. It’s the first track to feature drums. They’ve a big, bold, rounded and moderne sound. They’re panned, while guitars and later percussion accompany Jo and The Pictish Trail. Jo’s vocal is tender, and sits back in the mix. Meanwhile, The Pictish Trail sits at the front of the mix. Meanwhile, a myriad of effects and sound effects are added, to what’s an irresistible slice of hook-laden indie pop meets folk.
It’s just Jo Mango on The Sky Exploded. Her ethereal vocal is accompanied by just an acoustic guitar. This sound harks back to halcyon days of the Laurel Canyon sound. So does The Sky Exploded, and Jo’s deliver of it. It’s a song that could just as easily have been recorded in the early seventies. There’s a hint of Joni Mitchell, as Jo delivers her cinematic lyrics. She paints picture with her vocal. They unfold as the captivated listener eavesdrops on Jo’s reminisces. All of a sudden, memories come flooding back. She remembers travelling down the freeway with her partner Later, “we were wild and we watched as The Sky Exploded.” As Jo delivers these words, she’s almost rueful, as if life has never been the same, since that night “The Sky Exploded.”
Bitter Fruit finds Jo joined by Rachel Sermani. They’re like yin and yang, their voices complimenting each other perfectly. Behind tem, just a subtle but hypnotic drum, is accompanied by an acoustic guitar. Meanwhile, Scotland’s finest vocalists uniting. They wonder: “what should I do with this desire, please, it won’t leave me?” Their voices are filled with emotion, confusion and torment as they deliver the lyrics, breathing life, and meaning into them.
Jo Mango is to be congratulated for bringing to completion a project whose roots can be traced back to 2007, when she was touring with Vashti Bunyan. That was when she found herself circling an American airport. They were in a holding position, on what was the third plane of the day. Jo began to think of the nomadic lifestyle of a musician; and what the possible effect it could have on her and the wider world. Nine years later, and Jo Mango has completed the project, with a little help from her friends.
Rachel Sermanni, RM Hubbert, Louis Abbott of Admiral Fallow and The Pictish Trail all joined Jo Mango on Wrack Lines, which will be released by Olive Grove Records on 15th January 2016. Wrack Lines will be launched at Celtic Connections, in Glasgow, at a very special one-off concert on the 21st January 2016. The profits from the Wrack Lines E.P. will go to the charity Creative Carbon Scotland, and will hep to support their work to put culture at the heart of a sustainable Scotland. That’s an admirable gesture from Jo Mango, who has made the Wrack Lines project such a success.
Throughout Wrack Line the songs veer between captivating, ethereal, haunting and heartfelt, to beautiful, irresistible and melodic. Sometimes, there’s a cathartic quality to the songs, and they’re akin to a very personal confessional from Jo Mango. Always, though, the songs on Wrack Lines ooze quality, as one of Scotland’s finest songsmiths, chanteuse and doctor of music weaves her magic on fives tales of the “emotions related to travel, the environment and music.”
JO MANGO-WRACK LINES.
THE BEST 50 REISSUES OF 2015-PART ONE.
THE BEST 55 REISSUES OF 2015-PART ONE.
The next stop in my look back at 2015, is the reissues released during the last twelve months. Again, I started with a long-list, and over the course of a few weeks, gradually, narrowed it down to fifty albums. These albums are an eclectic selection, and cover an eclectic selection of musical genres. Theres’s something for everyone as I celebrate the best fifty-five reissues of 2015.
AKSAK MABOUL-ONZE DANSES POUR COMBATTRE LA MIGRAINE-VINYL EDITION.
Deep down, everyone has a dream. For most young musicians, it’s to record and release an album. That was Marc Hollander and Vincent Kenis’ dream in the spring of 1977. They had recently formed a new band, Aksak Maboul, and were determined to record and release an album. So Aksak Maboul entered the studio in April 1977 and began recording their debut album.
The resultant album was Onze Danses Pour Combattre la Migraine, which was recently reissued by Crammed Discs, the label Marc Hollander founded in 1981. Thirty-four years later, and Crammed Discs is still going strong, and releasing groundbreaking music, including the reissue of Onze Danses Pour Combattre la Migraine.
This long lost avant-pop classic was Aksak Maboul’s finest hour. Although they released two further albums, Aksak Maboul never surpassed Onze Danses Pour Combattre la Migraine. It’s an avant-pop classic, that set the bar high for those that followed in their footsteps. Very few came even close. No wonder. Onze Danses Pour Combattre la Migraine was Aksak Maboul’s finest hour, and is best described as an avant-pop equivalent of a perfect storm.
ARTHUR-DREAMS AND IMAGES.
The story of Arthur Lee Harper is a familiar one. He was a talented singer-songwriter who looked as if he was destined for great things. Sadly, that proved not to be the case. Arthur only ever released one album, Dreams and Images which was released on Lee Hazelwood’s LHI Records 1968. Dreams and Images was rereleased by Light In The Attic, and could’ve and should’ve been the first of many successful albums from Arthur. That wasn’t case. Arthur’s recording career was over before it began.
Sadly, Dreams and Images was the only album Arthur recorded. Not long after leaving LHI Records Arthur turned his back on the music industry.Arthur became a Christian, and took to writing religious songs. He worked as an engineer, and then as a special education teacher. However, Arthur still played and wrote music as a hobby. His shot at fame and fortune was long gone. Sadly, tragedy struck for Arthur in 2002.
On the 10th of January 2002, Arthur’s wife Lori tragically, died in a car crash. That night, Arthur died of a heart attack. Arthur Harper Lee, the man who could’ve and should’ve been a star was forever lost to music. However, Arthur left behind a quite beautiful, captivating, haunting and mesmeric musical legacy, Dreams and Images, a lost psychedelic folk classic.
ATA KAK-OBAA SIMA.
Back in 1994, Ata Kak originally released his debut album Obaa Sima. It was no ordinary album. Obaa Sima was released with the help of his college professor and Ata’s twin brother. His brother designed the artwork for the cassette, and Professor O.A. DeGraft Johnson, helped release Obaa Sima through the university’s publishing department. Eventually, the release date arrived, and fifty cassette copies of Obaa Sima were made and released.
Ata and his brother decided fifty copies of Obaa Sima was enough to be going on with. They were essentially testing the market in in Ghana and Canada, to see how DJs and record buyers would react to Ata’s lo-fi fusion of highlife, Twi-language rap, funk and disco. Delivered with the energy and enthusiasm heard on early Prince albums, surely Obaa Sima would capture the imagination and hearts of critics, DJs and music lovers? Sadly, that wasn’t the case.
Since then, illegal copies of Obaa Sima were available on the internet. Meanwhile, Ata Kak was struggling financially. That’s when Brian Shimkovitz, the founder of Awesome Tapes From Africa tracked Ata Kak down. The two men agreed to reissue Obaa Sima in March 2015. Somewhat belatedly, Ata Kak should make some money out of what’s a a true hidden gem of an album, that’s bound to appeal to many people, Obaa Sima.
AUDIENCE-FRIENDS, FRIENDS, FRIEND.
In October 1969, Audience were booked to open for Led Zeppelin at the Lyceum in London. This proved to be the break Audience were looking for. Unknown to Audience Tony Stratton-Smith was watching. He had just formed a new label, Charisma, and was impressed by Audience. He managed to make his way backstage, where he met Audience. Tony Stratton-Smith started telling the band how impressed he was by them, and how he wanted to sign them to his new label, Charisma. Realising that here was someone who was interested in their music, and believed in them, Audience agreed and quickly, began work on their sophomore album Friends, Friends, Friend.
When Friends, Friends, Friend was released in 1970, it featured a minor hit single, Belladonna Moonshine. This lead to an appearance on British television. Despite this, Friends, Friends, Friend, with its fusion of art rock, country, classical, folk, pop, progressive rock and rock wasn’t a commercial success. Forty-five years later, and Friends, Friends, Friend has been reevaluated. It’s an album that’s best described as eclectic and innovative. Sadly,Friends, Friends, Friend their music has found the Audience it deserved.
BAD COMPANY-BAD COMPANY (DELUXE EDITION).
From their 1974 debut album Bad Company, right through to 1979s Desolation Angels, Bad Company were one of the biggest selling bands on both sides of the Olympics. In Britain and America, Bad Company could do now wrong. Their eponymous debut album was released to critical acclaim, and certified gold in Britain and five times platinum in America. Not many bands sold five million copies of their debut album. However, Bad Company did. Their classic debut album was reissued by Rhino as a double album.
With its mixture of rocky tracks and ballads, Bad Company caught the imagination of the record buying public. Across Europe, North America, Australasia and Britain, Bad Company were the latest supergroup to become part of rock royalty. They were at the top for five years.
From 1974, right through to 1979, Bad Company were rubbing shoulders with the great and good of rock music. They were one of the most successful British rock bands, and also, one of the most successful rock supergroups.
BAD COMPANY-STRAIGHT SHOOTER (DELUXE EDITION).
Given the commercial success of Bad Company, the band’s record company Swan Song and manager Peter Grant were keen to strike while the iron was hot. They decided that Bad Company should return to the studio as soon as possible. So, in September 1974, Bad Company found themselves back in the studio, and recorded Straight Shooter which was released in 2015 as a double album.
Reviews of Straight Shooter were mixed. How wrong the critics were. Straight Shooter was certified gold in Britain and Canada. In America, Straight Shooter sold over three million albums, and was certified triple platinum. Bad Company were now one of the biggest rock bands in the world. It seemed they could do no wrong.
Straight Shooter became the second classic album of Bad Company’s nascent career. For five years and five albums, Bad Company could do no wrong. Bad Company were a musical behemoth, who sold over fourteen million albums and released two classic albums, including 1975s Straight Shooter.
BONNIE DOBSON-DEAR COMPANION.
Not long after the release of her debut album She’s Like A Swallow, Bonnie Dobson began work on her sophomore album Dear Companion. It was reissued by Big Beat Records, an imprint of Ace Records during 2015. This was a welcome and overdue reissue of an album by a musical pioneer, who was one of the first female folk singers of the sixties folk boom.
Before to the release of Dear Companion in 1961, critics had their say on Bonnie Dobson’s sophomore album. They were impressed by Dear Companion, and its disparate selection of songs. Each were brought to life by Bonnie Dobson. She was a combination of singer and storyteller. Bonnie who was a rising star of the folk scene, was quickly coming to the attention of the press and media. She was a trailblazer, who had made inroads into the previously male dominated folk scene.
Dear Companion finds Bonnie Dobson at her most versatile. There was everything from blues and folk ballads to French-Canadian, Czechoslovakian and Yugoslavian songs. Each and every one of these songs are brought to life by Bonnie Dobson. She’s a combination of singer and storyteller on Dear Companion, where she veers between folk, blues and country. As she does, the songs come to life. Not every singer can do that. However, Bonnie Dobson was a pioneer of the sixties folk scene and deserves at one time, was spoken in the same breath as Joan Baez, Judy Collins and Carolyn Hester.
BRIAN ENO-AMBIENT 1/MUSIC FOR AIRPORTS.
Ambient 1/Music For Airports would prove to be the first in a quartet of the “Ambient” series. Brian came up with the Ambient term to differentiate his music from what many people referred to as “canned music.” Originally, Brian perceived the music on Ambient 1/Music For Airports as being played continually at airport to calm people down and defuse tension. This idea came to Brian when he was waiting for a plane at Bonn airport in the mid-seventies. Brian found the lack of a soundtrack uninspiring. Music like that on Ambient 1/Music For Airports was the answer. So, he recorded what he’d have liked to hear in Bonn airport.
It’s no exaggeration to say that Brian Eno’s Ambient 1/Music For Airports, his sixth solo album, is an ambient classic. I’d go further and say that Ambient 1/Music For Airports is a classic album. Minimalist, understated, spacious, ethereal, haunting and becalming, it was an ambient Magnus Opus. That’s quite fitting. Back in 1975, Brian drew inspiration from Erik Satie for his fourth album Another Green World. On Ambient 1/Music For Airports Brian took this concept further. Much further.
Rather than record what Erik described as “furniture music,” Brian Eno expanded this concept. He recorded an album that could and would provide the soundtrack to everyday life. He envisaged this providing the backdrop at airports, becalming the weary traveller and diffusing tension. In some ways, Brian meant the music is utilitarian. Brian also envisaged the music as providing a constant backdrop to art installations. So, Ambient 1/Music For Airports could be all things to all people. This was neither an abstract nor elitist music, like some ambient, experimental and avant garde was perceived. Ambient 1/Music For Airports also marked the blossoming of Brian Eno’s creativity. A lifelong musical pioneer, Ambient 1/Music For Airports was the start of the most creative period of Brian Eno’s long career. He released another three albums in the “Ambient” series. They feature the Godfather of ambient music at his creative zenith. Since then, Brian Eno has continued to release ambitious, challenging, groundbreaking and innovative music. However, one of his finest albums isAmbient 1/Music For Airports, a groundbreaking classic album.
DAVID KAUFFMAN AND ERIC CABOOR-GREETINGS FROM SUICIDE BRIDGE.
Often, when recording an album, an artist thinks about an album cover only once they’ve finished recording. Not David Kauffman and Eric Caboor. They put the cart before the horse, in the spring of 1983, and came up with an album cover before they had even recorded their debut album. The photo shoot for the album cover took place in the spring of 1982. Recording however, didn’t take place between June and October of 1983. David Kauffman and Eric Caboor recorded thirteen songs. There was one problem, only ten would fit on Greetings From Suicide Bridge. It was reissued last by Light In The Attic Records.
Greetings From Suicide Bridge find David and Eric creating music that is understated, rueful, wistful, melancholy, despairing, poignant, hopeful and beautiful. Other times, the music on Greetings From Suicide Bridge is also stark and personal. Sometimes, the music is cathartic, when David or Eric unleash their hurt and heartbreak. When this is the case, Greetings From Suicide Bridge becomes like a confessional.
Always though, the music on Greetings From Suicide Bridge is captivating. Not once does the listener one think about missing a track. Far from it. On every track the listener is drawn in, just in case David and Eric throw one of their curveballs.They do that several times on Greetings From Suicide Bridge. When this happens, the song changes totally. Often it’s totally unexpected. This is another reason why Greetings From Suicide Bridge is such a compelling album. It’s also an album where David and Eric flit between, and fuse musical genres. Everything from blues, folk rock, country and rock is combined . Meanwhile, the playing is mostly subtle, and proves the perfect foil for the vocals. The vocals breath life and meaning into the lyrics. That’s why by the end of Greetings From Suicide Bridge, one can’t help but wonder why someone, somewhere didn’t spot the potential in David Kauffman and Eric Caboor’s debut album?
EARTH AND FIRE-TO THE WORLD OF THE FUTURE.
In 1974, things looked good for Earth and Fire. Their live shows received rave reviews in the music press. There was talk of Earth and Fire touring with Mott The Hoople in September 1974. This never came to anything. However, they released their fourth album To The World Of The Future.
It moved away from the symphonic sound of earlier albums. Critics were impressed by what was a stylistic departure from Earth and Fire. It showed they weren’t content to stand still. Instead, Earth and Fire released a genre-melting album. They fuse everything from electronica, funk and jazz, to progressive rock, psychedelia, rock and symphonic rock. It was a journey through musical genres, with Earth and Fire as the listener’s tour guide. Sadly, despite the change of direction, and determination to innovate, To The World The Future wasn’t as successful as previous albums. However, To The World The Future is an oft-overlooked album in Earth and Fire’s back-catalogue, that’s well worth discovering.
THE BEST 50 REISSUES OF 2015-PART TWO.
THE BEST 55 REISSUES OF 2015-PART TWO.
EJI OYEWOLE- CHARITY BEGINS AT HOME.
In the sixties and seventies, the Nigerian music scene was thriving. New bands were constantly being formed. Similarly, new artists were making an impression on Nigerian music. This included Eji Oyewole. However, the flautist, saxophonist and future bandleader was different from his contemporaries and peers. Eji Oyewole was descended from royalty. So in reality, Eji Oyewole was really Prince Eji Oyewole. Despite this, Prince Eji Oyewole was determined to forge a career as a musician.
He succeeded in doing so, but only ever released one solo album, Me and You. It was released on the Nigerian label Top Records in 1985. It wasn’t. EMI Africa chose not to release Me and You. Since then, Me and You lay unreleased. That’s until 2015, when BBE Africa released Me and You.
Maybe Eji Oyewole’s lyrics were seen as too controversial? The Nigerian economy was booming, and inward investment was at an all-time high. Many people were getting rich. This didn’t include many ordinary, working class Nigerians. They were living in abject poverty. If they had heard Prince Eji Oyewole’s message of unity and togetherness, they could’ve rebelled. That couldn’t be allowed to happen. So Charity Begins At Home was pulled. If that is the case, then Nigerian musical history could’ve changed? Maybe, Highlife would’ve evolved, and gone in a new direction. It may have taken on a funk fuelled sound. That wasn’t to be. Instead, the status quo remained, and it wasn’t until much later that highlife began to evolve, and musically, become more relevant. By then, Eji Oyewole had moved on, and joined the band Piliso, who had just released an album. Me and You was part of Eji Oyewole’s past, and wouldn’t be released until 2015.
EMERSON. LAKE AND PALMER-TRILOGY (DELUXE EDITION).
By the time Emerson, Lake and Palmer set about recording their third studio album Trilogy, it seemed everything they touched turned gold. Their first two studio albums had been certified gold in America. So had their two live albums. Already, Emerson, Lake and Palmer were on their way to becoming one of the biggest bands in progressive rock.
When Trilogy was released in 1972, Emerson, Lake and Palmer they received their fourth gold disc in America alone. Eventually, Emerson, Lake and Palmer would sell over forty million albums. Their most successful period was the seventies. During that period, very few bands were as innovative, inventive and influential as Emerson, Lake and Palmer. Continually, they pushed musical boundaries to their limits, and sometimes, it seemed beyond. This worked. They never stood still, and their music became stale. That’s why, forty-three years after the release of Emerson, Lake and Palmer’s third studio album Trilogy, it sounds as innovative and ambitious as it did in 1972.
Trilogy found Emerson, Lake and Palmer growing,evolving and maturing as a band. They had come a long way in the past two years. Now they were tight and multitalented. Emerson, Lake and Palmer were also a visionary band, who seamlessly, were capable of fusing classical music, folk, jazz prog rock, psychedelia, rock and symphonic rock. All these disparate musical genres played their part in the sound and success of Trilogy, Emerson, Lake and Palmer’s timeless epic.
GIL SCOTT-HERON-SMALL TALK AT 125TH AND LENNOX.
Back in 1970, Bob Thiele recorded Gil-Scott Heron’s Small Talk At 125 and Lenox for his Flying Dutchman Productions. Sadly, when Small Talk At 125th and Lenox was released, it wasn’t a commercial success. However, a small crumb of comfort was, that The Revolution Will Not Be Televised found its way onto radio play lists. That was encouraging for Bob and Gil. The Revolution Will Not Be Televised introduced a wider audience to Gil Scott-Heron’s scathing take on politics, social comment and satire. This was first heard on Small Talk At 125th and Lenox, which was reissued by BGP, an imprint of Ace Records in 2015.
Gil rails and rages against corruption, hypocrisy, inequality, poverty and racism. Gil Scott-Heron a long-term political activist and advocate for change warns against inactivity. He longs for change, and is determined to make America a better country. His manifesto for change was Small Talk At 125th and Lenox.
This potent, powerful and explosive mix of social and political comment was a reflection of where America was, socially and politically. Racism still blighted America. Gil took this personally. It was like a personal affront. He felt obliged to speak up for those without a voice on Small Talk At 125th and Lenox.
GONG-CAMEMBERT ELECTRIQUE.
Camembert Electrique is remembered as the first album in Gong’s PhP phase. The pothead pixies made their debut on Gong’s trailblazing sophomore album.
Gong were one of the earliest prog rock bands. Unlike other prog rock bands their music was a fusion of musical genres. Elements of psychedelia, jazz, avant garde, and pop are combined. Other times, the music is ethereal, spacey and atmospheric. Always though, there’s an intensity throughout Camembert Electrique, as Gong take you on a trailblazing journey.
The destination is planet Gong. Providing the soundtrack to the journey was the now legendary radio gnome, which dips in and out of Camembert Electrique. Radio gnome plays its part in a truly groundbreaking album which was recorded in 1971, but released by Charly in 2015.
GONG-YOU.
In the summer of 1974, Gong began work on the final instalment in the Radio Gnome Trilogy, You. It featured eight tracks that were recorded at The Manor Studios, in Oxfordshire. On its release, critics realised Gong had kept the best part of the Radio Gnome Trilogy until last, You which was released in 2015 by Charly.
You found Gone at their most innovative and inventive. Genres were combined, and melted into one. Elements of psychedelia, prog rock, space rock, jazz, pop and rock shine through, as Gong deploy their unique and unmistakable combination of instruments and effects. This creates an album that’s totally unique and unmistakable. After all, what album featured a gnomic narrative, where pothead pixies and octave doctors are introduced to flying teapots?
Only You; where Gong combine drama, surrealism and urgency. Like much of the rock music released in 1974, there’s a sense of theatre. However, where Gong differ, is they’ve a sense of humour. They’re determined not to take themselves too seriously on You, third and final instalment in the Radio Gnome Trilogy. Gong had kept the best of the Radio Gnome Trilogy until last. While Flying Teapot and Angel’s Egg were groundbreaking albums, Gong went one better on You. It featured Gong at their most ambitious, innovative and inventive. That’s why You is considered one of Gong’s finest albums. Fittingly, the three instalments in the Radio Gnome Trilogy, Flying Teapot, Angel’s Egg and You have recently reissued by Charly. This trilogy features the musical mavericks as they transform a recording studio into a laboratory.
GUITAR SLIM GREEN’S “STONE DOWN BLUES” WITH JOHNNY AND SHUGGIE OTIS.
Guitar Slim Green was never the most prolific of musicians. That’s despite his career lasting four decades. However, during that period, Guitar Slim Green only released a handful of recordings. This included his one and only album, Stone Down Blues, which features Johnny and Shuggie Otis. It was released in 1970, five years before Guitar Slim Green’s death aged just fifty-five. Since then, Stone Down Blues has never been rereleased. That’s until BGP, an imprint of Ace Records reissued Stone Down Blues in 2015. It showcases the multitalented Guitar Slim Green.
Together, Johnny and Guitar Slim Green wrote the ten tracks on Stone Down Blues. Johnny brought his seventeen year old son onboard for the recording of Stone Down Blues. The young virtuoso almost stole the show on several occasions. This seemed to spur Johnny and Guitar Slim Green on. They unleashed a series of spellbinding performances. Guitar Slim Green was like a man reborn. Surely, his career was about to be reborn?
Sadly, that wasn’t to be. Guitar Slim Green’s debut album, Stone Down Blues sunk without trace. It was the age old story. Stone Down Blues was the wrong album at the wrong time. Blues was no longer as popular. While the blues enjoyed a brief resurgence in interest, music had moved on. What also didn’t help was that Kent was no longer the force it once was. So, it’s no surprise Stone Down Blues failed to be heard by a wider audience. Hopefully, the reissue of this long-lost, and hugely underrated album, Stone Down Blues will result in a new audience discovering the late, great blues virtuoso.
HARMONIA-DELUXE.
Forty years after Harmonia released their sophomore album in 1975, by Grönland Records reissued this classic album in December 2015. Somewhat belatedly, Harmonia were regarded as one of the greatest German groups of the seventies. Deluxe is proof of this.
On Deluxe, Harmonia changed direction musically. Michael Rother encouraged the other members of Harmonia to incorporate traditional song structures on the album. This he told them, would be easier to replicate live. The result was a finely sculpted and structure album, where Harmonia combine disparate genres. Elements of ambient, avant garde, experimental and progressive rock can be heard on Deluxe. So can psychedelia and classic rock. However, Deluxe has a much more prominent Kominische influence than Musik Von Harmonia. Partly, this comes courtesy of Guru Guru’s legendary drummer Mani Neumeier. He played on three tracks on Deluxe, and his drums add a Kominische influence. Another change was that Michael Rother’s guitar played a more prominent role. It steps out of the shadows of the keyboards and synths, and helps transforms Harmonia’s sound. The other change from Musik Von Harmonia, was the addition of Conny Plank, who co-produced Deluxe.
By then, Conny Plank was a vastly experienced producer. He had worked with Michael Rother on Kraftwerk’s aborted album, and then on Neu!’s first three albums. The two men had established a good working relationship, and Conny Plank was the perfect man to help sculpt and structure Harmonia’s new sound on Deluxe. It was a remarkable transformation. One can’t help but wonder what Harmonia’s next album would’ve sounded like. Sadly, Deluxe was Harmonia’s swan-song. Nowadays, Deluxe is quite rightly regarded as a classic album, from one of the most innovative, inventive and influential bands of their generation.
HARMONIA-MUSIK VON HARMONIA.
Harmonia are regarded as Germany’s first supergroup. They were born when Neu!’s Michael Rother travelled to the Forst Commune. He wondered if Dieter Moebius and Hans-Joachim Roedelius would be interested in joining an extended lineup of Neu!? They would become a supergroup. It didn’t turn out that way, but still a supergroup was about to be born. This was Harmonia, which was born after a jam session in Forst. At that initial jam session, Ohrwurm, a track from Harmonia’s 1974 debut album Musik Von Harmonia took shape. By January 1974, Harmonia had released their debut album, Musik Von Harmonia which was reissued by Grönland Records in December 2015.
On hearing Musik Von Harmonia, Brian Eno called Harmonia: “the most important band in the world.” Harmonia went on to inspire and influence several generations of musicians during the seventies, including David Bowie, Brian Eno and Iggy Pop. Since then, several generations of musicians have been inspired by Harmonia, and their critically acclaimed debut album Musik Von Harmonia.
Innovative and timeless, Musik Von Harmonia is not just a Koninische classic, but a classic album, and one that deserves to find its way into every record collection. Musik Von Harmonia is a reminder of one of the most important, influential and innovative bands in Kominische muzik history, Harmonia, who deserve to sit at its top table alongside Can, Kraftwerk and Neu!
JADE WARRIOR-FLOATING WORLD.
All too often, musical innovators don’t get the credit they deserve. That was the case with Jade Warrior. Their fourth studio album, Floating World was released in 1974, and pioneered both ambient and world music. Floating World was the most ambitious album of Jade Warrior’s career.
Jade Warrior take the listener on a musical journey. The listener becomes “a gourd floating along the river current.” There’s plenty of twists and turns along the way on what’s best described as a genre-hopping album, Elements of African, ambient, avant-garde, classical, experimental, funk, fusion, post rock, prog rock, rock and world music. Continually, curveballs are thrown and surprises sprung. One minute the music is ethereal, serene and understated, the next it becomes dramatic and urgent. Always, though, the music on Floating World is ambitious, and innovative. Floating World is captivating. There’s a reason for this. The listener never knows what direction this music journey is heading? Is it heading for calm or rocky waters? It’s a case of waiting and seeing, as what’s a truly groundbreaking album reveals it secrets. Sadly, when Jade Warrior released Floating World, very few people discovered its delights. The album passed most people by.
It was only later, when a new generation of critics and record buyers reappraised Floating World that Jade Warrior’s fourth album found the audience it deserved, Since then, Floating World has been recognised as a groundbreaking album from a group who pioneered ambient and world music. Somewhat belatedly, Jade Warrior are receiving recognition for one of the great lost albums of the seventies, Floating World their cerebral concept album based on an ancient Japanese philosophy is a glorious aural adventure awaiting discovery.
JERRY LEE LEWIS-WHO’S GONNA PLAY THIS OLD PIANO…THINK ABOUT IT DARLIN’ AND SOMETIMES A MEMORY AIN’T ENOUGH.
In February 2015, BGO Records released Who’s Gonna Play This Old Piano… (Think About It Darlin’) and Sometimes A Memory Ain’t Enough as a two-on-one. These two albums are a reminder of Jerry Lee Lewis’ reinvention as a country singer.
For four years, The Killer was one of country music’s hottest properties. This was still the case when Jerry Lee Lewis released Who’s Gonna Play This Old Piano… (Think About It Darlin’) in 1973. However, after the release of The Session Recorded In London With Great Guest Artists, The Killer required redemption.
Sadly, redemption wasn’t forthcoming. Jerry Lee Lewis, the man who seemed to have nine lives, looked down and out. That proved not to be the case. Following Sometimes A Memory Ain’t Enough, Jerry Kennedy and Jerry Lee Lewis were reunited and The Killer, one of the most talented and versatile singers of his generation, began his latest comeback.
THE BEST 50 REISSUES OF 2015-PART THREE.
THE BEST 50 REISSUES OF 2015-PART THREE.
JETHRO TULL-BENEFIT.
Previously, Steven Wilson had worked wonders with some of King Crimson’s back-catalogues. So, allowing him to work his magic Jethro Tull’s Aqualung and Benefit was a calculated gamble. It had the potential to breath life into both albums. Listeners were able to see whether that was the case when Steven Wilson’s 2013 mix of Benefit was released on PLG. Would it be a welcome addition to any Jethro Tull’s fans music collection?
Benefit was just the second album in the most successful and productive period of Jethro Tull’s career. Between 1969 and 1979, nine of Jethro Tull’s albums were certified gold. Aqualung, Jethro Tull’s 1971 Magnus Opus was certified triple-platinum. It seemed Jethro Tull could do no wrong. They were one of the most successful, groundbreaking and innovative of the prog rock bands in musical history. Several times, Jethro Tull reinvented themselves musically. Jethro Tull weren’t content to stand still. Far from it. In their early years, Jethro Tull were experimenting musically, so they could come up with their trademark sound and style. This saw Jethro Tull become one the most groundbreaking and inventive bands of the prog rock era.
JETHRO TULL-THICK AS A BRICK-STEVEN WILSON MIX.
Thick As A Brick, which was reissued in 2015 by PLG, was a concept album. Not just any concept album though. Instead, Thick As A Brick was a concept album featuring just one lengthy track. This track, Jethro Tull described as “bombastic” and “over the top.” It was meant to be an adaptation of an epic poem written by an fictional eight year old prodigy. It’s meant to be Homeric, but with a bombastic, humorous style. The album came complete with a cover that replicates a comedic newspaper, which features the poem penned by the child prodigy. In reality, the lyrics were written by Ian Anderson, Jethro Tull’s lead singer.
He played his part in what became Jethro Tull’s most popular album in Britain. On its release in March 1972, Thick As A Brick was certified silver in Britain, and gold in America. Ian Anderson’s parodic concept album saw Jethro Tull triumph again, as they became progressive rock pioneers.
Before Thick As A Brick, Jethro Tull experimented musically. Thick As A Brick was a turning point in Jethro Tull’s career. It sees Jethro Tull full embrace prog rock. Before Thick As A Brick, they had toyed with prog rock. Not any more. On Thick As A Brick, Jethro Tull became converts to the prog rock cause. Jethro Tull were like Paul on the road to Damascus. Following Thick As A Brick, Jethro Tull went on to see eight further albums certified gold. In total, Jethro Tull sold over sixty-million albums over a recording career that lasted five decades. The most successful period of Jethro Tull’s career came between 1969s Stand Up and 1989s Rock Island. During that period, Jethro Tull were one of the most successful bands in the world. Their albums sold by the million, while their tours sold out. That’s not surprising. Jethro Tull were one of the most innovative bands of their generation.
JETHRO TULL-TOO OLD TO ROCK ’N’ ROLL: TO YOUNG TO DIE!
After the the Minstrels In The Gallery tour ended, Jethro Tull set about recording their ninth album, Too Old To Rock ’N’ Roll: To Young To Die, which was recently released as a box set by PLG. Too Old To Rock ’N’ Roll: To Young To Die was another concept album, where Jethro Tull told the story of an ageing rock star, who found fame when musical tastes changed. The ten tracks on Too Old To Rock ’N’ Roll: To Young To Die had been written by Ian Anderson. For Jethro Tull Too Old To Rock ’N’ Roll: To Young To Die proved the end of an era.
Too Old To Rock ‘n’ Roll: Too Young to Die was the last concept album Jethro Tull released. By then, they were masters of the concept album. That’s why, in 1976, Jethro Tull were one of the biggest progressive rock bands in the world. However, Too Old To Rock ‘n’ Roll: Too Young to Die had failed to sell in the same quantities as their previous albums. That’s despite the undoubtable quality of music on Too Old To Rock ‘n’ Roll: Too Young to Die. It’s one of the most underrated albums in Jethro Tull’s illustrious back-catalogue. However, Too Old To Rock ‘n’ Roll: Too Young to Die had the misfortune to be released just as punk was born.
Following Too Old To Rock ‘n’ Roll: Too Young to Die, Jethro Tull’s fortunes improved. There was a reason for this. Jethro Tull reinvented themselves musically. They had always been musical pioneers, and weren’t content to stand still. Instead, they experimented musically, and pushed musical boundaries to their limit over the next few years. This just happened to coincide with an upturn in Jethro Tull’s fortunes. It seemed the new breed of gunslinger critics were wrong, and Jethro Tull had a glittering future ahead of them. However, Too Old To Rock ‘n’ Roll: Too Young to Die is a reminder of their glory years, when progressive rock was king.
JOHN CARTER/BOBBY BRADFORD-SELF DETERMINATION MUSIC.
In 1970, John Carter Carter and Bobby Bradford’s Self Determination Music became the second album to be released on Bob Thiele’s Flying Dutchman Productions. It had established a reputation for releasing groundbreaking music. This made Flying Dutchman Productions the perfect label to release such an ambitious
album as Self Determination Music. Sadly, although it found an audience within the free jazz community, and among the more adventurous record buyers, mostly, Self Determination Music passed music lovers by. That’s not surprising. Very few record buyers understood free jazz.
Used to traditional, more mainstream jazz music, free jazz was another world to them. Bebop, hard hop and the West Coast jazz they could understand, but not free jazz. It went against jazz’s fundamentals. Free jazz was akin to jazz’s maverick genre. This was a step too far. As a result, many jazz lovers were missing out on many ambitious and innovative albums, including John Carter/Bobby Bradford’s Self Determination Music, which was recently reissued by BGP Records, an imprint of Ace Records.
Self Determination Music is yet another of the hidden gems that for far too long, has been hidden away in Flying Dutchman Productions’ vaults. Not any more. Forty-five years after its original release, music lover have another chance to rediscover a truly groundbreaking album, Self Determination Music which John Carter/Bobby Bradford released back in 1970. Self Determination Music, which is a truly beautiful, ambitious, dramatic and innovative album, which will challenge music lovers both musically and intellectually. If they give Self Determination Music a chance, they will be richly rewarded by John Carter/Bobby Bradford’s long forgotten, free jazz epic.
JOHN MARTYN-GRACE AND DANGER (DELUXE EDITION).
By the end of the seventies, John Marty’s marriage had broken down. This led to John pressing “the self destruct button” as he described it. John became addicted to alcohol and drugs. He later said this was a very dark period in his life. Grace and Danger, which was released in October 1980, was the album that came out of this period, and the start of a turbulent time for John Martyn, both personally and professionally.
Grace and Danger was an autobiographical album, that described what he was going through at that time. John’s marriage had broken down and divorce proceedings were underway. This makes the music on Grace and Danger very personal. It’s akin to a snapshot to the pain, hurt and regret John was experiencing. This shines through on Grace and Danger which was reissued by Commercial Marketing during 2015.
Quite simply, Grace and Danger is best described as the most personal album John Martyn ever released. It’s tells the story of one of the worst periods in his life, where the newly heartbroken John Martyn lays bare his soul for all to see and hear. What would’ve been fascinating, is if Beverley had replied to Grace and Danger. We could’ve heard her side to the story. Sadly, that never happened, and despite Beverley making a recent comeback, is unlikely to ever happen. As a result, Grace and Danger, one of John Martyn’s most underrated albums, remains one of the most soul-baring and cathartic breakup albums ever released.
JOHN MARTYN-LIVE AT LEEDS (DELUXE EDITION).
Just a month after the release of John Martyn’s eighth studio album Sunday’s Child, John Martyn and his band took to the stage at Leeds University on 13th February 1975. That night, the concert was recorded. For a while, Johh had been contemplating releasing a live album. This he realised, would allow the record buying public to experience what John Martyn live sounded like. So, with the tapes about to get rolling, John Martyn and his band took to the stage at Leeds University on 13th February 1975. That night, John was accompanied by a small, talented band. This included his bassist, and longtime confidante, Danny Thompson. They worked their way through the six tracks that would later feature on the original album version Live At Leeds which was released during 2015 by UMC.
When John Martyn took Live At Leeds to Island Records in 1975, they refused to release, the album. This would prove costly. John resorted to selling signed copies of this future legendary live album from his home.
Since then, Live At Leeds has become one of the legendary live albums. Forty years and five reissues of Live At Leeds later, and still, John Martyn fans haven’t tired of his classic albums. While some purists prefer the original version, that John sold from his house, which is now a collector’s item, the expanded 2015 Deluxe Edition of Live At Leeds is a very welcome reissue. It features one of John Martyn’s legendary concerts, and for his legions of fans, is a reminder of a musical maverick live in concert.
JOHNNY HAMMOND-GEARS.
Johnny “Hammond” Smith’s recording career began in 1958. A year later he released his debut album Have You Heard. This was the first of two albums Johnny “Hammond” Smith released during 1959. Over the next sixteen years, Johnny “Hammond” Smith released another thirty album. His thirty-second album was Gears, which was recently rereleased by BGP, an imprint of Ace Records. Gears marked a stylistic change for Johnny Hammond.
By the time Johnny Hammond began work on Gears, his music had been becoming more funky. Aided and abetted by the Mizell brothers, Johnny Hammond recorded what was hailed as the finest jazz-funk album of 1975. They only changed their mind when Donald Byrd released Spaces and Places. However, since then, Gears is regarded as a timeless jazz-funk classic, which is a fitting reminder of a jazz great.
KING CRIMSON-THRAK.
After the success of Vrooom, the members of King Crimson regrouped at Peter Gabriel’s Real World Studios, in Wiltshire. It was one of the best equipped and most advanced studios in Britain. At the heart of Real World Studios was the latest Solid State mixing desk, and plethora of outboard equipment available to King Crimson. This would prove perfect for King Crimson who were about to release one of the most ambitious albums of their career, Thrak. It featured a double trio.
Thrak, was released in 1995, and marked the return of comeback Kings King Crimson.Twenty-six years after they released their debut album, In The Court Of The Crimson King, King Crimson were back. It may have been a different lineup of the band, but they were still making innovative music that’s stood the test of time.
Unlike many albums released during 1995, Thrak sounds as good today, as it did today. That’s partly, because the album has been remixed. There’s a clarity to the music that wasn’t there before. Each of the instruments gets the opportunity to shine, as the double trio work their way through Thrak’s fifteen tracks. Just like they had on previous albums, Thrak featured innovative, influential and groundbreaking music. It was meant to be progressive rock for the twenty-first century. Sadly, reviews of Thrak were mixed, and since then, the album has been one of the rare, hidden gems in King Crimson’s. Not any more. The recent reissue of Thrak by DGM will allow a new generation of music lovers to reappraise and rediscover the delights of Thrak.
LARAAJI-AMBIENT 3 (DAY OF RADIANCE).
Despite being one of the most innovative musicians of his generations, Laraaji still remains one of music’s best kept secrets. That’s despite releasing nearly thirty albums. Many of these albums showcase Laraaji’s unique ambient sound. Best known for playing the zither, Laraaji’s music is best described as a fusion of ambient, experimental and psychedelia. Hypnotic, mesmeric and meditative also describes Laraaji’s music. That includes the album that launched Laraaji’s career, Ambient 3 (Day Of Radiance) which was recently reissued by Glitterbeat.
Ambient 3 (Day Of Radiance) was produced by Brian Eno and released in 1980. It was Laraaji’s third album, but the first released by a record label. This was a coming of age for Laraaji, who over the next four decades, released nearly thirty ambient albums.
With Brian Eno’s guidance, Laraaji blossomed on Ambient 3 (Day Of Radiance). Soon, he came to be regarded as one of music’s pioneers. Since Ambient 3 (Day Of Radiance), Laraaji has released nearly thirty albums. It’s innovative, cinematic and ethereal music. It toys with the listener’s emotions, and takes them on a journey, all the time, painting pictures in their mind’s eye. Sometimes, Laraaji throws a curveball, taking the listener somewhere they never expected to go. However, it’s a case of trust in Laraaji. This musical visionary takes the listener by the hand on Ambient 3 (Day Of Radiance), and takes them on an ethereal, mesmeric and captivating journey.
LED ZEPPELIN-CODA.
After the death of drummer John Bonham, the remaining members of Led Zeppelin wanted to cal time on the band. They didn’t want to go on without their fallen comrade. There was a problem though, Led Zeppelin still owed Atlantic Records an album. This dated back to when Led Zeppelin formed their Swan Song label in 1974. However, this wasn’t the official reason.
According to Jimmy Page, the three members of Led Zeppelin had noticed how popular bootleg recordings were. They were selling in vast quantities. Given they were unauthorised releases, Led Zeppelin weren’t benefiting from the releases. So the remaining members of Led Zeppelin decided that they should reissue some of the unreleased material in the vaults. Led Zeppelin had been together for eleven years before John Bonham’s death, so there was plenty of unreleased material. There was more than enough for one album. That was apparent on Warner Bros’ recent reissue of Coda.
Not only does Coda feature the eight tracks on the original version of Coda, but there’s eight tracks on disc two, and another seven tracks on disc three. Forty-three years later, and the Led Zeppelin vaults are the gift that keep on giving. Back in 1982, John Paul Jones saw the release of Coda as an opportunity for Led Zeppelin to showcase some of the hidden gems that lay unreleased in the vaults. While Coda was hardly Led Zeppelin’s finest hour; just like In Through The Out Door, Coda featured fleeting moments of genius. This makes Coda a worthy addition to any record collection, and a reminder of one of the rock’s unholy trinity’s hell raising days and classic years.
THE BEST 50 REISSUES OF 2015-PART FOUR.
THE BEST 50 REISSUES OF 2015-PART FOUR.
LED ZEPPELIN-IN THROUGH THE OUT DOOR-DELUXE EDITION.
On 15th August 1979, Led Zeppelin released their eighth studio album In Through the Out Door. By then, they were one of the biggest selling bands in the world. Their first seven studio albums and their 1976 live album The Song Remains The Same, had sold eighty-three million copies in America alone. Worldwide Led Zeppelin’s albums had sold over 100 million copies. However, little did the four members of Led Zeppelin realise that In Through the Out Door, which was recently reissued as a two CD Deluxe Edition, marked the end of an era.
In Through The Out Door was the last album to feature the original lineup of Led Zeppelin. Sadly, In Through The Out Door also proved to be Led Zeppelin’s final studio album.
While In Through The Out Door wasn’t their finest moment, it wasn’t a a terrible album. Especially considering that Jimmy Page was addicted to heroin and John Bonham was an alcoholic. Led Zeppelin dug deep, and came up with an album that sees them flit between musical genres. There’s everything from blues, country, Latin, progressive rock and rock. Not just any rock, but Led Zeppelin at their heaviest. However, there were also synths, which Led Zeppelin were beginning to incorporate into their sound. This divided opinion, but Atlantic Records reissue during 2015 allows people to reevaluate In Through The Out Door, which is one of the most underrated Led Zeppelin albums.
LED ZEPPELIN-PHYSICAL GRAFFITI-DELUXE EDITION.
2015 marks the 40th anniversary of what was Led Zeppelin’s most ambitious and eclectic album, Physical Graffiti. This was Led Zeppelin’s sixth album since their 1969 eponymous debut. However, Physical Graffiti was a first for Led Zeppelin. Physical Graffiti the first double album that Led Zeppelin had released. Originally, though Physical Graffiti was meant to be a single album. However, the eight songs overran. So, Led Zeppelin decided that Physical Graffiti should become a double album.
Featuring thirteen tracks, spread over four sides of vinyl, Physical Graffiti was Led Zeppelin’s most ambitious and eclectic album. From Led Zeppelin’s usual hard rocking style, Physical Graffiti took diversions via acoustic rock ’n’ roll, balladry, blues rock, country rock, prog rock and soft rock. There was even the fusion of orchestral rock and Eastern influences that was Kashmir, a Led Zeppelin classic. With such an eclectic album, it’s no surprise that Physical Graffiti won over to critics, cultural commentators and record buyers.
Physical Graffiti was reissued by Atlantic Records in February 2015, and is, without doubt, a classic album. Although it was released forty years ago, Physical Graffiti is a truly timeless album, one that has stood the test of time and has gone on to inspire several generations of musicians. That’s why Physical Graffiti, Led Zeppelin’s final classic album deserves to find its way into any self respecting record collection.
LED ZEPPELIN-PRESENCE-DELUXE EDITION.
Presence wasn’t the easiest album for Led Zeppelin to make. Lead singer Robert Plant was recovering from a car crash, and delivered his vocals from a wheelchair at Musicland Studios, Munich. As the four members of Led Zeppelin gathered, onlookers noticed something was missing. Keyboards. It looked like Led Zeppelin were going to record an album without keyboards.
That’s what Led Zeppelin proceeded to do. Presence Plant and Page decided, should mark a change in Led Zeppelin’s sound. This should make Led Zeppelin’s return to hard rock. The riffs were much simpler, as Led Zeppelin moved towards guitar based jams. This was very different to some of the complex arrangements on Physical Graffiti. Another change was the lack of keyboards. Originally, they were meant to be absent. However, it was a case of needs must. Keyboards had to be used for the chorus on Candy Store Rock. Mostly, though, Presence was a much more stripped back, simpler and spontaneous album than previous Led Zeppelin albums. Partly, that was because of time constraints. With only eighteen days of studio time, the recording of Presence was rushed.
The result was a new Led Zeppelin sound. They had adopted a heavier, stripped back sound. Presence saw Led Zeppelin return to hard rock. The riffs were much simpler, as Led Zeppelin moved towards guitar based jams. This was very different to some of the complex arrangements on Physical Graffiti. Another change was the lack of keyboards. Many critics and record buyers, they didn’t like what they heard. ‘Only’ three million copies of Presence sold in America. However, since the release of Presence, it’s been reappraised by critics. Nowadays, Presence is regarded as the most underrated album of Led Zeppelin’s career; and one which played a part in launching the New Wave of British Heavy Metal.
LEON THOMAS-FULL CIRCLE.
For Leon Thomas, Full Circle represented the end of an era. It was the last album Leon Thomas released on Flying Dutchman Productions, and marked the end of his “classic period.” It had started four years earlier in 1969, when Leon Thomas released his debut album Spirits Known and Unknown. Since then, Leon Thomas’ star had been in the ascendancy. Full Circle which was recently rereleased by BGP, an imprint of Ace Records, Leon Thomas’ fourth solo album and the last great album he released.
After Leon Thomas’ last two albums had failed commercially, something had to change. So Bob Thiele decided to try and steer Leon Thomas towards the lucrative soul market. Bob Thiele got the idea from Creed Taylor. He had successfully transformed Esther Phillips’ career at CTi Records by turning her into a soul singer. Her album From A Whisper To A Scream was then nominated for a Grammy Award. Bob Thiele had hoped that by encouraging Leon Thomas to change direction, success would come his way.
That proved to be the case. Full Circle, which was recently released by BGP, an imprint of Ace Records, was the most successful album of Leon Thomas’ career, reaching fifty-four in the US R&B charts.
Together, Leon and Bob Thiele had cultivated a very accessible album. Mostly, it featured Leon Thomas singing soul. However, there were occasional diversions via blues and jazz. Meanwhile, Leon’s band seamlessly shifted between blues, funk, jazz, Latin and soul. This ensured that Leon’s final album for Flying Dutchman Productions was a memorable one, and the most accessible of his career. Full Circle is the perfect introduction to the inimitable Leon Thomas.
LINK WRAY-3-TRACK SHACK.
Jimmy Page, Neil Young and Iggy Pop all have one thing in common. They were all influenced by Link Wray, whose 1958 instrumental hit Ray Gun, popularised the power chord. As a result, several generations of guitarists, owe a debt of gratitude to Link Wray. He’s regarded as one of greatest guitarists in musical history. Sadly, neither in life nor death, Link Wray never deserved the recognition he so richly deserved. Ace Records are trying rectify this, with the release of 3-Track Shack, a two disc CD set which features three albums, Link Wray, Mordicai Jones and Beans and Fatback. They’re the perfect introduction to Link Wray, who sadly, died ten years ago.
While many people remembered Link Wray’s classic single Rumble, very few people are aware of 3-Track Shack trilogy as Americana, blues, country rock and folk rock combine. Then on Beans and Fatback, Link Wray and his band kick loose, and unleash a much more rowdy, raucous, rock ’n’ roll sound. There’s still diversions via blues and country rock. However, mostly, the old Link Wray shawn through. While this should’ve pleased his fans, the turned their back on the Beans and Fatback when it was released in 1973. They didn’t realise what they were missing.
Maybe, somewhat belatedly, they will now. Ace Records recently released 3-Track Shack, which features Link Wray, Mordicai Jones and Beans and Fatback. These three albums feature one of the greatest guitarists in the history of music, Link Wray.
LONNIE LISTON SMITH AND THE COSMIC ECHOES-REFLECTIONS OF A GOLDEN DREAM.
Of all the artists Bob Thiele signed to Flying Dutchman Productions, Lonnie Liston Smith and The Cosmic Echoes proved to be one the most successful. However, success didn’t come overnight for Lonnie Liston Smith and The Cosmic Echoes.
It was only when their third album Expansions charted, the commercial success came Lonnie Liston Smith and The Cosmic Echoes’ way. Its success was surpassed Visions Of A New World, which became Lonnie Liston Smith and The Cosmic Echoes’ most successful album. It was reissued in 2015 by BGP, an imprint of Ace Records, and was the fourth album of groundbreaking music from Lonnie Liston Smith and The Cosmic Echoes.
This wasn’t new. Lonnie Liston Smith and The Cosmic Echoes had been releasing innovative music since they signed to Flying Dutchman Productions. On Visions Of A New World, Lonnie Liston Smith and The Cosmic Echoes continue to showcase their considerable skills, as they continue to create genre-melting music that’s innovative, ambitious, melodic and timeless.
LONNIE LISTON SMITH AND THE COSMIC ECHOES-VISIONS OF A NEW WORLD.
When Visions Of A New World was released in the summer of 1975, it reached number seventy-four in the US Billboard 200, fourteen in the US R&B charts and number four in the US Jazz charts. Visions Of A New World was Lonnie Liston and The Cosmic Echoes’ became most successful album. No wonder. The music on Visions Of A New World oozed quality.
Elements of free jazz, funk, fusion, rock, smooth jazz and soul are combined on Visions Of A New World. As a result, the music was innovative and guaranteed to influence other musicians. Lonnie Liston Smith was a leader, not a follower. He released five albums on Bob Thiele’s Flying Dutchman Productions. Each of these albums feature a musical visionary at the peak of his creative powers. One of Lonnie Liston and The Cosmic Echoes’ finest albums is Visions Of A New World, which was reissued by BGP, an imprint of Ace Records in 2015. Visions Of A New World, which is a truly timeless album, along with Astral Travelling, is the perfect introduction to cosmic jazz pioneer, Lonnie Liston and The Cosmic Echoes.
MICHAEL CHAMPMAN-SAVAGE AMUSEMENT.
Forty years ago, the only way to record an album, was in a recording studio. This cost money. So, artists were prepared. Songs were written and arranged. Artists and backing bands had practised the songs. They were organised, when the tapes started rolling, they were ready to role. Often, classic albums were recorded in a matter of a few weeks, or a couple of months at most. Artists like remembered the maxim “time is money.” That was the case with Michael Chapman, who recorded and released Savage Amusement in 1976. It reissued in 2015 by Secret Records, and is one of several hidden gems in Michael Chapman’s discography.
On its release, Michael fans were divided by Savage Amusement. Some of his fans welcomed the change of sound, and realised that Savage Amusement was a lost classic. Others were shocked at Savage Amusement’s stylistic departure. They took some appeasing when touring Savage Amusement. Since then, Savage Amusement has continued to divide Michael Chapman’s loyal fans.
Nowadays, Savage Amusement is perceived a very accessible album. Although quite different from some of Michael’s previous albums, Savage Amusement oozes quality. From the opening bars of Shuffleboat River Farewell, right through to the closing notes of Devastation Hotel, Savage Amusement is a captivating lost classic, from one of British music’s best kept secrets, Michael Chapman.
MICHAEL CHAPMAN-THE MAN WHO HATED MORNINGS.
In 1977, Michael Chapman was about to release the eight album of his career, The Man Who Hated Mornings on Deram Records. That had been home to Michael since 1973, when he released his fifth album Millstone Grit. Since then, Michael’s albums hadn’t sold in vast quantities. However, The Man Who Hated Mornings proved to be Michael’s Deram swan-song.
Critics noticed that The Man Who Hated Mornings had a much harder, electric sound. It’s apparent from the opening track Northern Lights, right through The Man Who Hated Mornings. Despite this stylistic change, still, commercial success eluded Michael Chapman. Despite his sound constantly evolving, his albums failed to sell in great quantities. Unfortunately, troubadours like Michael Chapman were out of fashion, and had been replaced by the inane sound of disco. For Michael Chapman, it was a frustrating time. Especially considering the quality of music on The Man Who Hated Mornings, which was reissued by Secret Records.
Michael Chapman’s time at Deram Records ended with The Man Who Hated Mornings. This is almost fitting, as it’s the best album of his time at Deram Records. Coming a close second is Savage Amusement, the album that preceded The Man Who Hated Mornings. After eight albums in eight years, Michael Chapman was looking for a new record label. Ironically, a year after leaving Deram Records, Michael Chapman released another of his great “lost albums” Playing Guitar-The Easy Way. Just like Michael’s previous albums, commercial success managed to elude Playing Guitar-The Easy Way. It’s just one of many hidden gems in Michael Chapman’s back-catalogue, including Savage Amusement and The Man Who Hated Mornings. These two albums showcase one of the great British singer-songwriters, Michael Chapman, The Man Who Hated Mornings.
MICHAEL CHAPMAN-WINDOW.
Forty-five years have passed since Michael Chapman released Window. Back in 1970, it was an album that divided the opinion of critics. Window was Marmite music, you either loved or loathed it. Michael Chapman fell into the latter category. He disliked Window so much, that after the release of Window, Michael Chapman disowned what was his third album. This was hugely controversial.
Record buyers were hardly inclined to buy an album the artist has disowned. However, that’s what Michael Chapman did. He alleged it comprised a series of unfinished demos, which Harvest released whilst Michael was on tour. Listening back to Window forty-five years later, Window doesn’t sound like an album of demos. That is, apart from a couple of tracks. The rest of Window features Michael Chapman stretching his legs musically.
On the other seven tracks on Window, Michael Chapman flits between musical genres. Country, folk, folk rock, funk, pop and rock can be heard on Window. It’s was, without doubt, the most eclectic album of Michael’s three album career. That’s not surprising. Producer Gus Dudgeon gave Michael much more freedom. Michael repaid him with Window, an eclectic album, where we hear various sides of Michael Chapman. Sadly, neither the critics, nor his fans, who were won over by Window. Forty-five years later, and critics have reappraised Window. Nowadays, Window, which was recently reissued by Light In The Attic Records, is seen as one of the most underrated albums in Michael Chapman’s discography. It features Michael Chapman at his cerebral and reflective best, as he paints pictures of love, love lost and times gone by.
THE BEST 50 REISSUES OF 2015-PART FIVE.
THE BEST 50 REISSUES OF 2015-PART FIVE.
RICK WAKEMAN-THE MYTHS AND LEGENDS OF KING ARTHUR AND THE KNIGHTS OF THE ROUND TABLE,
Following the success of Journey To The Centre Of The Earth, Rick Wakeman was getting ready to begin work on his fourth album. Then disaster struck. Rick had the first of three minor heart attacks. He was taken to Wexham Park Hospital, near Slough, in Berkshire. The prognosis wasn’t good, and the doctor advised Rick to stop playing and touring. This wasn’t an option. Rick Wakeman was determined that his career continue. As his recuperation continued, his thoughts turned to his next album, The Myths and Legends Of King Arthur and The Knights Of The Round Table.
When The Myths and Legends Of King Arthur and The Knights Of The Round Table was released in 1975, it sold over twelve million copies worldwide, and was certified gold in four continents. Forty years later, and Universal Music Group reissued The Myths and Legends Of King Arthur and The Knights Of The Round Table as a double album. This is a very welcome reissue.
For far too long, Rick Wakeman’s music has been unavailable. That’s a missed opportunity. After all, Rick Wakeman was a musical pioneer, who pushed musical boundaries. That’s the case on The Myths and Legends Of King Arthur and The Knights Of The Round Table. Over seven songs, Rick combines everything from choral and classical to folk and funk, right through to classic rock and prog rock. The music is variously beautiful, captivating, cinematic, elegiacal, ethereal and graceful, right through to dramatic, rousing, stirring and urgent. The music on this prog rock classic, where Rick Wakeman paints pictures, and in doing so, transports you back in time, to another place, where you discover The Myths and Legends Of King Arthur and The Knights Of The Round Table.
RICK WAKEMAN-THE SIX WIVES OF HENRY VIII.
In early 1972, Yes were touring America to promote their fourth studio album Fragile. On a stopover in Richmond, Virginia, Rick Wakeman, joined Yes in August 1971, and made his debut on Fragile, was perusing the airport bookshop. Eventually, Rick bought four books, including Nancy Brysson Morrison’s The Private Life Of Henry VIII. On the subsequent flight from Richmond to Chicago, Rick began reading. It was then that he remembered a recording he had made in 1971. Since then, Rick had done nothing with that piece of music. After recording the music, Rick had been struggling to come up with lyrics to accompany it. This being the age of the concept album, what Rick was looking for, was a theme that could run through the recording. Not any more.
Suddenly, everything came together. The notes Rick made about Anne Boleyn on the flight to Chicago were just the start. Over the next few weeks and months, whether at home or on tour, Rick focused on each of Henry VII’s six wives. At his piano, he continued to make notes. Eventually, Rick’s notes became the thread that ran through his sophomore album, The Six Wives Of Henry VIII, which was recently reissued by Commercial Marketing as a double album. Before its release in 1973, Neither critics, nor many of the staff at A&M Records foresaw the commercial success of The Six Wives Of Henry VIII.
Since its release in 1973, The Six Wives Of Henry VIII sold over fifteen million copies. It’s now considered a stonewall prog rock classic; and Rick Wakeman is now perceived as a musical pioneer. After all, The Six Wives Of Henry VIII is also the progressive rock album that legitimised synths in progressive rock. Without Rick Wakeman and The Six Wives Of Henry VIII, maybe, things would have been very different? Rick Wakeman, a true musical pioneer, had the last laugh, when what many considered progressive rock’s ugly duckling, The Six Wives Of Henry VIII, turned into a swan.
ROGER WATERS-AMUSED TO DEATH.
Just like his two previous albums, Amused To Death was a concept album. Roger had been working on Amused To Death since 1987. It was remastered, remixed and reissued by Sony Music during 2015, and brings five years work to life.
The inspiration for Amused To Death came from Neil Postman’s book Amusing Ourselves To Death. By the time the concept was complete, it revolves around the a monkey who randomly switches between television channels. As channels change, different subjects are discussed. Among them are the Gulf War, World War I, the bombing of Jordan and Libya, and the Tiananmen Square protests of 1989. A total of fourteen tracks feature on Amused To Death, which was recorded between 1987 and 1992.
The reissue of Amused To Death is an opportunity to either acquaint or reacquaint yourself with what was Roger Waters’ finest solo album. It was a case of third time lucky for Roger Waters, when he released the underrated Amused To Death in 1992. If I was to compare Amused To Death to a Pink Floyd album, it would be More. Both Roger Waters’ Amused To Death and Pink Floyd’s More are vastly underrated albums, that for far too long, many music aficionados will have overlooked. If that’s the case, the recent reissue of Amused To Death is the opportunity to right a wrong. Roger Waters would approve of that, in more than one way.
SIMPLE MINDS-SPARKLE IN THE RAIN-DELUXE EDITION.
Last year, Sparkle In The Rain was reissued by Universal Music earlier this year. This was thirty-one years after Sparkle In The Rain was released in February 1984. It became Simple Mind’s most successful album, and reinvented the Glasgow band.
Eventually, Sparkle In The Rain was certified platinum in reached number sixty-four Britain. That wasn’t surprising. Sparkle In The Rain was peppered with hits, including Up On The Catwalk, Book Of Brilliant Things, Speed Your Love To Me and Waterfront. These tracks played their part in the reinvention of Simple Minds.
They left their electronic and new wave roots behind. Now, Simple Minds were well on their way to superstardom. The album that started this off was their Glasgow album. It’s bold, stylistic and full of confidence. Simple Minds are almost gallus as they strut their way across Sparkle In The Rain, en route for stadium rocking, superstardom.
TEN YEARS AFTER-STONEDHENGE.
When Ten Years After released their live album Undead in August 1968, it proved a game-changer. It was heard by legendary promoted Bill Graham. He championed Ten Years After in America. As a result, Undead reached number 115 in the US Billboard 200. This was the start of a six year period when Ten Years After could do no wrong in the eyes of the American record buying public.
From Stonedhenge, which was recently released by UMC, right through to Ten Years After’s eighth and final studio album, Positive Vibrations, which was released in April 1974, Ten Years After spent much of their time in America. That wasn’t surprising. Ten Years After were much more popular stateside. They were the latest rock gods to make it big in America.
Stonedhenge was the start of America’s love affair with Ten Years After. The album has just been rereleased as a double album. Disc one features the mono and stereo version of Stonedhenge. On disc two, there’s six tracks, including B-Sides, live tracks and even a track from an Alvin Lee solo album. They’re be a welcome addition for anyone who wants to discover or rediscover Stonedhenge, Ten Year After’s second solo album and the latest stop on the road to commercial success and critical acclaim.
TEN YEARS AFTER-TEN YEARS AFTER.
In October 1967, Ten Years After released their eponymous debut album. The album failed to make an impression on either side of the Atlantic. It was a disappointing start to Ten Years After’s recording career. Especially considering how well things had been going for Ten Years After.
Ever since they had changed their name from Blues Yard to Ten Years After, their fortunes had changed. They had secured a residency at the Marquee, played a starring role at the Windsor Jazz Festival and then signed to Deram Records. It had been roller coaster ride. However, it was nothing compared to the next six years.
For six years Ten Years After could do no wrong, and were one of the biggest bands on both sides of the Atlantic. The album that launched Ten Years After on to the road to commercial success and critical acclaim is Ten Years After, which was recently reissued by Universal Music. The newly reissued version of Ten Years After features both the mono and stereo versions of the album on disc one. Disc two features eleven bonus tracks. They’re a welcome addition, and will especially be of interest to completists. However, the reissue of Ten Years After is a reminder of one of British music’s most successful exports, as they embark upon what would prove to be a career where commercial success and critical acclaim were constant companions.
THE ROLLING STONES-STICKY FINGERS-DELUXE EDITION.
When The Rolling Stones began recording Sticky Fingers with producer Jimmy Miller, it was a poignant time. Sticky Fingers was the first recording session without Brian Jones. His replacement, Mick Taylor, played an important part in the Sticky Fingers sessions, adding lead, rhythm and acoustic guitar. Somehow, he and the rest of The Rolling Stones dug deep, and recorded a classic album, Sticky Fingers, which was reissued by Polydor.
On its release in 1971, Sticky Fingers reached number one in Britain and America. Since then, Sticky Fingers is regarded as a classic album, from the biggest rock ’n’ roll band in the world. That took some doing.
The last few years had taken their toll on The Rolling Stones. They had been arrested, lost Brian Jones and replaced him with Mick Taylor. Then there was the controversy surrounding Altamont. Somehow, The Rolling Stones had survived all this, and were still going strong, having just released a career defining classic album Sticky Fingers.
THE VELVET UNDERGROUND-LOADED.
Having found themselves without a record company, The Velvet Underground’s luck changed when they signed to Atlantic Records. They were told to record an album: “loaded with hits.” The result was Loaded, the last Velvet Underground to feature Lou Reed, the group’s creative force. It was the end of era for The Velvet Underground. They essentially died on on 23rd August 1970, when Lou Reed left.
The Velvet Underground were like a rudderless ship floundering in choppy musical waters. Loaded was resequenced and Lou Reed alleged, some of the song had been edited, Despite that, Loaded, like 1967 with The Velvet Underground and Nico, 1968s White Light/White Heat, 1969s The Velvet Underground are all classic albums. That’s why it’s fitting that Loaded was reissued by Rhino as a four disc box set to celebrate the forty-fifth anniversary of this classic album’s release.
Despite failing commercially in 1970, Loaded is nowadays, regarded as a classic album; and The Velvet Underground are remembered as one of the most important, influential and innovative bands in the history of music. Their musical legacy is one of the richest in music.
TOM RUSH-TOM RUSH.
For many people, Tom Rush was a trailblazer. He was the first of the singer-songwriters. His career began in 1961, when Tom, who was born in Portsmouth, New Hampshire began singing in clubs. Back then, Tom was still a student at Harvard University, where he studied English literature. A year later, in 1962, Tom Rush released his debut album Tom Rush At The Unicorn. That was the start of a six decade recording career.
By 1965, Tom Rush was ready to release his eponymous third album. He had just signed to Elektra Records, which was well on its way to becoming home to many of the greatest singer-songwriters.
On Tom Rush, Tom breathes life and meaning into the lyrics of the ten songs. Sadness vies with excitement. So does trepidation and hope. The music is beautiful and moving, and leaves you wanting to hear more from one of music’s best kept secrets, Tom Rush.
VAN MORRISON-HIS BAND AND STREET CHOIR.
When Van Morrison began work on his fourth album His Band and Street Choir, he faced the biggest challenge of his career. His last two albums, 1969s Astral Weeks and 1970s Moondance, had been stonewall classics. Following these albums up wasn’t going to be easy. It was going to be the biggest challenge of Van Morrison’s career.
Van Morrison rose to the challenge, and His Band and Street Choir, the album became the most successful of Van Morrison’s four album career. That’s ironic, given Astral Weeks and Moondance are two of the most important albums not just in Van Morrison’s career, but the history of music. Every album Van Morrison went on to release, was compared to his two classic albums. This includes His Band and Street Choir, which was recently remastered and rereleased by Rhino.
His Band and Street Choir has always been overshadowed by Astral Weeks and Moondance. In 1970, Van Morrison was trying to followup an album of the magnitude of Moondance. It was almost impossible. Critics had said the same about Astral Weeks, and Van came back with Moondance. However, His Band and Street Choir is no Moondance. Despite that, His Band and Street Choir is one of the finest albums Van Morrison released during the seventies.
So that’s my list of the fifty best reissues of 2015. Just like the other best of 2015 lists, it’s an eclectic selection of albums. Countless musical genres are represented. There’s everything from ambient and avant garde through to experimental, free jazz and Kominische plus progressive rock, psychedelia and rock. Over forty artists and bands feature on the best reissues of 2015. Some artists feature more than once. They’re not necessary the biggest names in music. Far from it. Michael Chapman is still one of music’s best kept secrets, but features three times. He’s just one of music’s best kept secrets. There’s several on the list, which features some lavish and lovingly compiled reissues.
It seems record companies are spending much more time on reissues. Many people still want to buy reissues on CD or vinyl. Downloads and streaming isn’t an option. Music lovers of a certain age like to own something tangible, either a CD or LP. Especially the baby boomers. They are the ones with a disposable income, and want to buy the albums they grew up listening to. They’re willing to pay for deluxe versions, complete with bonus discs and sometimes, DVDs. However, they demand quality. Its improved during 2015.
One thing I have noticed, is that the quality of mastering has improved on reissues. Often, it’s stunning. The best mastered reissues were Grönland Records reissues of Harmonia’s Deluxe and Musik Von Harmonia. They set the bar high for remasters in 2016, which hopefully will be a good year for reissues.
Especially since 2015 was such a good year for reissues. Hopefully, 2016 will be just as good. Music lovers still have an insatiable appetite for reissues. It seems for music lovers of a certain age, who no longer pay attention to the charts, reissues is what they want to buy. Proof of that is the number of reissues released each year. The reissue market shows no signs of slowing down, and for that, music lovers are thankful. It’s the gift that keeps on giving.
THE 33 BEST BOX SETS OF 2105-PART ONE.
THE 33 BEST BOX SETS OF 2105-PART ONE.
So far, in my look back at 2015, I’ve picked the best Scottish, Nordic Wave and new albums of 2015. Now we turn to the best box sets of 2015.
Last year, was a good year for box sets, which came in all shapes and sizes. Everything from two CD and a DVD, through to career retrospectives were marketed as box sets. A couple on the list, I would’ve called triple albums. However, they were marketed as box sets. So, they qualify for this list. However, they also qualify for the best reissues of 2015. More of that later this week. For the meantime, lets do the A-Z of the best thirty-three box sets of 2015. Here goes.
ALICE COOPER-THE STUDIO ALBUMS 1969-1983.
Alice Cooper’s career has spanned five decades and twenty-six studio albums. This includes the fifteen albums in The Studio Albums 1969-1983 box set, which was released by Warner Bros. It documents the first fourteen years of Alice Cooper’s sometimes controversial career.
These fifteen discs feature the music of Alice Cooper’s career. However, it’s far from a flawless box set. The rest of the box set is something of a mixed bag; ranging from the good, bad and indifferent. Even Alice Cooper’s trilogy of “blackout” albums feature some hidden gems. Somehow, on his worst albums, there’s something worth hearing. It seems even in his darkest hour, Alice Cooper could produce something guaranteed to grab the listener’s attention.
Now, thirty-two years after Alice Cooper’s Warner Bros. years ended, The Studio Albums 1969-1983 offers newcomers to that great survivor’s music. The The Studio Albums 1969-1983 fifteen disc box set is the perfect opportunity for newcomers to dip their toe into the water of what’s the greatest period of Alice Cooper’s career, the Warner Bros. years.
AMERICA-THE WARNER BROS. YEARS 1971-1977.
Between 1971 and 1976, America became one of the most popular bands on both sides of the Atlantic. They released six albums during this period, and they feature in the The Warner Bros. Years 1971-1977 box set. It was released by Warner Bros. and celebrates the most successful period of America’s career.
The Warner Bros. years were the best years of America’s career. For much of that time, America’s albums were released to commercial success and critical acclaim. Their first seven studio albums sold over 4.5 million albums. That’s no surprise.
During their time Warner Bros., America released the best music of their career. Their first seven studio albums and Live America are documented on America-The Warner Bros. Years 1971-1977.
BACK TO THE RIVER-MORE SOUTHERN SOUL STORIES 1961-1978.
Followups to a successful box set sometimes take a while to compile. That was the case with the followup to Take Me To The River: A Southern Soul Story 1961-1977. It was released in 2006, and since then, fans of Southern Soul have waited patiently. Their patience was rewarded in December, when Kent Soul, an imprint of Ace Records, released Back To The River-More Southern Soul Stories 1961-1978. This luxurious, and lovingly compiled three disc box set, featured seventy-five songs, from the great and good of Southern Soul.
So good was Take Me To The River: A Southern Soul Story 1961-1977, that it’s manage to surpass the quality of Take Me To The River: A Southern Soul Story 1961-1977. That’s no surprise. Back To The River-More Southern Soul Stories 1961-1978 features familiar faces, new names and hidden gems among the seventy-five tracks. There’s something for everyone.
Ballads and tales of heartbreak and betrayal, rub shoulders with songs full of emotion and joy over Back To The River-More Southern Soul Stories 1961-1978’s three discs. This seventy-five song roller coaster, is a reminder of the glory days of Southern Soul.
BIG STAR-KEEP AN EYE ON THE SKY.
Sadly, in music, talent doesn’t equate to commercial success. If it did, Big Star would’ve been the biggest bands in musical history. That wasn’t the case. Lady luck failed to smile on Big Star when they released a trio of albums between 1972 and 1974. Despite this, nowadays, Big Star are regarded as one of the most influential bands in musical history. Their story was told on Keep An Eye On The Sky, which was reissued by Rhino.
That’s fitting. Nowadays, Big Star’s trio of albums were considered minor classics, and feature in Rolling Stone magazine’s list of the 500 greatest albums of all time. Meanwhile, Big Star were being hailed as one of the most influential, innovative and inventive bands in musical history. That’s apparent when you listen to their trio of albums Number One Record, Radio City and Third/Sister Lovers, plus Keep An Eye On The Sky, the four disc box set, which celebrates the music of Big Star, power pop pioneers.
CTI RECORDS: THE COOL REVOLUTION.
CTi Records: The Cool Revolution, is a four disc box set featuring thirty-nine tracks. Each disc focuses on an aspect of CTi Records sound. Disc one is entitled Straight Up, and focuses on what’s described as “straight up jazz,” while disc two features “deep grooves and big hits.” Then on disc three, The Brazilian Connection is in the spotlight. Finally, disc four is entitled Cool and Classic, and is the perfect way to round off this four disc retrospective of CTi Records’ music. It’s a reminder of CTi Records’ vintage years, and is a reminder just how many classic jazz albums Creed Taylor’s label released.
They’re being rediscovered by a new generation of musicians. For those yet to discover Creed Taylor’s label, then CTi Records: The Cool Revolution is the way to do so. The music is innovative and influential, and CTi Records became one of the premier jazz labels of the seventies. It swum against the tide.
By then, jazz music wasn’t as popular. So, CTi Records went looking for jazz music that was relevant and would prove popular. They enjoyed a degree of success, and achieved a reputation as a label who released innovative, inventive and important music. That music has stood the test of time, and four decades later, is just as relevant.
EMERSON, LAKE AND PALMER-TRILOGY (DELUXE EDITION).
By the time Emerson, Lake and Palmer set about recording their third studio album Trilogy, it seemed everything they touched turned gold. Their first two studio albums had been certified gold in America. So had their two live albums. Already, Emerson, Lake and Palmer were on their way to becoming one of the biggest bands in prog rock.
Very few bands were as innovative, inventive and influential as Emerson, Lake and Palmer. Continually, they pushed musical boundaries to their limits, and sometimes, it seemed beyond. This worked. They never stood still, and their music became stale. That’s why, forty-three years after the release of Emerson, Lake and Palmer’s third studio album Trilogy, it sounds as innovative and ambitious as it did in 1972.
Trilogy found Emerson, Lake and Palmer growing,evolving and maturing as a band. They had come a long way in the past two years. Now they were tight and multitalented. Emerson, Lake and Palmer were also a visionary band, who seamlessly, were capable of fusing classical music, folk, jazz prog rock, psychedelia, rock and symphonic rock. All these disparate musical genres played their part in the sound and success of Trilogy, Emerson, Lake and Palmer’s timeless epic, Trilogy which was reissued by Sony Music.
FLORIAN FRICKE/POPOL VUH-KAILASH.
Florian Fricke was a musical innovator, who as a member of Popol Vuh and Tangerine Dream, created music that was innovative and influential Part of Popol Vuh’s success, was keyboardist Florian Fricke who sadly, died in 2001 aged just fifty-seven. He left behind a rich musical legacy, including that on the Florian Fricke/Popol Vuh box set Kailash. It was released in 2015, and celebrates the life and music of a true musical innovator and legend, Florian Fricke on two CDs and a DVD.
Disc one Piano Recordings; features eight of Florian’s favourite released and unreleased recordings and compositions. Some are Florian and his piano prove a potent combination. Patterns appear, only to disappear and recur. Then Florian heads off in an unexpected direction. He improvises and experiments, fusing classical and improvisational music. The resulting music veers between beautiful and bewitching, to captivating, dramatic, ethereal, spellbinding and spiritual. That’s also the case on the unreleased soundtrack on disc two.
The soundtrack to Kailash: Pilgrimage To The Throne Of The Gods, features on disc two; while the film can be found on the accompanying DVD. Both are captivating. Especially the ten ethereal soundscapes. They’re cinematic, ethereal, dramatic and spiritual. It’s another captivating listen; that maybe, the Florian Fricke/PopolVuh Kailash box set will introduce Florian Fricke and PopolVuh’s music to a wider audience.
FOTHERINGAY-NOTHING MORE: THE COLLECTED FOTHERINGAY.
Fortheringay were the short-lived folk band formed by the late, great Sandy Denny. They could’ve gone on to rival Fairport Convention. Sadly, that wasn’t to be. Instead, all Fotheringay’s music fits on the four disc box set Nothing More: The Collected Fotheringay. It was released by Commerical Marketing, and is the most extensive collection of Fotheringay’s music ever released.
On disc one, is Fotheringay’s eponymous debut album. Disc two features Fortheringay’s aborted sophomore album, Fotheringay 2. It wasn’t released until 2008, thirty years after Sandy Denny’s tragic death. The third disc features Fotheringay live. So does disc four, which is a DVD. These four discs result in what’s the most extensive collection of Fotheringay’s music ever released.
While Sandy Denny is remembered for her two spells with Fairport Convention and here solo caree, often her time with Fortheringay is often overlooked. That’s a great shame, as Sandy Denny’s short-lived other group features Sandy Denny at the peak of her powers. With Sandy Denny at the helm, Fotheringay could’ve gone on to rival Fairport Convention. Sadly, they never got the opportunity to do so, and the Fotheringay story was over before it had began. It’s documented on Nothing More: The Collected Fotheringay, which is a poignant reminder of Sandy Denny’s “other,” sometimes forgotten group.
GILLAN-THE ALBUM COLLECTION.
Following his departure from Deep Purple, Ian Gillan formed The Ian Gillan Band. After the disappointment of The Ian Gillan Band’s last two albums, Ian Gillan’s career was at a crossroads. When he formed Gillan his reputation had taken a bruising. Four years later, Ian Gillan had reinvented himself. His jazz-fusion years were long gone. Ian Gillan was back to his hard rocking best with Gillan, whose career is documented on The Album Collection which was released by Edsel. It features six of the seven albums Gillan released during this period.
The Album Collection box set is a welcome reissue. However, there’s several buts. Missing from the box set is Gillan’s 1978 eponymous album. That’s probably down to licensing issues. Another complaint is the the albums haven’t been remastered. Most likely, the albums are the 2007 reissues. Granted they were remastered back then, but eight years have passed since then. A sympathetic remastering wouldn’t have gone a miss. As for the packaging and sleeve-notes, they leave a lot to be desired. They leave you thinking that this is very much a low budget product. However, what matters is the music.
In full flow, Gillan were torchbearers for British rock. As rock goes, it doesn’t get much harder or heavier than Gillan. They were one of the last great British rock bands, and were responsible for rebuilding Ian Gillan’s career.
HARMONIA-COMPLETE WORKS-BOX SET OF 2015.
When Harmonia were formed in 1973, Germany’s first supergroup had just been born. Harmonia featured members of Neu! and Cluster. Michael Rother of Neu! had travelled to Forst to try and conivice Cluster’s Dieter Moebius and Hans-Joachim Roedelius to join Neu! Instead, an entirely new band, Harmonia, was born. They released two classic albums Musik von Harmonia and Deluxe. They feature in what’s my box set of 2015, Complete Works, which was released by Grönland Records in November 2015.
There’s only one way to describe the Complete Works, and that’s luxurious and lovingly compiled. It oozes quality from the moment you unwrap the box. Inside the Complete Works box set features five digitally remastered LPs, including: Musik Von Harmonia, Deluxe, Tracks and Traces, Live ’74 and an album of unreleased material. Then there’s a thirty-six page booklet, download code and a copy of an original tour poster.” It’s a fitting reminder of a groundbreaking group, Harmonia, who have influenced several generations of musicians.
Now, just over forty years after the release of Musik Von Harmonia and Deluxe, the music of Harmonia is more popular than ever. This is ironic. Michael Rother remembers how: “the seventies weren’t a good time for Harmonia. Our music was ignored, it was tough to survive during this period.” Now however, things are very different for Harmonia. They’re quite rightly regarded as one the giants Kominische music. Harmonia are regarded as just as important, influential and innovative as Can, Kraftwerk and Neu! A reminder of why can be found in the Complete Works box set, which celebrates and documents Harmonia’s illustrious career.
THE 33 BEST BOX SETS OF 2105-PART TWO.
THE 33 BEST BOX SETS OF 2105-PART TWO.
HAWKWIND-THIS IS YOUR CAPTAIN SPEAKING…YOUR CAPTAIN IS DEAD.
Since 1969, the various lineups of Hawkwind have released twenty-seven studio albums, ten live albums and fifteen compilations. That’s not forgetting the recently released eleven disc box set, This Is Your Captain Speaking…Your Captain Is Dead. It was recently released by PLG, and features Hawkwind’s first four studio albums, three live albums and a singles compilation. Mainly, This Is Your Captain Speaking…Your Captain Is Dead documents the period between 1969 and 1974.
Howkwind were musical trailblazers who inspired several generations of bands with albums like X In Search of Space and Hall of the Mountain Grill. Then there’s Hawkwind’s 1970 eponymous debut album and their third album Doremi Fasol Latido. Both are underrated, and deserve to be reappraised. The This Is Your Captain Speaking…Your Captain Is Dead box set allows music fans to do so. They’ll also be able to discover Hawkwind’s performance at the Greasy Truckers Party, and what was one their most ambitious live albums, The Space Ritual Alive. That’s not the end of the story.
As an added bonus, The 1999 Party (Live At The Chicago Auditorium) and the Time and Stars: The Singles have been included on the This Is Your Captain Speaking…Your Captain Is Dead box set. It’s the perfect introduction to what many people regard as the Hawkwind’s glory days.
HOLGER CZUKAY-ELEVEN YEARS INNERSPACE.
On Record Store Day, suddenly, everyone heads for their local record store, where there’s lots of goodies available. This year, this included Holger Czukay’s Eleven Years Innerspace which was released by Grönland Records.
Eleven Years Innerspace features six songs Holger Czukay recorded eleven years ago, when he began work at the legendary Innerspace Studios. The songs on Innerspace are reworking of songs Holger recorded earlier on, in his long and illustrious career. These tracks are reinvented by Holger, who takes something old, and transforms it into something new. In the process, he redefines and reimagines the music. The result is something new and innovative. It’s as if Holger dawns the role of a sculptor, taking a piece of music and reshapes it, moulding it into something that he never originally imagined. Gradually, it takes on new form and meaning, as Holger takes the music and reshapes it.
Eventually, it becomes the music on Eleven Years Innerspace. It’s a reminder of a true musical visionary, who is responsible for some of the most ambitious, innovative and inspirational music in the history of music, Holger Czukay musical alchemist.
IRMIN SCHMIDT-ELECTRO VIOLET.
Since Can disbanded in 1979, Irmin Schmidt has established a reputation as the most prolific former member of Can. Irmin has written the scores for over 100 films and television programs. Some of this music features in the recently released Irmin Schmidt box set Electro Violet.
This twelve disc box set, which was released by Mute, features not just the five volumes of the Film Musik Anthology, but a previously unreleased sixth volume. Then there’s Irmin Schmidt’s first four solo albums, 1981s Toy Planet, 1987s Musk At Dusk and 1991s Impossible Holidays. Then there’s Irmin Schmidt’s two collaborations with Kumo, 2001s Master Of Confusion and 2008s Axolotl Eyes. The final disc in the Electro Violet box set is opera Gormenghast, which was released in 2000, and was based on Mervyn Peake’s classic novel. Gormenghast shows the versatility of Irmin Schmidt, the classically trained musician who become part of Can, one of the most successful bands of the twentieth century, and then embarked upon a successful solo career.
The Electro Violet box set is a celebration of the first five decades in Irmin Schmidt’s post can career. Throughout what has been a long and illustrious career, Irmin Schmidt has released music that’s ambitious, innovative, inspiring and influential. Irmin Schmidt is a musical visionary, who as a member of Can, and as a solo artist, has released groundbreaking music that was often, way ahead of the curve. A reminder of this is the music in the twelve disc Electro Violet box set, which like the music of Can, will forever influence and inspire further generations of musicians.
JETHRO TULL-MINSTREL IN THE GALLERY-40TH ANNIVERSARY: LA GRANDE EDITION.
By the time Jethro Tull began work on their eighth album Minstrel In The Gallery, they were one of the biggest selling groups of the seventies. Especially in America. Five of their albums had been certified gold, while 1971s Aqualung was certified triple-platinum. In America alone, Jethro Tull had sold 5.5 million albums by 1974. Jethro Tull were also enjoying a glittering career in Britain and Germany. However, when the reviews of Minstrel In The Gallery were published, it looked as if Jethro Tull had taken a wrong turning.
Rolling Stone called the album “instantly forgettable.” Despite that, Minstrel In The Gallery sold 500,000 in America and was certified gold. Since its release in 1975, Minstrel In The Gallery has been reappraised. Belatedly, Jethro Tull are receiving the credit they deserve for Minstrel In The Gallery. It’s far from the derivative album that some critics accused Jethro Tull of producing. Instead, it’s another groundbreaking album of genre-defying music. Minstrel In The Gallery saw Jethro Tull continue to create music that was cerebral, cinematic, dramatic and ethereal. Elements of classic rock, classical, folk, jazz are combined by Jethro Tull on Minstrel In The Gallery. Together, they play their part in what’s Jethro Tull’s oft-overlooked, prog rock classic Minstrel In The Gallery.
Chrysalis released Minstrel In The Gallery-40th Anniversary-La Grande Edition in 2015. It’s a fitting celebration of what’s now regarded as one of Jethro Tull’s finest albums. Disc one features Steven Wilson stereo mix of Minstrel In The Gallery, while disc two features a live show recorded in Paris, in July 1975. Then there’s two DVD’s of 5.1 DTS and AC3 Dolby Digital mixes. That’s not forgetting the lavish eighty page book. However, back in 1975, very few critics thoughtMinstrel In The Gallery was worthy of a celebration. This poses a question, who did the critics get things so wrong?
JETHRO TULL-TOO OLD TO ROCK ’N’ ROLL: TO YOUNG TO DIE!
After the the Minstrels In The Gallery tour ended, Jethro Tull set about recording their ninth album, Too Old To Rock ’N’ Roll: To Young To Die, which was recently released as a box set by PLG. Too Old To Rock ’N’ Roll: To Young To Die was another concept album, where Jethro Tull told the story of an ageing rock star, who found fame when musical tastes changed. The ten tracks on Too Old To Rock ’N’ Roll: To Young To Die had been written by Ian Anderson. For Jethro Tull Too Old To Rock ’N’ Roll: To Young To Die proved the end of an era.
Too Old To Rock ‘n’ Roll: Too Young to Die was the last concept album Jethro Tull released. By then, they were masters of the concept album. That’s why, in 1976, Jethro Tull were one of the biggest progressive rock bands in the world. However, Too Old To Rock ‘n’ Roll: Too Young to Die had failed to sell in the same quantities as their previous albums. That’s despite the undoubtable quality of music on Too Old To Rock ‘n’ Roll: Too Young to Die. It’s one of the most underrated albums in Jethro Tull’s illustrious back-catalogue. However, Too Old To Rock ‘n’ Roll: Too Young to Die had the misfortune to be released just as punk was born.
Following Too Old To Rock ‘n’ Roll: Too Young to Die, Jethro Tull’s fortunes improved. There was a reason for this. Jethro Tull reinvented themselves musically. They had always been musical pioneers, and weren’t content to stand still. Instead, they experimented musically, and pushed musical boundaries to their limit over the next few years. This just happened to coincide with an upturn in Jethro Tull’s fortunes. It seemed the new breed of gunslinger critics were wrong, and Jethro Tull had a glittering future ahead of them. However, Too Old To Rock ‘n’ Roll: Too Young to Die is a reminder of their glory years, when progressive rock was king.
JOHN COLTRANE-A LOVE SUPREME-THE COMPLETE MASTERS BOX SET.
On December 9th 1964, four musicians made their war to the Van Gelder Studio, on 445 Sylvan Avenue, Englewood Cliffs, New Jersey. They were scheduled to record an album with renowned jazz producer Rudy Van Gelder. He was a veteran of countless recordings, and had worked with some of the biggest names in jazz. This included John Coltrane, who was about scheduled to record a new album, which would became a classic jazz album, A Love Supreme. It was reissued by Decca, as a three disc box set, to celebrate the fiftieth anniversary of the release of A Love Supreme.
Disc one of A Love Supreme-The Complete Masters features the original album, plus original mono reference masters of Pursuance and Psalm. Then on disc two, there’s eleven bonus tracks. They’re a mixture of alternate takes, including a version of Acknowledgment with a false start, and versions of two other takes of Acknowledgment with vocal overdubs. Essentially, these tracks offer the listener to see how the track evolved, right through to what it ultimately became on disc one. However, for many John Coltrane completists, disc three is musical gold. It features the John Coltrane quartet playing A Love Supreme in its entirety, live in Juan-les-Pins, France. This performance has entered jazz folklore, and is a very welcome addition to A Love Supreme-The Complete Masters. Sadly, just two years after this legendary performance, John Coltrane died.
It’s forty-eight years since John Coltrane died. He was in the prime of his musical life, and could’ve and should’ve gone on to be at the forefront of jazz, as the genre continued to reinvent itself. John Coltrane at spent his career as a pioneer of jazz, ensuring the genre neither stood still, nor became irrelevant. There was no chance that jazz was going to go the way of the blues. Not with musical pioneers like John Coltrane, Miles Davis and Ornette Coleman producing groundbreaking music. Sadly, John Coltrane never got the opportunity to embrace the change in jazz that took place during the late-sixties and early seventies. However, Joh Coltrane left behind a rich musical legacy, including A Love Supreme.
KEITH ROWE/JOHN TILBURY-ENOUGH STILL NOT TO KNOW.
There aren’t many collaborations that have lasted five decades. However, Keith Rowe and John Tilbury’s has. They first began working together in the mid-sixties, when they were members of AMM and then The Scratch Orchestra. Since then, Keith Rowe and John Tilbury have formed an uncanny musical bond. They’re like a musical yin and yang. One seems to know just what the other is thinking, and about to do. They anticipate each other’s next move. What follows is like a game of musical chess, except there’s no winner. That’s been the case with these two legends of experimental music. They’ve pioneered experimental music, with their unique brand of improvised music. It features on their latest project Enough Still Not To Know. It’s a four disc box set which was released on Sofa Music in October 2015. This is the soundtrack to a captivating project.
Enough Still Not To Know features just Keith Rowe and JohTilbury. However, Enough Still Not To Know was produced by visual artist Kjell Bjørgeengen. That’s not surprising. The music on Enough Still Not To Know’s four discs will provide the soundtrack to one of Kjell Bjørgeengen’s video installations. That music was recorded at City University’s Music Studios between the 17th and 18th July 2014. That’s where four lengthy soundscapes were recorded. The four discs, entitled Part One, Part Two, Part Three and Part Four total three-and-a-half hours. During that period, the music drifts in and out. Keith and John aren’t afraid to leave sometimes lengthy periods of silence. They allow for reflection and contemplation. This works away from the video installation, and allows the listener to reflect and contemplate on the travails of life.
Sometimes the music on Enough Still Not To Know is understated and ethereal. Other times it reaches a crescendo and dissipates, leaving behind a mere memory of what’s gone before. Then there’s silence. This would frighten most musicians. They feel the need to fill every second. Not Keith and John. This pregnant pause allows the listener’s brain to reboot, before further waves of cinematic music ebb and flow. All the time, music washes over the listener. They absorb and immerse themselves in the music. However, it’s also possible for Enough Still Not To Know to become the backdrop to daily life, and drop in and out when possible. As you do, distant bells chime, surprises are sprung and Keith and John take the listener on a voyage of discovery. Sounds gently implode and explode. There’s twists and turns aplenty. Constantly, there’s atonal changes. Similarly, there’s constant changes in the musical landscape. It seems to be constantly evolving. The music veers between ambient, beautiful, ethereal and understated, to captivating, cinematic and even intriguing and intense. Sometimes, there’s an element of suspense, as Keith and John spring a surprise with their rich musical palette. They continually tease and tantalise the listener on this epic musical journey.
LED ZEPPELIN-CODA.
After the death of drummer John Bonham, the remaining members of Led Zeppelin wanted to cal time on the band. They didn’t want to go on without their fallen comrade. There was a problem though,
Led Zeppelin still owed Atlantic Records an album. This dated back to when Led Zeppelin formed their Swan Song label in 1974. However, this wasn’t the official reason.
According to Jimmy Page, the three members of Led Zeppelin had noticed how popular bootleg recordings were. They were selling in vast quantities. Given they were unauthorised releases, Led Zeppelin weren’t benefiting from the releases. So the remaining members of Led Zeppelin decided that they should reissue some of the unreleased material in the vaults. Led Zeppelin had been together for eleven years before John Bonham’s death, so there was plenty of unreleased material. There was more than enough for one album. That was apparent on Warner Bros’ recent reissue of Coda.
Not only does Coda feature the eight tracks on the original version of Coda, but there’s eight tracks on disc two, and another seven tracks on disc three. Forty-three years later, and the Led Zeppelin vaults are the gift that keep on giving. Back in 1982, John Paul Jones saw the release of Coda as an opportunity for Led Zeppelin to showcase some of the hidden gems that lay unreleased in the vaults. While Coda was hardly Led Zeppelin’s finest hour; just like In Through The Out Door, Coda featured fleeting moments of genius. This makes Coda a worthy addition to any record collection, and a reminder of one of the rock’s unholy trinity’s hell raising days and classic years.
MAGMA-KOHNZERT ZUND.
The Köhnzert Zünd box set is a welcome reissue for fans of Magma, and is the perfect companion to the Studio Zund twelve disc box set. When Studio Zund was released in 2009, Magma fans wondered why there was no live material in the box set? Now they know. Even back then, it looks like plans were afoot to release the definitive box set of Magma’s live material. So, what can be found in the the twelve-disc Köhnzert Zünd box set?
One can’t help be impressed by the sculptural quality of the Köhnzert Zünd box set. It’s akin to a mini work of art. A great deal of time and effort was put into the design of Köhnzert Zünd. It puts many of the cheaply made box sets to shame. Jazz Village deserve to be congratulated on the design of Köhnzert Zünd box set. Without doubt, Köhnzert Zünd features Magma’s best live albums, and a bit more. However, copies of Köhnzert Zünd are limited
Fans of Magma will have to be quick.The Köhnzert Zünd box set is a limited edition release. Only 5,000 copies are available of the definitive retrospective of Magma’s live career. Köhnzert Zünd is the perfect companion to the Studio Zund box set, and shows why after forty-six years, twelve studio albums and countless changes in lineup, that Magma are still one of France’s progressive rock Kings.
MILES DAVIS AT NEWPORT 1955-1975-THE BOOTLEG SERIES VOLUME 4.
Miles Davis’ hard bop era had finished in 1954, and 1955 was the start of a new era. It featured Miles Davis’ first great quintet. As Miles played trumpet, the rhythm section featured drummer Philly Joe Jones and bassist Paul Chambers. They were augmented by pianist Red Garland and tenor saxophonist John Coltrane. This all-star lineup was would become part of jazz history. However, this wasn’t the band that took to the stage at the second Newport Jazz Festival on 17th July 1955. Excerpts from this performance feature on Miles Davis At Newport 1955-1975-The Bootleg Series Volume 4, which was released as a four disc set by Sony Music in 2015. It documents the first twenty years of Miles Davis thirty year association with the famous festival.
Miles Davis was associated with the Newport Jazz Festival until 1985. Their relationship had lasted thirty years, and during that period, Miles Davis continued to reinvent his music. Continually, he innovated and pushes musical boundaries. That was the case right up until his death in 1991. His career had spanned five decades, during which Miles Davis released forty-eight studio albums. This include classic albums like 1957s Birth Of The Cool and ’Round About Midnight, 1959s, Kind Of Blue and 1970s Bitches Brew. Tracks from each of these albums feature on Miles Davis Live At Newport 1955-1975-The Bootleg Series Volume 4, which document and celebrates the first twenty years of Miles Davis association with the Newport Jazz Festival.
THE 33 BEST BOX SETS OF 2105-PART THREE.
THE 33 BEST BOX SETS OF 2105-PART THREE.
MILES DAVIS-BITCHES BREW 40TH ANNIVERSARY COLLECTORS EDITION.
Miles Davis’ recording career began in 1951, when he released his debut album The New Sounds. Soon, Miles Davis was establishing a reputation as a prolific, and innovative musician. He released a further forty-three albums between 1951 and 1969. This included classics like 1957s Round About Midnight and 1959s Kind Of Blue. While both of these albums would become classic albums, neither sold in huge quantities. Certainly not enough to result in a gold or platinum disc. That was all about change when Miles Davis released his forty-fifth album, Bitches Brew; which has just been reissued as a four disc 40th Anniversary Collectors Edition.
Ever since the release of Bitches Brew, it has been recognised as a landmark album. This musical tour de force is now perceived as one of the most important albums in the history of jazz. Bitches Brew was a game-changer. Suddenly, jazz’s rhythmic rules were rewritten. Anything was possible. Rhythm sections grew in size. Suddenly, two drummers, bassists or pianists were acceptable. The use of effects were embraced, transforming the recording studio into an extra instrument. Similarly, editing was used as part of the creative process. Here, Miles drew inspiration from the musique concrète composers of the fifties and sixties. This was just another piece in the musical jigsaw that was Bitches Brew. It rejuvenated interest in jazz.
By 1970, many critics and record buyers regarded jazz as yesterday’s music. It was the music their parents and grandparents listened to. That was until Miles Davis released Bitches Brew, the second of his electric albums. Bitches Brew was a game-changer. Fusion as the genre became known, proved to be happy a marriage between jazz and rock. Before long, fusion was the most popular genre of jazz. A generation of jazz and rock musicians collaborated, resulting in jazz that was commercially successful and critically acclaimed. It’s also music that’s stood the test of time. A copy of the Bitches Brew 40th Anniversary Collectors Edition deserves to find a place in the record collection of anyone interested in rock or jazz, as it’s the definitive way to discover this groundbreaking classic.
MOGWAI-CENTRAL BELTERS.
2015 finds post rock pioneers Mogwai celebrating their twentieth anniversary. A lot has happened in that twenty year period. Mogwai have released eight studio albums and three soundtracks. These albums have been critical acclaimed and commercially successful not just in Britain, but in America. That’s why nowadays, Mogwai are regarded as Scottish music’s elder statesmen. So it was fitting when Mogwai released a three disc retrospective box set, Central Belters, on Rock Action Records. Central Belters tells the story of twenty years of Mogwai.
For the last twenty years, Mogwai’s music has been ambitious, bold, challenging, influential and innovative music. It’s full of nuances, subtleties and surprises as Mogwai seamlessly combine musical genres. They fuse ambient, avant garde, classic rock, electronica, experimental, indie rock, psychedelia and Krautrock, to create their unique post rock sound. All the time, Mogwai continue to push musical boundaries to their limits and even sometimes, way beyond. Mogwai have never been willing to stand still. The Mogwai Young Team’s music has continued to evolve, and doubtless will continue to do so.
Glasgow’s famous five are due a new musical adventure. It’s nearly two years since the release of Rave Tapes. Hopefully, Mogwai are hard at work in their Castle Of Doom studios on their next adventure. This isn’t the type of adventure Enid Blyton’s Famous Five once enjoyed. There’s no picnics, lemonade and bicycle trips. Instead, it’s a bit more edgy and gritty.That’s the case with Central Belters Mogwai’s career retrospective.
ORNETTE COLEMAN-BEAUTY IS A RARE THING.
It was on June 11th 2015, that Ornette Coleman passed away, aged eighty-five. Music had lost a true legend, whose album Free Jazz: A Collective Improvisation lent its name to a musical genre, free jazz. It’s the genre that Ornette Coleman became synonymous with, and features on the six discs within the Beauty Is A Rare Thing box set. It features an one of jazz’s most innovative and inventive musicians and composers in the history of jazz. Bold, and unafraid to produce cutting-edge music, Ornette Coleman produced music that was challenging music, music that challenged musical norms.
Realising musical rules were there to be broken, Ornette Coleman set about breaking these rules. However, Ornette Coleman knew when to break the rules. By breaking these rules, Ornette Coleman created some of the most inventive, influential and innovative music in the history of jazz. This was music that fused various musical genres and influences. Bebop, free-jazz, blues, avant-garde and experimental music all influenced Ornette Coleman’s music. These genres and influences were thrown into the melting pot of one of the most creative and inventive musicians of the twentieth century. A reminder of this, us Beauty Is A Rare Thing, which was released by Rhino, and features the best music of Ornette Coleman’s long and illustrious career.
SLY AND THE FAMILY STONE-LIVE AT THE FILLMORE EAST-OCTOBER 4TH AND 5TH 1968.
For whatever reason, Bill Graham didn’t see what other people saw in Sly and The Family Stone. Initially he wasn’t won over by their unique brand of dance music. As a result, he was reluctant to book Sly Stone and his band. Eventually, though, Bill Graham was persuade to go and see Sly and The Family Stone live. Having seen Sly and The Family Stone in full flight this changed his mind.
So much so, that Bill Graham booked Sly and The Family Stone to open for Eric Burdon and The Animals at four concerts and the Fillmore East in October 1968. These four concerts were recorded, but never released. That’s until Live At The Fillmore East-October 4th and 5th 1968 was released by Sony Music as a four disc box set during 2015. It’s a reminder of what Sly and The Family Stone once were.
They were one of the most successful bands of their generation, releasing five albums, which sold over ten million copies. This run of commercial success and critical acclaim began with Stand, which was certified platinum, and ended with Small Talk, which was certified gold. In between, Sly and The Family Stone were one of the most groundbreaking groups of the late sixties and early seventies. Their music influenced several generations of musicians, and much of it is timeless.
SPOOKY TOOTH-THE ISLAND YEARS.
Spooky Tooth are one of many bands that never got the credit they deserve. Their career was documented on the nine disc Spooky Tooth box set, The Island Years which was released by Universal Music Group. The Island Years features Art’s album Supernatural Fairy Tales and Spooky Tooth’s seven studio albums. Then on the ninth and final disc, there’s a live recording, Live In Oldenburg 1973. This recording has never been released before, and makes its debut on The Island Years, which documents the seven year career of Spooky Tooth.
Unlike many box sets, The Island Years is crammed full of bonus tracks. Every album has numerous bonus tracks tacked onto the end. This makes The Island Years the most comprehensive retrospective of Spooky Tooth’s career. Especially since it features Art’s one and only album Supernatural Fairy Tales. Along with Spooky Tooth’s seven studio albums and the previously unreleased live recording, Live In Oldenburg 1973, The Island Years is the most comprehensive overview of Spooky Tooth’s sometimes turbulent seven year career. Despite the changes in lineup and breakups, Spooky Tooth managed to make some of the best, most memorable rock music of the late-sixties and early-seventies.
THE COMPLETE HISTORY OF THE BLUES 1920-1962.
The Complete History Of The Blues 1920-1962 is a four disc box set, featuring 100 tracks. For a newcomer to the blues, it’s the perfect introduction to what is, without doubt, one of the most important musical genres ever. Its the foundation which popular music was built in. Without the Kings and Queens of the blues on The Complete History Of The Blues 1920-1962, modern music would be very different.
Any students of modern music will tell you that. Blues styles, forms, melodies and the blues scale have influenced numerous musical genres. This includes jazz and rock ’n’ roll. Then there’s call and response, which is prominent in many musical styles, including soul music. Finally, there’s the use of the blue note, whose expressive, worried sound is at the heart of the blues. It would then go on to influence jazz, and then many major musical genres. These are just a few of the reasons that the blues is the foundation of modern music. That’s why we should never forget blues music, and its legacy.
Part of the blues’ legacy is the music on The Complete History Of The Blues 1920-1962. This box set, features four discs, featuring twenty-five tracks. Each disc has a theme and features what can only be described as the great and good of blues music. For either the newcomer to blues, or a veteran of blues’ compilations The Complete History Of The Blues 1920-1962 is essential listening.
THE DOOBIE BROTHERS-THE WARNER BROS. YEARS 1971-1983.
Between 1972 and 1980, The Doobie Brothers could do no wrong. They had released eight albums, which sold in excess of ten million copies. During this period, Tom Johnson had been replaced by Michael McDonald, and sadly, The Doobie Brothers became a blue-eyed soul band. This was very different to the Tom Johnston. Both the Tom Johnston and Michael McDonald years feature on ten disc box set The Warner Bros. Years 1971-1983, along with their 1983 live album Farewell Tour.
The Warner Bros. Years 1971-1983 documents The Doobie Brothers’ glory years. This will means different things to different people. That will depend if you prefer the guitar driven boogie of the Tom Johnston years, or the blue-eyed soul of the Michael McDonald years. Both feature on The Doobie Brothers’ ten disc box set, The Warner Bros. Years 1971-1983, which is the definitive collection of The Doobie Brothers.
THE JIMI HENDRIX EXPERIENCE BOX SET.
The word legend is one of the overused in music, and should be reserved for the creme de la creme of music. That would definitely include Jimi Hendrix, who achieved more in twenty-seven short years than many musical journey achieve in seventy years. Otherworldly describes Jimi Hendrix. It was as if he’d descended down from another world, and was during his short time on planet music, was determined to reinvent how to play the guitar. For the next few years, Jimi Hendrix took music by storm. The world was awestruck as this musical visionary, and shaman took the guitar to another level. A reminder of that is the four disc The Jimi Hendrix Experience box set.
The Jimi Hendrix Experience box set features music recorded between 1966 and the 18th September 1970. During that period, Jimi Hendrix’s star was in the ascendancy. He was the opposite of tired, staid musicians like B.B. King, who built a career on the same sound. Right up until earlier in 2015, B.B. King was phoning in performances of the same tired and predictable songs. Jimi Hendrix would never have done that.
Instead, Jimi Hendrix was an innovator who if he’d lived, would’ve been at the forefront of music, constantly moving his sound forward. Sadly, Jimi Hendrix’s career was cut tragically short, and music was robbed of his genius when he was just twenty-seven. At least Jimi Hendrix never grew old, bloated and predictable. Forever Jimi Hendrix be twenty-seven, and the a flamboyant, maverick musician whose genius had audiences spellbound when he was with The Jimi Hendrix Experience.
THE JIMI HENDRIX EXPERIENCE-FREEDOM: ATLANTA POP FESTIVAL.
On the 4th of July 1970, Jimi Hendrix journeyed 100 miles south of Atlanta. His destination was the second Atlanta International Pop Festival. It was being billed as the second Woodstock, and the Jimi Hendrix Experience were about play a starring role.
When the Jimi Hendrix Experience arrived at the Atlanta International Pop Festival, they were greeted by a crowd estimated to be between 300,000-400,000. What is now remembered as the “last great rock festival” was an unlikely event for Jimi Hendrix to appear at. Byron, in Atlanta was in the heart of old the Deep South. This was Klan country. Racial tensions were always threatening to bubble over. The organisers of the 1970 Atlanta Pop Festival were well aware of this. So they made the conscious decision that the star of the show should be someone who appealed to everyone. This was Jimi Hendrix, whose performance that day, features on the Freedom: Atlanta Pop Festival box set.
That day, The Jimi Hendrix Experience wrote heir place into music history by playing a starring role in what’s now remembered as the “last great rock festival.” Jimi had united a region that had been divided. His message of unity, universal love and Freedom had him friends on both sides of the racial divide can be heard on the Freedom: Atlanta Pop Festival box set. It features one of the most influential and innovative guitarists of his generation, Jimi Hendrix.
THE VELVET UNDERGROUND-LOADED BOX SET.
Having found themselves without a record company, The Velvet Underground’s luck changed when they signed to Atlantic Records. They were told to record an album: “loaded with hits.” The result was Loaded, the last Velvet Underground to feature Lou Reed, the group’s creative force. It was the end of era for The Velvet Underground. They essentially died on on 23rd August 1970, when Lou Reed left.
The Velvet Underground were like a rudderless ship floundering in choppy musical waters. Loaded was resequenced and Lou Reed alleged, some of the song had been edited, Despite that, Loaded, like 1967 with The Velvet Underground and Nico, 1968s White Light/White Heat, 1969s The Velvet Underground are all classic albums. That’s why it’s fitting that Loaded was reissued by Rhino as a four disc box set to celebrate the forty-fifth anniversary of this classic album’s release.
Despite failing commercially in 1970, Loaded is nowadays, regarded as a classic album; and The Velvet Underground are remembered as one of the most important, influential and innovative bands in the history of music. Their musical legacy is one of the richest in music.
THE 33 BEST BOX SETS OF 2105-PART FOUR.
THE 33 BEST BOX SETS OF 2105-PART FOUR.
THE VELVET UNDERGROUND-THE MATRIX TAPES BOX SET.
For a while, The Matrix had one of The Velvet Underground’s favourite venues on The West Coast. It seemed to bring out the best in The Velvet Underground. So there was no better place for The Velvet Underground to record a live album. These two nights at The Matrix featured The Velvet Underground at their very best. However, until very recently, only some of live at The Matrix album has been released by UMC as a four disc box set.
The two nights at The Matrix, are documented on The Matrix Tapes box set. This four disc box set, features forty-two tracks. There’s Velvet Underground classics, and hidden gems like New Age on The Matrix Tapes. It’s regarded by many critics as as the definitive Velvet Underground live album. Especially now, that it’s available in it entirety.
That’s never been the case before. That’s despite The Matrix Tapes being recorded forty-six years ago. Since then, thirty-three of the tracks have found their way onto various Velvet Underground reissues. Somewhat belatedly, this legendary live album can be heard in its entirety, and features one of the most innovative and influential bands in the history of music, The Velvet Underground. They’re in full flight, reinventing classics and hidden gems on what’s considered a legendary live album The Matrix Tapes.
TONY BANKS-A CHORD TOO FAR BOX SET.
Too often, Tony Banks is referred to as “the keyboard player from Genesis.” This is doing the sixty-five year old a huge disservice. Tony Banks is a multi-instrumentalist, whose just as comfortable playing guitar as his playing piano, Hammond organ, synths or Mellotron. Seamlessly, Tony Banks could switch between musical instruments. That and his ability to innovate, played an important part in Genesis’ success. However, while Genesis dominated a large part of Tony Banks’ career, it’s just part of the story.
By the Genesis split-up in 1998, after thirty-one years together, Tony Banks was already an established solo artist. He released his debut album A Curious Feeling in 1979. After that, Tony Banks released another nine albums. They showed the different sides to Tony Banks. As well as solo albums, Tony Banks released soundtracks and orchestral albums. Then there’s the albums Tony recorded with his Bankstatement and Strictly Inc. projects. These albums showed Tony Bank’s versatility and ability to innovate. Tracks from each of these ten albums feature on the Chord Too Far four disc box set.
A Chord Too Far is the perfect introduction to Tony Banks’ nine album career. It goes beyond Tony Banks’ solo career, looking at soundtracks and orchestral works. The forty-eight tracks feature some of the best music that Tony Banks has released. Other tracks, like the albums they’re taken from will divide opinion. This includes 1986s Soundtracks and 1995s Strictly Inc. Neither were Tony Banks most successful, nor according to critics, his finest hour. However, tracks from both albums were included, and allow the opportunity listeners to reappraise both albums. They’re part of the musical journey that is Tony Banks’ career. It’s documented and celebrated on A Chord Too Far. This four disc box set, celebrates the career of a pioneering musician, who continually, pushed musical boundaries and by his own admission, sometimes took things, A Chord Too Far.
VAN HALEN-DELUXE.
In March 2015, Rhino released a four disc box set of Van Halen’s albums, Deluxe. It’s the perfect introduction to Van Halen. The first disc in Deluxe is their 1978 eponymous debut album. This was the album that launched one of the hardest rocking bands of the seventies and eighties.
By 1984, Van Halen were one of the biggest bands on planet rock. They were about to become even bigger when they released 1984. It featured Van Halen were at their hard rocking best, unleashing classics like Jump, Panama and Hot For Teacher. It seemed that Van Halen could do no wrong. That proved to be the case. Right through to 1995, enjoyed a glittering, multi-platinum career. That’s despite fall-outs, changes in lineup and a love of the rock ’n’ roll lifestyle. Somehow, Van Halen were still rocking in 2013, when they recorded the third album in the Deluxe box set, Tokyo Dome Live in Concert. It’s a reminder of what Van Halen in full flight sounds like. For a newcomer to Van Halen, it’s the perfect addition to Van Halen and 1984. These three albums are the perfect primer to Van Halen, who have enjoyed an almost unrivalled longevity.
So that’s the story of the best box sets of 2015. There were plenty to choose from. I started with a long-list, and gradually, that long-list became the shortlist. Even then, a couple of box sets didn’t make the cut. The thirty-three that I’ve chosen, are the best thirty-three box sets of 2015. However, the winner by far had to be the Harmonia vinyl box set, Complete Works.
Complete Works was released by Berlin based Grönland Records in November 2015, is a luxurious and lovingly curated box set. It’s flawless, and stands head and shoulders above each and every box set released during 2015. This musical Magnus Opus set the bar for future box sets.
THE BEST 55 NEW ALBUMS OF 2015-PART ONE.
THE BEST 55 NEW ALBUMS OF 2015-PART ONE.
As I continue my look back through 2015, we get to the best albums of 2105. Usually, I choose fifty albums. This year was such a good year for music. So much so, that I increased the list to fifty-five. The artists represented, come from all over the world. This includes Scotland, England, Norway, Sweden, Germany, America and . It’s one of the most eclectic lists of recent years. Equally eclectic is the music. Numerous genres are represented here. That’s no exaggerating. There’s something for everyone, and each and every album is a worthy addition to any record collection. So without further ado, here is my fifty-five best albums of 2015 in A-Z order.
ADMIRAL FALLOW-TINY REWARDS.
Admiral Fallow were formed in 2007, by Glasgow based singer-songwriter Louis Abbott. They released their debut album Boots Met My Face in June 2009. Nearly three years later, Admiral Fallow released their sophomore album Tree Bursts In Snow in May 2012. Since then, it’s all been quiet on the album front.
That was until Admiral Fallow returned with Tiny Rewards in May 2015. It was released on the Canadian label Nettwerk. Tiny Rewards marked a welcome return from Admiral Fallow. It’s a truly captivating and eclectic, career defining album from Admiral Fallow.
ANNELI DRECKER-ROCKS AND STRAWS.
In July 2015, Anneli Drecker released her long awaited, and much anticipated third solo album, Rocks and Straws on Rune Grammofon, It marked a welcome return from Anneli Drecker. Her recording career began twenty-eight years ago, with Bel Canto when she was just seventeen. Since then, Anneli Drecker released six albums with Bel Canto, worked with Röyksop and released her third album Rocks and Straws.
For Rocks and Straws, Anneli Drecker penned eleven new songs. These songs are based on lyrics by cult poet Arvid Hanssen, and were translated into English by artist and writer Roy-Frode Løvland. Arvid Hanssen´s poems have been strongly influenced by the mysterious and powerful nature of this arctic region, including the works of writer of Knut Hamsun. Despite the lyrics being based on Arvid Hanssen’s lyrics, the songs on Rocks and Straws are personal to Anneli Drecker. She describes them as an “ode” to the town and region she was born and brought up. Helping Anneli Drecker, who also produced Rocks and Straws, were some of the great and good of Norwegian music.
The result was a captivating album that showcased Anneli Drecker’s ethereal vocal. It’s complimented by understated, acoustic arrangement. They frame Anneli Drecker’s vocals, as effortlessly, she breathes life, meaning and hope into lyrics. Other times, her vocal veers between tender, dramatic and powerful. Occasionally, Anneli Drecker’s vocal and tinged with sadness. Always, it’s heartfelt and impassioned. That’s because each of the eleven songs on Rocks and Straws are personal to Anneli Drecker. They’re about Anneli Drecker’s life and formative years. These years shaped Anneli Drecker, and made her what she is now. That’s one of the most talented singers in Europe.
AS THE TIRED TRAINS CROSS EUROPE-LUCID MOMENTS.
One of the real finds of 2015 was As The Tired Trains Cross Europe’s debut album Lucid Moments. It was released on CD and heavyweight vinyl by Big Pink Records and showcases a truly talented singer-songwriters. So much so, that great things are forecast from As The Tired Trains Cross Europe. No wonder.
As The Tired Trains Cross Europe is the perfect showcase for the the multi-talented Vegard Eggum. He wrote, recorded, produced and mixed the ten tracks on Lucid Moments. It’s a musical roller coaster, where As The Tired Trains Cross Europe flits between and combines elements of country, electronica, folk, jazz, Krautrock, Nordic Wave, pop, post rock, psychedelia, reggae and rock. The result is a musical journey that all music loves should experience and embrace.
Over Lucid Moments’ ten tracks, Vegard Eggum becomes storyteller and troubadour. He embraces these roles, delivering vocals that are variously cathartic, heartfelt, hopeful, hurt-filled, impassioned, needy and soul-baring. Lyrics come to life, as Vegard Eggum lives them, on Lucid Moments, the debut album from his latest musical vehicle, As The Tired Trains Cross Europe. Essentially, Lucid Moments is a musical journey through the mind of musical adventurer and explorer Vegard Eggum.
ASAMISIMASA PLAYS THE MUSIC OF ØYVIND TORVUND.
Øyvind Torvund was a composer that Asamisimasa had long admired and been inspired by. So, Asamisimasa decided to record an album of Øyvind Torvund’s compositions. The result is Asamisimasa Plays The Music Of Øyvind Torvund will be released by Norwegian Aurora Contemporary on 11th September 2015. However, this is no ordinary album.
Asamisimasa Plays The Music Of Øyvind Torvund features four lengthy soundscapes. Two of them, feature several movements. Wilibald Motor Landscape is a five piece movement, while Neon Forest Space features seven movements. Both tracks tell stories, and have a cinematic quality. Just like the two lengthy tracks, Wolf Studies and Plastic Waves, these tracks see Asamisimasa a disparate and eclectic selection of musical genres and influences.
During the four tracks on Asamisimasa Plays The Music Of Øyvind Torvund, elements of ambient, avant-garde, classical, electronica, experimental, free jazz, industrial post rock, psychedelia and rock melt into one. Somehow, though, this ambitious and pioneering fusion of disparate musical genres hangs together, and make perfect musical sense.
ASTRID WILLIAMSON-WE GO TO DREAM.
Despite just releasing her sixth album, We Go To Dream, Astrid Williamson is still one of music’s best kept secrets. That’s despite a career that’s spanned three decades. Sadly, widespread commercial success that Astrid Williamson deserves has so far, eluded her. That’s why Astrid Williamson decided to reinvent herself.
The reinvention ofAstrid Williamson began on Pulse, which was released in 2011. Astrid Williamson continues to reinvent herself on We Go To Dream. It’s without doubt, the most eclectic album of Astrid Williamson’s career.
So much so, that We Go To Dream is a magical mystery tour through musical genres. Seamlessly, Astrid Williamson flits between and fuses disparate musical genres on We Go To Dream. Effortlessly, Shetland born chanteuse Astrid Williamson squares the musical circle on We Go To Dream, which features something for everyone.
AXEL KRYGIER-HOMBRE DE PIEDRA.
Axel Krygier’s career began thirty-one years ago, in 1985. Since then, the Buenos Aries’ born multi-instrumentalist has established a reputation as a musical maverick, who continually, has pushed musical boundaries to their limits, and sometimes, beyond. That was apparent on Axel Krygier’s genre-melting fifth album, Hombre De Piedra, (Man Of Stone), which was released by Crammed Discs in 2015.
Unlike Axel Krygier’s previous albums, Hombre De Piedra is a concept album. This however, is no ordinary concept album. Instead, Hombre De Piedra is is a musical collage, inspired by the French documentary Lascaux: Le Ciel des Premiers Hommes, which was a study of the the famous paleolithic cave paintings. The documentary caught Axel Krygier’s imagination. So, he set out to what many people thought was impossible, and tell the story of mankind on Hombre De Piedra.
With a few of his musical friends, Axel recorded not just an ambitious musical collage, but a groundbreaking one. On Hombre De Piedra Axel pushes musical boundaries to their limits, and sometimes, way beyond. To do this, Axel, a musical alchemist, combines musical genres and influences. This includes Balkan rapture, blues, disco, dubstep, exotica, funk, hip hop, Latin, lounge and rock. Soundtracks also influence Axel; including Ennio Morricone’s Spaghetti Western soundtracks. Then there’s The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band and Dick Dale inspired surf guitars. The result is pioneering collage Axel Krygier set out to record.
BARETO-IMPREDICIBLE.
When friends form a band, an adventure begins. Nobody knows what’s about to happen. Everyone has their hopes and dreams. It used to be being signed to a record company, and releasing their debut album. Maybe, after a couple of albums, commercial success and critical acclaim will have come their way? If that’s the case, their lives will have been transformed. They’ll have turned their back on the tedium and drudgery of everyday life. Replacing it, will be life split between recording studios and playing some of the most prestigious venues in planet music. That’s the dream. Hoping to live that dream are one of the rising stars of the Peruvian music scene, Bareto, who released their fourth album Impredecible, on the World Village label in November 2015.
Impredecible is captivating and intriguing because you never know which direction the album is heading. Bareto throw curveballs aplenty. Each track is eagerly awaited. What genre will Bareto reference next? Sometimes that’s obvious. Other times, surprises are store. The music veers between cinematic, haunting and moody to joyous, irresistible and hook-laden. However, each track on this musical magical mystery tour has one thing in common. They ooze quality. That’s why Impredecible should be the album that introduces Bareto’s genre-melting music to a much wider audience.
BELLE AND SEBASTIAN-GIRLS IN PEACETIME WANT TO DANCE.
Purveyors of perfect indie pop, Belle and Sebastian are almost veterans of the Scottish music industry. Their Girls In Peacetime Want To Dance, was released back in January 2015. It was recorded in Atlanta, and was the third album to be produced by Ben H. Allen III. The result was an ambitious album.
With Ben H. Allen III’s help, Belle and Sebastian, not for the first time, reinvented themselves again. Some would have as believe that Girls In Peacetime Want To Dance it seems, is the musical equivalent of a midlife crisis. That’s far from the truth. Girls In Peacetime Want To Dance was an ambitious album where Belle and Sebastian were taken out of their comfort zone. The result was a first for Belle and Sebastian, a dance album. Now as the Belle and Sebastian’s twentieth anniversary fast approaches, it’s now time to move on. Maybe, that’ll mean a return of Tony Doogan as producer, who was responsible for some of return of some of Belle and Sebastian’s finest albums.
BERANGERE MAXIMIN-DANGEROUS ORBITS.
Bérangère Maximin’s fourth album Dangerous Orbits. was released on Crammed Discs in May 2015. It was a fitting addition to the Made To Measure series. Bérangère Maximin has a reputation for continually releasing groundbreaking music. Her music is ambitious, challenging and pushes musical boundaries to their limits, and sometimes way beyond. The music can also be described as challenging, cerebral and engaging. That’s been the case throughout Bérangère Maximin’s career. Dangerous Orbits was no different, and is an album to embrace.
If you embrace the music on Dangerous Orbits, you’re richly rewarded. What follows is a sonic voyage of discovery. You’ve no idea where the destination is. It’s a case of trusting Bérangère Maximin. She takes you on a journey. All you need to bring, is your imagination. As you listen to Dangerous Orbits, scenarios and plots unfold. That’s not surprising, as Dangerous Orbits has a cinematic sound. However, the listener has to provide the script. The beauty of this is, that each script is different. Everyone will pick and choose different sounds. They’ll also interpret sounds differently. This makes Dangerous Orbits a fascinating album, one that’s a captivating, cerebral and cinematic. It’s also a journey through disparate musical genres.
Listen carefully to Dangerous Orbits, and elements of ambient, avant-garde, drone, electronica, experimental, free jazz, industrial, musique concrète, psychedelia and rock all play their part in the sound and success of Dangerous Orbits. It features sonic explorer Bérangère Maximin creating music that’s challenging, cerebral, engaging and truly groundbreaking. So much so, that Dangerous Orbits is the most ambitious, cinematic and innovative album of Bérangère Maximin’s four album career.
BILL WELLS AND AIDAN MOFFAT-THE MOST IMPORTANT PLACE IN THE WORLD.
Four years after the last musical sojourn, Scotland’s musical odd couple of Bill Wells and Aidan Moffat return with their long awaited sophomore album The Most Important Place In The World. It’s the followup to Bill and Aidan’s 2011 debut album, Everything’s Getting Older. It was received to widespread critical acclaim back in 2011. Since then, music lovers have been awaiting the return of the unlikeliest musical yin and yang, Bill Wells and Aidan Moffat. The Most Important Place In The World, which was released on Chemikal Undergound has been worth the four year wait.
On The Most Important Place In The World, Bill Wells and Aidan Moffat have returned with a dozen songs about Scotland’s dark underbelly. They’re songs that deserved to be turned into a short film. No wonder. The characters and scenarios are very realistic Macho men, drinkers rub shoulders with dancers, chancers and romancers. They’re responsible for fleeting fumblings, illicit romances and tales of love gone wrong. Even the loves songs have a twist in the tale.
There’s a reason for this. Bill Wells and Aidan Moffat keep it real. They write about what they know, what they’ve seen and experienced. That makes a difference. Far too many songwriters try and write about things they’ve neither experienced nor witnessed. Not Bill Wells and Aidan Moffat. Drawing upon their experiences, they combine caustic wit, cynicism and social comment with tragicomedy. Other times their lyrics are tinged with sadness, hurt and heartbreak as The Most Important Place In The World takes on a late-night sound. Other times, the music is joyous and uplifting, as seamlessly, the flit between musical genres. This they do throughout The Most Important Place In The World, which is without doubt, a fitting followup to Everything’s Getting Older.
THE BEST 55 NEW ALBUMS OF 2015-PART TWO.
THE BEST 55 NEW ALBUMS OF 2015-PART TWO.
BLACK MOON CIRCLE-THE STUDIO JAMS VOLUME I: YELOW NEBULA IN THE SKY.
Norwegian psychedelic space rock band Black Moon Circle are one of the rising stars of the Norwegian music scene. Their previous album Andromeda was released to critical acclaim in October 2014. A great future was forecast for the Trondheim based trio. No wonder. Black Moon Circle are one of the most talented bands in the Nordic music scene. They’re also one of the most ambitious, as they plan to release a trilogy of studio jams. The first instalment is The Studio Jams Volume I: Yellow Nebula in the Sky. It was be released on limited edition vinyl, in August 2015, on Crispin Glover Records, and is the perfect introduction to Black Moon Circle.
They’re, essentially, a power trio, who create their unique brand of psychedelic space rock. The basis for this, is the classic rock of the sixties and seventies, psychedelia and space rock. To this, Black Moon Circle add elements of electronica, experimental music and free jazz. Seamlessly, these disparate musical genres and influences merge into something new and innovative. It’s cinematic, dramatic, futuristic, moody, rocky and as Øyvin Engan says, “intense.”
This intensity is deliberate. It comes courtesy of the three members of Black Moon Circle. They deploy layers of fuzzy guitars, spacey, lysergic synths and a mesmeric rhythm section. When all this is combined, the result is the next instalment in the Black Moon Circle story, The Studio Jams Volume I: Yellow Nebula In The Sky. It’s without doubt the best album of Black Moon Circle’s three album career. That’s why, for anyone yet to discover Black Moon Circle, The Studio Jams Volume I: Yellow Nebula In The Sky is the perfect introduction to the Norwegian psychedelic space rock pioneers at their hard rocking best.
BOB DYLAN-SHADOWS IN THE NIGHT.
For his thirty-ninth album, Bob Dylan inspired by the music of Frank Sinatra crooned his way through ten of his favourite jazz and pop standards on Shadows In The Night, which was released on Columbia. Shadows In The Night however, divided opinion.
It’s safe to say that ever since the release of Shadows In The Night, it’s an album that’s divided the opinion of even the most loyal Bob Dylan fan. They seem to either love or loath Shadows In The Night. There appears, is no middle ground. Essentially, Shadows In The Night is a Marmite album.
Personally, I think Bob Dylan suits and should embrace the role of a crooner. His lived-in, world-weary vocal breathes life, meaning and emotion into the ten tracks on Shadows In The Night. Bob Dylan sounds as he’s lived, loved and survived to tell the tale. Although he might not have the smooth voice of Frank Sinatra, he’s the ability to bring the songs to life. He’s not so much singing songs, but sounds as if he’s lived survived them.
BOY-WE WERE HERE.
Valeska Steiner and Sonja Glass first met in 2005, at the Hochschule für Musik und Theater Hamburg. They were both students on a pop music course. A lot had happened in since then. They released their debut album Mutual friends in 2011. Since then, BOY’s star had been in the ascendancy. Their music us popular all over the world, and a countless awards have come their way. This includes a gold disc for sales of their latest album We Were Here. That’s not surprising.
We Were Here, which was released on Grönland Records, was a fitting followup to Mutual Friends. The music was variously melodic, melancholy and mischievous. Other times, it was anthemic and hook-laden. It was impossible not to be captivated by We Were Here, career defining album from BOY. The former pop music students BOY, have graduated summa cum laude with We Were Here, a carefully crafted album of hook-laden, perfect pop.
CHRISTIAN WALLUMROD-PIANOKAMMER.
Christian Wallumrød’s recording career began nearly twenty years ago, in 1996, when the Christian Wallumrød Trio released their debut album Birch. Released to widespread critical acclaim, Birch launched the career of Christian Wallumrød. Since then, Christian Wallumrød star has been in the ascendancy.
To the onlooker, it seems Christian Wallumrød has done everything in music. He’s worked with the great and good of Norwegian music on a variety of groundbreaking projects, and formed the Christian Wallumrød Trio, who have released five albums. Their last album, Outstairs, released in 2013, won a Spellemannspris, Norwegian Grammy. However, there’s one thing Christian Wallumrød rectified last year, when he realised his debut solo album Pianokammer on Hubro Music.
Pianokammer is a spellbinding album, of innovative, groundbreaking and genre defying music. Christian combines ambient, avant-garde, blues, experimental, free jazz and jazz. The result is a captivating collection of six songs, that are variously ambitious, bold, dark, dramatic, ethereal, haunting, hopeful, irresistible, joyous, ominous and uplifting. That’s why, Pianokammer is, without doubt, such an ambitious and captivating album from musical innovator and adventurer, Christian Wallumrød.
CHVRCHES-EVERY OPEN EYE.
Earlier this year, Chvrches returned returned with their sophomore album Every Open Eye. It’s the follow up to their million selling 2013 debut album The Bones Of What You Believe. Chvrches pickup where they left off on The Bones Of What You Believe.
Every Open Eye, an album full of dance-floor fillers, anthems and beautiful ballads. The five months Chvrcges spent recording Every Open Eye was five months well spent. Every Open Eye is a stunning album, and almost flawless album.
DALINDEO-KALLIO.
It was back in 2003, that Dalindèo, the Finnish jazz-sextet were founded by composer and guitarist Valtteri Laurell Pöyhönen. Since then, Dalindèo have released a trio of albums. Their debut was Open Scenes in 2007. Three years later, Dalindèo returned with Soundtrack For The Sound Eye. By then, Dalindèo’s star was in the ascendancy. Then in March 2015, Dalindèo released their third album Kallio on BBE Music.
Kalindèo are just the latest in a long line of hugely talented Scandinavian artists who are making groundbreaking music. Previously, many of these artists have come from Norway, which currently, has some of the most inventive and innovative musicians in Europe. This Nordic Wave has resulted in Norway becoming one of Europe’s musical cultural capitals. That looks like continuing for the some time. No wonder. Some of the best, and most groundbreaking music of the last few years has come out of Norway. This includes everything from ambient and avant-garde, to jazz, fusion and rock. Norway it seems, is at the vanguard of musical revolution. Will this musical revolution sweep across Scandinavia?
Let’s hope that’s the case. Hopefully, in the coming months and years, a new generation of Finnish artists and groups will produce equally innovative and ambitious music. Maybe, Kalindèo, will be the first of many Finnish artists and groups to enjoy commercial success and critical acclaim? That’s could to be the case. Especially, if they can produce music as groundbreaking and atmospheric as that on Kallio, Dalindèo’s third album.
DAVID GILMOUR-RATTLE THAT LOCK.
After a career than spanned forty-seven years, Pink Floyd released their final album, The Endless River in 2014. It was the end of an era. Pink Floyd had been a musical institution. For six decades, Pink Floyd had provided the soundtrack to the lives of several generations. However, the end of Pink Floyd allowed Dave Gilmour to concentrate on his solo career. His first solo album post Pink Floyd, was Rattle That Lock, which was released on Columbia, in September 2015. Rattle That Lock was a welcome return from the former Floyd frontman.
Rattle That Lock took nearly two years, a huge cast of musicians, backing singers and an orchestra accompanied David Gilmour. He and his co-producer Phil Manzanera crafted a quite beautiful and eclectic album. There’s elements of ambient, classic rock, jazz, pop and post rock on Rattle That Lock. Seamlessly, David switches between genres. He’s just as happy delivering a soul-baring ballad like In Any Tongue as he is delivering the jazz-tinged The Girl In The Yellow Dress. Then there’s a trio of cinematic instrumentals. Each and every one of them paint pictures. However, And Then features a reflective David. It’s as if he’s remembering his fallen comrades from Pink Floyd. And Then proves a poignant way to close Rattle That Lock which is, without doubt, the finest album of David Gilmour’s career and shows that there’s life after Pink Floyd.
DUKE ELLINGTON AND HIS ORCHESTRA-THE CONNY PLANK SESSION.
In the history of German music, Conny Plank is reverentially referred to as the “genius” by Michael Rother. He worked on some of the most innovative recordings of the seventies. This includes recording Duke Ellington and His Orchestra in 1970.
The resultant sessions lay unreleased until earlier this year, when The Conny Plank Session was released by Grönland Records. They were a captivating musical document, that were recorded at Rhenus Studio, Cologne. Conny Plank coaxed, cajoled and encouraged a series of spellbinding performances from Duke Ellington and His Orchestra. As Conny takes The Duke out of comfort zone, he encourages him to head on musical voyage of discovery. To do that, Conny charmed, encouraged and flattered Duke Ellington. He did whatever it took to get the best performance from The Duke. Once The Conny Plank Session was complete, Conny let Duke Ellington hear the fruits of their labours.
As Conny and Duke Ellington listened to the six tracks, the veteran jazz musician was enthralled. He complemented Conny for his work. Somehow, he had captured Duke Ellington and His Orchestra at their best. It was one of the last great recordings The Duke made. Four years later, and sadly, The Duke was dead. However, The Conny Plank Session are a tantalising reminder of what happened when The Duke met the genius, Conny Plank.
ELEPHANT9 WITH REINE FISKE-SILVER MOUNTAIN.
For their fourth album, Silver Mountain, Elephant9 have once again joined forces with Swedish virtuoso guitarist Reine Fiske. This tantalising pan-Scandinavian collaboration has resulted in a genre-melting album of rock ’n’ jazz, prog rock and psychedelia, Silver Mountain. It was released on Rune Grammofon, and is the finest album of Elephant9’s four album career.
Not only is Silver Mountain the finest album of Elephant9’s career. It features music that’s ambitious, bold, exciting and innovative. Continually, Elephant9 push musical boundaries. To do this, they combine musical genres. Everything from ambient, the classic rock of the late-sixties and seventies, electronica, experimental, free jazz, Krautrock, prog rock, psychedelia and space rock can be heard on Sliver Mountain. It’s a captivating journey through musical genres and influences. Listen carefully, and you’ll hear everyone from Can, Hawkwind, Jimi Hendrix, Klaus Doldinger, Kraftwerk, Led Zeppelin, Neu!, Pink Floyd, Ry Cooder, The Doors and Tubeway Army. Some of these influences can be heard only briefly, while others are more noticeable. Closer to home, another of Norway’s leading bands Motorpscycho also seem to have influenced Elephant9, as they take listeners on journey through twists and turns.
Continually, Elephant9 take twists and turns throughout Silver Mountain. They lead you down blind alleys, only to find an escape route. Out of a blistering slice of rock comes an ethereal ambient soundscape. That’s what you quickly come to expect from Elephant9 on Silver Mountain, musical pioneers extraordinaire.
ERLAND DAHLEN-BLOSSOM BELLS.
Back in 2012, drummer and percussionist Erland Dahlen released his long-awaited, and much-anticipated debut album Rolling Bomber. By then, the forty-one year old was a veteran of the vibrant Nordic music scene. Erland Dahlen was a veteran of countless bands, including HET, Boschamaz, Kiruna, Morris, Piston Ltd, Batagraf, The Sonic Codex Orchestra and Stian Westerhus and Pale Horses. This however, was only part of the story, as Erland Dahlen was also one of Norway’s top session musicians. Somehow, Erland Dahlen found time to record Blossom Bells, which was released on Hubro Music.
Blossom Bells is a near flawless fusion of ambient, avant garde, electronica, experimental, Krautrock, Nordic Wave, post rock, psychedelia and rock. Genres melt into one, on an album that’s variously moody and broody, to dark and dramatic, to lysergic, otherworldly, spiritual, haunting, atmospheric and ethereal. The music on Blossom Bells is definitely cinematic. That’s the case throughout Blossom Bells. It sounds like the soundtrack to a film that’s yet to be made. Other times, the music on Blossom Bells becomes anthemic and up-lifting. Always, though, the music on Blossom Bells is captivating, cerebral, cinematic, inventive and innovative.
THE BEST 55 NEW ALBUMS OF 2015-PART THREE.
THE BEST 55 NEW ALBUMS OF 2015-PART THREE.
ERRORS-LEASE OF LIFE.
Errors have come a long way since they were formed in Glasgow, in 2004, by Simon Ward, Greg Paterson and Stephen Livingstone. Back then, Errors’ makeshift studio was a bedroom. That was the Glasgow based musical alchemists laboratory. Through experimentation and innovation, Errors sound began to evolve, and earlier this year, released their fifth album Lease Of Life, on Mogwai’s Rock Action Records.
On Lease Of Life, Errors paint pictures with your music. Sometimes, they toy with your emotions on tracks like New Winged Fire and Early Nights. For much of the time, it’s as if Errors are providing the soundtrack to a series of short films. You can’t help let your imagination run riot. Before your eyes, plots and scenarios unfold. It’s an intriguing and captivating listen. Maybe Errors will follow in Mogwai’s footsteps and start making soundtracks? They certainly have the ability to do so.Then other times, Errors head for the dance-floor.
Somehow, Errors have managed to make an album that will appeal to everyone. Whether it’s the slower cinematic tracks, or the hands in the air anthems, there’s something for everyone on Lease Of Life. It features comeback Kings Errors making return to form with what’s undoubtably a career defining album.
FAIRPORT CONVENTION-MYTHS AND HEROES.
There aren’t many groups that enjoy the longevity that Fairport Convention have. They were formed in 1967, and are widely recognised as the founding fathers of English folk rock. Since then, Fairport Convention have influenced several generations of folk musicians. They released their twenty-fifth studio album Myths and Heroes on Matty Grooves Records. It’s a very welcome addition to Fairport Convention’s discography.
On Myths and Heroes, we hear three different sides to Fairport Convention. There’s the traditional folk sound, balladry and Fairport Convention where they kick loose, and rock out. Much as I like the traditional folk sound, Fairport Convention are at their best delivering beautiful ballads and unleashing their trademark folk rock sound. Both feature the veteran band at the peak of their powers. All their years of experience shines through on Myths and Heroes, Fairport Convention’s twenty-fifth album in forty-eight years. Fairport Convention, the founding fathers of English folk rock, might be reaching veteran status, but as Myths and Heroes shows that they’re still a band with much to offer.
FINLAND-RAINY OMEN.
Playing an important part in the rise and rise of the Norwegian music scene are the three members of Finland; Ivar Grydeland, Pål Hausken, Morten Qvenild and Jo Berger Myhre. They’ve been members of various bands and worked with numerous artists on a variety of projects. Given the schedules of the various members of Finland, they could be forgiven for sticking to their “day jobs.” There was no chance of that. The members of Finland love music, and formed what can only be described as a multitalented supergroup. Finland’s debut album Rainy Omen, released in July 2015, by Hubro Music.
Finland was like a meeting of minds. Each of the members of Finland’s musical raison d’être was to make groundbreaking music. They wanted to push musical boundaries to their limits, and sometimes, way beyond. That’s what they do on Rainy Omen. The music in innovative, inventive and genre-melting. Elements of avant garde, experimental, industrial, jazz, psychedelia and rock are combined to make music that’s veers between atmospheric and cinematic to dark and dramatic. Other times, the music on Rainy Omen flits between beautiful to ethereal, and between lysergic and trippy. Always, though, the music on Rainy Omen is captivating, and I eagerly await Finland’s sophomore album.
FLORIAN FRICKE/POPOL VUH-KAILASH.
Florian Fricke was a musical innovator, who as a member of Popol Vuh and Tangerine Dream, created music that was innovative and influential Part of Popol Vuh’s success, was keyboardist Florian Fricke who sadly, died in 2001 aged just fifty-seven. He left behind a rich musical legacy, including that on the Florian Fricke/Popol Vuh box set Kailash. It was released in 2015, and celebrates the life and music of a true musical innovator and legend, Florian Fricke on two CDs and a DVD.
Disc one Piano Recordings; features eight of Florian’s favourite released and unreleased recordings and compositions. Some are Florian and his piano prove a potent combination. Patterns appear, only to disappear and recur. Then Florian heads off in an unexpected direction. He improvises and experiments, fusing classical and improvisational music. The resulting music veers between beautiful and bewitching, to captivating, dramatic, ethereal, spellbinding and spiritual. That’s also the case on the unreleased soundtrack on disc two.
The soundtrack to Kailash: Pilgrimage To The Throne Of The Gods, features on disc two; while the film can be found on the accompanying DVD. Both are captivating. Especially the ten ethereal soundscapes. They’re cinematic, ethereal, dramatic and spiritual. It’s another captivating listen; that maybe, the Florian Fricke/PopolVuh Kailash box set will introduce Florian Fricke and PopolVuh’s music to a wider audience.
GEIR SUNDSTOL-FURULUND.
Prolific. That’s a word that is often used to describe musicians. Often that’s an exaggeration. Not in the case of Geir Sundstøl. Since his career began in 1988, Geir Sundstøl has featured on 260 different albums. This includes the albums he recorded as member of Rovers, and then Morris. Mostly, though, Geir Sundstøl has worked as the musical equivalent of a hired gun, playing a multitude of musical instruments on albums and live. Geir Sundstøl has done just about everything. That was apart from release a debut album. He rectified this in September 2015, when Furulund was released on Hubro Music.
The music on Furulund is variously atmospheric, beautiful, broody, cinematic, dramatic, dreamy, ethereal, melancholy and moody. It’s capable of taking the listener on a journey. All the listener needs to supply is their imagination. Geir Sundstøl supplies the music. Sometimes, the music sounds as if it belongs on a Spaghetti Western. Another track, Punsj, sound as if they belong on a Wim Wenders soundtrack. Other influences include the Cocteau Twins, Brian Eno, and Buddhist music. Add to this, ambient, Americana, blues, country, folk, post-rock and rock. Each and every one of these influences are part of the sound and success of the cinematic and cerebral Furulund.
GLORIA-GEISTER.
Just two years have passed since Gloria released their eponymous debut album. Since 2013, Gloria’s star has been in the ascendancy. They’re regarded as one of the rising stars of the German music scene. That’s why their sophomore album Geister, has been so eagerly awaited. It was released byBerlin based Grönland Records, in 2915, and features a tight and talented band. They come across as self-assured and confident, as seamlessly, Gloria combine brief moments of ambient with elements of indie rock, pop and post rock on Geister.
For anyone who enjoys well-crafted, cerebral and emotive music then Geister is sure to appeal to them. It’s melancholy, pensive and reflective music. That’s not all. The music on Geister is also beautiful, sometimes hopeful and joyful. Geister is also awash with a plethora of hooks. They grab the listener’s attention, and soon they’re captivated. What follows is music that’s variously anthemic, melodic, contemplative, reflective and thought-provoking. Geister, which is Gloria’s latest and greatest album, is designed to make the listener think, and certainly does that.
GORAN KAJFES SUBTROPIC ARKESTRA-THE REASON WHY VOLUME 2.
For the last three decades, Goran Kajfeš has been a key figure in the Swedish music scene.There’s a reason for this. Goran Kajfeš has constantly been releasing groundbreaking, genre-melting music. To do this, Goran has pushed musical boundaries to their limits, and sometimes, way beyond. This resulted in Goran Kajfeš Subtropic Arkestra’s The Reason Why Volume 1 being nominated for a Swedish Grammy in 2013. Goran Kajfeš’ “acid rock with horns” was winning friends and influencing people. Two years later, and The Reason Why Volume 2 was released on Headspin Records.
The Reason Why Volume 2, which was released in April 2015, on Headspin Records, surpasses The Reason Why Volume 1. That took some doing. After all, The Reason Why Volume 1 was nominated for a Grammy Award. However, two years later, the multitalented Goran Kajfeš Subtropic Arekestra have come of age on The Reason Why Volume 2. They seem to have matured as a band. What’s more, the music on The Reason Why Volume 2 is even more eclectic and almost flawless. That takes some doing. However, Goran Kajfeš is a musical innovator. With Goran at the Arekestra’s helm, they’re definitely destined for greater things.
HUNTSVILLE-POND.
For nine years, musical alchemists Huntsville have been creating groundbreaking, genre-melting music. They released their fifth album Pond on Hubro Music. Pond was a Joycean sonic voyage of discovery, where Huntsville combine disparate musical genres and influences on four epic tracks. With Huntsville supplying the music, all the listener needs to do is let their imagination run riot.
What follows is akin to a four part play, where Huntsville supply a musical backdrop. The music can be melancholy and thoughtful. Other times, it’s moody and broody, but can just as easily become crystalline, elegiac and ethereal, as musical influences and genres melt into one.
This includes elements of ambient, avant-garde, electronica, experimental, free jazz, industrial, post rock, psychedelia and rock. Huntsville also draw inspiration from some of their musical heroes, including Miles Davis, Steve Reich, Ennio Morricone and early Tortoise. Other influences include Brian Eno, Can, Harold Budd, John Martyn, Mind Over Midi, Neu! and Pink Floyd. That’s an eclectic mix. However, all these influences can be heard on Pond, a truly captivating and innovative album from musical alchemists Huntsville.
JOHAN AGEBJORN-NOTES.
Since 2006, Johan Agebjörn, has released a quartet of albums and a dozen remixes. Each of these releases are very different. Johan has refused to stand still, constantly reinvents his music. Johan it seems, is a musical shapeshifter. That’s been the case since 2006, when Johan released his debut album. Nine years later, and Johan Agebjörn released his fifth album Notes on the Paper Bag label on February 2015. It’s the latest
Throughout his career, Johan has constantly reinvented his music. He’s released he’s everything from ambient and electro, right through to Italo disco, 8bit and classical piano music. Eclectic, it seems, is the best way to describe the Gothenburg based musical chameleon. This is the case on Notes, Johan’s fifth album.
Notes is best described as cinematic, dramatic, dreamy, ethereal, melancholy and even, mesmeric. Sometimes Notes is beautiful, emotive, sensual and sultry. Other times Notes is bold and dark. Always, Johan Agebjörn’s fifth solo album, Notes, is a captivating and compelling album, that, full of surprises aplenty.
KATHRYN JOSEPH-BONES YOU HAVE THROWN ME AND BLOOD I’VE SPILLED.
In the history of the Scottish Album Of The Year Award, Kathryn Joseph recently became the first artist to win Scotland’s most prestigious music award with a debut album. That debut album is Bones You Have Thrown Me and Blood I’ve Spilled, which was released back in January 2015, on Hits The Fan Records.
That was until Kathryn Joseph triumphed with Bones You Have Thrown Me and Blood I’ve Spilled. Winning Scotland’s most prestigious music award was a game-changer for Kathryn Joseph. Suddenly, her music was being heard by a much wider audience. Now she has just embarked upon a European tour, where Kathryn Joseph is sure to win over the hearts and minds of music lovers.
Especially given Kathryn Joseph’s vocal. It’s variously ethereal, haunting, heartfelt, melancholy and otherworldly. On each of the ten tracks on Bones You Have Thrown Me and Blood I’ve Spilled, Kathryn Joseph lyrics come to life. That’s down to Kathryn. She’s part singer, part storyteller. Each of her vocals are captivating. Partly, that’s because she tailors her vocal to suit the song. Sonically and stylistically, her vocal is unique. Especially, when she transforms her vocal into another instrument. This adds an extra dimension to the award winning Bones You Have Thrown Me and Blood I’ve Spilled. It’s a truly enchanting album.
THE BEST 55 NEW ALBUMS OF 2015-PART FOUR.
THE BEST 55 NEW ALBUMS OF 2015-PART FOUR.
LABFIELD-BUCKET OF SONGS.
Five years after the release of their sophomore album Collab, LabField, one of the leading lights of the European improv scene make a welcome return. They returned in 2015 with their genre-melting third album, Bucket of Songs. It was released on Hubro Music. Bucket Of Songs marks the start of a new era for LabField. Not only have they changed direction musically, but Norwegian percussionist Ingar Zach had joined the band. Bucket of Songs was his debut.
And what an album Bucket of Songs was. LabField combined elements of ambient, avant-garde, electronica, experimental, free jazz, industrial, Latin, post rock, pop, rock and world music. However, at the heart of Bucket Of Songs’ sound and success, was LabField’s trademark brand of improvisational music. As LabField improvise, they visit a variety of disparate musical genres. Somehow, though, this fusion of all these disparate musical genres hangs together, and make perfect sense on what’s akin to a magical musical mystery tour.
LabField take their music in a new and unexpected directions. That’s why you should never, ever, try and second guess LabField. That would be impossible. They’re mavericks, and sonic explorers who manipulate sound, and take their listeners on other groups can only dream of. In doing so, LabField create music that’s variously ambitious, challenging, cinematic, dramatic, inventive, innovative minimalist and urgent. It’s also music that’s guaranteed to make you think. Sometimes, the music on Bucket Of Sounds sets your mind racing. Don’t fight it, enjoy the ride. LabField will take you to places you’ve never been before. Just let your imagination run riot. If you do, LabField will richly reward you, as you experience Bucket Of Songs’ nine captivating and groundbreaking soundscapes.
LAU-THE BELL THAT NEVER RANG.
Ever since the release of their 2007 debut album. Lightweights and Gentlemen, Lau have been variously described as “adventurous,” and “modern folk’s most innovative band.” That’s no exaggeration. Lau are, without doubt, one of the most exciting and ambitious folk bands of their generation. That’s why Kris Drever, Martin Green and Aidan O’Rourke have been winning awards, praise and plaudits ever since. This includes winning the BBC Folk Award for the best group four times in six years. That takes some doing. However, Lau are no ordinary band. They’re pioneers and perfectionists.
Proof of that is The Bell That Never Rang, which feature the Edinburgh based band at their innovative best. Lau seamlessly combine disparate musical genres. Everything from Celtic, electronica, electro, folk, indie rock and rock is thrown into Lau’s melting pot. Producer Joan Wasser sprinkles some sonic magic and then gives this musical melting pot a stir. Only then is this musical treat ready to serve. And what a dish it is. It’s one fit for a king or queen. Lau have surpassed their previous efforts with The Bell That Never Rang. It marks a triumphant return from Lau with their genre defying Magnus Opus, The Bell That Never Rang.
MIAOUX MIAOUX-SCHOOL OF VELOCITY.
Although it’s been three years since Miaoux Miaoux released their debut album Light Of The North in June 2012, it’s just that the man behind Miaoux Miaoux, Julian Corrie has been one of the hardest working men in Scottish music. He’s been playing live and much in demand as a remixer. So, it’s taken three years for Miaoux Miaoux to release their much anticipated sophomore album School Of Velocity. Just like Light Of The North, it was released on Glasgow’s premier label Chemikal Underground. School Of Velocity is the latest chapter in Miaoux Miaoux story.
School of Velocity oozes quality. Miaoux Miaoux’s long awaited sophomore album, which was released by Chemikal Records, was part of the soundtrack to the sumner of 2015. Especially the hook-laden anthems. They’re plentiful, and went sure to go down a storm with DJs. Similarly, the anthems were festival favourites when Miaoux Miaoux plays live. The ballads show another side to Miaoux Miaoux. A reflective, rueful and sometimes hopeful and needy Julian Corrie lays bare his soul. This means there’s something for everything on School of Velocity. Whether it’s indie pop or dance music that’s your bag, then there’s something for everyone on School of Velocity, Miaoux Miaoux’s magical, musical merry-go-round that you’re sure not to want to get off.
MOGWAI-CENTRAL BELTERS.
2015 finds post rock pioneers Mogwai celebrating their twentieth anniversary. A lot has happened in that twenty year period. Mogwai have released eight studio albums and three soundtracks. These albums have been critical acclaimed and commercially successful not just in Britain, but in America. That’s why nowadays, Mogwai are regarded as Scottish music’s elder statesmen. So it was fitting when Mogwai released a three disc retrospective box set, Central Belters, on Rock Action Records. Central Belters tells the story of twenty years of Mogwai.
For the last twenty years, Mogwai’s music has been ambitious, bold, challenging, influential and innovative music. It’s full of nuances, subtleties and surprises as Mogwai seamlessly combine musical genres. They fuse ambient, avant garde, classic rock, electronica, experimental, indie rock, psychedelia and Krautrock, to create their unique post rock sound. All the time, Mogwai continue to push musical boundaries to their limits and even sometimes, way beyond. Mogwai have never been willing to stand still. The Mogwai Young Team’s music has continued to evolve, and doubtless will continue to do so.
Glasgow’s famous five are due a new musical adventure. It’s nearly two years since the release of Rave Tapes. Hopefully, Mogwai are hard at work in their Castle Of Doom studios on their next adventure. This isn’t the type of adventure Enid Blyton’s Famous Five once enjoyed. There’s no picnics, lemonade and bicycle trips. Instead, it’s a bit more edgy and gritty.That’s the case with Central Belters Mogwai’s career retrospective.
MORTEN QVENILD-PERSONAL PIANO.
Over the last twenty years, Morten Qvenild has been at the heart of the Norwegian music scene. The thirty-seven year old pianist and keyboardist is one of the most versatile and creative musicians of his generation. That’s why, when anyone in the Norwegian music scene was looking for a pianist or keyboardist, they gave Morten Qvenild a call. This has resulted in Morten Qvenild playing on over fifty albums. However, he hadn’t released a solo album That was until he released Personal Piano on Hubro Music in September 2015.
Featuring seven improvised soundscapes, Personal Piano is a mesmeric fusion that’s guaranteed to captivate and compel. Morten Qvenild takes the listener of a seven musical adventures. The sonic sorcerer throws musical curveballs, before springing a series of musical surprises. Nothing is it seems. Using a myriad of effects, sounds are transformed. They become something very different. As a result, one minute the music is dramatic, the next it’s dreamy. Other times, it becomes moody and broody. Then the next, it veers between pensive and understated, to melancholy or melodic. Constantly, the music changes direction. It’s a case of expect the unexpected. Subtleties and sonic surprises are constantly sprung, as musical sorcerer and explorer, Morten Qvenild takes the listener on magical mystery tour, while expanding his sonic palette on his long awaited, and groundbreaking debut album Personal Piano.
MOSTER!-WHEN YOU CUT INTO THE PRESENT.
Ever since they made their debut at the Kongsberg Jazz Festival in 2010, Norwegian supergroup Møster!’s star has been in the ascendancy. So much so, that Møster! are now regarded as one of the biggest bands in the Nordic music scene. Møster! released their third album When You Cut Into The Present in November 2015 on Hubro Music.
Hard rocking, but genre-melting describes Møster! However, When You Cut Into The Present shows that Møster! are much more than a rock band. They combine avant garde, classic rock, experimental, free jazz, funk, jazz, Krautrock, progressive rock and psychedelia, with the classic Norwegian jazz sound of the sixties and seventies. It’s best describes as a fusion of Can, Alice Coltrane, King Crimson’s Red period, John Coltrane and the Nordic jazz pioneers Jan Garbarek, Terje Rypdal, Arild Andersen and Jan Christensen. Sometimes, it sounds as if Møster! have been influenced by German musical pioneers, Birth Control, Guru Guru and Neu! It sounds like the four members of Møster! have eclectic taste in music.
That’s definitely the case with guitar wizard Hans Magnus “Snah” Ryan. The virtuoso seems to have been influenced by Jimi Hendrix. Sometimes, it sounds like Hans is channeling the spirit of Hendrix in the studio. Other times, Hans’ licks sound as if they belong on an Iron Maiden or Judas Priest album. Just like the rest of Møster!, Hans is a versatile and talented member of this supergroup. They’ve made huge strides on When You Cut Into the Present. The Trondheim groove-meisters have created a career defining album of hard rocking music. They kick loose from the opening bars of Nebula and Red Giant, and never let go until the closing notes of Soundhouse Rumble. In between you’re treated a glorious assault on the sensory system which unleashes endorphins aplenty.
MUELLER-ROEDELIUS-IMAGORI.
2015 was a huge year for Hans-Joachim Roedelius, who co-founded Kluster, Cluster, Harmonia and Qluster. There was a musical celebration of his career in Berlin, where he was joined by the great and good of music. They came to pay their respects to a true innovator, who has released over 200 albums. This includes Imagori, his collaboration with Swiss born composer and Christoph H. Mueller. It was released by Grönland Records in September 2015.
Using the latest technology, Mueller-Roedelius recorded Imagori, an album of genre-melting music. Om Imagori, Mueller-Roedelius combine elements of ambient, avant-garde, classical, electronica, experimental, industrial, jazz and even techno. The music is variously captivating, cinematic, dark, dreamy, dramatic, ethereal and moody. Much of the music on Imagori is like the soundtrack to a film that’s yet to be made. Some of the tracks have a futuristic sound, and wouldn’t sound out of place on the soundtrack to a sci-fi movie. An alternative title to Imagori, could’ve been Music For Films. However, Brian Eno got their first. Imagori however, is the perfect title.
The music on Imagori conjures up images in your mind’s eye. It’s easily to visualise scenes unfolding before your eyes. Suddenly, the listener is directing their own film. All they need to supply is their imagination. They’re soon providing the film that’s yet to be made, while, Mueller-Roedelius supply the soundtrack, Imagori.
OMAR SOULEYMAN-BAHDERI NAMI.
When Omar Souleyman released his debut studio album Wenu, Wenu in 2013, it was to widespread critical acclaim. Critics and cultural commentators were won over by Omar Souleyman’s unique and irresistible sound. His songs were played on radio and remixed for the dance-floor. Suddenly, Omar Souleyman was well onto his way to becoming a musical phenomenon. Two years later, and Omar Souleyman celebrated the fortieth anniversary of his first professional appearance with the release of his sophomore album Bahderi Nami. It was released on Monkeytown Records,in July 2015.
On Bahderi Nami, Omar fuses everything from Arabic, dance, electronica, folk, funk and soul. The three producers and remixer add elements of Acid House, tech house, and techno. Somehow, this musical melting pot of disparate and eclectic sounds produces a tasty and tantalising dish, one that should be tasted be music lovers everywhere. Especially, if they’ve never been introduced to the delights of Omar Souleyman.
It’s impossible not to be captivated by Omar Souleyman’s voice. As he sings in Arabic, his rasping vocal veers beteen worldweary, lovelorn, heartfelt and heartbroken. This man of few words, Omar takes the music of Syria’s past and reinvents it. The result is Bahderi Nami, a delicious fusion of Arabian and Western music from Omar Souleyman.
RACHEL SERMANNI-TIED TO THE MOON.
Three years have passed since Rachel Sermanni released her debut album Under Mountains in 2012. It reached number twenty-six in Scotland, and number twenty-three on the British Indie charts. Considering Rachel wasn’t signed to one of the bigger indie labels, this was a successful debut album. Her debut album was heard far and wide. Since then, the followup to Under Mountains has been eagerly awaited. The wait was over when Rachel Sermani released Tied To The Moon earlier this year.
At last, Scotland’s Queen of Nu Folk was back. She was joined by a talented band and Colin McLeod of Mull Historical Society. He produced Tied To The Moon and brings out the best in Rachel. Colin frame’s Rachel’s vocals with arrangements that veer between country, folk, pop and rock. Often, there’s a twist in the tale or a surprise in store. None more so, than on Tractor, which has single written all over it. Other times, Rachel seems to have been inspired by everyone from Bob Dylan, Tom Waits and Van Morrison, right through to Eva Cassidy, Joni Mitchell, Suzanne Vega, Bjork and P.J. Harvey. Their influence can be heard throughout Tied To The Moon. So can the traditional Scottish music Rachel Sermanni grew up listening to. It has influenced and shaped Rachel Sermanni as a singer and songwriter, as she makes the next step on what will surely be the road to stardom on Tied To The Moon.
RICHARD THOMPSON-STILL.
Despite Still being Richard Thompson’s twenty-fifth album, he’s still determined to reinvent himself musically. So, for Still, Richard Thompson brought onboard Wilco’s Jeff Tweedy to produce Still which was released on Proper Music. Jeff Tweedy brought new ideas to the table, and resulted in a quite different album from the folk-rock veteran.
At Jeff’s Chicago studio, The Loft, he and Richard combined elements of Americana, country, folk, folk-rock, jazz and rock. Seamlessly, these elements are combined by Jeff Tweedy and a small, but tight and talented band. They provide the perfect backdrop for Richard Thompson on Still, as he showcases lyrics that are cerebral, heartfelt, humorous, incisive and insightful. When Richard Thompson’s lyrics were combined with Jeff Tweedy’s musical backdrop, the result is Still, an album that shows that after six decades making music, he’s still relevant musically. Long may that continue to be the case.
THE BEST 55 NEW ALBUMS OF 2015-PART FIVE.
THE BEST 55 NEW ALBUMS OF 2015-PART FIVE.
SIDSEL ENDRESEN AND STIAN WESTERHUS-BONITA.
One of the most eagerly awaited albums of 2015 was Sidsel Endresen and Stian Westerhus’ sophomore album Bonita. It was released on Rune Grammofon in January 2015. Bonita was the followup to Sidsel Endresen and Stian Westerhus’ debut album Didymoi Dreams. Just like Didymoi Dreams, Bonita is another album of groundbreaking, innovative music. However, unlike Didymoi Dreams, Bonita is a live album.
On Bonita, Sidsel Endresen and Stian Westerhus pickup where they left off on Didymoi Dreams, renewing what’s an almost telepathic relationship. Sidsel reacts to Stian’s guitar playing, and improvises. Her music veers between dramatic, ethereal, heartfelt, sensual and urgent. Listening intently, Stian picks up on a change of direction. Straight away, he reacts, and his trusty guitar and effects take the listener on a musical adventure. He’s responsible for washes of blistering, dramatic ethereal, jagged, fuzzy, scorching and understated music. This is the perfect compliment for Sidsel’s vocals.
Feeding off each other, Stian and Sidsel drive each other to greater heights, fusing elements of ambient, avant-garde, experimental, jazz, psychedelia and rock on Bonita, where Sidsel becomes yin to Stian’s yang. It’s no surprise that Bonita is an ambitious, captivating, and groundbreaking album from Sidsel Endresen and Stian Westerhus, two of Norwegian music’s most talented artists.
SKYDIVE TRIO-SUN MOEE.
For many musicians, making the step up from sideman to bandleader can be problematic. Other musicians embrace the role and seem to enjoy the added responsibility. That’s the case with guitarist Thomas T. Dahl. He founded Skydive Trio, who released their debut album Sun Moee on Hubro Music.
Sun Moee is the perfect showcase for one of Norway’s most talented guitarist, Thomas T. Dahl. His playing takes centre-stage on Sun Moee. Behind him, Olavi Louhivuori and Mats Eilertsen provide the backdrop for Thomas’ guitar wizardry. Although they’re both hugely talented and experienced musicians, it’s Thomas guitar playing that takes a starring role on Sun Moee. The music is variously beautiful, cinematic, dramatic, elegiac, ethereal, mesmeric, sparse, stirring and understated. Elements of jazz and rock melt into one. Occasionally, elements of avant garde and experimental music can be heard. Especially on Four Words, which closes Sun Moee, Skydive Trio’s debut album.
As debut albums go, Sun Moee is one of the best albums I’ve heard this year. That’s not a surprise, given Skydive Trio feature three of Scandinavia’s most talented musicians, who showcase their considerable talents on Sun Moee.
STEIN URHEIM AND MARI KVIEN BRUNVOLL-FOR INDIVIDUALS FACING THE TEROR OF COSMIC LONELINESS.
Stein Urheim and Mari Kvien Brunvoll have both enjoyed lengthy careers as solo artists. They’ve also collaborated on a trio of albums. The latest was Individuals Facing The Terror Of Cosmic Loneliness, which was released by Jazzland Recordings and recorded in just four days.
That hasn’t affected the quality of music on Individuals Facing The Terror Of Cosmic Loneliness. It oozes quality. oozes quality. The album is a filler free zone, on what can only be described as a genre-melting album. There’s everything from alt-sunshine pop, ambient, avant-garde, dub, Eastern blues, experimental, free jazz and synth pop. The result is an eclectic and potent mix of musical genres for two innovative artists, Stein Urheim and Mari Kvien Brunvoll.
Together, they have created an ambitious, innovative and captivating album. It’s like the musical equivalent of a magical mystery tour, where Stein Urheim and Mari Kvien Brunvoll “are coming to take you away” on. Over Individuals Facing The Terror Of Cosmic Loneliness’ nine tracks the music veers between atmospheric, beautiful, dark, dramatic, ethereal, haunting, hypnotic, melancholy, mesmeric, sparse, thoughtful and wistful. Quite simply, Stein Urheim and Mari Kvien Brunvoll’s Individuals Facing The Terror Of Cosmic Loneliness is an album that you’ll constantly return to.
STORNOWAY-BONXIE.
In June 2014, Stornoway announced their intention to use crowd funding to fund their third album Bonxie. Just four days later, Stornoway had 222% of their target funding. With funding in place, Stornoway were able to relax and write and record their third album Bonxie. It was released to critical acclaim via Cooking Vinyl Records.
Bonxie is, without doubt, the best album of Stornoway’s career, Bonxie. It features hook-laden music, including anthems, ballads and calls to dance. There’s something for everyone on Bonxie.
That’s no surprise. Stornoway combine everything from Americana and country, to electronica, folk, folk rock, indie pop, indie rock, psychedelia and rock. Musical genres melt into one. So do influences. Everyone from Fairport Convention, R.E.M. and Teenage Fanclub to The Beatles, The Jayhawks and Wilco seem to have influenced Stornoway. Their influence can be heard during Bonxie, Stornoway’s career defining album.
SUN RA ARKESTRA UNDER THE DIRECTION OF MARSHALL ALLEN-BABYLON LIVE.
2014 marked the 100th anniversary of the birth of one of most enigmatic and innovative musicians in the history of music, Sun Ra. So, last year, Marshall Allen decided to celebrate the 100th anniversary of Sun Ra’s birth by taking the Sun Ra Arkestra on the road, choosing the setlist can’t have been easy. Literally, Marshall Allen was spoiled for choice. However, when the Sun Ra Arkestra reached the Babylon Club, Istanbul on 21st May 2014, the concert was recorded. Eight of the eleven tracks feature on Babylon Live which was recorded by the Sun Ra Arkestra Under The Direction Of Marshall Allen. It was released on the German label, In-and-Out Records.
Babylon Live was recorded at the Babylon Club in Istanbul, Turkey on the 21st May 2014. That was always 100 years to the day that Sun Ra was born Herman Poole Blount. Little did anyone realise that, that day, one of most enigmatic and innovative musicians in the history of music was born. He combined Egyptian history and space-age cosmic philosophy with freeform jazz. Some felt that Sun Ra hid behind his newly adopted personal. Throughout his life, he remained an enigmatic figure. So much so, that many people referred to Sun Ra as Mr. Mystery. Despite being an enigma, he was one of jazz music’s great innovators.
Sun Ra’s approach to music was unique. He combined Egyptian history and space-age cosmic philosophy with freeform jazz. Over a career that spanned nearly forty years, Sun Ra and His Arkestra pushed musical boundaries. He was a perfectionist and a relentless taskmaster. Continually, he surrounded himself with some of most talented, inventive and adventurous musicians of their generation. They became the Sun Ra Arkestra, who celebrated the 100th anniversary of the birth of their founder, the man born Herman Poole Blount.
SWEETHEARTS OF THE PRISON RODEO-PIGS IN THE BULL RING [HUMANS LIKE BEASTS].
Pigs In The Bull Ring [Humans Like Beasts] was released on the Wiseblood Industries label, and is the followup to Sweethearts Of The Prison Rodeo’s 2013 album, On The Desolate Hillside. It introduced listeners to Falkirk’s very own purveyors of freak-country-folk, the Sweethearts Of The Prison Rodeo. Their raison d’être is to release cerebral music with a social conscience.
The Sweethearts Of The Prison Rodeo don’t make things easy for themselves. Writing and recording a concept album wasn’t going to be easiest way to followup their debut album. Especially when it’s told by the ghost of Mussolini. This makes Pigs In The Bull Ring [Humans Like Beasts] sound like an album that harks back to the classic concept album of the seventies.
Pigs In The Bull Ring [Humans Like Beasts] doesn’t come courtesy of Pink Floyd, E.L.P. or Yes. Instead, it come from David King and his Falkirk collective, Sweethearts Of The Prison. They’re not progressive rockers. Far from it. Sweethearts Of The Prison Rodeo described themselves as a freak-country-folk combo. That’s almost selling themselves short. They combine everything from blues, country, folk, indie rock and indie rock. Musical genres combine and collide seamlessly on Pigs In The Bull Ring [Humans Like Beasts]. To this musical hotpot, Sweethearts Of The Prison Rodeo combine, melodies and subtle hooks and social comment.
TARAF DE HAÏDOUKS-OF LOVERS, GAMBLERS AND PARACHUTE SKIRTS.
Twenty-five years ago, Taraf de Haïdouks made their debut. Little did anyone realise that this was the start of musical journey that saw Taraf de Haïdouks crowned “the best Gypsy band in the world.” That’s quite an accolade. However, anyone that’s seen Taraf de Haïdouks live, will agree with this.
Live, Taraf de Haïdouks seamlessly flit between heartfelt ballads to love songs, through old school dance tunes and Turkish tinged instrumentals. It’s a potent mix of musical genres that featured on Of Lovers, Gamblers and Parachute Skirts, Taraf de Haïdouks’ latest album, which was be released on Crammed Discs, in January 2015.
Seamlessly Taraf de Haïdouks flit between heartfelt ballads to love songs, through old school dance tunes and Turkish tinged instrumentals on Of Lovers, Gamblers and Parachute Skirts. It’s a captivating, potent and powerful mix of musical genres. The listener is taken on a musical and emotional journey, one where
the music veers between beautiful, cinematic and dramatic, to heartfelt and irresistible and urgent. Relentlessly, Taraf de Haïdouks toy with your emotions. By the time Of Lovers, Gamblers and Parachute Skirts draws to a close you realise that Taraf de Haïdouks are still “the best Gypsy band in the world.”
THE LAST HURRAH!!-MUDFLOWERS.
For over thirty years, H.P. Gundersen has been at the heart of Bergen’s thriving and vibrant music scene. The Bergen based singer, songwriter, guitarist and producer is a veteran of many groups, including Animal Farm, House Of Hiss, Nekken, Rust, Sensible Twins and The Stain Monster. Then there’s H.P. Gundersen’s latest project is The Last Hurrah!! They released their third album Mudflowers on Rune Grammofon in August 2015. Mudflowers marks the debut of the latest member of The Last Hurrah!!, up-and-coming vocalist Los Angeles based singer-songwriter Maesa Pullman.
For Mudflowers, bandleader H.P. Gundersen put together what can only be described as an all-star band. Everyone plays their part in the sound and success of Mudflowers. Marty Rifkin on pedal steel and John Thomas on Hammond organ play starring roles. However, the star of Mudflowers is Maesa Pullman, H.P. Gundersen’s latest discovery. She’s a versatile vocalist who breathes life, meaning and emotion into songs. Maesa Pullman has a great future ahead of her. So does the other vocalist on Mudflowers is Rosa Pullman, Maesa’s cousin. The Pullman family it seems, is a talented family. They’ve played a huge part in the success of The Last Hurrah!!’s third album, Mudflowers.
It’s an album that’s been inspired by an eclectic and disparate selection of musical genres. Everything from Americana, blues, country, pop, psychedelia, rock and even soul shine through on Mudflowers. One influence overshadows the rest. That’s country. Sometimes, Mudflowers sounds as if it’s been written and recorded in Nashville. Instead, Mudflowers was written and recorded in Bergen, Norway, and is a career defining album from The Last Hurrah!! On Mudflowers, A Star Is Born, and her name is Maesa Pullman.
THE PHANTOM BAND-FEARS TRENDING.
Ever since 2002, The Phantom Band have been making music. They released their fourth album Fears Trending back in January 2015, on Glasgow’s premier label Chemikal Underground. Fears Trending was recorded at the same time as The Phantom Band’s previous album Strange Friend. However, Fears Trending is a very different album.
The songs on Fears Treading are longer, darker and filled with drama. Some of the songs have a much more experimental sound. Bursts of futuristic, sci-fi, shimmering synths augment the fusion of art rock, folk rock, indie rock, post rock and psychedelia on Fears Treading. It’s an eclectic and ambitious combination of influences. However, it’s a combination that works.
Although Strange Friend and Fears Trending are very different albums, they’re both are captivating and groundbreaking albums from one of Scotland’s top bands, The Phantom Band, who for thirteen years, have been pushing musical boundaries to their boundaries, and sometimes, beyond.
THE SOULJAZZ ORCHESTRA-RESISTANCE.
Ten years after releasing their debut album in Uprooted in 2005, The Souljazz Orchestra returned with Resistance, which was released by Strut Records. Resistance sees The Souljazz Orchestra add some new ingredients to their musical melting pot. This time, The Souljazz Orchestra added some of French Caribbean and Francophone West African influences. To do this, The Souljazz Orchestra have fused elements Coupé-Décalé, Zouk, and Ndombolo to their usual mixture of Afro-beat, funk, jazz and soul. The result was Resistance, the next chapter in The Souljazz Orchestra story.
Resistance features The Souljazz Orchestra at their very best. When they’re in full flight on Resistance, it’s a joyous, impressive and irresistible sound. Especially when they’re tempting the listener to the dance-floor. They tease and tempt the listener with blazing horns, vintage keyboards, a myriad of percussion and a oulsating rhythm section. They provide The Souljazz Orchestra’s heartbeat. It’s an irresistible sound. Few can resist the delicious sound of The Souljazz Orchestra as they fuse everything from Afro-beat, Carribbean, jazz, Latin and soul with elements of Coupé-Décalé, Zouk, and Ndombolo. That’s not forgetting lyrics bristling with cutting social comment. The result is a potent and heady brew. It was recorded in The Souljazz Orchestra’s Ottawa studio. and has a decidedly lo-fi sound.
Don’t expect to find the latest equipment. No. It’s an analogue studio full of an eclectic selection of instruments. Many of these are instruments are long lost, sometimes unloved junk shop finds. A transistor organ, cheap guitars, reverb and echo units, an electric piano rescued from a dumpster and the crowning glory, an old eight-track Tascam tape machine, that was bought at a yard sale by the Royal Canadian Mounted Police. These instruments come to life in the hands of musical alchemists, The Souljazz Orchestra as they recorded their career defining album Resistance.
THE BEST 55 NEW ALBUMS OF 2015-PART SIX.
THE BEST 55 NEW ALBUMS OF 2015-PART SIX.
THE WOODBINE AND IVY BAND-SLEEP ON SLEEPING ON.
Four years after releasing their eponymous debut album in 2011. The Woodbine and Ivy Band return with their new album Sleep On Sleeping On. It was released in March 2015, on Static Caravan Recordings, and sees The Woodbine and Ivy Band head in a different direction from their eponymous debut album.
Sleep On Sleeping On, which partly, was inspired by G.I. Gurdjieff’s theories on what he termed “waking sleep,” sees The Woodbine and Ivy Band combine folk, psychedelia , progressive rock, jazz and country rock. Seamlessly, they switch between musical genres. Sometimes, they fuse several genres within the same song. Whether its traditional ballads, cover versions or new songs, The Woodbine and Ivy Band are at the top of their game. Especially, their twin vocalists Jenny McCormick and James Raynard.
Both have the ability to breath life, meaning and emotion into songs. Especially Jenny McCormick. She sounds as if she’s lived some of the lyrics. Jenny’s vocal is variously ethereal, tender, hopeful, needy and heartfelt. Jenny McCormick is one of The Woodbine and Ivy Band’s secret weapons on Sleep On Sleeping On. It’s almost unfair to refer to someone as the star of The Woodbine and Ivy Band. After all, everyone played their part in the sound and success of Sleep On Sleeping On. They’re responsible for an album that’s well worth the four year wait, Sleep On Sleeping On.
TUXEDOMOON AND THE CULT WITH NO NAME- BLUE VELVET REVISITED.
Peter Braatz was looking for just one artist to provide the soundtrack to his Blue Velvet Revisited project. Originally, he chose the Cult With No Name, one of his favourite bands. Then he heard a stunning trumpet piece. Erik told Peter that it was played by Luc Van Lieshout of Tuxedomoon. For Peter, this was another coincidence. He was also a fan of Tuxedomoon’s music. So, one became two, and Tuxedomoon and The Cult With No Name cowrote and produced the soundtrack to Blue Velvet Revisited. It was released by Crammed Discs in October, and was Volume 42 in Crammed Discs long established Made To Measure series. Blue Velvet Revisited is worthy addition to the series, and is proof that sometimes, two heads are better than one.
Tuxedomoon and Cult With No Name have penned and produced a score that’s variously ambient, beautiful and dreamy, to ethereal, erring and evocative. It also veers between moody and broody, via dark and disturbing to joyous, melancholy, rueful and wistful. It’s an emotional roller coaster. Incredibly, Tuxedomoon and Cult With No Name have managed to create such an evocative score without drawing inspiration from Angelo Badalamenti’s classic soundtrack. That took some doing. After all, Blue Velvet and Angelo Badalamenti’s soundtrack were like yin and yang.Hopefully, that will be the case with Tuxedomoon and Cult With No Name’s Blue Velvet Revisited score and Peter Braatz’s film.
It will provide a remarkable insight into the making of Blue Velvet, while Tuxedomoon and Cult With No Name take viewer on a genre-hopping musical adventure. From ambient and contemporary classical, to electronica and experimental via jazz, neo-classical, post rock. It’s a captivating, musical journey, where Tuxedomoon and Cult With No Name continually toy with the listener’s emotions on the suite of musical soundscapes that comprise the emotional roller coasters that’s Blue Velvet Revisited.
WILLIAM FITZSIMMONS-PITTSBURGH.
Like many artists, William Fitzsimmons draws upon personal experience for his songs. That has been the case since William released his 2005 debut album, Until When We Are Ghosts. Since then, William has released a further five albums.Each album has proved a compelling insight into William Fitzsimmons’ life. That’s the case with Pittsburgh, which was released by Grönland Records in May 2015.
Pittsburgh has been a long time coming. It was ten years ago that William first thought of the album, and the two themes that run through Pittsburgh. William describes Pittsburgh as: “It’s a memorial for my grandmother, who lived her whole life there, and it’s an honorarium to my hometown.” This makes Pittsburg a hugely personal album from the William Fitzsimmons.
Most of Pittsburgh’s arrangements are understated. Some are atmospheric. Often that’s down to William use of washes and waves of guitar. They play a part in framing William’s vocal. Quite rightly, they take centre-stage. Each of William’s vocal is heartfelt, and full of emotion, sadness and regret. His lyrics are variously beautiful, cerebral, melancholy, poignant, thoughtful and touching. Often, it’s possible to relate to the lyrics. Especially when William deals with death, and the loss of a loved one on what’s a beautiful and poignant album.
WILLIE NILE-IF I WAS A RIVER.
It seisms that with every album, Willie Nile releases, his music was being heard by a much wider audience. If I Was A River, Willie’s tenth album was something of a game-changer. Released in Britain on January 2015, If I Was A River introduced a new generation of music lover’s to Willie Nile’s music. No wonder. If I Was A River, was a very different album from Willie Nile.
If I Was A River was a much more understated album from Willie Nile. The piano was at the centre of If I Was A River’s sound. So were ten captivating songs and a tight, talented band. They played their part in an album that was released to critical acclaim. It lead to a new generation of music lovers discovered Willie Nile’s tenth album, If I Was A River It’s one of the best albums of his career.
Mostly, If I Was a River is an album of songs that are variously beautiful, heartfelt, introspective, poetic, soul-baring and soul-searching. They’re also tinged with melancholy, sadness and joy. Tales of love and love lost, sit side-by-side with tales heartbreak and hurt. If I Was A River is a very personal album from Willie Nile, one that’s best described as an emotional roller coaster.
ZACHARY CALE-DUSKLAND.
Before embarking upon a solo career, Louisiana born singer-songwriter Zachary Cale was a member of several college bands. By Zachary’s own admission, most were short-lived, and none of them were particularly successful. However, they taught Zachary Cale about stagecraft and songwriting. So when Zachary embarked upon a solo career, he was more than ready. He was ready to step out of the shadows, and take centre-stage. However, success didn’t come easy for Zachary Cale. It was only after releasing nine albums that his music began to reach a wider audience.
Blue Rider, which was released in 2013, was a game-changer for Zachary Cale Following the success of Blue Rider, Zachary Cale’s thoughts turned to his fifth album, Duskland. It was released on No Quarter in August 2015.
On Duskland, Zachary Cale seamlessly flits between Americana, country, country-rock, Neo Folk and rock. He’s just as comfortable singing country, as he is singing Neo Folk. Zachary Cale is a truly versatile singer, one whose capable of writing incisive, cerebral and cinematic lyrics. They tell stories, stories of people’s lives, their happiness, hopes, hurt and heartbreak. These songs come to life on Duskland. It’s a career defining album from Louisiana born troubadour, Zachary Cale who musically comes of age on Duskland, which is a near flawless opus.
That’s what I consider to be the fifty-five best new albums of 2015. As you can see, it’s an eclectic list; featuring everything from ambient and avant garde, to electro, experimental and folk, free jazz, through indie pop, progressive rock, psychedelia and rock. That’s not forgetting folk rock, post rock and space rock. The music on each of the albums is innovative, inventive and influential. Mediocre isn’t in these musicians dictionary. Leave that to the third rate Nu Soul singers and hip hoppers. They don’t feature on the fifty-five best new albums of 2015. Never will. Instead, the artists on the fifty-five best new albums of 2015 are the musical creme de la creme. They come from far and wide.
This includes Norway, Sweden and Finland. That’s not surprising. The Nordic Wave movement features some of the most most talented and innovative musicians. There’s also artists and bands from elsewhere in Europe, including Germany, Romania, Scotland and England. Then there’s artists and bands from North and South America. American and Canada represent North America; with Argentina and Peru represent South America. A man whose travelled even further afield, is the former wedding singer, Omar Souleyman. His star is still in the ascendancy, and for the second time in three years, makes the list of best new albums. He’s not alone.
Other bands and artists have graced the list, and doubtless will do so again. We’ll know who, once 2016 draws to a close. Before that, there’s a lot of music to listen to. Enjoy.
THE VELVET UNDERGROUND-LOADED (IMPORT).
THE VELVET UNDERGROUND-LOADED (IMPORT).
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.
Following the departure of John Cale, The Velvet Underground began looking for a replacement. Eventually, Doug Yule was chosen as John Cale’s replacement. He made his Velvet Underground eponymous third album in November 1968, at TTG Studios, Hollywood. The Velvet Underground recorded ten songs penned by Lou Reed. By December 1968, The Velvet Underground was completed it was released in March 1969.
Before that, critics had their say on The Velvet Underground. The majority of the critics were won over by The Velvet Underground’s new sound. Some critics went as far as to say that the album was The Velvet Underground’s finest hour. They were impressed The Velvet Underground’s much more accessible sound. The Velvet Underground were congratulated on the quality of songwriting, and the delivery of the lyrics. However, there was a but.
Some critics felt that The Murder Mystery was an experiment that hadn’t worked. Others ant further, lamenting that The Murder Mystery fell short of the quality of White Light/White Heat. Other critics remarked that The Velvet Underground lacked the eclectic sound of its predecessors. Even the quality of recording was criticised. Mostly though, critics thought that The Velvet Underground were on the right road. However, as usual, record buyers had the casting vote.
When The Velvet Underground was released in March 1969, the album crept into the US Billboard 200, reaching just 197. This was a disaster for The Velvet Underground. Lou Reed’s decision to embrace a more commercial sound had backfired.
Following the release of The Velvet Underground, the band headed out on tour. They spent much of 1969 touring America and Canada. Night after night, they reworked tracks from their first three albums. The audience watched as a tight band fought for their very future. Some nights, The Velvet Underground debuted new songs.
New Age, Rock and Roll and Sweet Jane found their way onto the set list. This trio of songs found their way onto Loaded, which was released in 1970. Loaded has been reissued by Rhino, to mark the forty-fifth anniversary of Loaded’s release. It proved a landmark album in The Velvet Underground’s career.
As The Velvet Underground’s seemingly never ending tour continued, they continued to hone their sound. They were a very different band to just a few years previously when they were Warholian disciples. That was the past. Now The Velvet Underground were willing to forsake what many thought was their true sound, for commercial success. That proved ironic.
After three albums that had failed commercially, MGM were starting to loose patience with The Velvet Underground. It didn’t help that MGM had been haemorrhaging money for a couple of years. They had too many loss making acts on their roster. Something had to give.
During the night of the long knives, executives at MGM decided to cancel the contracts of eighteen loss making acts. This included The Velvet Underground. They were invited to the headquarters of MGM, and told that their contract had been cancelled. However, was the decision to cut The Velvet Underground loose purely a business decision?
Since then, there has been speculation that The Velvet Underground were dropped just because they were losing MGM money. Maybe, it was more to do with The Velvet Underground’s image being at odds with MGM’s corporate image? That proved to be the case. In 1970, an executive of MGM said: “it wasn’t eighteen groups, Mike Curb was misquoted. The cuts were made partly to do with the drug scene—like maybe a third of them had to do with drug reasons. The others were dropped because they weren’t selling.” It seemed that MGM’s mattered more than selling records. MGM it seemed, only wanted artists whose lifestyle they approved of.
Many thought that being dropped by MGM must have been devastating for The Velvet Underground. It seems it was, and it wasn’t. When Lou Reed was interviewed in 1987, he admitted: “we wanted to get out of there.” That may just be bravado. After all, the music industry is a small village, and word would’ve spread like wildfire why The Velvet Underground had been dropped. Some critics however, thought the situation was ironic.
Back in 1968, The Velvet Underground had made what many regarded as the ultimate musical sacrifice. They had changed direction musically on their eponymous third album. No longer were they seen as an art rock band by championed by many critics and cultural commentators. Instead, the move towards a more populist sound was seen as the ultimate betrayal from The Velvet Underground. This resulted in John Cale’s departure from the band. Now that The Velvet Underground had been dropped by MGM, the loss of one of their main creative forces, had been for nothing. Given what had happened, it was the ultimate irony.
Now without a record contract, The Velvet Underground headed back out on tour. Touring was now their main source of income. So they spent much of 1969 on the road. Mostly, it was the tight version of The Velvet Underground that took to the stage. Other times, they revisited their past.
The Velvet Underground decided to reinvent songs, during lengthy improvisations. This mixture of art rock, avant garde and free jazz showed that the old Velvet Underground weren’t dead. Some critics believed it was merely being suppressed in the search for commercial success.
During their gruelling touring schedule, The Velvet Underground made occasional forays into the recording studio. Some of the songs The Velvet Underground recorded, were seen as having potential. However, they couldn’t be released, as The Velvet Underground were in dispute with MGM. With no recording contract, and locked in what could prove a biter, lengthy and expensive dispute with MGM, things looked bleak for The Velvet Underground.
By November 1969, The Velvet Underground arrived in San Francisco, and were due to play at The Matrix and The Family Dog. These shows were recorded, and were meant to be released as live albums. However, that didn’t happen until the next millennia, when Bootleg Series Volume 1: The Quine Tapes was released in 2001. 1969 was fast proving to by The Velvet Underground’s Annus horriblis. Surely, things would improve as when the new decade dawned.
That proved to be the case. 1970 saw The Velvet Underground’s luck improve. They were signed by Atlantic Records, and told to record an album: “loaded with hits.” This would be a first.
Commercial success had eluded The Velvet Underground. Three albums into their career, and they hadn’t enjoyed a hit single. The nearest they came to commercial success was when their 1967 debut album, The Velvet Underground and Nico reached 129 in the US Billboard 200. It was all downhill from there. In 1968, White Light/White Heat struggled into the US Billboard 200 at 199. Then when The Velvet Underground was released in 1969, it stalled at 197 in the US Billboard 200. The Velvet Underground were faced with a mammoth task to produce an album: “loaded with hits.”
With these words ringing in his ears, Lou Reed went away and wrote the ten tracks that became Loaded. Then recording began at Atlantic Recording Studios, New York with Geoff Haslam, Shel Kagan and The Velvet Underground producing Loaded. However, one member of The Velvet Underground was missing.
Maureen Tucker missed the Loaded recording sessions. They took place between April and August 1970. Her only contribution was singing on the outtake I’m Sticking With You, and adding drums on a demo of I Found a Reason. Loaded was the first Velvet Underground album Maureen Tucker.was missing from.
Various musicians replaced Maureen Tucker on Loaded. Engineer Adrian Barber, who played on Who Loves the Sun and Sweet Jane. Tommy Castagnaro then played drums on Cool It Down” and Head Held High. Billy Yule, Doug Yule’s brother deputised on drums on Lonesome Cowboy Bill and Oh! Sweet Nuthin.’ Even bassist Doug Yule played drums.
Although hired as a bassist, Doug Yule played fuzz bass, piano, keyboards, lead guitar, percussion and added backing vocals. He added the lead vocals on Who Loves the Sun, New Age, Lonesome Cowboy Bill and Oh! Sweet Nuthin’. Sterling Morrison played lead and rhythm guitar. Lou Reed, who was now The Velvet Underground’s main creative and driving force, played lead and rhythm guitar, plus the piano. This depleted version of The Velvet Underground, plus a few friends eventually, finished recording of Loaded in August 1968. The release was scheduled for 15th November 1970. A lot would happen before then.
With Loaded completed, usually, The Velvet Underground would’ve been readying themselves for the usual round of promotion that takes place before an album is released. Not this time.
Lou Reed called time on his career with The Velvet Underground on 23rd August 1970. This left The Velvet Underground like a rudderless ship.
With The Velvet Underground having lost their leader and creative force, others took charge of final mix of the album. That was fatal. Lou Reed should’ve handed Atlantic Records the final mix, and then left.
When Lou Reed saw and heard a copy of Loaded, he was in for a shock. The claimed that Loaded had been re-sequenced. This hadn’t been authorised. That was bad enough. No longer would Loaded flow as it was meant to. Much worse, was that some of Lou Reed alleged that some of the songs on Loaded had been edited.
Lou Reed railed against the edited version of Mary Jane. So badly edited was the song, that it was bereft of its very melody. A heartbroken Lou Reed described the melody as: “heavenly wine and roses.” Sadly, it was gone. New Age was another song that had fallen victim to the razor blade in the editing suite. However, one of the remaining members of The Velvet Underground disputed Lou Reed’s claims.
It was newcomer Doug Yule who spoke out. Despite being a relative newcomer to the band, he disputed what Lou Reed said. Doug Yule claimed that it was Lou Reed who edited Mary Jane, before he left The Velvet Underground. This essence of his explanation was that Lou Reed edited the song so that it would be a hit. However, it was claim and counter-claim. If Lou Reed edited the song, why did he edit the “heavenly wine and roses” of the melody from the song? The editing was just one of several grievances Lou Reed had.
The ten songs on Loaded came from the pen of Lou Reed. However, when Lou Reed received his copy of Loaded, he discovered that the songs were credited to The Velvet Underground. What made this worse, was that Lou Reed was third in the credits. He felt he wasn’t receiving the credit he deserved. Rubbing salt into the wound was a large photograph of Doug Yule playing the piano. The Velvet Underground’s creative force was overshadowed by the newcomer. Was this a deliberate slight seen Lou Reed had left The Velvet Underground?
As Lou Reed studied Loaded album’s cover, he discovered that Maureen Tucker was credited as the drummer. She hadn’t played on Loaded, as she was pregnant. It was the only Velvet Underground she didn’t play on. Ironically, many critics felt Loaded was one The Velvet Underground’s finest albums. However, even another member of the band didn’t agree with this.
Sterling Morrison had been ever-present on the four albums The Velvet Underground had released. This made him well qualified to critique the album. He had mixed feelings on the absence of Maureen Tucker and Doug Yule’s increased influence on Loaded. Without Maureen Tucker: “it’s still called a Velvet Underground record. But what it really is is something else.” Then when asked about Doug Yule playing a bigger part on Loaded he said: ”the album came out okay, as far as production it’s the best, but it would have been better if it had real good Lou vocals on all the tracks.” It seems the newcomer hadn’t convinced The Velvet Underground guitarist. What did the critics think?
Most critics were won over by Loaded. It followed in the footsteps of The Velvet Underground, which showcased a much more populist, commercial sound. Among Loaded’s highlights were the hook-laden, Sweet Jane and Rock and Roll. Even without the “heavenly wine and roses” of the melody, Sweet Jane was a timeless classic. Along with Rock and Roll, they became favourites on American FM radio stations. Other tracks that were mentioned in dispatches by critics were the soulful infused I Found a Reason and New Age. However, not everyone was convinced by Loaded.
Rolling Stone magazine wasn’t impressed by Loaded. They were the highest profile critic of Loaded. Ironically, they’ve performed a volte face, and nowadays, Loaded is one Rolling Stone magazine’s 500 best albums of all time. However, Rolling Stone weren’t being contrarian, like some critics.
While Loaded is indeed, a minor classic, it could’ve and would’ve been a better album. Especially, if Lou Reed took charge of all the lead vocals. Sterling Morrison had a point. Lou Reed was The Velvet Underground’s best vocalist. Having written the lyrics, he was able to bring them to life. From Sweet Jane and Rock and Roll, to Cool It Down, Head Held High, I Found A Reason and Train Round The Bend, Lou Reed unleashes a series of vocal masterclasses. Sadly, he only sung six of the ten vocals. That proved to be a a mistake.
In another group, Doug Yule would’ve been a more than adequate replacement. However, he couldn’t quite live the lyrics like Lou Reed. That’s not to say his performance is disappointing on on Who Loves the Sun, New Age, Lonesome Cowboy Bill and “Oh! Sweet Nuthin’. Far from it. Instead, they’re just not as good as The Velvet Underground’s worldweary leader, Lou Reed. Those were big shoes to fill. Even Sterling Morrison agreed.
Similarly, Maureen Turner was missed. While her replacements are more than adequate, it could be argued that there’s no continuity. Each drummer has their own sound and style. Despite that, Loaded came to be regarded as a minor classic. Very few people thought that would be the case in 1970.
When Loaded was released on 15th November 1970, the album failed to chart. It stopped just short, reaching 202 in the US Billboard 200. So near, but yet so far. This was a familiar story for The Velvet Underground.
Their fourth album Loaded deserved to fare better. They had sacrificed and suppressed their true sound to deliver an “album loaded with hits.” Loaded had everything going for it. It benefited from a much more commercial sound, and plethora of hooks. This meant that Loaded was The Velvet Underground’s most accessible album. Surely this was what record buyers wanted The Velvet Underground reasoned?
Record buyers had shied away from The Velvet Underground and Nico and White Light/White Heat. Then on The Velvet Underground, which was released in 1969, Lou Reed and Co. moved towards a more populist, accessible sound. This came at the cost of John Cale. Still The Velvet Underground failed commercially, and MGM dropped the Velvets. This proved the ultimate irony.
Just under a year later, and Lou Reed was gone too. This left just Sterling Morrison and the returning Maureen Tucker. Sadly, The Velvet Underground were a shadow of the band they once were. Loaded proved to be what many regard as their swan-song.
Despite its flaws, Loaded is a minor classic from The Velvet Underground. Nowadays, it’s regarded as one of the best 500 albums by Rolling Stone magazine. Loaded also belongs in every self-respected record collection. For those who have yet to discover Loaded, now is the time to do so.
Loaded was reissued by as an import on Rhino on 8th January 2016. Sadly, the release of Loaded was the end of an era for one of rock’s most innovative bands, The Velvet Underground.
Never again would Lou Reed join with Maureen Tucker, Sterling Morrison and Doug Yale again as The Velvet Underground. Squeeze which was released in 1972, was a Velvet Underground in name only. Only Doug Yule, who was using The Velvet Underground name featured on Squeeze. It’s not worthy of bearing The Velvet Underground name. That why for many, Loaded marked the end of The Velvet Underground story.
Their recording career had started in 1967 with The Velvet Underground and Nico, 1968s White Light/White Heat, 1969s The Velvet Underground and Loaded in 1970. Nowadays, each and every one of these albums are regarded as a classic; and The Velvet Underground are remembered as one of the most important, influential and innovative bands in the history of music. However, one can’t help wonder what direction The Velvet Underground would’ve headed if they hadn’t changed direction musically?
The Velvet Underground and Loaded would be very different albums. However, maybe, The Velvet Underground had no option. MGM were losing money hand over fist. They needed bands to sell vast quantities of albums, not release albums that would find favour with discerning music lovers. Maybe, if The Velvet Underground had known they were going to be dropped, they would’ve stuck to their musical principles? That wasn’t to be.
Instead, The Velvet Underground sacrificed their musical soul at the altar of populist music. John Cale couldn’t bear to watch this sacrifice, and walked away with his principles intact. Lou Reed desperate for the band he formed find commercial success as well as critical acclaim, played the game. After two albums of The Velvet Underground suppressing what they stood for musically, Lou Reed walked away.
He left behind one of the richest legacies for any group who only recorded four studio albums. Each is a classic. From The Velvet Underground and Nico to Loaded, each album features shamanistic performances from those musical shape shifters and high priests of music, The Velvet Underground.
THE VELVET UNDERGROUND-LOADED (IMPORT).
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