IRMIN SCHMIDT-ELECTRO VIOLET BOX SET.
IRMIN SCHMIDT-ELECTRO VIOLET BOX SET.
After eleven years and eleven studio albums, Can called time on their career in 1979. By then, Can were rightly regarded as one of the most innovative bands of the Krautrock era. They had enjoyed an almost unrivalled longevity.
Can were formed in 1968, by Holger Czukay and Irmin Schmidt. Both had been students of Karlheinz Stockhausen and graduated in 1966.
By then, Irmin Schmidt was twenty-nine. He born in Berlin on 29th May 1937, and grew up playing piano and organ. Soon, it was apparent that he was a talented musician. So it came as no surprise that Irmin headed to the conservatorium in Dortmund, to study music. This was just the start of Irmin’s studies.
From there, Irmin moved to Folkwang University of the Arts in Essen, before moving to Austria, and the Mozarteum University of Salzburg. The final part of Irmin’s musical education took place in Cologne, where Irmin met Holger.
The two future founding members of Can were studying composition under Karlheinz Stockhausen at the Cologne Courses For New Music. Between 1962 and 1966, Irmin and Holger studied composition. However, after they graduated, their lives headed in different directions.
Holger Czukay became a music teacher, and began a career educating a new generation of young Germans. Meanwhile, Irmnin Scmidt headed to New York.
During his time in New York, Irmnin Scmidt spent time with avant-garde musicians like Steve Reich, Terry Riley and La Monte Young. Soon, Irmin Scmidt was aware of Andy Warhol and Velvet Underground. This inspired him to form his own band when he returned home to Cologne.
By the time Irmin Scmidt returned home, Holger Czukay what he described to me “as a life-changing moment…the music of the past and present came together.” At last, “here was music that made the connection between what I’d studied and I was striving towards” With the innovative use of bursts of radio and the experimental sound and structure, “I went in search of similar music.”
He found Velvet Underground. Holger remembers Velvet Underground when he first heard them. “They were different…and really influential.” They influenced the music I made. This would include the music Holger Czukay made with Can.
When Irmin Scmidt returned home, he decided to form a band with his old friend Holger Czukay. So in Cologne in 1968, Can was born.
Pianist and organist Irmin Scmidt formed Can with American avant garde flautist David C. Johnson and bassist Holger Czukay. Up until then, the trio had exclusively played avant-garde classical music. Now their ambitions lay beyond that. Their influences included garage, rock, psychedelia, soul and funk. So they brought onboard three new members of the group, which started life as Inner Space, and then became The Can. Eventually, they settled on Can, an acronym of communism, anarchy, nihilism
The first two new additions were guitarist Michael Karoli and drummer Jaki Liebezeit. Vocalist and New York-based sculptor Malcolm Mooney joined the band midway through 1968. By then, they were recording material for an album Prepare To Meet Thy Pnoom. Two tracks, Father Cannot Yell and Outside My Door were already recorded. Unfortunately, record companies weren’t interested in Prepare To Meet Thy Pnoom. As a result, it wasn’t released until 1981, when it was released as Delay 1968. Undeterred, Can continued to record what became their debut album, Monster Movie.
Despite not being able to interest a record company in Prepare To Meet Thy Pnoom, Can were confident in their own ability. So Can continued recording what would become their debut album Monster Movies. However, soon, there was a problem.
David C. Johnson left Can at the end of 1968. He was disappointed at the change in musical direction. Little did he realise that he’d lost the chance to be part of one of the most groundbreaking band’s in musical history, Can.
Monster Movie.
Monster Movie had been recorded in Schloss Nörvenich, a 14th-century castle in North Rhine-Westphalia. Can recorded Monster Movie between 1968-69. It was the released in August 1969. This marked the debut of Can. Their career started as they meant to go on. A groundbreaking, genre-melting fusion of blues, free jazz, psychedelia, rock and world music, Monster Movies has a Velvet Underground influence. It’s as if Can have been inspired by Velvet Underground and pushed musical boundaries to their limits.
Throughout Monster Movie, Can improvised, innovated and experimented. Multilayering and editing played an important part in Monster Movie’s avant garde sound. So did spontaneous composition, which Can pioneered.
Spontaneous composition was hugely important in Can’s success. Holger Czukay remembers “that the members of Can were always ready to record. They didn’t take time to think. It was spontaneous. The music flowed through them and out of them.” Holger remembers that he was always “given the job of pressing the record button. This was a big responsibility as the fear was failing to record something we could never recreate.” In some ways, Can were an outlet for this outpouring of creativity, which gave birth to a new musical genre.
This new musical genre was dubbed Krautrock by the British music press. So not only was Monster Movie the album that launched Can’s career, but saw a new musical genre, Krautrock coined. The founding father’s of Krautrock were Can.
Soundtracks.
Released in 1970, Soundtracks, was Can’s sophomore album. Essentially, Soundtracks is a compilation of tracks Can wrote for the soundtracks to various films. It’s the album that marked the departure of vocalist Malcolm Mooney. Replacing him, was Japanese busker, Kenji Damo Suzuki. He features on five of the tracks, contributing percussion and vocals. The addition of Damo wasn’t the only change Can were making.
Soundtracks was a coming of age for Can. It marked a move away from the psychedelic jams of Monster Movie and a move towards their classic sound. That saw the music becoming much more experimental and avant-garde. The music took an ambient, meditative, mesmeric and thoughtful sound. This marked the beginning of what became known as Can’s classic years, when albums like Tago Mago, Ege Bamyasi and Future Days were released.
Tago Mago.
The first instalment in the golden quartet was Tago Mago. This was the first album where Kenji Damo Suzuki was a permanent member of Can. He and the rest of Can spent a year in the castle in Schloss Nörvenich. It was owned by an art collector named Mr. Vohwinkel. He allowed Can to stay at Schloss Nörvenich rent free. For what Holger described as “a poor man’s band,” this was perfect.
Holger remembers Can during this year as “just jamming and seeing what took shape. Songs started as lengthy jams and improvised pieces.” This Holger says “how Can always worked” After that, Holger edited the songs which became and the mini masterpieces featured on Tago Mago, which was four months in the making.
For four months between November 1970 and February 1971, Can recorded what would become one of their most innovative and influential albums, Tago Mago.
A double album, it featured seven groundbreaking tracks. Tago Mago was released in February 1971. Straight away, critics realised the importance of Tago Mago. Here was a game-changer of an album. It has an intensity that other albums released in 1971 lacked. Jazzier with an experimental sound, the music is mysterious, mesmeric and multilayered. It’s innovative, with genres and influences melting into one. Nuances, subtleties and surprises reveal themselves. No wonder. Can deliver an avant garde masterclass.
This comes courtesy of jazz-tinged drumming, improvised guitar playing and showboating keyboard solos. Then there was Kenji Damo Suzuki’s unique vocal style. All this, resulted in an album that was critically acclaimed, influential and innovative.
Released to widespread critical acclaim in 1971, Tago Mago was the start of a golden period for Can. Their reputation as one of the most innovative groups of the seventies started to take shape. Can had released one of the most innovative albums, Tago Mago. Holger remembers the reaction to Tago Mago. “I knew Tago Mago was an innovative album, but I never realised just how innovative an album it would become?
On Tago Mago’s release, it was hailed as their best album yet. Since then, several generations of musicians have been inspired by Tago Mago, a true Magnus Opus, that belongs in every record collection. So does the followup Ege Bamyasi.
Ege Bamyasi.
Can were on a roll. It seemed they could do no wrong. They released Spoon as a single in 1972. It reached number six in Germany, selling over 300,000 copies. That was helped no end, by the single being used as the theme to a German thriller Das Messer. It seemed nothing could go wrong for Can. The money the made from Spoon, allowed Can to hire disused cinema to record what became Ege Bamyasi.
Can adverted for a space to record their next album, Ege Bamyasi. Recording began in a disused cinema, which doubled as a recording studio and living space. The sessions at Inner Space Studio, in Weilerswist, near Cologne didn’t go well. Irmin Schmidt and Kenji Damo Suzuki took to playing marathon chess sessions. As a result, Can hadn’t enough material for an album. This resulted in Can having to work frantically to complete Ege Bamyasi. Despite this, Can were still short of material. So Spoon was added and Ege Bamyasi was completed.
Ege Bamyasi was a fusion of musical genres. Everything from jazz, ambient, world music, psychedelia, rock and electronica melted into one. When it was Ege Bamyasi released in November 1972, it was to the same critical acclaim as previous albums. Critics were won over by Can’s fourth album. It was perceived as a more accessible album than its predecessors. Just like Can’s previous albums, the quality of music was consistent.
Critics hailed Can as one of the few bands capable of creating consistent and pioneering albums. They were one of the most exciting bands of the early seventies. Can were continuing to innovate and influence musicians and music lovers alike. Just like its predecessor, Tago Mago, Ege Bamyasi is an essential part of any self respecting record collection. Having released two consecutive classic albums and their first single, it seemed nothing could go wrong for Can.
Future Days.
Despite Tago Mago and Ege Bamyasi being referred to as two of the most influential albums ever released, Holger Czukay prefers Future Days. This is the album he calls “my favourite Can album.” It was the third in Can’s golden quartet, and marked a change in direction from Can.
Future Days saw Can’s music head in the direction of ambient music. The music is atmospheric, dreamy, ethereal, melancholy, expansive and full of captivating, mesmeric rhythms. It’s also pioneering and progressive, with elements of avant garde, experimental, psychedelia and rock melting into one. Rather than songs, soundscapes describes the four tracks. Future Days and Bel Air showcase Can’s new sound. Bel Air was the Future Day’s epic. It lasted just over nineteen minutes, and sees can take you on an enthralling musical journey. Just like the rest of Future Days, critics hailed the album a classic.
On its release in August 1973, Future Days was hailed a classic by music critics. The move towards ambient music may have surprised some Can fans. However, Brian Eno was just one artist pioneering ambient music. This move towards ambient music must have pleased Holger’s guru Karlheinz Stockhausen. He must have looked on proudly as Can released the third of a quartet of classic albums. The final album in this quartet, Soon Over Babaluma was released in 1974.
Soon Over Babaluma,
Soon Over Babaluma marked the end of Can’s golden period. It was the end of a period where they were releasing some of their most innovative and groundbreaking music. There was a change of direction on Soon Over Babaluma. Can were without a vocalist. Kenji Damo Suzuki left Can and married his German girlfriend. He then became a Jehovah’s Witness. Despite the lack of a vocalist, Can continued as a quartet. They released Soon Over Babaluma in November 1974.
When Can released Soon Over Babaluma in November 1974, it received praise from critics. With a myriad of beeps, squeaks and sci-fi sounds, Soon Over Babaluma is like musical journey into another, 21st Century dimension. A musical tapestry where layers of music are intertwined during five tracks on Soon Over Babaluma. It followed in the ambient footsteps of Future Days and brought to a close the most fruitful period of Can’s career. Following the “golden quartet,” Can didn’t go into decline. Instead, Can continued to reinvent themselves and their music.
Landed.
Landed was released in September 1975. It had been recorded between February and April 1972 at Inner Space Studios. Just like previous albums, Can produced Landed. Holger and Tony Robinson mixed the first four tracks at Studio Dierks, Stommeln. The other two tracks were mixed by Holger at Inner Space Studios. These six tracks marked a change of direction from Can.
As well as a change in direction musically, Landed was the first Can album to be released on Virgin Records. Gone is the ambient sound of Soon Over Babaluma. Only Unfinished on Landed has an ambient influence. Instead, Landed has a poppy, sometimes glam influence. With uptempo, shorter songs, Landed was a much more traditional album. How would the critics react?
Critics were divided about Landed. Some critics saw Landed as the next chapter in the Can story, while others praised the album as adventurous, eclectic and innovative. Others thought Can were conforming. Surely not?
Flow Motion.
Flow Motion was Can’s eight album. As usual, it was recorded at Inner Space Studios. Produced by Can, Flow Motion was an album that drew inspiration from everything from funk, reggae, rock and jazz. It was an eclectic, genre-melting album. It’s also one of Holger Czukay’s favourite Can albums.
Holger remembers Flow Motion as an “Innovative and eclectic” album. He calls it “one of Can’s underrated albums,” Flow Motion marked a another change in Can’s way of working.
Released in October 1976, Flow Motion featured lyrics written by Peter Gilmour. This was a first. Never before, had anyone outside the band had written for Can. It worked. Can enjoyed their first UK single I Want More. It would later be recorded Fini Tribe and then Italo disco group Galaxis. With what was just their second hit single in seven years, maybe Can were about to make a commercial breakthrough?
Saw Delight.
Sadly, that wasn’t to be. Saw Delight which was released in March 1977, wasn’t the commercial success many people forecast. That’s despite the new lineup of Can embracing world music.
Joining Can were bassist Rosko Gee and percussionist and vocalist Rebop Kwaku Baah. They’d previously been members of British rock band Traffic. Rosko Gee replaced Holger on bass. Holger decided to add a percussive element, Holger added a myriad of sound-effects. This was Holger at his groundbreaking best. Experimental sounds including a wave receiver was used. The result was one of the most ambitious albums can had released.
Despite the all-star lineup and a bold, progressive and experimental album, Saw Delight wasn’t a commercial success. It was well received by critics. The problem was, Saw Delight was way ahead of its time. If it had been released in the eighties, like albums by Paul Simon or Peter Gabriel, it would’ve been a bigger commercial success. Sadly, by then Can would be no more. That was still to come. However, things weren’t well within the Can camp.
Out Of Reach.
Nine years after Can had released their debut album Monster Movie, they released their tenth album, Out Of Reach. It was released in July 1978. The title proved to be a prophetic. After all, commercial success always seemed to elude Can. Not only did Out Of Reach fail commercially, but the Out Of Reach proved to be Can’s most controversial album.
So much so, that they disowned Out Of Reach. On Out Of Reach Holger was left to add myriad of sound-effects. Bassist Rosko Gee and percussionist Rebop Kwaku Baah of Traffic returned. They were part of the problem. Holger confirms this.
When I asked him what he meant by this, he said “During the recording of Out Of Reach, I felt an outsider in my own group. I was on the outside looking in. I was on the margins. All I was doing was add sound-effects.” For Holger, he felt his group had been hijacked by Rosko Gee and and Rebop Kwaku Baah. Things got so bad, that Holger quit Can.
Rosko Gee and Rebop Kwaku Baah dominated Out Of Reach. Gone was the loose, free-flowing style of previous albums. Even Jaki Liebezeit’s play second fiddle to Baah’s overpowering percussive sounds. The only positive thing was a guitar masterclass from Michael Karoli. Apart from this, things weren’t looking good for Can. It was about to get worse though.
The critics rounded on Out Of Reach. They found very little merit in Out Of Reach. Gee and Baah were rightly blamed for the album’s failure. Even Can disliked Out Of Reach. They later disowned Out Of Reach. Despite this, Rosko Gee and and Rebop Kwaku Baah remained members of Can.
Unable to play with the necessary freedom Can were famed for, the two ex-members of Traffic stifled Can. Rebop’s percussion overpowers Jaki’s drums, which have always been part of Can’s trademark sound. At least Michael’s virtuoso guitar solos are a reminder of classic Can. A nod towards Carlos Santana, they showed Can were still capable of moments of genius. There wouldn’t be many more of these. Can would breakup after their next album.
Can.
Following the failure of Out Of Reach, the members of Can began recording what became Can. Remarkably, Rosko Gee and Rebop Kwaku Baah were still part of Can. Sadly, Holger was not longer a member of Can. He’d left during the making of Out Of Reach. His only involvement was editing Can.
Can, which is sometimes referred to as Inner Space, was released in July 1979. Again, critics weren’t impressed by Can. It received mixed reviews. No longer were Can the critic’s darlings. The music on Can was a fusion of avant garde, electronica, experimental, psychedelia and rock. Add to that, a myriad of effects including distortion and feedback, and here was an album that divided the opinion of critics. The critics agreed, it was better than Out Of Reach. They agreed that Holger was sadly missed.
Even Holger’s renowned editing skills couldn’t save Can. Try as he may, he could only work with what he was given. He did his best with Can, which the eleventh album from the group he co-founded. By the time Can was released, Holger “had come to a realisation, that it was time to go his own way.” Holger describes this as “necessary.”
Can had split-up after the release of Can. That was their swan-song. However, even before that, Holger “felt marginalised, this had been the case since Rosko Gee and Rebop Kwaku Baah became part of Can. They’d hijacked Can.” This lead to the death of a great and innovative band.
With Can now part of musical history, Irmin Schmidt, Holger Czukay, Michael Karoli and Jaki Liebezeit set about reinventing themselves. Music critics wondered whether they would form new bands or embark upon solo careers? Irmin Schmidt, Holger Czukay and Michael Karoli all embarked upon solo careers. The most prolific of the trio was Irmin Schmidt.
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 recently 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. Sadly, by 1980, Can was history, and it was a brave new world for Irmin Schmidt.
Filmmusik.
Just a year after Can released their swan-song, Irmin Schmidt released the first volume in his Filmmusik series. This eight track compilation, was an introduction to the music Irmin had been writing for film and television. It would become a popular, and much anticipated series, which introduced many people to Irmin’s solo music. On the first volume of Filmmusik, Irmin was joined by old friends and some new names.
Among the old friends, was Can guitarist Michael Karoli. He featured on the eight minute, cinematic epic Im Herzen Des Hurrican (Verfolgung) and Im Herzen Des Hurrican (No. 5). Michael Karoli played his part in the success of Filmmusik. So did what was a new name to many Can fans was tenor saxophonist Bruno Spoerri.
He had been making electronic music since 1965, and by 1980, the forty-five year old, was running his own studio in Zurich. This was Studio Für Elektronische Musik Spoerri, where some of the Filmmusik sessions took place. Most of the recording of Filmmusik took place at Can’s Inner Space Studio, near Cologne. This had been where Can recorded some of the best music of their career. It would be no different for Irmin Scmidt.
While the cinematic sound of Filmmusik was very different to the music Can had been releasing, it showed just how versatile a composer and musician Irmin was. He had created eight tracks that were evocative, and had the ability to paint picture’s. This was important for anyone composing music for film and television. It looked like Irmin Schmidt had a big future ahead of him. He had stepped out of the shadow of Can and was about to enjoy his moment in the spotlight.
Filmmusik Volume 2.
So much so, that Irmin Schmidt released two albums during 1981. This included Filmmusik Volume 2. By then, Irmin was forging a reputation as the go-to-guy for anyone looking for a soundtrack to a film or television series in Germany. Eventually, Irmin would write over 100 scores. However, in 1981, his career was in its early days.
On Filmmusik Volume 2, it’s akin to Can reunion. Guitarist Michael Karoli and drummer Jaki Liebezeit feature on Endstation Freiheit-Titelmusik, Endstation Freiheit-Loony’s Walk and on Endstation Freiheit-Decision. So does bassist Rosko Gee. He’s replaced by Holger Czukay on Flächenbrand-Lurk and Flächenbrand-Titelmusik. Then on Die Heimsuchung Des Assistenten Jung-Man On Fire, Jaki Liebezeit added percussion. It seemed that the former bandmates were still friendly, and were happy to play on each other’s albums. Maybe, Can weren’t history after all?
That’s what some critics remarked when they saw the credits to Filmmusik Volume 2. With its all-star cast, it was a tantalising prospect. The critics weren’t disappointed when they heard Filmmusik Volume 2. It seemed Irmin Scmit was playing his part in reinventing what a soundtrack should sound like. He was just one of a new breed of composers determined to do so. However, Irmin wasn’t content to just write soundtracks. A solo career beckoned.
Toy Planet.
Irmin Schmidt also wanted to enjoy a solo career. This could run in parallel with his career composing soundtracks. For his debut solo album, Irmin Schmidt decided to collaborate with Bruno Spoerri, on what became Toy Planet.,
Zurich based Bruno Spoerri was two years older than Irmin. Bruno had been a pioneer of electronic music since 1965. Back then, Irmin was still studying under Karlheinz Stockhausen. However, within two years, he would be embracing new, experimental music in New York. That was sixteen years ago. Now Irmin Schmidt was regarded as a musical innovator and pioneer. His debut album would be much anticipated.
Critics and record buyers weren’t disappointed when Toy Story was released in 1981. It’s best described as a genre-melting opus. Everything from ambient, jazz and electronica, combines with rock and classical and psychedelia. There’s even a nod to the Berlin School, progressive rock and Phillip Glass, as a myriad of sounds assail you. Listening intently, instruments and sounds flit in and out. Sometimes, you question what you heard? Were there birds and a variety of animal noises on The Seven Game? Then on the title-track, futuristic and otherworldly describes what can be a haunting track. What follows is a minor musical masterpiece, which sadly, has been overlooked by the majority of music lovers since its release in 1981. Those that bought Toy Planet, eagerly awaited the followup.
Rote Erde.
It was a long time coming. Four years to be precise. To record buyers, it seemed that Irmin Schmidt was in no hurry to release the followup to Toy Planet. That wasn’t the case.
Instead, he was just incredibly busy. Irmin had been commissioned to compose the soundtrack to Rote Erde. It was released in 1983, and featured Michael Karoli and a former member of Can, David Johnson. Rote Erde, a journey through art rock and electronica, would give Irmin Schmidt’s fans something to listen to, while he continued to work on his burgeoning soundtrack career.
Filmmuzik Volumes 3 and 4.
Proof of this, was the release of Filmmuzik Volumes 3 and 4. This double album featured another twelve tracks Irmin Scmidt had written for film and television. On some of the tracks, Irmin was joined by Michael Karoli and Jaki Liebezeit. Only Holger Czukay was missing from what would’ve been a Can reunion.
On the twelve tracks on Filmmuzik Volumes 3 and 4, Irmin Schmidt shows his versatility, as stylistically, the music shifts between disparate genres. This includes everything from classical and experimental, to jazz and rock. With a tight, talented and hugely experienced band for company, Irmin provided the soundtrack German film and television. Again, for many younger viewers, this would be their first exposure with Irmin Schmidt’s music. Given the quality of music on Filmmuzik Volumes 3 and 4, it wouldn’t be their last.
Mostly, the reviews of Filmmuzik Volumes 3 and 4 were positive. That had been the case throughout Irmin Schmidt’s career. He hadn’t released a disappointing album. However, most of Irmin’s albums had either been compilations or soundtracks. They hadn’t sold in vast quantities. It seemed that Irmin Schmidt had a small, but loyal following. However, with every release, Irmin Schmidt’s music seemed to be finding a wider audience. Maybe the release of his sophomore solo album Musk At Dusk would result in Irmin Schmidt’s music reaching a much wider audience?
Musk At Dusk.
That should’ve been the case. Can had reunited in 1986. The first Can reunion had been a success. Now Irmin Scmidt was ready to begin work on his second solo album, Musk At Dusk, some familiar faces were present. This included Michael Karoli and Jaki Liebezeit.
Only Michael Karoli had released a solo album, Deluge, his 1984 collaboration with Polly Eltes. Jaki Liebezeit was content to work as a hired gun, playing on other artist’s albums. This included Holger Czukay and Irmin Schmidt’s albums. They were fortunate to have one of the top German drummers of Krautrock era providing the heartbeat to their albums.
That was the case on Musk At Dusk. It was another stylistically eclectic album. Elements of ambient, electronica, jazz, lounge and even progressive rock shawn through, on what was another ambitious, captivating and innovative solo album from Irmin Schmidt.
Critics agreed when Musk At Dusk was released. Irmin Scmidt seemed determined to reinvent himself on the long-awaited followup to Toy Planet. Six years after the release of Toy Planet, Musk At Dusk was released in 1987.
Sadly, Musk At Dusk wasn’t a huge commercial success. A small crumb of comfort was that gradually, word seemed to be spreading about Irmin Schmidt’s music. Meanwhile, Kraftwerk were enjoying commercial success and critical acclaim. They seemed unable to do no wrong. This must have been frustrating for Irmin, whose music was no nearer to reaching a wider audience. Aged fifty, he was still regarded as an underground artist. So, Irmin Schmidt returned to composing music for film and television.
Filmmuzik Volume 5.
Two years after the release of Musk At Dusk, Irmin Schmidt released Filmmuzik Volume 5. By then, the Filmmusik series was becoming a much anticipated and highly regarded series. It showcased Irmin’s music to many people who had neither seen the films nor television programs it featured in. Back in 1989, satellite television was in its infancy.
Filmmuzik Volume 5 featured another eight eclectic tracks. Again, the Can connection was strong. Drummer Jaki Liebezeit played on Zu Nah Dran. This was the only track to feature drums. Guitarost Michael Karoli featured on Mountain Way, Rita’s Tune, Bohemian Step, Geld and Geister and Zocker. These tracks featured on an album veered between cinematic, electronic and rocky. Just like the previous volumes in the Filmmuzik series, it caught the imagination of critics and record buyers.
It didn’t matter that many of the people buying Filmmuzik Volume 5 had neither seen the films, nor television programs they were taken from. The tracks worked as standalone pieces of music. Critics agreed. They felt Irmin Scmidt was maturing as a composer with each instalment in the Filmmuzik series. Those that bought Filmmuzik Volume 5 agreed, and eagerly awaited the next instalment in this popular series. Little did they know, they would have to wait twenty-six years.
Impossible Holidays.
By 1991, Can were back on the comeback trail. This was their second reunion. Can’s popularity had grown since their last reunion in 1986. Never before, had Can been as popular. They were somewhat belatedly receiving the plaudits they so richly deserved. The Can reunion was part of one of the busiest years of Irmin Schmidt’s recent career.
Still Irmin Schmidt was busy composing music for films and television programs. Four years had passed since Irmin had released a solo album. Critics and record buyers wondered when the followup to 1987s Musk At Dusk would be released?
Little did they realise that in studios in Nice, Paris, Berin and Cologne, Irmin Schmidt had been working on his long-awaited, and much-anticipated third solo album, Impossible Holidays.
For Impossible Holidays, Irmin Schmidt worked with lyricist Duncan Fallowell. Gradually, Irmin’s third solo album Impossible Holidays began to take shape. Once the lyrics and music were written, Impossible Holidays was recorded at various studios in France and Germany.
When work began on Impossible Holidays, two familiar faces were present. Can drummer Jaki Liebezeit and guitarist Michael Karoli. Bassist Franck Ema-Otu, a long term collaborator of Irmin Schmidt was present. He had also played on Michael Karoli’s 1984 debut solo album Deluge. Along with backing vocalists and session players, Irmin and co-producer Gareth Jones recorded Impossible Holidays. This they hoped would be Irmin’s breakthrough solo album.
Impossible Holidays was released in 1991, when Irmin Scmidt was fifty-five. He was approaching veteran status, and was regarded as one of the finest German composers of soundtracks for film and television programs. However, Irmin’s solo career had proved disappointing. He had released a two critically acclaimed solo albums. Sadly, neither Toy Planet nor Musk At Dusk had been sold in vast quantities. Maybe Impossible Holidays would be a game-changer for Irmin Schmidt?
When Impossible Holidays was released, reviews were positive. Irmin Schmidt was regarded as one of the grand old men of Germen music. However, he was still regarded as an innovator, and someone who was capable of releasing ambitious, groundbreaking music. Impossible Holidays was no different.
Elements of avant garde, electronica, Krautrock and rock could be heard on Impossible Holidays. So could something that no previous Irmin Schmidt solo album featured…lyrics. They came courtesy of Irmin, while Claudia Stülpner, Gitte Haenning and Özay Fecht added backing vocals. Despite these stylistic changes, Impossible Holidays didn’t sell in huge quantities. While more people had discovered Impossible Holidays, Irmin Schmidt was still one of music’s best kept secrets.
Masters Of Confusion.
Just a year after the release of Gormenghast, Irmin Schmidt returned with Masters Of Confusion, his first collaboration with Kuno. Irmin had met Kuno when recording Gormenghast.
Kuno was none other that Jono Podmore, who co-produced Gormenghast with Irmin. Just like Irmin, Jono was a musical adventurer. He had released two solo albums, 1997s Kaminari and 2000s 1+1=1. It was an album of drum ’n’ bass, which was released by Mute, the same label that Irmin was signed to. After the release of Gormenghast, Irmin and Kuno decided to collaborate. The result was Masters Of Confusion.
When Masters Of Confusion was released in 2001, critics were aghast. They couldn’t help but admire Irmin Schmidt’s ambition and bravery. Masters Of Confusion was totally unlike anything that Irmin Schmidt had released in a career spanning five decades. He had taken a huge leap of faith, which was rewarded when a new generation of music lovers embraced Masters Of Confusion, a journey through drum ’n’ bass, ambient and experimental music. Suddenly, Irmin Schmidt was the toast of dance-floors in clubs across Europe. So Irmin Schmidt and Kuno returned with the followup Axolotl Eyes. This however, took time.
Axolotl Eyes.
Seven years passed before Irmin Schmidt and Kuno returned with the followup Axolotl Eyes. It was released in 2008, and just like Masters Of Confusion, was an eclectic album.
Irmin Schmidt and Kuno took listeners on a roller coaster journey through avant garde, cinematic, dark ambient, experimental and even Krautrock. This was a return to Irmin’s musical roots, and the glory days of Can. That was fitting
Since the release of Masters Of Confusion in 2001, Can guitarist Michael Karoli was dead. Irmin’s longtime collaborator and friend, had died on 17th November 2001 in Essen, Germany. It seemed fitting that Irmin Schmidt and Kuno revisited Krautrock on Axolotl Eyes.
When Axolotl Eyes was released in 2008, seven years had passed since Masters Of Confusion took dance-floors by storm. Seven years is a long time in dance music. During that period, genres came and went. Luckily, Axolotl Eyes wasn’t a remake of Masters Of Confusion. Far from it.
Axolotl Eyes was hailed an ambitious and groundbreaking album. It was released to critical acclaim. Partly, this was because Irmin Schmidt was never determined to stand still. Constantly, he was looking to reinvent his music. He had never released the same album twice, and wasn’t going to start after five decades.
Filmmusik Volume 6.
Since the release of Axolotl Eyes in 2008, Irmin Schmidt has been busy. He provided the soundtrack to Wim Wenders’ film Palermo Shooting. It as released in 2008. Then in 2009, Irmin collaborated with Inner Space Production on Kamasutra-Vollendung Der Liebe. Since then, Irmin Schmidt has been kept busy.
He continues to write music for film, theatre and television. As of 2015, Irmin Schmidt had written over 100 film and television soundtracks. This meant there was plenty of material for at least another volume in the Filmmusik series.
Twenty-six years had passed since Irmin Schmidt had released Filmmusik Volume 5 in 1989. Since then, nothing. That was until recently, when Mute announced the release of the twelve disc Electro Violet box set. The good news was, that included in this luxurious and lovingly compiled box set was Filmmusik Volume 6. This brought the story of Irmin Schmidt’s soundtrack career up to date. The seventy-eight year old hasn’t lost his magic touch, and is still able to create music that evocative, emotive and most importantly, cinematic. It helps tell the story. However, the music on Filmmusik Volume 6 works as standalone pieces of music. They feature the same quality that one expects from Irmin Schmidt. That’s not surprising.
Throughout a career that’s spanned five decades, Irmin Schmidt has been regarded as a musical innovator. While that’s an oft-overused word, in the case of Irmin Schmidt, innovator describes one of the greatest musicians of his generation.
That’s been the case from Irmin Schmidt’s days with Can, right through to his solo years and the various collaborations he’s been involved with. Much of Irmin Schmidt’s post-Can career has been spent composing soundtracks for film, theatre and television. A tantalising taste of this can be found on the six volumes of Filmmuzik. That’s not forgetting Irmin’s first three solo albums, 1981s Toy Planet, 1987s Musk At Dusk and 1991s Impossible Holidays. Then the opera Gormenghast, which was released in 2000. It lead to Irmin Schmidt’s two collaborations with Kumo, 2001s Master Of Confusion and 2008s Axolotl Eyes, which closes the Electro Violet box set.
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 Electro Violet box set, which like the music of Can, will forever influence and inspire further generations of musicians and continue to captivate discerning music lovers.
IRMIN SCHMIDT-ELECTRO VIOLET BOX SET.
KATHRYN JOSEPH-BONES YOU HAVE THROWN ME AND BLOOD I’VE SPILLED-VINYL EDITION.
KATHRYN JOSEPH-BONES YOU HAVE THROWN ME AND BLOOD I’VE SPILLED-VINYL EDITION.
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, was released on vinyl Hits The Fan Records earlier in 2015.
A few months later, and Bones You Have Thrown Me and Blood I’ve Spilled was one of 147 albums nominated for the Scottish Album Of The Year Award. This was narrowed down to what the judges considered the twenty best Scottish albums of 2015. They were an eclectic selection featuring everything from folk to indie rock and everything in between. The long-list featured some of the biggest names in Scottish music. Mogwai, Belle and Sebastian, Errors, King Creosote, The Twilight Sad, The Phantom Band and Withered Hand had all been nominated. This was to be expected. Some names however, were missing.
There was no sign of Lau’s The Bell That Never Raung, Bill Wells and Aidan Moffat’s The Most Important Place In The World and Vashti Bunyon’s Heartleap. Somehow, these three albums been passed over. On another day, they could’ve easily found their way onto the long-list. Sadly, it wasn’t to be. However, this meant three other artists would have their moment in the sun.
When 147 became twenty, critics and record buyers studied the long-list with interest. There were what some considered some unexpected names. One of these names was Kathryn Joseph.
She had only released Bones You Have Thrown Me and Blood I’ve Spilled a couple of months earlier. However, it was released to widespread critical acclaim. The Aberdeen born singer, songwriter and pianist had made an impression on music critics, DJs and music lovers. So for those of us who had followed Kathryn’s career with interest, it was no surprise when Bones You Have Thrown Me and Blood I’ve Spilled made the long-list for the 2015 Scottish Album Of The Year Award. Doubters however, thought that Bones You Have Thrown Me and Blood I’ve Spilled wouldn’t make the short-list of ten.
It looked like a close call. Certain albums looked nailed on to make the short-list. Especially, Mogwai’s Rave Tapes, Withered Hand’s New Gods, King Creosote’s From Scotland With Love, Belle and Sebastian’s Girls In Peacetime Want To Dance, Errors’ Lease Of Life and The Phantom Band’s Strange Friend. They were almost guaranteed to make the cut. So was The Twilight Sad’s Nobody Wants To Be Here and Nobody Wants To Leave. This left thirteen albums fighting it out for three places.
In the end, it was up to the public and judges to choose the ten albums that would make the short-list. Eventually, the short-list was announced. The record buying public and judges had spoken. Incredibly, King Creosote, Mogwai, The Phantom Band and Withered Hand never made the short-list. To rub salt into the wound, faux soul singer Paolo Nutini did. At times like this, and democracy is flawed. The only small crumb of comfort was that Kathryn Joseph’s debut album is Bones You Have Thrown Me and Blood I’ve Spilled made the short-list.
From the 147 albums nominated, only ten remained. The biggest names on the short-list were Belle and Sebastian and Errors. Worryingly Paolo Nutini was still there. Surely, his poppy brand of lite soul wasn’t going to steal the prize? All would become clear.
The ten who made the short-list, were invited to a glittering gala dinner in late June 2015. It was attended by what the “great and good” of Scottish music. Critics, bloggers, bookers, promoters and DJs eagerly awaited the announcement of the winner of the Scottish Album Of The Year Award for 2015.
When the announcement was made, many within the room were surprised. The winner of Scotland’s most prestigious music award was Kathryn Joseph, who had just released her debut album
Bones You Have Thrown Me and Blood I’ve Spilled in January 2015. Five months later, Kathryn Joseph was clutching the Scottish Album Of The Year Award for 2015 and a cheque for £20,000. Kathryn Joseph had come a long way in a short space of time.
Originally born in Aberdeen, Kathryn now lives in Scotland’s musical capital, Glasgow. That’s where she recorded the award winning Bones You Have Thrown Me and Blood I’ve Spilled.
Kathryn Joseph wrote the ten tracks that became Bones You Have Thrown Me and Blood I’ve Spilled. They were recorded and mixed at The Diving Bell Lounge in Glasgow. Producing Bones You Have Thrown Me and Blood I’ve Spilled was Marcus MacKay. He also plays bass and rhythm guitar. Kathryn played piano and added vocals to the ten tracks. When they were completed, they became Bones You Have Thrown Me and Blood I’ve Spilled, which I’ll tell you about.
Opening Bones You Have Thrown Me and Blood I’ve Spilled is The Bird. Just a lone piano plays, while in the distance, “cheep cheep,” can be heard. Quickly, Kathryn’s vocal veers between fragile and vulnerable, to emotive and powerful. Soon, a bass cuts in and accompanies Kathryn and her piano. Sometimes, Kathryn’s vocal quivers. Especially, as she sings: “you do not know me, and never will, Bones You Have Thrown Me and Blood I’ve Spilled.” Meanwhile, the piano and bursts of drums add an element of drama. Then later, there’s an overwhelming sense of sadness as she sings: “you bring dead birds, then you go.” Ruefully and wistfully she delivers the lines to a captivating and dramatic track.
As the piano plays, The Blood takes on a wistful sound. That’s even before Kathryn sings. When her vocal enters, it has an almost otherworldly sound. It has the same vulnerable quality as she delivers a breathy, but urgent vocal. The drama increases when the rhythm section kicks in. Folk veers towards folk rock, and Kathryn seems to have been inspired by Astrid Williamson, Jerry Burns, Liz Fraser and Kate Bush. Especially Kate Bush, as she unleashes a vocal where power and emotion are omnipresent.
Washes of Kathryn’s vocal assail the listener on The Want. Her vocal is truly impassioned and becomes a plea: “hear me out.” Later, her vocal is tinged with regret as she sings: “I can’t be with you, hear me out.” Despite just accompanying herself on the piano, The Want is one of the most moving songs on Bones You Have Thrown Me and Blood I’ve Spilled.
The piano comes close to overpowering Kathryn’s ethereal vocal on The Why What, Baby? As a result, you listen intently as Kathryn delivers her lyrics. Again, her vocal has a vulnerable quality. Not when she delivers the line: “God knows what you are guilty of.” Anger and frustration shines through. Other times though, her vocal veers between tender and impassioned, as she breathes life and meaning into her powerful lyrics.
Just like previous tracks, The Outtakes opens with just Kathryn playing her piano. Her fingers flit nimbly across the piano, playing boldly and confidently. Soon, her tender, ethereal vocal enters. It quivers, before a pounding drum joins is added. Whether it’s needed at that point is debatable? Granted it adds an element of drama. However, so does Kathryn’s expressive vocal. Later, melancholy strings are added. So is a bass. Both add to the mix. It’s better with their inclusion. That’s even the case with drum, but just at that point. Everything falls into place, in what sounds like a homage to Kate Bush.
For the first six bars of The Bone it’s just a lone piano that plays. This isn’t unusual. Most of the songs on Bones You Have Thrown Me and Blood I’ve Spilled open with Kathryn’s piano. She plays unaccompanied, and sets the scene for her vocal. It’s heartfelt and impassioned, and has the same fragility of previous tracks. Another similarity is the use of a lone drum. It’s added at the nineteenth bar. Again, its raison d’être is to add a dramatic backdrop. This time it succeeds. Producer Marcus MacKay doesn’t overuse the drum. Nor does it come close to overpowering Kathryn’s captivating and impassioned vocal.
Slowly, The Crow decides to show its secrets. Lazily, the arrangement meanders slowly along the piano playing. By the fifteenth bar, Kathryn delivers a dreamy, ethereal vocal. Just the piano and plucked guitar accompany her. They play their part in a stark, understated vocal. It’s definitely a case of less is more, as a beautiful, emotive song unfolds.
The Mouth picks up where The Crow left off. Its arrangement is understated. For the time being, less is more. Just the piano, accompanies Kathryn’s vocal, which she almost turns into another instrument. Later, harmonies accompany her. Soon, the drum and guitar are added, as the arrangement swells. Seamlessly, the instruments, harmonies and Kathryn’s vocal intertwine, becoming one, and reach a dramatic crescendo. The instruments, harmonies and Kathryn’s vocal. Then it’s just Kathryn and her trusty piano, as the track reaches its sudden a poignant ending.
Each of Kathryn’s songs take the listener on a journey. The Good is no different. It may only be just over two minutes long, but Kathryn, accompanied by her wistful piano paints pictures. Her vocal is fragile and ethereal. Slowly and thoughtfully, she delivers the lyrics. She doesn’t rush. Instead, she dramatically and sometimes, defiantly delivers the lyrics.
Closing Bones You Have Thrown Me and Blood I’ve Spilled is The Weary, a homecoming song. It’s a fitting way to close Bones You Have Thrown Me and Blood I’ve Spilled is The Weary. Just like previous songs, Kathryn’s accompanied by her piano. One change is Kathryn’s vocal. Her accent is slightly stronger. On other tracks, Kathryn Joseph doesn’t sound Scottish. That’s not the case here. Another difference is the way the arrangement builds. It’s as if Kathryn’s determined to bring her debut album to a dramatic finale, with this homecoming song about The Weary traveller, home “safe and sound.”
Kathryn Joseph’s debut album Bones You Have Thrown Me and Blood I’ve Spilled features ten tracks and lasts less than a forty-five minutes. During this captivating musical journey, the listener is introduced to what many people consider Scottish music’s best kept secret, Kathryn Joseph. However, not any more.
Earlier this year, Kathryn Joseph was nominated for the 2015 Scottish Album Of The Year Award. Incredibly, she beat off competition from another 146 artists. The result was a first in the history of the Scottish Album Of The Year Award. No artist had won the Scottish Album Of The Year Award with their debut album. 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 an enchanting album. However, is it a worthy winner of Scotland’s most prestigious music award?
The fifteen months that the 2015 when the Sottish Album Of The Year Award covered, just so happen to coincide with the release of many critically acclaimed Scottish albums from Mogwai, Belle and Sebastian, Errors, King Creosote, The Phantom Band and Withered Hand. They had all been nominated and made the long-list. Some albums, including Lau’s The Bell That Never Raung, Bill Wells and Aidan Moffat’s The Most Important Place In The World and Vashti Bunyon’s Heartleap didn’t make the long-list. This just goes to show the strength in depth of the competition Kathryn was up against. However, when the long-list became the shortlist, Kathryn Joseph’s chances improved.
Incredibly, King Creosote, Mogwai, The Phantom Band and Withered Hand all failed to make the shortlist. Any one these albums would’ve been worthy winners. The loss of such high profile albums meant Kathryn Joseph’s odds shortened. Her chances of doing a Hubby improved.
Just like R.H. Hubbard in 2013, Kathryn Joseph snuck up on the rails to win the Sottish Album Of The Year Award by a head. The debutant had beaten veterans of Scottish music like Belle and Sebastian, and innovators and leaf lovers Errors. Just like the last couple of years, the Sottish Album Of The Year Award was won by an outsider.
Whether Bones You Have Thrown Me and Blood I’ve Spilled was the best album released between 1st January 2014 and March 31st 2015 is subjective. A strong case could be made for any one of eight albums on the long-list.
Ultimately, the winning album was the choice of twelve people. They sat in judgement, and eventually came up with Kathryn Joseph’s Bones You Have Thrown Me and Blood I’ve Spilled. Whether it would’ve been the choice of the public is another thing? That’s debatable.
If the Scottish Album Of The Year was chosen by public vote, the result could’ve and would’ve been very different. Any one of Mogwai, Belle and Sebastian, King Creosote, Errors, The Phantom Band or Withered Hand would’ve won. However, allowing the public to choose the winner of the Scottish Album Of The Year could’ve proved risky.
Leaving the record buying public to choose the winner of the Scottish Album Of The Year could’ve turned a prestigious award into a popularity contest? Imagine if populism had triumphed, and Paolo Nutini had won? The Scottish Album Of The Year would’ve lost its credibility. Thankfully, that wasn’t to the case.
Instead, Kathryn Joseph, one of the rising stars of Scottish music triumphed, with what was one of the best debut albums of the last two years. Against all odds, Kathryn Joseph beat off competition from another 146 artists to win Scottish music’s most prestigious price, the Scottish Album Of The Year Award. The winning album was Bones You Have Thrown Me and Blood I’ve Spilled, which looks like launching the career of Kathryn Joseph, who previously, was Scottish music’s best kept secret.
KATHRYN JOSEPH-BONES YOU HAVE THROWN ME AND BLOOD I’VE SPILLED-VINYL EDITION.
MIAOUX MIAOUX-SCHOOL OF VELOCITY-VINYL EDITION.
MIAOUX MIAOUX-SCHOOL OF VELOCITY-VINYL EDITION.
Following up a critically acclaimed debut album is never easy. It never has been, and never will be. That’s why many artists labour long and hard over their sophomore album. In some cases, three years pass by. During this creative struggle, an artist is said to be suffering from second album syndrome. It’s like a musical equivalent of writer’s block. Eventually though, it passes, and the long awaited sophomore album is ready for release.
Often though, by the time the album is completed, music has moved on. That genre of music is yesterday’s sound. In the pursuit of perfection, the artist has become irrelevant. They failed to notice that music was changing, while they were standing still. As a result, their career is over before it’s started; and they became a footnote in musical history, remembered for one critically acclaimed album. While that’s happened numerous times, it certainly hasn’t happened to Glasgow based Miaoux Miaoux.
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, which began in 2012.
That’s when Miaoux Miaoux released their much anticipated, debut album Light Of The North. It was released in June 2012, to widespread critical acclaim. Miaoux Miaoux seemed to have found the missing link between Mogwai and New Order. So it’s no surprise, that critics hailed Light Of The North as one of the finest debut albums of 2012. Critics also forecast a great future for Light Of The North. They were seen as one of Scotland’s rising stars.
Record buyers agreed. They too, were also won over by Miaoux Miaoux’s debut album. Light Of The North was a spellbinding, genre hopping musical journey. Seamlessly, Miaoux Miaoux married dance music and indie pop. The finishing touch to this captivating and glossy musical concoction, was a healthy supply of hooks. This ensured that Light Of The North was an irresistible soundtrack to the summer of 2012. Soon, word was spreading about Miaoux Miaoux.
Miaoux Miaoux head out on tour to promote Light Of The North. With his myriad of instruments and effects, Miaoux Miaoux hit the road. Before long, Miaoux Miaoux’s reputation was on the rise. This was helped by some high profile appearances, plus the fact that some high profile DJs were championing Miaoux Miaoux’s music. Meanwhile, other artists were aware of Miaoux Miaoux’s music and Julian Corrie’s skills as a remixer.
Light Of The North opened doors for the man behind Miaoux Miaoux, Julian Corrie. It was like his calling card, and showed just what he was capable of musically.Suddenly, the Glasgow based singer, songwriter, multi-instrumentalist, producer and remixer was being asked to remix other artists.
The first was one of Scottish music’s rising stars, Chvrches. They were just about to release their debut single The Mother We Share in 2012. It was given a Miaoux Miaoux makeover in 2012. Then in 2013, Miaoux Miaoux was asked to remix another Glasgow band.
This time, it was one of Scotland’s biggest bands, Belle and Sebastian. They asked Miaoux Miaoux to remix Your Cover’s Blown. It too, was given a dance-floor friendly sheen. After that, Miaoux Miaoux proved that he was an equal opportunities remixer.
Miaoux Miaoux headed off on a road trip down the M8. His destination was Edinburgh, where Miaoux Miaoux was going to remix a track by the acousto-electronic quartet,Discopolis. The track in question, was their single Zenithobia. It too, was remixed by Miaoux Miaoux. Having worked his magic, yet again, Miaoux Miaoux’s thoughts eventually turned to his sophomore album.
School Of Velocity, Miaoux Miaoux’s sophomore album was, as the man said, a long time coming. Almost three years after the release of Light Of The North, School Of Velocity was released on Glasgow’s premier label, Chemikal Underground. That’s not surprising.
Recording an album like School Of Velocity is, without doubt, a complex affair. Especially considering Miaoux Miaoux a “one man band.” This means Julian Corrie, the man behind Miaoux Miaoux, had to juggle numerous roles. He’s a songwriter, singer, musician, mixer and producer.
Having written the ten tracks, Julian add vocals, played a variety of instruments on School Of Velocity. Luckily, Julian plays a variety of instruments. He’s a talented multi-instrumentalist whose equally at home playing guitar or keyboards. Then there’s the vintage analogue equipment Julian deployed on School Of Velocity. Vintage keyboards, synths, drum machines and effects have been used effectively. They’ve played their part in an album where genres melt into one. The music is melodic, poppy and hook-laden. School Of Velocity is, as you’ll see, is the perfect soundtrack to the summer of 2015.
Launch Loop opens School Of Velocity. Sci-fi sounds provide an understated backdrop before the song explodes into life. There’s a brief nod to Simple Minds’ Up On The Catwalk. It’s a big, bold, gallus Glasgow sound. That’s until the tempo drops and the vocal enters. It’s tender and accompanied by crispy drums and synths that beep and squeak. By then, comparison can be drawn to Scritti Politti. From there, the arrangement veers between a floaty, dreamy and anthemic. It’s a vintage slice of pop perfection from Miaoux Miaoux.
Choppy synths open A Flutter Echo. Soon, thunderous 4/4 beats are added. They’re joined by a vocal that sounds as of it’s been inspired by Paddy McAloon. It’s like Prefab Sprout transported to 2015. As synths bubble and squeak, drums pound and Julian delivers a heartfelt, needy vocal. Later, steel drums and sci-fi synths are added. They’re a welcome addition to this irresistible hands in the air anthem, where indie pop and dance music become one.
Synths set the scene for Julian’s wistful vocal on Star Sickness. As a bass synth and drums interject, a bank of synths add an element of drama. They reflect the pain and hurt in Julian’s vocal. It’s rueful, as he thinks about what he’s lost. Meanwhile, this tale of love lost heads to the dance-floor. Guitars chime, while a bass adds some funky licks. Filters are added, while the arrangement is driven along by the synths and drums. They’re responsible for a trance influence. However, Julian’s vocal is indie pop all the way. Together, they prove a delicious and joyous combination.
Washes of shimmering synths are scene setters as Luxury Discovery unfolds. Soon, drums are added. When Julian’s vocal enters, again, it’s too a roll of drums. Again, there’s a Paddy McAloon influence as Julain delivers a slow, heartfelt, joyful and dramatic vocal. Harmonies augment his vocal, while glistening, elegiac synths and crispy drums frame the vocal. At the breakdown, one wonders if Julian’s taken a wrong turning? He hasn’t. After this clever twist, he continues to combine a combination of drama and joyousness, as arrangement builds to a beautiful, breathtaking crescendo.
School of Velocity sounds like a lost Prefab Sprout track given a makeover by Miaoux Miaoux. Washes of almost hypnotic, glimmering synths are joined by Julian’s tender, hopeful vocal. A rolling bass line sits atop the synths. Its ominous sound provides a contrast to the of the arrangement. Then a journeys round the drum kit adds an element of drama. Ethereal harmonies provide another contrast, before the arrangement explodes into life. Everything has been building up this, and what’s sure to be a crowd pleaser and festival favourite reaches a dramatic ending.
A wash of synths and slow, plodding drums are joined by Julian’s Prince like vocal on Giga Shrug. It’s obvious that Julian is a fan of the Minneapolis born singer. As the arrangement grinds along, banks of synths and drum machines provide an electronic backdrop, as Julian delivers a slow, sultry, vampish vocal.
It’s The Quick sees Julian deploy a vocoder. As he delivers the vocal, a moody, broody, vocoded vocal responds. Meanwhile, 4/4 pounding dance-floor beats and a bass synth combine with futuristic sounding synths. They beep and squeak as they deliver a futuristic language. They’re the perfect accompaniment to Julian’s vocal, on this 21st Century dance track.
Peaks Beyond Peaks sees a complete change of style. There’s almost a Bacharach and David influence. Nearer to home, it’s as if David Scott of The Pearlfishers has influenced Julian’s vocal. As he delivers the tenderest of heartfelt vocals, the arrangement is akin to musical merry-go-round. Indie pop and dance combine before Julian toys with the arrangement. A brief reggae influence can be heard, while sci-fi synths, bounding bass and filtered drums combine. It’s akin to a magical, musical merry-go-round.
There’s a Kraftwerk influence on Unbeatable Slow Machine. Think Man Machine. Industrial and futuristic synths accompany Julian’s defiant monotone vocal. Effects are deployed as the arrangement whirrs and grinds along. Ominously, Julian warns: “you will never win, you will never win, but you keep fighting against the machine.”
Mostly Love, Now closes School of Velocity. Banks of understated synths meander along, setting the scene for Julian’s vocal. Its entrance is accompanied by slow drums and ethereal harmonies. They sit well together, and prove a perfect combination. Later, Julian unleashes his inner rock star, and adds an element of drama to this quite beautiful ballad.
It might have taken Miaoux Miaoux three years to release School of Velocity, the followup to Light Of The North. However, Miaoux Miaoux pickup where they left off on Light Of The North, seamlessly combining indie pop and dance music. To that, elements of eighties pop, electronica, funk, rock and trance are added. There’s also a nod to Kraftwerk, Prefab Sprout and Prince. Nearer, to home, Glasgow’s very own Chvrches, Simple Minds and The Pearlfishers have all influenced Miaoux Miaoux on School of Velocity. Their influence can be heard on this genre hopping musical adventure.
I say adventure, because no two tracks are the same. Granted several tracks cane be described as ballads or dance tracks. However, not all ballads and dance tracks are created equally. Far from it. Each arrangement is different. The building blocks vary from track to track. As a result, when a track unfolds, you never know where it’s heading. Sometimes, School of Velocity is like Forest Gump’s box of chocolates, “you never know what you’re gonna get.” Especially when Miaoux Miaoux throws a curve-ball, and the arrangement heads off in a totally unexpected direction. Very occasionally, one thinks that Miaoux Miaoux has blown it. That’s not the case though. It’s a case of “take a good thing and make it better.” That’s the case on Flutter Echo and School of Velocity. A brief musical detour transforms the tracks and result in two of of Miaoux Miaoux’s finest moments on School of Velocity. They’re not alone though.
School of Velocity oozes quality. Miaoux Miaoux’s long awaited sophomore album, which was recently issued by Chemikal Records, is bound to be part of the soundtrack to the sumner of 2015. Especially the hook-laden anthems. They’re plentiful, and are sure to go down a storm with DJs. Similarly, these anthems will be 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 won’t want to get off.
MIAOUX MIAOUX-SCHOOL OF VELOCITY-VINYL EDITION.
ADMIRAL FALLOW-TINY REWARDS-VINYL EDITION.
ADMIRAL FALLOW-TINY REWARDS-VINYL EDITION.
Often, the hardest thing about forming a new band is coming up with a name. It can be a long and tortuous process. Especially, in the internet age. A new band have to ensure the dot com address hasn’t been taken. If it has, it’s a case of starting the process all over again. Either that, or negotiating with the owner of the dot com to buy the address. That can be an expensive and time consuming process. So for most bands, it’s case of starting again. That’s been the case since the birth of rock ’n’ roll. Even the biggest band of all changed their name. The Beatles started life as The Blackjacks, before briefly becoming The Quarrymen and then The Silver Beatles. It wasn’t until July 1959 that The Silver Beatles became The Beatles. Since then, countless other bands have had a similar struggle to come up with a suitable name. In 2007, Glasgow based singer-songwriter Louis Abbott decided to formed a new band with Kevin Brolly, Philip Hauge, Sarah Hayes and Joe Rattray. They settled on the name Brother Louis Collective. Two years later, and the Brother Louis Collective changed its name to Admiral Fallow. The rest as they say, is history. Since then, Admiral Fallow have toured the world, and played at some of the biggest and most prestigious venues and festivals. Admiral Fallow have also released a trio of albums. Their most recent album Tiny Rewards, was released recently on vinyl on Nettwork. Tiny Rewards is the latest chapter in the Admiral Fallow story. It began in 2007. That’s when Glasgow based singer, songwriter and Louis Abbott decided to formed a new band. This wasn’t going to a traditional indie band. Instead, Brother Louis Collective were going to fuse orchestral and indie pop. To bring this about, Louis was joined by four other Glasgow based musicians. This included the rhythm section of drummer and percussionist Philip Hauge and bassist Joe Rattray. They were joined by a two musicians who would help create the orchestral sound. Sarah Hayes played flute, piano and accordion, while Kevin Brolly added clarinet, keyboards and percussion. Along with Louis Abbot, they became Brother Louis Collective. With a lineup in place, the Brother Louis Collective set about honing their sound. The five friends quickly began to define their sound. Through the rest of 2007 and throughout 2008, the Brother Louis Collective were gaining a reputation as a popular live act. So in early 2009, Brother Louis Collective decided to record their debut single. For Brother Louis Collective’s debut single, These Barren Years was chosen. The B-Side was Gypsy Woman. These Barren Years was well received upon its release in March 2009. The single brought the Brother Louis Collective’s music to a wider audience. With the Brother Louis Collective’s recording career up and running, the band decided to change their name. Usually, bands change their name early on in their career. However, after nearly two years, the band realised something wasn’t quite right. That was the name. This resulted in a rethink, and Brother Louis Collective became Admiral Fallow. Given that the Brother Louis Collective already were a popular live band, and were attracting the attention of critics, a change of name could’v backfired on Admiral Fallow. All the time they had spent during the last two years could’ve been in vain. Fortunately, that wasn’t the case. Instead, the last two years had been time well spent. The newly named Admiral Fallow had spent much of the last two years playing live. This allowed them to hone and tighten their sound. It also allowed the band to grow their fan-base. Already they were a popular draw wherever they played. So, it made sense for Admiral Fallow to record their debut album. Boots Met My Face. In June 2009, Admiral Fallow made the short journey from Glasgow to Blantyre, in Lanarkshire. That’s where former Delgados Paul Savage and Emma Pollock’s studio is situated. Admiral Fallow were following in the footsteps of many successful Scottish bands. At Chem 19 Studios, Admiral Fallow met former Delgados’ drummer Paul Savage. By 2009, he had established a reputation as a successful and talented producer. Paul was the go-to-guy producer for many Scottish bands, including up-and-coming bands. This made him the perfect person to produce Admiral Fallow’s debut album. While Admiral Fallow were an experienced live band, they had only recored one single. Recording an album was very different. So, producer Paul Savage guided Admiral Fallow through the recording process. In total, ten tracks were recorded at Chem 19 Studios. The ten tracks were written by Louis Abbott. He describes the songs as autobiographical, and document his childhood and youth. Each song is based upon a person or event. This includes Subbuteo, where Louis remembers being beaten up in Edinburgh, where he grew up. A lyric from Subbuteo also provided the album title, Boots Met My Face. With Boots Met My Face recorded, Admiral Fallow started looking for a record label to release their debut album. However, that search was put on hold briefly, as Admiral Fallow played a band-storming set at Scotland’s biggest music festival. Although Admiral Fallow had only been together two years, they were chosen to headline the Sunday night T Break stage at T In The Park. For a Scottish group, this was a huge honour, one they must have hoped would help in Admiral Fallow’s search for a record label. That took a while. In March 2010, Admiral Fallow opened for fellow Scot King Creosote at the Fence Collective’s Homegame Festival. Then in April 2010, Admiral Fallow supported The Futureheads in Glasgow, This was perfect timing. In April 2010, Admiral Fallow released their debut single Squealing Pig on Lo-Five Records. That however, was a mere aperitif. Later in April 2010, came the release of Boots Met My Face. It was released to critical acclaim. A great future was forecast for Admiral Fallow, who were about to head out on the festival circuit. Admiral Fallow renewed their acquaintance with King Creosote at the Glasgow West End Festival. They then played the Wee Chill, Rockness and Insider festivals. However, it was at T In The Park that Admiral Fallow made a triumphant return. This time, Admiral Fallow were playing the prestigious BBC Entroducing stage. A lot had happened to Admiral Fallow since they took T In The Park by storm a year earlier. There seemed to be no stopping Admiral Fallow. They had played their first Scottish tour in August 2010. Then later in 2010, Admiral Fallow opened for another Scottish band, Frightened Rabbit. Then in October 2010, Admiral Fallow released the second single from Boots Met My Face, Subbuteo. This was the perfect way to round off 2010. 2011, looked like being a big year for Admiral Fallow. In February and March of 2011,Admiral Fallow hit the road, and completed their first tour of Britain. This was to coincide with the reissue of Boots Me My Face. Then on 13th March the band flew to Austin, Texas for SxSW 2011. Given this is one of the most prestigious American festivals, this was a huge boost for Admiral Fallow. During their time in America, Admiral Fallow were embraced by American critics. The critics forecast a great future for Admiral Fallow. They weren’t wrong. Tree Bursts In Snow. Just like Boots Met My Face, Tree Bursts In Snow was recorded at Chem 19 Studios. This time however, some guest artists would join Admiral Fallow. Among them were former Frightened Rabbit vocalist Gordon Skene, Jo Mango, Kenny Reid, Tom Gibbs and Tom Stearn. These guest artists featured on three of the ten tracks that became Tree Bursts In Snow. Before the release of Tree Bursts In Snow on 21st May 2012, Louis Abbot explained what the title meant. Tree Bursts In Snow Louis explained is: “the sound and the image of an artillery shell exploding into a cluster of snow-drenched trees.” It was a poignant picture that Louis Abbot was painting. Especially as he went on to speak about gun crime in America and: ”the effect that losing friends through violence, in particular during times of war or conflict has on young men and women.” Louis had thought deeply about this, and on Tree Bursts In Snow combined social comment and poppy hooks. When Tree Bursts In Snow was released, critics were won over by Admiral Fallow’s sophomore album. Superlatives were exhausted praising the Glasgow’s band’s unique brand of orchestral and indie pop. Admiral Fallow’s star was in the ascendancy, and would be during the rest of 2012. During the 2012 festival season, Admiral Fallow played The Great Escape, Glastonbury Festival, Latitude, Cambridge Folk Festival, Green Man and the End of The Road festival. There were also appearances at Sligo Live and Crossing Border. Later in 2012, Admiral Fallow were asked to open for Scottish indie pop royalty Belle and Sebastian. Admiral Fallow also opened for Paul Heaton and The Low Anthem. All this was good experience for Admiral Fallow, who were quickly becoming one of Scotland’s most successful musical exports. That’s been the case in the last three years. Admiral Fallow have gone from strength to strength. They’ve continued to play live, and are now recognised as one of the best Scottish live bands. However, in late 2013, Admiral Fallow cut back on the live shows they were playing. They had an album to record. That album would become Tiny Rewards, which was released on 25th May 2015. Tiny Rewards. Admiral Fallow’s weren’t going to rush their third album. Work began in late 2013. Admiral Fallow wrote the music and Louis Abbott wrote the lyrics for Tiny Rewards. This was Admiral Fallow’s third album, and second album for Canadian label Nettwerk. Unlike previous albums, Tiny Rewards wasn’t recorded at just one studio. Three studios, Angelic, Red Kite and Voltaire Road Studios were used. So were the familiar surroundings of Chem 19 Studios. That’s where Paul Savage took charge of “additional production.” However, Paul Savage wasn’t in charge of production. This time around, Admiral Fallow and Cameron Blackwood produced the twelve tracks that became Tiny Rewards. At the three studios, Tiny Rewards’ twelve tracks were recorded by Admiral Fallow and friends. The rhythm section featured guitarist and vocalist Louis Abbott, drummer and percussionist Philip Hauge and bassist Joe Rattray. They were joined by a two musicians who would help create the orchestral sound. Sarah Hayes played flute, piano and accordion, while Kevin Brolly added clarinet, keyboards and percussion. They’re joined by cellist Jackie Baxter, violinist Kristian Harvey and guitarist Stu Goodall. Once Tiny Rewards was recorded, it was mixed by Paul Savage and mastered by in London by Mandy Parnell. Only then was Tiny Rewards ready for release. The big day was 25th May 2015. That’s when Tiny Rewards was released to widespread critical acclaim. Tiny Rewards was hailed as Admiral Fallow’s finest hours. Here’s why. Opening Tiny Rewards is Easy as Breathing. A pounding rhythm section, stabs of keyboards and searing guitars create a dramatic wall of sound. In the midst of the arrangement, a piano carries the melody. It’s present when Louis Abbott delivers a soul-baring vocal. He doesn’t so much deliver lyrics, but lives them. Behind him, the thunderous, mesmeric arrangement has an anthemic sound. During the break, the arrangement is stripped bare. Just wistful harmonies, and piano accompany Louis before Admiral Fallow kick loose. By then, it’s easy to imagine East As Breathing becoming a festival favourite. A drum machine and synths are deployed on Evangeline, as Louis delivers a slow, melancholy vocal. Soon, chiming, crystalline guitars, bass and keyboards are added. They fill out the arrangement, as slowly and dramatically Louis delivers the lyrics. By then, Admiral Fallow sound like a 21st Century version of The Smiths. Later, Sarah Hayes’ backing vocals are the perfect foil for Louis. They’re reminiscent of Lorraine MacIntosh of Deacon Blue. As the arrangement continues to grow, electronica and indie pop combine head-on. It’s a potent partnership, one that’s not short of poppy hooks. Beeps courtesy of a synth and drums combine with a myriad of disparate sounds on Happened in the Fall. They create a lo-fi, left-field and almost robotic arrangement. Very different, is Louis’ despairing vocal. As his vocal drops out, a guitar rings out, and cuts through the arrangement. Then Louis, accompanied by Sarah Hayes, delivers a tender, hurt filled vocal as he sings: “ it Happened in the Fall” When Louis poignant vocal drops, a blistering guitar gives way to a wistful piano and strings. They frame Louis’ vocal as accompanied by harmonies, memories come flooding back. From the opening bars of Good Luck, it’s obvious something special is unfolding. A piano and drums combine, before a scorching guitar is unleashed. Then a roll of drums signals the arrival of Louis’ vocal. Slowly and deliberately he delivers the lyrics. Harmonies augment his vocal, as the arrangement grows in power and drama. Admiral Fallow aren’t afraid the unleash their inner rocker. Similarly, they’re not afraid to vary the tempo. This grabs the listener’s attention, and forces them to listen. A pleasant surprise comes when Sarah takes charge of the vocal. She’s a talented and versatile vocalist. Later, though, the baton passes to Louis. He takes charge of the vocal. Aided and abetted by harmonies, a storming, hook heavy anthem unfolds. Against the chatter of a radio playing, a piano plays and Holding The Strings begins. Drums provide the heartbeat as Louis delivers an emotive vocal. Ethereal harmonies, keyboards, a crystalline guitar and the rhythm section combine. Soon, the tempo is rising and the arrangement takes on a rocky hue. Dramatic flourishes and variations in tempo are used, before the rhythm section and guitar drive the arrangement along. Louis seems to have reserved one of his best vocals. With Sarah encouraging him every step of the way, he breathes life, meaning and emotion into the lyrics, delivering the lyric “we are old” poignantly. As a piano and drums combine on Sunday, the track takes on an almost hypnotic sound. Then when Louis’ vocal enters, it’s obvious he’s singing about being at a festival. “Far from being alone, surrounded by tents and future friends.” Soon, the track takes a dark twist. Especially, lyrics like; ”take those pills, you bought to take the guilt.” This leaves the listener to wonder what caused the guilt? Was it one night stand? From there, the arrangement becomes a lysergic merry-go-round. It also takes on rocky and sometimes dramatic sound. Meanwhile, Louis and Sarah combine, bringing to life the guilt on the day after the night before, as they leave the festival behind, and return to their respective lives. On the count of “5,6” a drum and crystalline guitar combine on Building As Foreign. They’re joined by Louis’ vocal and a prowling bass. Like so many of Admiral Fallow’s songs, the lyrics are based upon Louis childhood. That becomes apparent straight away:“how we ended up here, with the start we had is amazing.” He goes on to remembers “measuring his height by the door,” his first football strip, and “first kiss.” Accompanied by ethereal harmonies, pounding rhythm section and searing guitar, memories come flooding back for a wistful, grateful Louis. A lone guitar opens Salt. It’s just two minutes long, but is a quite beautiful song. The arrangement is understated. Just a chirping, mesmeric guitar accompanies Louis. He’s accompanied by Sarah. She’s a perfect foil for Louis. They’re like yin and yang. They compliment each other, on what’s a beautiful ballad. It shows another side to Admiral Fallow. Drums pound and crack, while washes of keyboards sweep in on Some Kind of Life. Slowly, the arrangement unfolds. Admiral Fallow don’t rush. They drop in a piano and bass. After a minute, Louis’ heartfelt vocal enters. As he sings: “I left the house and started the next chapter,” confusion and uncertainty fills his voice. Has, and is, he doing the right thing? Behind him, the rest of Admiral Fallow create one of the best arrangement. It unfolds in waves, as Louis delivers an emotive, soul-searching vocal. He describes this as a “never ending tussle with the mind.” By then, the arrangement has grown in drama and power. When Louis’ vocal is added, Some Kind of Life takes on anthemic sound. It’s also one of the highlights of Tiny Rewards. The drums that open Liquor and Milk are similar to those on Building As Foreign. However, this time, it’s mesmeric, deliberate stabs of piano that accompany the drums. They frame Louis’ vocal as he reminisces. Accompanying him is Sarah, her vocal equally impassioned and emotive. Their vocal take centre-stage, as the drums and piano provide the accompaniment. Later, strings and percussion are added, as the arrangement reaches a crescendo. Carousel see the tempo rise slightly. Admiral Fallow jump on the merry-go-round. It’s has a much more upbeat sound. Driving along the arrangement along are the piano and drums. They accompany Louis. However, Sarah steals the show, combining power and emotion. Meanwhile, a bass, keyboards and drums power the arrangement along. Louis and Sarah combine, hopefully singing: “get yourself out from under the weather, stick another pin in that map you drew, get yourself out from under the weather, and I long for this to be the pin you want to do.” Melancholy. That describes the slow, deliberate introduction to Seeds, which closes Tiny Rewards. Louis, accompanied by the piano, delivers a wistful, deliberate vocal. Drums rumble, while keyboards and piano combine with a clarinet. They set the scene for Louis and Sarah. As they sing: “we sow seeds wherever we go,” there’s an element of hope amidst the melancholia. It grows, as the arrangement builds, and Tiny Rewards draws to a close. Three years after the release of their sophomore album Tree Bursts In Snow, Admiral Fallow returned recently with Tiny Rewards. It was released on vinyl on the Canadian label Nettwerk. Tiny Rewards was well worth the three year wait. With its mixture of anthems, future festival favourites, heart wrenching ballads and cinematic tracks, Tiny Rewards is a captivating album. Lyricist and vocalist Louis Abbott is aided and abetted by Sarah Hayes. Together, they bring the lyrics to life, breathing life, meaning, emotion and sometimes, melancholy into the twelve tracks. Other times, there’s a hopeful, sound on Tiny Rewards, which is a career defining album from Admiral Fallow. Six years after the Brother Louis Collective became Admiral Fallow, the Glasgow based band are now one of Scottish music’s most successful exports. No wonder, given the quality of music on Tiny Rewards. It manages to surpass the quality of Tree Bursts In Snow. Many people thought Tree Bursts In Snow was an album Admiral Fallow would struggle to surpass. However, after three years hard work and the a little from help from their friends, Admiral Fallow return with Tiny Rewards, the eclectic album of their career. Tiny Rewards sees Admiral Fallow jump onboard the Carousel and combine disparate musical genres. Everything from electronica, folk, indie pop, indie rock, orchestral, pop, psychedelia and rock is combined by Admiral Fallow. The result is Tiny Rewards, the finest, and most captivating and eclectic album ofAdmiral Fallow’s career.
ADMIRAL FALLOW-TINY REWARDS-VINYL EDITION.
ERLAND DAHLEN-BLOSSOM BELLS.
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.
When Rolling Bomber was released, 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. H
Erland Dahlen was also one of Norway’s top session musicians. Over a ten year period, Erland Dahlen had played on over a hundred albums. Any Norwegian musician looking for a drummer, seemed to have Erland Dahlen’s number on speed-dial. This included Norwegian blues-tinged, alternative rock band Madrugada.
They recruited Erland Dahlen in 2005 Madrugada. For the next three years, Erland Dahlen was the band’s “semi-permanent” drummer. This was the best of both worlds. Erland Dahlen could continue doing session work, and played with Madrugada live and in the studio between 2005 and 2008.
Having joined Madrugada in 2005, Erland Dahlen played Madrugada’s fourth album Deep End, and the live album, Live at Tralfamadore. Both were released in 2005. Then in 2007, Erland Dahlen played on Madrugada’s eponymous sixth album. When Madrugada was released in 2008, it Madrugada proved to be the band’s swan-song. After this, Erland Dahlen returned to being a hired gun.
As one of the most respected drummers in the Nordic music scene, Erland Dahlen was never short of work. Like the musical equivalent of a gunslinger, Erland Dahlen travelled from city to city, playing album after album. Studios were a second home to Erland Dahlen. However, by 2011, and a lifetime making music, there was something Erland Dahlen…record his debut album.
So Erland Dahlen set about filling this one gap in his musical C.V. He had done just about everything else. Erland Dahlen had released a string of albums with the various bands he had been a member of; collaborated with some of the biggest names in Nordic music; and won a Gammleng Award. There was not a lot else he still had to do. Apart from releasing a solo album.
This came in 2012, when Erland Dahlen released Rolling Bomber on Hubro Music. Rolling Bomber was released to widespread critical acclaim, and was hailed as one of the most innovative albums of 2012 from this Nordic one-man band. Since then, critics, cultural commentators and music fans have eagerly awaited the released of Erland Dahlen’s sophomore album. They’ve had to be patient.
Three years passed before Erland Dahlen recently released Blossom Bells, on Hubro Music. That’s not surprising.
For Blossom Bells, Erland Dahlen has collected vintage percussion instruments. Erland Dahlen has spent countless hours searching second hand shops as he tours the world. When he’s at home, Erland Dahlen scours internet sites, constantly searching for instruments that can bring a new, intriguing sounds to his music. This includes havingnew instruments custom-built. Not many musicians would go to such lengths. However, Erland Dahlen is a musical innovator who constantly, pushes musical boundaries. That became apparent as recording of Blossom Bells began.
Erland Dahlen didn’t bring onboard a band to record Blossom Bells. Instead, he become a one-man band, playing everything from traditional instruments and a myriad of percussion, to homemade instruments that would grace any music concrete album. Then there’s the everyday items that can be found in most homes. This includes knives and forks and even a toy robot. All these instruments were taken to Oslo Klang Studio, where Erland Dahlen got to work.
At Oslo Klang, Erland Dahlen was joined by his co-producers Hallvard W.Hagen, Jens Petter Nilsen and Johnny Skalleberg. They watched as Erland Dahlen unpacked instruments, utensils and even toys. This included WFL drums from the late-thirties, steel drums, a log drum and marching toms. Then Blossom Bells, rack bells, hand bells, a temple block maracas, gongs and a xylophone made an appearance. So did keyboards, guitars, drone-boxes and string instruments. Sticks, mallets and bows were sued to play the string instruments. Slightly more left-field were toy robots, a typewriter and knives and forks. Then there’s a some custom-made instruments.
This includes cake moulds with springs built by Hallvard W. Hagen. Then there’s a custom-made percussion bass built by Harald Hougaard. Finally, Kenny Wollesen was responsible for building a windup wood instrument with elastic bands. These custom-built interments were playing an important part in what was an intriguing album, which also featured vocals which
came courtesy of Erland Dahlen. Most of the recording was done at Oslo Klang, with Hallvard W.Hagen and Jens Petter Nilsen recording the six tracks that Erland Dahlen had written. Other recording took place at Coffee Fabric, in Oslo. Once Blossom Bells was completed Helge Sten mastered the album at Audio Virus Lab. All the Erland Dahlen needed was an album title.
That wasn’t difficult. Erland Dahlen wanted to pay homage to the maker of one of the instruments which he played on the album. So Erland Dahlen’s sophomore album became Blossom Bells, which were made by
legendary instrument-maker Pete Engelhart. These unusual chromatic set of bells feature several times on Blossom Bells, which was one of the most eagerly awaited albums of recent years.
The first thing you realise when you go to play Blossom Bells, that this isn’t a sprawling album. Far from it. There’s just six tracks lasting around thirty-seven minutes. That’s not surprising. Hubro Music release all their albums on vinyl and compact disc. Indeed, if you buy the vinyl edition, it comes with a compact disc version. This means you’re getting the best of both worlds. However, for an artist, their album being released on vinyl disciplines them.
There’s a limit to the amount of music that can be fitted onto one vinyl album. Thirty-seven minutes, which is the length of Blossom Bells, is a return to the golden age of vinyl. Back then, albums weren’t sprawling affairs. Instead, they featured anything between six to ten tracks. This meant that you heard the best an artist had to offer. That’s the case on
Blossom Bells
From the opening bars of Snake, which opens Blossom Bells, it’s apparent that this is an ambitious, groundbreaking and genre-melting album. Mesmeric and pulsating describes the arrangement. Then an array of eclectic and captivating subtle sounds assail the listener. They arrive from right and left, teasing and tantalising the listener. It’s a case of expect the unexpected in this multilayered arrangement. Subtle percussion, a chirping string and chiming guitar. Soon, glistening chimes that hang in the air like an unanswered question. They’re joined by darkness and drama, as the arrangement becomes moody and broody. Cinematic, captivating and hypnotic also describes Snake’s arrangement as it meanders along fusing elements of ambient, avant garde, electronia, experimental and post rock. This whets the listener’s appetite, as the album prepares to unfold.
Straight away, a curveball isn’t so much thrown as launched on Pipe. What sounds like footsteps precedes drums that propel the arrangement along. Bells ring out, and a drone sounds ominously. By then, there’s an urgency to the arrangement. Again, it’s cinematic, as a wash of guitar unite with the drums and cascading bells, providing a propulsive, urgent, but joyous and playful post rock backdrop. It’s the work of just one man, Erland Dahlen and his unique and disparate musical arsenal.
Knife drones melodramatically and threatens to surge towards the listener. That’s before pedestrian drums begin to plod, threateningly and ominously. Meanwhile, otherworldly and futuristic sounds make their presence felt. Sounds flit in and out. Some linger longer, including the searing, rocky guitars. Others, including bells, make just fleeting appearances. They’re used sparingly, but effectively. They’re part of Erland Dahlen’s musical palette on what could easily be the soundtrack to a sci-fi film from David Lynch or Wim Wenders.
As Iron unfolds, elements of avant garde, experimental and music concrete. There’s even a nod to free jazz, as instruments flit in and out. Again, there’s cinematic sound. Just like before, the listener has to supply the scenes to this as yet unmade film. All they need to do, is listen intently and let their imagination run riot. When they do, they’ll here countless sounds that together, veer between moody and broody, to dark and dramatic. At one point, a string instrument seems determined to recreate the sound of a ship docking. Elsewhere bells and chimes join a myriad of percussion. They add an otherworldly sound, to what could be a the little shop of horrors. Maybe, Erland Dahlen has a future writing film scores? I wouldn’t be surprised, as the atmospheric Iron sounds like the perfect backdrop to a modern day horror movie. Indeed, Erland Dahlen’s music says more than a thousand words which is testament to a truly talented and innovative musical pioneer.
The ominous sound of a bass being picked opens Hammer. Meanwhile, a rocky guitar solo threatens to kick loose. Percussion and bells are added, as layer upon layer of music makes its presence felt. Soon, the drums are driving the arrangement along. An otherworldly, quivering, spine-tingling sound joins this six minute post rock opus. It sounds as it’s the work of five or six musicians minimum. It’s not. Instead, it’s the work of one of the most imaginative and inventive musicians in the vibrant Nordic music scene… Erland Dahlen. No wonder Erland Dahlen has played on over 160 albums. Sadly, his stunning sophomore album Blossom Bells is almost over.
Closing Blossom Bells, is the title-track. Its understated introduction showcases Pete Engelhart unusual chromatic set of bells. They take centre-stage, while a shimmering, otherworldly sound seems to have arrived from another world. Then Erland Dahlen adds his drums. Slowly, and with the utmost care, he fills out the arrangement. It sounds as if it belongs on a Pink Floyd album. Lysergic, otherworldly, spiritual, haunting and ethereal, it’s the perfect way to close Blossom Bells, a career defining album from Erland Dahlen.
He’s now forty-four, and has spent a lifetime making music. This includes playing on over 160 albums by other artists. He’s collaborated with some of the biggest names in Norwegian music, and is a veteran of many bands. However, until recently, Erland Dahlen had only released one album, Rolling Bomber in 2012. It was released on Hubro Music in 2012, to widespread critical acclaim. Surely, a followup would be released the next year?
2013 came and went. So did 2014. It wasn’t until recently, that Erland Dahlen returned with Blossom Bells, on Hubro Music. However, Blossom Bells has been well worth the three year wait.
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. That’s why Erland Dahlen’s sophomore album Blossom Bells deserves to find its way onto the lists of the best albums of 2015.
ERLAND DAHLEN-BLOSSOM BELLS.
BOZ SCAGGS-A FOOL TO CARE-VINYL EDITION.
BOZ SCAGGS-A FOOL TO CARE-VINYL EDITION.
2015 has been the year of the comeback. Some of the biggest names of yesteryear have returned after a lengthy absence.
The year started well with critically acclaimed comeback album from Bob Dylan. Then recently, Dave Gilmour, released his first solo album since Pink Floyd called it a day. However, there’s been many more comebacks during 2015.
Troubadour James Taylor and former Eagle Don Henley both make welcome returns. Keith Richards made a return with was easily, the most overhyped comeback album of 2015. It was an album that was everywhere. Unlike Boz Scaggs’ recent comeback album Fool To Care. It was quietly released on vinyl on 429 Records.
Unlike many of his contemporaries who hit the comeback trail during 2015, it had only been two years since Boz Scaggs released his last album Memphis. It reached number seventeen on the US Billboard 200, and became Boz Scaggs’ most successful album since 1980s Middleman. Not only did Middle Man reach number eight in the US Billboard 200, but was certified platinum. However, Boz Scaggs was no stranger to commercial success and critical acclaim.
Middleman was Boz Scaggs ninth album since his 1965 debut album Boz. It was recorded on September 30th 1965, in Stockholm, Sweden. Later in 1965, Boz was released, but failed to chart. For Boz Scaggs it would another four years before he released another solo album.
During that period, Boz Scaggs became part The Steve Miller Band. He featured on their first two albums, Children of the Future was released in July 1968 and reached just 134 in the US Billboard 200. Three months later, and The Steve Miller Band released Sailor in October 1968. It reached number twenty-four in the US Billboard 200. Despite the commercial success and critical acclaim Sailor enjoyed, both Boz Scaggs and Jim Peterman left the band.
Boz Scaggs returned to his solo career, and in August 1969, released Boz Scaggs. This was the album that saw Boz Scaggs make a commercial breakthrough. Although it reached just number 171 in the US Billboard charts, it looked as if Boz Scaggs was on his way.
Two years later, and Boz Scaggs returned with the first of two albums he released during 1971. The first was Moments, which was released in March 1971. It reached 124 in the US Billboard 200 charts. For many, it looked as if Boz Scaggs career was on the up.
Sadly, that wasn’t the case. When Boz Scaggs and Band was released in December 1971, the album failed commercially, reaching just 198 in the US Billboard 200 charts. Things improved slightly, when My Time was released in September 1972. It reached number 138 in the US Billboard 200 charts. Was that a sign that Boz Scaggs fortunes were improving?
That was the case. Between 1974 and 1980, Boz Scaggs could do no wrong. His sixth album, Slow Dancer was released in March 1974. Although it only reached number seventy-four in the US Billboard 200 charts, it was certified gold. Two years later, and Silk Degrees hit the shops in March 1976. Quickly, it became Boz Scaggs’ most successful album, reaching number two in the US Billboard 200 and number six in the US R&B charts. Silk Degrees sold over five million copies, and was certified platinum five times over. After the success of Silk Degrees, it was nineteen months before Boz Scaggs returned with a new album,
That new album was Down Two Then Left, which was released in November 1977. It reached number eleven in the US Billboard 200 charts and was certified platinum. Nearly two-and-a-half years passed before Boz Scaggs released Middle Man in April 1980. Not only did Middle Man reach number eight in the US Billboard 200 charts, but number thirty-six in the US R&B charts. Boz Scaggs was on a roll. Even his 1980 Hits! album reached number twenty-four, and was certified gold. Boz Scaggs had been one of the most successful artists of the late seventies. It looked like this success would continue into the eighties.
Looking back, that might have been the case. However, Boz Scaggs decided to take a break from music. This break lasted eight years. It wasn’t until August 30th 1988, that Boz Scaggs returned with Other Roads, an album of AOR. Realising his audience were eight years older, Boz Scaggs figured that AOR would be what they were listening to. While Other Roads and the single Heart Of Mine proved popular in the AOR charts, the US Billboard 200 and US Billboard 100 were another thing. Other Roads only reached number forty-seven in the US Billboard 200 and Heart Of Mine reached thirty-five in the US Billboard 200. For Boz Scaggs, it was a Pyrrhic victory.
Another six years passed before Boz Scaggs returned with his next album Some Change on April 5th 1994. It stalled at just ninety-one in the US Billboard 200. Despite its lowly chart placing, some critics boldly pronounced Some Change Boz Scaggs’ finest album since 1976s Silk Degrees. Sadly, it hadn’t enjoyed the same success.
Neither did Fade Into Light, which was only released in Japan. The album was released on November 19th 1996, and was only released in America in 2005. Meanwhile, it was another five months before Boz Scaggs released another album in America.
It wasn’t until April 8th 1997 that Boz Scaggs released Come On Home. Just like Some Change, Come On Home wasn’t a commercial success, reaching ninety-four in the US Billboard 200. For an artist who once was used to gold and platinum discs, this was a frustrating time. Nor was it going to get any better.
Four years passed before Boz Scaggs released his next album Dig. Boz Scaggs had recorded Dig in February 2001. He waited another seven months to release the album. The day chosen for the release of Dig, was a day that changed history forevermore.
That day was September 11th 2001. It was meant to be an ordinary day. Some music fans awaited the release of album by one of the veterans of American music, Boz Scaggs. However, tragedy struck, and the last thing Americans had on their mind was music. Despite the tragedy that unfolded, Dig reached number 146 in the US Billboard 200. It was another two years before Boz Scaggs returned.
With Boz Scaggs no longer as popular as he once was, he decided to think outside the box. He came up with the idea of recording an album jazz standards. But Beautiful was released on May 20th 2003, and although it only reached 167 in the US Billboard 200, it topped the US Jazz charts. Despite finding an audience among jazz fans, Boz Scaggs didn’t release another album until 2008.
Speak Low was released in 2008, and reached number 128 in the US Billboard 200. That was an improvement on But Beautiful. Despite the relative success of Speak Low, Boz Scaggs didn’t release another album for another five years.
When Boz Scaggs did eventually return, he returned with album of blues and rock, Memphis. It was produced by Steve Jordan, and was well received by critics. Record buyers were also won over by Memphis, which reached number seventeen on the US Billboard 200. Memphis became Boz Scaggs’ most successful album since 1980s Middleman. Fired up by the success of Memphis, Boz Scaggs returned recently with what’s the nineteenth studio album of his career A Fool To Care.
Unlike previous albums, A Fool To Care, features eleven cover versions and just one track penned by Boz Scaggs, Fool To Pay. The cover versions are an intriguing selection. Among them, are Richard Hawley’s There’s A Storm A Comin’, Curtis Mayfield’s I’m So Proud and Huey P. Smith’s High Blood Pressure. Another is Richard Danko and Robert Guidry’s Small Town Talk. Then there’s Al Green’s Full Of Fire, which Al penned with Willie Mitchell and Mabon Lewis Hodges. They’re just five of eleven cover versions which Boz Scaggs’ and an all-star band give a makeover.
Recording of A Fool To Care took place at Blackbird Studios, Nashville. Steve Jordan, who produced Memphis, produces A Fool To Care. However, the band is a mixture of musicians who play on all tracks or on some cases, just one or two. The rhythm section features drummer and percussionist Steve Jordan, bassist Willie Weeks and guitarists Ray Parker Jr., Boz Scaggs, Reggie Young and Al Anderson. Joining them are Paul Franklin plays steel guitar, pianist Eric Crystal, organist Seth Asarnow and Clifford Carter adds synths. Jim Cox however, switches between organ, piano and Wurlitzer. They’re augmented by The Love Sponge Strings and a horn section. Jim Hoke plays alto flute and various other woodwind instruments. Backing vocals come courtesy of Conesha “Ms. Monet” Owens, Fred Ross, Steve Jordan and Tony Lindsay. That’s not forgetting two special guests, Bonnie Raitt and Lucinda Williams. They feature on A Fool To Care, Boz Scaggs’ nineteenth album. It was released recently.
Many critics saw A Foot To Care as Boz Scaggs picking up where he left on Memphis. It’s a far cry from the albums he released during his wilderness years. Back then, Boz Scaggs seemed to lack direction. Not any more. With producer Steve Jordan, all-star band and two high profile guest artists, Boz Scaggs was on the comeback trail.
Rich Woman opens A Fool To Care. Straight away, Boz Scaggs languid, lived in vocal doesn’t so much deliver the lyrics, but lives them. A crunchy guitar and bass are joined by guitars and drums. Soon, braying horns enter. They accompany Boz as blues, country and rock combine. A glistening guitar sits below the mass of horns and rhythm section. Washes of Hammond organ add an atmospheric hue, as Boz delivers this paean to his Rich Woman “whose all mine.”
The Ted Daffan penned I’m A Fool To Care is given a bluesy makeover by Boz Scaggs and his band. Scorching horns, a piano and the rhythm section combine with Boz and Ray Parker Jr.’s guitars. They provide the perfect backdrop for Boz’ needy, hurt-filled vocal.
Hell To Pay sees Boz joined by Bonnie Raitt. She shares the lead vocal and plays slide guitar. They’re the perfect foil for each other. As the rhythm section provide the heartbeat, Al Anderson adds chunk guitar and Jim Cox electric piano. Bonnie meanwhile, delivers a sassy vocal. She plays a starring role, while Boz is left playing a supporting role. That doesn’t matter, when everything is combined, the result is an irresistible bluesy shuffle.
Just a lone Hammond organ opens Small Town Talk, and accompanies Boz’s emotive vocal. Behind his impassioned plea, drums provide a subtle backdrop. Jim Hoke plays accordion, adding, while bursts of chiming guitar and subtle bursts of Hammond organ provide a backdrop for Boz’s soul-baring vocal.
A wistful piano opens Last Tango On 16th Street. Soon, a bass and accordion play. Drums and percussion open Boz’s worldweary vocal. It sounds as if he’s lived and experienced the cinematic lyrics. He paints pictures, of life on 16th Street, while behind him, the arrangement takes the listener to French Quarter of New Orleans with this melancholy and cinematic song.
There’s A Storm A Comin’ was originally written and recorded by Richard Hawley. Boz Scaggs stays true to the original, almost crooning the lyrics about hurt and heartbreak. Meanwhile, the arrangement is atmospheric, mesmeric and understated. It features just synths, organs and the rhythm section. Along with Boz’s guitar, they give the track a vintage sound. That’s something Richard Hawley’s original has. Where it differs is the accordion solo. This is part of Boz and producer Steve Jordan’s “sound.” Together, they give this a beautiful, understated song a twist, as Boz becomes a crooner.
Boz and producer Steve Jordan remember Miles Davis’ quote about leaving space in a song. They do that on the cover of Curtis Mayfield’s I’m So Proud. It has an understated arrangement. Just the rhythm section, chiming crystalline guitar and washes of Hammond organ accompany Boz’s tender, heartfelt vocal. Fills of vibes and harmonies add the finishing touch to what’s one of the best covers on A Fool To Care.
A lone acoustic guitar sets the scene on I Want To See You. Willie Weeks’ bass is joined by percussion and piano. They give the track a Latin sound as Boz delivers a rueful, needy vocal. Behind him, washes of Hammond organ and accordion are added. However, the Latin influence is still present, as a lovestruck Boz delivers a hopeful, heartfelt vocal.
It was Huey “Piano” Smith who wrote High Blood Pressure. Fittingly, it’s the piano that opens the track. Soon, the rhythm section, crunchy guitars combine. The guitars are panned left, and are muffled. Meanwhile, Boz has being somewhat ambitious, and seems to struggle to reach the higher notes. Good as his band are, Boz lets the side down. High Blood Pressure is more suited to Dr. John. However, the addition of gospel tinged harmonies partly, makes amends. By then, Boz’s vocal is more relaxed. He’s no longer forcing it. Later, Jim Cox unleashes a stunning piano. Along with the harmonies the song is swinging. It’s just a pity about the guitar and parts of the vocal.
From the opening bars, Al Green’s Full Of Fire is almost unrecognisable as it unfolds. That’s no surprise. Al Green’s original is the definitive version. So it’s a case of reinventing the song. One way to do this is smoothing the song out. When the horns bray, the rhythm section land down lay down a slightly funky groove. Boz’s vocal veers between AOR and soulful, as he demonstrates his versatility. As The Love Strings swing, washes of Hammond organ are joined by a searing guitar that cuts through the arrangement. By then, Full Of Fire has taken on a slick, almost AOR sound. It’s far from Al’s original. While it’s impossible to fault the musicianship and arrangement, it’s way too smooth and slick.
It’s just a Hammond organ and drums that combine to open Love Don’t Love Nobody. They set the scene for Boz’s soulful, wistful vocal. His delivery is heartfelt, as a piano plays, and a guitar chimes. Producer Steve Jordan realises that Boz is delivering one of his finest vocals, and ensures that the arrangement doesn’t overpower it. So everything is subtle. Whether it’s the piano, washes of Hammond organ, cooing harmonies or drums, they’re raison d’être is to frame Boz’s vocal. They do this beautifully, and this Joseph Jefferson and Charles Simmons’ song is one of the highlights of A Fool To Care.
Whispering Pines closes A Fool To Care, and features Lucinda Williams. She shares the lead vocal. Against a backdrop of accordion, rhythm section, guitar and washes of Hammond organ, Lucinda unleashes a soul-searching vocal. When the baton passes to Boz, his vocal is full of emotion. Then when Lucinda and Boz trade vocals, Lucinda sometimes overpowers Boz’s vocal. That’s a shame.Producer Steve Jordan had taken great care with his production. He adds a weeping guitar and Hammond organ. They’re meant to compliment the vocals on what could’ve been a heart wrenching track. It’s good, not great, purely because Lucinda’s vocal powerhouse, sometimes overpowers Boz. Sadly, it’s a slightly disappointing end to the vinyl versions of A Fool To Care.
Unlike the CD version of A Fool To Care, the three bonus tracks are missing from the vinyl version. That’s no great loss. Bonus tracks always divide opinion. Some people welcome bonus tracks, and see this as “something for nothing.” However, with some artists, it’s often a way of using up tracks that would never find their way onto an album. They’re merely outtakes, demos and alternate takes. Often, it seems that artists seem to be determined to fill up the eighty minutes of a compact disc. They’re like the child with their first colouring book, and they’re determined to use every square inch of paper. There’s no need for that. That was never the case when vinyl was King.
Back then, artists were limited by the amount of music that could fit on an LP. If they were really lucky, the could squeeze forty-five minutes music onto an album. That was pushing it. Mostly, though, albums lasted thirty-four to thirty-six minutes and featured eight to ten tracks. Occasionally, brevity was the order of the case. That was the case with Nick Drake, whose albums lasted twenty-seven to twenty-nine minutes. However, just like many other artists in the vinyl age, record buyers were hearing an artist’s best music. Albums were all killer and no filler. Not any more.
Since the advent of the compact disc, albums are sprawling affairs, and can feature anything up to twenty tracks. There’s no way that an artist can record twenty great songs. Nor fifteen. Even twelve is a push. That’s the case on A Fool To Care.
Of the twelve tracks on A Fool To Care, nine find Boz Scaggs rolling back the years. He comes up short on Hight Blood Pressure, Full Of Fire and Whispering Pines. This trio of tracks are far from disastrous. It’s just small things, that could’ve and should’ve been spotted. Boz’s seems to struggle to reach the higher notes on Hight Blood Pressure. Full Of Fire is way too smooth, and lacks musical ‘fire.’ On Whispering Pines Lucinda Williams overpowers Boz’s vocal. Despite these flaws, A Fool To Care sees Boz Scaggs more or less pickup where he left off on Memphis. Only time will tell whether it will sell in the same quantities. Personally, I think that’s highly unlikely.
Some of the artists on the comeback trail are no longer as popular as they once were. There are exceptions. Bob Dylan and Dave Gilmour will both sell huge quantities of albums. It’s unlikely that James Taylor and Don Henley enjoy the same popularity they once did. Even Keith Richards, with his latest effort is no longer the draw he once was. However, music and musical tastes have changed since Boz Scaggs’ glory days.
Despite this, Boz Scaggs is still a talented and versatile artist. He flits between blues, country, and rock on A Fool To Care. There’s even elements of funk, jazz, Latin and gospel tinged harmonies. A Fool To Care is an eclectic and captivating comeback album from Boz Scaggs, who fifty years ago, released his debut album Boz.
BOZ SCAGGS-A FOOL TO CARE-VINYL EDITION.
ALICE COOPER-THE STUDIO ALBUMS 1969-1983.
ALICE COOPER-THE STUDIO ALBUMS 1969-1983.
It was in Detroit, Michigan, on February 4th 1948, Vincent Damon Furnier was born. He would go on to become one of the biggest names in music, after changing his name to Alice Cooper in 1968. After that, 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 recently released by Warner Bros. It documents the first fourteen years of Alice Cooper’s sometimes controversial career. However, growing up as Vincent Damon Furnier life was very different. Vincent Damon Furnier grew up in Detroit, Michigan, where his father was a minister in the Church of Jesus Christ. When Vincent was eleven, he was already participating in church life. This was short-lived, and only lasted until Vincent was twelve. By then, he was attending Nankin Mills Jr. High School, and was suffering from a variety of illnesses. This resulted in the Vincent’s father moving the family to Phoenix, Arizona. Having moved from Detroit to Phoenix, Vincent attended Cortez High School in North Phoenix. After leaving high school, Vincent attended Glendale Community College, where he graduated with a Bachelor of Fine Arts. By then, Vincent’s musical career was well underway. It began in 1964, when Vincent and the members of the school’s cross-country team, formed a group The Earwigs. They entered the annual high school talent show. The Earwigs performance saw the mime to various Beatles’ songs. Somehow, this was enough for The Earwigs to win the first prize. This was enough to whet Vincent’s musical appetite. Soon, The Earwigs were renamed as The Spiders. The newly formed group’s lineup featured Vincent on vocals; lead guitarist Glen Buxton, rhythm guitar John Tatum, bassist Dennis Dunaway and drummer John Speer. Mostly, The Spiders played cover versions of songs by British Invasion bands. This included The Beatles, The Who, Rolling Stones and The Kinks. Soon, The Spiders’ thoughts turned to recording their debut single. Why Don’t You Love Me was recorded in 1965, and became The Spiders’ debut single. For the recording of Why Don’t You Love Me, Vincent had to learn the harmonica. On the flip side was a cover of Hitch Hike, which had given Marvin Gaye a hot. The single was then released on Mascot Records, which was owned by local music impresario Jack Curtis. He was a concert promoter, owned the Stage 7 club, where The Spiders had a residency. Things were going well for The Spiders, who were set to graduate high school in 1966. Having all graduated in 1966, change was on the horizon. Michael Bruce replaced rhythm guitarist John Tatum. The new recruit played on The Spiders’ sophomore single Don’t Blow Your Mind. Although this was one of the first songs The Spiders had penned themselves, it went on to reach number one locally. By 1967, The Spiders’ star was in the ascendancy. They were travelling as far afield as Los Angeles, to play live. It was around this time that The Spiders changed their name to Nazz, and released Wonder Who’s Lovin’ Her Now? On the B-Side was a song that would reappear later, Lay Down and Die, Goodbye. It would become an Alice Cooper favourite. Before that, drummer John Speer was replaced by Michael Speer, and Nazz relocated. Like many bands before them, Nazz decided to move to L.A. From he birth of rock ’n’ roll, nands always moved to where the record companies, recording studios and prestigious clubs were. Nazz were no different, and decided moved to L.A. where they hoped they could attract the attention of a record company. However, there was a problem. Word got back to the members of Nazz, that Todd Rundgren had a also a band called Nazz. It had been around longer, so the members of Nazz had to come up with a new name. This was when Alice Cooper was born. Many myths surround the naming of Alice Cooper. However, the most plausible was, that Alice Cooper was the name of a character in an American television series Mayberry R.F.D. It was shown on CBS, one of the biggest television networks. So in homage to Mayberry R.F.D., Nazz became Alice Cooper. So did Vincent Damon Furnier. The twenty-one year old singer, songwriter and musician saw the potential in adopting a persona. That persona, allowed him to portray various “characters.” This varied from album to album. However, with Vincent’s sense of theatre, drama, flamboyance and showmanship, this would prove crucial not just to the success of the band Alice Cooper, but later, his solo career. Before that, Alice Cooper the band, attracted the attention of Frank Zappa. Ironically, this came after a particularly disappointing gig. Alice Cooper only played ten minutes at the Cheetah club in Venice, California. That was enough for Alice Cooper to clear the room. That was a disaster. However, for Alice Cooper, every cloud had a silver lining. Shep Gordon, who managed various bands, approached Alice Cooper. He realised that Alice Cooper had potential, and it was just a matter of guiding them, and pointing them in the right direction. This included arranging an audition with Frank Zappa, who had just founded a new record label, Straight Records. They were looking to build up a roster, so Shep Gordon arranged an audition at seven o’clock. What the members of Alice Cooper didn’t realise, was that they were meant to arrive at Frank Zappa’s house at 7pm. Instead, they arrived at 7am. This could’ve proved disastrous, but didn’t. After hearing Alice Cooper’s brand of psychedelic rock, Frank Zappa offered the band a three album deal, which they accepted. Now Alice Cooper could begin work on their debut album, Pretties For You. Pretties For You. Now signed to Straight Records, the five members of Alice Cooper began recording what became Pretties For You with producers Ian Underwood and Herb Cohen. They oversaw the recording of thirteen tracks, penned by the five members of Alice Cooper. This included the rhythm section of drummer Neal Smith, bassist Dennis Dunaway and rhythm guitarist Michael Bruce. They were augmented by lead guitarist Glen Buxton and Alice Cooper on lead vocals. That’s apart from on Sing Low, Sweet Cheerio, which features Michael Bruce on lead vocal. Alice Cooper, guided by producers Ian Underwood and Herb Cohen recorded an album that had a psychedelic sound. Sound effects were deployed, on Pretties For You, which had been influenced by Pink Floyd. Especially, The Piper At The Gates Of Dawn. That wasn’t the only influence on Pretties For You. There’s also a jazz influence, on Pretties For You, as Alice Cooper experiment with various time signatures. Avant garde and experimental music influenced Alice Cooper as they worked on their debut album. These eclectic influences lead to criticism of Pretties For You. For some critics, Pretties For You was just too left-field an album. They didn’t understand the eclectic influences that had shaped the album. Nor did they understand the constant changes in tempo and time signatures. Reviews ranged from unfavourable to mixed. This didn’t augur well for the release of Pretties For You. June 1969 saw the release of Pretties For You. The album stalled at 193 in the US Billboard 200. This was disappointing for Alice Cooper, who were about to receive some unwelcome publicity. 
On September 13th 1969, Alice Cooper were playing at the Toronto Rock and Roll Revival. Mid-set, a chicken flew onto the stage. Alice Cooper thinking the chicken could fly, threw it off the stage. What happened next is unclear. Allegations were made that when the chicken was thrown off the stage, it was ripped to pieces. By the next day, newspapers were reporting that Alice Cooper had bitten the head off the chicken. The next day, Frank Zappa phoned Alice Cooper to establish what exactly happened. Alice Cooper denied the story. Frank Zappa thinking that all publicity is good publicity, told him to admit to biting the head off the chicken and drinking its blood. This was the worst advice he could’ve given Alice Cooper. The story has haunted him, and has harmed his career. For many people, his name is synonymous with that story. Once the controversy had started to die down in 1969, Alice Cooper began work on their sophomore album Easy Action. Easy Action. Despite Alice Cooper’s newly acquired hell raising image, he was in very different person. The title to Alice Cooper’s sophomore album, Easy Action, came from a line in West Side Story. It featured nine new tracks, penned by the five members of Alice Cooper. No longer were all the tracks credited to the five members of the band. Now, it was every man for himself, as work began on Easy Action. The nine tracks tracks that became Easy Action were recorded between late-1969 and early 1970. Producing Easy Action was David Briggs. The change of producer was meant to bring a change in fortune for Alice Cooper. That wasn’t to be. When critics heard Easy Action, they weren’t impressed. Reviews were far from flattering of what was a commercial type of psychedelia. Later, even members of the band weren’t impressed with Easy Action. Drummer Neal Smith felt it resembled the music was more like a: “TV or radio commercial.” Part of the blame lay at producer David Briggs’ door. Neal Smith remembers “he did not help with song arrangement or positive input in any way.” It’s not surprising that when Easy Action was released, it wasn’t a commercial success. Easy Action was released in March 1970, and disappeared without trace. Alice Cooper’s sophomore album sunk faster than the Titanic. With just one album left on their contract with Frank Zappa’s Straight Records, Alice Cooper needed a break. 
Love It to Death. Even Frank Zappa seemed to be having his doubts about Alice Cooper. He decided that Alice Cooper released a single before releasing what became Love It to Death. The song chosen, was I’m Eighteen, which showcased Alice Cooper’s new, hard-rocking sound. This was the third single Alice Cooper had released, but the first to chart. I’m Eighteen reached number twenty-one on the US Billboard 100. Alice Cooper got the green light to record their third album, Love It to Death. For the recording of Love It To Death, a new production team of Jack Richardson and Bob Erzin were brought onboard. Bob Erzin had earned his stripes producing the hit single I’m Eighteen. Now he and Jack Richardson had to hone Alice Cooper’s new sound. The one-time freak psychedelic band had reinvented themselves as a swaggering, hard-rocking band. Elements of hard rock and heavy metal melted into one, on Love It To Death. Every member of Alice Cooper had played a part in writing the nine songs. Alice Cooper wrote Second Coming, and cowrote I’m Eighteen and Is It My Body with the rest of the band. These tracks, and the rest of the album were recorded at RCA Mid-American Recording Center, Chicago and scheduled for release on March 8th, 1971. Before that, critics had their say on Love It To Death. They were won over by Alice Coopers, swaggering, aggressive and ballsy hard-rocking sound. They were a group reborn sonically and stylistically. Om Love It To Death’s album cover, Alice Cooper wore dresses and makeup. This would prove controversial in the conservative parts of America. That didn’t seem to affect album sales. When Love It To Death was released, it reached thirty-five in the US Billboard 200. Having sold one million copies, Love It To Death was certified platinum. Elsewhere, Love It To Death proved popular in Canada and Britain. Alice Cooper’s career was well underway. 
Killer. Having released Love It To Death on Straight Records in conjunction with Warner Bros., Alice Cooper’s three album deal with Frank Zappa was up. The members of Alice Cooper knew that to move to the next level, they needed the major label machine behind them. So they signed to Warner Bros. and began work on their fourth album, Killer. Alice Cooper didn’t waste time before returning to the recording studio. They were keen to build on the success of Love It To Death. So Alice Cooper headed to RCA Studios, in Chicago to record eight new tracks with producer Bob Erzin. Again, various members of Alice Cooper wrote or cowrote tracks. This included Alice Cooper, who cowrote five tracks. Among them, were ou Drive Me Nervous which Alice cowrote with Michael Bruce and producer Bob Erzin. He cowrote two tracks, and was quickly, becoming an important part of the Alice Cooper success story. That success, if the critics were correct, would’ve ground to a halt. Many reviews of Killer were far from positive. Killer showcased a hard rock sound, albeit tinged with a glam rock sheen. However, Killer was seen as licking the cohesion of Love It To Death, and revisited the erratic sound of Alice Cooper’s first two albums. Robert Christgau had some strong words; referring the album as “surreal,” “theatrical,” and let us not forget “transvestite” trappings”. Adding to irony of Robert Christgau’s comments, are his comments about the weakness of Under My Wheels and Be My Love. When the singles were chosen from Killer, Under My Wheels reached fifty-nine, before Be My Love surpassed this, reaching number forty-nine in the US Billboard 100. While neither single matched the success of I’m Eighteen, it was obvious that Alice Cooper were on the right road. Especially when Killer was released in November 1971, and reached twenty-one on the US Billboard 200. This was enough for Alice Cooper to receive their second platinum album. Could they make it three in a row? 
School’s Out. Alice Cooper arrived at The Record Plant, New York early in 1972. They were about to begin work on their fifth album in three years. By then, Alice Cooper and the rest of the band were just twenty-four. Success had come quickly, and they were living the rock ’n’ roll dream. The Record Plant was one of New York’s premier studios. However, Alice Cooper were well on their way to becoming one of America’s biggest bands. A lot depended on their fifth album, School’s Out. For School’s Out, Alice Cooper played a bigger part in the songwriting process. He cowrote seven of the nine tracks. This included cowriting the anthemic School’s Out with the rest of the band; and My Stars with Bob Erzin. Again, Bob Erzin cowrote two tracks on what’s loosely described as Alice Cooper’s first concept album. School’s Out dealt with school, and coming of age. The album opener was the future Alice Cooper classic, School’s Out. It would reach number two in the US Billboard 100, number three in Canada and number one in Britain. Since then, it’s been a staple of Alice Cooper’s live shows. However, when School’s Out was released in June 1972, nobody realised how popular the single and album would become. When critics heard School’s Out, they realised that it wasn’t just an album hard rocking music. There was a hint of glam rock, like on Killer, and a nod to art rock. Essentially, Alice Cooper were spreading their wings stylistically. That didn’t seem to matter. Reviews of School’s Out ranged from mixed to favourable. Partly, that was because some critics looked down on the theatre, drama and showmanship of Alice Cooper, and their live shows. It was only later that critics would rethink their opinions on Alice Cooper. So with disappointing reviews preceding the release of School’s Out, there was no hint that Alice Cooper were about to release the most successful album of their career. When School’s Out was released, the record vinyl was wrapped in a pair of paper pants. This must have seemed like a good idea at the time. However, it later transpired that the material the paper pants were made out of, were flammable. By then, School’s Out was racing up the charts. June 1972 saw the release of School’s Out, which reached number two in the US Billboard 200. This resulted in the third platinum album of Alice Cooper’s career. Elsewhere, from Canada to Australia, Europe and Britain, School’s Out found its way into the top ten. Alice Cooper were now one of the biggest bands on planet rock. 
Billion Dollar Babies. Just two months after the release of School’s Out, Alice Cooper began work on their sixth album, Billion Dollar Babies. By then, Alice Cooper were touring School’s Out. So the album was recorded in studios on both sides of the Atlantic with Bob Erzin. Three studios were used to record Billion Dollar Babies. Sessions took place at The Galecie Estate, Greenwich and The Record Plant, New York were the two American studios Billion Dollar Babies was recorded at. Other sessions took place at Morgan Studios, London. A total of ten songs were scheduled to be recorded for Billion Dollar Babies. Of these ten tracks, nine were cowritten by Alice Cooper. Again, Bob Erzin collaborated on two tracks and added keyboards as Alice Cooper celebrated their good fortune. The album title, Billion Dollar Babies, was a result of the money coming Alice Cooper’s way. After four years releasing records, the members of Alice Cooper were very rich young men, and able to buy whatever they wanted. Suddenly, people who previously, wouldn’t have looked their way, wanted to know them. This included women who wanted to date them; and men wanted to befriend them, hoping some of their good fortune would come their way. However, there was also a darkness to Billion Dollar Babies. During Billion Dollar Babies, Alice Cooper explored the sick perversions that some people have. The album titles hint at the darkness within Raped and Freezin’, No More Mr. Nice Guy, Sick Thing and I Love The Dead. Other themes included fear of dentists, horror and sexual harassment. This was all part and parcel of Alice Cooper’s most controversial album. How would critics respond to Billion Dollar Babies? Ironically, Billion Dollar Babies received some of the best reviews of any Alice Cooper. Critically acclaimed described the Billion Dollar Babies’ fusion of hard rock, glam rock and what’s now referred to as classic rock, as cohesive and constant. Billion Dollar Babies was regarded as Alice Cooper’s finest hour. The only criticism was that Billion Dollar Babies lacked an obvious single. That proved not to be the case. Four singles were reeled from Billion Dollar Babies. Elected was the lead single in 1972, and reached number twenty-six on the US Billboard 100. Hello Hooray then reached thirty-five on the US Billboard 100 1973. No More Mr. Nice Guy reached number twenty-five on the US Billboard 100. The final single was Billion Dollar Babies, which reached number fifty-seven on the US Billboard 100. That didn’t matter though. When Billion Dollar Babies was released on February 25th 1973, it reached number one in Britain and America. Billion Dollar Babies was certified platinum in America, and gold in Canada. Elsewhere, Billion Dollar Babies reached the top ten everywhere from Australia to Austria, Germany and Norway. In the Netherlands, Billion Dollar Babies reached number one. Alice Cooper had just enjoyed the most successful album of their career. Now they set about touring Billion Dollar Babies. Following the release of Billion Dollar Babies, Alice Cooper embarked upon an ambitious tour of America. Alice Cooper were all set to play sixty-four dates in fifty-nine cities in ninety days. This tour was meant to gross over $20 million. Alice Cooper played each night against a set that would put many Hollywood theatres to shame. Each night, between forty and fifty road crew arranged 26,000 pounds of equipment. The list of equipment ran to page after page. Despite this, the concert which veered towards theatre and horror show, grossed only $4 million. This was disappointing for Alice Cooper. Worse was to come. The followup, Muscle Of Love, would prove to be Alice Cooper’s swan-song. 
Muscle Of Love. Following the success of Billion Dollar Babies, Alice Cooper began work on the followup, Muscle Of Love. It marked a change of style and sound. Gone was the theatre of Billion Dollar Babies, to be replaced by a much more back to basics rock ’n’ roll sound of Muscle Of Love. Recording of Muscle Of Love took place at Sunset Sound, Hollywood, The Record Plant, New York and The Cooper Mansion, Greenwich. That’s where the nine tracks were recorded. They were all cowritten by Alice Cooper. He was forming a successful songwriting partnership with Michael Bruce. They cowrote four songs, and cowrote another four with various songwriting partners. However,one man was missing, producer Bob Erzin. For the first time since Easy Action, Bob Erzin was missing. The official line was, that he was recovering from an illness. However, later, Dennis Dunaway alleged that Michael Bruce had an argument with Bob Erzin when the producer refused to change the arrangement of Woman Machine. This argument lead to Bob Erzin splitting with Alice Cooper, and Jack Richardson and Jack Douglas replacing him. The result was a concept album, which was far from Alice Cooper’s finest hour. Just like School’s Out, Muscle Of Love can be loosely described as a concept album. This time, the subject matter Alice Cooper claimed was ”urban sex habits”. Alice Cooper seemed to like to walk on the wild side, and shock conservative middle America. Critics were also shocked. Not at the subject matter, but the quality of the album. Critics weren’t impressed by The Jack Richardson and Jack Douglas produced Muscle Of Love. Reviews ranged from the good, bad and indifferent. Only Creem gave Muscle Of Love a positive review. They seemed to see something nobody else did. Muscle Of Love as a mixed bag was, and still is, one of the worst albums in Alice Cooper’s career. It’s down there with Alice Cooper’s sophomore album Easy Action. Neither Jack Richardson nor Jack Douglas were able to replace Bob Erzin. That became clear when Muscle Of Love was released on November 20th 1973. On its release Muscle Of Love reached number ten on the US Billboard 200, and was certified gold. Elsewhere, Muscle Of Love reached number four in Canada, and was a minor hit in Australia and Britain. It was a disappointing way for the Alice Cooper story to end. Members of Alice Cooper decided to put the band on hold. This allowed Alice Cooper to forge a career on television. Meanwhile, Alice Cooper’s Greatest Hits was released in August 1974, and reached number eight on the US Billboard 200. This stopped people forgetting about Alice Cooper. So did the release of the feature film Good To See You Again, Alice Cooper, which featured footage of the band live. However, by then Alice Cooper were history. Alice Cooper said farewell during a South American tour, which took place during March and April 1974. One of the highlights of the tour was playing un front of 158,000 fans in Sao Paulo, Brazil. This wasn’t the end of the Alice Cooper story. Far from it. Alice Cooper returned in 1975, having changed his name officially to Alice Cooper. This meant there were no legal problems for him using his former band’s name. He was now touring as a solo artist, using what was now regarded as his real name, Alice Cooper. 
Welcome To My Nightmare. Having now embarked upon a solo career, Alice Cooper brought back Bob Erzin. He had been badly missed on Muscle Of Love. He wasn’t just a producer, but a songwriter, keyboardist and confident. On Welcome To My Nightmare, Bob Erzin cowrote six of the ten tracks with Alice Cooper. He worked with various songwriting partners, including singer, songwriter, musician and ‘musical impresario’ Kim Fowley. Another songwriting partner was Dick Wagner, of Lou Reed’s band. Many members of Lou Reed’s band accompanied Alice Cooper on Welcome To My Nightmare. It was recorded at the Soundstage, Toronto and the Record Plant, Electric Lady and A&R Studios, New York during the second half of 1974 and early 1975. Once Welcome To My Nightmare was complete, Alice Cooper’s debut solo album was scheduled for release in March 1975. Prior to the release of Welcome To My Nightmare, critics received a copy of Alice Cooper’s debut album. Just like some of Alice Cooper’s previous albums, it was a concept album. This time, it was a musical journey through the nightmares of a child called Steven. Critics however, weren’t over impressed, and reviews were mixed. One mistake was the horns that punctuated what was a fusion of heavy metal, art rock and classic rock. They were in the wrong movie. However, rescuing the album were Devil’s Food, The Black Widow, Department of Youth and Cold Ethyl. Maybe, this quartet of tracks could kick-start Alice Cooper’s solo career? It was Only Woman Bleed that was chosen as the lead single from Welcome To My Nightmare. On its release, it reached number twelve in the US Billboard 100. Then Department of Youth reached a lowly sixty-seven and Welcome to My Nightmare stalled at forty-five in the US Billboard 100. By then, Welcome to My Nightmare had reached number five in the US Billboard 200. This resulted in the album being certified platinum. Across the border, Welcome To My Nightmare was certified double platinum. Meanwhile, Welcome to My Nightmare was certified platinum in Britain. It looked like Alice Cooper was about to enjoy a long and successful solo career. 
Alice Cooper Goes To Hell. For his sophomore album, Alice Cooper returned to the story of Steven, which began on Welcome To My Nightmare. The next part of the story unfolded on Alice Cooper Goes to Hell. For Alice Cooper Goes To Hell, eleven tracks were penned. Nine were written by Alice Cooper, Bob Erzin and guitarist Dick Wagner. I Never Cry was penned by Alice Cooper and Dick Wagner; while You Chasing Rainbows was a standard penned by Harry Carroll, Joseph McCarthy. These eleven tracks would be recorded in three studios. Just like Welcome To My Nightmare, some of Alice Cooper Goes To Hell was recorded at Soundstage, Toronto and at Record Plant, New York. Other sessions took place on the West Coast, at RCA Recording Studios, Los Angeles. Accompanied by a tight, talented band of top session players, and Bob Orzin producing, Alice Cooper recorded his second solo album, Alice Cooper Goes To Hell. It was scheduled for release on June 25th 1976, with an ambitious tour following. All wasn’t well in Alice Cooper’s personal life. He had been enjoying the rock ’n’ roll lifestyle too much. Now, Alice Cooper was a borderline alcoholic. He revealed this on I Never Cry, which was tantamount to a confession via a rock ballad. This was something Alice Cooper had some success with. Only Women Bleed, the most successful single from his debut solo album, Welcome To My Nightmare, had been a ballad. He was hoping that lightning would strike twice, when I Never Cry was released as a single. Just like Only Women Bleed, it reached number twelve in the US Billboard 100. This augured well for the release of Alice Cooper Goes To Hell. Much however, would depend on the critical reception to Alice Cooper Goes To Hell. Just like Welcome To My Nightmare, the reviews of Alice Cooper Goes To Hell were mixed. It seemed that Alice Cooper had struggled to release a cohesive album. Only Billion Dollar Babies was seen as a cohesive album from Alice Cooper. That had been when Alice was with the band. Three years had passed since the release of Billion Dollar Babies. The portents were there. On the release of Alice Cooper Goes To Hell on June 25th 1976, the album stalled at twenty-seven on the US Billboard 200. It was certified gold. However, these were worrying times. Especially when Alice Cooper was forced to cancel his 1976 Alice Cooper Goes To Hell tour. He was suffering from Anaemia. Was his lifestyle catching up on Alice Cooper? 
Lace and Whiskey. There was more than a hint that this was the case, in the title of Alice Cooper’s third solo album, Lace and Whiskey. It was a concept album with a difference. Gone was the darkness of previous albums. To replace it, Alice Cooper adopted the persona of heavy drinking, hard living, comedic P.I. Maurice Escargot. Alice Cooper even dresses as P.I. Maurice Escargot on the back of Lace and Whiskey’s album cover. This wasn’t the only thing on the back of Lace and Whiskey. On the back of Lace and Whiskey was the track listing. There were ten tracks, including eight written by Alice Cooper, Dick Wagner and Bob Ezrin. You and Me was penned by Alice Cooper and Dick Wagner; while Charles Underwood wrote Ubangi Stomp. These ten tracks would be recorded in four studios. Lace and Whiskey was recorded at Soundstage, Toronto, Record Plant, New York and at RCA Recording Studios, Los Angeles. Other sessions took place a the Producer’s Workshop in L.A. With many of the same top session players that played on Alice Cooper Goes To Hell, Bob Orzin got to work producing, Alice Cooper’s third solo album, Lace and Whiskey. April 29, 1977 was when Lace and Whiskey would be released. However, by then, critics had quite rightly, torn Lace and Whiskey to shreds. Essentially, Lace and Whiskey was a rock album. However, sometimes, Alice Cooper seemed to flit between genres. This included on the easy listening ballad You and Me, and the disco tinged No More) Love at Your Convenience. Neither could be described as Alice Cooper’s finest moment. Indeed, Lace and Whiskey was the worst album of Alice Cooper’s solo career…so far. The lead single from Lace and Whiskey was You and Me, which somehow, reached number nine in the US Billboard 100. Then Lace and Whiskey reached just forty-two in the US Billboard 200. There neither a platinum nor gold disc this time round. Despite this, Alice Cooper embarked on his King of the Silver Screen tour. It started off in the summer of 1977, and saw Alice Cooper return to the theatre of previous tours. There were even commercials between some of the songs. So popular was the tour, that it returned in the summer of 1978, when it was renamed the School’s Out For Summer tour. By then, Alice Cooper had climbed into, and out of a bottle. 
From The Inside. In 1978, Alice Cooper celebrated his thirtieth birthday. Over the last couple of years, he had been to hell and back. He spent time in a psychiatric hospital, in an attempt to cure his alcoholism. This experience he revisited on what would become his fourth solo album, From The Inside. For From The Inside, there was a change in songwriting partnership. The lyrics to six songs were penned by Alice Cooper and Bernie Taupin; while Dick Wagner and Alice wrote the music. Alice cowrote the other four tracks with various songwriting partners, including Dick Wagner and David Foster who cowrote the title-track. One name missing, was Bob Erzin. The man who had been at Alice Cooper’s side for the best years of his career was missing. The last time Bob was absent, had proved disastrous, when 1973s Muscle Of Love proved to be the Alice Cooper band’s swan-song. Bob Erzin’s replacement was David Foster. Could he fill the void left by Bob Erzin? David Foster and Bernie Taupin weren’t the only new names. Guitarist Davey Johnstone and bassist Dee Murray had previously been members of Elton John’s band. They joined Alice Cooper’s band to record an album that veered between classic rock to heavy rock and a much more poppy sound. Then there was the power ballad How You Gonna See Me Now? It was later chosen would as the lead single, and reached number twelve in the US Billboard 100. Before that, critics had their say on From The Inside. Reviews of From The Inside ranged from mixed to favourable. This was an improvement on the disastrous Lace and Whiskey. However, still, Alice Cooper hadn’t released an album that was cohesive. From The Inside was still a mixed bag of songs. This became apparent when From The Inside was released in November 1978. It stalled at number sixty in the US Billboard 200. Then when From The Inside was released as a single, it failed to chart. For Alice Cooper, this was a disaster. Those within the music industry wondered if Alice Cooper’s career was at a crossroads? Despite the musings of critics and industry insiders, Alice Cooper headed out on the Madhouse Rocks Tour, which followed the release of From The Inside. From February to April 1979, Alice Cooper toured America, hoping that this would improve sales of From The Inside. That wasn’t to be, and Alice Cooper wouldn’t release another album until 1980. 
Flush The Fashion. After the Madhouse Rocks Tour finished in April 1979, Alice Cooper’s thoughts turned to recording his next album. It was a time of change for Alice Cooper. Not only did Flush The Fashion sees a stylistic change from Alice Cooper. His music veered from classic rock to hard rock and even new wave. This was a first, but showed that Alice Cooper was determined to move with the times. To help him do that, he brought onboard new songwriting partners. Six of the ten tracks on Flush The Fashion were credited to Alice Cooper, Davey Johnstone and Fred Mandel. Alice Cooper also cowrote Dance Yourself to Death with Frank Crandall. Along with a small, tight band, featuring just four musicians, Alice Cooper recorded his first album of the eighties, Flush The Fashion with producer Ray Thomas Baker. It was released on April 28th 1980. By then, it had been a long time since Alice Cooper had enjoyed a successful album. Gold and platinum discs were a thing of the past. According to critics, that would be the case for the foreseeable future. Flush The Fashion was a decidedly average album, lacking cohesion and flitting between disparate genres. Essentially, Flush The Fashion was an album featuring the good, the bad and the mediocre. That became apparent when Flush The Fashion was released. Before that, Clones (We’re All) was released as the lead single, but reached just forty in the US Billboard 100. Then Talk Talk failed to chart. When Flush The Fashion was released, it stalled at forty-four in the US Billboard 200. This was disappointing. However, a small crumb of comfort came when Flush The Fashion was certified gold in Canada. Maybe Alice Cooper’s luck was changing? 
Special Forces. By the time, Alice Cooper began recording Special Forces, he should’ve been buoyed by Flush The Fashion being certified gold in Canada. However, he was living a lie. Alice was in the throes of cocaine addiction. He was hopelessly addicted. So much so, that he recorded three albums, and can’t remember doing so. The first was Special Forces. For the recording of Special Forces, Alice Cooper’s band had expanded to five. This included Duane Hitchings, who cowrote four songs with Alice. The pair also cowrote Vicious Rumours with two other members of the band, Erik Scott and Mike Pinera. In total, Alice Cooper cowrote nine of the ten tracks on Special Forces. The other track was a cover of Arthur Lee’s Love classic Seven and Seven Is. This track, and the rest Special Forces was produced by another new producer, Richard Podolor, who previously, had produced Three Dog Night and Stepponwolf. Could he rejuvenate Alice Cooper’s career. The answer to that was no. Special Forces received mixed reviews. Stylistically, it was similar to Flush The Fashion, flitting between classic rock, hard rock and new wave. Just like Flush The Fashion, Special Forces was another decidedly average album. It was a long time since Alice Cooper had released an album that had critics reaching for superlatives. With each album, he seemed more like yesterday’s man. However, this wasn’t surprising. Special Forces was the first of a trio of what Alice Cooper refers to as his “blackout albums.” So far in throes of addiction was Alice Cooper, that he can’t remember Special Forces. He probably can’t remember on The Tomorrow Show dressed in military fatigues. Alice Cooper looked gaunt, and a lot older than thirty-three. Viewers worried that this was a story without a happy ending. When Special Forces was released in September 1981, it reached just 125 in the US Billboard 200. Elsewhere, Special Forces bombed. For Alice Cooper, and executives at Warner Bros., these were worrying times. Despite that, Alice Cooper toured Special Forces. In Canada, Alice Cooper arrived onstage late. The Canadian audience, who had always been loyal to Alice Cooper, took umbrage. A riot ensued, and the show was cancelled. With sales slow and Alice Cooper’s asthma worsening, the tour finished in February 1982, and Alice Cooper didn’t tour again for four more years. 
Zipper Catches Skin. Following the end of his tour in February 1982, Alice Cooper began to think about what was his fourteenth album since 1969. Incredibly, he was only thirty-four. That was hard to believe. Alice Cooper looked ten years older. His lifestyle was catching up on him. It was also affecting his music. That had been apparent for a while. However, most of the time, Alice Cooper could remember recording an album. Special Forces was the first time that Alice Cooper recorded an album and can’t remember doing so. Zipper Catches Skin was the second in Alice Cooper’s “blackout” trilogy. Stylistically, Zipper Catches Skin featured several changes in direction. Apart from the classic rock, hard rock and new wave of his last two albums, Alice Cooper added elements of pop punk and post punk. However, Alice Cooper had gotten to the post punk party late. Other bands had pioneered the post punk sound from 1977 onwards. For Alice Cooper, however, post punk was new. He wanted to avoid the cliches that other post punk artists resorted to, on what would be lean, mean, stripped back songs. Aiding and abetting Alice Cooper, were Billy Steele, Erik Scot and John Nazzinger. They penned Zorro’s Ascent. The Alice Cooper, John Nitzinger and Erik Scot songwriting team cowrote I Like Girls, Remarkably Insincere and Tag, You’re It. These songs were high on the sarcasm count. Make That Money (Scrooge’s Song and No Baloney Homosapiens was a track from the old songwriting partnership of Alice Cooper and Dick Wagner. They joined with Erik Scott to pen I Better Be Good and I’m Alive (That Was the Day My Dead Pet Returned to Save My Life). Along with a cover of Gary Osborn and Lalo Schifrin’s I Am The Future, these ten tracks became Zipper Catches Skin. This time around, Alice Cooper’s band had expanded. Joining the rhythm section were four guitarists, a synth player, percussionist and backing vocalists. However, this was no ordinary band. They were tight, talented and determined to rejuvenate Alice Cooper’s career. That however, was easier said than done. Midway through the recording of Zipper Catches Skin, Dick Wagner had enough. He didn’t like what he saw, and left. Dick described Zipper Catches Skin as an: “off to the races speedy album” and a “drug induced nightmare.” Many thought that he was exaggerating. However, he was later vindicated when the documentary Super Duper Alice Cooper was released and showed Alice Cooper smoking crack cocaine during the Zipper Catches Skin. No wonder Dick Wagner exited stage left. By then, Alice Cooper was coproducer of the second “blackout” album. Zipper Catches Skin was being produced by Alice Cooper and Erik Scot; with Steve Tyrell producing I Am The Future. Despite this latest change in producer, still Alice Cooper wasn’t able to reach the heights of his debut album. Again, Zipper Catches Skin lacked cohesion, and was another mixed bag of songs. There were some good songs on the album. However, they were in the minority. This became apparent when Zipper Catches Skin released on August 25th 1982. Despite Alice Cooper appearing on a television commercial for Zipper Catches Skin, it became the first album since Easy Action not to chart. Zipper Catches Skin was a long way from the days of million selling albums. Executives at Warner Bros. and critics wondered if these days were gone for good? 
Dada. For Alice Cooper’s fifteenth album, Bob Erzin returned to try and reduce his old friend’s career. Six years had passed since the pair had worked together. Since then, Alice Cooper’s career had hit the buffers. Making a bad situation even worse, was that Alice Cooper had started drinking again. After several years sober, Alice Cooper had fallen off the wagon. He was showing no sign of climbing back onboard. This made the recording of DaDa hard work. Despite seeing things that scared him away from the Zipper Catches Skin sessions, Dick Wagner returned. He collaborated with Alice Cooper and Bob Erzin on Former Lee Warmer, No Man’s Land, Scarlet and Sheba and Fresh Blood. The trio also cowrote Enough’s Enough, Dyslexia and I Love America with Graham Shaw. However, it was Bob Erzin who wrote the title track, which opened DaDa. Fittingly, Alice and Dick Wagner penned Pass The Gun Around, which closed DaDa. It was produced by Bob Erzin, who guided what was an experienced band through the recording of Alice Cooper’s fifteenth album, DaDa. Just like many previous Alice Cooper album, DaDa is best described as a concept album of sort. Thematically, DaDa is somewhat weak. It appears that the album’s central character Sonny, suffers from mental illness. This manifests itself in a personality disorder; and various personalities emerge through the album. Dada, which came complete with a Dadaist cover, was critics believed, a marginally better album than the two previous “blackout” albums. That was ironic. Alice Cooper’s contract with Warner Bros. was almost at an end in 1983, when he released DaDa on September 28th 1983. It flitted between avant garde and experimental to classic rock, new wave and hard rock. However, Warner Bros., who had almost lost patience with Alice Cooper, didn’t seem to spend much promoting DaDa. This showed, when DaDa failed to chart. This was an ignominious end to Alice Cooper’s Warner Bros. years, which are documented on The Studio Albums 1969-1983 box set, which was recently released by Warner Bros. 
After fourteen years and fifteen albums, Alice Cooper’s Warner Bros. years were over. DaDa was the last album Alice Cooper released until 1986. During that three year sabbatical, Alice Cooper made every effort to get clean. This resulted in a brief resurgence in Alice Cooper’s career between 1986 and 1991. However, for many people, the best period of Alice Cooper’s career came between 1971s Love It To Death and 1973s Billion Dollar Babies. During that period, the four albums Alice Cooper released were all certified platinum in America. Even the Alice Cooper band’s swan-song, the rock ’n’ roll inspired Muscle Of Love was certified gold. Then when Alice Cooper embarked upon a solo career, things looked so promising. 1975s Welcome To My Nightmare was certified platinum, and Alice Cooper Goes To Hell was certified gold in America. These two albums were the finest albums of Alice Cooper’s Warner Bros. years. Other albums lack the quality of these albums. They’re mixed bags, ranging from the good, bad and indifferent. Even Alice Cooper’s trilogy of “blackout” albums feature some hidden gems. Even 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
ALICE COOPER-THE STUDIO ALBUMS 1969-1983.
RICHARD THOMPSON-STILL-VINYL EDITION.
RICHARD THOMPSON-STILL-VINYL EDITION.
Not many musicians enjoy the longevity that Richard Thompson has. His professional career career began in 1967, when Richard was just eighteen. He had just left the William Ellis School in Highgate. That’s where Richard Thompson formed his first band, Emile and The Detectives with future Strangler Hugh Cornwell.
It was with Emile and The Detectives that Richard Thompson honed his skills as a guitarist. Then when he was eighteen, he joined the newly formed Fairport Convention. They came to the attention of American producer Joe Boyd. Partly, that was down to Richard Thompson’s guitar playing. Joe Boyd decided to take a chance on Fairport Convention. So he signed them to his Witchseason production and management company.
For Richard Thompson, this was the start of a career that’s spanned forty-eight years. This began with the five alums he released with Fairport Convention.
Fairport Convention.
Their debut was Fairport Convention, which was released by Island Records in June 1968. Fairport Convention was heavily influenced by American music. It was well received by critics, who forecast a bright future for Fairport Convention.
What We Did on Our Holidays.
They were right. The followup What We Did on Our Holidays, was released in January 1969 and became one of Fairport Convention’s classic albums. It marked the move away from the Amerian influence to a much more traditional, English folk rock sound. A combination of Sandy Denny’s ethereal vocals and Richard’s guitar playing proved a potent combination. This continued with Unhalfbricking, which released in July 1969. Sadly, by then, tragedy had struck for Richard Thompson.
On 11th May 1969, Fairport Convention were returning from a concert in Birmingham. The band’s van crashed, and drummer Martin Lambie and Richard’s girlfriend’s Jeannie Franklyn both died. For Fairport Convention, and Richard Thompson who was just twenty, it was a lot to cope with. At one point, the remaining members of Fairport Convention almost called time on the band. However, eventually, they chose to continue.
Unhalfbricking.
Fairport Convention released Unhalfbricking in June 1969. It completed Fairport Convention’s move towards the traditional English folk rock sound that began on What We Did on Our Holidays. When critics heard Unhalfbricking, they hailed the album as Fairport Convention’s finest. Record buyers agreed, and the album reached number twelve in Britain. However, good as Unhalfbricking was, it was surpassed by Fairport Convention’s third album of 1969.
Liege and Lief.
Liege and Lief was released in December 1969. The album was a mixture of tradition folk song and original compositions. After four albums, it seemed, Fairport Convention had found their own style.
Critics hailed Liege and Lief a classic. Record buyers agreed, and Liege and Lief spent fifteen weeks in the British charts, reaching number fifteen. Later, Liege and Lief would become a hugely influential album. It’s been called the first British folk rock album. However, that’s since been disputed. For Fairport Convention, it was a case of “when will we see your likes again?”
After the release of Liege and Lief, Sandy Denny left Fairport Convention and formed Fotheringay. This left a huge void. Her vocals played a huge part in the sound and success of Fairport Convention.
Full House.
Sandy Denny wasn’t the only person to leave Fairport Convention. So did Ashley Hutchings. However, bassist Dave Pegg joined the band, and recording of Full House began. It was Fairport Convention’s first album without a female vocalist.
Despite the absence of Sandy Denny, Full House was well received by critics. They were won over by Fairport Convention reinterpreting traditional folk songs. Some went as far as to compare Fairport Convention to The Band. However, despite the critically acclaimed reviews, commercial success eluded Full House. Maybe this made Richard Thompson’s mind up to leave Fairport Convention?
In January 1971, Richard Thompson announced he was leaving Fairport Convention, and was about to embark upon a solo career. At the time, Richard Thompson said he hadn’t planed his departure from Fairport Convention. Instead, it was a spur of the moment decision. It’s a decision that’s worked well.
Henry The Human Fly.
Just over a year later, in April 1972, Richard Thompson released his debut album Henry The Human Fly. It featured many of the biggest names in folk music. This included two former members of Fairport Convention, Sandy Denny and Ashley Hutchings. Other guest artists included Pat Donaldson, Linda Peters and Andy Roberts. Despite this star studded lineup, Henry The Human Fly wasn’t a commercial success. However, since then, Richard Thompson has been a truly prolific artist. Following the release of Henry The Human Fly, Richard Thompson recorded six albums with his then wife Linda. These albums were released between 1974 and 1982. They weren’t particularly successful. So, in 1982, Richard Thompson resumed his solo career. Since then Richard Thompson has released another fifteen albums. His sixteenth album is Still, which was released on Proper Music.
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. Jeff Tweedy brought new ideas to the table, and resulted in a quite different album from the folk-rock veteran. However, after his 1972 debut album Henry The Human Fly, Richard Thompson decided to put his solo career on hold.
I Want To See The Bright Lights Tonight.
Following the commercial failure of Henry The Human Fly. Richard Thompson decided to record an album with his then wife Linda. I Want To See The Bright Lights Tonight was recorded in May 1973. However, due to the petrol shortage, the album was held over until April 1974.
On its release in April 1974, critics were won over by I Want To See The Bright Lights Tonight. Richard had written most of the lyrics. They feature Richard’s somewhat bleak worldview. While the lyrics were appreciated by critics and the album would become a minor classic, the album was all but ignored by record buyers. So was their sophomore album.
Hokey Pokey.
By the time Hokey Pokey was released in April 1975, Richard and Linda had converted to Islam, and were living in an Islamic commune. The songs on Hokey Pokey had been written prior to their conversion to Islam, so didn’t represent where the Thompsons were spiritually.
Instead, Hokey Pokey continued with Richard’s bleak worldview. In Richard’s world, people lived a shallow existence. They weren’t spiritually enlightened. Instead, they found solace in drink, drugs and casual sexual encounters. It’s as if Richard is casting a disapproving eye at the faithless. Later, in Hokey Richard declares his new found faith on A Heart Needs a Home.
However, while critics gave Hokey Cokey a warm reception, record buyers continued to turn their back on Richard and Linda Thompson. They still owed Island Records an album, so began recording what was their final album together.
Pour Down Like Silver.
Richard and Linda Thompson recorded Pour Down Like Silver in the summer of 1975. It was ready for release in November 1975. Pour Down Like Silver was a very personal album for Richard and Linda Thompson.
Having converted to the Sufi faith in 1974, and trying to make a living as a musician wasn’t easy. At one point, one of Richard’s ‘spiritual’ leaders forbade Richard to make music. This contradicted his earlier advice that “you have a voice and you’ve got to sing.” On another occasion, another ‘spiritual’ leader forbade Richard from playing his guitar. All this was proving hugely frustrating for Richard. He poured his frustration into Pour Down Like Silver which was released in November 1975.
Pour Down Like Silver was quite different from Richard and Linda Thompson’s two previous albums. Much of the album was about God and faith. However, stylistically, Pour Down Like Silver was different. Richard’s electric guitar was much more prominent. Over-dubbing wasn’t used as extensively and the album had a much sparser sound. Critics remarked that despite the changes, it was still very much a Richard and Linda Thompson album. When it failed commercially, Richard and Linda Thompson were dropped by Island Records. This resulted in Richard and Linda withdrawing from music.
After three years away from music, Richard and Linda Thompson returned refreshed and reenergised. Richard and Linda released another three albums together.
First Light.
The first was First Light, which was released in October 1978. It was the first album the Thompsons released for Chrysalis. First Light featured mostly religious songs, and saw Richard and Linda accompanied by musicians who were practitioners of the Sufi faith. Unsurprisingly, First Light wasn’t a commercial success, and the Thompson’s continued their journey into the musical wilderness.
Sunnyvista.
Another year passed before Richard and Linda Thompson released another album, Sunnyvista. It had been recorded at Olympic Studios, and was a very different album from First Light.
It’s thought that Richard and Linda Thompson were under pressure to deliver a commercially successful album. Sunnyvista was a vast improvement on First Light. Partly, that was down to the musicians that accompanied Richard and Linda. They were much more accomplished and talented than those that featured on First Light. The other reasons were the songs were much more commercial, and rocky. Maybe, just maybe, the Richard and Linda Thompson’s luck was going to change?
That proved not to be the case. While critics praised Sunnyvista, it wasn’t a commercial success. Granted it was a bigger success than First Light. That didn’t stop Chrysalis dropping Richard and Linda Thompson. Things were looking bleak for Richard and Linda Thompson.
Following the commercial failure of Sunnyvista, Richard and Linda Thompson toured with Gerry Rafferty. They were reduced to the role of the support act during Gerry’s 1980 tour. Once the tour was completed, Richard and Linda recorded some demos. No record company was expressing an interest in Richard and Linda Thompson. That’s until Gerry Rafferty stepped in.
Gerry Rafferty offered to finance and produce a new Richard and Linda Thompson album. This proved to an expensive mistake. The album was recorded between September and October 1980. When it came to the mixing of the album, Richard who worked quickly and spontaneously, couldn’t cope with Gerry Rafferty’s approach. He was a perfectionist, someone who took pride in his work. Eventually, Richard stopped turning up. Soon, the project was doomed.
Gerry Rafferty tried to interest record companies in Richard and Linda’s new album. However, after what happened to Island and Chrysalis with Richard and Linda Thompson albums, nobody was interested. For Gerry Rafferty this was a disaster. He lost £30,000, and the Thompson’s journey into the musical wilderness continued apace.
Shoot Out The Lights.
It was Joe Boyd rode to the rescue of Richard and Linda Thompson. He was running his own record label Hannibal Records, and decided to offer Richard and Linda Thompson a contract in the summer of 1981. However, there was a catch.
Rather than spend months recording what became Shoot Out The Lights, Joe Boyd decided that the album would be recorded quickly, over the space of a few days. The money saved could be spent on an American tour. Richard and Linda agreed.
For Shoot Out The Lights, Richard and Linda rerecorded six of the songs from the ill-fated Gerry Rafferty sessions. Two other songs were recorded. They became Shoot Out The Lights, the song the relaunched Richard and Linda’s career.
By the time Shoot Out The Lights was released on March 15th 1982, Richard and Linda’s marriage was over. This was ironic. Shoot Out The Lights was released to widespread critical acclaim. It Richard and Linda’s biggest selling album. In American and Britain, Richard and Linda Thompson were back.
While Richard and Linda split-up after the release of Shoot Out The Lights, their sixth and final album rescued their careers. In the aftermath of Shoot Out The Lights Richard Thompson decided to return to his solo career, and in 1983, released Hand Of Kindness his belated sophomore album.
Hand Of Kindness.
Hand Of Kindness saw Richard team up with Joe Boyd again. Eleven years after releasing his debut solo album, Richard was back, and back with a critically acclaimed album.
After being down and nearly out, Richard, aided and abetted by his old friend Joe Boyd pulled a rabbit out of the bag. Hand Of Kindness saw Richard combine Americana, country, folk-rock and rock. It was a much more upbeat and palatable album. Gone was Richard’s dark, cynical worldview. It was as if someone had said, “let there be light.” Richard’s response to that was Hand Of Kindness, the album the completed the reinvention of Richard Thompson.
Since then, Richard Thompson has released another fourteen solo albums. Among the highlight are 1988s Amnesia, 1991s Rumour and Sigh and 1999s Mock Tudor. Richard’s most recent album is Still. It was recently released, and see Richard collaborate with Jeff Tweedy of Wilco. Jeff produced Still, Richard Thompson’s sixteenth studio album.
Still.
For what became Still, Richard Thompson penned twelve new tracks. Richard was determined that his sixteenth studio album be different from previous albums. Deep down, he was scared of standing still. The last thing Richard wanted to do, was keep making the same kind of album. Instead, he wanted to change things around. So he decided to bring onboard a new producer.
Given how long Richard has been involved in music, he could’ve chosen just about anyone. However, eventually, he made what many regarded as an unlikely choice, Jeff Tweedy of Wilco. It wasn’t though.
Richard liked the way Jeff Tweedy makes albums. He felt that: “Jeff is musically very sympathetic.” This was important. The changed that Jeff would make would be subtle, rather than radical. It was the musical equivalent of a nip and tuck. However, for this minor surgery, Richard Thompson had to journey to Chicago.
Recording of Still took place at Jeff Tweedy’s The Loft Studio in Chicago. Richard who sang vocals and played guitar, was accompanied by a small, but tight and talented band. The rhythm section featured drummer Michael Jerome, bassist Taras Prodani and guitarist Jim Elkington. Liam and Sima Cunningham add backing vocals. Producer Jeff Tweedy plays guitar and adds backing vocals. Once Still was completed, it was released in June 2015.
Critical acclaim accompanied the release of Still. It reached number eighty-two in the US Billboard 200 and number ten in Britain. Elsewhere, Still reached number eighty-six in Belgium, number twenty in Holland and number ninety-one in Germany. However, it was in Britain and America that Still proved most popular. It seems Richard Thompson’s decision to reinvent himself on Still, his sixteenth studio album was vindicated. I’ll tell you why.
She Never Could Resist A Winding Road opens Still. Just a lone crystalline guitar accompanies Richard’s heartfelt, wistful vocal. Soon, the rhythm section add a slow, moody and country tinged backdrop. Meanwhile, Richard dramatically tells the story of a restless spirit; “she never could stay any place too long.” He’s accompanied by harmonies. They compliment his vocal, as elements of Americana, country, folk and folk-rock are combined by producer Jeff Tweedy and his band. They’re the perfect foil for Richard as he delivers a heart wrenching vocal.
The drums that open Beatnik Walking have a traditional folk sound. They provide the heartbeat while guitars are played quickly. Fingers flit up and down the fretboard. Soon, Richard accompanied by backing vocals enters. He’s determined “to leave the beatnik blues behind.” His destination is: “Amsterdam where good things come in threes, soothe your troubles and shoot the breeze.” These lyrics play their part in an upbeat and catchy song about escaping the tedium of everyday life.
Straight away, Patty Don’t You Put Me Down has a cinematic folk-rock sound. Stylistically, it’s quite different from the first two songs. It’s has a much more rocky sound. That’s down to the guitars. They play an important part in the mix, and could easily belong on a Neil Young album. The rest of the rhythm section lock into a groove. Richard struts his way through the track, delivering a feisty,sassy vocal. Complimenting his vocal, are backing vocalists. They add the finishing touch to what’s easily, one of Still’s highlights.
Broken Doll marks another change in style. Gone is the rocky style. Instead, it’s replaced by a ballad. The arrangement meanders along. Muted guitars and the rhythm section provide a backdrop for Richard’s vocal. It’s variously dramatic, emotive and heartfelt as he almost serenades the “Broken Doll.” By then, the arrangement is like a lysergic merry-go-round. There’s a sense of despair in Richard’s voice as he realises ahe can’t mend the “Broken Doll.”
All Buttoned Up has a jaunty arrangement. As the band march along to the beat of the drum, guitars chime. Richard’s vocal is full of frustration, as he sings: “I got a girl-best girl in the world, but she won’t give me a taste of it.” Accompanied by harmonies and duelling guitars, he continues to vent his frustration.” However, Richard’s delivery is tongue in cheek, as as he combines humour and hooks.
Just a guitar opens Josephine. It sounds as if it belongs on a folk album from the late-sixties or early-seventies. The arrangement is understated. Meanwhile, Richard’s delivery is both dramatic. He’s like an actor on the stage, as he paints pictures. So much so, it’s easy to imagine a haunted and tormented Josephine, in her room scribbling frantically her thoughts on the wall.
Long John Silver sees another stylistic change. The tempo increases and Richard and his band plug-in. Bristling, electric guitar are accompanied by the rhythm section. They anchor the arrangement. Meanwhile, Richard and his backing vocalists combine, and warn about Long John Silver. “Don’t bet you shirt on Long John Silver.” Regardless of how hard they try,the lyrics to Long John Silver let the song down. Producer Jeff Tweedy does his best, but isn’t a magician.
Pony In The Stable proves to be a bit of a slow burner. That’s the case as Richard sings: “you’re messing with my mind, you’re thrilling me, you’re killing me.” Just drums and a guitar combine to create an understated, folk-tinged arrangement. Then after thirty seconds, the band kick loose, combining elements of folk, country, Americana and rock. They move up through the gears. Eventually, Richard, accompanied by backing singers and a rocky arrangement sings: “I’m flattered but I’m scared, you picked me out from all the others.” There’s a sense of insecurity in his voice as he wonders why this modern day Cleopatra has chosen him?
Where’s Your Heart sees the tempo drop. Guitars shimmer and the rhythm section create a slow, moody backdrop. This is perfect for Richard’s soul-searching vocal. With backing vocalists for company, he asks “Where’s Your Heart, it should be there?” The backing vocalists are perfect accompaniment for Richard, as his band provide an atmospheric and moody arrangement. It’s the highlight of Still.
No Peace, No End has a folk rock sound. Producer Jeff Tweedy isn’t trying to reinvent Richard Thompson. Instead, he given him a sympathetic makeover. Here, Jeff and Richard take Still in ten direction of folk rock. It’s a driving, rocky track with an anthemic sound and some of the best lyrics on Still. He poses a series of questions to a shallow, uncaring person; “where were you when the walls were crumbling, where were you when the guns were rumbling, where were you when the hounds of hell, took sons and lovers away?” They show that Richard hasn’t lost his ability to write insightful, relevant lyrics. The song also features some blistering guitar licks. Especially as Richard asks: “someday won’t you, stand in my shoes, and see the world as I see.”
After a rocky workout, Richard and the band drop the tempo on Dungeons For Eyes. As guitars chime, and the rhythm section create a moody, dramatic backdrop, Richard sings: “he’s smiling at me, the man with the blood on his hands, the man with the snakes in his shoes, how am I supposed to love him?” Just like No Peace, No End, the lyrics are among the best on Still. Especially, the way Richard delivers them. He literally lives the lyrics as another anthem unfolds.
Guitar Heroes close Still, Richard Thompson’s sixteenth studio album. In an instant, Richard is transported back to his you, when he stayed in at weekends to practice his guitar. Or as he sings “the Django way.” Seamlessly, Richard pays a homage to Django Reinhart, before recollecting how the teachers threatened to throw him out of school: “cos I’m nothing but a bebop, twang-headed, rock ’n’ roll fool.” Sixteen studio albums, five with Fairport Convention and six with his ex-wife Linda, Richard Thompson has the last laugh, and is now a fully fledged guitar hero.
Now aged sixty-six, Richard Thompson returns with the sixteenth studio album of his career. He’s now a musical veteran, one who has been releasing music for six decades.
Richard Thompson’s career started with Fairport Convention. After leaving Fairport Conventionin January 1971, Richard released his debut solo album Henry The Human Fly in 1972. When it failed commercially, Richard could never have imagined that forty-three years later, he would be one of the biggest names in folk-rock. Back in 1972, Richard Thompson was forced to put his solo career on hold.
Between 1974 and 1982, Richard and Linda Thompson released six solo albums. The only album that was a commercial success, was their swan-song Shoot Out The Lights. By the time it was released, Richard and Linda’s marriage was over. This left Richard with no option, but to resume his solo career.
In 1983, Richard released his belated sophomore album Hand Of Kindness. Eleven years after the release of his debut album, Richard Thompson was back with a critically acclaimed album. It
launched Richard Thompson’s solo career. Thirty-two years and fourteen albums later, and Richard Thompson is still going strong, and is still determined to reinvent himself musically. That’s what he did on Still, which was recently released by Proper Music.
Before releasing Still, Richard Thompson made the conscious decision to reinvent himself. So he brought onboard Jeff Tweedy of Wilco. 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.
RICHARD THOMPSON-STILL-VINYL EDITION.
THE DOOBIE BROTHERS-THE WARNER BROS. YEARS 1971-1983.
THE DOOBIE BROTHERS-THE WARNER BROS. YEARS 1971-1983.
Between 1972 and 1980, The Doobie Brothers could do no wrong. They released eight albums, which sold in excess of ten million copies. It has been a roller coaster ride for The Doobie Brothers, whose recording career got off to an inauspicious start in 1971.
By then The Doobie Brothers had been a familiar face on the North California live scene. That had been the case since 1970. However, The Doobie Brothers’ roots can be traced to 1969.
That’s when drummer John Hartman made his way from Falls Church, Virginia, to Los Angeles. He was a man with a mission. John Hartman was determined to meet Skip Spence, Moby Grape’s legendary frontman.
John Hartman met Skip Spence, and was invited to join a newly reunited Moby Grape. That however, didn’t happen, At least Skiip Spence introduced John Hartman to a singer, songwriter and guitarist Tom Johnson. Little did anyone realise, that The Doobie Brothers had just been born,
John Hartman and Tom Johnson began experimenting musically, and were soon playing live around the San Jose area as Pud. That’s where the two members of Pud singer, songwriter and guitarist Patrick Simmons and bassist Dave Shogren.
Patrick Simmons had played in a number of groups, including Scratch, which coincidentally, featured future Doobie Brothers’ bassist, Tiran Porter. Meanwhile, Dave Shogren was The Doobie Brothers bassist, as they began to make a name for themselves around North California.
Whenever and wherever The Doobie Brothers played live, the venues sold out. The Doobie Brothers were particularly popular amongst the local Hell’s Angel’s chapters. That’s not surprising,
At this time, The Doobie Brothers’s were no different from the Hell’s Angels who came to see them play live. They wore leather jackets and rode motorbikes. This would change quite quickly, when The Doobie Brothers signed to Warner Bros. and released their eponymous debut album. It’s one of ten albums in The Doobie Brothers’ box set, The Warner Bros. Years 1971-1983, which was recently released by Warner Bros. The ten disc box set documents what’s undoubtably, the best period of The Doobie Brothers’ career. It began in 1971 with the release of their debut album, The Doobie Brothers.
The Doobie Brothers.
Having established themselves on the North California live circuit, The Doobie Brothers quickly came to the attention of several record companies. Eventually, it was Warner Bros. who signed The Doobie Brothers in the second half of 1970. They didn’t waste time, and sent The Doobie Brothers into the studio on October 1970.
The four members of The Doobie Brothers were ready to begin work on what would be their debut album, The Doobie Brothers.
Unlike many groups, The Doobie Brothers had two songwriters, Tom Johnston and Patrick Simmons. However, for their debut album The Doobie Brothers, Tom Johnston penned seven of the ten tracks and Patrick Simmons just one. The other two songs were a cover Randy Newman’s Beehive State, and the traditional song Chicago. These ten tracks were recorded at Pacific Recording Studios, San Mateo, California.
Recording of The Doobie Brothers took place during October and Novmber of 1970. Warner Bros. had high hopes for their latest signing, so brought onboard Lenny Waronker and Ted Templeman to coproduce The Doobie Brothers. They would guide the four members of The Doobie Brothers through the recording of their eponymous debut album. This was unchartered territory for them.
Tom Johnston took charge of lead vocals, and played guitar, piano, harp and harmonica. Guitarist Patrick Simmons joined drummer John Hartman and bassist Dave Shogren in the rhythm section. However, Dave Shogren was more than a bassist. He played keyboards, organ and like the rest of The Doobie Brothers added backing vocals on The Doobie Brothers. It was released in April 1974.
Before that, critics had their say on The Doobie Brothers.With its country tinged sound and chugging guitars, The Doobie Brothers was described as country boogie, albeit with a hint of laid-back A.O.R. and rock. Reviews were mixed, ranging from disappointing to approving. Some critics felt that The Doobie Brothers were on the right lines with their fusion of country and rock, but that it would take two or three albums to hone and polish their sound. That proved to be the case.
Nobody was chosen as the lead single from The Doobie Brothers, but failed to chart in 1971. Neither did Travelin’ Man nor Beehive State. However, when Nobody was reissued in 1974, it reached number fifty-eight in the US Billboard 100. After the disappointment of Nobody, The Doobie Brothers, was released in April 1971. It stalled at 208 in the US Billboard 200. This was doubly disappointing for The Doobie Brothers. However, things would get better.
Toulhouse Street.
After the release of The Doobie Brothers, bassist Dave Shogren left the band. His replacement was Tiran Porter, who had been a member of Scratch with Patrick Simmons. This wasn’t the only new addition to The Doobie Brothers’ lineup.
For some time, The Doobie Brothers had been considering adding a second drummer to the lineup. Eventually, former Vietnam veteran Michael Hossack was chosen to augment John Hartman. And now, there were five, as work began on Toulouse Street.
Just like their eponymous debut album, Toulouse Street Tom Johnson wrote and Patrick Simmons penned the majority of the ten tracks. Tom Johnson wrote five songs, and Patrick Simmons two. The other three tracks were cover versions, including Seals and Croft’s Cotton Mouth, Arthur Reid Reynold’s Jesus Is Just Alright and Sonny Boy Willaimson’s Don’t Start Me Talkin’. These tracks were recorded in two top studios during 1972.
Warner Brothers Studios, North Hollywood and Wally Heider Studios, in San Francisco were where The Doobie Brothers new lineup recorded Toulhouse Street. Augmenting the five Doobie Brothers were a horn section, while producer Rod Templeman added percussion. Gradually, a very different album to The Doobie Brothers took shape. It was scheduled for release on July 1st 1972.
Prior to the release of Toulouse Street, critics received their advance copies of the album. When they dropped the needle on Toulouse Street, they heard a slice of classic rock. Tracks like Listen To The Music, Rockin’ Down The Highway and Jesus Is Just Alright convinced the doubters.
Those who were critical of The Doobie Brothers were won over. Even the Rolling Stone, which didn’t dish out praise lightly, gave Toulouse Street a favourable review. Unsurprisingly, the self-appointed dean of American critics, Robert Christgau, wasn’t particularly impressed. However, he very rarely was. He should’ve been.
When Toulouse Street was released on 1st July 1972, it eventually reached twenty-one on the US Billboard 200, and was certified platinum. Helping sales of Toulouse Street was the lead single Listen To The Music. It was released on 17th July 1972, and reached number eleven on the US Billboard 100. Jesus Is Just Alright was released in November 1972, but reached thirty-five in the US Billboard 100. The only disappointment was when Rockin’ Down The Highway failed to chart. By then, The Doobie Brothers were enjoying their first million selling album. This was the first of many.
The Captain And Me.
Following the success of Toulouse Street, The Doobie Brothers headed out on tour. They were about to settle into the routine where they record an album, promote the album and then tour it. So, when they weren’t touring Toulouse Street, the Warner Brothers Studios, North Hollywood was a second home for The Doobie Brothers.
Time was of the essence. The pressure was on The Doobie Brothers to record their third album quickly. Having just released a million selling album, Warner Bros. wanted to strike while the iron was hot. So when The Doobie Brothers arrived a the Warner Brothers Studios, North Hollywood they began looking to the past for inspiration.
The Doobie Brothers were just the latest band to look to the blues for inspiration. That’s how one of the six tracks that Tom Johnston wrote came about. He started improvising, and then producer Ted Templeman suggested that Tom Johnston make the lyrics about a train. Gradually, Long Train Runnin’ took shape. That was the first future Doobie Brothers’ classic Tom Johnson penned for The Captain And Me. The other was China Grove. Not to be outdone, Patrick Simmons contributed three songs or The Captain And Me.
They were Clear as the Driven Snow, South City Midnight Lady, and Evil Woman. Without You was credited to The Doobie Brothers. The other track on The Captain And Me was Busted Down Around O’Connelly Corner, a James Earl Luft composition. These eleven tracks were recorded at Warner Brothers Studios, North Hollywood with a few session players augmenting The Doobie Brothers.
This time around, there was no horn section. Instead, Jeff Baxter played pedal steel and steel guitar, while Bill Payne played keyboards,organ and piano. A first was the use of synths strings, which were arranged by Nick DeCaro. Producer Ted Templeman added percussion, on what would be The Doobie Brothers’ third album in three years, The Captain And Me. It was due for release on March 2nd 1973.
Just before the release of The Captain And Me, the reviews of the album were published. Most of the reviews were favourable, and were impressed by what was essentially classic rock with a bluesy twist. However, not everyone was won over by The Captain And Me. One of the exceptions was Rolling Stone magazine. However, most critics realised that The Doobie Brothers were maturing into one of the biggest names in music.
When The Doobie Brothers was released two years earlier, some critics had forecast that it would take The Doobie Brothers two to three albums to hone and polish their sound. This proved to be the case. Tom Johnson and Patrick Simmons were maturing into talented songwriters. Meanwhile, The Doobie Brothers were a tight, talented band who wrote music that appealed to a wide range of record buyers.
Over two million copies of The Captain And Me were eventually sold. The album reached number seven in the US Billboard 200, and was certified double-platinum. Long Train Runnin’ was the lead single from The Captain And Me. It reached number nine in the US Billboard 100, and became The Doobie Brothers’ biggest single. China Grove then reached number fifteen in the US Billboard 100. For The Doobie Brothers, The Captain And Me had been the most successful album of their career. Now it was a case of doing it all over again.
What Were Once Vices Are Now Habits.
There was no rest for The Doobie Brothers. Having released The Captain And Me, they embarked upon another tour. Then when they weren’t on tour, they were writing and recording their fourth album, What Were Once Vices Are Now Habits.
Given their gruelling schedule, The Doobie Brothers hadn’t the time they would have liked to hone songs. Instead, some of the songs were written or completed in the studio. Principal songwriter Tom Johnston penned six tracks, and cowrote Road Angel with John Hartman, Michael Hossack and Tiran Porter. He also contributed Flying Cloud. Patrick Simmons wrote Black Water, You Just Can’t Stop It, Tell Me What You Want (And I’ll Give You What You Need) and Daughters Of The Sea. These twelve tracks were recorded at three studios.
Recording took place not just at Warner Bros. Studios, North Hollywood, but at Wally Helder Studios, San Francisco and Burbank Studios, in Burbank. Augmenting The Doobie Brothers were The Mempis Horns and backing vocals. Familiar faces included Jeff Baxter on pedal steel and steel guitar, while Bill Payne played keyboards, organ and piano. As usual, Ted Templeman added percussion and more importantly produced What Were Once Vices Are Now Habits. It was scheduled for release on 1st February 1974.
This meant that The Doobie Brothers were about to release two albums in eleven months. When critics heard What Were Once Vices Are Now Habits, reviews were mixed. Classic rock, bluegrass, country, soft rock and A.O.R. shawn through on What Were Once Vices Are Now Habits. There was a but though.
Gone was the overwhelming critical acclaim that accompanied their last two albums. Although some reviews were positive, some critics felt What Were Once Vices Are Now Habits lacked the quality of Toulhouse Street and The Captain And Me. Rolling Stone magazine and Robert Christgau were among the fiercest critics. This time, though, they were alone. A few critics wondered aloud of The Doobie Brothers were releasing too many albums in too short a space of time? Only time, and album sales would tell.
When What Were Once Vices Are Now Habits, was released, the AOR boom was about to begin. Especially amongst the generation who had just graduated university and had entered the workplace for the first time. With their disposable income, they bought albums by groups like The Doobie Brothers. As a result, What Were Once Vices Are Now Habits reached number four in the US Billboard 200, and was certified double-platinum. Across the Atlantic, What Were Once Vices Are Now Habits reached nineteen in Britain. This resulted in a silver disc for The Doobie Brothers. However, this wasn’t the end of the commercial success.
Another Park, Another Sunday reached number thirty-two in the US Billboard 100 in 1974. Eyes of Silver stalled at number fifty-two in the US Billboard 100. If The Doobie Brothers or executives at Warner Bros. were worried, they needn’t have been. Black Water, with its bluegrass influence gave The Doobie their first number one on the US Billboard 100. Despite the disappointing reviews, 1974 had been the most successful year of their four album career. All they had to do, was do it again.
Stampede.
Just seven months after the release of What Were Once Vices Are Now Habits, The Doobie Brothers returned to the studio on 9th September 1974. When they arrived, they had a new recruit, Jeff Baxter. He had played played pedal steel and steel guitar on the last couple of Doobie Brothers’ albums. Now he was a permanent fixture. Five Doobie Brothers become six.
Right through to October the 6th 1974, it seemed that The Doobie Brothers were on a tour of some of America’s top recording studios. Warner Bros. Studios, North Hollywood, Wally Helder Studios, San Francisco and Burbank Studios, in Burbank were all used. So was The Record Plant in Sausalito, California and Creative Workshop in Nashville. These five studios were where The Doobie Brothers released the most eclectic album of their career so far, Stampede.
This became apparent when The Doobie Brothers covered Holland, Dozier, Holland’s Take Me in Your Arms (Rock Me a Little While). Their other cover was the instrumental Précis. The rest of Stampede came courtesy of The Doobie Brothers’ two main songwriters. Tom Johnson only penned four tracks for Stampede, and cowrote Sweet Maxime with Patrick Simmons. He wrote four tracks, and was beginning to rival Tom Johnson as The Doobie Brothers’ principal songwriters. This was just as well.
Things were about to change for The Doobie Brothers. Onlookers who watched the recording of Stampede weren’t surprised. The Doobie Brothers took excursions via country rock, folk and sadly, funk. Guest artists included guitar virtuosos Ry Cooder, singer Maria Muldaur, pianist and marimba player Victor Feldman, percussionist Bobbye Hall and backing vocalists Sherlie Matthews and Venetta Fields. Horns and strings were over-dubbed onto what was an ambitious album from The Doobie Brothers.
Once The Doobie Brothers had finished recording Stampede with producer Ted Templeman, the release date was confirmed as April 25th 1975. However, there was a problem though.
As 1974 drew to a close, Tom Johnson’s health was suffering. Years spent on the road, carousing and enjoying the rock ’n’ roll lifestyle had taken its toll. He was absent when The Doobie Brothers played on Dick Clark’s New Year’s Rockin’ Eve. The other members of The Doobie Brothers, and executives at Warner Bros. were worried. Tom Johnson played a huge role in the rise and rise of The Doobie Brothers.
By the spring of 1975, things had taken a turn for the worst. Tom Johnston had been hospitalised with a bleeding ulcer. This left a huge void. Jeff Baxter however, had a solution.
Jeff Baxter had first met Michael McDonald when the pair were playing with Steely Dan. Michael McDonald was a keyboardist and vocalist. His whose style is best described as ‘blue-eyed soul’. This was who Jeff Baxter suggested should replace Tom Johnston on the Stampede promotional tour.
Eventually, it was agreed that Michael McDonald join The Doobie Brothers, and Tom Johnston’s vocal and guitar duties be shared out. Patrick Simmons, Michael McDonald, Tiran Porter andKeith Knudsen would share vocals. Jeff Baxter and Patrick Simmons would play Tom Johnston’s guitar parts. It wasn’t ideal, but it was the only alternative to postponing the tour. That wasn’t going to happen. Warner Bros. had Stampede scheduled for release on April 25th 1975.
When critics heard Stampede, they were won over by what was the most eclectic album of The Doobie Brothers’ five album career. Critically acclaimed reviews preceded the release of Stampede.
On Stampede’s release, it reached number four on the US Billboard 200. This was The Doobie Brothers’ highest chart placing. Despite this, Stampede was only certified gold. In Britain, Stampede reached fourteen and was certified silver. Stampede hadn’t proved as commercially successful in America as The Doobie Brothers’ last two albums. Maybe the singles could save the day?
Take Me in Your Arms (Rock Me a Little While), which featured Tom Johnson reinventing Holland, Dozier, Holland’s reached number eleven in the US Billboard 100. Sweet Maxine reached just number forty in the US Billboard 100. That was disappointing. So was I Cheat the Hangman stalling at number sixty in the US Billboard 100. Although Stampede had been certified gold, 1975 was proving a disappointing and worrying year for The Doobie Brothers.
Takin’ It to the Streets.
After the release of Stampede, The Doobie Brothers’ thoughts turned to their sixth album. Tom Johnston was still unwell, suffering from stomach ulcers. Things had got so bad, that shows were cancelled, and Tom Johnston’s involvement was reduced. At one point, the rest of The Doobie Brothers considered calling time on the band. They were only contracted to Warner Bros. until 1976. Michael McDonald, Tom Johnston’s temporary replacement, was merely a stopgap.
Michael McDonald was between bands when The Doobie Brothers came calling. He was living in a garage apartment. The vocalist wasn’t really the accomplished keyboardist The Doobie Brothers wanted. They wanted someone that could seamlessly switch between Hammond organ and various other keyboards. That didn’t describe Michael McDonald. However, Michael McDonald had one thing going for him, he was a singer.
The Doobie Brothers met Michael McDonald at Le Pavillon Hotel in New Orleans. They spoke with him, and then took him to a warehouse to rehearse for two days. To all intents and purposes, he was auditioning for The Doobie Brothers’ sixth album Takin’ It to the Streets.
Eventually, The Doobie Brothers decided to bring Michael McDonald onboard for the recording of Takin’ It to the Streets. This worried Warner Bros. After all, Michael McDonald was an unknown singer, who was about to become the lead singer of one of the biggest selling American bands. Now there were seven.
With The Doobie Brothers’ number swelling to seven, and their principal songwriter sidelined, it was all hands on deck. Tom Johnston only wrote Turn It Loose, which he played the guitar on. Patrick Simmons wrote 8th Avenue Shuffle and cowrote two tracks, including Wheels of Fortune, which Tom Johnston added the lead vocal to. However, Michael McDonald contributed Takin’ It To The Streets, Losin’ End, It Keeps You Runnin’ and cowrote Carry Me Away. Quickly, the unknown singer was making his presence felt, as recording began at Warner Brothers Studios, in North Hollywood.
As the recording began, producer Ted Templeman was faced with recording an album without the most talented member of The Doobie Brothers. While Tom Johnston featured on two tracks, he was a huge loss. Michael McDonald had a hard act to follow. He tried his best, adding vocals on seven songs. Tiran Porter featured on For Someone Special. Vocalist Maria Muldaur featured on Rio. Just like previous albums, The Memphis Horns add their inimitable sound. However, Takin’ It To The Streets was a very different The Doobie Brothers album.
Critics realised this straight away. Reviews of Takin’ It To The Streets varied. Some were mixed, a few favourable and some positive. However, one thing became clear, Michael McDonald was a very different type of vocalist. He interpreted the songs in a different way. His blue-eyed soul was very different to Tom Johnston, who was key to the success of The Doobie Brothers. His loss was felt on Takin’ It To The Streets, an album of classic rock, blue-eyed soul and A.O.R.
Despite the loss of Tom Johnston, when Takin’ It To The Streets was released in March 1976, it reached number eight in the US Billboard 200. This resulted in a platinum disc for The Doobie Brothers. Takin’ It To The Streets reached just forty-two in Britain, but was certified silver. However, only line of singles reached the upper reaches of the US Billboard 100.
Takin’ It To The Streets reached number thirteen in the US Billboard 100. Then Wheels of Fortune stalled at number eighty-seven. It Keeps You Runnin’ reached just number thirty-seven. However, despite this, 1976, which was the last year of The Doobie Brothers; Warner Bros.’ contract had been a successful one. However, what did the future hold for them?
Livin’ On The Fault Line.
Having resigned to Warner Bros., The Doobie Brothers began working on their seventh album, Livin’ On The Fault Line. Tom Johnston was newly restored to The Doobie Brothers’ lineup…for the time being.
Tom Johnston had written five songs for Livin’ On The Fault Line. He was restored to his rightful role as The Doobie Brothers’ principal songwriter. The Doobie Brothers had recorded these five tracks, which should’ve become half of their seventh album, Livin’ On The Fault Line. However, all wasn’t well.
During the Livin’ On The Fault Line sessions, Tom Johnston left The Doobie Brothers. His songs were removed from the album. However, his guitar lines and some vocals can be heard. Without Tom Johnston’s songs, The Doobie Brothers were almost starting again.
Eventually, when Livin’ On The Fault Line was ready for release, one name loomed large, Michael McDonald. He wrote two songs and cowrote another two. Patrick Simmons only cowrote three songs, and cowrote Echoes of Love which Willie Mitchell and Earl Randle cowrote for Al Green. The song was never quite finished though, until Patrick Simmons intervened. Along with Holland, Dozier, Holland’s Little Darling (I Need You) and Tiran Porter’s Need A Lady, these ten tracks became Livin’ On The Fault Line.
Again, it was recorded in various studios, including Sunset Sound Recorders and Western Recorders in Hollywood. Other sessions took place in Warner Bros. Recording Studios, North Hollywood. Overseeing the sessions, was producer Ted Templeman. He ensured that Livin’ On The Fault Line was ready for release on August 19th 1977.
Livin’ On The Fault Line wasn’t as well received as many Doobie Brothers’ albums. Reviews were mixed, varying between mixed to favourable and positive. Some critics however, weren’t won over by Livin’ On The Fault Line’s jazzy hue. What would record buyers think?
When Livin’ On The Fault Line was released, it reached number ten on the US Billboard 200. This was enough for the album to be certified gold. That was as good as it got.
The lead single, Little Darlin’ I Need You reached just forty-eight in the US Billboard 100. Then Echoes of Love stalled at a lowly sixty-six in the US Billboard 100. Some critics felt Tom Johnson, who cofounded The Doobie Brothers, was a big loss.
Minute By Minute.
This forecast by some critics would prove ironic. On December 1st 1978, The Doobie Brothers would release the most successful album of their career, Minute By Minute.
For the first album of the post Tom Johnson era, Michael McDonald played a big part in writing Minute By Minute. He penned Here To Love You, and penned What A Fool Believes with Kenny Loggins. He wasn’t finished. Michael McDonald and Lester Abrams cowrote Minute By Minute. The pair also cowrote Open Your Eyes with Patrick Henderson. How Do the Fools Survive? was a Michael McDonald composition with Carole Bayer Sager. Then Michael McDonlad cowrote Dependin’ On You with Patrick Simmons. However, he wasn’t being sidelined.
Patrick Simmons wrote Steamer Lane and You Never Change. He also cowrote Sweet Feelin’ with producer Ted Templeman. These songs became part of Minute By Minute, which was recorded at Warner Bros. Recording Studios, North Hollywood.
For the recording of Minute By Minute, The Doobie Brothers were joined by season players and backing vocalists. This includes backing vocalist Nicolette Larson. Michael Jackson also claimed to have added backing vocals on What a Fool Believes, Here to Love You and Minute by Minute. However, he wasn’t credited on the album when it was released on December 1st 1978.
Before the release of Minute By Minute, the reviews were mixed. Critics were divided by the mixture of A.O.R., blue-eyed soul and soft rock. However, record buyers loved Minute By Minute.
When Minute By Minute was released, it reached number one on the US Billboard 200 charts. Three million copies of Minute By Minute were sold, and the album was certified platinum three times over. Across the border, Minute By Minute was certified platinum in Canada. This was just the start of the success.
The lead single from Minute By Minute, What A Fool Believes reached number one on the US Billboard 100 charts in 1980. Minute By Minute reached number fourteen on the US Billboard 100 charts. Then Depending On You reached number twenty-five on the US Billboard 100 charts. That hardly mattered. One of the most prestigious awards in music was tantalisingly close…The Grammy Awards.
When the Grammy Awards’ nominations were released, The Doobie Brothers and Minute by Minute were were nominated four times. Michael McDonald and Kenning Loggins had penned What A Fool Believes. This won them a Grammy Award for the Record of the Year. Minute By Minute then won a Grammy Award for Album Of The Year. Both Minute By Minute and What A Fool Believes were nominated for the Song of the Year. Ultimately, What A Fool Believes won a Grammy Award for Song of the Year. That took The Doobie Brothers toll of Grammy Awards to three. 1980 had been the most successful year of The Doobie Brothers’ ten year career. However, there was a twist in the tale.
One Step Closer,
After the success of Minute By Minute, The Doobie Brothers literally fell apart. The near dissolution of The Doobie Brothers was spun by P.R. men as the constant years of touring and recording catching up on the band. However, another explanation was the addition of Michael McDonald.
Since Michael McDonald had been rescued from the penury of his garage flat, the band had changed, and necessary for the better. One of founder members, Tim Johnston had left The Doobie Brothers. Next to leave was guitarist Jeff Baxter. He
clashed with Michael McDonald, who didn’t approve of his avant garde guitar parts. This Michael McDonald felt didn’t suit The Doobie Brothers. It seemed the one time session player was now dictating The Doobie Brothers’ musical direction. Soon, other members of The Doobie Brothers decided to leave.
Drummer John Hartman, another founding member of The Doobie Brothers left the band. So did longtime guitarist Jeff Baxter and percussionist Bobby LaKind. However, Michael McDonald remained.
Patrick Simmons watched as another of the second of the founding members of The Doobie Brothers left. It seemed ten years playing together counted for little. This meant Patrick Simmons and Tiran Porter were the last original member of The Doobie Brothers left. It was a sad day.
Despite this, The Doobie Brothers continued. They were scheduled to embark on a lucrative tour. So the remaining members of The Doobie Brothers headed out on tour.
This included Patrick Simmons, Tiran Porter and Michael McDonald. They were joined by Keith Knudsen. Augmenting them quwere drummer Chet McCracken, guitarist and violinist John Mc Fee and one-time Moby Grape saxophonist and flautist Cornelius Bumpus. They headed out on the lucrative tour, then in 1980, began recording One Step Closer.
When The Doobie Brothers regrouped, to record One Step Closer, producer Ted Templeman was greeted by a very different group to the one that recorded a triple-platinum album that won a trio of Grammy Awards. The Doobie Brothers were a pale shadow of its former self. It wasn’t going to be easy to record an album as successful as Minute By Minute.
For One Step Closer, Michael McDonald wrote Keep This Train A-Rollin’ and cowrote another four tracks. This included “No Stoppin’ Us Now, which Chris Thompson and Patrick Simmons cowrote. Patrick Simmons also wrote Just in Time. Other members of The Doobie Brothers contributed tracks. Cornelius Bumpus penned Thank You Love. Chester McCracken cowrote with John McFee. He cowrote One Step Closer with Keith Knudson and Carlene Carter. These ten tracks would become The Doobie Brothers ninth studio album, One Step Closer.
Again, various studios were used from L.A. to New York and Detroit. Sessions took place at Sunset Sound Recorders in Hollywood. Nearby, Warner Brothers Studio in North Hollywood was a favourite place for The Doobie Brothers. Other sessions were recorded at United Sound Recorders in Detroit, and A & R Recorders in New York. At the four studios, ten tracks took shape. They were recorded by The Doobie Brothers, a horn section and backing vocalists, including Nicolette Larson. Once the ironically titled One Step Closer was finished, so was the first chapter in The Doobie Brothers’ career.
Before that, One Step Closer was reviewed by critics. They weren’t impressed with what was the worst album of The Doobie Brothers’ nine album career. Reviews were far from positive. One Step Closer didn’t sound a cohesive album. That wasn’t surprising as The Doobie Brothers were now augmented by session musicians. Good as they were, they weren’t as invested in the project. For them, it was another project. However, despite the disappointing reviews, One Step Closer proved a popular album.
On its release on September 17th 1980, One Step Closer surprisingly reached number three on the US Billboard 200, and number thirty-one on the US R&B charts. This resulted in another platinum album for The Doobie Brothers. However, maybe a lot of record buyers bought One Step Closer looking for another album like Minute By Minute. They would be disappointed. There were no singles like What A Fool Believes.
The closest thing was Real Love, which reached number five in the US Billboard 100. One Step Closer then reached twenty-four in the US Billboard 100. Keep This Train A-Rollin’ proved an ironic title, when it reached a lowly sixty-two in the US Billboard 100. The end was nigh for The Doobie Brothers.
After the release of One Step Closer, The Doobie Brothers continued to tour during the rest of 1980 and 1981. However, gradually, the band fell apart.
Towards the end of 1981, Patrick Simmons left the band. This meant that there were no original members of The Doobie Brothers left in the lineup. Calling the band The Doobie Brothers would’ve been farcical. By then, Michael McDonald had one eye on a solo career. So the remaining ‘members’ of The Doobie Brothers called tine on the once proud band. In the end it was a mercy killing. Maybe it should’ve happened much sooner?
Back in 1975, when Tom Johnston was having medical problems, maybe that was the time to call time on The Doobie Brothers? However, the band was at the peak of their powers, and were signed to Warner Bros. for one more year. They were caught between a rock and hard place. If they had called time on The Doobie Brothers in 1975, the band’s identity would’ve remained intact. Instead, The Doobie Brothers with Michael McDonald became a very different type of band, and one that even today, divides the opinion of critics. That’s the case with The Doobie Brothers’ first live album Farewell Tour.
Farewell Tour.
When the seventeen track Farewell Tour was released in June 1983, it was the case for the prosecution. Farewell Tour showed what The Doobie Brothers had become. They were a blue-eyed soul band, which was a long way from the guitar driven boogie of the Tom Johnston years. Fittingly, Tom Johnston has the final say on Farewell Tour.
He closes Farewell Tour with Long Train Runnin’ and China Grove. Tom Johnston also features on Slippery St. Paul, from The Doobie Brothers. It’s a tantalising taste of The Doobie Brothers before their rough edges were smoothed away. It was a reminder of what The Doobie Brothers had once been.
On the release of Farewell Tour, it reached a lowly seventy-nine on the US Billboard 200. The single You Belong To Me reached just seventy-nine on the US Billboard 100. It looked like The Doobie Brothers’ time was up.
They had had a good run. Between 1971s The Doobie Brothers and 1983s Farewell Tour, the group had sold eleven million albums in America alone. These ten albums, which feature in The Warner Bros. Years 1971-1983, which was recently released by Warner Bros, feature the most successful period of The Doobie Brothers’ career.
The Doobie Brothers reformed and hit the comeback trail several times, releasing five albums between 1989 and 2014. However, commercial success only visited them once more. That was their tenth studio album Cycles, reached seventeen in the US Billboard 200, and was certified gold. 1991s Brotherhood failed to match the commercial success of Cycles, reaching a lowly eighty-two on US Billboard 200. Sibling Rivalry released in 2000, failed to chart. Ten years later, The Doobie Brothers released World Gone Crazy, which reached thirty-nine in the US Billboard 200. Then Southbound, which was released in 2014, saw The Doobie Brothers reach eighteen in the US Billboard 200. However, by then, no longer did a group need to sell 500,000 copies to reach the top twenty. In a way, it was a Pyrrhic victory.
By 2014, the best and most successful years of The Doobie Brothers were long behind them. The best and successful years of The Doobie Brothers will mean 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 DOOBIE BROTHERS-THE WARNER BROS. YEARS 1971-1983.
JETHRO TULL-TOO OLD TO ROCK ’N’ ROLL: TO YOUNG TO DIE!
JETHRO TULL-TOO OLD TO ROCK ’N’ ROLL: TO YOUNG TO DIE!
By December 1975, Ian Anderson was only twenty-eight, and was the lead singer of one of the most successful progressive rock bands in the world, Jethro Tull. British music magazine Melody Maker went further. They asked in February 1975; “Jethro Tull–Now The World’s Biggest Band?” No wonder. Jethro Tull had just sold out five nights at the 20,000 seater Los Angeles Forum. This was regarded as a remarkable achievement. However, it wasn’t surprising.
Jethro Tull’s first eight albums had sold over six million copies in America alone. This resulted in six gold discs; while 1971s Aqualung was certified triple-platinum. Back home in Britain, two of Jethro Tull’s albums had been certified silver. Jethro Tull were now regarded as progressive rock royalty. Despite that, bassist Jeffrey Hammond left Jethro Tull in 1975, after touring the Minstrels In The Gallery album.
The four years Jeffrey Hammond spent with Jethro Tull were some of their most successful. Glenn Cornick had left Jethro Tull in 1971. Into the breach stepped Jeffrey Hammond. He made his debut on Aqualung, which was released on 19th March 1971. This was the first of five albums Jeffrey Hammond played on. It was a glittering career, and by the time he left in 1975, gold and platinum discs adorned the walls of Jeffrey Hammond’s house. However, this came at a cost.
By the end of the Minstrels In The Gallery tour, Jeffrey Hammond was exhausted. Life with Jethro Tull seemed to be a schedule of record an album, then tour the album. It was non-stop. Jeffrey Hammond wanted to slow down. So, after the Minstrels In The Gallery tour, he announced he was leaving to become an artist. For Jethro Tull, this presented a problem. They were about to release their ninth album, Too Old To Rock ’N’ Roll: To Young To Die, which has recently been reissued by PTG.
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. It 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. He was Jethro Tull’s songwriter-in-chief. These ten songs were recorded during December 1975.
The recording took place at Radio Monte Carlo, using the Maison Rouge Mobile Studio. This wasn’t the first time Jethro Tull had used the Maison Rouge Mobile Studio. It had been used to record Minstrels In The Gallery. For Too Old To Rock ’N’ Roll: To Young To Die, the Maison Rouge Mobile Studio was situated in the Principality of Monaco.
Radio Monte Carlo provided the soundtrack to the Principality of Monaco. It also housed a recording studio. This should’ve proved an attractive location for groups recording albums in the seventies. Monte Carlo was a tax haven, where many of the wealthiest British people were living. They weren’t will to pay 75% income tax and 83% on earned income. As a result, many groups, including the Rolling Stones became tax exiles.
This meant, they could only spend a limited amount of days in Britain. If they exceeded that amount of days, they became liable for taxation at the highest amount. So it wasn’t unusual for British groups to record albums in unusual locations. Often, their tax rates were much lower in Britain. Whether that’s why Jethro Tull chose to record in Monte Carlo in December 1975, is mere speculation?
When the recording of Too Old To Rock ’N’ Roll: To Young To Die began, there were a change in the lineup. Bassist John Glascock had replaced Jeffrey Hammond. John Glascock had been a member of flamenco rock band Carmen. They opened for Jethro Tull on their Minstrels In The Gallery tour. Now, John Glascock found himself slotting into Jethro Tull’s rhythm section alongside drummer and percussionist Barriemore Barlow and guitarist Martin Barre. John Evans who had been a member of Jethro Tull since 1970, played piano. Ian Anderson, Jethro Tull’s charismatic frontman played flute, acoustic guitar and sang lead vocals. He occasionally switched to eclectic guitar and added percussion. Augmenting Jethro Tull was the man many regarded as the band’s sixth man, David Palmer.
He had long been part of the Jethro Tull success story, orchestrating albums and concerts. However, from the Minstrels In The Gallery tour onwards, David Palmer officially joined the Jethro Tull’s stage show, playing keyboards and synths. However, on Too Old To Rock ’N’ Roll: To Young To Die, David Palmer played saxophone, piano and took charge of orchestrations and conducted the orchestral. Meanwhile, Jethro Tull drafted in another well known name for the recording of Too Old To Rock ’N’ Roll: To Young To Die, Maddy Prior.
The title-track, Too Old To Rock ’N’ Roll: To Young To Die required someone to add backing vocalists. Ian Anderson decided that the Steeleye Span vocalist fitted the bill. However, Angela Allen was chosen to add backing vocals on Crazed Institution and Big Dipper. Once the two backing vocalists laid down their parts, Too Old To Rock ’N’ Roll: To Young To Die, which Ian Anderson produced, was completed. It would another four months before Too Old To Rock ’N’ Roll: To Young To Die was released.
Before that, critics had their say on Too Old To Rock ’N’ Roll: To Young To Die. Before that, Ian Anderson tried to explain the album’s concept. Music Ian Anderson felt, was like fashion it cyclical. Progressive rock had been popular since the seventies dawned. There was nothing to say that progressive rock wouldn’t fall from favour. However, if Jethro Tull stuck with progressive rock, despite it falling out of favour, it may rise like a phoenix from the ashes. This proved prophetic.
The rise of punk, which was the antithesis to progressive rock, resulted in groups like Jethro Tull being labelled musical dinosaurs. They were perceived by the punks as remnants of the musical past. This resulted in a backlash against the musical establishment, including Jethro Tull. Their albums still sold well, but progressive rock was no longer as popular. However, in the eighties, there was a resurgence in progressive rock, with groups like Marillion enjoying commercial success and critical acclaim. Meanwhile, many of the embittered punks were now returned to the sink estates where they had come from. By April 1976, Too Old To Rock ’N’ Roll: To Young To Die was just about to be released, and the public introduced to Ray Lomas.
Too Old To Rock ’N’ Roll: To Young To Die told the story of Ray Lomas. He was ageing rock star, who had retired from music, when the music he played fell out of fashion. Still, Ray Lomas was a greaser. He wasn’t going to have a makeover. Not even when he went onto the “Quizz” show, where won the jackpot. Money however, didn’t bring Ray Lomas happiness.
After winning the money, Ray Lomas tries to commit suicide. Like the Sleeping Beauty, he falls into a deep sleep. When Ray Lomas wakes up, the greaser fashion is back in style, and he makes a comeback. Never did he loose faith that his style would come back into fashion. The story of Ray Lomas was told in a series of cartoons printed in Too Old To Rock ’N’ Roll: To Young To Die’s sleeves. This was meant to guide critics and listeners through Too Old To Rock ’N’ Roll: To Young To Die’s plot.
Or some Jethro Tull thought. Some critics couldn’t quite understand Too Old To Rock ’N’ Roll: To Young To Die. This resulted in mixed reviews of Too Old To Rock ’N’ Roll: To Young To Die. Unsurprisingly, the contrarian Rolling Stone magazine. slated Too Old To Rock ’N’ Roll: To Young To Die. They called the plot “muddled,” and telling Ian Anderson to “stick to music, because he most definitely is not a storyteller.” Other reviews were mixed.
Melody Maker magazine, who up until then, had been a Jethro Tull loyalist, gave Too Old To Rock ’N’ Roll: To Young To Die a mixed review. On the plus side, were Ian Anderson’s songwriting skills and Martin Barre’s stunning guitar solos. However, they felt the rhythm section were subdued, and longed for them to kick loose. What critics were forgetting, was that Too Old To Rock ’N’ Roll: To Young To Die was John Glascock’s debut. He had made the step up from flamenco rockers Carmen, to progressive rock royalty Jethro Tull, who usually, sold 500,000 albums in America.
Not this time around. Too Old To Rock ’N’ Roll: To Young To Die reached number fourteen in the US Billboard 200 and fifteen in Britain. Elsewhere, Jethro Tull’s ninth album reached number ten in Austria, and number twenty-seven in Sweden. This time there were no gold, silver or platinum discs. It was the first time a Jethro Tull album had failed to achieve silver, gold or platinum status. Since then, Too Old To Rock ’N’ Roll: To Young To Die is regarded as a hidden gem in Jethro Tull’s back-catolgue.
Too Old To Rock ’N’ Roll: To Young To Die, was Jethro Tull’s final concept album. It opened with Quizz Kid. Just a strummed guitar accompanies Ian Anderson’s wistful vocal, before strings sweep in and the rhythm section provide an understated heartbeat. Meanwhile, Ian paints a picture of yesterday’s man, the greaser Ray Lomas. Then when Ray wins the Quizz, the arrangement explodes into life. A searing guitar is unleashed, and Ian’s vocal grows in power. Soon, the tempo changes, and Ian briefly plays his flute. When his vocal returns, Jethro Tull the arrangement becomes rocky. The rhythm section are augmented by acoustic guitar, percussion and pizzicato strings. There’s constant changes in tempo and style. From progressive rock, folk rock and classic rock influences can be heard. Later, Ian vamps, while a freewheeling Jethro Tull provide the perfect backdrop, as the story of Ray Lomas begins to unfold.
An urgently strummed guitar and a subtle burst of flute usher in Ian’s vocal on Crazed Institution. Ian embraces the role of Ray Lomas. Winning the Quizz wasn’t the answer to his problems. All the money means, is he’s able to shop at the “Crazed Institution of the stars,” which he calls Horrids. Revulsion fills his voice as he delivers the lyrics. Meanwhile, the arrangement gradually builds. For a while the rhythm section are almost restrained. Eventually, they’re allowed to step out of the shadows. However, it’s flourishes of piano add an element flamboyance and drama. Backing vocals accompany Ian, as the arrangement sweeps along. That’s until the bass signals it’s all change. A braying saxophone, stabs of piano and acoustic guitar accompany Ian, his flute and percussion. By now, Ian’s delivery is impassioned, as Jethro Tull in full flight, on what later became a staple and favourite of Jethro Tull concerts.
Just a lone Spanish guitar plays on Salamander. It’s joined by another guitar. Both are played and picked with a degree of urgency. Eventually, Ian’s vocal enters after midway through the track. His vocal manages to be heartfelt and rueful as he becomes Ray. Suddenly, Ray remembers the first time he saw her: “on the sun kissed lane.” All the time, backing vocals accompany him, as the lyrics take on a cinematic quality. Later, Ian switches to flute on what’s an understated, beautiful hidden gem from the Jethro Tull back-catalogue.
As Ian calls “Taxi,” Taxi Grab begins. A blistering guitar and pounding drum combine with the bass. Ian is like Pied Piper, delivering a jaunty vocal. He observes how each night, London “evacuates” and the “Taxi Grab” begins. Meanwhile, machine gun guitars are panned left. They’re joined by the rest of the rhythm section, and later, a bluesy harmonica. Briefly, Martin Barre unleashes a searing guitar solo. Mostly, his playing is restrained, just like drummer Barriemore Barlow. Technically, it’s hard to fault Jethro Tull’s musicianship. Similarly, Ian’s lyrics and delivery can’t be criticised. However, what some listeners will wonder, is what has this to do with Ray Lomas? They’ll be left to assume this is Ray’s observations, as he watches on, as London evolves as night falls.
Slowly, and gently, an acoustic guitar plays on From a Dead Beat to an Old Greaser. It accompanies Ian’s vocal, which are accompanied by rueful harmonies and wistful strings, as he reminisces: “when bombs were bombed every Sunday, and The Shadows played F.B.I.” Later, Ian sings: “Jack Kerouac, Rene Magritte, to name a few of the heroes…who were too wise for their own good left the young brood to go on living without them.” When the vocal drops out, the sultriest of saxophone is dropped in. It’s an inspired choice, and knits the song together. By then, Jethro Tull sound like another member of progressive rock royalty, Pink Floyd, on what’s without doubt, one of Too Old To Rock ’N’ Roll: To Young To Die’s highlights.
Bad-Eyed and Loveless has a bluesy introduction. Just a guitar accompanies Ian’s gravelly vocal as he sings: “Yes an’ she’s bad-eyed and she’s loveless, a young man’s fancy and an old man’s dream.” His vocal veers between heartfelt and rueful, realising he’s being used. Without the money, she wouldn’t look twice at an old greaser like Ray Lomas.
An airy flute opens Big Dipper, which seems to have been inspired by the town where Ian grew up, Blackpool. The references to the Pleasure Beach and Tower Ballroom are clues. They add to the cinematic quality of the song, which tells of weekends away in Blackpool for the” “weekend happiness seekers.” Fun and frolics are the order of the day. Meanwhile, Ian’s flute and Barriemore Barlow drums and percussion play leading roles. So does Martin’s searing guitar. Although’s he still not let off the leash, the song wouldn’t be the same without it. Jethro Tull are roiling back the years, as Ray Lomas remembers pre-fame, hedonistic weekends where he sough escape from the drudgery of modern life.
A crystalline guitar run joins with the rhythm section and pizzicato strings on Too Old To Rock ‘n’ Roll: Too Young to Die. There’s sadness in Ian’s voice as he realises that Ray’s career is at a crossroads. He’s been cast out into the wilderness, and is: “Too Old To Rock ‘n’ Roll: Too Young to Die.” Behind him, the arrangement has grown, and is one of the best on the album. David Palmer’s strings sweep and swell, adding drama and a wistful quality. The rhythm section add to this drama. Later, Maddy Prior adds a melancholy backing vocal. Even bassist John Glascock stamps his authority on the song. So does a pounding piano, growling saxophone and Martin Barre’s piano. From there, the arrangement reaches a wistful, symphonic crescendo. It’s a fitting finale to this progressive rock epic.
Having reached a crossroads in his life on Pied Piper, Ray can see no way out, and tries to commit suicide. This becomes apparent as Ian sings: “now if you think Ray blew it, there was nothing to it, they patched him up as good as new.” All isn’t well with him though. “You can see him every day riding down the Queen’s highway, handing out his small cigars to the kids from school.” Accompanying Ian, are dark harmonies, sweeping, then pizzicato strings. By then, genres melt into one, becoming part of this musical tapestry. Progressive rock, folk, jazz classical have been combined by Jethro Tull. Similarly, the tempo changes, adding to the drama, as Ray seems to unravel. He’s referred to as the: “Pied Piper, the mad biker.”
The Chequered Flag (Dead or Alive) closes Too Old To Rock ‘n’ Roll: Too Young to Die, which was Jethro Tull’s final concept album. It’s a poignant song to close the album, and features some of Ian’s best lyrics. There’s triumph and sadness throughout the song. However, that’s still to come.
Just a Fender Rhodes join a chiming guitar. Then Ian sings:“the disc brakes drag, the chequered flag sweeps across the oil-slick track, he young man’s home; dry as a bone, his helmet off, he waves: the crowd waves back.” Swathes of strings sweep, and the rhythm section provide a slow, melancholy backdrop. This is fitting as Ian sings: “he hard road’s end, the white god’s sendis nearer everyday, in dying the old man says, isn’t it grand to be playing to the stand, dead or alive.” Ian Anderson seems to have kept his best vocal until last. With harmonies, and David Palmer’s beautiful orchestrated arrangement, it’s a beautiful, melancholy and poignant song, which features Jethro Tull at their best. It’s a fitting way to end 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. It came kicking and screaming into the world, kicking out at the musical establishment. Suddenly, progressive rock groups were seen as dinosaurs, and remnants of music’s past by the new breed of gunslinger critics.
Many of these new critics were blinkered. They believed music began in 1976. This was music’s year zero. These new critics slated albums by the musical establishment. Progressive rock groups never stood a chance. However, Too Old To Rock ‘n’ Roll: Too Young to Die is a much better album than many reviews would’ve record buyers believe.
Those that bought Too Old To Rock ‘n’ Roll: Too Young to Die, found a cohesive, cerebral concept album that told the story of ageing greaser, Ray Lomas. He was the retired rocker whose music had fallen out of fashion. However, he believed that one day, his music would become fashionable again. When it did, Ray Lomas would be back where he belonged. That was prophetic.
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.
Jethro Tull’s tenth album, Songs From The Wood was certified gold in America and Canada. Then 1978s Heavy Wood was certified gold in America and Canada, and silver in Britain. The seventies finished for Jethro Tull with 1979s Stormwatch being certified gold in America and Canada. This meant that Jethro Tull had sold over seven million albums in America alone. The only album of the seventies that wasn’t certified gold or silver, was Too Old To Rock ‘n’ Roll: Too Young to Die. It’s a hidden gem in Jethro Tull’s glorious back catalogue. Sadly, it marked the end of en era for Jethro Tull.
Following Too Old To Rock ‘n’ Roll: Too Young to Die, Jethro Tull’s music continued to evolve. Their music moved towards a folk rock sound. Too Old To Rock ‘n’ Roll: Too Young to Die had been their progressive rock swan-song. Sadly, Too Old To Rock ‘n’ Roll: Too Young to Die was Jethro Tull’s swan-song, when it came to concept albums.
That was great shame. Jethro Tull were one of the finest purveyors of progressive rock. Some of Jethro Tull’s finest albums had been concept albums, including their Magnus Opus Aqualung and Thick As A Brick. While, Too Old To Rock ‘n’ Roll: Too Young to Die may not match the quality of Jethro Tull’s classic, Aqualung, it’s a far superior album to A Passion Play, and even Thick As A Brick and would make a worthy inclusion into any self-respecting record collection.
JETHRO TULL-TOO OLD TO ROCK ’N’ ROLL: TO YOUNG TO DIE!
AS THE TIRED TRAINS CROSS EUROPE-LUCID MOMENTS-VINYL EDITION.
AS THE TIRED TRAINS CROSS EUROPE-LUCID MOMENTS-VINYL EDITION.
Nowadays, the gonzo music journalist approaches press releases with a degree of cynicism. They’ve decided to take Public Enemy’s advice and; “don’t believe the hype.” That’s not surprising.
Usually, when an artist or band sends an album to be reviewed, it comes complete with a press release about the artist’s achievements. Sometimes it runs to several pages. Occasionally, the press release is the equivalent to a novella. By the time a critic has ploughed through the artist’s achievements, they’re fully expecting a Grammy Award winning album, or at least a Mercury Award winner. Sadly, though, they’re often disappointed.
What they often discover is an album of third rate hip hop or nu soul. Most critics have experienced this. They’re left feeling disappointed and deflated. It’s at this time like this, that Johnny Rotten’s quote “do you ever feel like you’ve been conned?” rings true. Sadly, certain labels are famous for over-egging the musical pudding. Others labels, including a new Norwegian label, Big Pink Records take a very different approach. That’s to be welcomed.
Back in September 2015, Norway’s latest label, Big Pink Records announced the release of their first ever album; the debut album from As The Tired Trains Cross Europe, Lucid Moments. It came complete with a press release that combined honesty, modesty and brevity. There was no wading through page after page of information. This was a refreshing approach. By the time one had digested the press release, an air of mystery surrounded Vegard Eggum, the man behind the enigmatic sounding As The Tired Trains Cross Europe. I wanted to know more about As The Tired Trains Cross Europe’s debut album Lucid Moments.
So back in September 2015, before the release of Lucid Moments on CD and as a digital download, I sat down with Vegard Eggum. He told me about the making of Lucid Moments, and his latest musical vehicle As The Tired Trains Cross Europe. Modestly, Vegard Eggum described how “As The Tired Trains Cross Europe started life as a studio experiment.” It was just: “one guy, no rules and a hundred ideas.” Since then, As The Tired Trains Cross Europe has been picking up passengers across Europe, and music lovers have been enjoying and embracing the delights of the musical journey that is, Lucid Moments. So this is the perfect time to catch up with Vegard Eggum.
To do so, I jumped aboard As The Tired Trains Cross Europe as it stopped in a nearby station. When I meet Vegard Eggum, he’s a happy man, celebrating the much anticipated, release of the vinyl edition of Lucid Moments. This is just the latest chapter in a story that began three months ago.
Since September 2015, when Big Pink Records released Lucid Moments, it’s been a roller coaster ride for Vegard Eggum. Lucid Moments received critically acclaimed reviews. This augured well for the release of Lucid Moments in Norway.
When Lucid Moments was released, the commercial success even surprised Vegard Eggum. “The response has been great, I’ve received calls and messages from old friends I haven’t talked to for ages. People I do not know at all, just cause they want to tell how much they love the album. For me that has been the greatest reward I could ever ask for, it gives me the power to push on and I’m so grateful for all of it.” This commercial success lead to As The Tired Trains Cross Europe becoming a rising star of the vibrant Nordic music scene.
Lucid Moments has received radio play in Vegard Eggum’s native Norway. This resulted in him being interviewed by the press and radio. Then to promote Lucid Moments, As The Tired Trains Cross Europe headed off on a mini-tour.
On that mini-tour, As The Tired Trains Cross Europe were soon winning friends and influencing people. Each night as they took to the stage, the won the audience over with a selection of songs from Lucid Moments. However, As The Tired Trains Cross Europe’s debut album. Its profile was about to rise.
A few weeks ago, Norway’s biggest chain of record shops made Lucid Moments their record of the week. This was a huge boost to As The Tired Trains Cross Europe’s profile. Suddenly, Norwegian music lovers were being introduced to As The Tired Trains Cross Europe, and their debut album Lucid Moments. Vegard Eggum’s latest musical vehicle had come a long way in a short space of time. However, Vegard Eggum wasn’t a newcomer to music.
Far from it. Vegard Eggum’s life has revolved around music. That’s been the case for as long as he can remember. Music has always played an important part in his life. However, Vegard never received a formal music education. “I have no formal musical education, I’m self taught. I have had two or three guitar lessons my whole life-the rest I’ve figured out by myself. But I have had some great help in understanding the formal language of music from my very good friend and composer Julian Skar, he made me realise that it is important to speak the same language.” Parts of that language he learnt from musical masters.
Growing up, a disparate selection of artists have helped shape, inspire and influence Vegard Eggum musically. He explains that he was: “inspired by David Bowie, Flaming Lips, Frank Zappa, Neil Young, Swans, Beck, Captain Beefheart, Miles Davis and King Crimson.” It’s King Crimson that’s been the biggest inspiration on Vegard. However, each and every one of these artists inspired him. He soaked up their music like a sponge. However; “I have ever made music that is directly in relationship with them, but there is something with the way they moved through uncharted paths, combining elements from whatever came their way-that has always been a huge inspiration.” That inspiration Vegard says is: “to be progressive,” as he embarked upon a career as a musician.
That Vegard Eggum would became a musician, was never in doubt. “I started out in bands at the age of twelve, playing in various garage bands, but it was around 2000 that we formed Uramuse, the lineup that would later become Meadows and io. This was a huge part of Vegard’s career.
“Meadows and io was my life for about ten years, moving through several name changes and adding members as we went. A few years after we released our debut album Fieldwork in 2009, we came to the point where had to let it rest for a while.” However, this isn’t the end of Meadows and io. Vegard is sure that: “M and io will resurrect when the time comes and the stars are all aligned.” However, Meadows and io is just one facet of Vegard Eggum’s career.
He’s been involved in several other projects. “Sky Is A Roof is the solo project of Pål Henrik Hagen, who is the guitarist in M and io. I’ve been his sidekick since the mid-2000s. Sometimes I’ve played bass, other times guitar, banjo and keyboards. I’ve also worked as a producer and engineer. I’m a hired gun doing whatever is necessary.” Vegard seems to be happy making music, and is versatile enough to play with a variety of bands.
“I also play in the Krautrock, new-wave-ish band Sightseers, and with the dusty blues-maestro Uf Myrvold. As well as that, the whole Big Pink family meets up for noise-blow-out sessions that we call Soup Sessions, cause we make soup and play extremely loud improvised music.” However, despite enjoying life as a member of a band, Vegard Eggum was determined to put some of his “hundred ideas” into practice. So. Vegard Eggum decided to begin a new chapter in his carer
This latest chapter in Vegard Eggum’s career began at his Happy Hunting Studio. This is where As The Tired Trains Cross Europe was born. Vegard describes As The Tired Trains Cross Europe as: “an accident waiting to happen. I’ve been writing songs for nearly twenty years, many of them for bands that I’ve played with, but there has always been a huge pile of orphan songs-stuff that never got it’s own place, that never fitted in. When Meadows & io, was ‘put on ice’ for a period, this pile of unused, orphaned songs started to become a problem. It started to feel like I was making music for no reason at all, just writing them and putting them in a drawer. It was killing my line of creativity and I knew that I had to do something about it.”
With his creativity starting to be affected, Vegard had to do something. “So I started a studio experiment, as a kind of a treatment of my own creativity. There was no real plan so I wanted to see how far I could take these songs on my own, not involving anyone else. As time went and I finally got my nerve up to show some of the stuff that I’d done to a few friends – it suddenly came clear that there was more to this than I first expected and that I was making a record without actually knowing it. Then it all fell into place and my old determination and focus came alive.”
With a myriad of instruments and effects for company, Vegard Eggum got to work. By then, Vegard had chosen the ten tracks that would become Lucid Moments. Soon, Vegard Eggum was playing all the instruments and adding vocals. Vegard Eggum also took charge of production and mixed Lucid Moments. That’s not surprising, as Vegard had “studied music production, but that had mostly to do with recording and mixing.” However, when Vegard Eggum started, there was still a sense of the unknown.
Vegard Eggum describes how he: “hit record just to see how far he could take it on his own. There was no real mission, no real plan, only the need to create.” The result was Lucid Moments a musical journey through the conscious and unconscious mind of Vegard Eggum.” This was no ordinary journey. Vegard Eggum describes it as “a dark yet colourful road filled with hope, wonder and fantastically great songs.” With these songs recorded, all that Vegard Eggum needed, was a name for his new musical vehicle.
It’s never easy to pick a name for a new band. However, Vegard Eggum had a name up his sleeve for ten long years. “I picked up the name about ten years ago when I read “Dangling in the Tournefortia” by Charles Bukowski. It just stuck with me and I’ve been waiting for an opportunity to use it. When I suddenly figured out that I was making a solo record it just came clear that this was the moment I had been waiting for.” So As The Tired Trains Cross Europe was born. Vegard cautions that: “I might mention that during the years, my memory altered the quote a bit, so you will not find it in the same form in Buckowski’s book.” That didn’t matter, Vegard had a truly distinctive name for his new musical vehicle, As The Tired Trains Cross Europe. They were ready to make their presence felt.
That’s what they’ve been doing since the release of Lucid Moments in September 2015. After critically acclaimed reviews, the release of Lucid Moments swung round. Sadly, the vinyl version of Lucid Moments had to postponed. Somehow, when the vinyl arrived, the LPs were damaged. It was like a dagger through Vegard’s heart. While the release of the CD and digital download went ahead, Vegard found himself looking for another pressing plant. However, there was a backlog of vinyl waiting to be pressed. So it was over two months before Vegard received the pristine vinyl copies of Lucid Moments. They come baring the distinctive album cover that countless people have remarked upon.
Lucid Moments’ album cover is fast becoming a modern day classic. While it looked good on the CD copy, it’s a work of art on the vinyl version of Lucid Moments. Vegard explains that: “the Lucid Moments album cover was created by the talented artist Yola Maria Tsolis. The first time I saw it I was completely blown away, it felt like she had tapped in to my mind and created the cover art especially for me. I’m so proud to have my music enclosed in her excellence.” So is everyone who has bought a copy of Lucid Moments, which comes with what has to be one of the album covers of 2015. However, there’s more to the vinyl version of Lucid Moments than a stunning album cover. As The Tired Trains Cross Europe’s music is equally impressive.
Velvet Maze opens side one of As The Tired Trains Cross Europe’s debut album Lucid Moments. Straight away, the rhythm section combine, laying down a loping, dramatic arrangement. They’re joined by pans and percussion. As pans quiver and shiver, Vegard Eggum slowly and deliberately delivers the lyrics. He combines power and passion, delivering the lyrics with feeling. By then, Vegard sounds uncannily like David Bowie. Everyone they say, has a doppleganger. The Thin White Duke’s is Vegard Eggum. Later, he adds harmonies as Velvet Maze continues to draw the listen in. Resistance is impossible. Constantly, Velvet Maze teases and tantalises with its glorious genre-melting sound. Elements of eighties electronica, Krautrock, pop, post rock, psychedelia, reggae and rock can be heard as this musical adventure begins.
It continues with the ballad The Battles That We Escape. Just a crystalline guitar rings out, before tender harmonies give way to Vegard’s heartfelt vocal. When Vegard’s vocal drops out, it’s just the guitar. That’s all that’s needed. Anything else would be overkill. It’s only once the vocal returns that, the arrangement shares its secrets. Gradually, it builds. The rhythm section join the guitar, with the bass adding a moody sound. This reflects the cinematic lyrics. Vegard sings of dreams, escaping from battles, dining with kings and queens and even armageddon. It’s truly a musical journey through the conscious and unconscious mind of Vegard Eggum.
There’s a sense of urgency as the rhythm section drive the arrangement to Enemy along. This urgency is apparent as Vegard delivers the vocal. He sings of the “Enemy that haunts me, creeping up behind me, short sword stabbing me.” His fear seems real. Sometimes, it comes close to paranoia. Especially, as he sings my soul is dying, tell me it’s not just me?” This fear and paranoia continues to make its presence felt: “cannibal torture, eating out my inner orchard, eating out my inner me.” The way Vegard Eggum delivers the lyrics his fear seems very real. It’s as if he’s lived the lyrics, and his delivery of them is a cathartic cleansing, which releases his inner demons.
From the opening bars of the wistful sounding East Vs. West Vegard Eggum has the listener hooked. It’s just Vegard and his trusty guitar. He plays slowly and deliberately. Sometimes, there’s a country-tinged sound. Mostly, it’s as if Vegard is choosing every chord with the utmost care. Then he delivers a probing vocal, as he wonders: “why my soul turned to the east?” He can’t seem to work out why? That’s when Vegard adds ethereal harmonies. It’s as if he’s still trying to work out “why my soul turned to the east?” The question seems to haunt Vegard, who delivers an impassioned, despairing vocal. This vocal sounds like John Lennon circa Double Fantasy and Milk and Honey.
Wives and Children closes side one of Lucid Moments.. As the arrangement unfolds, it has an understated, airy sound. Drums clap twice and Vegard strums his guitar. Soon, he’s delivering a tender, heartfelt vocal about family life. All isn’t well as Vegard paints pictures with his lyrics. Later, there’s a sense of urgency as harmonies and a guitar are added. When the vocal drops out, Vegard stretches his legs, becoming a one man band. When his vocal returns, it’s best described as a a soul-baring confessional. What’s essentially a roller coaster of emotions continues to unfold, before reaching a poignant crescendo.
Gold Rush, which opens side two of Lucid Moments, has a harder, rockier sound. This comes courtesy of the rhythm section and guitars. Similarly, Vegard’s vocal has a tougher sound. That’s until the arrangement takes on a captivating, melodic sound. Then Vegard’s vocal becomes hopeful, heartfelt and needy. Cooing harmonies and tinkling keyboards have been added. By then, it’s obvious that hooks certainly haven’t been rationed. It’s another irresistible and cinematic sounding track that shares its secrets over four melodic minutes.
Tender and With Soft Lies is the only track where Vegard didn’t play every instrument. Annema Fromyhr Eggum was drafted in to play the cello. That’s still to come. Before that, the arrangement has a slow, deliberate and rocky sound. There’s more than a nod to Neil Young. It’s just Vegard and his needy, hurt-filled vocal. He’s been betrayed, and his hurt shows. Behind him, a the rhythm section and harmonies seem to have been inspired by The Travelling Wilburys. The harmonies add a melodic hue. Then the wistful sound of the cello reflects Vegard’s hurt and pain. Later, the arrangement takes a diversion via jazz, post rock and rock. This shows musical adventurers Vegard Eggum’s determined to innovate, and to create music that’s both melodic and emotive.
Just a lone acoustic guitar opens Secret Doors. Stylistically, this picking style reminds me of Nick Drake. It sets the scene for what’s an impassioned, tender vocal. With just the acoustic guitar accompanying the vocal, it allows the listener to focus on the lyrics as the arrangement meanders along. That’s until Vegard’s dramatic interjection. His vocal soars above the arrangement. Mostly, though Secret Doors has an understated, minimalist and folk-tinged sound sound. However, that’s all that’s needed to frame the vocal and showcase Vegard Eggum’s versatility.
Washes of synths accompany Vegard’s guitar and needy vocal on Lucid Moments/Lone Birds. As arrangement quivers and shivers, it takes on an almost futuristic, sci-fi sound. This doesn’t overpower the arrangement. Instead, it compliments Vegard’s vocal. Then after two minutes, As The Tired Trains Cross Europe kick loose. The arrangement grows in power and drama. Drums pound, hypnotic harmonies chant and a myriad of disparate sounds combine. Seamlessly, they make sense as this song of two parts takes shape over five captivating minutes.
Mountain closes side two of Lucid Moments, the first album from As The Tired Trains Cross Europe. Guitars shimmer, drums pound and Vegard delivers a thoughtful vocal. There a sense of sadness and inevitability in his voice. He sings of relationship that’s ending, but warn that it’ll never really be over. Nowhere to hide your soul, it is everyone you meet…no escaping your actions, you’ll never go back in time.” Behind the vocal, a slow, sombre and mesmeric arrangement provides the perfect accompaniment. They’re like yin and yang, as the first musical adventure from As The Tired Trains Cross Europe draws to a close, leaving you wanting more.
That’s no bad thing. Nowadays, albums are often sprawling affairs featuring fifteen or more tracks. That’s totally unrealistic. No artist can write, record and produce fifteen quality tracks. That’s asking too much. As The Tired Trains Cross Europe realised that, and for their debut album Lucid Moments, Vegard Eggum penned ten tracks.
These tracks were recorded at Vegard Eggum’s Happy Hunting Studio. They became Lucid Moments, which was originally released by Big Pink Records on CD and digital download in September 2015. Lucid Moments is no ordinary album. Instead, it’s the work of “one guy, no rules and a hundred ideas.”
That’s how Vegard Eggum the man behind As The Tired Trains Cross Europe describes the making of Lucid Moments. Modestly, Vegard describes how he: “hit record just to see how far he could take it on his own. There was no real mission, no real plan, only the need to create.” The result was Lucid Moments: “a musical journey through the conscious and unconscious mind of Vegard Eggum.” This was no ordinary journey. Vegard Eggum describes it as “a dark yet colourful road filled with hope, wonder and fantastically great songs.” That’s no exaggeration.
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. This was the perfect way to launch Norway’s latest record label, Big Pink Records.
Now three months later, As The Tired Trains Cross Europe return with the delayed vinyl version of Lucid Moments. It’s an album that’s perfectly suited to the vinyl medium. Lucid Moments has a lovely, open sound and reminds me of many well mastered classic albums from the seventies. There’s also a warmth to Lucid Moments, that’s often missing from many CDs. That’s not the case with the CD version of Lucid Moments. The warmth is omnipresent on both the CD and vinyl versions of Lucid Moments. What’s also present on both versions is the stunning album cover.
Lucid Moments’ album cover has one of the best album covers of 2015. It’s the work of artist Yola Maria Tsolis. This hugely talented Norwegian artist allowed As The Tired Trains Cross Europe to use the image for the cover of Lucid Moments. It’s striking and spellbinding image, that guaranteed to draw people’s attention to Lucid Moments, As The Tired Trains Cross Europe’s debut album. It’s also the debut album from a new Norwegian label, who have big plans for 2016.
Norway is home to some of the best independent record labels in Europe. Hubro Music and Rune Grammofon release music that’s ambitious, influential and innovative. They’ve been doing this for years. Now, Big Pink Records are about to follow in their footsteps, and plan to release many more albums in 2016. However, what better way to launch a new label, than with an album that’s without doubt, one of the best debut albums of 2015. It comes courtesy of As The Tired Trains Cross Europe, whose debut album Lucid Moments, is a musical journey through the mind of musical adventurer and explorer Vegard Eggum.
AS THE TIRED TRAINS CROSS EUROPE-LUCID MOMENTS-VINYL EDITION.
HOUSE OF NOT-THE WALKABOUT OF A. NEXTER NIODE- PART ONE-OFF THE PATH.
HOUSE OF NOT-THE WALKABOUT OF A. NEXTER NIODE- PART ONE-OFF THE PATH.
For many music historians, the seventies was the golden age of rock. During the golden age of rock, concept albums and rock operas were commonplace. Pink Floyd, Jethro Tull, Yes, Genesis, The Who were responsible for some of the most critically acclaimed and commercially successful concept albums and rock operas. They sold in their millions, and are now regarded as classic albums. Some groups did more to popularise the concept album.
None more so than Pink Floyd. Some of their finest albums were concept albums, including Dark Side Of The Moon, Animals, Wish You Were Here and The Wall. Coming a close second in the concept album stakes were Genesis, with concept albums that included Trespass, Foxtrot, Selling England by the Pound and The Lamb Lies Down on Broadway. Jethro Tull got in on the act too, releasing Thick As A Brick and Never To Old To Rock ’N’ Roll. So did Yes, another master of the concept album, with Fragile, Close To The Edge and Tales From Topographic Oceans a trio of classics. These are just a few of the greatest concept albums of the seventies, the golden era of rock. Another reminder of this golden era was the rock opera.
The Who were responsible for two of the best known, rock operas, Tommy and Quadrophenia. They enjoyed commercial success and critical acclaim during the seventies. So did Pink Floyd’s The Wall. It was still enjoying rave reviews long after the concept album and rock opera had fallen from favour.
As the seventies drew to a close, many saw the concept album and rock opera as belonging in the seventies. Groups like Genesis, Yes and Pink Floyd still continued to release the occasional concept album. However, by the eighties, it was thought that neither the concept album nor the rock opera would make a comeback.
They never really have. The rock opera seems a remnant of musical history. To some extent, so is the concept album. Sadly, in the past thirty-five years, there’s never been a time when the album charts have been filled with critically acclaimed, cerebral, concept albums. However, one group has been trying to bring back the glory days of the concept album, Canadian band, House Of Not.
Toronto based House Of Not haven’t been content to release one concept album. Instead, they’ve released three albums in what’s going to be a five album rock odyssey. It’s a truly ambitious project, one that the enigmatic, Canadian band have spent twelve years working on. So far, only three volumes of what’s billed as “The House Of Not Project” have been released.
This is one of the most ambitious projects any band has embarked upon in the last decades. The House Of Not decided in the early part of the new millennia to begin work on a five album rock odyssey. Over the five albums, House Of Not document the journey of troubadour A. Nexter Niode, who busks his way through what’s described as a futuristic, “exotic land.” This gunslinging guitarist’s journey began in 2003.
It was back in 2003, when House Of Not released The Walkabout Of A. Nexter Niode-Part One-Off The Path, on Freak Street Productions. This was the start of this five part odyssey for House Of Not and their friends.
For The Walkabout Of A. Nexter Niode-Part One-Off The Path, A. Nexter, a.k.a. Brian Erikson had written fourteen tracks. He took charge of vocals, and added pipes and bells. Lou Ropolli played all the guitars; while Ken O’Gorman played bass, mandolin and backing guitars. Joining House Of Not were a number of what’s billed as “House Guests.” These musicians and backing vocalists augment House Of Not on Off The Path-Part One. The “House Guests” play everything from drums to didgeridoo, and help fill out the sound. While this is going on, House Of Not take charge of production; and once The Walkabout Of A. Nexter Niode-Part One-Off The Path was complete, they mixed the album. The Walkabout Of A. Nexter Niode-Part One-Off The Path was then scheduled for release in 2003.
When The Walkabout Of A. Nexter Niode-Part One-Off The Path was released in 2003, it proved to be no ordinary album. Billed as “The Walkabout Of A. Nexter Niode.” Over the fourteen tracks, eighteen year old Nexter takes a “trip,” and discovers Icon City. This is a land where the majority live in poverty, in servitude to the powerful tyrant, they call Hypocrite. He has transformed, and many would say ruined, the once utopian Sanctuary into a technologically indoctrinated collective. This once utopian dream has become a nightmare. That’s until a wanderer, dreamer and troubadour discovers Icon City.
It’s then that A. Nexter Niode sets about destroying both the status quo, and a despot’s fraudulent and tyrannical reign. This wander, dreamer and troubadour is The Wayfarer, A. Nexter Niode, who chances upon this secretive, and once proud city. Its story unfolds over the fourteen tracks on The Walkabout Of A. Nexter Niode-Part One-Off The Path. Before that, the listener is introduced to the cast of characters.
Apart from the hero of the story, A. Nexter Niode, The Wayfarer, there’s the heroine, Silk, a.k.a. Lady Sadness. She becomes Nexter’s lover and muse. However, Nexter’s confidant is Hope, a.k.a. Lady-In-Waiting. Schadenfreude is billed as the villain of the piece. A tyrant and hypocrite, he rules Icon City with an iron fist. Then there’s Fred, The Piper, the father of Silk, and the family patriarch. He and his family have had their lives turned upside down. The final character is Number One, the narrator, who with the rest of House Of Not, guide the listener through the story on The Walkabout Of A. Nexter Niode-Part One-Off The Path, the first of this five part rock odyssey.
Homeric. That descries a rock odyssey in five parts. However, House Of Not don’t take long to tell the story of the first fifteen years of A. Nexter Niode’s life on Force Of Nature, which opens The Walkabout Of A. Nexter Niode-Part One-Off The Path. From conception through birth to adolescence, House Of Not spend just four minutes telling the story of what seems like an unremarkable life. As they do, House Of Not seem to draw inspiration from Kings of the concept album, Pink Floyd. Especially, Pink Floyd circa 1973, when they released Dark Side Of The Moon. Right down the backing vocals, House Of Not sound sonically and stylistically, like one of British’s music’s finest exports. It’s a case of wallowing in an arrangement that’s dramatic, progressive and ethereal, which whet the listener’s appetite.
Everything seems to be getting on top of Nexter on Mainstream. From his family and friends, right through to his boss and even the government, things are getting to Nexter. Constantly he questions everything and everyone. His questions are left unanswered by those Nexter consider the establishment. Nexter feeling even more confused and persecuted, is desperate to escape. This becomes apparent on what starts off as a thoughtful, acoustic, guitar lead ballad. Later, it takes on a much more rocky sound. It’s not unlike Pink Floyd on The Final Cut. Especially, the arrangement, which features impassioned, pleading vocal, asking Nexter not to go.
He’s minds almost made up. Then when he meets a much more seasoned “wayfarer” on Footnotes, Nexter is convinced to take the “trip.” He decides he wants to become a troubadour, traveling from city to city busking for change. There’s a condition though.
The veteran wayfarer explains he’s got to play with passion. That’s the case on Footnotes, which meanders melodically alone, the veteran wayfarer explaining the rules of the game to the newcomer on a meandering, melodic fusion of folk, rock and psychedelia. Then the sage like wayfarer unleashes a blazing guitar solo, and Nexter knows what’s expected of him, as he begins his journey.
Although everyone thinks Nexter is heading for “destination unknown,” he’s meant to be heading East. That’s where he will meet great, and wise men. Nexter is meant to learn from them, which should help Nexter discover his destiny. However, the plan goes awry, on the lysergic sounding Off The Path.
As he journeys, Nexter travels far and wide, constantly discovering new and exotic lands. Providing the soundtrack are two instrumentals, Off the Path and Taj Mahal Daydream, which are mesmeric melting pots of influences, Wistful and ethereal sounding describes Taj Mahal Daydream. That’s fitting. Nexter is far from home, and what he knows. He’s far removed from his comfort zone. Then Nexter comes across what he thinks is another exotic lands, Icon City.
It’s a case of all that glitters isn’t gold in Icon City. despot’s fraudulent and tyrannical reign. Schadenfreude, The Hypocrite rules the Icon City. He’s ruined this once proud city, whose people live in poverty, and are in servitude to The Hypocrite. It’s this once proud, but now secretive city the nomadic Nexter, dreamer, idealist and troubadour decides to unpack his guitar and play with pasion.
Once he’s looked around Icon City, Nexter the troubadour, settles down by the fountain in the square, and begins to play his guitar. It’s then that Nexter sees a beautiful, but almost haunted woman. This is Silk, who we’re introduced to in the thoughtful ballad Sad Silk. Sadness seems to exudes from Silk’s very pore. She’s known as Lady Sadness, but there’s a reason for this sadness.
In Icon City, Silk is an unwilling associate of Schadenfreude, The Hypocrite. She loathes and fears him. Her twin fears are that she’ll have to submit to his political ambitions and sexual desires. That’s been her fears from an early age.
Sllk, who is worshipped by her people, was snatched from her heartbroken father, Fred The Piper when she was young. Since then, she’s been enslaved, and unable to escape,..until now, when she meets a strangers to Icon City.
Nexter is in the crowd as Silk makes her way through her people, on Sad Silk. At once, he’s smitten, and vies for Silk’s affections. As Nexter gazes spellbound and lovingly at Silk. She in turn becomes a temptress, teasing and testing Nexter during The Walkabout. Sad Silk tells the story of this encounter. There’s a sense of sadness from the opening bars, as the story of this almost tragic figure unfolds. She dreams of escape, but The Hypocrite won’t let that happen.
When she sees Nexter looking longingly at Silk, she challenges him by saying: “you pretend.” All the time, Schadenfreude’s watchful eye burns into Nester. Then the spell is broken.
It’s Nexter that breaks the spell. He’s involved in an unseemly exchange, and when Schadenfreude takes his eye of Nexter, he announces he’s going to take Silk away, and be true to her. It’s then that Schadenfreude says: ”be true and be cursed!” From Icon City, Nexter beats a hasty retreat.
Next stop for Nexter is the Middle East. As he continues his travels, he wonders in A Mile in Those Shoes what his friends and family would think of him now? Again, the arrangement starts off with an understated sound, but grows and builds, before showcasing a much harder, rockier sound. Seamlessly, A Mile in Those Shoes gives way to Sacred Cow. While it has a similar sound, the subject matter is different. Here, Nexter ponders the subject of state and religious fundamentalism. Then it’s all change.
Ol’ Phat Fok sounds as if it’s providing the soundtrack to an old Western. Then a jazz-tinged horn punctuates the arrangement, and Nexter might as well be on Beale Street, New Orleans. He’s comparing his relationship with his nemesis The Hypocrite, with that of latter day icons, whether religious, political or corporate. He does this against what can only be described as a genre-melting arrangement. House Of Not continue to spring surprises. A swaggering slice of rock briefly explodes. So does a brief bluesy jam, before Nexter remembers The Hypocrite’s words: “I “curse you to be true. Be true and be cursed!” With those words ringing in his ears, Nexter continues his journey.
He finds himself on Freak Street, in Kathmandu, Nepal. This famous street is at the heart of the city’s counterculture. A new type of counterculture is taking shape. As it does, Nexter meets and befriends Friedrich, an eccentric finger-painter. He helps Nexter to discover a new type of rock ’n’ roll. However, Nexter will only fully comprehend this genre, once his journey is at an end. This part of Nexter’s “trip” is documented in the lysergic, otherworldly, and almost post rock sounding Freak Street. It features another scorching guitar solo, which sounds as if Nexter’s been reborn, and found his inner Hendrix. Just when everything seems to be going to plan, danger is ahead.
On Stranger, a six minute epic, drama and danger are omnipresent as the song unfolds. Guitar runs are accompanied by chimes, bells and a myriad of other sounds. This is the cue for Nexter to look at himself in the mirror, and realise that’s he’s straying further from the world he knows and is familiar with. It’s like Alice In Wonderland, albeit with a rocky backdrop. However, one can’t help wonder if rather than a a journey in the traditional sense, Nexter is in the throes of a prolonged LSD trip, as he seems to be losing touch with reality?
High In The Himalayas is a variation of of a Buddhist hymn. In this melancholy, guitar lead instrumental, one can hear the wind blow, and almost imagine Nexter scaling the Himalayas in search of spiritual salvation. There’s also a cinematic quality to the track. It sounds as if it’s been composed by Ry Cooder for a Wim Wenders’ soundtrack. Other times, it references the Berlin School of the late-seventies, early eighties. Blood From A Stone also has an eighties influence.
Straight away, Blood From A Stone, is reminiscent of Dire Straits early eighties albums. Soon, though a Pink Floyd influence shines through. By then, Nexter realises that he’s come to a conclusion. He something else, but he doesn’t know what. One thing he doesn’t want, is certainty. So Nexter decides to rethink his future.
Sanctuary, which closes The Walkabout Of A. Nexter Niode-Part One-Off The Path, has a similar sound to Blood From A Stone. It’s as if House Of Not have drawn inspiration from Pink Floyd and Dire Straits. Meanwhile, Nexter seeks solitude, as he considers what path to take on this journey that’s life. House Of Not have closed The Walkabout Of A. Nexter Niode-Part One-Off The Path on a cliff-hanger.
There’s a reason for this. The Walkabout Of A. Nexter Niode-Part One-Off The Path is the first in a five part rock odyssey from House Of Not. This first volume was released in 2003, on Freak Street Productions, and showcases a tight, talented and polished band.
That becomes apparent straight away. House Of Not are obviously experienced musicians. They sound as if House Of Not have learnt from the masters. Sometimes, House Of Not seem to have been inspired by some of the biggest names in rock, including Pink Floyd, Yes, Dire Straits and Genesis. That’s when the band play as one. Other times, when it’s a much more understated, acoustic sound, we hear a different sound to House Of Not.
On the much more understated sounding track, often, it’s just Brian Erikson and an acoustic guitar, as the song takes shape. He’s transformed, as the rest of House Of Not disappear into the shadows. All of sudden, Brian Erikson take centre-stage as he dawns the role of troubadour. He embraces and lives role, bringing life and meaning to the lyrics that are variously cerebral, thoughtful, beautiful and sometimes, full of social comment. House Of Not don’t shy away from the big issues, on an album that harks back to the golden era a rock, the seventies.
That was the age of the concept album. Back then, concept albums were inspired by numerous subjects, including mythology and science fiction, to religion, politics and war, and subjects as diverse as greed, money and madness. These subjects played their part in some of the greatest concept albums. However, they were all one offs. House Of Not have decided that they’re rock odyssey will be in five parts. The Walkabout Of A. Nexter Niode-Part One-Off The Path is the just the first step in a journey that’s variously Homeric, Joycean, lysergic and surreal.
Indeed, surreal is a good description of The Walkabout Of A. Nexter Niode-Part One-Off The Path. Sometimes, The Walkabout Of A. Nexter Niode-Part One-Off The Path is a bit like Alice In Wonderland. Nothing is quite as it seems. One can’t help wonder if the whole journey is LSD trip, where Nexter has kicked open the doors of perfection, and sprinted off at speed? If it is, will Nexter be able to close the doors? That will only become apparent when the next part of Nexter’s trip unfolds.
If it’s matches the quality of The Walkabout Of A. Nexter Niode-Part One-Off The Path, then it will be a captivating, enjoyable and genre-melting trip. Over the fourteen tracks, House Of Not flitted between blues, classic rock, country, folk, folk rock, post rock, progressive rock and psychedelia, These genres melt into one on a cinematic and cerebral album that harks back to the golden age of rock, The Walkabout Of A. Nexter Niode-Part One-Off The Path.
HOUSE OF NOT-THE WALKABOUT OF A. NEXTER NIODE- PART ONE-OFF THE PATH.
THE VELVET UNDERGROUND-LOADED.
THE VELVET UNDERGROUND-LOADED.
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.
Recently, Loaded has been reissued by Rhino to mark the forty-fifth anniversary of Loaded. 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.
BACK TO THE RIVER-MORE SOUTHERN SOUL STORIES 1961-1978.
BACK TO THE RIVER-MORE SOUTHERN SOUL STORIES 1961-1978.
With Christmas just around the corner, Kent Soul, an imprint of Ace Records, have just released the perfect present for the soul man or woman in your life, Back To The River-More Southern Soul Stories 1961-1978. This luxurious, and lovingly compiled three disc box set, features seventy-five songs, from the great and good of Southern Soul. It’s the long-awaited and much anticipated followup to Take Me To The River: A Southern Soul Story 1961-1977, which was released in November 2006. Since then, many fans of Southern Soul have awaited the followup to what was, one the best box sets of 2006. They’ve had a long wait.
Given the success of Take Me To The River: A Southern Soul Story 1961-1977, music fans were hoping that a followup would be released in 2007. However, compiling a box set takes time and patience. That was the case for Dean Rudland and Tony Rounce, who compiled Back To The River-More Southern Soul Stories 1961-1978.
The first stage was choosing a long-list of tracks that would make their way onto Back To The River-More Southern Soul Stories 1961-1978. Dean and Tony spent many a happy hour searching through their respective record collections. These record collections have been built up over more years than they care to remember, and bring back memories of countless crate-digging expeditions.
Dean and Tony are battled scarred veterans of crate-digging expeditions in record shops, thrift stores, dusty warehouses and garage sales. Record fares have proved a happy hunting ground for the pair. So have the sales tables at soul nights and all-nighters. Then there’s the countless trades they’ve done over the year. Every record tells a story, and Dean and Tony are always looking for vinyl.
Wherever they go, no source of vinyl is left undisturbed. If it was, that would lead to sleepless nights. After all, that pile of vinyl might just contain that elusive hidden gem. Often, it does. Their impressive record collections are proof of this. They’re the perfect place to start when work began on Back To The River-More Southern Soul Stories 1961-1978.
No corner of Dean and Tony’s record collection were left untouched. They’ll worked their way through thousands of records. This took time. They then headed to Ace Records H.Q., where they began listening to master tapes at Ace Records H.Q. Tracks began to make their way onto their wish list of records that potentially, might make their way onto Back To The River-More Southern Soul Stories 1961-1978.
Potentially was the operative word. That’s why Dean and Tony’s long-list could have had over a hundred tracks. They’ll have the tracks that in an ideal world, would make it onto the compilation. Then they’ll have a list of of alternatives. That made senses. Any compiler knows that they could’ve come across a problem with licensing. That’s not unheard of.
Often, a compiler comes across a killer track, but is unable to license the tracks. There can be any number of reasons for this. When that happens, it pays to have a plan B. The compiler then dips into his list of alternative track. Veteran compilers know, that it’s highly unlikely that they’ll get every one of their preferred tracks on a compilation. If they do, there’s every chance they’ll also be clutching the winning lottery ticket come Saturday night.
Once all the tracks are licensed, work begins on things like sleeve-notes and packaging. The sleeve-notes to Back To The River-More Southern Soul Stories 1961-1978 are best described in-depth and informative. Reading them, it’s obvious that Tony Rounce is passionate about soul music. His enthusiasm jumps off the page. What he doesn’t know about each of the seventy-five tracks isn’t worth noting. Throughout the sixty-four page booklet, there’s evocative photographs and scans or record labels and adverts. Suddenly, you’re transported back to the river, as you enjoy more Southern Soul stories which were released between 1961 and 1978.
These seventy-five tracks featured Southern Soul royalty. There’s no bigger names than Otis Redding and Aretha Franklin. Or how about Bobby Bland, Solomon Burke, Joe Simon, O.V. Wright, Esther Phillips, Sam Dees? That’s nat all. What about Brook Benton, Jimmy Lewis, Z.Z. Hill, Don Covay, Otis Clay, Fontella Bass, Aaron Neville or Little Richard? These are just a few of the names that made their way onto Back To The River-More Southern Soul Stories 1961-1978.
By the time the track listing to Back To The River-More Southern Soul Stories 1961-1978 was completed, and Ace Records announced that this long-awaited box set would be released just in time for Christmas, nine years had passed since Take Me To The River: A Southern Soul Story 1961-1977 was released. By then, many doubters wonder if the followup would ever be released?
Many Southern Soul fans never stopped believing. The doubters began comparing these Southern Soul fans to the optimistic big band fans who still think that Glen Miller is just running late. However, these Southern Soul fans patience was recently rewarded, when Back To The River-More Southern Soul Stories 1961-1978 was released. It’s a luxurious, lovingly compiled, three disc, seventy-five song box set. Back To The River-More Southern Soul Stories 1961-1978 will nestle in nicely to Take Me To The River: A Southern Soul Story 1961-1977. However, is Back To The River-More Southern Soul Stories 1961-1978 a fitting followup to Take Me To The River: A Southern Soul Story 1961-1977, and worth the nine year wait?
Disc One-Muscle Shoals-Memphis Redux.
Just like each of the three discs, disc one of Back To The River-More Southern Soul Stories 1961-1978 has twenty-five tracks. It’s entitled Muscle Shoals-Memphis Redux, and unsurprisingly, features tracks recorded in Muscle Shoals and Memphis. This includes some of the tracks that never made it onto Take Me To The River: A Southern Soul Story 1961-1977. It doesn’t say which one, but that doesn’t matter as disc one features contributions from some of the biggest names in Southern Soul.
This includes Solomon Burke’s 1968 Atlantic Records’ single I Wish I Knew (How It Would Feel To Be Free). Released at the height of the civil rights movement, Solomon Burke delivers a hope filled vocal which sets the tone for the rest of disc one.
Bettye LaVette, one of Southern Soul’s finest female vocals unleashes a vocal masterclass on her 1969 single Nearer To You. Then Dean Rudland and Tony Rounce play one of their trump cards.
This is a previously unreleased extended version of Judy Clay and William Bell’s Private Number. Don’t worry, they’ve another trick up their sleeve. This a previously unreleased take of Free Me, which Otis Redding recorded in 1967. It’s a spine-tingling track. Only four tracks in, and Dean Rudland and Tony Rounce have the listener hooked. There’s still plenty more delicious Southern Soul treats to come.
How about Bobby Bland’s 1967 single A Touch Of The Blues? Produced by Willie Mitchell, it’s a heart wrenching, soulful, blues. Equally emotive is an unreleased take of Eddie Floyd’s I Got Everything I Need. It was recorded in 1966, at Stax Studio’s in Memphis, with Stax’s house band accompanying Eddie Floyd. Another tale of heartbreak is Joe Perkins 1969 single Think I’ll Go Somewhere And Cry Myself To Sleep, which was recorded at Quinvy Studios in Memphis. Joe delivers the lyrics as if he’s lived them. Sadly, when the single was released on Nugget, it never enjoyed the commercial success it deserved. Jeanie Greene’s Sure As Sin was also recorded at Quinvy Studios, and released on Atco in 1969. However, it has a much smoother, polished sound, from one of Southern Soul’s best kept secrets, Jeanie Greene.
Mary Wells however, is a name that’s much more familiar. She recorded I Found What I Wanted at the Fame Studios, and the single was released in 1971. It’s a track that could only have been recorded at Fame, and features Mary Wells at her best. She’s not alone.
That’s the case with Joe Simon’s vocal on his 1974 single Message From Maria. It was produced by Willie Mitchell, and released on Monument. Willie Mitchell seemed to get the best out of Joe Simon. That was also the case with O. V. Wright, who released I’ve Been Searching on Hi Records in 1974. This is an irresistible introduction to O.V. Wright, one of the most underrated Southern Soul men on disc one.
Another is Clarence Carter, who may be a new name to all but the the most devoted Southern Soul fans. He worked extensively with producer Rick Hall, at Fame Studios. However, She Ain’t Gonna Do Me Right was lain unreleased for far too long, and makes a welcome debut on Back To The River-More Southern Soul Stories 1961-1978. Bettye Swann also made the journey to Fame Studios in 1971. She had released her biggest hit single Make Me Yours in 1967. Since then, Bettye Swann never reached the same heights. So in 1971, she made her way to Fame Studios, where Rick Hall worked his magic. The result was the a beautiful soul-baring single I’m Just Living A Lie. It’s not the only ballad on disc one.
Another ballad is The Soul Children’s dramatic, soulful, cover of Lennon and McCartney’s Yesterday. Incredibly, this David Porter and Ronnie Williams production has never been released before, and brings disc one of Back To The River-More Southern Soul Stories 1961-1978 to a poignant close.
Disc Two-Southern Routes.
Just like disc one, disc two, which is entitled Southern Routes, oozes quality. One of the highlights has to be Brook Benton’s 1970 hit single Rainy Night In Georgia which was released on Cotillion. Ironically, this soul classic was recorded in Criteria Studios, Miami, not Georgia. So was Joey Gilmore’s Somebody Done Took My Baby and Gone. It was released in 1971, on Saadia Records, and features an outpouring of hurt from Joey Gilmore. Helene Smith’s A Woman Will Do Wrong was also recorded at Criteria Studios, Miami, in 1960. The single was released on the Phil L.A. label, and is a reminder of Helene Smith, who during the early sixties, was Miami’s first lady of soul. It was to Miami, Esther Phillips headed in 1969.
By 1969, Miami was where for Atlantic Records sent their artists to record. Esther Phillips recorded Linda Cooke and Bobby Womack’s I’m In Love at Atlantic South-Criteria Studios. The journey was worthwhile, and Esther Phillips rolled back th years, unleashing a vocal powerhouse, which was released in 1969. However, not all the songs were on disc one were recorded in the Sunshine State. Far from it.
Sam Dees recorded Easier To Say Than Do, in Birmingham, Alabama. That was where one of the greatest singer-songwriters in the history of soul music called home. It’s also where he added the vocal to heart-wrenching Easier To Say Than in 1969. Since then, Sam Dees has spent more time writing songs for the great and good of soul, than recording. However, no self-respecting Southern Soul compilation is complete without a Sam Dees’ song.
Joe Medwick is just one of several artists on disc two who recorded at Pasadena Sounds Studio, in Pasadena, Texas. That’s where he recorded Nearer To You, a track that epitomises what Southern Soul sounds like. It was released on Tear Drop in 1967. The same year, Toussaint McCall released Nothing Takes The Place Of You. It was also produced by Ray Doggett, and released on Tear Drop. Johnny Adams’ (Sometimes) A Man Will Shed A Few Tears Too was recorded at Pasadena Sounds Studio. This time, Huey P. Meaux produced the single, which was released on Pacemaker Records. For anyone whose yet to discover Johnny Adams, this is the perfect introduction, which was recorded at the prolific Pasadena Sounds Studio. However, it wasn’t the only prolific studio.
Criteria Studios in Miami, was still one of the city’s busiest studios. Della Humphrey’s horn lead ballad Your Love Is All Need was recorded there in 1968. It was released on Arctic in 1968. Two years later, Little Beaver’s cover of Frank Williams’ Do Right Man was recorded at Criteria Studios. Producing the session was Frank Williams and Willie Hale. Despite a soulful, impassioned vocal, when the single was released on Saadia, it sunk without trace. It makes a welcome return on Back To The River-More Southern Soul Stories 1961-1978. It’s not alone.
George Perkins’ 1972 single How Sweet It Would Be was recorded at Sound City Studios, Shreveport. Accompanying George’s hurt filled vocal are gospel inspired harmonies. Together, they play their part in one of the highlights of Back To The River-More Southern Soul Stories 1961-1978. This isn’t the only tracks recorded at Sound City Studios. So was Reuben Bell’s heartfelt, string-drenched ballad Asking For The Truth. It was released on Alarm in 1975. That was two years after the release of Charles Crawford’s A Sad Sad Song, on Hy Sign in 1973. This was another track recorded at Sound City Studios, which in the early to mid seventies, was enjoying a hot streak. Back then, Southern Soul was enjoying a resurgence in popularity.
Back in 1966, when Aaron Neville released Tell It Like It Is on Par-Lo, Motown was providing the soundtrack for America. However, this beautiful, timeless ballad rivalled anything coming out of the Detroit, or anywhere else. It’s should be a soul classic, and it’s fitting that Tell It Like It Is closes Back To The River-More Southern Soul Stories 1961-1978.
Disc Three-Going Back Home.
The third and final disc in the Back To The River-More Southern Soul Stories 1961-1978 box set, is entitled Going Back Home. There’s certainly not letup in quality. An unreleased extended version of The Girls From Texas almost waltzes along, showcases Jimmy Lewis’ voice. Talking of voices, one of the most famous voices in soul, steps forward.
That’s Aretha Franklin on the sultry sounding Ain’t No Way, which she released as single on Atlantic Records in 1968. Aretha Frankin has not left her gospel roots behind, on this soulful offering. Neither has Clay Hammond on Take Your Time, which he released on Kent in 1966. Don Covay’s roots were also in the church. His father was a baptist minister. However, Don Covay crossed over, and in 1965, released You’re Good For Me, on the Landa label. Clay Hammond and Don Covay are just two of the great voices of Southern Soul men.
Z.Z. Hill is another. He helped rejuvenate Southern Soul’s popularity with singles like Don’t Make Me Pay For His Mistakes. It was released in 1971, on Hill. Around this time, Hi Records were about to become one of the most successful Southern Soul labels. One of their signings would be Otis Clay, who in 1967, released That’s How It Is (When You’re In Love) on One-derful. It’s a tantalising taste of one of the most underrated Southern Soul men. Willie Hightower falls into the same category. He was signed to Hi Records when he released Don’t Blame Me in 1973. This Willie Mitchell production epitomises everything that’s good about Southern Soul.
Southern Soul was also blessed with some fantastic female singers. This includes Fontella Bass, whose synonymous with her hit single Rescue Me. I Want Everyone To Know, which was released on the Paula label in 1972, shows another side of Fontella Bass, on this smouldering slice of sultry Southern Soul. She’s joined on disc two by another soul sister, Philly born Barbara Mason. She might sound like an unlikely Southern Soul singer. However, in 1975, Barbara Mason joined forces with producer Don Davis. The result was the album Love’s The Thing. One of the highlights was the Millie Jackson inspired Shackin’ Up, which was one of the album’s highlights.
From the opening bars of Timmy Willis’ Easy As Saying 1-2-3, it’s obvious that something special is unfolding. Timmy Willis’ live-in vocal brings the lyrics to life, while the Muscle Shoals rhythm section and horns accompany him. What follows is a hidden Southern Soul gem, that was released on Jubilee in 1970. That was two years after Bobby Rush released Mary Jane on Galaxy in 1968. Bluesy and soulful, Mary Jane features one of the veterans of Southern Soul, Bobby Rush whose still playing live in 2015. So it’s fitting that Bobby Rush closes Back To The River-More Southern Soul Stories 1961-1978.
Nine years have passed since the release of the Take Me To The River: A Southern Soul Story 1961-1977. Since then, fans of Southern Soul have patiently awaited the followup. Recently, that wait was over, when Kent Soul, an imprint of Ace Records, have just released Back To The River-More Southern Soul Stories 1961-1978. This luxurious, and lovingly compiled three disc box set, features seventy-five songs, from the great and good of Southern Soul. There’s everyone from Southern Soul royalty like Otis Redding and Aretha Franklin, to Bobby Bland, Solomon Burke, Joe Simon, O.V. Wright, Esther Phillips and Sam Dees. Then there’sBrook Benton, Jimmy Lewis, Z.Z. Hill, Don Covay, Otis Clay, Fontella Bass and Aaron Neville. However, this is just the tip of a musical iceberg, which oozes quality.
So good is 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, and is the perfect Christmas present for soul man or woman in your life.
BACK TO THE RIVER-MORE SOUTHERN SOUL STORIES 1961-1978.
B.B. KING-HERE’S ONE YOU DIDN’T KNOW ABOUT-FROM THE RPM AND KENT VAULTS.
B.B. KING-HERE’S ONE YOU DIDN’T KNOW ABOUT-FROM THE RPM AND KENT VAULTS.
There aren’t many musicians who are still playing live aged eighty-nine. However, B.B. King was. He was still touring during 2014. Sadly, on October 3rd 2014, B.B. King had to call time on his performance at the House Of Blues in Chicago. When B.B. King left the stage, he was diagnosed with exhaustion and dehydration. That was the last time B.B. King took to the stage.
On May 14th 2015, B.B. King’s death was announced. The death of the eighty-nine year old bluesman was regarded as the end of an era. B.B. King was the seen as the last of generation of great American bluesmen, who were born into a very different world.
B.B. King was born Riley B. King, on September 16th 1925, in Itta Bena, Mississippi. His parents Albert and Nora Ella King, were sharecroppers. However, when Riley B. King was just four, Nora Ella King left Albert King for another man. This lead to the young Riley B. King moving to Mississippi, where he lived with his grandmother.
Soon, Riley B. King came to regard Mississippi as his home. He sung in the gospel choir Elkhorn Baptist Church in Kilmichael. Later, Riley B. King moved Pentecostal Church of God in Christ not for ecumenical reasons, but because of the music. The minister lead worship totting a Sears Roebuck Silvertone guitar. It was on that guitar, that Riley B. King learnt to play his first three chords. From that moment, he was hooked.
By the time he was twelve, Riley B. King owned his first guitar. Speculation surrounds how he came by it. In some interviews, B.B. King claimed to have paid $15 for it. That however, was a considerable sum of money on 1937. A more plausible explanation was that Bukka White gifted Riley B. King his first guitar. He was, Nora Ella King’s first cousin. Regardless of how Riley B. King came by his first guitar, little did anyone realise that musical history had been made.
Now the proud owner of his very own guitar, Riley B. King set about mastering his chosen instrument. He sat each day, practising, honing and refining his sound. This took time, as most of the time, Riley B. King had nobody to guide him. Occasionally, Bukka White stopped by. Mostly, though, it was just Riley B. King learning by trial and error. This was how he passed his time at night.
During the day, Riley B. King was a tractor driver at a plantation. That’s where he was in November 1941. Riley B. King was on a break, when he heard the radio show King Biscuit Time on KFFA which broadcast out of Helena, Arkansas. King Biscuit Time played the Delta Blues. As the eighteen year old Riley B. King listened, he was transfixed and began to dream, dream of leaving the plantation behind, and becoming a blues guitarist. That dream eventually came true.
It took two years, but eventually, Riley B. King left the plantation behind in 1943. He played guitar with the St. John’s Quartet. They were based in Inverness, Mississippi and gave Riley B. King the break he so desperately wanted.
Three years later, in 1946, Riley B. King made his way to Memphis, where he joined his uncle Bukka White. He looked after his nephew for the next ten months. During that period, Riley B. King had the opportunity to learn from a blues great. It was the equivalent of a musical education. When Riley B. King returned to Mississippi, he was a much better guitarist, and was determined to improve further.
When Riley B. King returned to West Memphis, Arkansas in 1948, he was a much better guitarist. The twenty-three year old had dedicated himself to learning his craft. This paid off, when Riley B. King got the opportunity to play on Sonny Boy Williamson’s radio show on KWEM, where he was well received by listeners. They wanted to hear more of the twenty-three year old bluesman.
Soon, Riley B. King’s star was in the ascendancy. He was playing all over West Memphis, and quickly, established a regular residency at Sixteenth Avenue Grill in West Memphis. Not long after this, Riley B. King had his own ten minute slot of WDIA. However, given how popular Riley B. King’s appearances were, he soon got his own show the Sepia Swing Club.
At WDIA, Riley B. King doubled as a singer and DJ. He was host and performer at the Sepia Swing Club, where he gain the sobriquet Beale Street Blues Boy. This was later shortened to B.B., and B.B. King was born.
With his newly acquired sobriquet, B.B. King greeted a guest who as visiting WDIA, T-Bone Walker. He came totting a new electric guitar. This was something that B.B. King had never seen before. Not many people had. T-Bone Walker pioneered the electric guitar, but sadly, doesn’t get the credit he deserves. For B.B. King it was love at first sight. He knew had to have an electric guitar.
B.B. King had np idea that the electric guitar was going to change musical history. Nobody did. Instead, many people thought the electric guitar was a gimmick. Not T-Bone Walker. He believed, and now so did B.B. King. He was determined he was going to have an electric guitar, and soon, had switched from acoustic to electric guitar.
In 1949, the electric guitar toting B.B. King signed to the Bihari brothers nascent label RPM Records. This wasn’t B.B. King’s first recording contract. He had recorded several songs for the Nashville based Bullet Record Transcription company. However, RPM Records would become home to B.B. King until he switched to another of the Bihari brothers new labels Kent Records. That was home to B.B. King until 1962, and was where he came of age musically. That’s apparent on Ace Records’ recent released, Here’s One You Didn’t Know About-From The RPM and Kent Vaults. It features twenty-five previously unreleased tracks from that B.B. King recorded between 1954 and 1962.
This period was an important one for B.B. King. Although he had been playing the guitar since he was twelve, the electric guitar was a whole new ball game. He had yet to hone and develop his trademark sound. By the time B.B. King left Kent Records, he played with a fluidity many guitarists envied. As he unleashed a solo, he bent the strings of the guitar, and introduced a shimmering, glistening vibrato. This was new and would change music. However, when B.B. King signed to RPM, he was one of the rising stars of the blues. Once again, the Bihari brothers had pulled off a musical coup, by signing the man who would be heralded as one of the greatest, and most influential guitarists in the history of music, B.B. King.
The earliest recordings on Here’s One You Didn’t Know About-From The RPM and Kent Vaults are The Woman I Love (Copper Colored Mama) and Whole Lotta Meat (a.k.a. Hey Little Girl). These two tracks were recorded on 6th February 1954, and find B.B. King striving for perfection. He was working his band hard, and was on his tenth take of Whole Lotta Meat (a.k.a. Hey Little Girl). Only when the song was error free would B.B. King be happy. Even after ten takes, B.B. King ensures the song swings. Other bluesmen wouldn’t have been as diligent, but by 1954, B.B. King was making a name for himself.
He had signed to RPM in 1949, and by 1954, was no stranger to the studio. That’s despite only switching to electric guitar in 1948. However, B.B. King was well on his way to mastering it as his performances on When My Heart Beats Like A Hammer and Don’t You Want A Man Like Me show. Both tracks were recorded during March 1954. When My Heart Beats Like A Hammer was the first take. However, B.B. King wasn’t happy, and the band recut the song. That was the case with the recording of Don’t You Want A Man Like Me? This was the third take. Still B.B. King wasn’t happy, and the band start all over again. It doesn’t matter whether it’s the third or tenth take, B.B. King ensures his band keep up their standards. That was the case through his career, which in the mid-fifties, was in its infancy.
It was the mid-fifties that B.B. King recorded Shut Your Mouth. It’s thought this take was recorded in 1954 or 1955. The version of Shut Your Mouth is gradually taking shape, but B.B. King, forever the perfectionist, knows he can do better. That was the case when B.B. King cut Talkin’ The Blues in 1955. By then, his trademark guitar sound is beginning to take shape. Accompanied by flourishes of piano, and a steady drumbeat, it’s one of B.B. King’s finest moments on Here’s One You Didn’t Know About-From The RPM and Kent Vaults.
There’s three takes of Sweet Little Angel on Here’s One You Didn’t Know About-From The RPM and Kent Vaults. The first was recorded in 1955 or 1956, the same time as Be Careful With A Fool was cut. An exact date of the recordings isn’t known. However, they’re interesting artefacts. B.B. King fluffs the introduction to Sweet Little Angel, and restarts. It’s as if the pressures off him, and he’s able to enjoy himself. That seems to the case on the version of Early In The Morning he recorded in 1956. Accompanied by a crack band and horn section, B.B. King showcases his considerable skills. With each passing year, he seemed to mature as a guitarist.
By 1958, B.B. King was edging ever nearer to his what became his trademark sound. That becomes apparent in You Know I Go For You and You’ve Been An Angel. Both were recorded during 1958, and feature B.B. King shimmering vibrato. He plays with a fluidity, and during the solo on You Know I Go For You, B.B. King and his guitar become one. It’s an impressive sound, and as the fifties were draw to close, B.B. King was becoming one of the biggest draws in blues music.
One of his last recording sessions of the fifties came on 26th October 1959, when he cut Going Down Slow. Ever the perfectionist, B.B. King wasn’t happy with the first version, and on the second take delivers an emotive, heartfelt vocal. It was closer to what B.B. King envisaged, but he called another take. Only the best was good enough for B.B. King. He had his reputation to protect.
When the sixties dawned, B.B. King and his band were travelling all over America, and further afield. B.B. King was now regarded as one of the biggest names in blues music. That’s despite other bluesmen having been around longer. So as 1960 took shape, thirty-five year old B.B. King found himself being compared to T-Bone Walker, Howlin’ Wolf, Muddy Waters, Little Walter and Sonny Boy Williamson. They would go on to influence a generation of musicians later in the decade. Before that, B.B. King had a lot of music to record.
During 1960, B.B. King spent a lot of time in the recording studio. That’s when it’s thought B.B. King recorded Be Careful Baby, which features a glistening, chiming solo and the vocal people came to know and love. It seemed B.B. King had come of age musically.
That becomes apparent on the other songs B.B. King cut during 1960. On 16h March, B.B. King recorded the third take of Partin’ Time. Less than a week later, on 22nd March he cut Soul Beat Aka Powerhouse. It’s also known as Swingin’ With Sonny. Here, it’s a case of swinging with B.B. King. Blazing horns, rolls of drums and stabs of piano accompany B.B. King in full flight. It’s a joy to behold, and this is a real find. So is the moody, melancholy version of Long Nights (The Feeling They Call The Blues). Then B.B. King delivers a needy vocal on I Gotta Find My Baby, whilst showcasing his now trademark sound. This hurt and pain continues on Long Nights (The Feeling They Call The Blues) and Loving You In Vain (Aka Heartache And Pain), as B.B. King brings the songs to life. By now, he’s a master craftsmen, whose served his time with the Bihari brothers.
By 10th April 1961, B.B. King had spent the last twelve years signed to the Bihari brother’s labels. During that time, he had matured as a musician, and his music evolved. Critics who had followed B.B. King’s career, said he come one leaps and bounds. He was a much better musician than he was in 1949, and was now regarded as one of the Bihiari brothers crown jewels. B.B. King was one of their biggest selling artists. So when he went into the studio, no expense was spared.
Strings were overdubbed onto Why Not, a song B.B. King was determined to nail. His band had had several run throughs, and the eighth take features on Here’s One You Didn’t Know About-From The RPM and Kent Vaults. With swathes of strings for company, and rasping horns punctuating the arrangement, Why Not shows a very different side of B.B. King. The song has a much smoother, slicker sound. All the rough edges have been smoothed away on Why Not, and a much more polished sound. However, B.B. King hadn’t turned his back on the blues.
Later in 1961, B.B. King reinvented Catfish Blues (a.k.a. Fishin’ After Me) in the studio. He takes the song apart, and rebuilds it, transforming it into something nobody every envisaged. Then on the sixth take of Bad Case Of Love, B.B. King is one step closer to finally putting the track to bed. Despite needing so many takes, B.B. King still gives his all. He was a perfectionist, and would be throughout his time at Kent Records, and beyond.
B.B. King’s time at Kent Records was almost at an end. 1962 was the year B.B. King and the Bihari brothers parted company. Before that, B.B. King recorded Whole Lotta’ Love and I Wonder Why on 9th January 1962. Then later in 1962, B.B. King moved on, and signed to ABC-Paramount.
It was at ABC-Paramount where B.B. King enjoyed the most successful period of his career. However, it was the Bihari brothers that gave B.B. King his big break.
During the thirteen years he was in the Bihari brother’s employ, B.B. King came of age musically. Gradually, his trademark vocal and guitar sound took shape. This didn’t happen overnight. It took years. By the late fifties, the B.B. King that many people came to know and love, was starting to take shape. As the sixties dawned, B.B. King was regarded as one of the biggest names in blues music, who later in sixties, would influence everyone from the Rolling Stones to Eric Clapton, Cream and The Animals. By then, Kent Records was just a distant memory for B.B. King.
Throughout the rest of the sixties seventies, ABC was home to B.B. King right up until 1978. He was the most successful and lauded bluesman of his generation. B.B. King had introduced many people to the blues. When he played sell-out shows across America, it was to multi-racial audiences. Commercial success and critical acclaim had come his way.
Right up until 1983, B.B. King’s albums featured on the US Billboard 200 charts. Latterly, they struggled at the lower reaches of Billboard 200 charts. However, B.B. King was an almost permanent the US R&B charts until 1985. By then, B.B. King was signed to MCA which would his home right up until 2003. Commercial success was much more sporadic for B.B. King. That was until the new millennia dawned.
As the new millennia dawned, B.B. King released Riding With The King, his collaboration with Eric Clapton. It was released in 2000, and reached number three in the US Billboard 200. B.B. King’s first album of the new millennia sold over two million copies. However, after that, 2001s A Christmas Celebration Of Hope and 2001s Reflections struggled in the lower reaches of the charts. It was only when B.B. King was joined by the great and good of modern music, that B.B. King was riding high in the charts again.
To celebrate B.B. King’s eightieth birthday, B.B. King and Friends was released in 2005, and reached forty-five in the US Billboard 200. This proved to be the penultimate studio album of B.B. King’s recording career.
B.B. King returned in 2008 with One Kind Favour, which was produced by T-Bone Burnett. It reached number thirty-seven in the US Billboard 200, and won the Grammy Award for Best Traditional Blues Album at the 51st Grammy Awards. B.B. King would have a hard job to surpass a Grammy Award winning album.
Winning a Grammy Award was one of the biggest honour for any musician. Even one as experienced as B.B. King. He never released a followup to One Kind Favour, and B.B. King was like the heavyweight champion who retired undefeated. However, B.B. King wasn’t for retiring.
Six years later, and B.B. King was eighty-nine. He was showing no sign of slowing down. B.B. King was still touring during 2014. Sadly, on October 3rd 2014, B.B. King had to call time on his performance at the House Of Blues in Chicago. When B.B. King left the stage, he was diagnosed with exhaustion and dehydration. That was the last time B.B. King took to the stage.
On May 14th 2015, B.B. King’s death was announced. The death of the eighty-nine year old bluesman was regarded as the end of an era. That day, music lost the man many call The King Of The Blues, B.B. King, who was one of the most influential blues’ guitarists of his generation. That didn’t happen overnight.
Not at all. It happened between 1949 and 1962, when B.B. King was in the Bihari brother’s employ at RPM and Kent Records. That’s where B.B. King recorded the twenty-five tracks on Here’s One You Didn’t Know About-From The RPM and Kent Vaults, which features B.B. King coming of age musically, and maturing into the one of the best blues guitarists of his generation.
B.B. KING-HERE’S ONE YOU DIDN’T KNOW ABOUT-FROM THE RPM AND KENT VAULTS.
THE MURMAIDS-A FEW OF THE THINGS WE LOVE.
THE MURMAIDS-A FEW OF THE THINGS WE LOVE.
Musical history is littered with one-hit wonders. Their brush with commercial success is brief, but tantalising. Once an artist or band has enjoyed one hit single, they want another. That’s not surprising.
Commercial success, and the fame and money it can sometimes bring, are as powerful as any drug. Once experienced, an artist can spend the rest of their career trying to reach the same heights. Sadly, often, a band never comes close. Never again, do they enjoy another hit single. Instead, they’re remembered as a one-hit single. That was the case with The Murmaids, who had an enviable musical pedigree.
Two of The Murmaids were sisters Carol, and Terry Fischer. Two generations of their family had been involved in music. Their grandmother, and her three sisters had been part of a vaudeville act, The Locus Sisters. However, Carol and Terry Fischer’s parents were also steeped in music.
Carl Fischer had been a successful songwriter and arranger. He had written You’ve Changed, which was recorded by Billie Holliday. Then during a ten year period where Carl Fischer was Frankie Laine’s musical director, he wrote the jazz standard We’ll Be Together Sadly, tragedy struck in 1954 when Carl Fischer died suddenly. With two young daughters to support, Terry Fischer Sr. returned to singing with with big bands.
That was what Terry Fischer Sr. had been doing when she met Carl Fischer. She had sung with various big bands, and became the first female vocalist in Stan Kenton’s Orchestra. So it was almost inevitable that the Fischer’s daughters would enjoy a career in music.
Terry Fischer Sr. encouraged and supported her daughters, who were proving to be talented singers. They were active in their school’s glee club, and by high school, were music majors. It was around this time, that Carol and Terry met an young songwriter and producer, Mike Postil.
The future Mike Post had just graduated from Los Angeles University High, and had written some songs. Once he had recorded these songs, he would shop them around town. There was a problem though, Mike Post had nobody to sing backing vocals on his demos.
By 1963, Carol who was fifteen, and Terry who was seventeen. were living in Los Angeles. They had been singing friend and neighbour, seventeen year old Sally Gordon for some time. With Terry Fischer Sr.’s help, they were a polished and professional trio. This was what Mike Post was looking for.
When Mike Post met Carol, Terry and Sally, he knew that he had the backing vocalists that he had been looking for. They sang backing vocals on demos for producer Mike Post. Sometimes, Mike Post would bring them in to add backing vocals on some of his productions at Gold Star Studios. That’s where Kim Fowley first came across the trio.
By 1963, producer and and songwriter Kim Fowley, who was another alumni of LosAngeles University High, was working at Gold Star Studios’ in-house producer. He had enjoyed hits with Nut Rocker and Alley Oop. However, the twenty-four year old was keen to forge a career as a producer, and had taken the job at Gold Star Studios. That’s where he first heard the trio sing. Realising that they were talented, he offered to record them. This was the breaking the trio had been looking for, and they jumped at what could be a once in a lifetime opportunity.
The trio’s first recording session with Kim Fowley was hardly a resounding success. He had them record a version of Alley Oop. However, the song didn’t work. Despite that, Kim Fowley wasn’t going to give-up on the trio.
Fortunately, Kim Fowley encountered a talented, but as yet, unknown singer-songwriter, David Gates. The future founder of Bread was driving along one day, when he saw a hitchhiker. Curiosity got the better of David Gates. He stopped and picked up Kim Fowley.
Soon, the two men got talking, and Kim Fowley volunteered that he was a producer. David Gates told him he was a songwriter, and had written a song for a girl group. He reached into the back seat, and produced a guitar, and proceeded to play Kim Fowley Popsicles and Icicles. When Kim Fowley heard the song, he had David Gates send him a demo, as he had someone in mind for the song.
Originally, Kim Fowley felt Popsicles and Icicles would be perfect for Skip Battin, who previously, had been one half of Skip and Flip. Skip Battin passed on the song. It was only Kim Fowley remembered the trio he had recorded at Gold Star Studios.
Kim Fowley even had a label lined up for the song. This was Chattahoochee Records, an imprint of Conte Records. It had been formed by Ruth Conte Yardum, with the help of Kim Fowley. Originally, it was to release singles by actor-singer John Conte, However, Conte Records had a pop imprint, Chattahoochee, which Kim Fowley owned a share in. This was the label Kim Fowley planned to release Popsicles and Icicles. All he had to do was firstly to convince Ruth Conte Yardum about the merits of his master plan, and then convince Terry Fischer Sr. that this was the right song for her singing trio.
Having convinced Ruth Conte Yardum that Popsicles and Icicles had the potential to be a hit, and that he could record the single for $100 using three high school students, Kim Fowley’s only potential obstacle was Terry Fischer Sr. He won her over, convincing Terry Fischer Sr. that Popsicles and Icicles had the potential to be a hit. Only then, could Kim Fowley book time at Gold Star Studios. Now he could concentrate on recording the trio’s debut single. However, the trio needed a name.
When the trio arrived at Gold Star Studios, they were now called The Murmaids. Terry Fischer was The Murmaids’ lead singer, and Carol and Sally would add harmonies. The Murmaids were shown the five tracks that Kim Fowley wanted them to record. This included Blue Dress, Bunny Stomp, Comedy and Tragedy and Huntington Flats. However, one track stood head and shoulders above the rest, the David Gates’ penned Popsicles and Icicles. It features on A Few Of The Things We Love, which was recently released by Ace Records, which is the most comprehensive overview of The Murmaids’ career. A Few Of The Things We Love features all The Murmaids’ singles, including Popsicles and Icicles.
Given that funds were limited, it was always going to be touch and go whether The Murmaids could record two tracks in the time allotted. They managed to record Popsicles and Icicles but there was no time left to record a B-Side. This didn’t faze Kim Fowley.
Once Kim Fowley tallied up the costs, it came to $108. He hadn’t quite recorded the single for the $100 he had predicted. However, he was convinced he had a hit on his hands.
That’s despite not having recorded a B-Side. So Popsicles and Icicles was paired with a surf styled instrumental Bunny Stomp. Then Popsicles and Icicles was released in early November 1963. Straight away, The Murmaids’ debut single was being played on the radio. From 119 in the US Billboard 100 on 9th November 1963, Popsicles and Icicles reached sixteen by the 16th November 1963. Eventually, in the charts of 11th December 1963, Popsicles and Icicles peaked at number three on the US Billboard and Cash Box charts. However, in Record World Popsicles and Icicles, which opens A Few Of The Things We Love, reached number one. Little did The Murmaids realise that Popsicles and Icicles would become their only hit single, and they had just joined the ranks of the one-hit wonders.
For their sophomore single, another David Gates’ composition was chosen, Heartbreak Ahead. On the flip side was He’s Good To Me. Both sides feature on A Few Of The Things We Love. Kim Fowley wasn’t going to let the record buying public forget The Murmaids, so released Heartbreak Ahead on Chattahoochee Records whilst Popsicles and Icicles was still in the top thirty. This backfired on Kim Fowley, and Heartbreak Ahead stalled at 116 in the US Billboard 100. After two weeks, at 116 in the US Billboard 100 it was a case of Heartbreak Ahead for The Murmaids.
They were on a roller coaster. Their debut single reached the top five in the US Billboard 100, but the followup failed commercially. There was nothing wrong with the song. The Murmaids brought the lyrics to life. Maybe the blame lay at Kim Fowley’s door?
It could be argued that Heartbreak Ahead was released too soon? Suddenly The Murmaids had two singles competing for radio play. Three if The Lady Bugs’ cover of How Do You Do It was counted.
Rather than concentrate his efforts on getting The Murmaids career back on track, Kim Fowley had Carol and Terry Fischer record How Do You Do It with Jackie DeShannon. How Do You Do It had given Gerry and The Pacemakers a number one single. The Lady Bugs version was released in February 1964, but failed to make an impression on the charts. This was a worrying trend.
Later in 1964, The Murmaids released their third single, Wild And Wonderful. It came from the pen of the Brill Building songwriting team of Ben Raleigh and Barkan. They had just written Lesley Gore’s She’s A Fool. For the B-Side, Sam Friedman’s Bull Talk. These two tracks were supposed to get The Murmaids’ career back on track.
On its release, Wild And Wonderful never came close to troubling the charts. That’s despite its summery sound. Wild And Wonderful became The Murmaids’ second single that failed to chart. Things weren’t looking good for The Murmaids.
After the success of Popsicles and Icicles, major record labels came knocking on The Murmaids’ door and wanting to buy out their contract with Chattahoochee. Terry Fischer Sr. who was managing the group’s career, decided that they should stay to Ruth Conte Yardum and her Chattahoochee Records. That proved to be a big mistake.
As the summer of 1964 drew to a close, Terry Fischer and Sally Gordon were about to leave home, and head to college. They needed the royalties from Popsicles and Icicles to pay their way through college. However, they weren’t forthcoming.
This lead to Chattahoochee Records having to circulate a memo to other record labels explaining why The Murmaids hadn’t been paid. The memo explained that the funds in a trust for each member of The Murmaids. However, Chattahoochee Records alleged that the agreement hadn’t been honoured by Terry Fischer Sr; and claimed that Sally Gordon had received her funds. The label further claimed that Terry Fischer Sr. had stipulated that the only apart from Terry Fischer, she had the final say over the other two members participation in the group. However, even fifty-one years later, some of Chattahooche Records claims are disputed.
Recently, Terry Fischer claimed that when The Murmaids received their first royalty statement; “it showed that we were owed nothing at all!” The expenses charged by Chattahoochee Records amounted to $10,000, exactly the sum The Murmaids were owed. Further muddying the waters, was Kim Fowley’s claim that The Murmaids were in breach of contract for recording with The Rip Chords. However, their producer Terry Melcher disputes this claim. What was clear, was that all wasn’t well with The Murmaids and Chattahoochee Records.
Despite this, Chattahoochee Record decided to reissue Bull Talk. The former B-Side was about to enjoy its moment in the sun. There was a reason for this. Shirley Ellis’ single Name Game was riding high in the charts, and just about to reach the top twenty. By then, teenagers were adding the word “bull” to sentences, so that adults wouldn’t be able to understand what they were saying. Ruth Conte Yardum and Kim Fowley thought they could jump on the “bull” bandwagon, and score a novelty hit. That wasn’t the case. Kim Fowley had another plan up his sleeve.
He decided to repress Popsicles and Icicles. However, he needed a B-Side, so drafted in five new girls who recorded as The Murmaids. They got to sing on the B-Side Comedy and Tragedy, by agreeing to phone a local radio station, and request Popsicles and Icicles. The song that was chosen was played non-stop for a week. However, Comedy and Tragedy wasn’t the only B-Side to the newly reissued Popsicles and Icicles.
When Popsicles and Icicles began garnering more radio play, three other versions of the single were pressed. Each had a different B-Side. Bunny Stomp was followed by Huntington Flats and Blue Dress. As as all this unfolded, the “real” Murmaids were “baffled.” Their group had essentially been hijacked by Kim Fowley and Chattahooche Records. Despite this betrayal, Terry Fischer and the rest of the Murmaids returned to the studio.
With Popsicles and Icicles growing in popularity once again, The Murmaids went into the studio and recorded enough music for an album. However, that album was never released until 1980. To make matters worse, The Murmaids were never paid for the session. That wasn’t the end of The Murmaids saga.
Rubbing salt in the the real Murmaids’ wound, was that two singles were released baring The Murmaids’ name. Whether any of the original lineup of The Murmaids sung on the two singles is the subject of debate?
The first was Stuffed Animals, which featured Little White Lies on the flip side. On its release, Little White Lies claims to have been: “Produced and Recorded in Britain by Kim Fowley.” Who sung on the single is still disputed. However, when Stuffed Animals was released as a single, it failed commercially. So did the followup.
The Cathy Brasher penned Go Away was chosen as The Murmaids’ next single. On the flip side was Little Boys, which Yvonne Vaughan wrote. When Go Away was released in 1966, the single failed to chart. That was all that was heard of The Murmaids until 1968.
After two years away, The Murmaids returned in 1968 with their swan-song Paper Sun. It was released on Liberty, with Song Through Perception on the B-Side. The only original member of The Murmaids was Sally Gordon. Even she couldn’t revive the group’s flagging fortunes. After five eventful, off and on years, The Murmaids were history.
Fast forward to 1980, and The Murmaids Resurface was belatedly released on the Chattahoochee Records. It featured previously unreleased including Don’t Forget, Alone, Three Little Words, Mr. Sandman, Playmates, So Young and You Cheated. At last, the songs The Murmaids had recorded for the album all these years ago, had been released. It was just a pity nobody bothered to tell Terry Fischer about the release of The Murmaids Resurface.
Terry Fischer only found out about The Murmaids Resurface when a friend discovered a copy at a record fare in the Mid West. They sent Terry Fischer a copy of The Murmaids Resurface. When Terry Fischer looked at the credits to The Murmaids Resurface the producer was Ruth Conte. This was just the latest twist to The Murmaids story. Seventeen years after they first signed to Chattahooche Records, The Murmaids was proving to be the gift that kept on giving.
That wasn’t the case for Terry Fischer and the other two Murmaids. Even today, they’ve no idea of how many records they really sold. That’s ironic.
After the commercial success of Popsicles And Icicles, major labels were knocking on Terry Fischer Sr’s door. They wanted to buy The Murmaids’ contract out, and sign them to their label. Terry Fischer Sr. decided to stay loyal to the label that gave The Murmaids’ their break. Sadly, that proved to be her big mistake.
If The Murmaids had signed to a major, they could’ve enjoyed a much more successful career. They wouldn’t be remembered as a one-hit wonder. The Murmaids, a talented trio, deserved much better. Certainly much better than happened next.
Less than a year later after spurning the advances of major labels, The Murmaids never received the royalties they were owed. This couldn’t have come at a worse time, as Terry and Sally Gordon were about to head off to college. By then, The Murmaids’ story was almost at an end. It had lasted around six months.
During that period, The Murmaids had played live a few times, and made a couple of appearances on television. After six months, The Murmaids’ story was all but over. That’s despite singles being released for another four years.
These singles were either songs the original lineup of The Murmaids recorded, or different lineups put together by musical ‘impresario’ Kim Fowley. The only other time Terry Fischer entered a recording studio as a Murmaid, was to record The Murmaids Resurface, which was belatedly issued in 1980. By then, The Murmaids had long joined the one-hit wonder club.
While the one-hit wonder club may not be the most exclusive club in the world, at least The Murmaids enjoyed a brief, but heady taste of fame and commercial success. Although it didn’t last long, nor proved particularly profitable, at least The Murmaids enjoyed their moment in the spotlight, and enjoyed what every band dreams of, a hit single. So what if it was only the one. It’s better than none. That hit single, Popsicles and Icicles, features on A Few Few Of The Things We Love,which features all of The Murmaids singles and eight of the songs on The Murmaids Resurface. This makes A Few Few Of The Things We Love, the definitive retrospective of The Murmaids music.
THE MURMAIDS-A FEW OF THE THINGS WE LOVE.
LARAAJI-AMBIENT 3 (DAY OF RADIANCE)-VINYL EDITION.
LARAAJI-AMBIENT 3 (DAY OF RADIANCE)-VINYL EDITION.
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 on vinyl 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. However, growing up, the music that inspired Laraaji was very different to the groundbreaking music he went on to create,
The Laraaji story began in Philadelphia in 1943. That was where he was born Edward Larry Gordon. At an early age, Edward and his family moved to New Jersey.
That was where he studied violin, piano, trombone and singing. At high school, Larry played in the school band and orchestra. Music was part of Larry’s life. He was exposed to an eclectic range of music. His family attended the local Baptist church, so Larry heard choral and gospel music, as well as negro spirituals. At home though, Larry heard very different music.
He sat and absorbed everything from jazz, R&B and rock ’n’ roll. The great piano players inspired Larry. This included Oscar Peterson, Fats Domino and Ahmad Jamal. So it was no surprise that having graduated from high school, Larry decided to study music.
Having won a scholarship to study piano and composition, Larry headed to one of the most prestigious universities in America, Howard University, in Washington D.C. He spent the next few years immersed in music. It seemed that Larry was destined to pursue a career in music. That wasn’t the case.
After graduating from Howard University, Edward decided not to pursue a career in music. Instead, Larry decided to pursue a career as a standup comic. His love of comedy began in college. Then when he left University, Larry and his comedy partner decided to head to New York to audition at the Bitter End, who regularly held talent shows. This was where Bill Cosby’s comedy career began. For an aspiring comedian, this seemed the perfect place to launch their new career. However, the night Larry and his comedy partner were meant to make their debut, his partner never turned up. Having been left in the lurch, he had to make his debut as a solo artist. He was well received. That was the start of Larry’s comedy career. Soon he became a regular on the New York comedy circuit. Comedy wasn’t the only career Larry had.
Through his exploits as a comedian, Larry came to the attention of Ernestine McClendon, who was a respected theatrical agent. She took Larry under her wing and guided his nascent career. Larry was sent to auditions, and soon, was appearing on television commercials, in theatre and even in films. One of these films Putney Swope. Much of the film was improvised. When it came out, it inspired Larry to look at the role of the mass media. Looking for answers, Larry read books and learnt to meditate.
To help him, he turned to teachers who taught Larry how to mediate. He soon was practising meditation and calisthenics. Larry was also using piano exercises as an outlet. This is how he discovered spontaneous music. Everything was improvised, off-the-cuff and experimental. Straight away, Larry realised the possibilities were endless. However, meditation was key to this. He could do with music and art now he’d discovered meditation. Discovering meditation was akin to a spiritual awakening. Before long, the next part of Larry’s Meditation spiritual awakening took place.
Around 1974 or 1975, Larry living near JFK airport. One night he had been out walking, and on his return home, he started hearing what he describes as “the music of the spheres.” This was akin to a cosmic symphony. The music was joyous and celebratory. Larry became part of the music. He was at one with the music. The whole experience had a lasting effect. It was a spiritual and cosmic awakening. Suddenly, he understood things that had puzzled him. Things made sense after what Larry refers to as “a trigger for a cosmic memory.” It was as if Larry had been enlightened. However, he wanted to know more about what had happened. So, he embarked on a course of study.
To further understand what had happened to him, Larry embarked upon a study of Vedic teachings. Part of the Vedic teachings is that the yogis hear music in layers. This is what Larry had experienced, and why he was able to describe the music so vividly. His teachers told him he’d reached such a high level of consciousness that he was able to see things differently from most people. It seemed his spiritual and cosmic awakening was almost complete. Now he wanted to recreate the music he’d heard.
At last, Larry was able to put his musical education to good use. He’d always played music, even when he was working as a comedian and actor. Latterly, he’d been playing the Fender Rhodes. However, Larry was fed up having to transport such a heavy instrument. One night as he was preparing to go onstage, he told his “cosmic ear” he would “like a lighter instrument to share his musical consciousness with the world.” A few days later, he found himself in a pawn shop, ready to pan his guitar, when out of nowhere, a voice told Larry to swap his guitar for a stringed instrument in the shop window. This was an autoharp. Now all Larry had to do was master this new instrument.
When Larry took the instrument home, he tuned it to his favourite piano chords and open guitar tunings. The effect this had, was to return it to what was essentially a zither, whose roots can be traced back the the ancient, traditional instrument the kithara. Gradually, through a process of experimentation, Larry discovered what the autoharp was capable of. Then when he added an electric pickup, this was a game-changer. The possibilities were endless. He was able to begin creating the music he’d heard that fateful night, albeit with a little help from a friend.
Not long after Larry begin playing the autoharp, he was strumming and plucking it like a guitar. That seemed the way to play the autoharp. That’s until he met Dorothy Carter. She was hammered dulcimer artist and encouraged Larry to play his autoharp with hammers. The other thing Dorothy did, was invite Larry to the Boston Globe Music Fest. That’s where Larry met another innovator.
At the Boston Globe Music Fest, Larry met Steven Halpern. It’s no exaggeration to say, that he is a pioneer of new age music. Meeting Steven exposed him to music that he never new existed. It changed Larry’s way of thinking. He realised that music didn’t need to follow the structures that he’d been taught. Music didn’t need to have a beginning, end or even a melody. Instead, it could be a freeform stream of consciousness. There was room for experimentation and improvisation within music. For Larry this changed his approach to music. Inspired and confident in his ability to play the autoharp, Larry was ready to make his debut.
They say all the world is a stage, well that proved to be the case for Larry. He made his debut as a busker on the streets of New York in 1978. A year later, Larry was still busking. However, he was playing in a different location. This proved fortuitous. Some would say it was fate.
Larry was now busking in Washington Square Park. He sat on top of a blanket, cross-legged and with his eyes closed, played his zither using the open tunings he favoured. So he never saw Brian Eno standing watching him. The Godfather of ambient music was transfixed. He’d been walking through the park with Bill Laswell and came across a fellow innovator. Recognising the potential that Larry had, Brian Eno wrote a message to Larry on a piece of paper.
This message asked whether Larry would be interested in working with him on a recording project. For Larry this was kismet. A few weeks previously, people watching Larry play suggested Larry might like Brian Eno and Robert Fripp’s music. Here, lying at his feet when he opened his eyes after playing, was a message from Robert Eno. This Larry felt was an example of cosmic synchronicity. So he contacted Brian Eno.
The next day they met and spoke about ambient music and electronics. Straight away, they got on. Three weeks later, Larry now calling himself Laraaji, headed to Apple Studios, in Green Street, New York. That was where Ambient 3 (Day Of Radiance) was recorded.
When Laraaji arrived at Apple Studios, he brought with him his zither and dulcimer. He also brought the five songs he had composed. Along with producer Brian Eno, they recorded the five tracks.
As the session got underway, Laraaji’s 36-stringed open-tuned zither was treated and amplified. Then when played his dulcimer, he used a series of hammers. Brian Eno added a variety of instruments and effects, which added the all important layers to the five tracks. Once the five tracks were recorded, they became Ambient 3 (Day Of Radiance). It was released later in 1980 and was the latest instalment in a groundbreaking series.
The story started in 1978, when Brian Eno had released his ambient classic, Ambient 1 (Music For Airports). This was one of Brian Eno’s finest albums of the seventies. However, it was another two years before he returned with the next instalment in the series.
Ambient 2 (The Plateaux Of Mirror) was released earlier in 1980, Brian Eno had collaborated with Harold Budd. It was a tantalising prospect, two of ambient music’s pioneers collaborating on an album. On Ambient 2 (The Plateaux Of Mirror)’s release, it didn’t disappoint. With the two colossi of ambient music pooling their resources, it was a fitting followup to Ambient 1 (Music For Airports). This must have left Brian Eno with a dilemma, how do followup Ambient 2 (The Plateaux Of Mirror)? Then fate intervened, and he encountered Laraaji busking in Washington Square Park.
He was the perfect person to record the next instalment in the Ambient series. So Brian left a note asking Laraaji to call him, and the rest was history. They had recorded an album together, and later in 1980, Ambient 3 (Day Of Radiance) was just about to be released. Before that, the critics had to have their say.
For many artists this is a worrying time. Especially, with a left field project. There’s always the possibility that critics won’t understand the music. In the post punk days, the snarling angry young gunslingers in the music press weren’t exactly accommodating to music that didn’t fit their particular agenda. However, some critics gave Ambient 3 (Day Of Radiance) a chance, and realised that this was a groundbreaking album. Elements of ambient, electronica, folk and world music combined on Ambient 3 (Day Of Radiance). Thirty-seven year old Laraaji’s debut album was on its way to becoming an ambient cult classic. No wonder.
Opening Ambient 3 (Day Of Radiance) The Dance #1. Spacey, flourishes of Laraaji’s hammered dulcimer add a dreamy, meditative sound. Then it’s all change. Laraaji plays with a degree of urgency. It’s as if he’s determined to get his ideas down on tape. His playing is impassioned and relentless. Soon, the music takes on a rhythmic, mesmeric quality as it washes over the listener. They bathe in its glistening beauty as the arrangement literally dances, and captivates. Subtle, distant, washes of synths, and later a zither is added. They’re the perfect foil for the relentless energy. Together, they’re responsible for what’s akin to a cathartic outpouring of ideas and energy from Laraaji. It’s is been waiting years to take listeners on his magical, mesmeric, rhythmic and meditative musical journey.
Again, washes of dulcimer ring out in The Dance #2, giving the track a spiritual sound. It’s like some cosmic call to worship, in a 21st century temple. In the background, there’s a almost industrial sound. It has a mesmeric, machinelike sound, as if saying: “chop that wood and carry water.” Later, a wash of celestial sound arise from the arrangement. They wash over the listener, soothing their weary soul. By then, the industrial sound is much more prominent. Despite that, it’s still melodic, celestial and like The Dance #1, has a mesmeric and rhythmic sound.
Stabs of shimmering, glistening dulcimer open The Dance #3. Soon, the music grows in power, and begins to jar. It threatens to become discordant. That’s because Brian Eno has slowed the tape down. This has the effect of the sound vibrating and become deep and distorted. It’s worth it though, when an ethereal and celestial sound shines through. From darkness, there’s light and ethereal beauty, on this three minute soundscape where contrasts are omnipresent.
Meditation #1 is a nineteen minute. Understated, dreamy and spacey, gentle washes of zither ripple slowly. They wash over the listener, and have a meditative quality. It’s a case of less is more. Space is left between the notes. A chiming cheeping sound resonates, before there’s near silence. Many artists fear silence. For them, it’s the elephant in the room. It allows the listener to reflect, before the arrangement glistens and shimmers. There’s a hypnotic quality. Mostly, though, the music’s serene, ethereal beauty washes over the the listener, allowing them to bathe and cleanse their weary soul.
Closing Ambient 3 (Day Of Radiance), is Meditation #2. Slowly and thoughtfully, the zither reverberates into the distance. This is the result of Brian Eno treating Laraaji’s zither electronically. His treatment and the zither’s long decay-rate creates what can only be described as an ethereal sound. Washes of synths and dulcimers are added, creating a shimmering soundscape. One minute there’s an element on drama, the next there’s near silence. From there, the arrangement meanders along, glistening and shimmering. The music is ethereal and elegiac. Sometimes, it hypnotic, and always is captivating. Briefly, Laraaji springs a surprise when dramatic flourishes of his zither add a contrast. Later, the arrangement returns to its understated, spacious and elegiac sound. By then, Laraaji’s music is reminiscent of Brian Eno’s classic seventies ambient music. It seems the pupil has learnt from the master, as Ambient 3 (Day Of Radiance) is an ambient classic.
That’s why Glitterbeat’s recent reissue of Ambient 3 (Day Of Radiance) is to be welcomed. It’s an ambient classic, that for far too long, has been overlooked. Especially, when compared to other albums in the Ambient series.
Brian Eno’s Ambient series started with Ambient 1 (Music For Airports). It’s an ambient classic. However, it was another two years before he returned with the next instalment in the series.
Ambient 2 (The Plateaux Of Mirror) was released earlier in 1980, Brian Eno had collaborated with Harold Budd. This was a tantalising prospect. Here were two of ambient music’s pioneers collaborating on an album. They didn’t disappoint. Not only did the two colossi of ambient music produce a fitting followup to Ambient 1 (Music For Airports), they whetted record buyer’s appetites for the next instalment in the series.
Rather than bring onboard one of the big names in ambient music, Brian Eno brought onboard an unknown. It was Rocky-esque.
Laraaji had been in training for this opportunity for years. This included years spent busking on the Big Apple’s streets. Then fate brought Brian Eno and Laraaji together. The result was Ambient 3 (Day Of Radiance), the album that introduced Laraaji to a wider audience.
When they dropped the needle on Ambient 3 (Day Of Radiance), they heard music that was variously beautiful, dreamy, elegiac, ethereal, melancholy, mesmeric and rhythmic. Other times it’s challenging, meditative, otherworldly and spiritual. Always, the music on Ambient 3 (Day Of Radiance) was innovative. It was a fusion of ambient, Arabic, avant-garde, electronic, experimental, neo-industrial and world music. However, just like so many musical innovators, many people didn’t understand Laraaji’s music.
It wasn’t just Laraaji’s music people didn’t understand. They didn’t understand ambient music per se. Ambient music was very different to most commercial music. Throughout the seventies, it had been overlooked by most people. Instead, Philly Soul, disco and punk proving the soundtrack to the seventies. This was formulaic, disposable music at its worst. However, this music for social dopes was filling the charts and polluting the airwaves. Sadly, ambient, Komische and progressive rock were all being overlooked. That was music for the mind, rather than the feet. However, thankfully, times have changed.
Over the last few years, a new generation of record buyers have rediscovered Laraaji’s music. Somewhat belatedly, Laraaji’s music has found the audience it so richly deserves. This includes Ambient 3 (Day Of Radiance), Laraaji’s collaboration with Brian Eno.
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.
LARAAJI-AMBIENT 3 (DAY OF RADIANCE)-VINYL EDITION.
LINK WRAY-EARLY RECORDINGS AND GOOD ROCKING TONIGHT.
LINK WRAY-EARLY RECORDINGS AND GOOD ROCKING TONIGHT.
Nowadays, Link Wray is regarded as one of greatest guitarists in musical history. Link Wray influenced everyone from Jimmy Page and Neil Young to Iggy Pop. He also popularised the power chord in his 1958 instrumental hit Ray Gun. For that alone, several generations of guitarists owe Link Wray a debt of gratitude. Sadly, neither in life nor death, Link Wray never deserved the recognition he so richly deserved. Then nearly eight years after his death, it looked like Link Wray was going to be inducted into the Rock ’N’ Roll Hall Of Fame.
That however, that was a shameful fiasco. On October 16th 2013, it was announced that Link Wray had been nominated to be inducted into the Rock ’N’ Roll Hall Of Fame. Sadly, this never came to pass.
When the great and good gathered at a glittering and ostentatious ceremony in 2014, Link Wray wasn’t inducted into the Rock ’N’ Roll Hall Of Fame. Once again, a musical pioneer had been treated shabbily by the Rock ’N’ Roll Hall Of Fame.
Since then, British reissue label Ace Records, have been doing their best to introduce Link Wray’s music to another musical generation. Earlier, this year, Ace Records reissued 3-Track Shack, which features the three albums that Link Wray recorded at his brother’s home studio, Link Wray, Mordicai Jones and Beans and Fatback. These three albums were released between 1971 and 1973. However, Link Wray had been realising music since 1956. There was certainly life before the 3-Track Shack trilogy.
Proof of this, can be found on Ace Records recent Link Wray release. It features two albums Ace Records Early Recordings, compiled and released. The first was 1978s Early Recordings, with Good Rocking Tonight following in 1982. These two albums feature on one disc, which is simply entitled Early Recordings and Good Rocking Tonight. It’s a reminder of a musical innovator as he set about making musical history. Link Wray’s story began on May 2nd 1929.
That’s when Link Wray was born in Dunn, North Carolina, to Fred Lincoln Wray, Sr. and his wife, Lillian M. Wray. Link Wray’s mother was a Shawnee Indian, and later, Link Wray was proud of his heritage. However, this caused problems growing up.
North Carolina in the thirties was Klu Klux Klan country. Life was tough for the Wray family. At nights, the Klan came calling, wearing their white capes and carrying burning crosses. In the local community, African Americans and Link Wray’s mother feared for their life. They had no option but to hide under their bed, until the Klan left. It was a tough upbringing for Link Wray. To make matters worse, the family were poor.
Link Wray’s father had been pensioned out the US Army. His disability cheque allowed the family to survive the depresson…just. The house had dirt floors, and didn’t even have electricity. However, somehow, Link’s mother and father found the money to buy his elder brother Vernon an acoustic guitar.
When Vernon showed little interest in his guitar, fourteen year old Link Wray picked up the guitar. Link tried to teach himself, and used to sit in the porch strumming and picking his guitar. Then one day, a member of a passing circus saw Link playing his guitar. Realised the young man was struggling, the stranger, who called himself Hambone, showed him how to tune and then play the blues guitar. He showed Link open chords, and how to play the guitar with his fingers and even a knife. It was a masterclass from Hambone, who was just as comfortable playing drums and horns. Having showed Link how it was meant to be played, Hambone left Link playing his guitar, However, every time the circus passed through town, Hambone stopped by, to see how his pupil was progressing.
By the time Link Wray was sixteen, he was more than proficient guitarist. He spent a lot of his spare time listening to the blues. Some of the Wray’s neighbours enjoyed the blues. When they threw open their windows, the music spilled out. As Link sat there, he listened and learnt. For Link, it was part of his musical education, which was going pretty well. He had mastered the guitar.This was just as well. Link was about to leave school.
After a teacher threatened to whip Link, there was a fracas. The outcome was, that Link had to leave school. Initially, he got a job delivering groceries and picking cotton and tobacco. This brought some much needed money into the household. Then in 1947, when Link was eighteen, the Wray family were on the move.
Their destination was Portsmouth, Virginia, where Link’s father and elder brother Vernon got job as pipe fitters at a dockyard. Things were looking up for the Wray family. Not long after this, Link got a job as a messenger at the same dockyard.
After two years working at the dockyard, and scrimping and saving, Link had enough money to buy his first electric guitar in 1949. He chose a Vega electric guitar, which he purchased from a Sears and Roebuck catalogue. From the moment he bought the guitar, Link practised non stop. He was determined to improve his technique and playing. However, in 1950, things were looking up for his family.
Vernon Wray, Link’s elder brother founded his own taxi firm in 1950. He employed his two brothers, Link and Fred as drivers. Not long after he started work as a taxi driver, Link began playing bass in country bands. This made him some extra income until in 1951, he was called up by Uncle Sam.
In 1951, Link Wray was called up to serve in the US Army during the Korean War. This almost wrecked Link Wray’s career. Whilst serving in the US Army, Link Wray contracted T.B. Somehow, nobody realised this. It didn’t become apparent until well after Link Wray left the US Army.
On leaving the US Army in 1953, Link Wray’s thoughts turned to music. He was even more determined to make a career out of music. So on his return home, he bought a new Les Paul guitar and amplifier. It was then his brother Vernon, suggested they form their own band, The Lazy Pine Wranglers.
The nascent group featured Vernon on vocals and rhythm guitar, Link on lead guitar, steel guitarist Dixie Neal and Brantley “Shorty” Horton on stand-up bass. Soon, what was Link Wray’s first group, were a popular draw in the nearby city of Norfolk.
While The Lazy Pine Wranglers were the Wray brothers first group, it wasn’t their last.
Link’s brother Doug got a job playing drums and guitar for the Phelps Brothers. They had been really successful on the country circuit, and featured in westerns alongside Roy Rogers. The Phelps Brothers also owned the nearby Palomino Dude Ranch. Somehow, Doug managed to swing a regular gig for the Wray brothers there. As Link Wray and The Palomino Ranch Gang, they provided a country tinged soundtrack at the Phelp Brothers’ ranch. This gave the Wrays career a boost.
Soon, they were backing Tex Ritter, Lash La Rue, Sunset Carson and Wild Bill Elliot. Link Wray and The Palomino Ranch Gang even found their way onto WCMS’ radio’s Hillbilly Concert Hall. This lead to a spot on WMAL-TV’s late night country program Town and Country. With WMAL-TV based in Washington, the Wray brothers moved their permanently, hoping this would further their career.
It did. In 1956, Link Wray released his debut single. He was billed as Lucky Wray, and released It’s Music She Says on the Texan independent label Saturday. The followup was Whatcha Say Honey. Both singles showcased a talented singer. Just as it looked liked Link Wray’s star seemed to be in the ascendancy, tragedy struck.
Link Wray became ill. Initially, the doctors diagnosed pneumonia. He spent a year in hospital. During this period, Link Wray had to have a lung removed. The doctors that treated him thought that Link Wray would never sing again.He proved them wrong.
Early on in 1957, Lucky Wray released another single, Teenage Cutie. This was the last single Link released as lucky. His next release marked the debut of Link Wray.
This came on an E.P. featuring Bob Dean and Cindy With The Kountry Kings. Both acts featured two tracks. Link Wray supplied two of the four tracks on an E.P., I Sez Baby and Johnny Bom Bonny. They saw Link combine country and rockabilly. There’s more than a nod to early Elvis Pressley recordings on the songs that lauched Link Wray’s solo career.
By then, two the Wray brothers were trying to forge a career as singers. Vernon was signed to Cameo, which ultimately resulted in a couple of unsuccessful singles. During one of Vernon’s recording sessions, Link was watching proceedings. When the session finished early, Bernie Lowe allowed Link to record two tracks he had written, Oddball and Swag. When Link heard the playback of Oddball, he knew in his heart, that the song was special. He smiled inwardly, knowing that the session at Broad and Locust, in Philly, cost just $75. For that, Bernie Lowe worked as tape-op.
Little did anyone know how much of a bargain it had been. However, Link struggled to get anyone interested in the song. He played it on Milt Jackson’s show. Wanting to help his friend, Milt even took a copy to Archie Blayer at the Cadence label.
Archie Blayer didn’t like the raucous sounding track, so gave his copy to his teenage step-daughter Jackie Ertel. She however, loved Oddball, and encouraged her father to release the track. The only thing that Jackie didn’t like, was the name. She suggested that Oddball be renamed as Rumble. History was about to be made.
In April 1958, Link Wray and His Ray Men released what would become Link Wray’s most successful single, the classic instrumental Rumble. It saw Link Wray deploy distortion and feedback. This was a first, in more ways than one. Link Wray also became one of the first guitarists to use the power chord on Rumble. He wouldn’t be the last, and since then, it’s been part and parcel of a guitarists arsenal. When the Rumble was released, it was immediately banned.
This made Rumble one of the first instrumentals to be banned. The problem was the title. Rumble was the slang term for a gang fight. The authorities feared that the single would lead to disorder. Ironically, banning Rumble made the song even more popular.
Some nights, Link Wray and His Ray Men played several encores of Rumble. Rumble was popular on both sides of the Atlantic. It reached number sixteen in the US Billboard 100 charts. Across the Atlantic, future members of The Kinks and The Who heard this classic instrumental. Other musicians were won over by it. From Bob Dylan to Phil Everly, Rumble was a favourite of musicians everywhere. After the success of Rumble, many thought that Link Wray would become one of the biggest stars of the late-fifties and sixties.
That proved not to be the case. Things looked good at first. Archie Blayer sent Link Wray and His Ray Men to record the followup. He suggested a track called Dixie Doodle, which was Duane Eddy-esque. However, Link preferred the other track they cut Raw Hide.
Link Wray released Raw-Hide as a single in January 1959. It reached number twenty-four in the US Billboard 100 charts. After that, Comanche a song Link Wray named after his North American Indian roots’ failed to chart. So did Slinky and Vendetta. The rest of 1959 was a right-off. So was 1960.
Neither Trail of the Lonesome Pine nor the Jimmy Reed penned Ain’t That Lovin’ You, Baby charted. 1960 when Link Wray released his debut album, Link Wray and The Wraymen wasn’t going to plan. However, Vernon Wray realised the importance of looking after his brother’s finances.
Having secured tuning from Milt Jackson, the Wray brothers setup a two room studio opposite WTTG, where Milt’s show was broadcast. From that studio, Vernon looked after Milt’s publishing and composing rights. The company that took care of the publishing, was Vernon’s Florentine Music. This proved a shrewd move. When the hits dried up for Link Wray, he had a nest egg to fall back on. However, things improved for Link.
Over the next few years, Link Wray continued to release singles and a few albums. Link Wray released his sophomore album Great Guitar Hits by Link Wray, in 1962. By then, Link Wray’s star was in the ascendancy, and he was releasing some of the best music of his career. This includes the music that found its way onto Ace Records 1978 album Early Recordings.
Early Recordings.
One of the earliest Link Wray songs on Early Recordings is Jack The Ripper. It was released on Swann in July 1961, reaching number sixty-four in the US Billboard 100 charts. While it was a long way from the success Rumble enjoyed in 1958, Jack The Ripper featured Link Wray’s unmistakable, signature guitar sound. Sadly, after Jack The Ripper, the hits dried up for Link Wray.
Ironically, 1963 found Link Wray releasing some of the best music of his seven year career. It finds its way onto Early Recordings. This includes 1963 single Black Widow, which was released on Swan in April 1963. Just like his last few singles, Black Widow failed to chart. Neither did Run Chicken Run, which was released as a single in September 1963. This run of unsuccessful singles continued with Weekend, which featured Turnpike U.S.A. on the flip side. It’s a like a joyous homage to The Beach Boys from Link Wray. Why it languished on a B-Side seemed strange? Turnpike U.S.A didn’t even make it onto Link Wray’s album Jack The Ripper.
Released on Swan in 1963, Jack The Ripper features songs like Cross Ties, Fat Back, Run Chicken Run, Mr. Guitar and even a rerecording of Rumble. These songs feature Link Wray at his best. He unleashes a series masterclasses on his trusty guitar. However, although it sold better than his singles, Link Wray was no longer as popular as he had once been.
The man who should’ve been hailed one of the greatest guitarists of his generation, was a stranger to the charts over the next few years. When the mood sounding The Shadow Knows was released on Swan in March 1964, it failed commercially. It makes a welcome return on Early Recordings. So does the 1965 single I’m Branded and Ace Of Spades and The Batman Theme, which were both released as single in 1966. On the B-Side of The Batman Theme was Hidden Charms, a stomper of a hidden gem, with blistering guitars. It features a surly sounding vocal from Link Wray, and is an unmissable track for Link Wray fans. Garage meets proto-punk describes the track. It’s the last of the sixties tracks on Early Recordings.
Scatter was recorded in 1978, and completed this fourteen track compilation. It featured mostly Link Wray’s sixties recordings, with Scatter a nod to the seventies. Good Rocking Tonight, which was released in 1982, was also a mixture of the past and present.
Good Rocking Tonight.
When Good Rocking Tonight was released in 1982, the album was mixture of newly recorded songs, a Link Wray classic and a couple of hidden gems. The earliest recording, was Link Wray’s theme tune,..Rumble.
April 1958 saw the release of Rumble on the Cadence label. Quickly, the single became popular on both sides of the Atlantic. It reached number sixteen in the US Billboard 100 charts. Across the Atlantic, future members of The Kinks and The Who would be influenced by this classic instrumental. On the flip-side was Swag, which is also included on Good Rocking Tonight. These two tracks started the Link Wray story.
By 1963, hits were a think of the past for Link Wray. This shows how fleeting chart success can be. The Sweeper which was the B-Side of Run Chicken Run, which was released as single in November 1963, is a welcome inclusion on Good Rocking Tonight. It’s a spellbinding wall of sound, where Link Wray’s finger flit up and down the fretboard. Run Boy Run, a hidden gem from 1964, features an equally impressive performance. However, Link Wray has something special up his sleeve, Deuces Wild, his single from July 1964. A year later, and Link Wray recorded a demo for Stateside.
For his Stateside demo, Link Wray recorded a cover of Good Rockin’ Tonight. It features an Elvis inspired vocal from Link Wray, whose aided and abetted by The Ray Men. They add harmonies and handclaps. However, Link Wray’s dalliance with Stateside was short-lived and he returned to Swan, which was his home as the second half of the sixties began. However, Link Wray fortunes didn’t improve.
By 1982, it had been a long time since Link Wray had enjoyed a hit single. Link Wray now lived in Copenhagen, Denmark, with his new wife Diane Poulsen. Money was tight for Link Wray, and he existed on an US Army pension, and the money he made playing live. However, in 1982, Link Wray wasn’t play live very often. So the opportunity to release the Good Rockin’ Tonight album in Ace Records was a godsend for Link Wray.
Good Rockin’ Tonight saw Link Wray combine covers with new material. Cover versions included a moody, almost surly take on Heartbreak Hotel. Then on Blueberry Hill, Link Wray takes centre-stage showcasing his considerable skills. Soon, he’s rolling back the years. That’s the case on Lieber and Stoller’s Hound Dog and That’ll Be The Day. Honky Tonk sees Link Wray going toe-to-toe with a blazing saxophone. The other three tracks come from the pen of Link Wray.
Mustang sounds like Link Wray in his prime. It’s a track he wrote. So is Law Of The Jungle, which shows that Link Wray still has the x-factor. Closing Good Rockin’ Tonight, was Zip Code, a track that sounded as if it had been recorded circa 1961, and was a long lost hidden gem. It’s not, and instead showed that despite his ailing health, Link Wray was still one of the most talented musicians of his generation. Sadly, he never received the credit he deserved.
Often, musicians like Link Wray are described as a “musician’s musician.” That was the case with Link Wray. Only musicians were able to appreciate how he had changed music, and his music. Link Wray had also inspired many of musicians. From Jimmy Page and Neil Young to Iggy Pop, countless musicians have said that that Link Wray inspired them. Similarly, anyone whose utilised the power chord, has Link Wray to thank.
He popularised the power chord in his 1958 instrumental hit Ray Gun. For that alone, several generations of guitarists owe Link Wray a debt of gratitude. Sadly, Link Wray never deserved the recognition he so richly deserved. However, one record company has always recognised this musical pioneer.
Ace Records have been flying the flag for Link Wray’s music since 1978. Since then, they’ve released several releases. This includes 3-Track Shack, which features the three albums that Link Wray recorded at his brother’s home studio, Link Wray, Mordicai Jones and Beans and Fatback. Since 3-Track Shack has been released, Ace Records have been readying themselves to release Early Recordings and Good Rocking Tonight, which were recently released on one CD.
Early Recordings was released in 1978, with Good Rocking Tonight following in 1982. These two albums are a reminder of a musical innovator Link Wray, who sadly, died in Copenhagen, Denmark, on November 5th 2005. The recent release of Early Recordings and Good Rocking Tonight celebrates the music of Link Wray, on the tenth anniversary of his death.
Now, somewhat belatedly, Link Wray is starting to receive the recognition his music so richly deserves. That’s thanks to Ace Records, who for five decades have championed the music of Link Wray. Ace Records’ release of 3-Track Shack earlier in 2015, plus their recent release of Early Recordings and Good Rocking Tonight, will hopefully, introduce the music of that musical pioneer, Link Wray, to a much wider audience.
LINK WRAY-EARLY RECORDINGS AND GOOD ROCKING.
LONNIE LISTON SMITH AND THE COSMIC ECHOES-REFLECTIONS OF A GOLDEN DREAM.
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.
Neither Lonnie Liston Smith and The Cosmic Echoes’ 1973 debut album Astral Travelling, nor 1974s Cosmic Funk charted. However, when Lonnie Liston Smith and The Cosmic Echoes released their third album Expansions, in 1975, it reached number eighty-five in the US Billboard 200, and number twenty-seven in the US R&B charts and number two in the US Jazz charts. Not only did this please Lonnie Liston Smith, but Bob Thiele’s paymasters at RCA.
By the time Expansions was released, Bob Thiele had realised that he was fighting a losing battle. He needed a major label to take over Flying Dutchman Productions. RCA stepped in in 1974, taking charge of funding and distribution. This allowed Bob Thiele to do what he did best, A&R and production. The only downside was, that RCA weren’t a benevolent benefactor.
RCA wanted Flying Dutchman Productions to release albums that were commercially successful. Bob Thiele must have agreed to this with a heavy heart. Some of the albums he had previously released were innovative and artistic merit, but were never going to sell in vast quantities. Now he would’ve have to think twice about releasing that type of album. It was a case of playing things safe, and thinking about what would sell. Luckily, by late 1975, one of Flying Dutchman Productions’ biggest seller was Lonnie Liston Smith and The Cosmic Echoes.
In the summer of 1975, Lonnie Liston Smith and The Cosmic Echoes had released Visions Of A New World. 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’ most successful album. Lonnie Liston Smith and The Cosmic Echoes were on a roll, and were one of Flying Dutchman Productions’ biggest assets. That’s not surprising, as Lonnie Liston Smith was almost destined to embark upon a musical career.
It was almost written in the stars that Lonnie Liston Smith would become a musician. Lonnie Liston Smith was born in 1940, into a musical family. His father was a member of Richmond Gospel music group the Harmonising Four. Growing up, members of gospel groups The Soul Stirrers and Swan Silvertones were regular visitors to the Smith household. With all this music surrounding him, Lonnie learned piano, tuba and trumpet in High School and college. After college, he headed to Morgan State University.
Inspired by John Coltrane, Charlie Parker and Miles Davis, Lonnie Liston Smith embarked upon a degree in musical education. Throughout his time at University, Lonnie Liston Smith continued playing the pianist in local clubs and singing backing vocals. He played with alto saxophonist Gary Bartz and trombonist Graham Moncur. This was all part of Lonnie’s musical eduction. Having completed his BSc in musical education at Morgan State University, Lonnie Liston Smith walked straight into a job.
Having left Morgan State University, Lonnie Liston Smith got a job with the Royal Theatre’s house band. For a young musician, this was would help turn them into a musical all-rounder. After all, they had to be able to accompany a wide range of artists. For Lonnie Liston Smith, this was the next stage in his musical education. The next part of his musical education took place in New York.
Now living in New York, Lonnie Liston Smith was lucky enough to get a gig playing piano in Betty Carter’s band. This helped Lonnie Liston Smith get his name known in the Big Apple. Then in early 1965, Lonnie Liston Smith caught a break. He joined Roland Kirk’s band.
Lonnie Liston Smith made his recording debut on March 14th 1965, when Roland Kirk recorded Here Comes The Whistleman. It was recorded live in New York, with Lonnie Liston Smith only playing on the title-track, Making Love After Hours, Yesterdays and Step Right Up. Having made his recording debut, Lonnie Liston Smith featured on Roland Kirk and Al Hibbler’s 1965 live album, A Meeting Of The Times. However, that was Lonnie Liston Smith’s swan-song with Roland Smith’s band. After this, Lonnie Liston Smith joined one of jazz’s top bands, The Jazz Messengers.
Over the last few years, The Jazz Messengers had established a reputation for young musicians looking to make a name for themselves. Lonnie Liston Smith joined in 1965. He shared the role with Mick Nock and Keith Jarrett. However, with The Jazz Messengers ever evolving lineup, Lonnie Liston Smith only played three in concerts. These three concerts just so happened to be at the legendary Village Vanguard. Despite the prestigious venue, this must have been a disappointing time for Lonnie Liston Smith. Luckily, he was rehired by Roland Kirk.
Now back with Roland Kirk’s band, Lonnie Liston Smith was just in time to play on his 1968 album Now Please Don’t You Cry, Beautiful Edith. This established Lonnie’s reputation as the go-to-guy for a pianist.
It was the start of period where Lonnie worked with some of the most innovative and inventive jazz players. Musical boundaries were about to be pushed to their limits as Lonnie joined Pharaoh Saunders’ legendary free jazz band.
Pharaoh Saunders had worked closely with John Coltrane right up to his death in 1967. The following year, Pharaoh formed a new band. Their music is best described as free jazz. Musical boundaries were pushed to their limits and beyond. Recognising a fellow believer in free jazz, Pharaoh Sanders asked Lonnie to join his band. Lonnie Liston Smith went on to play on three of Pharaoh Sander’s best albums. The first of this trio was 1969s Karma. It was followed in 1970 with Jewels of Thought and 1971s Thembi. The other Pharaoh Saunders album Lonnie played on was 1970s Summun Bookman Umyun. which was released on Impulse. Just like the three albums Pharaoh Sanders recorded for Flying Dutchman, it was a groundbreaking album.
During this period, Pharaoh Sanders and his band were constantly pushing boundaries and rewriting the musical rulebook. Their music was truly groundbreaking. Even Lonnie Liston Smith was challenged. On Thembi, Pharaoh Sanders asked Lonnie Liston Smith to play the Fender Rhodes. This was the first time that he came across an electric piano. However, Lonnie Liston Smith rose to challenge and wrote Thembi’s opening track Astral Travelling. Later, Astral Travelling would become synonymous with Lonnie Liston Smith and The Echoes. Before that, Lonnie would play with some of jazz’s mavericks.
One of these mavericks was Gato Barbieri. He’d just signed to Bob Thiele’s nascent label Flying Dutchman Productions. It was establishing a reputation for providing musicians with an environment where innovative and creative musicians could thrive.
Bob Thiele believed musical mavericks didn’t thrive within such an orthodox environment. Their creativity is restricted, meaning they’re unable to experiment and innovate like they’d like. So, Bob Thiele signed Gato Barbieri to Flying Dutchman Productions. Lonnie Liston Smith played on his 1969 debut album The Third World. Bob Thiele’s next signing was Leon Thomas and played on his debut album Spirits Known and Unknown. Soon, Lonnie Liston Smith was a regular at Flying Dutchman Productions’ sessions.
When the time came for Gato Barbieri to record his 1971 sophomore album Fenix, Lonnie Liston Smith was called upon. He played on Fenix and joined Gato Barbieri’s band. Lonnie Liston Smith played on Gato Barbieri’s 1972 album El Pampero. He also toured throughout Europe with Gato Barbieri. Then came the opportunity of a lifetime. After El Pampero, Lonnie Liston Smith got the chance to work with another jazz legend.
Lonnie Liston Smith was a member of Gato Barbieri’s band when Miles Davis got in touch. He wanted Lonnie Liston Smith to join his band. At this time, Miles Davis’ music was changing direction. The direction it was heading in was funk. Electronic instruments were the flavour of the month for Miles Davis, who was exploring their possibilities. However, Miles Davis was doing this outside the studio environment. That’s why there are very few recordings of Lonnie Liston Smith playing alongside Miles Davis at that time. That came later, when Lonnie Liston Smith would later work with Miles Davis. Meanwhile, Lonnie Liston Smith decided to move on, and embark upon a solo career.
There was a sense of inevitability that Lonnie Liston Smith would sign Flying Dutchman Productions. He had played on numerous albums the label released. Lonnie Liston Smith’s musical style suited Flying Dutchman Productions. It all made sense. So in 1973, Lonnie Liston Smith signed to Flying Dutchman Productions, and began work on his debut album Astral Travelling.
Astral Travelling.
When recording of Astral Travelling began, Lonnie Liston Smith had put together some of the most talented and innovative musicians. The Cosmic Echoes’ rhythm section included bassist Cecil McBee, drummer David Lee and guitarist Joe Beck. Sonrily Morgan and James Mtume played percussion and conga, Gee Vashi tamboura and Badal Roy tabla. George Barron played tenor and soprano saxophone. Lonnie Liston Smith played piano and electric piano on Astral Travelling which was produced by Bob Thiele. Astral Travelling was released in 1973.
On its release in 1973, Astral Travelling was released to critical acclaim. This was no surprise. Lonnie Liston Smith had worked with some of the biggest names of jazz. It was akin to a musical apprenticeship. Astral Travelling saw Lonnie Liston Smith move from sideman to bandleader. Accompanied by some of the best and most innovative musicians, he had created an ambitious and groundbreaking album. Although Astral Travelling failed to chart, it sold reasonably well upon its release. This bode well for the future.
Cosmic Funk.
The followup to Astral Travelling, Cosmic Funk was released in 1974. Lonnie Liston Smith and The Cosmic Echoes’ genre-hopping sophomore album was released to widespread critical acclaim, and sold reasonably well. However, Cosmic Funk wasn’t going to make Lonnie Liston Smith rich. At least word was spreading about this musical visionary. Soon, Lonnie Liston Smith and The Cosmic Echoes would be enjoying both commercial success and critical acclaim.
Expansions.
By the time Lonnie Liston Smith and The Cosmic Echoes released Expansions in early 1975, Bob Thiele had take Flying Dutchman Productions’ releases to RCA. While this safeguarded Flying Dutchman Productions’ future, RCA weren’t a charity. They wanted sales. Sales was what they got. Expansions reached eight-five in the US Billboard 200, twenty-seven in the US R&B charts and number two in the US Jazz charts. This made Expansions one of Flying Dutchman Productions’ most successful albums.
Meanwhile, club and radio DJs were spinning tracks from Expansions. Belatedly, Lonnie Liston Smith and The Cosmic Echoes were the flavour of the month among DJs, dancers and discerning record buyers. So, it’s no surprise that Bob Thiele sent Lonnie Liston Smith and The Cosmic Echoes into the studio again, where they recorded Visions Of A New World.
Visions Of A New World.
For Lonnie Liston Smith and The Cosmic Echoes’ fourth album, Visions Of A New World, Lonnie penned seven tracks, including Lonnie’s hopeful anthem, A Chance For Peace. The other track, Devika (Goddess) was written by Dave Hubbard and Sarina Grant. These eight tracks were recorded at Electric Ladyland Studios, New York, and Visions Of A New World was released in the summer of 1975,.
Just like previous albums, critics hailed Visions Of A New World as a groundbreaking album. Lonnie Liston Smith was seen as a musical pioneer, capable of creating innovative and influential music. That music was way ahead of the musical curve. Record buyers concurred.
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’ most successful album. However, could Lonnie Liston Smith make it three successful albums in a row, when he released Reflections Of A Golden Dream, which was recently released by BGP, an imprint of Ace Records.
Reflections Of A Golden Dream.
For his fifth solo album, Reflections Of A Golden Dream, Lonnie Liston Smith penned nine tracks, and cowrote Peace and Love with Leopoldo Fleming. The ten tracks were recorded by Lonnie Liston Smith and The Cosmic Echoes, which featured some top musicians.
Just like with previous albums, the lineup of The Cosmic Echoes seemed in a constant state of flux. The Cosmic Echoes’ rhythm section featured bassist Al Anderson and drummer Art Gore and Wilby Fletcher. Percussionists included Guilherme Franco and Leopoldo Fleming who also added congas and guaitar. Flautist Donald Smith also added vocals on three tracks; while Dave Hubert switched between flute and soprano saxophonist. The horn section also included tenor saxophonist George Opalisky; plus Joe Shepley and Jon Faddis who played trumpet and flugelhorn. Backing vocalists included Maeretha Stewart, Patti Austin and Vivian Cherry. They augmented this latest version of The Cosmic Echoes on Visions Of A New World Astral Travelling.
Lonnie Liston Smith, played keyboards, piano and added vocals. He also co-produced Reflections Of A Golden Dream with Bob Thiele. However, it later became apparent that Lonnie Liston Smith more or less took charge of production on Reflections Of A Golden Dream. Bob Thiele’s role, was more of an executive producer. That didn’t seem to affect the reviews of Reflections Of A Golden Dream.
Critics when they received their advance copies of Reflections Of A Golden Dream, found Lonnie Liston Smith and The Cosmic Echoes combining dance-floor friendly music with social comment on Get Down Everybody (It’s Time For World Peace) and Peace and Love. Meditations featured a much more pensive, spiritual sound; while Journey Into Space saw Lonnie Liston Smith became a musical voyager. Just like previous albums, Reflections Of A Golden Dream received plaudits and critical acclaim. That was all very well. However, would Reflections Of A Golden Dream ensure that Lonnie Liston Smith and The Cosmic Echoes run of commercial success continued?
When Reflections Of A Golden Dream was released in 1976, the album sold well, but didn’t match the commercial success of Visions Of A New World. It remained the most successful album of Lonnie Liston Smith and The Cosmic Echoes’ time at Flying Dutchman Productions. Reflections Of A Golden Dream closed the door on that chapter of Lonnie Liston Smith and The Cosmic Echoes career. Was it a fitting swan-song?
Reflections Of A Golden Dream opens with Get Down Everybody (It’s Time For World Peace). A pulsating beat joins myriad of percussion and effects. Harmonies the soar soulfully above the arrangement, as Lonnie Liston Smith encourages: “Get Down Everybody (It’s Time For World Peace)”. Toughening up the dance-floor friendly are keyboards and stabs of blazing horns. Soon, though, the arrangement is focusing solely on the dance-floor. This isn’t surprising, as 1976 was the peak of the disco boom. Lonnie’s vocal veers towards a vamp, as his soulful triumvirate of backing singers play an important part in the song’s success. So the horns and the rhythm section, who propel the arrangement along, as seamlessly, elements of disco, funk, jazz and soul unite.
Quiet Dawn has a much more laid-back, dreamy sound. Swathes and swells of strings float above the keyboards, while percussion is at the heart of the arrangement. The bass augments the percussion, as Lonnie Liston Smith’s piano plays slowly and thoughtfully. As the arrangement flows elegiacally along, a breathy flute flutters. One can’t help but wallow in its beauty of Quiet Dawn, which is omnipresent.
Layer upon layer of percussion is at the heart of the arrangement to Sunbeams. Meanwhile, the rhythm section of bassist Al Anderson and drummer Wilby Fletcher are playing leading roles. Al Anderson’s bass line has a vibrancy and energy. Wilby Fletcher picks up on this. So does Dave Hubbard’s flowing soprano saxophone. It augments Lonnie Liston Smith’s keyboards.
They’re driving the arrangement along, as he plays with freedom and flamboyance. Later, David Smith, Lonnie Liston Smith’s brother adds flute. Lonnie Liston Smith’s piano looks like stealing the show. However, is performance can’t exist in isolation, and Sunbeams’ sound and success is down to Lonnie Liston Smith and The Cosmic Echoes.
Unsurprisingly, Meditations has ruminative quality. Washes of Lonnie Liston Smith’s Fender Rhodes are like waves breaking on a deserted beach. Accompanying Lonnie Liston Smith is a myriad of percussion. That’s all that’s needed as a quite beautiful, melodic track washes over you, reminding you of warm summer days on a sun kissed beach.
An Iberian acoustic guitar is panned right on Peace and Love. It’s all that the listener hears. Soon, the trio of backing vocalists return, demanding: “we need peace, we need love.” A clavinet is panned left, and adds a tough funk sound, and Donald Smith takes charge of the lead vocal. By then, jazz and funk are combining with the soulful backing vocals. There’s even a nod towards fusion, as Peace and Love looks like taking on an anthemic sound. It’s reminiscent of Lonnie Liston Smith’s previous anthem, Give Peace A Chance and features a similar mixture of hope and social comment.
Beautiful Woman finds Lonnie Liston Smith and The Cosmic Echoes playing as one. The rhythm section provide a funky backdrop. Bassist Al Anderson plays a leading role, anchoring the arrangement, and providing its heartbeat. Lonnie Liston Smith plays a variety of keyboards, including a clavinet. It adds tough, funky sound. Other keyboards add layers. So do the percussion. Atop the arrangement, Donald Smith adds a tender, heartfelt vocal. Later, it grows in power, soaring above the arrangement. By then, Lonnie Liston Smith and The Cosmic Echoes have found their A-Game, and are their funky best, on what’s one of Reflections Of A Golden Dream’s highlights.
The tempo drops on Goddess Of Love. Still, though, the song has a funky sound, which flows and meanders along. Not for the first time, echo is deployed, meaning was of Fender Rhodes run into each other. Meanwhile, the rhythm section create a mid- tempo, funky beat and strings sweep creating an elegiac, wistful track.
Inner Beauty is described as a “mood piece.” Lonnie Liston Smith adds flamboyant flourishes of piano and David Hubbard delivers a masterclass on soprano saxophone. A myriad of percussion and congas provide the backdrop for David Smith’s scatted vocal on what’s a thoughtful, ruminative sounding track whose Inner Beauty is there for everyone to hear.
Golden Dreams almost shuffles into being, a piano playing before a Fender Rhodes shimmers. Then the rhythm section join percussion and a flute. Together, they provide the backdrop for Lonnie Liston Smith’s tender, hopeful vocal. Above his vocal, the arrangement shuffles and meanders along, showcasing not just Lonnie Liston Smith’s skills a pianist, but as a vocalist.
Journey Into Space, which closes Reflections Of A Golden Dream, is another short mood piece. It’s just two-and-a-half minutes long. The introduction is almost otherworldly, and has an experimental, avant garde sound. A flute replicates the sound of an exotic bird or animal, while the rest of The Cosmic Beings add percussion or produce a variety of left-field, experimental sounds. The result, is an ambitious piece of music, which is reminiscent of the more experimental music Flying Dutchman Productions released in the early days. This track could easily have been recorded in the early seventies, when Leon Thomas was producing some of his most groundbreaking work.
By 1976, when Lonnie Liston Smith and The Cosmic Echoes released Reflections Of A Golden Dream, Flying Dutchman Productions was a very different company. It was owned by RCA, who didn’t take kindly to experimental albums which were only purchased by discerning musical connoisseurs. Instead, RCA wanted albums that sold in vast quantities. Luckily, Bob Thiele had signed Lonnie Liston Smith and The Cosmic Echoes in 1973.
Lonnie Liston Smith and The Cosmic Echoes first two albums weren’t a commercial success. Neither 1973s Astral Travelling, nor 1974s Cosmic Funk charted. That’s despite featuring some of the best music Lonnie Liston Smith and The Cosmic Echoes released during his time at Flying Dutchman Productions. Things improved with Expansions in 1975.
Expansions, Lonnie Liston Smith and The Cosmic Echoes’ third album became one of Flying Dutchman Productions’ most successful albums. However, this record didn’t last long. When Lonnie Liston Smith and The Cosmic Echoes released Visions Of A New World in the summer of 1975, it surpassed the commercial success of Expansions. Lonnie Liston Smith and The Cosmic Echoes, who were Flying Dutchman Productions’ most successful signing, were on an enviable hot streak.
This hot streak continued with Reflections Of A Golden Dream, when it was released in 1975, and has recently been reissued by BGP, an imprint of Ace Records. Although it neither reached the heady heights of Expansions nor Visions Of A New World, Reflections Of A Golden Dream was one of Flying Dutchman Productions’ most successful albums of 1976. However, Reflections Of A Golden Dream was also Lonnie Liston Smith and The Cosmic Echoes’ final album for Flying Dutchman Productions.
Between 1973 and 1976, Lonnie Liston Smith and The Cosmic Echoes released a quintet of albums for Flying Dutchman Productions. Three were commercially successful. Ironically, Astral Travelling, Lonnie Liston Smith and The Cosmic Echoes’ debut album, which failed commercially, is now regarded as a minor classic. However, all the albums Lonnie Liston Smith and The Cosmic Echoes released at Flying Dutchman Productions are held in the highest regard.
This includes Lonnie Liston Smith and The Cosmic Echoes’ Flying Dutchman Productions’ 1976 swan-song, Reflections Of A Golden Dream. It’s a mixture of disco, funk, jazz and soul on Reflections Of A Golden Dream, where Lonnie Liston Smith and The Cosmic Echoes flit between musical genres and moods. Joyous gives way to pensive, before beatific becomes beautiful, and elegiacal becomes ethereal. Later, anthemic becomes otherworldly and ambitious, as Lonnie Liston Smith and The Cosmic Echoes take their bow on the genre-melting Reflections Of A Golden Dream, which was their Flying Dutchman Productions swan-song.
LONNIE LISTON SMITH AND THE COSMIC ECHOES-REFLECTIONS OF A GOLDEN DREAM.
SOUTH TEXAS RHYTHM ’N’ SOUL REVUEW 2-FROM THE VAULTS OF CRAZY CAJUN RECORDS.
SOUTH TEXAS RHYTHM ’N’ SOUL REVUEW 2-FROM THE VAULTS OF CRAZY CAJUN RECORDS.
Back in February 2013, Kent Soul released South Texas Rhythm ‘N’ Soul Revue, a compilation of some of the finest soul and R&B to emerge from the Lone Star State. It was recorded at Huey Meaux’s studio, and featured many of the artists the legendary producer discovered.
Huey Meaux was a prestigious talent-spotter. He discovered some of the stars of the South Texan music scene, including Johnny Adams, Johnny Copeland, Barbara Lynn, Jackie Paine and Jean Knight. They all featured on South Texas Rhythm ‘N’ Soul Revue. So did Warren Storm, Margo White, Tee Bee Fisher and Maxine Davis. This was a tantalising taste of the musical delights to be found within Huey Meaux’s vaults. It was a perfect mixture of familiar faces and new names. However, one compilation was never going to be enough to do justice to the music Huey Meaux had recorded during the sixties, back in the Lone Star State. There was a sense of inevitability that there would be a South Texas Rhythm ‘N’ Soul Revue.
Recently, South Texas Rhythm ‘N’ Soul Revue 2-From The Vaults Of Crazy Cajun Records was released by Kent Soul, an imprint of Ace Records. 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. Has South Texas Rhythm ‘N’ Soul Revue 2-From The Vaults Of Crazy Cajun Records been worth the two-and-a-half year wait?
There can only be one answer…yes. That’s no surprise though. The Traits’ soulful stomper Too Good To Be True opens South Texas Rhythm ‘N’ Soul Revue 2-From The Vaults Of Crazy Cajun Records. It was penned by Fred Carroll, and produced by Huey Meaux. However, lead singer Roy Head was absent for the sessions, and Dean Scott took his place.
Dean Scott relishes his moment in the sun, and plays a huge part in the song’s sound and success. Initially, Too Good To Be True was released on Huey Meaux’s Pacemaker Records in 1966. Later, that year, the single was licensed to Garrison. Great things were forecast for Too Good To Be True. Sadly, commercial success eluded this timeless hidden gem, that even today, will fill a dance-floor.
Warren Storm is without doubt, one of the biggest names on South Texas Rhythm ‘N’ Soul Revue 2-From The Vaults Of Crazy Cajun Records. He’s a legend of the Louisiana music scene, whose constantly reinvented himself. From swamp pop to country and R&B to soul, Warren Storm has tried it. In 1966, Warren Storm had decided to reinvent himself as a soul singer on The Bad Times Make The Good Times. This Robert Stone composition was released on the Pic 1 label, and features Warren Storm delivering a tender, heartfelt vocal on this paean.
When David “King” Thomas’ released You Better Investigate on Jet Stream in 1971, he never realised that the song would become a favourite on the British Northern Soul scene. That’s still the case. It’s tailor made for the Northern Soul scene. However, there’s an element of mystery surrounding David “King” Thomas’.
It’s thought that David “King” Thomas is really Jay D. Martin. He recorded You Better Investigate with Huey Meaux anytime between 1965 and 1967. This version later resurfaced as David “King” Thomas in 1971. Four years later, the single was reissued by Jet Stream, further muddying the waters. Despite the mystery surrounding You Better Investigate, it’s still a favourite of on the Northern Soul scene.
Eugene Gamble’s contribution to South Texas Rhythm ‘N’ Soul Revue 2-From The Vaults Of Crazy Cajun Records is the beautiful, heart wrenching ballad Strange Love. This version has never been released before. However, Strange Love was released as a single in the late-sixties, on the Houston based Feron Records. Copies of Strange Love are incredibly rare, and if they do come up for sale, will fetch over $100.
Melancholy. That describes the horns that open Jackie Paine’s At Your Wedding. They usher in a vocal full of hurt and heartache. With cooing harmonies and hypnotic drums for company, a cathartic outpouring of pain unfolds. It was released as the B-Side to No Puppy Love, on Jet Stream, in 1967. Later in 1967, Jackie Paine released Skid Row Blues. Desperation features in Jackie Paine on this bluesy tale of hard luck.
Ronnie Milsap’s has enjoyed a long and successful career. He released his debut single, Total Disaster in 1963. The Huey Meaux penned and produced Wish You Were Here released as a single on Pacemaker, in 1965. Twelve years later, Your Tears Leave Me Cold was released on the Festival label in 1977. Tucked away on the B-Side was Wish You Were Here. It showed why, in 1977 the Country Music Association crowned Ronnie Milsap Entertainer Of The Year and Male Vocalist Of The Year.
Two years after Ronnie Milsap released Total Disaster as his debut single, Lee Maye covered the song in 1965. It was released on the Pic 1 label, and is regarded as Lee Maye’s finest hour. No wonder. He delivers what can only be described as a soul-baring vocal.
Rocky Gil And The Bishops spent nearly twenty years gigging around the Houston area. Their career began in the mid-sixties, and they worked extensively with Huey Meaux. He had Rocky Gil add a vocal to The Pleasures Of My Woman, which became the flip side to Built Like A Brickhouse. It wasn’t until 1975, that the single was released on Jet Stream. Ironically, the Southern Soul of The Pleasures Of My Woman was a much better than song than Built Like A Brickhouse, which sunk without trace. Since then, The Pleasures Of My Woman has been a soulful hidden gem, known only by a few connoisseurs of the music of the Lone Star State.
Luvenia Lewis career began in fifties, but by 1969, couldn’t be described as a prolific artist. Ten years elapsed between Luvenia Lewis’ recording debut single and the followup. Her debut came in 1954, when as Lovey Lewis she recorded with Johnny Otis Orchestra. Ten years later, Luvenia Lewis signed to Charlie Booth’s label. That was when Luvenia Lewis first met Huey Meaux. Six years later, in 1970, Huey Meaux took to the Grits and Gravy studio in Jackson, Mississippi. That’s where she cut Tender Loving Pain. It was licensed to Atlantic imprint, Cotillion. Despite its undoubted quality, and Luvenia Lewis’ impassioned delivery, Tender Loving Pain wasn’t a hit nationwide. Instead, it sold well locally. This obviously wasn’t enough for Luvenia Lewis, who retired not long after the release of Tender Loving Pain.
Joe “Guitar” Hughes recorded The Rains Came around 1967. It wasn’t until 1975, that The Rains Came was released on Jet Stream. Sadly, The Rains came had been relegated to the B-Side. This meant that only the curious heard this outpouring of hurt, betrayal and emotion. Soulful and bluesy, it’s an introduction to one of the most underrated bluesmen of his generation.
Johnny Adams closes South Texas Rhythm ‘N’ Soul Revue 2-From The Vaults Of Crazy Cajun Records with Spunky Onions. It was released as a single on Pacemaker Records in 1965. Funky and soulful, Spunky Onions marked a stylistic change for Johnny Adams, who would enjoy a long and successful career.
Following up South Texas Rhythm ‘N’ Soul Revue wasn’t going to be easy. However, Kent Soul, an imprint of Ace Records had a secret weapon,..compiler Tony Rounce. He’s a veteran of countless compilations, and was the perfect person to cherry pick Hugh Meaux’s vaults for the followup to South Texas Rhythm ‘N’ Soul Revue.
Tony Rounce dug deep, and came up with the twenty-four tracks that made their way onto South Texas Rhythm ‘N’ Soul Revue 2-From The Vaults Of Crazy Cajun Records. Everyone from Johnny Adams and Jackie Paine rub shoulders with Jean Knight, Warren Storm and Margo White. They’re joined by Chet McDowell, Eugene Gamble, Ronnie Milsap, Henry Moore and Joe Hughes. The result is not just a fitting follow to South Texas Rhythm ‘N’ Soul Revue, but a compilation that surpasses the quality of its predecessor. That’s 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.
It’s no exaggeration to describe South Texas Rhythm ‘N’ Soul Revue 2-From The Vaults Of Crazy Cajun Records as all killer, no filler. 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.
SOUTH TEXAS RHYTHM ’N’ SOUL REVUEW 2-FROM THE VAULTS OF CRAZY CAJUN RECORDS.
dereksmusicblog
dereksmusicblog 