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.
GOLDEN STATE PSYCHEDELIA.
GOLDEN STATE PSYCHEDELIA.
Eventful. That described Leo De Gar Kulka’s career. He was an intelligence officer, recording engineer, producer and owned a recording studio and record company. That’s why eventful best describes Leo De Gar Kulka’s career
He was born in Czechoslovakia in 1921, but moved to Los Angeles in 1938. By the time the Second World War broke out, Leo De Gar Kulka was recruited by the counter intelligence corps. That was where Leo De Gar Kulka stayed until after the Korean War ended in 1953. By then, Leo De Gar Kulka had become interested in music and recording.
Now back on divvy street, Leo De Gar Kulka got a job at Radio Recorders in Los Angeles. This was where he served his musical apprenticeship. Latterly, Leo De Gar Kulka had own recording studio, International Recorders. Among the artists Leo De Gar Kulka recorded at International Recorders were Herb Alpert, Nat King Cole, Sam Cooke, Little Richard and Frank Sinatra. However, in 1964, Leo De Gar Kulka left L.A. behind, and made his way to San Francisco.
Once he had settled in San Francisco, Leo De Gar Kulka setup a new studio, Golden State Recorders in 1965. It was a state-of-the-art studio, which rivalled anything that L.A. could offer. Golden State Recorders featured the latest equipment, including a solid state board. This made Golden State Recorders an attractive proposition for everything from an orchestra, to up-and-coming bands, which San Francisco had plenty of.
The San Francisco music scene was thriving by the time Leo De Gar Kulka arrived in the city. The Bay area’s experimental rock scene was blossoming, and many of city’s most promising bands were making their way to Golden State Recorders, to record a single. Some with deeper pockets, recorded an album.
Producing these bands was Leo De Gar Kulka. who had the inside track on the San Francisco music scene. That’s why A&R men were beating a path to Leo De Gar Kulka’s door.
They wanted to hear who Leo De Gar Kulka thought were the Bay Area’s next big thing, so they could sign them to their label. As the A&R men spoke to Leo De Gar Kulka, they realised he was a talented and pioneering producer. His patience was legendary, as he teased a performance out of bands. He cajoled and encouraged, and eventually, got the best performance possible out of the bands he produced. It may have taken slightly longer than other producers, but Leo De Gar Kulka was never one to settle for second best. The A&R men that spoke to Leo De Gar Kulka realised that he was producing some of the most ambitious, innovative and experimental psychedelic music in the Bay Area. This made him the perfect producer for the bands signed to some of the major labels.
Capitol Records, Apple, Liberty/UA and CBS all came to meet Leo De Gar Kulka. Before long, he was producing Quicksilver Messenger Service, Sons Of Chmplin, Mad River and The Mystic Moods. However, many of the bands Leo De Gar Kulka producedwere unsigned.
Some looked as if they had a big future. So Leo De Gar Kulka decided to found his own record label, Golden State Records in 1965. The only problem was, that Leo De Gar Kulka had a studio to run. So he brought onboard a triumvirate of South California music industry insiders.
The first was San Diego DJ, Jim Marino. He was the first member of team Golden State Records. Hank Levine, who was a veteran of many L.A. studios, was the next recruit. Larry Golberg was the final addition. He started life as a P.R. man, but then went to work for Hanna-Barbera, working on soundtracks to cartoons, including The Flintstones. The theory was, that this triumvirate of music industry insiders would transform Golden State Records into one of the Bay Area’s major independents. Things didn’t pan out this way.
Golden State Records didn’t prove to a profitable venture for Leo De Gar Kulka. Eventually, he had $80,000 is unrecoverable bad debts. That’s despite being able to regularly sell masters to various major labels. However, the deals that Larry Golberg negotiated, were always for fast money. He sold the masters, taking upfront money, rather than negotiate a more profitable, longterm deal. Theoretically, if the label that Larry Golberg sold the master to enjoyed a million selling single, Golden State Records didn’t get any more than the initial $3,000. It was no wonder that eventually, Leo De Gar Kulka called time on Golden State Records. By then, Golden State Records had recorded a hundreds of recordings.
Many of these recordings have never been released before. This includes sixteen of the tracks on Golden State Psychedelia, which was recently released by Big Beat Records, an imprint of Ace Records. This includes The Goody Box, The Immediate Family, Just Slightly Richer, Celestial Hysteria, The Bristol Boxkite, The Carnival and The Gants. The tracks on Golden State Psychedelia are the perfect introduction to one of top producers of the Bay Area’s psychedelic scene, Leo De Gar Chukka.
The Goody Box were one of many local bands Leo De Gar Kulka produced. They were from Pacifica, to the south of San Francisco. When they arrived at Golden State Records, Jerry Goldberg had a plan for The Goody Box. He wanted them to accompany singer Virginia Garcia. They would be billed as Ginger and The Goody Box. This new band’s debut single would be a cover of Lo Mucho Que Te Quiero. On the flip side, was Blow Up which opens Golden State Psychedelia. However, the single was never released. Since then, Blow Up, which is an explosive fusion of proto punk and psychedelia has lain unreleased in Golden State Records’ vaults. So has Ah Gee, The Goody Box’s other contribution. It has a much more traditional psychedelic sound. Rocky and lysergic, it’s a reminder of the Bay Area sound circa 1968.
The Carnival weren’t a Bay Area band. They were an L.A. based band, and recorded in L.A. at Danny Hardesty’s Living Sound Recorders. Then the recordings were sent to Golden State Recorders, so Leo De Gar Kulka could work his magic. He does that on Meditorium, Infinitation and Years Have Passed Away. On this trio of tracks, The Carnival plough their own furrow. One of the lead instruments is a clavinet, which is used effectively to toughen up the trippy sound. Sometimes, The Carnival’s vocals reference The Beatles, on the what’s an irresistible and innovative musical helter skelter.
Just like The Carnival, The Bristol Boxkite were a group who should’ve enjoyed commercial success. Sadly, that wasn’t to be. It wasn’t through lack of effort.They recorded several singles and an album. That’s not forgetting the four unreleased tracks on Golden State Psychedelia. These tracks showcase The Bristol Boxkite’s own brand of melodic, folk-tinged psychedelia. Their finest hour is the hauntingly, beautiful Sunless Night. Chasing Rainbows with its dreamy, hopeful sound, comes a close second. Who Are We is another track that showcases The Bristol Boxkite’s tight harmonies. Mad Rush World was recorded in May 1968, and is a reinvention of an old vaudeville standard. Sadly, Who Are We proved to be The Bristol Boxkite’s swan song. They never returned to the studio, and the band split-up in late 1968. It was a case of what might have been?
The Short Yellow roots were in jazz and classical music. This made them an unlikely signing for Golden State Recordings. However, The Short Yellow recorded a demo in September 1967. It featured three tracks, Highway Highway, Hand Full and Start Seeing. Highway Highway is reminiscent of Frank Zappa, with free jazz and psychedelia combining with pop. Hand Full is something of a slow burner, that explodes into life, with pop, rock and psychedelia melting into one. Start Seeing is best described as poppy psychedelia, and shows another side of The Short Yellow. They’re an inventive and innovative band, who sadly, were never signed to Golden State Records. This unlimitedly, lead to the group’s demise not long after the Golden State Records’ sessions.
In March 1967, The Ticket Agents made their way to Golden State Records, where they had booked a session. Leo Kulka liked what he heard, and decided to try and further The Ticket Agents’ career. He recommended them to some contacts in L.A. Then in September 1967, The Ticket Agents returned to Golden State Recordings and recorded Black Diamonds. It’s a fusion of hook-laden power pop and psychedelia. However, Black Diamonds was never released, and some forty-eight years later, makes its debut.
Originally, Celestial Hysteria were from Daly City, where they were founded in 1967. By May 1969, when Celestial Hysteria signed to Golden State Records Mary Hazelwood was the lead vocalist and John Allan the guitarist. Both play leading roles in the success of Speed and New Song Aka Going Home. Especially John’s blistering guitar runs, as Celestial Hysteria combine rock, psychedelia and nervous energy. The result is two hidden gems that somewhat belatedly, can be heard by a wider audience.
The same can be said of The Tow-Away Zone’s Daddy’s Zoo. It’s one of the most lysergic tracks you’ll ever hear. Daddy’s Zoo epitomises the Bay Area psychedelic sound, and for many, will be a trip back in time.
Just Slightly Richer recorded My Kind Of People and Solitude at Golden State Recordings in August 1968. This wasn’t their first visit. They had covered some Young Rascals songs in March 1968. Since then, Just Slightly Richer had auditioned for a nationwide televised talent show, Happening ’68. It was a case of close, but no cigar. However, when Just Slightly Richer returned to Golden State Recordings in August 1968, they had penned two new songs, My Kind Of People and Solitude. Both are foot to the floor affairs, with the rhythm section driving the energetic arrangements along. Sadly, neither track was released, and Just Slightly Richer didn’t even get a little richer.
Even the title to The Gants’ Sunday At The Lotus Parlor sounds psychedelic. So does the arrangement, dramatic vocal and waves of harmonies. Despite undoubted quality of this 1966 recording, it was never released as a single. Whether this hastened the demise of The Gants is unknown. All that’s known is that they split-up not long after recording of Sunday At The Lotus Parlor, which closes Golden State Psychedelia.
For anyone with even a passing interest in psychedelia, then Golden State Psychedelia will be a must have. It features twenty-five tracks, including sixteen previously unreleased tracks. This includes numerous hidden gems. They’re the type of tracks that used to feature on the Nuggets compilation. These glistening musical nuggets, are a tantalising taste of the music recorded at Golden State Recording by Leo De Gar Kulka.
He was a pioneer of the Bay Area psychedelic sound, and helped many bands on their way. This includes the various bands on Golden State Psychedelia, which was recently released by Big Beat Records, an imprint of Ace Records. Sadly, many of these bands never enjoyed the commercial success their talent warranted. Indeed, listening to some of the tracks on Golden State Psychedelia, one can’t help but wonder why they weren’t released as singles? Similarly, one can’t help but wonder why some of the bands on Golden State Psychedelia never went on to enjoy commercial success and critical acclaim? That wasn’t to be.
Many of the bands proved to be short-lived, and split-up not long after they enjoyed their moment in the sun, at Golden State Recordings. These groups had hoped they would become part of the Bay Area’s rich and lysergic musical history. Sadly, that didn’t happen, and many of these bands are long forgotten. Not anymore. They make a welcome return on Golden State Psychedelia, which is a reminder of the Bay Area’s psychedelic heyday. Back then, happenings were commonplace, and the Merry Pranksters conducted Acid Tests against a backdrop of Golden State Psychedelia.
GOLDEN STATE PSYCHEDELIA.
DAVE HAMILTON’S DETROIT SOUL VOLUME 2
DAVE HAMILTON’S DETROIT SOUL VOLUME 2
Sadly, Dave Hamilton is one of the forgotten men in the Motown story. That’s despite being one of the original members of Motown’s house band The Funk Brothers. They were formed in 1959, and right through to 1962, Dave Hamilton played guitar and vibes on early Motown recordings. Then in 1962, Dave Hamilton left The Funk Brothers and embarked on a solo career.
By then, Dave Hamilton had already released a single with Dave Hamilton and His Peppers. This was Donna’s Cha Cha, which was released on the Hi-Q label. On its release, Donna’s Cha Cha disappeared without trace. So Dave returned to The Funk Brothers. Then in 1962, Dave Hamilton left The Funk Brothers for good.
A year later, in 1963, Dave Hamilton released his debut album Blue Vibrations on the Motown jazz imprint, Workshop Jazz. Late Freight was released as the lead single from Blue Vibrations. However, neither Blue Vibrations, nor Late Freight was a commercial success. Nor was the sophomore single from Dave Hamilton and His Peppers.
Three years after the release of their debut single, Dave Hamilton and His Peppers released their sophomore single Beatle Walk. It was released on Fortune Records in 1964. Just like Donna’s Cha Cha, Beatle Walk wasn’t a commercial success. Just two years into his new career, and it looked like Dave Hamilton’s career wasn’t going anywhere. Dave Hamilton must have realised this, and decided to embark on a career as a producer.
This proved to be the best decision of Dave Hamilton’s musical career. It was as a producer, that Dave Hamilton excelled, and made his name.
Nowadays, Dave Hamilton is remembered as a talented, successful and highly respected producer. He was also a prolific producer whose career Ace Records have been documenting since 1998.
That’s when Ace Records secured the rights to Dave Hamilton’s productions. Since then, a series of lovingly curated and compiled compilations have been released by Kent Soul. The latest, is Dave Hamilton’s Detroit Soul Volume 2. This twenty-four track compilation features contributions from Chico and Buddy, Little Ann, The Tokays, Rita DuShay, The Del-Phis, Carolyn Franklin, Little Stevie and The Sensational Reynolds Singers and Jimmy Scott. There’s also three tracks from Dave Hamilton, who despite enjoying a successful career as a producer, still released the occasional single. None of these tracks have been released before. They’re among fifteen unreleased tracks on Dave Hamilton’s Detroit Soul Volume 2, which I’ll pick the highlights of.
Opening Dave Hamilton’s Detroit Soul Volume 2 is Buddy and Chico’s Party Time. It was penned by Earnest and Gene Cooper with Dave Hamilton. He co-produced Party Time with Earnest Cooper at Highland Studios. The result was a slice of funky, soulful and joyous. good time music. When Party Time was released on TCB in 1970, Dave Hamilton’s Cracklin’ Bread was on the B-Side.
The version of Cracklin’ Bread on Dave Hamilton’s Detroit Soul Volume 2 is an alternate take. The major difference is that it which features both male and ‘female vocals.’ It’s thought that the theatrical, tongue-in-cheek, female vocal was actually delivered by a man. At the heart of song’s success, is a guitar masterclass. This stunning solo from Dave Hamilton veers between rocky and funky, and shows why for three years, he was a member of the Funk Brothers.
In 1972, Simon Barbee, a friend of Dave Hamilton’s released a single. This wasn’t unusual. However, what was unusual, was that Simon Barbee was a minister, who usually, sung gospel. However, had released a single before. That was back in 1960, when The Barbees released their one and only single, The Wind. By the late sixties, Simon Barbee was ready to make a comeback. He penned The Showdown Part 1, which he recorded as Simon Barbee and The Barbabes. The single lay unreleased until 1972, when it was released on the Barbee label. Despite having been recorded a few years earlier, this feisty tale of betrayal had a contemporary sound upon its release in 1972.
The Tokays were a familiar face at Dave Hamilton’s TCB Studio. They were often drafted in to add backing vocals to a song. Among The Tokays’ number, were Chico and Buddy, who feature on (Marriage Is Only) A State Of Mind. This Dave Hamilton penned song was recorded but never released until 2013. It eventually made its debut on the B-Side of a limited edition single released by Kent Records. Belatedly, this laid-back, soulful and jazz-tinged track made its debut. Two years later, and The Tokays’ (Marriage Is Only) A State Of Mind returns for a very welcome encore.
By 1977, Dave Hamilton’s career was still going strong. He had written The Dreamer, which he recorded in 1977. Later, Felecia Johnson recut The Dreamer. By then, Felecia Johnson had worked with Dave Hamilton on a trio of singles for Top’s Records. Sadly, Felecia Johnson’s version of The Dreamer was never released. That’s a great shame, as it’s the definitive version of this track. One listen to this beautiful, but heart wrenching song and you’ll realise why.
Alabama born Tobi Lark got her break singing backing vocals for B.B. King. However, it was Cannonball Adderley that spotted Tobi Lark’s potential. He accompanied Tobi Lark on her 1963 debut single Deed I Do. By 1966, Tobi Lark was working with Dave Hamilton. She covered the the Dave Hamilton penned Challenge My Love. It was released on the Topper label in 1966, and this timeless track would become a favourite on the Northern Soul scene.
An air of mystery surrounds Presberry’s Somebody Is Wrong. Nobody knows the identity of the elusive Presberry. It’s a real mystery. What’s not in doubt, is that from the opening bars of Somebody Is Wrong, something special is unfolding. Soon, a heart wrenching, bluesy ballad is taking shape. At the heart of the song’s success is Presberry’s hurt-filled vocal. The way he delivers the lyrics, it’s as if he’s experienced the pain and hurt he’s singing about.
Despite enjoying a career that spanned three decades, Carolyn Franklin always lived in the shadow of her sister, Aretha. That’s despite releasing five albums between 1969 and 1976. These albums showcased a truly talented, and vastly underrated singer. Sadly, by the early eighties, Carolyn Franklin had to put her career on hold.
Her father, the Reverend C.L. Franklin was shot in a robbery, and spent five years in a coma. During that period, Carolyn Franklin hardly left his side. One of the times she did, was when she made her way to Dave Hamilton’s studio. It was across the street from her father’s church. Quickly, and with an understated arrangement, Carolyn Franklin covered Barbara Heston’s Guess I’ll Go Packin’. It’s an impassioned, wistful reinvention of a familiar track, that showcases the hugely talented Carolyn Franklin. Sadly, tragedy struck in 1988, when Carolyn Franklin died of cancer, aged just forty-four. Guess I’ll Go Packin’ is a poignant reminder of what music lost that day.
It was around 1973, that The Morning After recorded the Dave Hamilton composition Mr. Fireman. Very little is known about the band; except that Gip Roberts was a member of The Morning After. He had recorded a single Hunchin, which was produced by Dave Hamilton and Earnest Cooper. The next time Dave Hamilton met Gip Roberts, he was a member of The Morning After. They cut Mr. Fireman, a slice of pop soul. However, it was never unreleased and makes its debut on Dave Hamilton’s Detroit Soul Volume 2.
By 1970, Dave Hamilton had turned his attention to gospel music. He went on to record over twenty gospel groups. Many released singles on Dave’s Sacred Sounds’ label. Not Little Stevie and The Sensational Reynolds Singers. Their single Moving On was released on the Demo Ristic label in 1970. It’s an inspired fusion of funk, soul and gospel, where an impassioned lead vocal and testifying harmonies unite seamlessly.
When Glemie (Blue Boy) Derrell and The Detroit Dynamite Blues Boys arrived at Dave Hamilton’s studio to record Four O’Clock Blues, he had come to the right place. Dave Hamilton had played on John Lee Hooker’s Boom Boom. So he was no stranger to the blues. This Glemie (Blue Boy) Derrell penned track, was released as a single in 1969, on the TCB label. It was one of only a few blues singles TCB released. However, as Four O’Clock shows, it’s quality, rather than quantity that counts.
Closing Dave Hamilton’s Detroit Soul Volume 2 is Jimmy Scott’s Remember Me. Jimmy Scott was a Detroit based soul man, whose career began in the sixties, and lasted through to the mid-eighties. In 1972, Jimmy Scott and The Band released Remember Me, on the Detroit Gold Record Co. This was a ballad Jimmy Scott had written with Al Smith. However, for Dave Hamilton’s Detroit Soul Volume 2, Rob Keyloch, remixed Remember Me. It’s a slow, sensual ballad, which features, a needy, hopeful and heartfelt vocal from Jimmy Scott. Compiler Ady Croasdell has kept one of the highlights of Dave Hamilton’s Detroit Soul Volume 2 until last.
Dave Hamilton’s Detroit Soul Volume 2 certainly isn’t lacking highlights. No wonder. It’s been compiled by Ady Croasdell, whose a veteran of countless compilations. His name on a compilation is a sign of quality. That’s the case with Dave Hamilton’s Detroit Soul Volume 2.
From Chico and Buddy’s Party Time, right through to Jimmy Scott’s Remember Me, Dave Hamilton’s Detroit Soul Volume 2 is a mixture of familiar faces, minor classics and hidden gems. They’ve all one thing in common, quality.
That’s the case whether the tracks on Dave Hamilton’s Detroit Soul Volume 2 are soulful, funky, bluesy or jazz-tinged. On occasions, pop soul and gospel can also be heard on Dave Hamilton’s Detroit Soul Volume 2. It’s a truly eclectic compilation, was recently released by Kent Soul, an imprint Ace Records. This is compilation of Detroit based Dave Hamilton’s productions. There’s even three songs from Dave Hamilton himself. However, it was as a producer that Dave Hamilton wrote himself into Detroit musical history.
The former Funk Brother guitarist and vibes player became one of the most talented, respected and prolific producers in Detroit’s musical history. That’s why it’s taken several series of compilations to release just a fraction of the music Dave Hamilton produced. Dave Hamilton’s Detroit Soul Volume 2 is just latest instalment in Kent Soul’s long running, and much anticipated compilation series, that documents and celebrates the career of Funk Brother, songwriter and producer, Dave Hamilton.
DAVE HAMILTON’S DETROIT SOUL VOLUME 2.
BOBBY GILLESPIE PRESENTS SUNDAY MORNIN’ COMIN’ DOWN.
BOBBY GILLESPIE PRESENTS SUNDAY MORNIN’ COMIN’ DOWN.
Bobby Gillespie’s life has always revolved around music. That’s been the case since he was growing up in Mount Florida, in the south side of Glasgow. Back then, Bobby Gillespie hungrily devoured music. It was akin to an education.
This education didn’t take place at the at Glasgow University or Strathclyde University. Not unless there was a band playing. Mostly, Bobby Gillespie’s eduction took place in Glasgow’s record shops and concert halls. This was a road well travelled.
Not just locals like Bobby. Pilgrims from Paisley, Irvine, Motherwell and Hamilton made their way into Glasgow. That’s where they came to find the music they had heard on Radio Clyde and Radio One. Clutching long lists of records, they made their way to Listen, Echo, A1 Sounds, Klondyke Records and Tam Russell’s. Then there was Virgin in Union Street, where there was always an air if menace in the post punk years. That’s despite the sometimes sweet smell in the air. Despite that unmistakable aroma, it always threatened to “kick off.” This was all part of a musical eduction during the late-seventies and early-eighties.
Some graduated with honours, becoming musical connoisseurs blessed with discerning and impeccable taste. They knew the difference between The Doors and dross. Others failed miserably, having failed to distinguish between The Beach Boys and a beach buggy. For them, there was no hope, and they were sent not to Coventry, but the musical wastelands of Fife. As the unlucky one made their oneway journey, some of the graduates of a Glasgow musical education began to make their presence felt.
This included Bobby Gillespie. He started life as a roadie for Altered Images. However, life as a roadie was never going to satisfy Bobby Gillespie, and he began playing with The Wake. For Bobby, this was the start of a long and illustrious musical career. This included a year as The Jesus and Mary Chain drummer, and thirty-three years as the Primal Scream’s frontman. During that period, commercial success and commercial success have come Bobby Gillespie’s way. No wonder.
Primal Scream are regarded as one of the most important, influential and innovative bands of the past thirty years. They’ve released ten studio albums, including their 1991 classic Screamadelica, where Acid House, psychedelia and rock were combined by Primal Scream. After Screamadelica, Primal Scream have continued to reinvent themselves.
On albums like 1997s Vanishing Point, 2000s XTRMNTR and 2002s Evil Heat, Primal Scream were inspired by ambient, dub, industrial and Krautrock. Primal Scream, forever the musical chameleons, continue to reinvent themselves. However, other times, Primal Scream are at their best when they’re an old fashioned rock band.
That was the case on 1994s Give Out But Don’t Give Up which was the followup to Screamadelica. It found Primal Scream combining blues and rock. This was a return to the hard rocking sound of their 1989 eponymous sophomore album. On Give Out But Don’t Give Up, Primal Scream sounded more like The Rolling Stones, than Jagger and Co. Then on 2006s Riot City Blues and 2008s Beautiful Future, Bobby Gillespie rediscovered his inner rocker. The G-Man was back at his hard rocking best, and drawing inspirations from the artists he had heard growing up in Glasgow.
This includes some of the artists on Bobby Gillespie Present Sunday Mornin’ Comin’ Down, which was recently released by Ace Records. It features twenty-five tracks especially picked by Bobby Gillespie. There’s tracks from the 13th Floor Elevators, The Beach Boys, The Byrds, Tim Buckley, Alexander “Skip” Spence, Gram Parsons, Little Feat and Jerry Lee Lewis. Bobby Gillespie Present Sunday Mornin’ Comin’ Down is an eclectic soundtrack that one once have heard in the Gillespie household, on a Sunday morning after “a night on it.” Not any more.
Bobby’s a changed man. His wild days are long gone. However, still, playing in the background in chez Gillespie on the sabbath, will be the music on Bobby Gillespie’s Presents Sunday Mornin’ Comin’ Down. It’s a late contender for compilation of the year. Here’s ten reasons why.
One band Bobby Gillespie has championed throughout his career, are the 13th Floor Elevators. Their 1968 single May The Circle Remain Unbroken, opens Bobby Gillespie Present Sunday Mornin’ Comin’ Down. May The Circle Remain Unbroken was written by Rory Erickson, and also featured on the 13th Floor Elevators third studio album, Bull Of The Woods. It was released in 1969, on International Artists. One of the highlights was May The Circle Remain Unbroken, with its mystical, lysergic and hopeful sound.
The Beach Boys have influenced many musicians, including Bobby Gillespie. As the compiler, he indulges himself, putting a trio of tracks from The Beach Boys on Bobby Gillespie Present Sunday Mornin’ Comin’ Down. This includes You’re Welcome, which featured on the B-Side of the 1967 single Heroes and Villains. Penned by Brian Wilson, there’s an almost celestial, spiritual sound to You’re Welcome.
Primal Scream’s 1987 debut album Sonic Flower Groove was heavily influenced by The Byrds. So, there’s no surprise that o The Byrds’ feature on Bobby Gillespie Present Sunday Mornin’ Comin’ Down. The only question was, which song would Bobby choose? As a proud Scot, he’s chosen Wild Mountain Thyme, which is a traditional Scottish folk song. It featured on The Byrds’ third album Fifth Dimension, which was released in 1966. In The Byrds’ hands, Wild Mountain Thyme becomes a beautiful, joyous and uplifting ballad.
In 1970, Dennis Hopper was finishing editing The Last Movie. Meanwhile, Kit Carter was filming a documentary about Dennis Hopper. It was a surreal sight, one filmmaker filming a film about another filmmaker. When Dennis Hopper’s thoughts turned to the soundtrack, he decided to ask Gene Clark to write a song. He had just rejoined The Byrds, but wrote American Dreamer, which featured on the 1971 soundtrack Dennis Hopper In The American Dreamer. American Dreamer is a truly beautiful song, which features some of the best lyrics Gene Clark ever wrote.
Kris Kristofferson Sunday Mornin’ Comin’ Down lent its title to Bobby Gillespie’s compilation. This is a track from Kris Kristofferson’s 1970 debut album Kristofferson. With its cinematic lyrics, Sunday Mornin’ Comin’ Down showcases Kris Kristofferson skills as a storyteller. As he delivers the lyrics, sadness, hurt and hopelessness shine through. It’s as if Kris Kristofferson has lived the lyrics he’s singing, and somehow, has survived to tell the tale.
Gram Parsons is, without doubt, one of music’s best kept secrets. He only recorded two albums GP which was released in 1973, and Grievous Angel which was released in January 1974, four month after Gram Parsons died aged twenty-seven. Grievous Angel reached just 195 in the US Billboard 200. Since its release in 1974, Grievous Angel has become a cult classic. One of Grievous Angel highlights is Love Hurts, where Gram duets with Emmylou Harris. They sound as if they’ve experienced the hurt and heartbreak they’re singing about, on this poignant paean.
Just like Gram Parsons, Tim Buckley is another of music’s best kept secrets. The singer-songwriter constantly reinvented himself over his nine album career. This resulted in Tim’s music veering between folk to sex funk. However, when Tim released his sophomore album Goodbye and Hello in August 1967, it was a mixture of folk rock and psychedelia. So was the hauntingly beautiful Phantasmagoria In Two, which was released as the third and final single from Goodbye and Hello. Sadly, Tim Buckley’s career was cut tragically short, and he died aged twenty-eight. However, Tim’s legacy is eight wonderful albums of eclectic music.
Little Feat were one of the finest purveyors of Southern Rock. Lead by the inimitable Lowell George. They released their eponymous debut album in 1970. It was one of their finest albums, featured Willin’, a song about the perils of life on the road. Like most musicians,Bobby Gillespie will be able to relate to the lyrics. Especially the way Lowell George delivers them. He sounds as if he’s been there, and sampled what was on offer.
Ronnie Wood is best known for being Keith Richards’ partner-in-crime in the Rolling Stones. However, he’s also enjoyed a successful solo career. In 1975, Ronnie Wood released his sophomore album Now Look. It features Breathe On Me, which sounds as if the band have been partying all night. That’s part of the track’s laid back charm. Ronnie takes charge of lead guitar, and Keith Richards plays bass. They’re not a well oiled machine, and instead, are merely human on the lived-in sounding Breath On Me.
Closing Bobby Gillespie Present Sunday Mornin’ Comin’ Down is Jerry Lee Lewis’ cover of Over The Rainbow. It’s a favourite of the man they call The Killer. However, this melancholy, wistful cover is taken from Killer Country which was released in 1980, and shows a much more thoughtful side to Jerry Lee Lewis.
Bobby Gillespie Present Sunday Mornin’ Comin’ Down, which was recently released by Ace Records, is best described as a lovingly compiled and curated compilation. It’s obvious that a great deal of thought has gone into choosing the twenty tracks on Bobby Gillespie Present Sunday Mornin’ Comin’ Down. He’s dug deep into his record collection.
For Bobby Gillespie’s Sunday Mornin’ Comin’ Down, the familiar and obvious have been eschewed. Instead, Bobby introduces some of music’s best kept secrets. This including the 13th Floor Elevators, Tim Buckley, Alexander “Skip” Spence and Gram Parsons. They’re still some of music’s bed kept secrets. Even when Bobby decides to choose a track by a familiar face, he reaches for a B-Side, album track or alternate mix. This results in a captivating compilation full of musical treasure.
There’s everything from folk, pop and psychedelia to country, rock and Southern Rock. Bobby even chooses John Barry’s Midnight Cowboy. It’s a beautiful addition to the wonderfully eclectic Bobby Gillespie Present Sunday Mornin’ Comin’ Down. It showcases Bobby Gillespie’s impeccable musical taste, and shows that his formative years in Glasgow garnering a musical education in the city’s record shops and concert halls, was time well spent. The musical treasure chest that’s Bobby Gillespie Present Sunday Mornin’ Comin’ Down, is proof of this, and is awaiting discovery at your local record shop.
BOBBY GILLESPIE PRESENTS SUNDAY MORNIN’ COMIN’ DOWN.
FLORIAN FRICKE/POPOL VUH-KAILASH VINYL EDITION.
FLORIAN FRICKE/POPOL VUH-KAILASH VINYL EDITION.
In music, the most overused word is legend. It’s a word thrown around like confetti at a Las Vegas wedding. Nowadays, every two-bit hip hopper, EDM star or Nu Soul singer is being referred to as a legend. That’s far removed from the truth. However, it’s nothing new.
The overuse of the word legend has been used since the birth of rock ’n’ roll. For seven decades artists have been over hyped, and wrongly hailed a ‘legend.’ Partly, the confusion over legendary status comes from what makes someone a legend.
Everyone has their own definition of what makes a musical legend. Is it that the music they release is innovative, influential and inspirational? That could be part of the definition. Is their music got to be outstanding and timeless?
That’s debatable. Many artists who are regarded as legends didn’t produce outstanding music. The Sex Pistols are an example of that. They struggled to play their instruments, but are regarded by many people, as musical legends. Similarly, the music produced by many supposed Motown legends is far from timeless. It’s formulaic and hasn’t aged well. Yet many regard the Motown soul factory as being a production line for legends of soul. It seems who is worthy of attaining legendary status is arbitrary.
One artist who is definitely worthy of being called a musical legend, is Florian Fricke. He was a musical innovator, who as a member of Popol Vuh, created music that was innovative and influential. It also inspired future generations of musicians. The music Popol Vuh produced is now regarded as timeless and outstanding. That’s not surprising.
Popul Vuh were one of the greatest German bands of their generation. Quite rightly, Popol Vuh are held in the same regard as Can, Cluster, Harmonia, Kraftwerk, Neu and Tangerine Dream, who Florian Fricke later joined. Just like each of these bands, Popol Vuh’s music has played an important part in German musical history. Part of Popol Vuh’s success, was keyboardist Florian Fricke.
Recently, Soul Jazz Records released a new collection of music that’s celebrates the life and music of a true musical innovator and legend, Florian Fricke. It’s no ordinary release. There’s two LPs in the Florian Fricke/Popol Vuh box set Kailash. This lovingly compiled box set is the work of both Florian Fricke and Popol Vuh. The Florian Fricke story began in 1944.
Florian Fricke was born in Lindau am Bodensee, Germany on 23rd February 1944. Growing up, Florian Fricke learnt to play the piano. Quickly, he mastered the instrument, and on leaving high school, studied piano, composition and directing at the Conservatories in Freiburg and Munich. By then, Florian had two new passions.
The first was music. Florian loved music, especially new music. This included free jazz, which Florian embraced. He through himself into this new musical genre, and quickly, realised its potential and possibilities. However, there was more to Florian’s life than making music.
Florian was making short films. Although it was just a hobby, he would later become a film critic for the Swiss newspaper Neue Zürcher Zeitung. By then, he had experience as a critic. As a student, Florian became the music critic for Der Spiegel, a German magazine. Music and art seemed to dominate Florian’s life.
That was the case when Florian graduated. In 1967, Florian met film director Werner Herzog. The two became friends, and a year later in 1968, Florian landed a part in Werner Herzog’s film, Lebenszeichen. This was just the start of their relationship. They would reunite in 1972, but before that, Florian Fricke formed Popul Vuh in 1970.
Joining Florian in Popol Vuh, were percussionist Holger Truelzsch and fellow synth player Frank Fiedler. All the nascent group took its name from an ancient, sacred, Mayan manuscript. With a name in place, Popol Vuh began work on Affenstunde, the first of nineteen albums they released.
From the earliest days of Popol Vuh, Florian established himself as the group’s leader. He had been one of the first musicians to own a Moog II synth. This wasn’t an easy instrument to “tame.” Florian, a talented keyboardist soon got to grips with what was cutting edge technology. The Moog II would be used extensively on Popol Vuh’s debut album Affenstunde.
Recording of Affenstunde took place at Bavaria Music Studio, in Munich. Popol Vuh were joined by Bettina Fricke. She produced Affenstunde with Gerhard Augustin. The producers guided the nascent group through their debut album. It featured just four tracks. However, they were four innovative and influential tracks. Especially Affenstunde, a near nineteen minute epic, which took up all of side two.
When Affenstunde was released later in 1970, the album was described variously as space rock and cosmic music. It was very different to much of the music being released. However, there were other like-minded groups releasing similarly innovative and influential music. However, very few would enjoy the longevity of Popol Vuh.
Just a year later, Popol Vuh returned with In den Gärten Pharaos. It was a precursor of ambient music. Popul Vuh deploy Florian’s Moog II and add a myriad of experimental electronic sounds. At the time, In den Gärten Pharaos was perceived variously groundbreaking, experimental and thanks to the African percussion, exotic. Vuh, which took up side two of In den Gärten Pharaos was perceived as kosmische musik at its most spiritual. In den Gärten Pharaos was the first classic album of Popol Vuh’s long and illustrious career.
Popol Vuh’s third album, Hosianna Mantra was one that passed many critics and record buyers by. The group’s lineup changed for the first, but far from the last time. Florian was the only remaining original member of the band left. From there, the lineup is best described as fluid.
That didn’t seem to matter. Hosianna Mantra featured music that was timeless, spiritual and innovative. Sadly, it went almost unheard of outside Germany. It was only later, that Hosianna Mantra found an audience. However, Hosianna Mantra wasn’t the only album Popol Vuh released during 1972. That year, Florian renew his friendship with Werner Herzog.
By 1972, Werner Herzog was producing the conquistador movie Aguirre, The Wrath of God. He needed someone to provide the soundtrack. That’s where Popol Vuh came in. Not only did Popol Vuh provide the soundtrack to He needed someone to provide the soundtrack to Aguirre, the Wrath of God, but Heart Of Glass in 1976 and 1979s Nosferatu the Vampyre. The combination of Popol Vuh and Werner Herzog proved a successful one. Popol Vuh were already experienced and accomplished when it came to composing soundtracks. This would stand Florian and Popol Vun in good stead. Especially when Florian and Frank Fielder later, embarked on what was the journey of a lifetime.
Before that, the German music scene was thriving during the seventies. Popol Vuh released an album every year of the seventies. Very rarely, did they disappoint. The nearest they came was with 1973s Seligpreisung. It received mixed reviews from critics. Popol Vuh more than made up for this with 1974s Einsjäger und Siebenjäger. It’s now recognised as one of Popol Vuh’s best albums of the seventies. The followup Das Hohelied Salomos was released in 1975, and featured Popol Vuh showcasing New Age music. Constantly, it seemed Popol Vuh reinvented their music. However, later in 1975, Popul Vuh returned to the world of soundtracks and penned the soundtrack to Werner Herzog’s latest film, Aguirre, The Wrath of God. The soundtrack, Aguirre became Popol Vuh’s seventh album since 1970.
In 1976, Popol Vuh returned with their eighth album, Letzte Tage–Letzte Nächte. It was released to critical acclaim, and ensured that Popol Vuh were seen as purveyors of ambitious, exciting and groundbreaking music. Partly, that was down to Popol Vuh’s determination to push musical boundaries to their limits. Popol Vuh’s reputation was further enhanced when they recorded the soundtrack to Werner Herzog’s movie Herz aus Glas in 1978. Later in 1978, Popol Vuh released Brüder des Schatten–Söhne des Lichts which they had recorded in August of 1978. When it was released on Brian Records, critics embraced the Gerhard Augustin produced album. Despite the critical acclaim lavished on their albums, still many people were unaware of Popol Vuh. So penning the soundtrack to another film directed by Werner Herzog exposed their music to a wider audience. Nosferatu was one of their finest soundtrack albums, and Popol Vuh’s penultimate album of the seventies. Die Nacht der Seele, which was subtitled tantric songs, was released to critical acclaim in 1979, and was a fitting way for Popol Vuh to close the seventies. Incredibly, Die Nacht der Seele was Popol Vuh’s twelfth album since they formed in 1970.
During the eighties, Popol Vuh were no longer as prolific. They only released four albums. The first was Sei still, wisse ich bin. It was released in 1981, two years after Die Nacht der Seele. However, it was well worth the wait. Die Nacht der Seele saw Popol Vuh reinvent themselves once again, resulting in an album that was released to widespread critical acclaim. However, it was another two years before Popol Vuh returned.
When they did, it was with Agape-Agape. The album was released on the Norwegian label Uniton. Agape-Agape featured Popol Vuh creating music that was variously, beautiful, captivating, dramatic and as one would expect from Popol Vuh, groundbreaking. It won the approval of critics, but didn’t find a wide audience. Neither did Florian’s debut solo album.
After thirteen years as a professional musician, somewhat belatedly, Florian released his debut album Die Erde und ich sind Eins in 1983. Despite his status as one of the most innovative German musicians of his generation, Florian Fricke found himself releasing Die Erde und ich sind Eins as a private pressing. Just like Popol Vuh, he wasn’t getting the credit he deserved. Meanwhile, Can, Kraftwerk and Neu! were receiving all the plaudits. However, Popol Vuh and Florian Fricke continued to make music.
1985 saw Popol Vuh release the fifteenth album of their career, Spirit Of Peace. It was released on the French label, Spalax. Popol Vuh were having to flit between labels. Despite its quality, and how highly regarded their music was by some critics, Popol Vuh albums weren’t selling in vast quantities. So when Warner Herzog used We Know About The Need The as part of the soundtrack to Dark Glow Of The Mountains, this was welcomed by Popol Vuh. Two years later, and Popol Vuh Walter Herzog were reunited.
Walter Herzog was directing Cobra Verde. He needed someone to compose and record the soundtrack to Cobra Verde. By then, Popol Vuh were had plenty of experienced writing and recording soundtracks. They had also worked extensively with Walter Herzog. So it made sense that they provide the soundtrack. However, the Cobra Verde soundtrack was released to mixed reviews. This was disappointing for Popol Vuh. They didn’t release another album during the eighties.
It wasn’t until 1991 that Popol Vuh released another album. Again, it was a soundtrack album. This time, the soundtrack was for the film For You and Me. Popol Vuh had recorded the soundtrack at the African Studio, Munich and Sound Fabrik, Munich. Between January and April 1991 they recorded eleven tracks. The soundtrack was described as: “a celebration of world music.” For You and Me showcased Popol Vuh’s versatility and ability to switch between genres. However, some critics didn’t seem to “get” the music, and again, reviews were mixed. It would another four years before Popol Vuh returned.
Before that, Florian Fricke released another solo album. This time, it was an album of classical music. Florian Fricke Plays Mozart was released in 1992, and showcased another side to the Popol Vuh leader. Unknown to some people, Florian was a keen student of classical music. He had studied music at the Conservatories in Freiburg and Munich, and just as comfortable playing classical music than working with Popol Vuh. So in his down time from Popol Vuh, Florian often composed piano pieces, like those on Kailash. However, in 1995 Popol Vuh returned with their eighteenth album.
City Raga had been recorded at the New African Studios, in Munich. Florian Fricke, Guido Hieronymus, and Maya Rose composed the seven tracks. This latest lineup of Popol Vuh were joined by Daniel Fichelscher and the Kathmandu Children’s Choir. The result was a captivating album from Popol Vuh. However, little did anyone realise that it was Popol Vuh’s penultimate album.
Another two years passed before Popol Vuh returned with their nineteenth and final album, Shepherd’s Symphony-Hirtensymphonie. Again, Popol Vuh’s lineup had changed. They were still a trio featuring Florian, Guido Hieronymus and Frank Fielder, who would later collaborate with Florian after their journey of a lifetime. Before that, the latest lineup of Popol Vuh headed off into the studio.
The three members of Popol Vuh made their way to Afro Sounds Studio, in Munich. Between September 1995 and March 1996 they recorded the seven tracks that became Shepherd’s Symphony-Hirtensymphonie. It was only released in 1997, but would prove a fitting finale to a career that spanned three decades and nineteen album. Popol Vuh took their bow with album that wowed critics.
Following Shepherd’s Symphony-Hirtensymphonie, Popol Vuh never released another album. Tragedy struck in 2001, when Florian Fricke suffered a strokem and died aged just fifty-seven. One of the true legends of music, had died way too early. He was the one constant in Popol Vuh. Accompanying for much of the Popol Vuh adventure was guitarist and drummer. He didn’t try to revive Popul Vuh. Without Florian Fricke as its driving force, there was no Popol Vuh. While Florian and Daniel Fichelscher enjoyed a long-lasting musical adventure, Florian and Frank Fielder also enjoyed a series of adventures.
Together, Florian and Frank Fielder travelled to Afghanistan Israel, Lebanon, Mesopotamia, Morocco, the Sinai desert, Nepal and Tibet. These journeys were captured on film by Florian and Frank. Both were keen filmmakers. One of their journeys is captured on a box set recently released by Soul Jazz Records.
The Florian Fricke/Popol Kailash Vuh box set features a new collection of music that’s celebrates the life and music of a true Florian Fricke. It’s no ordinary release. There’s two CDs and a DVD in the Florian Fricke/Popol Vuh Kailash box set. This lovingly compiled box set is the work of both Florian Fricke and Popol Vuh.
On disc one, Piano Recordings; there’s eight of Florian’s favourite recordings and compositions. They’re a mixture of released and previously unreleased tracks. It’s just Florian and his piano. This is a truly potent combination. On each of the eight tracks, patterns appear, only to disappear and recur. Then Florian heads off in an unexpected direction. He’s improvising and experimenting. However, it all makes sense. Florian’s love of classical and improvisational music shines through, resulting in music that’s beautiful, bewitching, captivating, dramatic, ethereal spellbinding and has an inherent spiritual quality. That however, is only half the story. On disc two,there’s an unreleased soundtrack.
The soundtrack to Kailash: Pilgrimage To The Throne Of The Gods features on disc two, while the film can be found on the accompanying DVD. Both are captivating. Especially what’s essentially an album featuring ten ethereal soundscapes. That describes Kailash: Pilgrimage To The Throne Of The Gods perfectly.
Kailash: Pilgrimage To The Throne Of The Gods comprises ten tracks, where Florian takes the listener on a journey to the holiest mountain in Asia. Tucked away in a forgotten corner of West Tibet, far from the rest of the world is Kailash. For pilgrims from four disparate religions, this is a sacred place. At 6675 metres high, Kailash is referred to as the “throne of Gods.” That’s why for countless centuries, pilgrims have risked life and limb to take this journey. It’s a journey that Florian and filmmaker Frank Fielder made.
The two founding members of Popol Vuh made their own journey to Kailash. Their journey was documented on film. It was no ordinary journey. Instead, it’s a epic journey that tests the limits of pilgrims. That was the cue with Florian and Frank. On their return, Florian and Popol Vuh decided to document this journey musically.
Over ten tracks what was a truly spiritual journey was documented. The music is cinermatic, ethereal, dramatic and spiritual. It’s a captivating listen, where the listener accompanies Frank and Florian on their journey round the “path of initiation.” Florian’s music conjures up pictures of a challenging, rugged and spectacular landscape. By the end of Kailash: Pilgrimage To The Throne Of The Gods, Florian achieves what he set out to do. This is described perfectly by film director Werner Herzog: Florian set out to create music I feel helps our audiences visualise something hidden in the images on the screen, and in our soul too.”
That’s a fitting homage to music that Florian Fricke made during a recording career that lasted three decades. This includes the nineteen albums Florian recorded with Popol Vuh and his two solo albums. Then there’s Florian’s guest appearance on Tangerine Dream’s 1972 double album Zeit. It was Tangerine Dream’s third album, but marked a stylistic departure for the band. Guiding them through this move towards a slower, much more ambient and atmospheric sound was Florian Fricke. Already he had won the respect of his contemporaries. Soon, others would want to collaborate with Florian.
Between 1973 and 1974, Florian and Popol Vuh’s drummer and guitarist Daniel Fichelscher were invited to join a new group, Gila. It had been founded in 1971, by Connie Veit, who previously was Popol Vuh’s guitarist. He left to form Gila. Along with Florian and Daniel, Renate Knaup of Amon Düül II was recruited. They all played on Bury My Heart At Wounded Knee. It was released in 1973, and was the last album the band released until they reunited in 1999. However, this short-lived band featured four of German music’s most innovative musicians. Especially Florian Fricke.
Throughout his career, Florian Fricke released music that was innovative and influential. Constantly, he strove to push musical boundaries, and constantly reinvent Popol Vuh’s music. Their music constantly changed, and the Popol Vuh back catalogue is best described as eclectic. Maybe, that’s because Popol Vuh’s lineup constantly evolved.
With a lineup that can only be described as fluid, Popol Vuh release some of the most groundbreaking music of the seventies and eighties. That period, was what many regard as the golden era of German music. One of its pioneers was Florian Fricke.
Sadly, Florian Fricke and Popol Vuh often don’t get the credit they deserve. Instead, Ash Ra, Can, Cluster, Kraftwerk and Harmonia received the plaudits. To some extent, Popol Vuh, who were much more prolific than most of their contemporaries, are the forgotten group of the golden era of German music. Maybe, Hopefully, the release of the Florian Fricke/PopolVuh Kailash box set will go some way to rectify this, Hopefully, the Florian Fricke/PopolVuh Kailash box set will introduce a new and wider audience to one of the greatest groups in German musical history, Popol Vuh and a true musical legend Florian Frick.
FLORIAN FRICKE/POPOL VUH-KAILASH VINYL EDITION.
CHANGE-REACH FOR THE SKY AN ANTHOLOGY.
CHANGE-REACH FOR THE SKY AN ANTHOLOGY.
Part of the soundtrack to the disco era was recorded by studio bands. They featured mostly anonymous session musicians and unknown vocalists. Many of these musicians and vocalists were just at the start of their careers, including Luther Vandross.
The twenty-eight year old backing vocalist had worked with everyone from Judy Collins, David Bowie and Diana Ross, to Chaka Khan, Barbara Streisand and Donna Summer. However, Luther Vandross wanted to embark upon a solo career. With every year that passed, that began to look more and more like a pipe dream. So when Luther Vandross got the chance to join studio band Change as their lead singer in 1980, he grasped the opportunity with both hands.
That proved to be a smart move for Luther Vandross. He played an important part in the success of Change’s 1981 debut album The Glow of Love. It was certified gold, and had provided the perfect showcase for Luther Vandross’ vocal prowess. He left Change in 1981, and embarked on a solo career where everything Luther Vandross touched, turned gold or platinum. His departure didn’t mark the end of the road for Change.
Far from it. Change released another four albums between 1981 and 1985. This included two number one singles in the US Dance charts. They’re just two of a string of successful singles released by Change over a five year period. These singles featured on Reach For The Sky-Anthology, which will be released on 4th December 2015 by Glasgow based label, Groove Line Records. They’ve put together a two disc, twenty-eight track extravaganza, Reach For The Sky-Anthology, the definitive Change compilation. It documents the life and times of Change, whose roots can be traced back to the late seventies.
Change was formed in 1980 by Guadeloupe-born businessman and executive producer Jacques Fred Petrus, and producer Mauro Malavsi. The pair had their own production company Goody Goody Productions. That’s how they met self-taught bassist David Romani in 1977. Since then, the three men had formed a successful partnership.
Over the last few years, Goody Goody Productions was on a roll. Hits rolled off their production line. This included Mahco’s I’m A Man, The Peter Jacques Band’s Fire Night Band and Revanche’s Music Man. This three man musical team complimented one another perfectly, and were about to mastermind Change’s rise and rise.
Jacques Fred Petrus was already a successful businessman before he founded Goody Goody Productions. Mauro Malavsi was only twenty-three in 1980, but already, was a talented songwriter, keyboardist, arranger and producer. Self-taught bassist David Romani was also a songwriter, arranger and producer. He would form a successful partnership with Mauro Malavsi, which was central to the success of Change. The final piece of the jigsaw was Jacques Fred Petrus’ business acumen. This combination of talents would result in five successful years for Change. It began in 1981 with The Glow of Love.
The Glow of Love.
Change were formed in 1979 and work began on their debut album straight away. Two members of Goody Goody Productions would play an important part in the album, Mauro Malavsi and David Romani.
Their first job was to write the material that would feature on what became The Glow Of Love. David Romani cowrote five of the album’s six songs. He worked with various songwriting partners, including Paolo Gianolo, Wayne Garfield and Mauro Malavsi. However, it was a song that David Romani, Wayne Garfield and Mauro Malavsi cowrote that stood out when recording began, The Glow Of Love.
The recording process was a two part process. Just like all studio bands, Change didn’t have a fixed lineup. Instead, different musicians and vocalists played their part in Change’s Italo-American sound. This included the session musicians that recorded the backing tracks at Fontopront Studios in Bologna
during 1979 and 1980. Once the backing tracks were finished, they were delivered to Goody Music Productions’ New York offices.
Then, vocalists including Luther Vandross, Jocelyn Brown, Robin Clark, Dennis Collins and Krystal Davis recorded their vocals at New York’s Media Sound studios. Luther Vandross was then an unknown backing singer. Jocelyn Brown however, had enjoyed a degree of success. Her vocals featured on Musique’s two number one dance singles, and Inner Life’s hit single I’m Caught Up (In a One Night Love Affair. This was nothing compared to the success that Change were about to enjoy.
Before the release of The Glow Of Love, most of the reviews were positive. Critics were won over by the post disco sound of Change. They seemed ready to pickup the baton from Chic, and become the leading purveyor of dance music. Especially with songs of the quality of A Lover’s Holiday, The Glow Of Love, Angel In My Pocket and Searching, which feature on Reach For The Sky-Anthology. However, unsurprisingly, Robert Christgau, the self-proclaimed “Dean of American Rock Critics” disagreed with the majority of critics. How wrong he was.
The Jacques Fred Petrus produced Glow Of Love was released on Warner Bros. on April 16th 1980. It reached number twenty-nine in the US Billboard 200 and number ten in the US R&B Charts. This resulted in a gold disc for Change. That wasn’t the end of the commercial success.
Not by a long chalk. Three singles were released from Glow of Love. The lead single was A Lover’s Holiday, which reached number forty in the US Billboard 100, number five in the US R&B Charts and number one in the US Dance Music/Club Play Charts. Eventually, A Lover’s Holiday sold a million copies, and was certified gold. Searching then reached twenty-three in the US R&B Charts, and number one in the US Dance Music/Club Play Charts. Then The Glow of Love reached forty-nine in the US R&B Charts, and and number one in the US Dance Music/Club Play Charts. Never before, had a studio band enjoyed three consecutive number one singles in the US Dance Music/Club Play Charts. Change were making history.The Goody Goody production team were riding the crest of a post disco wave. However, could they repeat this success?
Miracles.
After the commercial success of The Glow of Love, the three men behind Goody Goody Productions started thinking about recording Change’s sophomore album. Now everyone at Goody Goody Productions had to repeating the whole process.
Just like with The Glow Of Love, Mauro Malavasi and David Romani played an important part in the songwriting process. They played a part in each of the seven songs on Miracles, working with various song writing partners. This included Tanyayette Willoughby, who cowrote five songs. The backing tracks to the songs would be recorded by the session musicians in Bologna.
At Fonoprint Studios, Bologna, many of the same session musicians who played on The Glow Of Love were reunited. They were joined by some new names. Gradually, the rhythm track, horns and strings were recorded. Now Change’s vocalists could add their parts in New York. This included a mixture of old friends and new names
The new names included Chic vocalist Fonzi Thornton, Gordon Grody, Benny Diggs, Diva Gray, James “Crabbe” Robinson and Ullanda McCullough. They joined Jocelyn Brown, Luther Vandross, Dennis Collins and Krystal Davis. This new lineup of Change would provide the vocals on Miracles at Media Sound Studios, New York. Diva Gray unleashed two vocal masterclasses on Paradise and Hold Together. Not to be outdone, James Robinson comes close to stealing the show on Stop For Love. These three tracks which feature on Reach For The Sky-Anthology, would feature on Miracles, Change’s sophomore album, which was scheduled for release in March 1981
Before that, critics had their say on Miracles. The reviews of this fusion of funk, R&B, post disco and soul were mixed. Change had been here before with The Glow of Love. Again, Change’s fiercest critic was Robert Christgau. Last time, he proved to be their good luck charm. Would lightning strike twice?
On Miracles’ release, it reached number forty-six in the US Billboard 200 and number nine in the US R&B Charts. Miracles didn’t sell in the same quantities as The Glow Of Love. Maybe the singles would prove more popular?
Change released five singles from Miracles. Paradise reached number eighty in the US Billboard 100, number seven in the US R&B Charts and number one in the US Dance Music/Club Play Charts. Hold Tight then reached number eighty-nine in the US Billboard 100, number forty in the US R&B Charts and number one in the US Dance Music/Club Play Charts. Then when Heaven Of My Life was released in 1981, it reached number one in the US Dance Music/Club Play Charts. This meant Change had enjoyed six consecutive number one singles in the US Dance Music/Club Play Charts. Surely things couldn’t get any better?
It didn’t. Neither Stop for Love, nor Miracles charted. It seemed the good ship Change had run aground. Worse was to come.
After the release of Miracles, Luther Vandross announced he was leaving Change, to pursue a solo career. This had seemed inevitable, given his stellar performances on Change’s first two albums. Luckily, one of Changes’ new recruits was shaping up to be an able replacement for Luther Vandross. It was a case of step forward James “Crabbe” Robinson, Changes needs you.
Sharing Your Love.
Following the departure of Luther Vandross, many critics thought the end was neigh for Change. Replacing such a talented vocalist was going to be almost impossible. However, the three men who masterminded Goody Goody Productions were confident that the Change story was far from over.
This time around, Goody Goody Productions deviated from their successful formula. The first change was in the songwriting process.
While Mauro Malavasi and Davide Romani still played a part in the songwriting process, their role was reduced. They only penned five of the ten tracks. Fonzi Thornton and James “Crabbe” Robinson cowrote songs. So did the songwriting team of Leroy Burgess, Sonny Davenport and James Calloway. The next change came that Change’s third album Sharing Your Love, was recorded and mixed in New York.
Rather than rely on the Bologna based session players, it was decided to record Sharing Your Love in New York. Nearly fifty musicians, including a string section featured on Sharing Your Love. That’s not forgetting fifteen backing vocalists, including Chic’s Norma Jean Wright and Fonzi Thornton, Robin Clark, Debbie Cole, Jocelyn Brown, Gordon Grody, Michelle Cobbs and Leroy Burgess. They all made their way to Media Sound Studios, New York. So did vocalists James “Crabbe” Robinson, Roz Ryan and Deborah Cooper, This huge cast of musicians and vocalists, were responsible for Change’s third album Sharing Your Love. It was released in April 1982.
Before that, critics reviewed Sharing Your Love. Just like Change’s first two albums, Sharing Your Love received mixed reviews. Critics who were won over by Sharing Your Love, picked The Very Best In You, Hard Times (It’s Gonna Be Alright), Keep On It, Sharing Your Love and Promise Your Love as the album’s highlights. These tracks feature on Reach For The Sky-Anthology, including a previously unreleased versions of Keep On It. However, other critics weren’t as enamoured by Change.
Part of the problem was, that critics thought studio bands were manufactured, and lacked the authenticity and credibility of rock bands. However, Change’s fusion of R&&, soul, funk and post disco was popular among some record buyers.
Sharing Your Love reached number sixty-six in the US Billboard 200, and number fourteen in the US R&B charts. While Sharing Your Love wasn’t as popular as Change’s first two albums, Goody Goody Productions hoped that the singles would fare better.
The Very Best in You was chosen as the lead single, and reached eight-four in the US Billboard 100, sixteen in the US R&B and thirty in the US Dance Music/Club Play Charts. Hard Times (It’s Gonna Be Alright) stalled at a lowly seventy-one on the US R&B charts. Then in 1982, Sharing Your Love, Oh What A Night and Keep On It all failed to chart. This was hugely disappointing for Change, and especially the three men who masterminded Goody Goody Productions. Maybe Change’s fortunes would change with their fourth album This Is Your Time?
This Is Your Time.
Although Change’s third album Sharing Your Love can’t be classified as a failure, it didn’t sell in the same quantities as the first two albums. Sales of the singles were disappointing. It seemed a long time ago when Change enjoyed six consecutive number one singles in the US Dance Music/Club Play Charts. So something had to change.
A decision was made to return to the way Change had recorded their first albums. This meant that the backing tracks were recorded in Italy, and the vocals added in New York. However, when work began on This Is Your Time, one man was missing, David Romani.
He had played an important part in the success of Change, writing many of their best songs. However, he played no part in This Is Your Time. Even Mauro Malavasi only cowrote four tracks. The other tracks were written by various songwriting partnerships. Jacques Fred Petrus even cowrote Stay N Fit, as work began on This Is Your Time.
With eight songs written, the backing tracks were recorded not in Bologna, but in Umbi Studios in Modena. Then the vocalists added their parts in New York.
This included a new name, Rick Brennan. The Philly born singer had replaced James “Crabbe” Robinson. When James “Crabbe” Robinson had decided to leave Change, he introduced Rick Brennan to Goody Goody Productions. The next thing anyone knew, he was making his Change debut, adding lead vocals and backing vocals with Deborah Cooper and Robin Clark. For Rick Brennan, it was a case of This Is Your Time.
It was a baptism of fire for Rick Brennan. When reviews of This Is Your Time were published, they ranged from poor to mixed. This Is Your Time was regarded as Change’s least cohesive album. However, there were some highlights, including This Is Your Time, Don’t Wait Another Night, You’ll Never Realise and Musical Night. Got To Get Up also drew praise from some critics. So it’s no surprise that these five tracks feature on Reach For The Sky-Anthology. However, back in March 1983, they featured on This Is Your Time, which could make or break Change.
When This Is Your Time was released in March 1983, it became the least successful album Change had released. It stalled at 161 in the US Billboard 200, and number thirty-four in the US R&B charts. Things didn’t improve with the singles released from This Is Your Time.
The lead single was This Is Your Time, which reached thirty-three on the US R&B charts, and number thirty-nine US Dance Music/Club Play Charts. Magical Night then failed to chart, before Don’t Wait Another Night reached a lowly eighty-nine in the US R&B charts. When Got To Get Up was released as a single, it also failed to chart. For Change, 1983 had been their least successful year. Would 1984 see their fortunes improve?
Change Of Heart.
After the least successful album of Change’s four album career, Mauro Malavasi decided to part company with Goody Goody Productions. This presented a huge problem Jacques Fred Petrus. He needed someone to produce Change’s fifth album Change Of Heart.
Having asked the opinion of some of his closest lieutenants, Jacques Fred Petrus decided to bring onboard Minneapolis based Jimmy Jam and Terry Lewis. Their Flyte Time Productions was responsible for the success of Cherryl Lynn and the S.O.S. Band. Jacques Fred Petrus thought that they could rejuvenate Change’s fortunes. So they were chosen to produce Change Of Heart.
Jimmy Jam and Terry Lewis headed back to Minneapolis, where the pair began work on Change Of Heart. They cowrote four tracks, while Timmy Allen wrote the other four tracks. These eight tracks became Change Of Heart.
Recording was split between Umbi Recording Studio, Modena and New York. Just like three of the previous four albums, the backing tracks were recorded in Italy. Again, Umbi Recording Studio was chosen. Then when the latest lead vocals were recorded, Rick Brennan, Deborah Cooper, Robin Clark and Vincent Henry headed to Media Sound in New York. Other sessions took place at Creation Audio in New York. Then mastering took place at Atlantic Studios. Only then, was the Jimmy Jam and Terry Lewis’ produced Change Of Heart complete. Now Change were ready to make a comeback.
Most of the reviews of Change Of Heart were positive. Critics pointed towards Change Of Heart, It Burns Me Up, You Are My Melody, Warm and Say You Love Me Again as the highlights of Change’s fifth album. Unsurprisingly, these tracks feature on Reach For The Sky-Anthology. However, some critics, who were in the minority, weren’t won over by Change Of Heart. They felt Jimmy Jam and Terry Lewis’ sound was formulaic. However, their formula had proved successful so far.
When Change Of Heart was released on April 23rd 1984, it reached 102 in the US Billboard 200, and fifteen in the US R&B charts. This was an improvement on This Is Your Time. Change Of Heart reached thirty-four in Britain, and twenty-four in Holland. Change’s fortunes looked as if they were improving.
Especially when Change of Heart reached number seven on the US R&B charts, and number seventeen on the US Dance Music/Club Play Charts. It looked like Change were back. Then It Burns Me Up stalled at sixty-one on the US R&B charts. Things got worse for Change when neither You Are My Melody, nor Say You Love Me Again charted in America. Change’s comeback had been brief.
Turn On Your Radio.
For Change, change was on the cards, yet again. Jimmy Jam and Terry Lewis didn’t return for Change’s sixth album. Timmy Allen who wrote four tracks for Change Of Heart, and co-produced three tracks, returned. He was co-producer, with Jacques Fred Petrus producing what became Turn On Your Radio.
Timmy Allen played a major part on Turn On Your Radio. He wrote five of the eight tracks, and cowrote Oh What A Feeling. Jacques Fred Petrus cowrote the other two tracks. Then the backing tracks to these songs were recorded in Milan.
Morning Studios, Milan was where the session musicians that made up Change, laid down the eight backing tracks. Once they were complete, the vocals were recorded in New York.
Again, Atlantic Recording Studios, New York was where Rick Brennan, Robin Clark, Deborah Cooper and Vincent Henry recorded their vocals. Then Turn On Your Radio was scheduled for release in April 1985. Before that, critics had their say on Turn On Your Radio.
Critics were far from impressed by Turn On Your Radio. Many savaged the album, calling Change’s weakest offering. A few critics, found some positives, picking Let’s Go Together, Mutual Attraction and Oh What A Feeling as the album’s highlights. This trio of tracks makes its way onto Reach For The Sky-Anthology, and are the highlights of Turn On Your Radio, which proved to be Change’s swan-song.
Before the release of Turn On Your Radio, Let’s Go Together was released as a single, but stalled at fifty-six in the US R&B charts, and thirty-three on the US Dance Music/Club Play Charts. This didn’t bode well for the release of Turn On Your Radio.
When Turn On Your Radio was released in April 1985, it didn’t even make it into the US Billboard 200. This was a huge disappointment. So was reaching just sixty-four in the US R&B charts. A small crumb of comfort was Turn On Your Radio reaching thirty-nine in the British charts. After that, it was all downhill from there.
Change released three further singles Oh What A Feeling, Mutual Attraction and Examination. None of them troubled the American charts. This marked the end of the road for Change.
Just over a year after the commercial and critical failure of Turn On Your Radio, Jacques Fred Petrus died. That looked like it was the end of the road for Change. They had released six albums between 1981 and 1985, and enjoyed a degree of commercial success.
Change’s most successful album was their debut album, The Glow Of Love, which was certified gold. So was Their million selling single A Lover’s Holiday. Then there’s six consecutive number one singles in the US Dance Music/Club Play Charts. From The Glow Of Love to it had been a roller coaster ride. Change’s third album Sharing Your Love. However, nothing lasts forever.
From 1983s This Is Your Time, to 1985s Turn On Your Radio, Change didn’t enjoy the same commercial success. Despite trying different vocalists, producers and songwriters, commercial success was sporadic. Similarly, the quality of music on Change’s last three album ranged from great and good, to the bad and indifferent. That’s why the best way to discover Change’s music is via a compilation.
Reach For The Sky-Anthology, which was released on 4th December 2015 by Glasgow based label, Groove Line Records. They’ve compiled Reach For The Sky-Anthology, the definitive Change compilation. It features singles, 12” mixes and even a trio of unreleased tracks. This includes Hold Tight featuring the vocal prowess of Diva Gray, plus Keep On It and It’s A Girl’s Affair, which feature vocal masterclasses from Jocelyn Brown. These tracks are three more reasons to buy Reach For The Sky-Anthology.
This lovingly compiled compilation, is a fitting reminder of Change, one of the most successful studio bands of the post disco era. Their music was soulful, funky and dance-floor friendly. Much of it, is also timeless, and sounds as good in 2015, as it did back in the early eighties. That becomes apparent as you enjoy the two disc, twenty-eight track extravaganza that is Reach For The Sky-Anthology, the definitive Change compilation.
CHANGE-REACH FOR THE SKY AN ANTHOLOGY.
BRIAN ENO-AMBIENT 1/MUSIC FOR AIRPORTS-VINYL EDITION.
BRIAN ENO-AMBIENT 1/MUSIC FOR AIRPORTS-VINYL EDITION.
After leaving Roxy Music in 1973, Brian Eno’s career changed direction. Instead, his attention turned to ambient and electronic music. This was a controversial decision, given Roxy Music were one of the most successful British bands of the early seventies. Brian Eno’s creativity was being stifled. He felt he’d much more to offer music. So, he made the decision to leave Roxy music and change direction musically.
Whilst he didn’t enjoy the commercial success he enjoyed with Roxy Music, Brian Eno released a string of critically acclaimed albums. Some of his most critically acclaimed music was released between 1974 and 1983. During that period, Brian Eno could do no wrong. One of the finest albums he produced during this period, was Ambient 1/Music For Airports which was recently reissued on vinyl by Glitterbeat. It was released in 1978 and is an ambient classic. However, Ambient 1/Music For Airports wasn’t Brian Eno’s debut album.
As Brian Eno’s solo career began, it was apparent he hadn’t turned his back on glam rock entirely. His 1974 debut album, Here Come The Warm Jets was a fusion of art rock, avant garde, experimental and glam rock. Here Come The Warm Jets was recorded in just twelve days in September 1973, with the help of some of rock music’s luminaries. This included Robert Fripp of King Crimson and Phil Manzqnera of Roxy Music. On its release in January 1974, Here Come The Warm Jets was well received, reaching number twenty-six in the UK and number 151 in the US Billboard 200. After Here Come The Warm Jets, Brian Eno’s music changed direction again.
Just ten months after the release of his debut album, Brian Eno returned with his sophomore album, Taking Tiger Mountain (By Strategy). It was a concept album, where Brian had been inspired by a series of postcards of a Chinese revolutionary opera, entitled Taking Tiger Mountain (By Strategy). That’s why the subject matters included revolution in China and espionage. This was what Brian Eno did so well, create cerebral, experimental music.
Accompanied by a band that featured Robert Wyatt and Phil Manzqnera, with Andy McKay of Roxy Music one of the guest artists, recording took place in September 1974. The result was an album of contrasts. Somehow, the music manages to be upbeat and dark. Essentially, Taking Tiger Mountain (By Strategy) was a concept album. Released in November 1974, Taking Tiger Mountain (By Strategy) failed to chart. Critics, however, hailed the album. They approved this progressive concept album. For Brian Eno, the lack of commercial success was surely just a minor blip. Things would improve with his third album? Surely?
Another Green World which was released in September 1975, saw a change in direction from Brian Eno. He moved further towards the ambient sound he became known for. There were less songs with lyrics. Most of the songs were ambient instrumentals. When there were songs with lyrics, they were lush, lysergic and dreamy. They were more like sonic experiments. With a band featuring John Cale and Robert Fripp, Brian Eno recorded what was undoubtably his best solo album of his career so far.
Critics realised this and hailed Another Green World a minor classic. Despite being critically acclaimed, Another Green World failed to chart. It seemed Brian Eno was enjoying the most creative period of his career, but apart from critics, nobody realised this. Maybe his next album Discreet Music, would mark a change in fortune for Brian Eno?
Discreet Music saw Brian Eno release what many critics describe as his first ambient albums. Previous albums were hybrids, while Discreet Music was purely an ambient album. Brian drew inspiration from Erik Satie and recorded an album of what was described as “furniture music.”
This meant the music was designed to blend into the ambient atmosphere of room. You didn’t need to concentrate or focus on it to the exclusion of everything else. Side one, which features the title-track, was a thirty-minute movement designed for Robert Fripp to play against in concerts. On the second side, were Three Variations on the Canon in D Minor, by Johann Pachelbel. Brian gave the Cockpit Ensemble parts of the score and asked them to repeat these parts several times. Brian also gave them the freedom to alter the tempo and improvise. This was truly groundbreaking.
Cultural commentators and critics realised this, and plaudits came Brian’s way. His ambient debut Discreet Music was released in 1975, but failed to chart. Following the disappointing sales of Discreet Music, Brian decided to change direction again.
Just over two years later, in December 1977, Brian Eno released his fifth album, Before and After Science. It saw Brian make a brief and final return to rock music. With an all-star cast, including members of Fairport Convention, King Crimson, Roxy Music, Free, Can and Cluster, ten songs were recorded in Berlin and London.
Having taken two years to make and with Bhrett Davies co-producing Before and After Science, great things were expected of the album. Especially when critics referred to the album as one of Brian’s finest albums. Sadly, that didn’t translate to album sales. Before and After Science failed to chart in the UK and reached just number 171 in the US Billboard 200. Brian’s return to rock music hadn’t worked. So his next album Ambient 1/Music For Airports was a return to ambient music.
Ambient 1/Music For Airports would prove to be the first in a quartet of the “Ambient” series. Brian came up with the Ambient term to differentiate his music from what many people referred to as “canned music.” Originally, Brian perceived the music on Ambient 1/Music For Airports as being played continually at airport to calm people down and defuse tension. This idea came to Brian when he was waiting for a plane at Bonn airport in the mid-seventies. Brian found the lack of a soundtrack uninspiring. Music like that on Ambient 1/Music For Airports was the answer. So, he recorded what he’d have liked to hear in Bonn airport.
For Ambient 1/Music For Airports four tracks were penned. Co-producer Rhett Davies, Robert Fripp and Brian wrote the opening track 1/1. Brian wrote 1/2, 2/1 and 2/2. These four tracks were recorded by a small band in London and Cologne. Robert Wyatt played acoustic piano and Brian played synths and electric piano. Vocalists included Christe Fast, Christine Gomez and Inge Zeininger. Engineers included Dave Hutchins, Conny Plank and Rhett Davies, who co-produced Ambient 1/Music For Airports with Brian Eno. Once Ambient 1/Music For Airports was completed, it was released in 1978.
When critics heard Ambient 1/Music For Airports they realised that Brian Eno had just recorded one of the best albums of his career. Some described Ambient 1/Music For Airports as a classic. They described it as innovative due to its use of tape loops and its ambient quality. Despite the reception Ambient 1/Music For Airports received, it wasn’t a commercial success. Indeed, it failed to chart. However, since then, Ambient 1/Music For Airports is seen as a classic album which deserves to be in any self-respecting record collection. I’ll tell you why, once I’ve told you about Ambient 1/Music For Airports.
Ambient 1/Music For Airports opens with 1/2. Just a slow, spacious and pensive piano are played deliberately. Synths drone in the background, as if posing a question. This piano melody is constantly repeated. as instruments fade in and out. Chimes, synths and acoustic piano played by Robert Wyatt. Ethereal, dreamy, becalming and thoughtful, the music washes over you. It’s like a balm that massages your very soul. There’s a hypnotic and mesmeric quality to the music. You’re drawn to the music, become part of it, focusing on its hidden secrets and subtleties. Sometimes, there’s a zen like quality to the music as ambient, avant garde and experimental music combine to create a soundtrack to calm any travellers weary soul.
A celestial choir opens 1/2, their voices cascading above the arrangement. Accompanying what sounds like a choir of angels are washes of synths. They too have an elegant, ethereal sound as the arrangement unfolds in waves. Again, it washes over. It’s akin to waves washing up on a deserted beach. Both have the same relaxing and becalming quality and are nine of the best minutes of minimalist music Brian Eno ever recorded. This track is also proof that sometimes, less is more.
Just a thoughtful, pensive piano opens 2/1. Soon, ethereal harmonies descend. They’re celestial and tender, drifting in and out of the arrangement. Accompanying them are a lone piano and occasional plucked bass. It’s played slowly, deliberately and as if every note has been considered with care. Space is left within the arrangement, as if mindful of Miles Davis’ comment about the space between two notes being as important as the notes them-self. The space only heightens the anticipation of the swathes of harmonies that swoop in. Tender, beautiful and otherworldly, they’re the perfect accompaniment to Brian’s piano. Ying and yang describes them as they play their part in this ethereal celestial symphony.
2/2 closes Ambient 1/Music For Airports. This ten minute track is quite different from the previous tracks. It has a cinematic sci-fi sound. A synth creates a droning, atmospheric sound. Squelchy, spacious, dubby synths prove an atmospheric, evocative and dramatic soundscape. It brings to mind a spacecraft sailing towards a distant galaxy, going where no man has gone before. Whilst the music is still minimalist, it lacks the ethereal quality. That’s no bad thing. It offers variety, and demonstrates Brian Eno’s versatility and ability to paint pictures with music.
It’s no exaggeration to say that Brian Eno’s Ambient 1/Music For Airports, his sixth solo album, is an ambient classic. I’d go further and say that Ambient 1/Music For Airports is a classic album. Minimalist, understated, spacious, ethereal, haunting and becalming, it was an ambient Magnus Opus. That’s quite fitting. Back in 1975, Brian drew inspiration from Erik Satie for his fourth album Another Green World. On Ambient 1/Music For Airports Brian took this concept further. Much further.
Rather than record what Erik described as “furniture music,” Brian Eno expanded this concept. He recorded an album that could and would provide the soundtrack to everyday life. He envisaged this providing the backdrop at airports, becalming the weary traveller and diffusing tension. In some ways, Brian music is utilitarian. Brian also envisaged the music as providing a constant backdrop to art installations. So, Ambient 1/Music For Airports could be all things to all people. Ambient 1/Music For Airports also marked the blossoming of Brian Eno’s creativity.
A lifelong musical pioneer, Ambient 1/Music For Airports was the start of the most creative period of Brian Eno’s long career. He released another three albums in the “Ambient” series. From 1978s Music For Films, which is another classic album, Brian embarked upon a string of innovative albums. This includes 1982s Ambient 4: On Land, 1983s Apollo: Atmospheres and Soundtracks and then 1983s More Music For Films. These albums, plus Another Green World, Discreet Music and of course, Ambient 1/Music For Airports feature the Godfather of ambient music at his creative zenith. Since then, Brian Eno has continued to release ambitious, challenging, groundbreaking and innovative music. However, one of the finest albums of Brian Eno’s solo career has to be Ambient 1/Music For Airports, a truly groundbreaking classic album which was recently released on vinyl by Glitterbeat.
BRIAN ENO-AMBIENT 1/MUSIC FOR AIRPORTS-VINYL EDITION.
CINNAMON GIRL: WOMEN ARTISTS COVER NEIL YOUNG FOR CHARITY.
CINNAMON GIRL: WOMEN ARTISTS COVER NEIL YOUNG FOR CHARITY.
At this time, of year, anyone looking for a compilation is spoiled for choice. Literally, there’s something for everyone. That’s the case whether it’s a lavish, lovingly compiled, budget busting, multi-disc box set, or something more modest, that you’re after. This week, over one hundred compilations will be released. This includes Cinnamon Girl: Women Artists Cover Neil Young for Charity, which will be rereleased by American Laundromat Records on 4th December 2015.
Cinnamon Girl: Women Artists Cover Neil Young for Charity is no ordinary compilation. It’s been a labor or love for the compilers, with the profits going to a very worthwhile cause, Casting For Recovery, which is a breast cancer charity. Its aim is to enhance the quality of life for women with breast cancer. However, this costs money, money which is hard to come by in the current financial climate.
To help raise some much needed funds for Casting For Recovery, the Cinnamon Girl: Women Artists Cover Neil Young for Charity has been reissued. It was first released back in 2008, and featured twenty-one tracks from an eclectic selection of artists. This included everyone from Tanya Donnelly, Kate York, Josie Cotton and Carmen Townsend, to Julie Peel, Elk City, Louise Post, Kirstin Hersch and Heidi Gluck. These artists cover songs that were released by Neil Young between 1968 and 1979. In many cases, these songs are transformed.
So much so, that even that many people who aren’t fans of Neil Young will be won over by the cover versions on Cinnamon Girl: Women Artists Cover Neil Young for Charity. Especially, the beautiful, acoustic ballads. There a plethora of ballads on Cinnamon Girl: Women Artists Cover Neil Young for Charity. However, neither machismo fuelled guitar heroes, nor proto-grunge. Instead, Cinnamon Girl: Women Artists Cover Neil Young for Charity reinvent Neil Young’s music. That’ll become apparent, as I pick my ten highlights.
Disc One.
Tanya Donnelly’s cover of Heart Of Gold opens disc one of Cinnamon Girl: Women Artists Cover Neil Young for Charity. Heart Of Gold is a Neil Young classic, and resulted in a number one single in America and Canada in 1971. After The Goldrush, the album Heart Of Gold was taken from, reached number seven in Britain and eight in America, and the album was certified platinum in both countries. Given the song’s history, Tanya Donnelly’s cover has a lot to live up to. While the arrangement stays true to the original, Tanya’s hopeful vocal breathes new life and meaning into the lyrics. By the end of the song, she has done what many would regard as impossible, and reinvented a classic.
With so many songs to choose from, Kate York decided to cover Comes A Time, the title-track to Neil Young’s 1978 album. It reached number seven in the US Billboard 200, and number forty-two in Britain. This resulted in the album being certified gold on both sides of the album. Kate York’s cover is a beautiful, understated interpretation. Her band don’t crowd the vocal, allowing it to take centre-stage, and shine.
Massachusetts based singer-songwriter covers Lori McKenna, whose a veteran of five albums, covers The Needle And The Damage Done. It’s a track from Neil Young’s 1972 album Harvest, which reached number one in Britain and America. This resulted in Harvest being certified triple-platinum in Britain, and quadruple-platinum in America. For Neil Young, this was his most successful album. That’s not surprising, given the quality of songwriting. The Needle And The Damage Done is one of Harvest’s highlights. With a weeping and strummed guitars for company, Lori McKenna brings to life the hurt, heartache and damage done by heroin addition. Her version is truly poignant, moving and heartbreaking.
Chicago based alt-rockers Veruca Salt, chose to cover Burned. It was originally recorded by Buffalo Springfield for their 1966 eponymous debut album. When Neil Young released his Decade retrospective in 1976, the song made a reappearance. Veruca Salt reinvent the song, combining shrieking guitars and a vocal full of attitude. Melodic alt rock heads the direction of proto-grunge, resulting in a fist-pumping anthem.
Canadian singer-songwriter Carmen Townsend closes disc one of Cinnamon Girl: Women Artists Cover Neil Young for Charity with
Everybody Knows This Is Nowhere. This was the title-track of Neil Young and Crazy Horse’s debut album. When it was released in 1969, it reached number thirty-four in the US Billboard 200, and was certified platinum. One of the greatest partnerships in music had been born. Carmen Townsend reinvents Everybody Knows This Is Nowhere. Her vocal veers between rueful wistful and sometimes, is tinged with despair. She’s far from home, and realises is not what she imagined. The result is an irresistible song with rocky hue, that many people will be able to relate to.
Disc Two.
Julia Peel’s cover of I Believe In You is my first choice from Cinnamon Girl: Women Artists Cover Neil Young for Charity. It’s another track from After The Gold Rush. This is the perfect song for Julia Peel, who released her debut album Near The Sun in 1969. Her vocal is tender, heartfelt and hopeful as she sings “I Believe In You.” It’s a truly beautiful paean, made all the better by the addition of the tight harmonies and searing guitar solo that closes the song.
Guitarist and vocalist Sheila Sobolewski founded Luff as a guitar and cello duo. Since then, the band’s lineup has constantly evolved. By the time they covered Tell Me Why, from After The Goldrush, Luff were a trio. Sheila Sobolewski was accompanied by drummer Aleks Gylys and bassist Mike Hurst. They play their part in maudlin, melancholy, grunge and shoegaze
inspired cover of Tell Me Why. It’s a mesmeric remake of a familiar track.
Dala are a Canadian pop folk duo. They released a trio of albums between 2005 and 2009. They cover Ohio, which Crosby, Stills, Nash and Young released as a single in 1970. Penned by Neil Young, it was full anger, frustration and social comment. This shines through on Dala’s poignant, and beautiful pop folk cover.
It’s hard to believe that it was in 1984, that Kristin Hersh released her debut album Hips and makes. Back then, Kristin was just eighteen. Fast forward thirty-one years, and she’s now forty-nine, and has released over twenty albums. Kristin has also added author to her impressive C.V. However, back in 2008, Kristin covered Like A Hurricane for Cinnamon Girl: Women Artists Cover Neil Young for Charity. Neil Young and Crazy Horse recorded Like A Hurricane for 1977s American Stars and Bars. It reached number twenty-one on the US Billboard 200, and sixteen in Britain. This resulted in the album being certified gold in America, and silver in Britain. Here, Kristin unleashes a pensive, melodic and then grungy cover of a Neil Young classic.
Heidi Gluck’s cover of Walk On closes disc two of Cinnamon Girl: Women Artists Cover Neil Young for Charity. It’s a track from On The Beach, which was released in 1974. Just like American Stars and Bars, On The Beach is a hugely underrated Neil Young album. It reached number sixteen on the US Billboard 200, and forty-two in Britain. This was enough for On The Beach to be certified gold in America, and silver in Britain. Here, Heidi Gluck transforms Walk On into a hook-laden, country-rock anthem. It’s one of many highlights on Cinnamon Girl: Women Artists Cover Neil Young for Charity.
Choosing just ten of the highlights of Cinnamon Girl: Women Artists Cover Neil Young for Charity wasn’t easy. Unlike many compilations, Cinnamon Girl: Women Artists Cover Neil Young for Charity is a case of all killer, no filler. That’s not surprising.
Unlike many similar compilations, a great deal of thought seems to have gone into finding the right song for each artist. Some stay true to the original, others give the song an interesting twist. Many of the songs seem much more suited to female singers. Especially the acoustic songs. However, some of the ladies like to kick out the jams, and are averse to rocking out. There’s everything from grunge, proto-grunge and rock, through Americana, country, folk and pop. Cinnamon Girl: Women Artists Cover Neil Young for Charity is an eclectic compilation; one that many people who aren’t fans of Neil Young will enjoy.
Anyone who has tried to convert Neil Young agnostics or atheists know how hard it can be. Some people find Neil Young is a difficult listen. It’s usually the timbre of his vocal that people struggle with. After a few tracks of a Neil Young classic, they apologetically say, “sorry it’s not for me,” have you any Fleetwood Mac? Sadly, these people are missing out in a back-catalogue full of incredible songs. Cinnamon Girl: Women Artists Cover Neil Young for Charity only covers the period between 1966 and 1979. This was one of the richest periods of Neil Young’s career. Even his underrated albums, including On The Beach and American Stars and Bars would be worthy additions to any record collection. So would Cinnamon Girl: Women Artists Cover Neil Young for Charity which will be rereleased by American Laundromat Records on 4th December 2015.
A copy of Cinnamon Girl: Women Artists Cover Neil Young for Charity would be one way of introducing non believers to the Neil Young songbook. Cinnamon Girl: Women Artists Cover Neil Young for Charity is also an introduction to many singer-songwriters and groups the majority of people haven’t come across…yet. Best of all, the profits to Cinnamon Girl: Women Artists Cover Neil Young for Charity are going to a very worthwhile cause, Casting For Recovery, which is a breast cancer charity. Its aim is to enhance the quality of life for women with breast cancer. So not only is buying a copy of Cinnamon Girl: Women Artists Cover Neil Young for Charity an opportunity to hear some wonderful music, but on opportunity to make a difference for women suffering from breast cancer.
CINNAMON GIRL: WOMEN ARTISTS COVER NEIL YOUNG FOR CHARITY.
JOHN COLTRANE-A LOVE SUPREME-THE COMPLETE MASTERS BOX SET.
JOHN COLTRANE-A LOVE SUPREME-THE COMPLETE MASTERS BOX SET.
On December 9th 1964, four musicians made their war to the Van Gelder Studio, on 445 Sylvan Avenue, Englewood Cliffs, New Jersey. They were scheduled to record an album with renowned jazz producer Rudy Van Gelder. He was a veteran of countless recordings, and had worked with some of the biggest names in jazz. This included John Coltrane, who was about scheduled to record a new album, which became A Love Supreme.
When John Cotrane arrived at Van Gelder Studio, he was accompanied by bassist Jimmy Garrison, drummer and percussionist Elvin Jones and pianist McCoy Tyner. For most musicians, they would’ve looked at this as just another recording session. Not John Coltrane.
While John Coltrane was still only thirty-eight, he was a veteran of over thirty albums, including many groundbreaking albums. John Coltrane was at the forefront of new musical movements. This included bebop, hard bop and post bop. However, his solo career was just part of the John Coltrane story. He had accompanied some of the legends of jazz, including Miles Davis and Thelonious Monk. Nothing fazed John Coltrane. In racing parlance, John Coltrane was a thoroughbred, who had gone course and distance countless times. It was the same with the band John Coltrane had assembled.
Jimmy Garrison was thirty-one, and had accompanied everyone from Ornette Coleman, Philly Joe Jones and Jackie McLean, to Lee Conitz, McCoy Tuner and John Coltrane. However, Jimmy Garrison had only released one album as bandleader, Illumination! which was released in 1964, and credited to Jimmy Garrison and Elvin Jones. By then, Jimmy Garrison and Elvin Jones had formed a successful partnership as the go-to rhythm section for top jazzers.
Just like Jimmy Garrison, thirty-seven year old Elvin Jones was an experienced musician. He had released a trio of solo albums, and played on around fifty albums. This included several jazz classics, including Miles Davis’ Sketches Of Spain, John Coltrane’s My Favourite Things and Freddie Hubbard’s Ready For Freddie. Anyone looking for a drummer, knew to call Elvin Jones. It was the same with McCoy Tyner.
Although McCoy Tyner was only twenty-six, and the youngest member of John Coltrane’s band, he was already released five albums for Impulse! McCoy Tyner had also played on albums by the great and good of jazz. This included Freddie Hubbard, Joe Henderson, Art Blakey, Wayne Shorter, Lee Morgan and Stanley Turrentine. Then in 1962, McCoy Tyner became an integral part of John Coltrane’s band.
Since then, John Coltrane’s quartet had spent time honing their sound. During this period, John Coltrane’s sound had evolved. John Coltrane was never one to stand still. That was for lesser musicians. He was determined to innovate, and push musical boundaries to their limits, and sometimes beyond. That’s what would happen at Van Gelder Studio, on 9th December 1964.
When John Coltrane entered Van Gelder Studio, he was ready to fuse the music of the past, present and future. Hard bop, free jazz, avant grade and modal jazz were melt into one on what’s now regarded as the finest album of his career, A Love Supreme. It’s been recently reissued by Decca, as a three disc box set, to celebrate the fiftieth anniversary of the release of a landmark album. A Love Supreme-The Complete Masters box set, is the definitive version of this classic album, which was recorded in just one day.
With John Coltrane’s quartet assembled in Van Gelder Studio, they began setting up for the session. John Coltrane had written a four part suite, which began with Part 1: Acknowledgement. It was followed by Part 2: Resolution. These two tracks would eventually fill side one of A Love Supreme. On side two, was the eighteen minute epic, Part 3: Pursuance/Part 4: Psalm. The final part, Psalm, is a devotional, or wordless poem, which John Coltrane planned to narrate using his saxophone. Some musicologists have suggested that John Coltrane’s inspiration were the sermons of African-American preachers. This could be the case, as the track ends with John Coltrane giving thanks, saying: “Elation. Elegance. Exaltation. All from God. Thank you God. Amen.” This more than hinted that A Love Supreme was a spiritual album.
By then, John Coltrane had fallen under the spell of Ahmadiyya Islam. Some critics and music historians see this as an influence. However, essentially, A Love Supreme was about John Coltrane’s own personal struggle for purity. He expresses his thanks and gratitude for talent bestowed upon him, and perceives the tenor saxophone he plays as being owned by a higher, spiritual power. A Love Supreme part confessional, part hymnal.
Having explained the concept behind A Love Supreme, the quartet received their parts. They were a guide, and left plenty of room for the quartet to express themselves on what was going to be a genre-defying album, A Love Supreme. It saw hard bop, free jazz, avant grade and modal jazz combined by John Coltrane’s quartet.
The quartet featured double bassist Jimmy Garrison, Elvin Jones on drums, timpani and gong and pianist McCoy Turner. John Coltrane was bandleader, vocalist and wielded his trusty tenor saxophone. By the end of the 9th December 1964, A Love Supreme was complete. However, the quartet returned the following day.
On the 10th December 1964, two alternate takes of Acknowledgement were recorded. Archie Shepp played tenor saxophone and Art Davis double bass. Neither take made its way onto A Love Supreme. Both tracks were included on A Love Supreme-The Complete Masters box set. They’re interesting inclusions, but it’s the versions recorded by the classic quartet that stand head and shoulders above the alternate takes. That’s why the tracks recorded on the 9th December 1964 that feature on A Love Supreme, which was released in February 1965.
Record companies didn’t need months to plan a P.R. campaign to accompany an album’s release. Instead, albums were recorded, then released a couple of months later. This was the case with A Love Supreme. Before that, critics and cultural commentators had their say.
Critics on hearing A Love Supreme, were spellbound. Quickly, critics realised that they were hearing John Coltrane remake jazz history on A Love Supreme. That was the case from Elvin Jones hits the gong, and washes of cymbals resonate. Then comes that familiar four note motif on Jimmy Garrison’s bass. Even by then, some perceptive critics realised that something special was unfolding. Soon, John Coltrane was playing his tenor saxophone as if his very soul depended on A Love Supreme’s success.
By then, John Coltrane was unleashing his legendary “sheets of sound;” his playing combining power and passion. However, not once does John Coltrane resort to showboating. He plays with a humility, but still, there’s a joyousness as he gives thanks.
From there, John Coltrane gives thanks on A Love Supreme. The album is essentially, a thirty-four minute hymnal, where John Coltrane bows down, and gives thanks for the talent bestowed upon him. By then, the classic Coltrane quartet sweep the listener along, as they flit between, and sometime, fuse elements of hard bop, free jazz, avant grade and modal jazz. It’s truly mesmeric, and it’s as if John Coltrane has been touched by genius. Sometimes, there’s a ferocity to John Coltrane’s playing. However, it’s just his way of show his gratitude and appreciation, at being one of the chosen few, one of a higher power’s jazz messengers.
By Psalm, which closes A Love Supreme, John Coltrane offers up a devotional, or wordless poem. Rather than using words, John Coltrane narrates using his saxophone. As he does, he offers his most precious possession, his tenor saxophone as a token of esteem for the talent that’s been bestowed upon him. By the end of Psalm, John Coltrane is almost exhausted and spent, but gives thanks, saying: “Elation. Elegance. Exaltation. All from God. Thank you God. Amen.” This brings to an end one of the most powerful albums any music lover will experience, enjoy and embrace, A Love Supreme.
Incredibly, despite critically acclaimed reviews, which referred to A Love Supreme as a groundbreaking album, and classic-in-waiting, this landmark album wasn’t a huge commercial success. Instead, around Impulse! sold around 30,000 copies of A Love Supreme. This was par for the course for the albums John Coltrane released on Impulse!
By 1970, 500,000 copies of A Love Supreme had been sold. This resulted in A Love Supreme being certified gold. Sadly, John Coltrane didn’t see this momentous event.
On July 17th 1967, John Coltrane died, aged just forty. He had recorded over fifty albums, including classics including 1958s Blue Train, which was the only albu, John Coltrane released on Blue Note Records. However, it was later certified gold. Then in 1959, John Coltrane released his first classic album for Atlantic Records, Giant Steps. Two years later, My Favourite Things followed in 1961. Then in 1965, came the album that came to define John Coltrane’s illustrious career, A Love Supreme.
Recently, A Love Supreme was reissued by Decca, as a three disc box set. This reissue is to celebrate the fiftieth anniversary of the release of what’s a classic, landmark album, A Love Supreme. It’s been expanded to a three disc set, A Love Supreme-The Complete Masters. Without doubt, this is the definitive version of A Love Supreme.
Disc one of A Love Supreme-The Complete Masters features the original album, plus original mono reference masters of Pursuance and Psalm. Then on disc two, there’s eleven bonus tracks. They’re a mixture of alternate takes, including a version of Acknowledgment with a false start, and versions of two other takes of Acknowledgment with vocal overdubs. Essentially, these tracks offer the listener to see how the track evolved, right through to what it ultimately became on disc one. However, for many John Coltrane completists, disc three is musical gold. It features the John Coltrane quartet playing A Love Supreme in its entirety, live in Juan-les-Pins, France. This performance has entered jazz folklore, and is a very welcome addition to A Love Supreme-The Complete Masters. Sadly, just two years after this legendary performance, John Coltrane died.
It’s forty-eight years since John Coltrane died. He was in the prime of his musical life, and could’ve and should’ve gone on to be at the forefront of jazz, as the genre continued to reinvent itself. John Coltrane at spent his career as a pioneer of jazz, ensuring the genre neither stood still, nor became irrelevant. There was no chance that jazz was going to go the way of the blues. Not with musical pioneers like John Coltrane, Miles Davis and Ornette Coleman producing groundbreaking music. Sadly, John Coltrane never got the opportunity to embrace the change in jazz that took place during the late-sixties and early seventies. However, Joh Coltrane left behind a rich musical legacy.
Considering he died when he was just forty, it was remarkable that John Coltrane had managed to record over fifty albums. That’s not forgetting the albums he played on as sideman. John Coltrane was part of Miles Davis and Thelonius Monk’s bands. It was a case of learning from the masters. However, when he stepped out their shadows, John Coltrane was capable of creating groundbreaking, innovative music, that changed the course of jazz history, including his Magnus Opus, A Love Supreme.
JOHN COLTRANE-A LOVE SUPREME-THE COMPLETE MASTERS BOX SET.
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