BETTYE SWANN-THE VERY BEST OF BETTYE SWANN.
BETTYE SWANN-THE VERY BEST OF BETTYE SWANN.
The Bettye Swann story was a case of what might might have been. She could’ve and should’ve been one of the biggest names in sou music. That looked like being the case. Bettye Swann released her debut single Don’t Wait To Long in 1964. Three years later, Betty Swann was topping the US R&B charts with Make Me Yours. The future looked bright for Bettye Swann. Critics forecast she was about to enjoy a long and successful career.
Sadly, that wasn’t to be. Bettye Swann never scaled the same heights. Apart from a couple of minor hit singles, commercial success eluded Bettye Swann. Her recording career was over by 1976. In 1980, Bettye Swann gave her last concert. Later that year, Betty’s husband and manager George Barton died in 1980,
Following the death of her husband and manager, Bettye Swann retired from the music industry aged thirty-six. It was then that Bettye decided upon a change of name and career. In a sense Bettye Swann died and Bettye Barton was born. The “newly born” Bettye Swan embarked on a career in education in Las Vegas and became a Jehovah’s Witness. Never again, did Bettye return to soul music.
Thirty-five years after Bettye Swann turned her back on music, her music is more popular than ever. That’s why Kent Soul, an imprint of Ace Records have recently released The Very Best Of Bettye Swann. This twenty-four track covers Bettye Swann’s time at Money, Capitol Records, Atlantic Records and Fame Records. There’s even three previously unreleased on what’s without doubt The Very Best Of Bettye Swann. It’s a story that began in Shreveport, Louisiana, on October 24th 1944.
That’s the date that Betty Jean Champion was born. She was one of fourteen children. Betty grew up in Arcadia, Louisiana. It wasn’t until Bettye was in her teens that she starting singing secular music. She became part of a The Fawns, a vocal group who sung locally. However, in 1963, when Bettye was nineteen, she decided to move to Los Angeles, where she would stay with her sister.
Once she had settled in Los Angeles, Betty was spotted by songwriter Huey Harris. Realising that Betty had potential, Huey told Betty about a friend of his, Al Scott who ran Money Records.
Just like Huey Harris, Al Scott spotted Betty’s potential and wanted to sign her to Money Records. However, he didn’t like her name. So he advised Betty to change her name. She needed something that rolled off the tongue. He had a think, and came up with Bettye Swann. That was more showbiz. With a new name, she signed to Money Records.
Soon, Bettye’s life was transformed. Not only had she a new name, but a manager. She had began writing what she hoped would become her first hit. After a few false starts, Bettye Swann had penned Make Me Yours, which would become her first single.
Recording of Make Me Yours, took place at Gold Star Records, In L.A.. Al Scott put together a tight, talented band. For the flip side, Huey Harris’ What Is The World Coming To was chosen? This was Al Scott’s way of thanking Huey Harris for putting Bettye Swann Money Records way. With Doc Siegel engineering the sessions, Make Me Yours and What Is The World Coming To were recorded at the foot of the Hollywood hills in late 1964. Now that Bettye’s debut single was recorded, all that was left, was to release it.
The release was scheduled for late December 1964. Before that, Money Records began promoting their latest singing’s debut single. Money Records didn’t skimp on promotion, and this paid off. By February 1965, Don’t Wait Too Long had reached number twenty-seven in the US R&B charts. For Bettye Swann, this was the stuff dreams were made of. However, the tricky thing was repeating the feat.
For the followup The Man That Said No was chosen. Bettye and Huey Harris cowrote The Man That Said No. The single was released later in June 1965. Everything was looking good for Bettye. She had booked to appear on television, where she would sing her new single. Accompanying her, were The Blossoms, who would add backing vocals. This was great publicity. Al Scott must have thought this would boosted sales. Ultimately, it didn’t. Bettye’s sophomore single was a commercial failure. For Bettye, it was back to the drawing board.
The song chosen for Bettye’s third single was single, The Heartache Is Gone. It showcased the new soul sound. This was seen as the future of soul. Tucked away on the B-Side was a heart wrenching ballad Our Love. It’s another Bettye Swann composition, and could’ve been released as a single. Sadly, that wasn’t to be. Our Love which features on The Very Best of Bettye Swann, was destined to be just a flip side. When The Heartache Is Gone was released in 1966, it failed commercially. By then, Al Scott had started to work on Bettye’s debut album.
When work began of Bettye’s debut album, the plan was to used the Bettye’s first three singles and some of the flip sides. New songs would be recorded at Gold Star. They would become Bettye Swann’s debut album. That never happened.
With Bettye’s last two singles failed commercially, the proposed album was shelved. For Bettye this was a huge disappointment. However, Al Scott hadn’t lost faith in Bettye.
He sent her back into the studio. At Arts Studio Bettye recorded a song she had penned, Make Me Yours. For the flip side, I Will Not Cry was chosen. It’s another Bettye Swann composition, which was remixed for The Very Best Of Bettye Swann. After Bettye had cut Make Me Yours, her career was transformed.
Make Me Your was released in April 1967. Straight away, the track began to climb the charts. Eventually, it reached number one on the US R&B charts and number twenty-one on the US Billboard 100. After three long and frustrating years, Bettye Swann had made a breakthrough. Now came the hard bit, following up Make Me Yours.
For the followup Fall In Love With Me was chosen. This was another song penned by Bettye. When it was released in August 1967, it charted, but stalled at just thirty-six in the US R&B charts. While this was disappointing compared to Make Me Yours, it took Bettye’s tally of hits to three in three years. She was hot property. So Al Scott’s thoughts turned to Bettye’s debut album.
Rather than rush out Bettye’s debut album, Al Scott decided to rerecord some of the tracks. This included two B-Sides, I Will Not Cry and Lonely Love. New tracks were recorded, including The Temptations’ Don’t Look Back, Ray Charles’ I Can’t Stop Loving You and Sam Cooke’s A Change Is Gonna Cone. It’s reinvented by Bettye and is a welcome addition to The Very Best Of Bettye Swann where it’s remixed. With the album completed, it was released in 1967 as Make Me Yours.
Despite the effort of everyone at Money Records put into the release of Make Me Yours, the album wasn’t a commercial success. The album passed records by. So Al Scott’s thoughts turned to Bettye’s next single.
The song chosen was a track from Make Me Yours, Don’t Look Back. It doesn’t feature on The Very Best Of Bettye Swann. However, the B-Side You Gave Me Love does. Just like Our Love, it falls into the category of hidden gem. Don’t Look Back was released in 1968, but failed commercially. Things weren’t going well for Bettye Swann. Her time at Money Records was almost at an end.
Bettye Swann would only released one more single on Money Records. Don’t Take My Mind was another track from Make Me Yours. It was paired with the soul-baring I Think I’m Falling In Love. History repeated itself when Don’t Take My Mind failed to chart. That proved to be the end of two chapters in Bettye Swann’s career.
The money spent on promoting Bettye’s Make Me Yours album had taken its toll on Money Records’ finances. This wasn’t helped by the failure of her last two singles. Something had to give. So, Bettye left Money Records.
Just a year after enjoying a number one single, Bettye Swann parted company with Al Scott. Not only did Al produce and manage Bettye, but they had been a couple. Mixing business and pleasure is always dangerous. That proved to be the case. The relationship faltered, and by 1968, Bettye had a new manager George Barton.
Following her departure from Money Records, Bettye and George Barton moved to Athens, Georgia. George who was twenty years older than Bettye, was a veteran of the music industry. He knew his way around the music business, and in mid-1968 Bettye Swann signed to what was one of the biggest, and most prestigious labels in music, Capitol Records. So far, so good.
Now Capitol Records had to pair Bettye with a producer. They decided to pair Bettye with Wayne Shuler. He was a relative newcomer to Capitol Records. Most people would’ve called Wayne a rookie. That wasn’t the case. Wayne’s father was Eddie Shuler, the producer and owner of Goldband Records. From an early age, he had taught Wayne tricks of the trade. So when he began work at Capitol Records, he had an edge on the real “rookies.” He was well versed not just in soul and R&B. All of a sudden, the pairing of Wayne and Bettye Swann made sense. Maybe Wayne could get Bettye’s career back on track?
Unlike Money Records, Capitol Records’ priority was albums. That was where the money was to be made. Singles were a bonus. Despite this, Bettye’s Capitol Records debut was a single,
I’m Lonely For You. It’s another of Bettye’s compositions. So was the B-Side was (My Heart Is) Closed For The Season. It had a much more grownup sound, and featured Bettye singing about the travails of life. This was the polar opposite of the pop soul of I’m Lonely For You. However, (My Heart Is) Closed For The Season which features on The Very Best Of Bettye Swann, was the direction Bettye’s music would take in the future. Maybe that was as well.
When I’m Lonely For You was released in August 1968, the single failed to chart. This wasn’t a good start to Bettye’s time at Capitol Records. However, better times weren’t far away.
For Bettye’s second single for Capitol Records, Bettye covered Hank Cochran’s Don’t Touch Me. When it was released in January 1969, it reached number fourteen in the US R&B charts. Now all thoughts turned to Bettye Bettye Swann’s first album for Capitol Records.
Ten tracks had been chosen for what became The Soul View Now! Only two of the tracks were penned by Betty. The rest were cover versions. This included Otis Redding’s These Arms of Mine, Chip Taylor’s Angel Of The Morning, Don Gibson’s Sweet Dreams. So do John D. Loudermilk’s Then You Can Tell Me Goodbye and Aaron Neville’s Tell It Like It Is. They both feature on The Very Best Of Bettye Swann. However, back in 1969, some of the top session players accompanied Bettye on The Soul View Now! Once the album was soon recorded, it was ready for release.
Bettye Swann’s first album for Capitol Records, The Soul View Now! was released in the first half of 1969. It reached number forty-eight in the US R&B Charts. Bettye’s luck seemed to be changing.
For her next single, the Chip Taylor penned Angel Of The Morning was chosen. It was released in May 1969, but failed to chart. This was a disappointment. However, still Capitol Records had faith in Bettye Swann. They sent her back into the studio.
Capitol Records didn’t spare any expense. Some top session musicians were drafted in to record the ten tracks. They accompanied Bettye, while Wayne Shuler produced Don’t You Ever Get Tired Of Hurting Me? One of the tracks that was recorded was Traces, which features on The Very Best Of Bettye Swann. It’s a tantalising taste of Bettye Swann’s third album, which was released later in 1969.
When Don’t You Ever Get Tired Of Hurting Me? was released, it failed to chart. Little did Bettye Swann realise, that thing were going to get a whole lot worse.
Bettye Swann released just two more singles on Capitol Records. The first was Don’t You Ever Get Tired (Of Hurting Me)? It was released in September 1969, and failed to chart. When Little Things Mean A Lot was released in 1970, it also failed to chart. Neither single features on The Very Best Of Bettye Swann. For Bettye Swann, Little Things Mean A Lot was the last single she released on Capitol Records.
This left Bettye Swann looking for a new label. She found it in 1971, when she signed to Fame Records. It was enjoying the most successful period in its history. Candi Staton was its most successful artist. However, Fame Records were alway looking to add to their roster. So with Bettye Swann without a label, Fame Records swooped. Sadly, Bettye’s time at Fame Records was short-lived.
Mickey Buckins had been trying to get an in at Fame Records. His patience was eventually recorded, when he was given a job as staff songwriter and technician. Although Mickey was mainly based at Fame Records’ demo studio, this didn’t matter to him. He was just happy to be working at such a prestigious studio. He eventually formed a fruitful songwriting partnership with George Jackson. One of their songs was I’m Just Living A Lie. It seemed like the perfect song for Bettye Swann.
Bettye went into the Fame studios and cut I’m Just Living A Lie. It was released in March 1971, but failed to chart. For Bettye, history was repeating itself. There was no followup to I’m Just Living A Lie, and Bettye’s time at Fame Records was over.
It was nearly another year before Bettye Swann released another single. However, it was well worth the wait when Victim Of A Foolish Heart was released on Atlantic Records. However, it wasn’t written or produced in-house.
Instead, it had been written and recorded at Fame Records. Just like I’m Just Living A Lie, it was penned by Mickey Buckins and George Jackson. The song was produced by Mickey and Rick Hall. When executives at Atlantic Records heard the song, they knew they had a hit on their hands.
When Victim of A Foolish Heart was released on 30th March 1972, it reached number fourteen in the US R&B Charts and sixty-one in the US Billboard 100. After six singles that failed to chart, Bettye was back. Could she make it two in a row?
For the followup to Victim of A Foolish Heart, the song chosen was Merle Haggard’s Today I Started Loving You Again. Again, recording took place at Fame Studios. This time though, the producers were Phil Hurtt, Tony Bell and LeBaron Taylor. They reinvented Today I Started Loving You Again. When it was released in November 1972, it reached number twenty-four in the US R&B charts and number forty-six in the US Billboard 100. Bettye’s career had been rejuvenated at Fame.
Sadly, Bettye wouldn’t return to Fame to record the follow up to Today I Started Loving You Again. Instead, Bettye was Philly bound. Executives at Atlantic Records seeing the success of Philly Soul. So they sent Bettye to Philly. However, Bettye wasn’t working with Gamble and Huff or Thom Bell. The Big Three were too busy, so Bettye was paired with The Young Professionals.
Their first single with Bettye was The Boy Next Door. On its release in August 1974. it stalled at a disappointing seventy-four in the US R&B charts. On the flip side was Kiss My Love Goodbye, which features on The Very Best Of Bettye Swann. It’s an uptempo track that epitomises the Philly Soul sound. Although quite different from much of the music Bettye had recorded, it showcased her versatility. So did her next single.
For the followup to The Boy Next Door, Time To Say Goodbye and When The Game Is Played On You were chosen. They were released as a double-A-side. Neither track caught the imagination of the record buying public. They missed one of the best tracks from Bettye’s Philly Soul era, When The Game Is Played On You. It’s a welcome addition to The Very Best Of Bettye Swan. After the commercial failure of Bettye’s latest single, executives at Atlantic Records were watching events in Philly closely.
Time To Say Goodbye was the last single produced by The Young Professionals. When it was released in September 1974, the single never troubled the charts. This spelt the end of Bettye’s Philly Soul era.
There was no sentimentality at Atlantic Records. When The Young Professionals failed twice to deliver a hit, they brought onboard a new producer, Dave Shapiro.
He chose Red Lane and Curly Putnam’s All The Way In Or All The Way Out. The Dave Shapiro produced All The Way In Or All The Way Out was released in 1975, but reached just eighty-three in the US R&B charts. Then in 1976, Bettye released Heading In The Right Direction. When it failed to chart, this spelt the end of Bettye Swann’s time at Atlantic Records.
Four years later, in 1980, Bettye Swann made what was the final appearance of her career. Betty’s husband and manager George Barton died in 1980,
Following the death of her husband and manager, Bettye Swann retired from the music industry aged thirty-six. It was then that Bettye decided upon a change of name and career. In a sense Bettye Swann died and Bettye Barton was born. The “newly born” Bettye Swan embarked on a career in education in Las Vegas and became a Jehovah’s Witness. Never again, did Bettye return to soul music. However, Bettye Swann left a rich musical legacy.
A tantalising taste of Bettye Swann’s musical legacy can be found on The Very Best Of Bettye Swann. It was recently released by Kent Soul, an imprint of Ace Records. This twenty-four track covers Bettye Swann’s time at Money, Capitol Records, Atlantic Records and Fame Records. There’s even three previously unreleased on The Very Best Of Bettye Swann. It’s the definitive collection of Bettye Swann’s music, and without doubt is The Very Best of Bettye Swann.
BETTYE SWANN-THE VERY BEST OF BETTYE SWANN.
THE BIRTH OF SURF VOLUME 3.
THE BIRTH OF SURF VOLUME 3.
In 1963, Dick Dale and His Del-Tones released their sophomore album King Of The Surf guitar. By then, Dick Dale was rightly seen as the King Of The Surf Guitar. He had pioneered the surf guitar sound a few years earlier.
Inspired by Link Wray, The Ventures and Duane Eddy’s rock instrumentals, Dick Dale added elements of Middle Eastern and Mexican music. The final piece of this musical jigsaw was reverb, and lots of it. This gave the signal a wet sound. In an instance, Dick Dale’s trademark trademark surf guitar sound was born.
It found its way onto record in 1961, when Dick Dale and His Del-Tones released the surf classic, Let’s Go Trippin.’ Dick released what’s now regarded as the first surf rock instrumental on his own label, Deltone. By then, he had already released three previous singles. His debut single Ooh-Whee Marie was released in 1959. However, Let’s Go Trippin’ proved a game-changer.
After the release of Let’s Go Trippin’ Dick Dale and His Del Tones were playing to audiences of over 3,000. Quickly, surf rock was becoming a musical phenomena.
So it was no surprise, that other bands were formed. As surf rock grew in popularity, established bands decided to jump on the surf rock bandwagon. The first half of the sixties saw surf rock’s popularity soar. Joining Dick Dale and His Del-Tones, were The Rip Tides, The Rumblers, The Sentinals, The Baymen, The Torquetts, The Rondells, Marrell’s Marauders, Buddy Lee and the Satellites and The Surfaris. Each of these groups became part of the surf phenomena. They also feature on The Birth Of Surf Volume 3, which was recently released by Ace Records.
The Birth Of Surf Volume 3 is a twenty-six track compilation. It was compiled by Alan Taylor and Dave Burke of Pipeline Magazine. They also put their extensive knowledge of surf rock to good use, when thy wrote the sleeve-notes. They’re detailed and informative, which is ideal for the newcomer to surf rock. What better way to learn out the genre, than through The Birth Of Surf compilation series. This lovingly compiled is guaranteed to whet the appetite of veterans and newcomers to surf rock. No wonder. It features some of the genre’s best known names, plus a few new names. The Best Of Surf Volume 3 is a perfect mixture of the familiar and hidden gems.
Billy Mure’s 1959 single Flaming Guitar opens The Birth Of Surf Volume 3. By the time Billy released Flaming Guitar in 1959, he had played various genres of music. Originally, Billy was a session musician. However, in 1957, Billy signed RCA Victor and released his debut album Supersonics Guitars In Hi-Fi. Two years later, and Billy was now signed to MGM Records, and released his third album Supersonics In Flight in 1959. It featured Flaming Guitar, a forerunner of the surf rock instrumental. Elements of flamenco shine through in this proto surf rock instrumental. Unknowingly, Billy Mure had just played his part in the birth of the surf rock instrumental.
Just like Billy Mure, Richie Allen Podolor was a session musician. He played guitar on Sandy Nelson’s Teen Beat and Let There Be Drums. Seeing Sandy Nelson enjoy two hit singles, Richie decided to release a single. So he released Stranger From Durango as Richie Allen. It reached the US Billboard 100. This wasn’t a case of beginner’s luck. No. Richie Allen had released several guitar instrumentals of Imperial. However, Richie hadn’t released a surf rock instrumental. That changed in 1962, when Richie played lead guitar on The Beachcombers understated and wistful single Lone Survivor, It was released on the Dot Records, and was The Beachcombers’ finest hour.
When The Rumblers were looking for a name for their nascent group, they decided to pay homage to Link Wray’s 1958 hit single Rumble. In an instant, The Rumblers were born. Their debut single was the Jack Wenzel penned Boss. It was released on Downey Records in February 1963, and the tough twangy sound proved popular. Boss found its way into the US Billboard 100. Not long after this, Dot Records picking up The Rumblers, and an album entitled Boss was released later in 1963. Sadly, it was the only album The Rumblers released. After three singles and an E.P., The Rumblers’ story was over. Its legacy was Boss, a minor surf classic.
Confusingly, two of the finest purveyors of the surf rock instrumental had a similar name, The Original Surfaris and The Surfaris. It was The Surfaris who released Wipe Out, the timeless surf classic. However, The Original Surfaris were no slouches. Far from it. Their name is written large in surf rock history. They were formed in 1962, and in released Moment Of Truth in March 1963 on the Northridge label. It’s a reminder of why, The Original Surfaris are regarded as one of the finest purveyors of the surf rock sound.
By the time The Baymen released Bonzai as a single in 1963, their lead guitarist John Anderson was a veteran musician. After all, he had been in bands ever since he was thirteen. However, The Baymen, who were a sextet, only ever released one single, Bonzai. It was Phill Anderson’s recording debut. Soon, The Baymen in full flight. It’s an impressive and blistering slice of surf rock. Sadly, The Baymen were a short-lived band.
Later in 1963, Phil Anderson joined Eddie and The Showmen. Then by 1966, Phil was a member of The Clee-Shays. That wasn’t the end of Phil’s musical career. He later joined Space, The Humans, The Ninja Nomads and The Neon Spores. Music it seemed ran through Phil’s veins and for four decades he was making music. However, the single that leached Phil’s career, was Bonzai.
The more popular surf rock became, the more bands new bands were formed. Old bands reinvented themselves, including The Stormtroopers. They became The Astronauts. This reinvention paid off. Suddenly, The Astronauts were signed to RCA, who wanted a slice of the surf rock phenomenon. They hoped The Astronauts would rival The Beach Boys. So RCA sent The Astronauts into the studio in September 1963, where they cut nine tracks. One of these tracks was Surf Party. It was by 20th Century Fox for their film Surf Party. For The Astronauts this was a huge boost to their career. Later in 1963, Surf Party was the flip side of The Astronauts third single Firewater. Given the quality of Surf Party, this seems a strange decision. Since then, Surf Party has remained something of a hidden gem, which makes a welcome return on The Birth Of Surf Volume 3.
Originally, The Charades Band started life backing the vocal group The Charades. They accompanied them live and played on their recordings. The Charades Band were too good to be a backing band. It was only after guitarist Eddy Cuellar penned Christina, that The Charades Band caught a break. They were signed to the Impact label, where they released Christina as a single in 1964. It’s another of the more understated songs on The Birth Of Surf Volume 3. Melancholy and cinematic, it shows another side to the surf rock instrumental.
There had to be a single from Dick Dale, the founding father of the surf rock instrumental on The Birth Of Surf Volume 3. With so many tracks to chose from, it couldn’t have been easy for the compilers. They settled on The Victor, a track from Dick Dale and His Del-Tones’ 1964 album Mr. Eliminator. The Victor is a classic, and is the perfect showcase for Dick Dale’s virtuoso skills.
In May 1964, The Pyramids released their debut album The Pyramids Play The Original Penetration! Originally, Pressure was meant to feature on the album. When it wasn’t completed on time, Pressure became one side of The Pyramids’ fourth single. On the other side was Contact. The two tracks were released as a double-A-side on Cedwicke Records. Of the two tracks, Pressure is the standout track. Despite having two bites of the musical cherry, this double-A-side didn’t match the success of their earlier single Penetration. It had reached the top twenty in the US Billboard. This time round, it was a case of what might have been.
Many musicians were inspired to form a surf rock band after hearing Dick Dale and His Del-Tones. This included Dave Myers. He formed Dave Myers and the Surftones. They quickly established a reputation as one of the rising stars of the surf scene. So much so, that when Dick Dale and His Del-Tones left their residency at the Rendezvous in late 1962, Dave Myers and the Surftones were chosen as their replacement. A years later in 1963 Dave Myers and the Surftones released their debut album Hangin’ Twenty! It featured Gear! which was release on the Wickwire label in 1964. Experimental and innovative, Dave Myers and the Surftones create a track that’s dramatic and cinematic.
Another band who decided to reinvent themselves as a surf band were The Treasures. They started life as The Staccatos, before becoming The Knights. That wasn’t the end of the story. The Knights then became The Treasures. Now that they had settled on a name. However, The Treasures’ lineup was fluid. One constant was guitarist Paul Hubbard, who penned Minor Chaos. It was released on the Valor label in 1964, and epitomises everything that’s good about a surf rock instrumental. Sadly, Minor Chaos wasn’t a commercial success, and is one of the hidden gems that feature on The Birth Of Surf Volume 3.
My final choice from The Birth Of Surf Volume 3, is The Surfaris’ Storm Surf. Given this a track from the band that were responsible for Wipe Out, quality is almost guaranteed. After a brief nod to their classic Wipe Out, lead guitarist Jim Fuller showcases his considerable skills. Incredibly, this version of Storm Surf was recorded in a home studio, and wasn’t released until 1998. It was a case of better late than never, as The Surfaris roll back the years to the glory days of the surf rock instrumental.
The Birth Of Surf Volume 3 is essentially a journey back to the glory days of the surf rock instrumentals. There’s twenty-six tracks from familiar faces and new names. Among the familiar faces is the founding father of the surf rock instrumental, Dick Dale. Joining Dick Dale and His Del-Tones are The Rip Tides, The Rumblers, The Sentinals, The Baymen, The Torquetts, The Rondells, Marrell’s Marauders and The Surfaris. That’s just a tantalising taste of The Birth Of Surf Volume 3. It was lovingly compiled by Alan Taylor and Dave Burke of Pipeline Magazine.
They’ve certainly put their extensive knowledge of surf rock to good use when they compiled The Birth Of Surf Volume 3 which was recently released by Ace Records. That becomes apparent in the sleeve-notes. They’re detailed and informative. This is ideal for the newcomer to the surf rock instrumental.
For anyone looking for an introduction to the surf rock instrumental, then The Birth Of Surf series is the perfect starting point. Along with the the first two instalments in The Birth Of Surf series, The Birth Of Surf Volume 3 is the perfect primer to the surf rock instrumental.
Whether you’re a newcomer to the surf rock instrumental, or a veteran of countless compilations, The Birth Of Surf Volume 3 deserves to finds its way into any record collection. The Birth Of Surf Volume 3 is one of the best surf rock compilations money can buy.
THE BIRTH OF SURF VOLUME 3.
AMERICA-THE WARNER BROS. YEARS 1971-1977.
AMERICA-THE WARNER BROS. YEARS 1971-1977.
Somewhat confusingly, the America story began in London in 1971. That’s when high school students Dewey Bunnell, Dan Peek, and Gerry Beckley first met. Their fathers were all members of the US Air Force, and at that time, were stationed in London. Far from home, and strangers in a foreign country Dewey, Dan and Gerry soon became close friends. They had a lot common. Especially music.
It wasn’t long until Dewey, Dan and Gerry formed a group. They sung close vocal harmonies and quickly, honed their own sound. Early on, it was described as acoustic folk. This became popular around the London area, where they performed live. For the trio of high school students, things were happening fast.
By the time that Dewey, Dan and Gerry had graduated high school, Warner Bros. offered them a record band. For the nascent group, this was the stuff that dreams were made of. However, for America this was just the start of a roller coaster ride.
Between 1971 and 1976, America became one of the most popular bands on both sides of the Atlantic. They released six albums during this period, and they feature in the The Warner Bros. Years 1971-1977 box set. It was recently released by Warner Bros. and celebrates the most successful period of America’s career. This began in December 1971, when America released their eponymous debut album.
America.
Having signed to Warner Bros., the label didn’t waste time getting their latest signing into the studio. America had written twelve tracks for their eponymous debut album. Each member contributed to the America. Dewey Bunnell penned six tracks, Dan Peek three and Gerry Beckley three. These songs were recorded at two London studios.
Trident Studios and Morgan Studios were chosen for the recording of America. Producing America, was Ian Samwell, who already established a reputation as a talented producer. Keeping a close eye on proceeding was former dancer Jeff Dexter. He was America’s manager, and was credited as the executive producer of America. His clients were a talented trio.
This became apparent when recording of America began. The three members of America were all multi-instrumentalists. They played many of the instruments on America. Dewey Bunnell played acoustic guitar. Gerry Beckley played bass, six and twelve string acoustic guitar, electric guitar, piano and chimes. Dan Peek bass, six and twelve string acoustic guitar, electric guitar and piano, When it came to the lead vocals, they were shared around. Usually, one member of America took the lead, while the other two added harmonies. However, on Riverside which opened America, the three members of America shared lead vocals. Augmenting America, were some session players including guitarist David Lindley and percussionist Ray Cooper. Once America was recorded, it was scheduled for release in December 1971.
Before the release of America, critics received an advance copy. When critics heard this new group’s debut album, they were quickly won over. While critical acclaim accompanied the release of America, some critics went as far as to call the album a “folk pop classic.” This was a huge call, but proved to be prescient.
When America was released on 29th December 1971, the album began climbing the charts on both sides of the Atlantic. In Britain, America’s adopted home, the album reached number five and was certified silver. However, in their home country, America reached number one in the US Billboard 200, and was certified platinum. Helping sales of the album were a classic single.
A Horse With No Name was chosen as the lead single from America. It was released on January 12th 1972, and reached number three in Britain and number one on the US Billboard 100. Elsewhere, A Horse With No Name was a huge hit single. However, it was in America where it was most successful. Having sold over a million copies, A Horse With No Name was certified platinum. For America, this wasn’t the end of the success.
I Need You was released on 26th April 1971, and reached number nine in the US Billboard 100. This was just the icing on the cake for America. They had just enjoyed a million selling single and album, both of which were being referred to as classics. Could things get any better?
Homecoming.
After the success of America, the band returned to the studio in 1972. The pressure was on for America to prove that their debut album hadn’t been a fluke. Musical history was littered with bands who enjoyed one successful album, then faded away. America were determined not to join their ranks.
For their sophomore album Homecoming, the three members of America penned nine of the ten tracks. Each member contributed three tracks each. America the band, were a democracy. The other track on Homecoming was a cover of John Martyn’s Head and Heart. With the help of some top session players, these tracks became America’s sophomore album.
Among the session players, were Wrecking Crew drummer Hal Blaine. He provided the heartbeat to nine of the tracks on Homecoming, which was being produced by America. For such a young group, this was seen as a brave or foolish decision.
Ironically, when critics heard Homecoming there was no criticism of the production. America’s decision to dispense with a producer had been vindicated. The only criticism of Homecoming was that some of the lyrics lacked depth. They veer towards banal, and can hardly be described as cerebral. Despite this, Homecoming received glowing reviews, and nowadays, is seen as one of their finest albums. Record buyers heard a sneak preview of Homecoming on September 19th 1972.
That’s when Ventura Highway was released as a single. It reached number forty-three in Britain and number eight in the US Billboard 100. This augured well for the release of Homecoming.
November 15th 1972 was the date that America had been waiting for. That was when their sophomore album was released. It was their production debut. They wondered how listeners would react to the change in sound. Although still based around the acoustic guitar, both the electric guitar and keyboards were more prominent. America hoped this stylistic departure wouldn’t alienate listeners.
It didn’t. Homecoming reached number twenty-one in Britain and number nine in the US Billboard 200. While Homecoming wasn’t as successful as America, the album was certified platinum in America. This was America’s second album that sold over a million copies. Elsewhere, America’s popularity was spreading. Homecoming was certified platinum in Australia and gold in Canada. Spurred on by this success, America released another single from Homecoming.
Don’t Cross the River was released on the 3rd January 1973, and reached number thirty-five in the US Billboard 100. This was disappointing for America. It was the least successful single of their career. Until America released Only in Your Heart. When it was released on April 14th 1973, it stalled at a lowly sixty-two in the US Billboard 100. Were there problems ahead for America?
Hat Trick.
Although Homecoming had been certified platinum, the commercial failure Don’t Cross the River and Only in Your Heart rankled with America. This made them doubly determined to return with another successful album. So they began work on their third album.
Eventually, Dewey Bunnell had penned four tracks, Gerry Beckley three and Dan Peek two. The three members of America penned Hat Trick, which lent its title to the album. Muskrat Love was the other song on Hat Trick. It had been penned by Willis Alan Ramsey. Originally, the song had been entitled Muskrat Candlelight, and featured on Willis Alan Ramsey’s 1972 eponymous debut album. However, when America recorded the song, they changed the title to Muskrat Love. Along with the other ten tracks, it was record at the Record Plant, Los Angeles.
Just like Homecoming, Hat Trick was produced by America. They brought onboard some high profile musicians to augment them. Drummer Hal Blaine, guitarist Joe Walsh and Beach Boys Bruce Johnston and Carl Wilson. They joined America as they recorded Hat Trick between 29th May and 12th July 1973. Once Hat Trick was recorded, the release was scheduled for October 19th 1973.
Before the release of Hat Trick, critics had their say. They weren’t impressed. The songwriting wasn’t on Hat Trick wasn’t the standard. Letting Hat Trick down were Green Monkey, Molten Love and Willow Tree Lullaby. These three tracks weren’t up to the standard critics expected of America. Nor were some of the tracks as melodic as America and Hat Trick. America seemed to have lost their folk rock mojo. Would this be reflected in sales of Hat Trick?
Muskrat Love had been released as a single on June 28th 1973, while America were still recording Hat Trick. It stalled at a disappointing sixty-seven in the US Billboard 100. When Hat Trick was released on October 19th 1973, it reached just forty-one in Britain and twenty-eight in the US Billboard 200. There was no third platinum disc for America. A small crumb of comfort was that Hat Trick was certified silver in Britain. That was as good as Hat Trick got for America.
When Rainbow Song was released later in 1973, it failed to chart. Green Monkey also failed to chart upon its release in 1974. For America, these were worrying times.
Holiday.
Following the relative failure of Hat Trick in America, America decided to bring onboard a producer. With technology playing an increasingly important part in the recording process, many thought that America would employ someone used to the latest technological advancements. Instead, they brought onboard someone who many regarded as an old school producer. However, forty-eight year old George Martin had an enviable track record.
He was the man who transformed the fortunes of The Beatles, taking them from relative unknowns to the biggest selling band in the world. If he could work his magic again, America’s career would be back on track.
For the first album in America’s George Martin era, America had written twelve tracks. Gerry Beckley had penned five tracks, Dewey Bunnell three and Dan Peek three. Dan also penned Lonely People with his wife Catherine Peek. These twelve tracks would accompany America to AIR Studios, London.
Recording of what became Holiday, began on April 17th and was completed on May 7th 1974. America played every instrument, apart from the drums. Willie Leacox was drafted in to add drums. Geoff Emerick engineered Holidays and George Martin arranged and produced the album. George Martin even added some keyboard tracks. Everything went smoothly, and in three weeks America’s fourth album Holiday was complete. Would it be their comeback album?
Critics decided that it was. America’s decision to bring George Martin onboard was a masterstroke. He brought out the group’s potential. For much of Hat Trick, it seemed to have lain dormant. Not any more. George Martin brought out the best in America, and the result was Holiday, an album that would appeal to a wide spectrum of record buyers.
Whether AOR, folk rock, pop or rock was their bag, record record buyers were won over by Holiday. It reached number three in the US Billboard 200 and number one on the Adult Contemporary charts. Holiday was certified gold in America and silver in Britain. America’s comeback was almost complete.
Tin Man was chosen as the lead single from Holidays. It was released on July 10th 1974, and reached number four in the US Billboard 100 and number one on the Adult Contemporary charts. Lonely People was released as a single on November 27th 1974, and reached number five in the US Billboard 100 and number one on the Adult Contemporary charts. Now America’s comeback was complete.
Hearts.
Following the success of Holiday, America were under pressure to record their fifth studio album. Less than two months after the release of Holiday, America were back in the studio with George Martin.
For Hearts, America had written twelve new tracks. Garry Beckley wrote just three tracks and Dewey Bunnell three. However, Dewey cowrote Dan Peek penned Midnight and The Story Of A Teenager. Dan Peek contributed three tracks, and cowrote Old Virginia with Catherine Peek. These twelve tracks wouldn’t be recorded in America with George Martin.
This time, George Martin decided to forsake his beloved AIR Studios for the sun of Sausalito, in California. That’s where The Record Plant was situated. It had quickly established a reputation as one of the top studios on the West Coast. The sessions began on January 6th 1975. George Martin arranged and produced Hearts. He even added piano. Engineer Geoff Emerick accompanied George Martin. Another familiar face was drummer and percussionist Willie Leacox. He had featured on Holiday. A newcomer was bassist David Dickey. Hearts was his first session with America and George Martin. Just like the last time, everything ran smoothly, and Hearts was completed on January 30th 1975. Less than two months later, Hearts was released on March 19th 1975.
When critics heard the George Martin produced Hearts, it didn’t elicit the same response as Holiday. Although reviews of Hearts were mostly positive, they weren’t as gushing as Holiday. Still, though, Hearts received the seal of approval from most critics. They saw Hearts as a B+ rather than an A.
Record buyers had a different view. When Hearts and the single were released on 19th March 1975, both proved a commercial success. Hearts reached number four on the US Billboard 200, and was certified gold. Sister Golden Hair reached number one in the US Billboard 100 and number five on the Adult Contemporary charts. It seemed the critics had been wrong.
Nearly four months later, Daisy Jane was released on 2nd July 1975, reached number twenty in the US Billboard 100 and number four on the Adult Contemporary charts. Woman Tonight then reached number forty-four in the US Billboard 100 and number forty-one on the Adult Contemporary charts. Although these two singles were only minor hits, FM radio latched onto several album tracks. Old Virginia, Bell Tree and Midnight were regularly played by FM DJs. The America success story continued apace.
History: America’s Greatest Hits.
Having released five studio album, and enjoyed eleven hit singles, Warner Bros. decided the time was right for America to release a Greatest Hits album. The release was scheduled for October 24th 1975.
When the twelve compilation hit the shops, History: America’s Greatest Hits became America’s biggest selling album. It reached number three in the US Billboard 200 and number sixty in Britain. This resulted in the album being certified silver in Britain. However, History: America’s Greatest Hits sold four million copies in America, and was certified platinum four times over. In Australian, History: America’s Greatest Hits was certified platinum six times over. Over the border, Canada’s love affair with America’s music continued, and the album was certified platinum. There was no sign of America’s popularity declining. Far from it.
Hideaway.
So just three months after the release of History: America’s Greatest Hits, America began work on their sixth album. They had written thirteen new tracks for what would become Hideaway.
Gerry Beckley had written four tracks, Dewey Bunnell five and Dan Peek three tracks. Jet Boy Blue, the other song on Hideaway was a Dan and Catherine Peek composition. These twelve tracks were recorded in Colorado.
America and producer George Martin made the journey to Caribou Ranch, in Nederland, Colorado. It housed the studio built by James William Guercio in 1972. He had produced Chicago’s early albums. His other credits included sunshine pop group The Buckinghams and Blood, Sweat and Tears. However, one of James William Guercio’s finest hours was Blood, Sweat and Tears’ 1969 eponymous sophomore album. It won a Grammy Award. Seven years later, the thirty-one year old producer owned his own studio, and had been joined by America and George Martin.
Recording began on February 16th 1976, and followed a similar pattern to Holiday and Hearts. America played most of the instruments, apart from bass and drums. So drummer and percussionist Willie Leacox and bassist David Dickey were brought onboard. By February 28th 1976, Hideaway was complete. Its release was scheduled for the 9th April 1976.
That left less than two months to promote and release Hideaway. It wasn’t a lot of time, but wasn’t unusual in the seventies. Somehow, the record was mastered, the sleeve designed, promoted and copies sent out to critics.
When critics received their copy of Hideaway, most of them gave the album positive reviews. Some critics felt Hideaway wasn’t America’s strongest album. They weren’t shy about saying so. However, the critics had been proved wrong before. Hearts was a case in point.
So was Hideaway. It was released on 9th April 1976, and reached number eleven in the US Billboard 200. Having sold 500,000 copies, it was certified gold. This success continued when Today’s The Day was released on April 28th 1976. While it only reached number twenty-three on the US Billboard 100, it topped the Adult Contemporary charts. Four months later, She’s A Liar stalled at seventy-five in the US Billboard 100 and number seventeen in the Adult Contemporary charts. While this was a disappointing end to 1976, America were still a favourite of FM radio, with Jet Boy Blue and Don’t Let It Get You Down favourites of DJs. Commercially, 1976 had been a relatively good year for America.
The only cloud on the horizon was that Hideaway had sold less copies than Hearts. It had sold less copies than Holiday. However, Holiday sold more copies of Hat Trick. As America headed out on tour that wasn’t the only thing worrying them.
America were finding it hard to replicate George Martin’s arrangements live. So America decided to augment their live lineup. Percussionist Tom Walsh and keyboardist and saxophonist Jim Calire joined America on tour. Hopefully, their 1976 tour would improved sales of Hideaway.
Although America’s 1976 tour proved reasonably successful, as the tour ended, still the sales of Hideaway were less than Hearts. This was disappointing. Little did America know that things were going to get a lot worse.
Harbor.
From their 1971 eponymous debut, right through to 1976s Hideaway, it had been mostly smooth sailing for America. The only disappointment was Hat Trick. However, when George Martin was brought onboard, America never looked back. Commercial success and critical acclaim accompanied them. America had sold over 5.5 million albums in America alone since George Martin’s arrival. He had been a godsend for America. Without him, their career could’ve hit the buffers. He produced three consecutive gold albums. Could he make it four?
America had been writing their seventh album Harbor, before heading to the Ka Lae Kiki Studios, Kauai, Hawaii. Just like their six previous studio albums, each member of America contributed tracks. Gerry Beckley penned five tracks, Dewey Bunnell three and Dan Peek four. With Harbor written, America made the short journey to Hawaii.
Recording began in late 1977 at Ka Lae Kiki Studios. Harbor was the fourth America album George Martin had produced. They had all been certified gold. He was joined by some familiar faces. Drummer Willie Leacox and bassist David Dickey had played on previous America albums. Percussionist Tom Walsh had been part of America’s touring band. Larry Carlton, although an experienced musician, had never worked with America. He was a guitarist, but on Harbor, played electric sitar. This was new, and added an experimental sound. Maybe this should’ve been a warning of what was about to happen.
Once Harbor was completed, Warner Bros. scheduled the release for 15th February 1977. Harbor, with its mixture of pop, rock and soft rock wasn’t well received by critics. They recognised that Harbor was easily, the worst album of America’s career.
Despite the reviews of Harbor, when the album was released on 15th February 1977, it reached number twenty-one on the US Billboard 200. Sales were way down, and there was no gold disc for America. To make matters worse, the singles flopped.
God of the Sun was chosen as the lead single. When it was released in April 1977, it failed to chart. Two months later, Don’t Cry Baby also failed to chart. Then later in 1977, Slow Down became America’s third consecutive single not to chart. By then, three had become two.
Dan Peek had had a crisis of conscience. After years of enjoying the rock ’n’ roll lifestyle, Dan became a Christian. This was nothing new. He had been a Christian before finding fame and fortune with America. However, his faith had lapsed and Dan dabbled in drugs. Not any more. Now he had returned to the Christian fold, Dan was determined not to put temptation his way. So he left America.
When Dan left America, it was with Dewey and Gerry’s blessing. However, this presented a problem for Dewey and Gerry. Did they remain a duo or recruit a new member of America. After some careful consideration, they decided to remain a duo. The first many people heard of the “new” America, was when they heard America Live.
America Live.
Just a couple of months after America were reduced to a duo, Gerry and Dewey journeyed to Los Angeles on July 24th 1977. Their destination was the Greek Theatre, where America were due to record a live album.
For America Live, fourteen tracks were chosen. Seven were penned by Dewey Bunnell and six by Gerry Beckley. The other was Willis Alan Ramsey’s Muskrat Love. Accompanied by their touring band, the “new” America recorded their first live album. It would be released in October 1977.
America Live wasn’t well received by critics. The loss of Dan Peek had proved costly. Now that America were a duo, gone were their trademark close vocal harmonies. While backing vocalists could try and make up for Dan’s loss, they didn’t come close. America weren’t the same band.
Record buyers turned their back on America. America Live reached just a lowly 129 in the US Billboard 200. Even in Australia, where America were popular, America Live stalled at just seventy-four. America’s career was at a crossroads.
It’s America Live that brings The Warner Bros. Years 1971-1977 box set to a close. 1979s Silent Letter isn’t included. That’s no bad thing.
Silent Letter.
Silent Letter was the last album produced by George Martin, It was recorded at AIR Studios, Montserrat during March and April of 1979. Over eleven tracks, America embraced disco and power ballads. It was a last gasp attempt to get their career back on track.
Ultimately, this desperate throw of the dice failed. Critics were far from impressed by Silent Letter. They realised it was a far cry from America’s first two albums. 1971s America and its 1972 followup Homecoming, were the finest albums of America’s career. Silent Letter was the low point.
As the reviews forecast, when Silent Letter was released on June 15th 1979, it reached a lowly 110 in the US Billboard 200. To make matters worse, the lead single Only Game in Town failed to chart. So did All My Life and All Around. However, All My Life reached forty-eight in the Adult Contemporary charts. Then in 1980, All Around reached forty-five in the Adult Contemporary charts. That was the end of America’s Warner Bros. years.
The Warner Bros. years were the best years of America’s career. For much of that time, America’s albums were released to commercial success and critical acclaim. Their first seven studio albums sold over 4.5 million albums. That’s no surprise.
During their time Warner Bros., America released the best music of their career. Their first seven studio albums and Live America are documented on America-The Warner Bros. Years 1971-1977. 1971s America begins the America story, and was the most successful album of America’s career. However, their 1972 sophomore album Homecoming is regarded by many as their finest hour. Unlike 1973s Hat Trick, which saw America’s career briefly derailed. It took producer George Martin to get America’s career back on track.
From 1974s Holiday through 1975s Hearts to 1976s Hideaway, George Martin seemed to be working his magic. All seemed to be going well. Holiday, Hearts and Hideaway were all certified gold. However, Hearts sold less that Holiday. Then Hideaway sold less than Holiday. Executives at Warner Bros. looked on with concern. Then Harbor became America’s least successful album since 1973s Hat Trick. Just as things couldn’t get any worse, Dan Peek left.
With America reduced to a duo, it was the end of an era. Their first live album, America Live failed commercially. That was a sign of what was to come from America.
Fortunately, America only owed Warner Bros. one album. Silent Letter proved a disappointing end to a relationship that lasted eight studio albums, a live album and a greatest hits album. After over 8.5 million record sales, two platinum and three gold discs, America left Warner Bros. It had been an incredible journey that lasted eight years.
Little did America realise when they left Warner Bros. and signed to Capitol, that they would never experience the same commercial success and critical acclaim. Incredibly, Gerry Beckley and Dewey Bunnell were only twenty-seven. They had their whole life in front of them. While they persevered with America for another four decades, America’s best years were behind them. They’re documented on The Warner Bros. Years 1971-1977, which is the perfect introduction to America.
AMERICA-THE WARNER BROS. YEARS 1971-1977.
MILES DAVIS AT NEWPORT 1955-1975-THE BOOTLEG SERIES VOLUME 4.
MILES DAVIS AT NEWPORT 1955-1975-THE BOOTLEG SERIES VOLUME 4.
It was in 1954, that Elaine Lorillard and her husband Louis founded the Newport Jazz Festival. Elaine’s love affair with jazz began in 1943.
She was twenty-nine, single and was living in New York when she first heard jazz music. This was very different to her musical background. Elaine Guthrie was a graduate of the New England Conservatory Of Music. Music was in her blood. Her mother was a classical singer. However, Elaine wasn’t about to follow in her footsteps. Instead, she had just accepted a job with the Red Cross in Naples.
Elaine new job found her teaching orphans to paint and play play the piano. It was a role she was suited to. She a classically trained musician and a gifted painter. By day Elaine taught, and at night she explored the city of Naples. It was during two of these expeditions, that her life was changed forevermore.
During a trip into Naples, Elaine Guthrie heard jazz. Although she had heard jazz in New York before, this was the start of her love affair with jazz. Another of Elaine’s expeditions into Naples resulted in another love affair.
It was in Naples that Elaine first met Lieutenant Louis Livingston Lorillard. He was stationed in Naples with the US Army. Louis was five years Elaine’s junior. This didn’t matter. The pair quickly grew close and married three years later in 1946. By then, Elaine had embraced jazz fully.
Once they were married, Elaine and Louis’ love of jazz grew. They occasionally visited jazz clubs to catch some of the big names as they swung through town. In 1953, Elaine and Louis visited the Storyville Nightclub. Joining them, were Elaine’s brother Thomas T. Guthrie and his friend Professor Borne, from Boston University. However, that night, it wasn’t jazz they heard.
As they listened to the music, they got talking with the owner George Wein. Elaine and Louis told George Wein that if he intruded jazz to his club, it might improve the “terribly boring” club. Fortunately, George didn’t take offence to this advice, and this was the start of a friendship that resulted in Elaine, Louis and George founding one of the most prestigious jazz festivals, the Newport Jazz Festival.
Louis, who was the heir to the Lorillard Tobacco Company, gave a grant of $20,000 grant for the first Newport Jazz Festival. There was a caveat though. The Newport Jazz Festival was founded as not-for-profit organisation. Any profits made, were to be used to educate musicians. With the ground rules established, George Wein began organising what would become as the First Annual American Jazz Festival.
Eventually, George had a venue for The Newport Jazz Festival. It would be held at Newport Casino in the Bellevue Avenue Historic District of Newport, Rhode Island. The festival lasted two days, and combined live music with academic panel discussions. These discussions took place inside the Casino, while the performances took place on the lawn. Topping the bill was Billie Holiday. A total of 11,000 people attended the two day festival in July 1954. It had been a resounding success.
After the success of the first The Newport Jazz Festival, George Wein began to make plans for 1955. Straight away, there was a problem. The Newport Casino’s facilities couldn’t cope with the numbers that attended the Festival, and the lawn had been damaged. So they declined to host the second Newport Jazz Festival. For George Wein this was a disaster.
Fortunately, Elaine and Louis noticed that a local estate Belcourt was for sale. This they thought, would be a perfect venue for The Newport Jazz Festival. So they bought Belcourt, only for those in the neighbourhood to object to the plans to host the The Newport Jazz Festival at Belcourt. George Wein was back to square one.
Luckily, an alternative venue was found. Freebody Park a nearby sports arena hosted the concerts. However, the workshops and discussions were allowed to be held at Belcourt. It seemed the neighbourhood didn’t object to academic discussions taking place locally. Music, however, was an other matter. With a venue in place, George went looking for someone to headline the the second Newport Jazz Festival.
George Wein set his sights high, and had booked Miles Davis. It was the easiest booking George ever made. The pair had met in a jazz club in New York in late 1954. Miles had asked “George are you going to to have the festival again up in Newport?” An astonished George Wein responded: “Miles you want to be in the festival?” Quick as a flash, Miles said: “you can’t have it without me.” There and then the deal was sealed.
Despite what would be a huge boost to the nascent event, George didn’t advertise Miles Davis’ appearance. Everything had happened so late in the day. However, even without advertising Miles Davis’ appearance, it would be a vast improvement on the previous year.
Billie Holiday had been booked for the first Newport Jazz Festival. However, her career was on the slide, and Lady Day was a pale shadow of her former self. Miles Davis however, was one of the biggest names in jazz.
Miles Davis’ hard bop era had finished in 1954, and 1955 was the start of a new era. It featured Miles Davis’ first great quintet. As Miles played trumpet, the rhythm section featured drummer Philly Joe Jones and bassist Paul Chambers. They were augmented by pianist Red Garland and tenor saxophonist John Coltrane. This all-star lineup was would become part of jazz history. However, this wasn’t the band that took to the stage at the second Newport Jazz Festival on 17th July 1955. Excerpts from this performance feature on Miles Davis At Newport 1955-1975-The Bootleg Series Volume 4, which was recently released as a four disc set by Sony Music.
Disc One.
Instead, George Wein put together a band for second Newport Jazz Festival. It featured pianist Thelonius Monk, baritone saxophonist Gerry Mulligan, tenor saxophonist Zoot Sims and a rhythm section of bassist Percy Heath and drummer Connie Kay of The Modern Jazz Quartet. The result was a versatile band who were just as happy playing hard bop or moving towards the cool school. This was perfect for Miles Davis’ unexpected Newport Jazz Festival debut.
It took place at Festival Field Newport on 17th July 1955. Accompanied by a tight, uber talented and versatile band, Miles took to the stage. Gerry Mulligan introduces the band, and then they get to work. Having accompanied Miles on Hackensack, the highlight of the set unfolds. That’s a seminal six minute performance of Round Midnight. Miles delivers a stunning trumpet solo, which was hailed as “the return of Miles Davis.” From there, the band join Miles on Charlie Parker’s Now’s The Time. They feature on disc one of Miles Davis At Newport 1955-1975-The Bootleg Series Volume 4. It documents the first twenty years of Miles Davis’ thirty year association with the Newport Jazz Festival.
Over the next twenty years, constantly, Miles returned to Newport like a conquering hero. Often, he had just reinvented himself, or released a classic, or groundbreaking album. However, as Miles and his band left the state in 1955, little did anyone realise that thirty years down the line, Miles would still be star at Newport. Excerpts from Miles performances in 1958, 1966, 1967, 1969, 1973 and 1975 all feature on Miles Davis At Newport 1955-1975-The Bootleg Series Volume 4’s four discs.
Three years after his Newport debut, Miles Davis returned in 1958. It was a case of hail the conquering hero. Since 1955, he had founded his first great quintet and sextet. Miles had also recently released two classic albums, ‘Round About Midnight and Miles Ahead. This provided Miles with some of the material for his set at Newport in 1958.
Just like his Newport debut, Miles was accompanied by some of the legends of jazz. Pianist Bill Evans joined tenor saxophonist John Coltrane and Cannonball Adderley on alto sax. They were joined by a rhythm section of bassist Paul Chambers and drummer Jimmy Cobb. They took to the stage at Newport Field on 3rd July 1958.
After Willis Connover introduces the band, they open their set with Charlie Parker’s Ah-Leu-Cha from ‘Round About Midnight. They follow this up with Straight No Chaser, which would feature on Milestones later in 1958, then Fran-Dance. Then it’s another track from Milestone Two Bass Hit. By then, Miles and his band are in the groove. So they revisit another track from ‘Round About Midnight Bye-Bye Blackbird, before closing the show with The Theme. Just like in 1955, it’s a case of hail the conquering hero, as Miles exits stage left. However, he would be back.
Disc Two.
When Miles Davis returned in 1961, the previous year’s festival hadn’t been a huge success. A rival festival took place at the nearby Cliff Walk Manor Hotel. It had been organised by musicians Charles Mingus and Max Roach. This was their way of protesting at what they perceived as the low fess paid to musicians. What Messrs. Mingus and Roach failed to see, was that the Newport Jazz Festival was a not-for-profit organisation. Any profits made, were used to educate musicians. So setting up a rival event, was affecting the education of musicians. That wasn’t the end of George Wein’s woes.
To make matters worse, audiences at Newport had gained a reputation for being lively, or some may say rowdy. In 1960, as Muddy Waters headlined the Festival, crowd trouble broke out. Things got so bad, that the National Guard were called. This had ramifications.
The disturbance in 1960, resulted in the 1961 event being cancelled. Then in 1961, Elaine and Louis Lorillard ended their association with the Newport Jazz Festival. In 1962, George Wein had managed to secure the Freebody Park for the Newport Jazz Festival. However, 1962 saw a change in the way the profits from the Festival were distributed.
Up until then, the Newport Jazz Festival was a not-for-profit organisation. That ended with the Lorillard’s association with the Newport Jazz Festival. So George Wein decided that now was the time to run the Newport Jazz Festival as a commercial enterprise. This would please some of the mercenaries within the jazz profession. Four years after this change in the philosophy of the Newport Jazz Festival, Miles Davies returned in 1966.
A lot had happened when Miles returned in 1966. The biggest difference was that the Newport Jazz Festival was being staged outside the city limits. This happened for the first time in 1964. A year later, in 1965, and Frank Sinatra was the headliner. His appearance resulted in record attendances. After Ole Blue Eyes won over Newport, the bar had been set high. George needed someone guaranteed to bring the audiences flooding in. What better person than Miles Davis.
By the time Miles took to the stage at Festival Field on 4th July 1966, music had undergone a revolution. Rock ’n’ roll had been in its infancy the last time Miles took to the stage at Newport. Now it was all change. Pop and rock ruled the roost, and the psychedelic era had just begun. Jazz was on its uppers, and many thought it was about to go the way of blues music. Not if Miles had anything to do with it.
As Miles took to the stage, he was accompanied by tenor saxophonist Wayne Shorter, pianist Herbie Hancock, bassist Ron Carter and drummer Tony Williams. They open the show with Gingerbread Boy from the 1966 album Miles Smiles. From there, Miles moves through All Blues and Stella By Starlight and the Ron Carter penned R.J. Then Miles and his band return to Seven Steps To Heaven, the title-track from his 1963 album.
The Steps To Heaven album featured an entirely new band. This came after Miles’ previous band quit. It hadn’t been a good time for Miles. He had health problems, resulting in him missing gigs. The remaining gigs he played varied in quality. However, the gigs he had missed proved costly. Soon, the money dried up, and Miles couldn’t pay his band. They quit en masse. Ironically, it was the best thing that happened to Miles.
He quickly assembled a band to record the Steps To Heaven album. They spent the next six years with Miles, and played on some his best albums of the sixties. The band were enjoying their Newport Jazz Festival debut with Miles. Especially, Herbie Hancock who plays a starring role on Steps To Heaven. This future standard had been penned by Miles and pianist Victor Feldman. It was the penultimate track of the set. After Steps To Heaven, the band play The Theme and they take their bow. A year later, Miles and his band return.
When Miles and the same band that headlined the 1966 Newport Jazz Festival returned in 1967, Miles had a just released Miles Smiles and recorded new album, Sorcerer. It would be released in October 1967. However, on Jul7 2nd 1967, Miles and his band returned to Miles Smiles.
After the usual introductions, Miles and the band play “Ginger Bread Boy and Footprints which featured on Miles Smiles. Then Miles returns to a classic, and a spellbinding performance of ‘Round Midnight unfolds. Although it’s not quite up there with Miles performance in 1958, it’s a captivating performance. Following this up isn’t easy, but So What is the track that’s chosen, before The Theme closes the show. It would be another two years before Miles returned to the Newport Jazz Festival.
Disc Three.
By 1969, fusion had rode to the rescue of jazz. This marriage of funk, jazz and rock saved jazz from following in the footsteps of the blues. However, this didn’t please some traditionalists. These veteran musicians weren’t fans of fusion. It seemed they would rather endure penury than play fusion. Not Miles, he embraced fusion.
From 1968s Miles In The Sky to 1969 Filles de Kilimanjaro, Miles’ music moved towards fusion. In A Silent Way, which was recorded on February 18th 1969, saw the shift towards fusion complete. It was scheduled for release in late July, just after Miles played at the Newport Jazz Festival on 5th July 1969.
Accompanying Miles, were a new band. The quartet featured pianist Chick Corea, drummer Jack DeJohnette and bassist Dave Holland. They played a fusion filled set. A ten minute version of Miles Runs the Voodoo Down opened the set. Just like Sanctuary, it would feature on Miles next album, Bitches Brew. This classic album was released in 1970. Closing the set was It’s About That Time, from the 1969 album In A Silent Way. As Miles and the band left the stage, some critics realised they had witnessed the future of jazz.
Four years later, and fusion was just as popular. The genre continued to reinvent itself. Fusion was thriving all over the word, including in Germany. This was Miles Davis destination on 1st November 1973. George Wein had decided to take the Newport Jazz Festival on the road. So Miles and his latest band made their way to Berlin.
At the Berlin Philarmonie, Miles and his band work their way through five tracks. Ronne Scott introduced the band. It featured percussionist James Mtume Forman and Dave Leibman on flute, soprano and tenor saxophonist.They’re joined by guitarists Reggie Lucas and Pete Cosey who also plays percussion. The rhythm section features drummer Al Foster and electric bassist Michael Henderson. Miles switches between trumpet and organ, over the five tracks.
Turnaroundphrase opens the set, before Tune In 5, fourteen minute version of Ife. From there, Miles and the band switch into Untitled Original and return to Tune In 5. It’s Miles Davis pushing musical boundaries and ensuring his music evolved. That had been the case throughout his career. He wasn’t going to change. That was the case in 1975, when the Newport Jazz Festival went on the road again.
This time, they didn’t go far. The Avery Fisher Hall, New York was the destination. Miles’ band from 1973 had evolved slightly. Sam Morrison had been drafted in to play tenor sax, replacing Dave Liebman. This latest lineup of Miles’ band features on a version of Mtume. It featured on Miles 1974 album Get Up With It. By then, he was combining free jazz with post bop and fusion. Miles Davis was, forever the musical chameleon. That had been the case two years earlier.
Disc Four.
On 22nd October 1971, the Newport Jazz Festival travelled to Switzerland. The venue was Neue Stadtalle, Dietikon. Miles was scheduled to play two concerts. The first of these concerts features on disc four of Miles Davis Live At Newport 1955-1975-The Bootleg Series Volume 4. That night, Miles and his band work their way through seven tracks.
By then, Miles band had changed its lineup. Musicians seemed to come and go. Gary Bartz played soprano and alto saxophone. Keith Jarrett played electric piano and organ. Perussionists included James Mtume Forman and Don Aias. The rhythm section featured drummer Ndugu Leon Chancler and electric bassist Michael Henderson. This latest lineup would wow the Swiss audience.
Opening the show with Directions, Miles and his band moved onto What I Say? A four minute version of Sanctuary, which closed Bitches Brew in 1970, was followed by It’s About Time. Then Miles returns to Bitches Brew, which had been released in April 1970, and was well on its way to selling two million copies in America alone. To celebrate this, Miles and the band unleash a near twelve minute version of the title-track. It’s an epic. However, that’s nothing compared to Funky Tonk, which lasts nearly twenty-six minutes. It’s Miles at his most innovative, pushing musical boundaries, switching between genres and taking the track in unexpected directions. After Funky Tonk, the Wayne Shorter composition Sanctuary closes not just the set, but Miles Davis Live At Newport 1955-1975-The Bootleg Series Volume 4.
As box sets go, Miles Davis Live At Newport 1955-1975-The Bootleg Series Volume 4 is a lovingly compiled box set, which was recently released by Sony Music. It celebrates and documents the first twenty years that Miles was associated with the Newport Jazz Festival. This box set also shows how Miles Davis’ music evolved over this period.
Miles Davis was never content to stand still. He was restless. Having pioneered or been at the forefront of a musical movement or genre, Miles wanted to move on. So he went in search of the latest musical genre. He had moved from bebop, hard bop and post bop, to modal free jazz and fusion. There’s even a nod towards psychedelia during this twenty year celebration of Miles Davis association with the Newport Jazz Festival.
After his debut in 1955, Miles Davis returned in 1958, 1966, 1967 and 1969. As the sixtes gave way to seventies, Miles association with the Newport Jazz Festival continued. Miles returned in 1971, 1973 and 1975. Often he was hailed the conquering hero. Even when jazz’s popularity declined in the late sixties, Miles Davis continued to win friends and influence the Newport audience.
By 1969, George Wein had tried to broaden the appeal of the Newport Jazz Festival. He decided to combine rock, soul and jazz. So on the Saturday, Jeff Beck, Ten Years After, Blood Sweat and Tears and Jethro Tull rubbed shoulders with Miles Davis and Dave Brubeck, John Mayall and Sly and The Family Stone. Then on the Sunday, James Brown the self styled ‘Godfather of funk,’ joined Herbie Hancock and B.B. King. The headline act was Led Zeppelin. They rose above the mediocrity of James Brown and B.B. King, stealing the show. The inclusion of non jazz acts had been a resounding success, so two years later, George Wein booked The Allman Brothers Band.
Again George Wein’s decision to book a much more eclectic selection of artists proved a huge success. It continued to broaden the appeal of the Newport Jazz Festival. On the second night of the Festival, Dionne Warwick was performing in an adjacent field. As she began to sing What The World Needs Now Is Love, festival goers crashed through fences. A disturbance followed and chaos ensued. Later, members of the audience rushed the stage, and equipment was destroyed. Not for the first time, trouble blighted the Newport Jazz Festival. It was a victim of its own success.
Just like Miles Davis, the Newport Jazz Festival survived the decline in jazz’s popularity. Miles and George Wein knew that in both their cases they had to adapt and evolve. If neither Miles Davis nor the Newport Jazz Festival evolved, they would’ve become irrelevant. That didn’t happen though. Both Miles and the Newport Jazz Festival went from strength to strength.
Miles Davis was associated with the Newport Jazz Festival until 1985. Their relationship had lasted thirty years, and during that period, Miles Davis continued to reinvent his music. Continually, he innovated and pushes musical boundaries. That was the case right up until his death in 1991. His career had spanned five decades, during which Miles Davis released forty-eight studio albums. This include classic albums like 1957s Birth Of The Cool and ’Round About Midnight, 1959s, Kind Of Blue and 1970s Bitches Brew. Tracks from each of these albums feature on Miles Davis Live At Newport 1955-1975-The Bootleg Series Volume 4, which documents, and celebrates, the first twenty years of Miles Davis association with the Newport Jazz Festival.
MILES DAVIS AT NEWPORT 1955-1975-THE BOOTLEG SERIES VOLUME 4.
STOMU YAMASHTA-GO TOO.
STOMU YAMASHTA-GO TOO.
By the late sixties, jazz was at a crossroads. It was no longer as popular as it had once been. Its popularly had plummeted. Comparisons were being drawn with blues music.
Although there had been a brief resurgence in the blues popularity earlier in the sixties, many of its biggest names were struggling to eek out a living. They played wherever they could get a gig. Some had even turned their back on the blues. For many it was a worrying time. Part of the problem was, the blues hadn’t really evolved. While the same couldn’t be said of jazz, its popularity was declining, and declining rapidly. Something had to change.
Jazz albums were no longer selling in the same quantities as a decade earlier. Some established labels struggled financially. So did the newer labels, who promised a brave new world in jazz. That didn’t happen. Across America, jazz’s decline was noticeable. Many jazz clubs were now putting on pop and rock groups. Jazz was, yesterday’s music. It was a dying genre. However, had jazz’s demise been overstated?
That proved to be the case. Riding to the rescue, like jazz’s very own caped crusader, came fusion. A mixture of jazz, funk and rock, fusion proved to be jazz’s savour.
From the late sixties, its popularity exploded. Gary Burton’s 1967 album Duster, is seen by many as the first fusion album. However, it was Miles Davis who was at the forefront of fusion’s rise. He released a series of albums which helped define the genre.
Miles Davis released Miles In The Sky and Filles de Kilimanjaro in 1968. Both albums influenced the development of fusion. However, it was the release of In A Silent Way in 1969 was crucial to the genre’s development. So was Bitches Brew, Miles Davis’ seminal fusion album. It featured a stellar lineup, including Chick Corea, Wayne Shorter, Joe Zawinul, John McLaughlin and Airto Moreira. Many of the musicians who were in Miles Davis’ fusion band, went on to form their own bands
In 1970, Wayne Shorter, Joe Zawinul and Airto Moreira became part of Weather Report. A year later, in 1971, John McLaughlin founded The Mahavishnu Orchestra. They became two of the best known names in fusion. However, as the seventies unfolded, many more fusion bands were founded across the world.
One of the leading lights of the British fusion scene, was Ian Carr. He founded Nucleus. Two of its members Karl Jenkins and John Marshall went on to found Soft Machine. Across the Atlantic, Chick Corea formed Return To Forever, a Latin inspired fusion band. It featured vocalist Flora Purim and percussionist Airto Moreira. They seemed to have been inspired by Santana.
However, later, Return To Forever changed direction, and fused elements of psychedelia and progressive rock. By then, Larry Corryell had formed his own fusion band, The Eleventh House. Larry had been part of the fusion scene since the early days. Others were jumping on the bandwagon.
Many of jazz’s veteran vehemently criticised fusion. They disliked the genre, and didn’t approve of the marriage of funk, jazz and rock. These veterans didn’t seem to realise if jazz hadn’t evolved, it would be dead. Some of the veterans seemed to be preaching a form of musical apartheid. It was a strange stance to take. Despite the stance of many veterans, some veterans broke ranks and took what others saw, as jazz’s equivalent of the King’s Shilling. Buddy Rich, Dexter Gordon and Maynard Ferguson were realists, and realised that fusion was the future of jazz. Fusion was quickly conquering the world, and by 1976, found its way to Japan.
One of the first Japanese fusion groups were Casiopea. They were formed by guitarist Issei Noro, bassist Tetsuo Sakurai and keyboardist Hidehiko Koike in 1976. That was the same year that one of Japanese music’s most innovative musicians, Stomu Yamashta, founded a supergroup, Go.
Go.
By 1976, supergroups were nothing new. Go however, was different from many supergroups. It had been formed by Stomu Yamashta, Steve Winwood and Michael Shrieve in late 1975, and featured musicians from all over the world. America, Britain, Germany, Jamaica and Japan were all represented on this what was immediately hailed a global supergroup.
As supergroups go, Go was one of the biggest. It featured a total of seventeen musicians and backing vocals. Among them were British born vocalist and multi-instrumentalist, Steve Winwood. Basisst Rosko Gee, another member of Traffic and former Wailers’ guitarist Marvin Junior were both Jamaicans. Tangerine Dream’s keyboardist Klaus Schulze had been born in Berlin, Germany. Former Santana drummer Michael Shrieve and guitarist Pat Thrall, both hailed from San Francisco. Another American, was New Jersey born guitarist, Al Di Meola. He was a veteran of fusion, and had been a member of Return To Forever. Al had also played alongside everyone from Stanley Clarke, Jan Hammer, Jean-Luc Ponty and John McLaughlin. His experience was vital. So was the experience of British born arranger and and co-producer Paul Buckmaster. Along with Stomu Yamashta the pair co-produced Go’s debut album. It was recorded in New York in February 1976, and released in April 1976.
When Go was released in April 1976, critics were already familiar with Stomu Yamashta’s music. By then, he was almost a veteran. Stomu Yamashta helped popularise world music back in the sixties. Right through to the seventies, Stomu Yamashta was one of the leading lights in the burgeoning world music scene. He had also released a string of groundbreaking albums, including 1971s Red Buddha and 1972s Floating Music. They’re just two of around fifteen albums Stomu Yamashta had released or collaborated on, before founding Go. It was well received by critics.
Already, Stomu Yamashta had a reputation as a musical pioneer. The music he released was always innovative and influential. Constantly, Stomu Yamashta fused multiple and disparate musician. Go was no different. Critics and cultural commentators saw Stomu Yamashta releasing an album which saw fusion continue to evolve, Go. It proved a popular album,
When Go was released in April 1976, by Island Records, the album reached number 160 in the US Billboard 200 charts. Not long after this, Go headed out on tour and in Paris, recorded a live album, Go Live From Paris.
Go Live From Paris.
When Go’s tour arrived in Paris on 12th June 1976, Island Records had arranged for a mobile recording studio to be waiting for Go.
It was a slimmed down version of Go that had taken to the road. Steve Winwood took charge of piano and vocals. Drummer Michael Shrieve, keyboardist Klaus Schulze and guitarists Al Di Meola and Pat Thrall were joined by conga player Brother James. Karen Friedman one of the the backing vocalists called Thunderthighs. They had featured on Go. However, she was the only member of Thunderthighs that were part of the touring band. A new name was bassist Jerome Rimson. He was a more than able replacement for Rosko Gee. This was the lineup that took to the stage in Paris, and worked their way through fourteen tracks. They were later released as Go Live From Paris.
After the recording of Go Live From Paris on 12th June 1976, the album was released later in 1976. Critics were won over by Go Live From Paris. The album was proof that Go were capable of taking their sound to the stage. Not all fusion bands could do that successfully. Go could. However, despite the glowing reviews of Go Live From Paris, the album failed to chart. Go Live From Paris was the end of an era.
Go Too.
When Go began work on their sophomore album Go Too, it was a very different band. One of the founding members, Steve Winwood, had left Go. His replacement was Jess Roden, who ironically, was well known to Steve Winwood. Jess Roden had supported many Island Records’ acts over the years, including Traffic, who Steve Winwood had been a member of. However, the addition of Jess Roden wasn’t the only change to Go’s lineup.
There were two new faces when Go reached the recording studio. The first was vocalists Linda Lewis, who would share the lead vocals with Jess Roden. However, this resulted in a change of direction for go. This wasn’t a case of swapping like for like. Nor was the replacing bassist Rosko Gee with Paul Jackson.
Rosko Gee had been Traffic’s bassist. They were a rock group. Go were a fusion band. While Rosko Gee passed muster on Go, Paul Jackson was much more suited to the role. He was one of the most respected jazz bassists, and had played on some of Herbie Hancock’s best albums, including 1973s Head Hunters. Paul, a versatile bassist, had also played alongside Azteca, Harvey Mason, The Pointer Sisters, Stanley Turrentine and Eddie Henderson. So, Paul was a more than adequate replacement for Rosko Gee, who unfortunately, had joined Can. His replacement, David Jackson, made his way to New York to begin work on what became Goo Too, which has been recently released by Esoteric Recordings.
At Camp Colomby, New City, New York recording of Go Too got underway. Stomu Yamashta had written Prelude. He cowrote Seen You Before, Madness, Mysteries Of Love, Wheels Of Fortune, Beauty and You and Me with Michael Quartermain. Ecliptic was penned by Stomu Yamashta and Klaus Schulze. These eight tracks were recorded by the new lineup of Go.
This included a rhythm section of drummer Michael Shrieve, bassist Paul Jackson and guitarists Al Di Meola and Doni Harvey. Klaus Schulze, John Peter Robinson and Stomu Yamashta all played synths. They each had a different “weapon” of choice. For Klaus, it was a Moog, John’s was an Moog and Stomu’s an Arp. Each had their own distinctive sound. Meanwhile, Brother James added a percussion. Jess Roden and Linda Lewis added vocals. Backing vocals came courtesy of Doreen Chanter, Liza Strike and Ruby James. Accompanying Go, were The Martin Ford Orchestra. Arranging Go Too was Paul Buckmaster, while Stomu produced the album. Once Go Too was completed, it was released later in 1977.
Just like Go and Go Live From Paris, Go Too was released to critical acclaim. Some critics embraced Go’s new sound. This fusion of disco, funk, pop, progressive fusion and rock went down well with record buyers. Go Too, the reinvention of Go, reached number 156 in the US Billboard 200. It had just managed to surpass the success of Go, which reached number 160. It looked like Go were going places. Or were they? Maybe Go Too had seen Stomu Go Too far from the starting point of fusion?
A myriad of sound make their presence felt as Prelude unfolds. One minute they bubble, the next a storm gives way to cinematic and dramatic sci-fi synths. They’re scene setters, and the start of a musical adventures. Sounds assail the listener, as if they’re being taken on a futuristic journey. Synths are at the heart of Go’s sound and their success on this captivating and cinematic track.
It gives way to Seen You Before. It’s a mixture of disco strings, a funky rhythm section and synths. Josh and Linda trade vocals. His vocal is a powerhouse, while Linda and the backing vocalists keep things soulful. When the vocals drop out, the synths create a dramatic backdrop. The synths add a progressive fusion sound. Meanwhile, braying horns, soulful harmonies and disco strings combine. By then, the rhythm section and synths create a dramatic backdrop. At the breakdown, there’s a return to fusion at its purest. Then a rocky guitar and disco strings combine with sensual, soulful harmonies, and this genre-melting journey continues to captivate, as Go head to the dance-floor.
Rolls of thunderous drums open Madness, before the arrangement becomes uber funky. That’s down to the bass and guitar. The synths add a funky hue, before creating a dramatic, buzzing backdrop. By then, Linda is adding a soulful powerhouse. She’s augmented by soaring harmonies, and is more than a fitting foil for Josh Rodden. Meanwhile, the rhythm section, searing guitars and squelchy, buzzing synths provide the backdrop for Linda and Josh on this genre-melting epic.
Mysteries Of Love has a much more understated introduction. A harp gives way to a piano and melancholy strings. Gradually, the arrangement builds and a soul-searching ballad unfolds. Josh delivers the lyrics as he ponders the “Mysteries Of Love.” Soon, the rhythm section and tender harmonies are added. Along with the piano and strings, everything seems to be falling into place. This includes the searing, heart wrenching guitar solo. It’s added at the breakdown, and proves a more than fitting replacement for the vocal. It soars across the arrange, as strings and cooing harmonies are added. Then when Josh’s vocal returns, and later, when Linda’s vocal enters. Everything is falling into place, and this beautiful ballad proves to be one of Go Too’s highlights.
Just like Prelude, various cinematic sounds can be heard at the start of Wheels Of Fortune. They seem unnecessary, and don’t add anything to the track. It’s a case trying to be too clever, and failing badly. Essentially, it’s twenty-seven seconds of their life the listener won’t get back. After that, disco strings and the rhythm section combine with one of the funkiest, chiming guitars on Go Too. Just as the listener is enjoying the band stretch their legs, Josh Rodden’s vocal enters. As usual, he unleashes a powerhouse, and sings call and response with the backing vocalists. The backing vocalists are much more subtle and soulful. Behind them, playful keyboards, a powerhouse of a rhythm section and dancing strings combine. Then Go, including Linda and the backing vocalists kick loose. Thankfully, the breakdown offers welcome respite. Later, it’s just Linda, the rhythm section and exotic percussion. Bookending the track are sound effects which conjure up images of an equally exotic beach. This works, unlike the start of the track. However, overall, when Go spun these Wheels Of Fortune, they didn’t win. Neither did the listener.
What sounds like a deserted beach greats the listener on Beauty. Just a piano plays before Linda’s tender vocal enters. Soon, a subtle, but funky bass and distant strings combine. Bubbling synths are joined by dramatic, cinematic strings and gospel tinged harmonies. By the sci-fi synths and piano join woodwind in accompanying Linda’s heartfelt vocal. Soon, it’s replaced by Josh and the arrangement builds. A Spanish guitar, swathes of strings and piano add an element of drama, before Linda’s vocal, augmented by harmonies return. From there, the arrangement literally floats thoughtfully along, and in the process, seems to loose its way.
You and Me sees otherworldly sounds added before futuristic synths emerge from the arrangement. They bubble and squeak, while the rhythm section add to the progressive fusion sound. Everything seems fine. Then Josh’s vocal enters, the tempo rises and the track heads in the direction of dance-floor. Disco strings join harmonies that veer between soulful and gospel tinged. After singing call and response, Linda’s vocal enters. By then, Go are flitting between genres. From the earlier progressive fusion sound, there’s been diversions via, disco, soul and gospel. Later, there’s a nod to prog rock, with the constant changes in tempo, in the penultimate track on this genre-melting adventure. It’s slightly unfocussed, and not Go’s finest hour. Sadly, it’s a case of what might have been.
Ethereal and quickly futuristic describes the introduction to Ecliptic. It closes Go Too, and sounds like it belongs on the soundtrack to a sci-fi soundtrack. Gradually, the drama builds as the synths take centre-stage on this soundscape. It’s one of the highlights of Go Too, and it’s a pity that there’s not more tracks like this on the album.
From the earliest days of his career, Stomu Yamashta was a musical adventurer and maverick. He was one of the pioneers of world music, and later, embraced ambient, avant garde, drone, experimental, free jazz and proto-industrial. So it was no surprise that in 1976, that Stomu Yamashta embraced fusion.
Along with Michael Shrieve and Steve Winwood, they formed Go, and released their debut album Go in April 1976. Go Live In Paris was released in June 1976. At that point, Go looked like it had a big future ahead of them. Then they lost Steve Winwood. Replacing him wasn’t going to be easy.
Josh Rodden was merely an adequate replacement. That was all. Apart from on Mysteries Of Love, Josh Rodden resorts to unleashing a series of vocal powerhouses. It’s as if he knows he has big shoes to fill, and the only way he can do so, is to resort to power. Even aided and abetted by Linda Lewis, Josh Rodden was no substitute for Steve Winwood. Until the release of Go Too, nobody realised how weakened Go had been by the loss of Steve Winwood. To make matters worse, his loss resulted in Go having to change direction.
Now Go’s music was a fusion of disparate genres. They moved away from fusion in its purest for, to what was akin to a journey through musical genres. This journey encompassed disco, electro pop, experimental, funk, gospel, jazz, pop, rock and soul. There was even the a nod towards prog rock, progressive fusion and world music. Despite what was a journey through disparate musical genres, Go weren’t the same band.
On some of the tracks on Go Too, Go moved towards the dance-floor. They even incorporated disco into their sound. It was a long way the early days of fusion, when it was seen as the saviour of jazz. Go like many, jumped on the disco bandwagon. Disco strings punctuate Go Too, as Go look longingly towards the dance-floor. However, Go seemed to hedging their bets.
They covered all musical bases, in an attempt to expand their audience. It worked, just. Go Too Reached number 156 in the US Billboard 200. This was four places better than Go. For the members of Go it proved to be a Pyrrhic victory. Although Go Too reached a wider audience, fusion purists turned their back on Go. Coupled with the loss of Steve Winwood, it was the end of the road for Go.
Go Too was the last album Go released. It was a short-lived project, that promised much. Their 1976 eponymous debut album was their finest hour. The followup Go Too is a case of what might have been. Although the album started well, it was far from a classic album. If the truth be known , Go Too is nowhere near a classic album. Things start to go awry on Wheels Of Fortune. From there, it’s downhill all the way, and Go Too only gets back on track on the closing track on Ecliptic. Ultimately, Go Too it’s a disappointing album, and not Stomu Yamashta’s finest hour.
Despite that, Esoteric Recordings have reissued Go Too twice since 2009. The initial reissue came in 2009, and the album was remastered. Recently, Go Too was reissued. However, it’s a case of caveat emptor. Some people who have bought what they believed to be the 2015 edition, have received a 2009 edition. If however, you wish to sample Go Too, the best way to do so, is buy a vinyl edition. Second hand vinyl editions can be found for the price of the CD. However, Go Too isn’t a good place to discover the delights of Stomu Yamashta’s back-catalogue.
For newcomers to the music of Stomu Yamashta, then Go Too isn’t place to start. Instead, Red Buddah and Floating Music are two of Stomu Yamashta best albums. The music on both albums are innovative and groundbreaking. They feature Stomu Yamashta, at his creative zenith, as this musical pioneer embarks upon what was a long and mostly, illustrious career.
STOMU YAMASHTA-GO TOO.
CAPTAIN BEEFHEART-LICK MY DECALS OFF, BABY, THE SPOTLIGHT KID AND CLEAR SPOT.
CAPTAIN BEEFHEART-LICK MY DECALS OFF, BABY, THE SPOTLIGHT KID AND CLEAR SPOT.
It was in 1964 that Don Van Vliet first dawned his Captain Beefheart persona. By then, Don was already twenty-three and had led an eventful life. He’d been called a child prodigy, attended art school, sold vacuum cleaners and for the last two years, been a member of Alex Snouffer’s Magic Band. His story began in Glendale, California in 1941.
That’s where the future Captain Beefheart, was born Don Glen Vliet on January 15th 1941. By the time Don was three, he was already sculpting. His speciality was animals. So, it’s no surprised that when Don was nine, he won a children’s sculpting competition organised by Los Angeles zoo. This was just the start of Don’s artistic career.
During the fifties Don worked as an apprentice with Rodrigues. He spoke in glowing terms about Don, referring to his as a child prodigy. He wasn’t wrong.
Growing up, all Don wanted to do was sculpt. Sometimes, he was so busy sculpting, that Don forgot to eat. All that mattered was his art. Don it seemed, was aiming for artistic perfection. So, when he was offered several scholarships, it seemed that Don would jump at the opportunity.
Sadly, Don’s parents didn’t approve of their son heading to art school. As a result, Don wasn’t heading to art school. Instead, he was heading to Lancaster, in the Mojave desert, where the aircraft industry was thriving. This would influence Don’s sculpting.
It was also where Don’s eclectic musical taste developed. Blues and jazz were favourites of Dons, including Son House, Howlin’ Wolf, Muddy Walters, John Coltrane, Thelonious Monk and Ornette Coleman. Soon, Don was spending all day listening to music and sculpting. However, sometimes, Don spent time socialising with members of local bands The Omens and The Blackouts. Mostly though, art dominated Don’s life.
So much so, that Don wasn’t a regular attendee at Antelope Valley High School, in Lancaster. That didn’t seem to matter, as he was a gifted student. After high school, Don attended Antelope Valley Junior College as an art major. A year later, Don quit and got a job selling vacuum cleaners. Again, this didn’t last long, and Don got a job managing a shoe shop. After a while, Don quit and headed to Rancho Cucamonga, California, where once again, he hooked up with Frank Zappa, on old school friend.
With Frank Zappa’s help, Don was confident enough to take to the stage, imitating Howlin’ Wolf and playing the harmonica. What became apparent, was that Don had a wide vocal range. This would prove useful when his career began in 1962.
It was in in Lancaster, California, that Don met Alex Snouffer, an R&B guitarist. He asked Don to join his Magic Band. This resulted in Alex Snouffer becoming Alex St. Clair, and Don Glen Vliet becoming Don Van Vliet. A year later, in 1965, Don Van Vliet became Captain Beefheart.
Just a year later, Captain Beefheart and His Magic Band signed to A&M Records. Little did anyone realise that that day, the career of one of the most innovative artists began.
For Captain Beefheart and His Magic Band’s debut single, they covered Bo Diddley’s Diddy Wah Diddy. The followup was Moonglow, penned by David Gates, who would find fame and fortune with Bread. By then, Captain Beefheart and His Magic Band would be pushing musical boundaries to their limits, and sometimes, beyond. That’s the case on the thirteen albums Captain Beefheart and His Magic Band would release.
This included 1970s Lick My Decals Off, Baby, 1971s Mirror Man and 1972s The Spotlight Kid. These three albums have recently been released by Rhino. However, before that, Captain Beefheart and His Magic Band released two classic albums.
Safe As Milk.
In 1967, Captain Beefheart and His Magic Band’s released their debut album, Safe As Milk. It was recorded at RCA Studios, in Los Angeles, during April 1967. Safe As Milk was a tantalising taste of what Captain Beefheart and His Magic Band were capable of.
Safe As Milk, Captain Beefheart and His Magic Band’s debut album, was released in September 1967. It was produced by Richard Perry and Bob Krasnow and featured an all-star cast. This included Ry Cooder and Taj Mahal of Rising Sons plus guitarist Russ Titelman. They played their part in a groundbreaking album, Safe As Milk.
On hearing Safe As Milk, critics realised this was unlike anything they’d heard before. It was an innovative and experimental, genre-melting album. Captain Beefheart’s love of the delta blues was evident on Safe As Milk. There’s even a cover of Robert Pete Williams’ Grown So Ugly. It was arranged by Ry Cooder. The other eleven tracks on Safe As Milk are original tracks, which Captain Beefheart either wrote or cowrote.
These tracks feature lyrics that veer between surreal and absurd. Another difference was the time signatures. This wasn’t an album of music in a 4/4 time signature. Instead, different time signatures feature throughout Safe As Milk, which critics hailed a classic. However, despite this, neither record buyers nor Buddah Records agreed.
Record buyers didn’t seem to ‘get’ Safe As Milk. It failed to chart in Britain or America. This would be the case with many of Captain Beefheart and His Magic Band’s albums. Commercial success would continue to elude them. Buddah Records didn’t get Safe As Milk. They were beginning to come to the conclusion that Captain Beefheart and His Magic Band’s music was too left-field and unconventional. That’s despite releasing a classic album, Safe As Milk.
Strictly Personal.
After Safe As Milk was released, Captain Beefheart and His Magic Band began work on their sophomore album Strictly Personal. It featured eight tracks penned by Captain Beefheart. They were recorded at Sunset Sound Studios, Los Angeles, between April 25th and May 2nd 1968. Once Strictly Personal was completed, it was due to be released by Buddah Records.
However, by then, Buddah Records had decided that Captain Beefheart and His Magic Band’s music was too left-field and unorthodox. So, they decided not to release Strictly Personal.
Luckily, Bob Krasnow’s Blue Thumb Records were wiling to release Captain Beefheart and His Magic Band’s sophomore album Strictly Personal. However, there was a problem.
Bob Krasnow, who produced Strictly Personal, used phasing during the recording of Strictly Personal. It was used on many tracks. This production technique proved controversial. Initially, Captain Beefheart thought this was a good idea. However, later, he claimed that the phasing had been used without his permission or approval. As a result, Captain Beefheart claimed that he hated the psychedelic effects used on Strictly Personal. Never again, would effects be used on a Captain Beefheart and His Magic Band album. These effects would divide the attention of critics.
When Strictly Personal was released in September 1968, critics were divided. They were unable to decide if Strictly Personal was the work of a genius, or incoherent ramblings. Mostly, critics were won over by Strictly Personal. However, many critics felt that the effects jarred, and detracted from the music. Record buyers didn’t seem to have an opinion on Strictly Personal, as it failed to chart in America or Britain. Still, Captain Beefheart and His Magic Band were a cult band. That was about to change, with Captain Beefheart and His Magic Band’s second classic album, Trout Mask Replica.
Trout Mask Replica.
For their third album Trout Mask Replica, Captain Beefheart and His Magic Band headed to Sunset Sound Studios, Los Angeles, in August 1968. That’s where Captain Beefheart hooked up with his old school friend and musical soul mate, Frank Zappa. He would produce Captain Beefheart and His Magic Band’s most ambitious and innovative album Trout Mask Replica.
For Trout Mask Replica, Captain Beefheart had penned twenty-eight tracks. As a result, Trout Mask Replica would be a sprawling and genre-melting double album. After the sessions at Sunset Sound Studios, Captain Beefheart and His Magic Band reconvened at Los Angeles’ Whitney Studios in March 1969. That’s where Trout Mask Replica was completed. It was then released on June 16th 1969.
Trout Mask Replica was released on Straight Records on June 16th 1969. It failed to chart in America, but reached number twenty-one in Britain. Just like Safe As Milk, Trout Mask Replica was another classic album from Captain Beefheart and His Magic Band. Elements of Americana, avant-garde, blues, classical, experimental, folk, free jazz, psychedelia, rock and surrealism melted into one on Trout Mask Replica. The lyrics were cerebral and controversial, dealing with politics, religion, love, sexuality, the Holocaust, conformity, the environment and musical history. It was an ambitious, far reaching and genre-melting opus. Sadly, only music critics, cultural commentators and a few discerning music lovers realised the importance of Trout Mask Replica. It’s now regarded as one of the most important albums of the late sixties. Captain Beefheart and His Magic Band saw the sixties close with a classic. What, however, would the seventies bring for Captain Beefheart and His Magic Band?
Lick My Decals Off, Baby.
As the seventies dawned, a frustrated Captain Beefheart and His Magic Band returned to the studio. This frustration gave Captain Beefheart the inspiration for his fourth album’s title, Lick My Decals Off, Baby.
Captain Beefheart was a man on a mission. That mission was to to get rid of “labels”. Instead, he wanted people to evaluate things, including music, according to its merits, rather than according to superficial labels or “decals.” This was admirable. After all, Captain Beefheart had been a victim of labels. Trout Mask Replica was in some quarters, labelled an avant-garde album. Conservative record buyers recoiled in horror, rather than giving an innovative album an opportunity. Maybe after Lick My Decals Off, Baby, things would change.
For Lick My Decals Off, Baby, Captain Beefheart had written fifteen songs, including I Love You, You Big Dummy, Woe-Is-Uh-Me-Bop, The Smithsonian Institute Blues (Or The Big Dig) and The Clouds Are Full Of Wine (Not Whiskey Or Rye). They were recorded at United Recording Corporation, Los Angeles during May 1970. With Captain Beefheart producing Lick My Decals Off, Baby, Captain Beefheart and His Magic Band fused avant-garde, blues, experimental, free jazz, psychedelia and rock. Accompanied by His Magic Band’s ever evolving lineup, Lick My Decals Off, Baby was released in December 1970.
On Lick My Decals Off, Baby’s release, in December 1970, critics called the album a mini masterpiece. Some went as far as to say that Lick My Decals Off, Baby was better than Trout Mask Replica. Described as captivating, challenging, engrossing, humorous, innovative and playful, what started as pieces of music improvised on his home piano, became Captain Beefheart and His Magic Band’s third classic. It even surpassed the commercial success of Trout Mask Replica, reaching number twenty in Britain. It seemed things were looking up for Captain Beefheart and His Magic Band.
Mirror Man.
Just as things were looking up for Captain Beefheart and His Magic Band, Buddah Records decided to release Mirror Man. It was originally recorded as as part of an abandoned project, It Comes to You in a Plain Brown Wrapper album. However, the album was shelved and some of the material found its way onto Captain Beefheart and His Magic Band’s 1968 sophomore album. However, Buddah Records were obviously keen to cash-in on Captain Beefheart and His Magic Band’s popularity.
The Bob Krasnow produced Mirror Man was released in April 1971. Mirror Man features just four tracks. This includes three lengthy blues jams. They make Mirror Man’s release worthwhile. These tracks showcase Captain Beefheart and His Magic Band at the start of their career, and is very different from the band that features on On Lick My Decals Off, Baby.
Critics remarked upon that. They also remarked that Mirror Man wasn’t for newcomers to Captain Beefheart and His Magic Band. It was a case of only seasoned veterans of Captain Beefheart and His Magic Band should try Mirror Man, a hidden gem in Captain Beefheart and His Magic Band’s back-catalogue. It features Captain Beefheart and His Magic Band at their intensive and creative best. However, Captain Beefheart’s sixth album, The Spotlight Kid, was his most accessible.
The Spotlight Kid.
During autumn 1971, Captain Beefheart and co-producer Phil Schier, began work on what would become The Spotlight Kid. Captain Beefheart wrote nine tracks and cowrote Blabber ‘N Smoke with Jan Van Vliet. These ten tracks would become The Spotlight Kid, which was credited to Captain Beefheart.
Although His Magic Band featured on The Spotlight Kid, the album is just credited to Captain Beefheart. The starting point for The Spotlight Kid, is Captain Beefheart’s beloved blues. However, this is blues with a twist. Marimba, bells and percussion are added. They provide a contrast to the slide guitar, rhythm section and harmonica. The result was what critics called Captain Beefheart’s most accessible album.
From I’m Gonna Booglarize You Baby, through White Jam, Alice In Blunderland, Grow Fins and the closing track Glider, Captain Beefheart produces his most accessible album. Blues tinged, albeit with a twist, there’s more than a nod to Howlin’ Wolf and Muddy Waters. Critics hailed The Spotlight Kid as raw, intensive, powerful and accessible. The Spotlight Kid was seen as the perfect introduction to Captain Beefheart.
To some extent, this proved to be the case. In America, The Spotlight Kid reached number 131 on the US Billboard 200 charts. Over the Atlantic, The Spotlight Kid stalled at number forty-four in Britain. It was swings and roundabouts. At least, however, Captain Beefheart had made a breakthrough in his home country.
It had been a long coming. Captain Beefheart had toiled for years trying to make a breakthrough. One of the problems was, that many of Captain Beefheart’s aren’t particularly accessible.
Especially for the newcomer to Captain Beefheart and His Magic Band. A good place to start are three album which were recently released by Rhino, 1970s Lick My Decals Off, Baby, 1971s The Spotlight Kid and 1972s Clear Spot. They’re much more accessible than albums like Safe As Milk and Trout Milk Replica. They’re ambitious, adventurous albums of avant-garde, genre-melting music. This music is unique and innovate. The difference is, that albums like The Spotlight Kid and Clear Spot are much more accessible.
Rather than listening to the Sun Zoom Spark: 1970-1972 box set in chronological order, it might be best to listen to the albums in terms of accessibility. That would mean listening to Clear Spot, The Spotlight Kid and then Lick My Decals Off, Baby. After that, the more challenging and avant-garde albums, including Safe As Milk and Trout Milk Replica will make more sense. They are, after all, two innovative classic albums from one of music’s mavericks.
Another classic from Captain Beefheart and His Magic Band was Lick My Decals Off, Baby. It’s an album that rivals Trout Mask Replica for the title of Captain Beefheart and His Magic Band’s finest hour. After that, The Spotlight Kid and Clear Spot are two of the most accessible albums Captain Beefheart released. They’e the perfect introduction to another of music’s mavericks and pioneers.
He was way ahead of his time. That’s why commercial success eluded Captain Beefheart for much of his career. Captain Beefheart, like his old schoolfriend Frank Zappa, was always determined to push musical boundaries, sometimes, to their limits and beyond. Other times, like on The Spotlight Kid and Clear Spot, Captain Beefheart yearned for commercial success. Captain Beefheart wanted to share his music with a wider audience. Sadly, Captain Beefheart never reached the heady heights his music and talent deserved. At least belatedly, Captain Beefheart a musical pioneer, is recognised as one of the most innovative and adventurous musicians of his generations. That’s apparent when you listen to Lick My Decals Off, Baby, The Spotlight Kid and Clear Spot which features Captain Beefheart and His Magic Band at his creative and innovative best.
CAPTAIN BEEFHEART-LICK MY DECALS OFF, BABY, THE SPOTLIGHT KID AND CLEAR SPOT.
FLORIAN FRICKE/POPOL VUH-KAILASH.
FLORIAN FRICKE/POPOL VUH-KAILASH.
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 CDs and a DVD 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.
BOZ SCAGGS-A FOOL TO CARE.
BOZ SCAGGS-A FOOL TO CARE.
2015 has been the year of the comeback. Some of the biggest names of yesteryear have returned after a lengthy absence.
The year started well with critically acclaimed comeback album from Bob Dylan. Then recently, Dave Gilmour, released his first solo album since Pink Floyd called it a day. However, there’s been many more comebacks during 2015.
Troubadour James Taylor and former Eagle Don Henley both make welcome returns. Keith Richards made a return with was easily, the most overhyped comeback album of 2015. It was an album that was everywhere. Unlike Boz Scaggs’ recent comeback album Fool To Care. It was quietly released on 429 Records.
Unlike many of his contemporaries who hit the comeback trail during 2015, it had only been two years since Boz Scaggs released his last album Memphis. It reached number seventeen on the US Billboard 200, and became Boz Scaggs’ most successful album since 1980s Middleman. Not only did Middle Man reach number eight in the US Billboard 200, but was certified platinum. However, Boz Scaggs was no stranger to commercial success and critical acclaim.
Middleman was Boz Scaggs ninth album since his 1965 debut album Boz. It was recorded on September 30th 1965, in Stockholm, Sweden. Later in 1965, Boz was released, but failed to chart. For Boz Scaggs it would another four years before he released another solo album.
During that period, Boz Scaggs became part The Steve Miller Band. He featured on their first two albums, Children of the Future was released in July 1968 and reached just 134 in the US Billboard 200. Three months later, and The Steve Miller Band released Sailor in October 1968. It reached number twenty-four in the US Billboard 200. Despite the commercial success and critical acclaim Sailor enjoyed, both Boz Scaggs and Jim Peterman left the band.
Boz Scaggs returned to his solo career, and in August 1969, released Boz Scaggs. This was the album that saw Boz Scaggs make a commercial breakthrough. Although it reached just number 171 in the US Billboard charts, it looked as if Boz Scaggs was on his way.
Two years later, and Boz Scaggs returned with the first of two albums he released during 1971. The first was Moments, which was released in March 1971. It reached 124 in the US Billboard 200 charts. For many, it looked as if Boz Scaggs career was on the up.
Sadly, that wasn’t the case. When Boz Scaggs and Band was released in December 1971, the album failed commercially, reaching just 198 in the US Billboard 200 charts. Things improved slightly, when My Time was released in September 1972. It reached number 138 in the US Billboard 200 charts. Was that a sign that Boz Scaggs fortunes were improving?
That was the case. Between 1974 and 1980, Boz Scaggs could do no wrong. His sixth album, Slow Dancer was released in March 1974. Although it only reached number seventy-four in the US Billboard 200 charts, it was certified gold. Two years later, and Silk Degrees hit the shops in March 1976. Quickly, it became Boz Scaggs’ most successful album, reaching number two in the US Billboard 200 and number six in the US R&B charts. Silk Degrees sold over five million copies, and was certified platinum five times over. After the success of Silk Degrees, it was nineteen months before Boz Scaggs returned with a new album,
That new album was Down Two Then Left, which was released in November 1977. It reached number eleven in the US Billboard 200 charts and was certified platinum. Nearly two-and-a-half years passed before Boz Scaggs released Middle Man in April 1980. Not only did Middle Man reach number eight in the US Billboard 200 charts, but number thirty-six in the US R&B charts. Boz Scaggs was on a roll. Even his 1980 Hits! album reached number twenty-four, and was certified gold. Boz Scaggs had been one of the most successful artists of the late seventies. It looked like this success would continue into the eighties.
Looking back, that might have been the case. However, Boz Scaggs decided to take a break from music. This break lasted eight years. It wasn’t until August 30th 1988, that Boz Scaggs returned with Other Roads, an album of AOR. Realising his audience were eight years older, Boz Scaggs figured that AOR would be what they were listening to. While Other Roads and the single Heart Of Mine proved popular in the AOR charts, the US Billboard 200 and US Billboard 100 were another thing. Other Roads only reached number forty-seven in the US Billboard 200 and Heart Of Mine reached thirty-five in the US Billboard 200. For Boz Scaggs, it was a Pyrrhic victory.
Another six years passed before Boz Scaggs returned with his next album Some Change on April 5th 1994. It stalled at just ninety-one in the US Billboard 200. Despite its lowly chart placing, some critics boldly pronounced Some Change Boz Scaggs’ finest album since 1976s Silk Degrees. Sadly, it hadn’t enjoyed the same success.
Neither did Fade Into Light, which was only released in Japan. The album was released on November 19th 1996, and was only released in America in 2005. Meanwhile, it was another five months before Boz Scaggs released another album in America.
It wasn’t until April 8th 1997 that Boz Scaggs released Come On Home. Just like Some Change, Come On Home wasn’t a commercial success, reaching ninety-four in the US Billboard 200. For an artist who once was used to gold and platinum discs, this was a frustrating time. Nor was it going to get any better.
Four years passed before Boz Scaggs released his next album Dig. Boz Scaggs had recorded Dig in February 2001. He waited another seven months to release the album. The day chosen for the release of Dig, was a day that changed history forevermore.
That day was September 11th 2001. It was meant to be an ordinary day. Some music fans awaited the release of album by one of the veterans of American music, Boz Scaggs. However, tragedy struck, and the last thing Americans had on their mind was music. Despite the tragedy that unfolded, Dig reached number 146 in the US Billboard 200. It was another two years before Boz Scaggs returned.
With Boz Scaggs no longer as popular as he once was, he decided to think outside the box. He came up with the idea of recording an album jazz standards. But Beautiful was released on May 20th 2003, and although it only reached 167 in the US Billboard 200, it topped the US Jazz charts. Despite finding an audience among jazz fans, Boz Scaggs didn’t release another album until 2008.
Speak Low was released in 2008, and reached number 128 in the US Billboard 200. That was an improvement on But Beautiful. Despite the relative success of Speak Low, Boz Scaggs didn’t release another album for another five years.
When Boz Scaggs did eventually return, he returned with album of blues and rock, Memphis. It was produced by Steve Jordan, and was well received by critics. Record buyers were also won over by Memphis, which reached number seventeen on the US Billboard 200. Memphis became Boz Scaggs’ most successful album since 1980s Middleman. Fired up by the success of Memphis, Boz Scaggs returned recently with what’s the nineteenth studio album of his career A Fool To Care.
Unlike previous albums, A Fool To Care, features eleven cover versions and just one track penned by Boz Scaggs, Fool To Pay. The cover versions are an intriguing selection. Among them, are Richard Hawley’s There’s A Storm A Comin’, Curtis Mayfield’s I’m So Proud and Huey P. Smith’s High Blood Pressure. Another is Richard Danko and Robert Guidry’s Small Town Talk. Then there’s Al Green’s Full Of Fire, which Al penned with Willie Mitchell and Mabon Lewis Hodges. They’re just five of eleven cover versions which Boz Scaggs’ and an all-star band give a makeover.
Recording of A Fool To Care took place at Blackbird Studios, Nashville. Steve Jordan, who produced Memphis, produces A Fool To Care. However, the band is a mixture of musicians who play on all tracks or on some cases, just one or two. The rhythm section features drummer and percussionist Steve Jordan, bassist Willie Weeks and guitarists Ray Parker Jr., Boz Scaggs, Reggie Young and Al Anderson. Joining them are Paul Franklin plays steel guitar, pianist Eric Crystal, organist Seth Asarnow and Clifford Carter adds synths. Jim Cox however, switches between organ, piano and Wurlitzer. They’re augmented by The Love Sponge Strings and a horn section. Jim Hoke plays alto flute and various other woodwind instruments. Backing vocals come courtesy of Conesha “Ms. Monet” Owens, Fred Ross, Steve Jordan and Tony Lindsay. That’s not forgetting two special guests, Bonnie Raitt and Lucinda Williams. They feature on A Fool To Care, Boz Scaggs’ nineteenth album. It was released recently.
Many critics saw A Foot To Care as Boz Scaggs picking up where he left on Memphis. It’s a far cry from the albums he released during his wilderness years. Back then, Boz Scaggs seemed to lack direction. Not any more. With producer Steve Jordan, all-star band and two high profile guest artists, Boz Scaggs was on the comeback trail.
Rich Woman opens A Fool To Care. Straight away, Boz Scaggs languid, lived in vocal doesn’t so much deliver the lyrics, but lives them. A crunchy guitar and bass are joined by guitars and drums. Soon, braying horns enter. They accompany Boz as blues, country and rock combine. A glistening guitar sits below the mass of horns and rhythm section. Washes of Hammond organ add an atmospheric hue, as Boz delivers this paean to his Rich Woman “whose all mine.”
The Ted Daffan penned I’m A Fool To Care is given a bluesy makeover by Boz Scaggs and his band. Scorching horns, a piano and the rhythm section combine with Boz and Ray Parker Jr.’s guitars. They provide the perfect backdrop for Boz’ needy, hurt-filled vocal.
Hell To Pay sees Boz joined by Bonnie Raitt. She shares the lead vocal and plays slide guitar. They’re the perfect foil for each other. As the rhythm section provide the heartbeat, Al Anderson adds chunk guitar and Jim Cox electric piano. Bonnie meanwhile, delivers a sassy vocal. She plays a starring role, while Boz is left playing a supporting role. That doesn’t matter, when everything is combined, the result is an irresistible bluesy shuffle.
Just a lone Hammond organ opens Small Town Talk, and accompanies Boz’s emotive vocal. Behind his impassioned plea, drums provide a subtle backdrop. Jim Hoke plays accordion, adding, while bursts of chiming guitar and subtle bursts of Hammond organ provide a backdrop for Boz’s soul-baring vocal.
A wistful piano opens Last Tango On 16th Street. Soon, a bass and accordion play. Drums and percussion open Boz’s worldweary vocal. It sounds as if he’s lived and experienced the cinematic lyrics. He paints pictures, of life on 16th Street, while behind him, the arrangement takes the listener to French Quarter of New Orleans with this melancholy and cinematic song.
There’s A Storm A Comin’ was originally written and recorded by Richard Hawley. Boz Scaggs stays true to the original, almost crooning the lyrics about hurt and heartbreak. Meanwhile, the arrangement is atmospheric, mesmeric and understated. It features just synths, organs and the rhythm section. Along with Boz’s guitar, they give the track a vintage sound. That’s something Richard Hawley’s original has. Where it differs is the accordion solo. This is part of Boz and producer Steve Jordan’s “sound.” Together, they give this a beautiful, understated song a twist, as Boz becomes a crooner.
Boz and producer Steve Jordan remember Miles Davis’ quote about leaving space in a song. They do that on the cover of Curtis Mayfield’s I’m So Proud. It has an understated arrangement. Just the rhythm section, chiming crystalline guitar and washes of Hammond organ accompany Boz’s tender, heartfelt vocal. Fills of vibes and harmonies add the finishing touch to what’s one of the best covers on A Fool To Care.
A lone acoustic guitar sets the scene on I Want To See You. Willie Weeks’ bass is joined by percussion and piano. They give the track a Latin sound as Boz delivers a rueful, needy vocal. Behind him, washes of Hammond organ and accordion are added. However, the Latin influence is still present, as a lovestruck Boz delivers a hopeful, heartfelt vocal.
It was Huey “Piano” Smith who wrote High Blood Pressure. Fittingly, it’s the piano that opens the track. Soon, the rhythm section, crunchy guitars combine. The guitars are panned left, and are muffled. Meanwhile, Boz has being somewhat ambitious, and seems to struggle to reach the higher notes. Good as his band are, Boz lets the side down. High Blood Pressure is more suited to Dr. John. However, the addition of gospel tinged harmonies partly, makes amends. By then, Boz’s vocal is more relaxed. He’s no longer forcing it. Later, Jim Cox unleashes a stunning piano. Along with the harmonies the song is swinging. It’s just a pity about the guitar and parts of the vocal.
From the opening bars, Al Green’s Full Of Fire is almost unrecognisable as it unfolds. That’s no surprise. Al Green’s original is the definitive version. So it’s a case of reinventing the song. One way to do this is smoothing the song out. When the horns bray, the rhythm section land down lay down a slightly funky groove. Boz’s vocal veers between AOR and soulful, as he demonstrates his versatility. As The Love Strings swing, washes of Hammond organ are joined by a searing guitar that cuts through the arrangement. By then, Full Of Fire has taken on a slick, almost AOR sound. It’s far from Al’s original. While it’s impossible to fault the musicianship and arrangement, it’s way too smooth and slick.
It’s just a Hammond organ and drums that combine to open Love Don’t Love Nobody. They set the scene for Boz’s soulful, wistful vocal. His delivery is heartfelt, as a piano plays, and a guitar chimes. Producer Steve Jordan realises that Boz is delivering one of his finest vocals, and ensures that the arrangement doesn’t overpower it. So everything is subtle. Whether it’s the piano, washes of Hammond organ, cooing harmonies or drums, they’re raison d’être is to frame Boz’s vocal. They do this beautifully, and this Joseph Jefferson and Charles Simmons’ song is one of the highlights of A Fool To Care.
Whispering Pines closes A Fool To Care, and features Lucinda Williams. She shares the lead vocal. Against a backdrop of accordion, rhythm section, guitar and washes of Hammond organ, Lucinda unleashes a soul-searching vocal. When the baton passes to Boz, his vocal is full of emotion. Then when Lucinda and Boz trade vocals, Lucinda sometimes overpowers Boz’s vocal. That’s a shame.Producer Steve Jordan had taken great care with his production. He adds a weeping guitar and Hammond organ. They’re meant to compliment the vocals on what could’ve been a heart wrenching track. It’s good, not great, purely because Lucinda’s vocal powerhouse, sometimes overpowers Boz. Sadly, it’s a slightly disappointing end to A Fool To Care. However, there’s still the bonus tracks
A total of three bonus tracks feature on A Fool To Care. The best of this trio, is a cover of Curtis Mayfield’s Gypsy Woman. It’s followed by Joe Seneca’s Talk To Me, Talk To Me and Cecil and Linda Womack’s M.P.B. Just like the rest of A Fool To Care, they’re an eclectic selection of tracks. While the bonus tracks are always a welcome addition for many people, this means that Boz Scaggs recorded a total of fifteen tracks for A Fool To Care. That’s a far cry from days when vinyl was King.
Back then, artists were limited by the amount of music that could fit on an LP. If they were really lucky, the could squeeze forty-five minutes music. That was pushing it. Mostly, though, albums lasted thirty-four to thirty-six minutes and featured eight to ten tracks. This meant record buyers heard an artist’s best music. Albums were all killer and no filler. Not any more.
Since the advent of the compact disc, albums are sprawling affairs, and can feature anything up to twenty tracks. There’s no way that an artist can record twenty great songs. Nor fifteen. Even twelve is a push. That’s the case on A Fool To Care.
Of the twelve tracks on A Fool To Care, nine find Boz Scaggs rolling back the years. He comes up short on Hight Blood Pressure, Full Of Fire and Whispering Pines. This trio of tracks are far from disastrous. It’s just small things, that could’ve and should’ve been spotted. Boz’s seems to struggle to reach the higher notes on Hight Blood Pressure. Full Of Fire is way too smooth, and lacks musical ‘fire.’ On Whispering Pines Lucinda Williams overpowers Boz’s vocal. Despite these flaws, A Fool To Care sees Boz Scaggs more or less pickup where he left off on Memphis. Only time will tell whether it will sell in the same quantities. Personally, I think that’s highly unlikely.
Some of the artists on the comeback trail are no longer as popular as they once were. There are exceptions. Bob Dylan and Dave Gilmour will both sell huge quantities of albums. It’s unlikely that James Taylor and Don Henley enjoy the same popularity they once did. Even Keith Richards, with his latest effort is no longer the draw he once was. However, music and musical tastes have changed since Boz Scaggs’ glory days.
Despite this, Boz Scaggs is still a talented and versatile artist. He flits between blues, country, and rock on A Fool To Care. There’s even elements of funk, jazz, Latin and gospel tinged harmonies. A Fool To Care is an eclectic and captivating comeback album from Boz Scaggs, who fifty years ago, released his debut album Boz.
BOZ SCAGGS-A FOOL TO CARE.
AUDIENCE-FRIENDS, FRIENDS, FRIEND.
Audience- Friend’s, Friend’s, Friend.
In October 1969, Audience were offered the opportunity to support Led Zeppelin at the Lyceum in London. For Audience, this was the opportunity of a lifetime as Led Zeppelin had just released their eponymous debut album on 12th of January 1969. It was well on its way to selling over ten million copies. With Led Zeppelin riding the wave of commercial success and critical acclaim, it was almost guaranteed that the great and good of music would be in the audience. This, the four members of Audience thought, could be the break they were looking for.
By October 1969, Audience had already come a long way in a short space of time. The story began earlier in 1969, when Lloyd Alexander Real Estate split up.
They were a semi-professional soul band who played the London club and pub circuit. They even released Gonna Live Again as a single on the President label in 1967. Although it wasn’t a hit, it became a favourite among mods. However, there was no followup, and in early 1969, Lloyd Alexander Real Estate split-up. Like a phoenix from the ashes of Lloyd Alexander Real Estate, rose Audience.
Three of the former members of Lloyd Alexander Real Estate decided to form a new band. Howard Werth, Keith Gemmell and Trevor Williams formed a new band, which they called Audience. There was a problem though. The nascent Audience needed a drummer.
Luckily, the other three members of the band new just the man. Tony Connor had auditioned for Lloyd Alexander Real Estate. However, he didn’t get the gig. This time round, he was in luck, and Tony Connor became the final member of Audience.
With the lineup complete, Audience started rehearsing. Soon, they had a manager. Quickly, everything fell into place. They had a publishing contract, a residency at the still prestigious Ronnie Scott’s Jazz Club and signed a recording contract with Polydor. Everything, it seemed, was going well for Audience.
Audience.
For their eponymous debut album, Audience had penned twelve tracks. Nine were written by Howard Werth and Trevor Williams. They also cowrote Maidens Cry with the other two members of Audience. Howard Werth wasn’t finished. He cowrote Pleasant Convalescence and Man On Box with Keith Gemmell. These twelve tracks were recorded at Morgan Studios, London.
When recording of Audience began at Morgan Studios Howard Werth played acoustic and electric guitar. He also took charge of the vocals. The rhythm section bassist Trevor Williams and drummer Tony Connor who also played vibes. Keith Gemmell played tenor saxophone, clarinet and flute. Producing Audience’s eponymous debut album was Chris Brough. Audience was recorded quickly, and released later in 1969.
On its release, Audience passed record buyers and critics by. Very quickly, Polydor deleted the album, and it wasn’t until much later that people began to appreciate Audience. With its fusion of art rock and prog rock, it’s regarded as an album that was way ahead of its time. Unfortunately after the commercial failure of Audience, a problem emerged.
Audience’s contract with Polydor wasn’t a multi-album deal. Nor did it last for a specified period. It was a one album deal. This meant Audience were back where they started, earlier in 1969, looking for a recording contract.
Fortunately for Audience, their luck started to change. Led Zeppelin had been booked to play at the Lyceum in London in October 1969. They needed a band to open for them. Although Led Zeppelin could’ve had their pick of bands to open for them, Audience got the gig. Their luck was starting to change.
When Audience arrived at the Lyceum, they were knew that the venue would be packed with the great and good of music. There was the possibility that watching, would be someone interested in signing them. So the four members of Audience agreed, tonight, they had to give it their best shot. There could be no regrets after their set.
As Audience took to the stage, they looked out at a sea of bodies. For many of them, Audience were just another unsigned band. By the time they left the Lyceum’s stage, that was about to change.
Unknown to Audience Tony Stratton-Smith was watching. He had just formed a new label, Charisma, and was impressed by Audience. He managed to make his way backstage, where he found the four members of Audience. Tony Stratton-Smith started telling the band how impressed he was by them, and how he wanted to sign them to his new label, Charisma Records. Realising that here was someone who was interested in their music, and believed in them, Audience agreed.
Now signed to Charisma, Audience found themselves signed to the same label as Van Der Graaf Generator and Lindisfarne. Quickly, Audience settled into life at Charisma, as Tony Stratton-Smith made plans for Audience’s sophomore, Friend’s, Friend’s, Friend.
Friend’s Friend’s Friend.
Given that Audience were new to the Charisma label, Tony Stratton-Smith wanted to bring onboard high profile producer to produce their label debut. American producer Shel Talmy was the chosen one.
Previously, Shel Talmy worked with The Kinks, producing All Day and All of the Night, Tired of Waiting for You, Dedicated Follower of Fashion, Sunny Afternoon and Waterloo Sunset. The producer had also worked with The Who, producing their 1965 debut album My Generation, and with Roy Harper and Davy Jones who later, would become David Bowie. With such an impressive track record, Shel Talmy looked the perfect producer to transform Audience’s fortunes. They had been working on new material.
For Friend’s Friend’s Friend, the members of Audience had worked on eight songs. Six came from the pen of Howard Werth and Trevor Williams. Ebony Variations was credited to the four members of Audience. Tony Connor and Keith Gemmell cowrote Priestess. Having written eight songs new songs, Audience made their way to Olympic Studios.
At Olympic Studios, the four members of Audience showed producer Shel Talmy their eight new songs. Shel Talmy looked at the new material. Shel Talmy wasn’t impressed. Apart from Belladonna Moonshine, Shel Talmy didn’t like Audience’s new material. He then decided he didn’t want to produce what became Friend’s Friend’s Friend.
Many bands would’ve viewed this as a huge problem. Not Audience. There and then, they made the decision to produce their sophomore album, Friend’s Friend’s Friend. Not at Olympic Studios though.
Instead, the four members of Audience decamped to the familiar surroundings of Morgan Studios. With engineer Mike Bobak in tow, Audience got work. They weren’t complete novices when it came to production. Each of the members of Audience had been members of bands before. This included Lloyd Alexander Real Estate, who had released a single. Members of Audience had also been around studios with other bands, so it wasn’t a new experience. Guided by an experienced engineer like Mike Bobak, Audience felt capable of producing Friend’s Friend’s Friend got to work.
Lead singer Howard Werth, guitar played acoustic guitar and banjo. The rhythm section featured bassist Trevor Williams and drummer Tony Connor. He also played piano, percussion. Keith Gemmell played saxophone and woodwind. Despite never having produced an album before, Audience, guided by Mike Bobak soon had Friend’s Friend’s Friend recorded. All that was left was for Friend’s Friend’s Friend to released.
Audience were hoping to avoid a repeat of their eponymous debut album, when Friend’s Friend’s Friend was released in May 1970. If two consecutive albums flopped, that could prove catastrophic. The worst case scenario was that Audience’s career could be at a crossroads. For a band that had only been together just over a year, that would a disaster. However, Audience had covered all the bases.
Critics discovered that Friend’s Friend’s Friend was a truly eclectic album. There were elements of art rock, country, pop, progressive rock and rock. The mood veered between joyous and witty, to introspective and dark on Friend’s Friend’s Friend. There was something for all musical tastes on Audience’s sophomore album Friend’s Friend’s Friend.
Nothing You Do opened Friend’s Friend’s Friend, and is best described as a fusion of prog rock, folk and classic rock. There’s more than a nod to the Rolling Stones on Nothing You Do. Partly, that’s down to Howard’s mid-Atlantic drawl. He loses this on Belladonna Moonshine, which was released as a single. It has a much more joyous, good time sound. This struck a nerve with record buyers, and resulted in Audience making an appearance on British television show Top Of The Pops. Very different was It Brings A Tear. Wistful and melancholy describes this maudlin mixture of folk, pop, prog rock and rock. Why it wasn’t released as a single, seems strange? One of the highlights of Friend’s Friend’s Friend was The Raid. Not only does it feature Audience in full flight, but features barnstorming perfoemacen from saxophonist Keith Gemmell. It’s a fitting finale to side one of Friends, Friends, Friend.
Side two picks up where side one left off, with Keith’s saxophone driving Right On Their Side along. As Howard delivers lyrics inspired by Enland’s historical past, and tinged with triumph and tragedy, Keith switches between saxophone and flute. He plays a leading role in the song’s success. Ebony Variations was originally inspired by Mozart’s clarinet concerto. It’s very different from the rest of Friends, Friends, Friend. Everything from classical, folk, pop and rock combine, creating a captivating track. The final two tracks on Friends, Friends, Friend were inspired by controversial subjects, mysticism and the occult.
Back in the early seventies, this wasn’t unusual. Many musicians were taking an interest in these matters. Audience were no different. They were reading The Dawn Of Magic, which was written by Louis Pauwels and Jacques Bergier. This book influenced the dark, dramatic and otherworldly sound of Priestess and Friends, Friends, Friend which closes Audience’s sophomore album Friends, Friends, Friend.
Although Friends, Friends, Friend wasn’t a hugely successful album, it was a bigger success than their 1970 eponymous debut album. Partly, this was down to Audience’s appearance on Top Of The Pops, where they sung Belladonna Moonshine. Suddenly, a new audience were introduced to Audience’s music. Despite their appearance on what was the biggest music show on British television, it was the live circuit where Audience were most popular.
When Audience headed out on tour to promote Friends, Friends, Friend, they played in front of sell out crowds. It must have been frustrating. If everyone who watched Audience live had bought Friends, Friends, Friend, the album would’ve found its way onto the British charts. Sadly, that wasn’t to be. However, success wasn’t far away for Audience.
Audience released their third album House On The Hill in 1971. It was produced by Gus Dudgeon. Indian Summer was chosen as a single, and reached number seventy-four on the US Billboard 100 charts. Just like so many British bands before them, American audiences discovered Audience first.
The following year, 1972, Audience released their fourth and final album, Lunch. By then, Audience had spent the last three years touring. The band were almost burnt out. After touring with The Faces and Cactus, tensions were running high. Keith Gemmell left Audience, resulting in the band needing a new saxophonist.
Lunch was completed with the help of Bobby Keys and Jim Price, the Rolling Stones brass section. When the Gus Dudgeon produced Lunch was released, it reached number 175 in the US Billboard 200 charts. Lunch became the most successful album of Audience’s career. Sadly, it was also their swan-song.
After four albums and a handful of singles, art rock pioneers, Audience called time on their career. The remaining three members of Audience went their separate ways.
That was the last that anyone heard of Audience until they reformed in 2004. Howard Werth, Keith Gemmell and Trevor Williams played a series of concerts in Germany, Italy, Britain and Canada. By then, somewhat belatedly, Audience’s music was being appreciated and had found a wider audience. For Audience, it was a case of better late than never. Forty years after releasing four albums of eclectic and innovative music between 1969 and 1972, including their cult classic Friends, Friends, Friend their music has found the Audience it deserves.
Audience- Friend’s, Friend’s, Friend.
EARTH AND FIRE-TO THE WORLD OF THE FUTURE.
EARTH AND FIRE-TO THE WORLD OF THE FUTURE.
Alquin, Ekseption, Finch, Focus, Golden Earring and Trace all have something in common. Just like Earth and Fire, they were some of the most successful Dutch bands of the prog rock era. Their music is still popular today among connoisseurs of progressive rock. That’s why Earth and Fire’s fourth album To The World Of The Future has been recently released by Esoteric.
The World Of Future was released in 1974. By then, Earth and Fire were one of Holland’s most successful bands. Since 1970, Earth and Fire had enjoyed seven consecutive top ten singles. This included a number one single in 1972 with Memories. For twin brothers Chris and Gerard Koerts this had been what they were working towards since 1967.
That’s when Chris and Gerard Koerts formed Opus Gainful in The Hague, Holland. They weren’t newcomers to music. Chris and Gerard had been making music since 1960. Originally, they performed in front of friends and family. It was then that people started referring to Chris and Gerard as The Singing Twins. Then in 1962, The Singing Twins won a talent show.
By the time The Singing Twins won the talent show, they were already interested in pop and rock music. So was Hans Ziech, who would play an important part in Chris and Gerard later career. However, that in the future. The music The Singing Twins were singing was far from rock ’n’ roll. It was much more M.O.R. This wasn’t how Chris and Gerard saw their future.
So in 1963, Chris and Gerard joined a local band. It played mostly instrumentals. However, this didn’t both Chris and Gerard. This was part of their musical education. Then in 1965, the band changed its name to The Swinging Strings.
After the name change, The Swinging Strings became a covers band. They covered songs by a variety of bands, including The Beatles and The Byrds. Soon, The Swinging Strings were a popular draw, and were playing around north and south Holland. However, The Swinging Strings weren’t popular in The Hague, where Chris and Gerard were from. Musical tastes were different in The Hague. Despite this, The Swinging Strings were popular elsewhere.
Through playing in the south and north of Holland, The Swinging Strings had made enough money to buy their own equipment. This made a big difference to them. The Swinging Strings were able to use better equipment before. As a gimmick, The Swinging Strings even hired three Audrey Hepburn lookalikes to dance on the stage. By then, The Swinging Strings’ popularity was increasing. So they entered and won, various talent shows. Despite the popularity of The Swinging Strings, Chris and Gerard were becoming disillusioned with playing cover versions.
Part of the problem was, Chris and Gerard were perfectionists. Technically, keyboardist Chris, and guitarist Gerard, were much more proficient that the other members of The Swinging Strings. They wanted to play alongside better musicians, musicians who matched their skill. So Chris and Gerard decided to leave The Swinging Strings in 1967.
This was a big risk. The Swinging Strings were a popular group, who played regularly. They even had their own fan club, and were attracting the attention of a local DJ Willem van Kooten. Despite this, Chris and Gerard left The Swinging Strings.
That was the end of The Swinging Strings. According to other members of The Swinging Strings, Chris and Gerard’s departure was sudden. The two brothers renamed The Swinging Strings Opus Gainful. However, the newly renamed band needed a rhythm section. Luckily, Chris and Gerard knew two men who suited the role.
Hans Ziech was the twenty-four year old bass player with a local band, The Soul. Technically, he was a match for Chris and Gerard. So was The Soul’s drummer Cees Kalis. So The Soul’s rhythm section became Opus Gainful’s rhythm section. Eric Wenink, The Soul’s guitarist joined Eric Wenink Opus Gainful for a couple of years.
With the band’s lineup seemingly complete, they spent much of 1968 practising. By then, Opus Gainful had decided to add a vocalist. Manuela Berloth was chosen and became Opus Gainful’s first vocalist.
With Manuela Berloth onboard, Earth and Fire continued to practise. Chris and Gerard were perfectionists, and expected the same standards from other members of Earth and Fire. So, practise sessions were long, and gradually, Earth and Fire found their own sound and direction. This was partly due to the music Earth and Fire listened to.
After practise sessions, Opus Gainful listened to mostly American music. They were inspired by Jefferson Airplane, Moby Dick and Jimi Hendrix. Carefully, the members Earth and Fire listened as music continued to change. So did Opus Gainful.
One night in 1968, Opus Gainful had been booked to play in Beverwijk, in North Holland. Just before Opus Gainful took to the stage, a decision was made to change their name. That night, Earth and Fire were born. This led to a change in the band’s fortunes.
The newly named Earth and Fire entered a talent show in 1969, which they won. The first prize was the chance to record two songs. This however, didn’t result in a record company for Earth and Fire. By then, Gerard was doubting whether Earth and Fire’s latest recruit was suited to the rock ’n’ roll lifestyle?
Later in 1969, Manuela Berloth left Earth and Fire. Gerard later, said that Manuela Berloth: “was not a rock ‘n roll woman.” The loss of Manuela meant that Gerard and Chris took charge of lead vocals. This was only a temporary measure.
It wasn’t until Earth and Fire opened for Golden Earring in September 1969, that Gerard and Chris found their new vocalist. This was Jerney Kaagman, who would feature on Earth and Fire’s eponymous debut album.
Earth and Fire.
All Earth and Fire’s hard work, patience and persistence was rewarded, when the band signed to Polydor in 1970.
Straight away, they began work on their debut album Earth and Fire. Brothers Chris and Gerard Koerts wrote the majority of the ten tracks on the album. Chris wrote four tracks and Gerard one track. They cowrote another four tracks. The other track was Seasons, which was written by Golden Earring guitarist George Kooymans. That wasn’t the end of the Golden Earring connection. Fred Haayen, Golden Earring’s manager, produced Earth and Fire. Once Earth and Fire was complete, it was released in 1970.
Earth and Fire launched the career of Earth and Fire. It was well received by critics, and featured a trio of hit singles. Seasons reached number two in Holland and number four in Belgium. In Holland alone, Seasons sold 40,000 copies. The second single Ruby, then reached number four in Holland and number eleven in Belgium. Not long after the release of Ruby, there was another change in Earth and Fire’s lineup. Drummer Cees Kalis was replaced by Ton van der Kleij. The new recruit watched as Earth and Fire enjoyed their third hit single.
Wild and Exciting was the final single released from Earth and Fire. It reached number five in Holland, but only twenty-one in Belgium. With three hit singles to their name, Earth and Fire’s popularity was growing. They had a busy touring schedule. So it wasn’t until late 1970, that Earth and Fire began work on their sophomore album, Song of the Marching Children.
Song of the Marching Children.
It wasn’t until late 1970, that the new lineup of Earth and Fire began work on Song of the Marching Children. It’s a concept album based on reincarnation. Chris and Gerard continued to write most of the music. That’s apart from Ebbtide, which Ton van der Kleij cowrote. However, Chris, Gerard and Hans Ziech cowrote the lyrics to what was Earth and Fire’s most ambitious album, Song Of The Marching Children. It was produced by Golden Earring drummer, Jaap Eggermont and their manager Fred Haayen.
Especially, side two which featured the eight part suite Song Of The Marching Children. Along with Storm And Thunder, Song Of The Marching Children was hailed as Earth and Fire’s finest hour. It also featured Earth and Fire at their most ambitious and innovative. This resulted in two more hit singles for Earth and Fire.
The first of these was Invitation, which reached number five in Holland. Then the impressive Storm And Thunder reached number six in Holland. Earth and Fire had enjoyed two more hit sings. That made it five in a row. However, five would soon become six.
With Earth and Fire riding a wave of commercial success and critical acclaim, they headed out on gruelling tour. It took in Holland, Belgium, Germany and Britain.This meant that they weren’t able to release an album during 1972. However, they had enough time to record a single, Memories. This would keep their fans happy until Earth and Fire returned with their third album.
When Memories was released in 1972, it reached number one in Holland and two in Belgium. Memories became Earth and Fire’s first hit single in Germany, where it reached number thirty-one.The success story that was Earth and Fire continued apace.
Atlantis.
By 1973, Earth and Fire returned with their Atlantis. This was another concept album. It was written by four members of Earth and Fire. Chris, Gerard and Ton van der Kleij cowrote the music; while Chris, Gerard and Hans Ziech cowrote the lyrics. Atlantis was produced by Jaap Eggermont. Eventually, Atlantis was completed and ready for release later in 1973.
Just like previous albums, Atlantis was released to critical acclaim. Atlantis featured another hit single, Maybe Tomorrow, Maybe Tonight. It reached number three in Holland, nine in Belgium and forty-four in Germany. However, in their home country, Holland, Maybe Tomorrow, Maybe Tonight had given Earth and Fire their seventh consecutive top ten single. However, this was taking its toll on Gerard.
He felt under pressure to keep the hits coming. Polydor, Earth and Fire’s record company had been pressurising to keep the hits coming. As a result, Gerard felt Atlantis wasn’t Earth and Fire’s best album. Gerard wanted to try something different. The last thing he wanted, were Earth and Fire’s albums to become formulaic.
To the World of the Future,
As 1974 began, things looked good for Earth and Fire. Their live shows received rave reviews in the music press. There was talk of Earth and Fire touring with Mott The Hoople in September 1974. This never came to anything. So Gerard, Chris and Hans began work on their next single, Love Of Life.
When Earth and Fire recorded Love Of Life, it featured a much more funky sound. This could’ve divided their audience. It didn’t. When Love Of Life was released, the Jaap Eggermont produced single reached number two in Holland and number twenty in Belgium. Earth and Fire had just enjoyed their eighth consecutive top ten single. They should be celebrating.
They weren’t. Behind the scenes, things weren’t going well.There were tensions within the band. Chris and Gerard decided it would be best if Hans left. He was replaced in June 1974 Theo Hurt. Earth and Fire had a new bassist as they began work on their fourth album To the World of the Future.
For To the World of the Future, Gerard, Chris and Hans had penned four songs. They were How Time Flies, The Last Seagull, Only Time Will Tell and Love Of Life. To The World Of The Future was penned by Chris and Hans. Theo Hurts wrote Voice From Yonder. Gerard and Jerney Kaagman cowrote Circus. These seven songs became For To the World of the Future. It was recorded at Soundpush Studios, Blaricum, in Holland.
As recording began at Soundpush Studios the rhythm section featured bassist Theo Hurts, who also played acoustic guitar. His partner in the rhythm section was drummer and percussionist Ton van der Kleij. He also played bell tree and xylophone. Jerney Kaagman took charge of lead vocals. Chris Koerts played electric and acoustic guitar and synths. Gerard Koerts was like a one man band, playing organ, piano, mellotron, synths, clavinet and Fender Rhodes. Again, Jaap Eggermont produced To The World Of The Future, which was Earth and Fire’s fourth album. It was released in April 1975.
When critics heard To The World Of The Future, they noticed that Earth and Fire had moved away from the symphonic sound of earlier albums. Critics were impressed by what was a stylistic departure from Earth and Fire. It showed they weren’t content to stand still. While this was admirable, would this cost Earth and Fire sales?
By the time To The World Of The Future was released in April 1974, Earth and Fire were on a winning streak. They had released eight consecutive top ten singles in Holland. Sadly, this run was broken by Only Time Will Tell. It stalled at number twelve. While this was still a cause for celebration, little did Earth and Fire realise that this was a signal of what was to come. To The World Of The Future which I’ll tell you about, marked the end of an era.
Synths beep and squeak, as if communicating by some futuristic language as To The World Of The Future unfolds. Slow rolls of drums join with washes of synths, harmonies and percussion. Elements of electronica, funk and symphonic progressive rock combine. As the rhythm section add gospel tinged harmonies, briefly the vocal changes hands. Meanwhile, the cinematic lyrics paint pictures city life. Especially, the misery and loneliness of city life. The tempo rises and then falls. When it falls there’s an ethereal beauty to the arrangement and Jerney Kaagman’s heartfelt vocal. Then the arrangement is stripped bare. Just the rhythm section provide a backdrop for a Hammond organ and electric guitar. It launches into a blistering solo on this eleven minute epic. It’s full of twists and turns, including numerous tempo changes, before reaching a dramatic crescendo.
Following an eleven minute epic, How Time Flies is just a three minute track. Again, it’s a mixture of styles and influences. There’s an almost pastoral sound as an acoustic guitar plays. Then a rasping synth ushers in Jerney’s vocal. By then, elements of electronica, folk, progressive symphonic rock can be heard. Later, synths strings and a harp accompany Jerney’s reflective, wistful vocal.
A storm blows as The Last Seagull begins. After fifty seconds, they’re joined by a broody bass. It crawls moodily along, before cinematic synths are added. Keyboards then take the arrangement in the direction of funk and fusion. Some of the synths sounds could’ve inspired many an Acid House producer. Later, the arrangement becomes dramatic, and could easily be part of the soundtrack to a mid-seventies film or TV series. It has that sound. Another blistering guitar solo is added was Earth and Fire stretch their legs. They’re soon kicking loose, and showcasing their considerable skills. It’s an impressive sound and a reminder of Earth and Fire at their best.
A scorching, sizzling guitar solo is joined by the rhythm section on Only Time Will Tell. They set the scene for Jerney’s vocal. It’s accompanied by an organ, before the arrangement builds becoming dramatic and powerful. So is Jenny’s vocal, as she delivers a vocal full of social comment. Behind her, synths accompany the rhythm section and guitar. Again, Earth and Fire are at their rocky best, on what’s one of the highlights of To The World Of The Future.
Voice From Yonder features an excerpt from a seance held in 1928. The voice of ‘spiritualist’ Terry Brown can be heard. Before that, a Fender Rhodes adds a melancholy hue. It’s joined by the guitar and rhythm section. Soon, Earth and Fire are combining elements of funk, jazz psychedelia and rock. The sample of the seance is added. Now, the track is reminiscent of something from The Beatles Sgt. Peppers Lonely Heart’s Club Bands. From there, Earth and Fire combine musical influences. They also drop the tempo, which adds an element of drama. When this happens, a searing guitar solo cuts through the arrangement, as Voice From Yonder heads to its thoughtful ending. Although it’s a track that’s meant to stimulate debate, for many people it’s more Hocus Pocus than Earth and Fire.
Love Of Life is another short song. It lasts just three minutes, and features Earth and Fire’s funky side. This doesn’t mean they turn their back on symphonic rock. Swells and washes of symphonic strings accompany the rhythm section and uber funky guitar. It’s panned left, making room for Jenny’s impassioned vocal on this paean.
Circus closes To The World The Future. Jenny delivers a dramatic, heartfelt vocal. Soon, the rest of Earth and Fire are creating a slow, dramatic arrangement. It consists of just the rhythm section, guitar and synths. Slow, deliberate drums are joined by a blistering guitar. Another guitar is panned left, as Jenny combines power and passion. Soon, the tempo changes, only to change again. Earth and Fire embark upon a jazzy stroll. Just the rhythm section and keyboards combine. Later, a sizzling guitar solo and drum rolls are added. That’s the signal for another change, as Earth and Fire return to the earlier dramatic sound. Still, they’re not through teasing the listener. Further changes in tempo see this magical musical mystery tour continue before Earth and Fire take their leave, closing To The World The Future. It’s a return to form from Earth and Fire.
Gerard Koerts had been disappointed by their previous album Atlantis. He had felt pressurised to make the album that Polydor wanted. However, on To The World The Future, Gerard and the rest of Earth and Fire recorded the album they wanted to make. It was a fitting way to end an era.
Genre-melting describes To The World The Future. Earth and Fire combine everything from electronica, funk and jazz, to progressive rock, psychedelia, rock and symphonic rock. It was a journey through musical genres, with Earth and Fire as the listener’s tour guide. Sadly, To The World The Future wasn’t as successful.
Earth and Fire had released eight consecutive top ten singles in Holland before the release of To The World The Future. Sadly, this run was broken when Only Time Will Tell was released as a single and stalled at number twelve. This was a signal of what was to come.
Later in 1975, Earth and Fire’s next single reached number eight in Holland and number twenty-eight in Belgium. Their next two singles didn’t fare as well. What Difference Does It Make was released in 1976, and reached number twelve. Then in 1977, 7 8th Avenue the single released from Earth and Fire’s fifth album Gate to Infinity stalled at number eighteen in Holland. That was as good as it got for Earth and Fire until 1979. They were left without a record deal, and the next two years, Earth and Fire never released an album. However, the decline in Earth and Fire’s popularity can be traced back to 1975.
By 1975, disco was becoming one of the most popular musical genres. It overtook many genres. A year later, so did punk. It was born in 1976, and came kicking and screaming into life. Just like disco, the increase in punk’s popularity contributed to the downfall of many bands.
Many punk ‘musicians’ turned on rock, and especially prog rock groups. They were called musical dinosaurs, and a remnant of music’s past. However, it wasn’t just newly popular punk musicians who turned their guns on groups like Earth and Fire. So did a new breed of gunslinger critics. They too, saw prog rock groups as dinosaurs, who deserved to be slain. Sadly, this new breed of critics found an unquestioning audience. Like sheep, their readers believed this hook, line and sinker.
Now faced with the twin evils of disco and punk, it was a case of evolve or die for many prog rock bands. Although some bands were enjoying commercial success, others were struggling. This included Fire and Earth.
To make matters worse, of drummer Ton van der Kleij in 1978, He was replaced by Ab Tamboer. Former Focus bassist, Bert Ruiter joined Earth and Fire. He was Jerney Kaagman’s partner, so familiar with the band and their music. However, they still hadn’t a record deal. Then in 1979, Earth and Fire secured a deal with Phonograph Records. They were richly rewarded for placing their faith in Earth and Fire.
It just took Earth and Fire a few nights for them to record their sixth album, 1979s Reality Fills Fantasy. It was recorded at Soundpush Studios, with producer Gerrit-Jan Leenders. The result was a much more pop oriented album.
When Reality Fills Fantasy was released in 1979, it came as a shock to the system for those used to their early albums. Gone was the prog rock sound. While there were still elements of symphonic rock on Reality Fills Fantasy, it was all change. Elements of disco, Europop, pop and rock shawn through. Although this change wasn’t welcomed by their old fans, new fans embraced Earth and Fire’s new sound.
The single released from Reality Fills Fantasy, Weekend, reached number one in Holland, Belgium and Germany. Earth and Fire had had to evolve to stay relevant. However, it was a far cry from the glory days of their first four albums.
This started with Earth and Fire’s eponymous debut album. It was released in 1970. Five years later, in 1975, Earth and Fire released the last great album of their career, To The World Of The Future. It marked the end of an era, when Earth and Fire were one of greatest and most successful Dutch bands. They enjoyed commercial success and critical acclaim across Europe, and created music that was ambitious and innovative.This includes Earth and Fire’s fourth album To The World Of the Future.
EARTH AND FIRE-TO THE WORLD OF THE FUTURE.
TEN YEARS AFTER-STONEDHENGE.
TEN YEARS AFTER-STONEDHENGE.
In October 1967, Ten Years After released their eponymous debut album. The album failed to make an impression on either side of the Atlantic. It was a disappointing start to Ten Years After’s recording career. Especially considering how well things had been going for Ten Years After.
Ever since they had changed their name from Blues Yard to Ten Years After, their fortunes had changed. They had secured a residency at the Marquee, played a starring role at the Windsor Jazz Festival and then signed to Deram Records. It had been roller coaster ride. However, it was nothing compared to the next six years.
The story began in May 14th 1968, when Ten Years After played a small gig at the Klooks Kleek jazz club in London. Deram Records arranged for the concert to be recorded. This proved a masterstroke.
When Ten Years After took to the stage, they worked their way five genre-melting songs. Everything from blues and boogie to jump blues, rock and rock ’n’ roll were combined by Ten Years After. It was a truly barnstorming performance, and a perfect way to showcase Ten Years After’s considerable skills. Their performance would come to the attention of legendary American promoter Bill Graham, who began championing their music in America.
Three months later, Ten Years After released their live album Undead in August 1968, it proved a game-changer. It was heard by legendary promoted Bill Graham. He championed Ten Years After in America. As a result, Undead reached number 115 in the US Billboard 200. This was the start of a six year period when Ten Years After could do no wrong in the eyes of the American record buying public.
From Stonedhenge, which was recently released by Decca Music Group, right through to Ten Years After’s eighth and final studio album, Positive Vibrations, which was released in April 1974, Ten Years After spent much of their time in America. That wasn’t surprising. Ten Years After were much more popular stateside. They were the latest rock band to make it big in America. However, it was a far cry from the group’s early days, back in 1960.
That’s when Ivan Jay and the Jaycats were formed. They consisted of musicians from the Nottingham and Manfield area. This included vocalist Ivan Jay, guitarist and vocalist Alvin Lee and bassist Leo Lyons. In 1962, Ivan Jay became The Jaycats and later, Ivan and The Jaymen. Just as the name changed, so did the lineup.
Ivan Jay was the lead vocalists until 1962. He was replaced by Ray Cooper, who also played rhythm guitar. Drummer Pete Evans joined in 1962, but left in 1965, to be replaced by Dave Quickmire. Then in 1965, Ric Evans became The Jaybirds drummer. The following year, 1966, The Jaybirds were on the move, and changed their name.
Like so many bands, The Jaybirds headed to London, where they became The Ivy League. Later, in 1966, keyboardist Chick Churchill joined The Ivy League. They soon came to the attention of future Chrysalis founder, Chris Wright. He became The Ivy League’s manager, who changed their name to Blues Trip. However, the quartet made their debut as Blues Yard.
Chris Wright got the newly named Blues Yard the job of opening for Bonzo Dog Doo-Dah Band. That was their one and only concert as Blues Yard. Not long after this, Blues Yard became Ten Years After. This was the start of the rise and rise of Ten Years After.
Through the Chrysalis Booking Agency, Ten Years After secured a residency at the Marquee. This was a prestigious residency. Suddenly, people were taking notice of Ten Years After. However, it was their appearance at the Windsor Jazz Festival in 1967 that resulted in Ten Years After signing to the Deram, a subsidiary of Decca.
Ten Years After.
Now signed to Deram, Ten Years After began work on their eponymous debut album. Deram didn’t bother getting Ten Years After to record a single. Even then, it was obvious that Ten Years After were more of an albums band. So Ten Years After were sent into the studio to record their debut album.
For their eponymous debut album, Ten Years After chose a mixture of cover versions and new songs. Cover versions included Paul Jones’ I Want to Know, Al Kooper’s I Can’t Keep from Crying, Sometime, Willie Dixon’s Spoonful and the blues standard help me. Alvin Lee penned Feel It for Me, Love Until I Die and Don’t Want You, Woman. He also cowrote Adventures of a Young Organ with Chick Churchill and Losing the Dog with Gus Dudgeon. These ten tracks became Ten Years After.
Recording of Ten Years After took place at Decca Studios, London during September 1967. The rhythm section featured drummer Ric Lee, bassist Leo Lyons and guitar and vocalist Alvin Lee. Augmenting the rhythm section was keyboardist Chick Churchill. Producing Ten Years After were two experienced and practised producers, Mike Vernon and Gus Dudgeon. Once Ten Years After was completed, it was released in October 1967.
When Ten Years After was released in October 1967, the album was well received by critics. Many described the album as purely blues rock. That wasn’t quite the case.
Granted blues rock was the most obvious influence on Ten Years After. Other influences included Americana, country, jazz, psychedelia and rock. These influences shine through on Ten Years After, which was released in the Autumn of 1967.
Ten Years After was released on October 27th 1967. The album failed to chart on either side of the Atlantic. While this was a disappointment for Ten Years After and everyone at Deram, critics forecast a bright future Ten Years After. And so it proved to be. However, that might not have proved to be the case if Ten Years After hadn’t recorded their live album Undead.
Undead.
Just seven months after the release of their eponymous debut album, Ten Years After were scheduled to play a small gig on May 14th 1968. The venue was the Klooks Kleek jazz club in London. Deram Records had arranged for the concert to be recorded, and released as a live album. This proved a masterstroke.
When Ten Years After took to the stage, they worked their way five genre-melting songs. Everything from blues and boogie to jump blues, rock and rock ’n’ roll were combined by Ten Years After. It was a truly barnstorming performance, and a perfect way to showcase Ten Years After’s considerable skills. Their performance would come to the attention of legendary American promoter Bill Graham, who began championing their music in America.
Three months later, Ten Years After released their live album Undead in August 1968, it proved a game-changer. It was heard by legendary promoted Bill Graham. He championed Ten Years After in America. As a result, Undead reached number 115 in the US Billboard 200. This was good news for Ten Years After, who had just completed their sophomore studio album Stonedhenge. With Bill Graham championing their music, they hoped that Stonedhenge would build on Undead.
Stonedhenge.
When work began on Stonedhenge, it was a familiar story. Alvin Lee was Ten Years After’s songwriter-in-chief, penning six songs, including Going To Try, Woman Trouble, Skoobly-Oobly-Doobob, Hear Me Calling, A Sad Song, No Title. He also cowrote Speed Kills with Mike Vernon. Keyboardist Chick Churchill contributed I Can’t Live Without Lydia, while Leo Lyons wrote Faro. Drummer Ric Lee’s contribution was arranging Three Blind Mice. Along with the other nine tracks, it was recorded at Decca Studios, in West Hampstead, London.
Recording of Ten Years After took place at Decca Studios, London between the 3rd and 15th September 1967. The rhythm section featured drummer Ric Lee, bassist Leo Lyons and guitar and vocalist Alvin Lee. Augmenting the rhythm section was keyboardist Chick Churchill. Producing Ten Years After was Mike Vernon. Once Ten Years After was completed, it was released on 22nd February 1969.
Before the release of Stonedhenge, critics had their say on Ten Years After’s second studio album. Their boogie rock sound was still present. So was the bluesy sound that featured on Ten Years After. However, producer Mike Vernon guided Ten Years After further down roads marked blues and jazz. He managed to do this, without Ten Years After forgetting their roots. There was something for everyone on Stonedhenge. Some critics compared Ten Years After to Canned Heat. This was ironic, as Ten Years After had just supported Canned Heat. They were enjoying the most successful period of their career. That was still to come for Ten Years After. It began with Stonedhenge.
When Stonedhenge was released on 22nd February 1969, it reached number sixty-one in the US Billboard 200 charts. This was a vast improvement on Undead, which reached number 115. The next chapter in the Ten Years After story had begun with Stonedhenge.
Going To Try opens Stonedhenge. Straight away, Ten Years are teasing the listener. From an understated introduction, a urgent arrangement unfolds. It’s a fusion of rock, blues and thanks to ethnic percussion, world music. There’s even a nod to prog rock, as continually, Ten Years After vary the tempo. From there, the musical mystery tour that’s Stonedhenge continues to tease and tantalise.
This starts with I Can’t Live Without Lydia, a short, jazz-tinged track. The jazz sound continues on Woman Trouble. It has a bluesy hue. Then on the jazzy Skoobly-Oobly-Doobob, Alvin Lee takes centre-stage. He scats and delivers a breathtaking guitar solo. Hear Me Calling which closed side one of Stonedhenge, features Ten Years After combining blues and boogie rock. They sound not unlike Canned Heat, the other purveyors of this sound.
Opening side tow of Stonedhenge was A Sad Song, which is a good description of this track. It has a slow, moody and somewhat haunting sound. It’s very much of its time, sounding as if it was recorded in the late sixties. Ten Years After combine elements of pop and rock with psychedelia and blues. Then Three Blind Mice, the children’s nursery rhyme, is transformed into a one minute drum lead instrumental. This is the weakest track on Stonedhenge. No Title, an eight minute jam more than makes up for Three Blind Mice.
No Title is a slow burner where Ten Years After showcase a slow, broody and lysergic sound. Blues, rock and psychedelia are combined, before Ten Years After start to stretch their legs, and unleash one of their best performances on Stonedhenge. Faro sadly, is a tantalising taste of what might have been. It sounds as if it’s an idea for a song, rather than a completed song. With some time and effort, Faro could’ve been a track that rivalled No Title. Speed Kills completes the musical journey that’s Stonedhenge. As the train leaves the station, Ten Years After climb onboard and combine blues and country. The country influence comes courtesy of Alvin Lee’s mid-Atlantic vocal. Meanwhile, the rest of Ten Years After kick loose, and ensure that their sophomore album Stonedhenge ends on a high.
For the four members of Ten Years After, the last two years had been a roller coaster. Their 1967 eponymous debut album had failed commercially on both sides of the Atlantic. This was a huge disappointment. The members of Ten Years After had spent seven years getting this far. However, their luck was about to change.
When promoter Bill Graham heard Ten Years After’s first live album Undead, he began to champion their music. Across America, a generation of record buyers decided to investigate this new British band. This resulted in Undead reaching number 115 on the US Billboard 200 on its release in August 1968. By then, Ten Years After had finished recording Stonedhenge, which was recently released by Decca Music Group.
On its release in February 1969, Stonedhenge reached number sixty-one in the US Billboard 200 charts. This was the start of a year Ten Years After would never forget. They played at the Newport Jazz Festival in July 1969. Next stop for Ten Years After was the Seattle Pop Festival later in July. Then on 17 August 1969, Ten Years After took to the stage at Woodstock, and played I’m Going Home. Their appearance would feature on both the soundtrack and movie. Ten Years After were about to become a musical phenomena.
That would be the case right through until 1974. when Ten Years After split-up. For six years Ten Years After could do no wrong, and were one of the biggest bands on both sides of the Atlantic. Although Undead was Ten Years After’s breakthrough album, it was their second studio album that brought the band to the attention of the wider record buying public. The American record buying public embraced Ten Years After for the next five years.
Stonedhenge was the start of America’s love affair with Ten Years After. The album has just been rereleased as a double album. Disc one features the mono and stereo version of Stonedhenge. On disc two, there’s six tracks, including B-Sides, live tracks and even a track from an Alvin Lee solo album. They’re be a welcome addition for anyone who wants to discover or rediscover Stonedhenge, which was the latest stop on Ten Year After’s road to commercial success and critical acclaim.
TEN YEARS AFTER-STONEDHENGE.
GTR-GTR.
GTR-GTR.
After his departure from Asia in 1985, guitarist Steve Howe was looking for a new project. Although Steve had nothing in the pipeline, he had an idea. It was a tantalising prospect.
Brian Lane, Yes’ former manager, realised this as the pair sat down to talk. Steve Howe explained that his idea involved forming what a new group with another member of progressive rock royalty. This was none other than former Genesis lead guitarist Steve Hackett.
After working on six studio albums, three live albums and seven singles, Steve Hackett left Genesis in 1977. Since then, he had had been concentrating on his solo career.
In 1978, Steve Hackett released his sophomore album, Please Don’t Touch. Although it reached just thirty-eight in Britain, Please Don’t Touch became his most successful album in America, reaching number 103 in the US Billboard 200. However, that was as good as it got for Steve in America. His next four album never reached the same heights stateside.
Spectral Mornings was released in May 1979, reaching twenty-two in Britain, and 138 in the US Billboard 200. This trend continued when Defector reached number nine in Britain, becoming his most successful album. However, in America, Defector reached just 144 in the US Billboard 200. When Cured was released in August 1981, it reached fifteen in Britain, but stalled at 169 in the US Billboard 200. Little did Steve Hackett realise that he none of his solo albums would chart in America.
When Steve Hackett released Highly Strung in April 1983, it reached number sixteen in the British charts. The album failed to chart elsewhere. Nobody realised that Steve Hackett’s career was about to enter choppy waters.
After Steve Hackett completed Bay Of Kings, he took the album to Charisma Records. They weren’t expecting an album of contemporary classical music. This wasn’t what Charisma Records expected or wanted. Executives at Charisma Records, fearing that Bay Of Kings would fail commercially, rejected the album. Not long after this, Steve Hackett left Charisma Records.
Bay Of Kings was released in October 1983, through Lamborghini Records, an independent label. Steve Hackett’s classical debut reached just number seventy in the British charts. The executives at Charisma Records were vindicated. However, for Steve Hackett this was just the start of his problems.
Following the disappointment of Bay Of Kings, he returned with Till We Have Faces. What was Steve’s eight solo album, was released in August 1984. I became the least successful album of his career, when it stalled at fifty-four in Britain. This was another blow for Steve Hackett. So much so, that it would be another nine years before Steve Hackett released another solo rock record. Classical music Steve Hackett thought, was the future. That was until he met former Yes manager Brian Lane.
Steve Howe had asked Brian Lane to approach Steve Hackett about the pair working on project together. When Brian Lane met Steve Hackett, he found the former Genesis lead guitarist receptive to the proposal. That wasn’t surprising.
The last two years had taken their toll. Not only had Steve’s professional pride suffered, but so had his finances. A successful project with Steve Howe would allow Steve Hackett to embark on future classical projects. So Steve Hackett agreed to work with Steve Howe. All that was left was to complete the line-up of GTR, whose eponymous debut album was recently reissued as a double album by Esoteric Recordings.
Now that Steve Hackett and Steve Howe had agreed to work together, they began to recruit other musicians. Given the two founding members background, it was fitting that one of the recruits had been a member of a progressive rock band. That was Jonathan Moverm who previously, had been Marillion’s drummer. The American drummer was brought onboard. So was bassist Phil Spalding. His career began with Bernie Tormé, before being part of Mike Oldfield’s band. The final member of the band was Max Bacon, who had been a member of Moby Dick, Nightwing and Bronz. With the lineup complete now the nascent band could begin work on their debut album. First they needed a name.
The band’s name was simplicity itself. GTR was an abbreviation of guitar. This was how the instrument was abbreviated in multi-track recording studios. Fittingly, the guitar was the instrument that Steve Howe and Steve Hackett both found fame and fortune playing. It was also the U.S.P. of the band. GTR was one of very few bands to feature what was billed as “two superstar guitarists.” They weren’t just any “superstar guitarists,” they were among progressive rock royalty. Was this a clue to the band’s musical direction?
It wasn’t. When Steve Howe and Steve Hackett first began discussing ideas for the new band, they decided that they wanted the band not to use synths. By the eighties, synths were playing a bigger part in prog rock. That was why Steve Howe had became disillusioned with life in Asia. Increasingly, Asia had come to rely more and more upon synths. That he and Steve Hackett decided wasn’t going to happen in their new band. The closest they came, was using Roland guitar synthesiser pickups. So when either Steve touched the guitar strings, this triggered a midi signal which operated rack synths. It was an ambitious idea. However, before GTR could put their idea into practice, the new band needed a record deal.
Given Steve Howe and Steve Hackett’s track record, GTR’s manager, Brian Lane, must have thought getting the new band a record deal would be easy. The new band featured two of the greatest guitarists of the prog rock era. However, it was easier said than done. Initially, Brian Lane struggled to get a record company interested in GTR. The band couldn’t wait indefinitely, so GTR headed into the studio.
Joining GTR in the studio, was Yes keyboardist Geoff Downes. He was going to produce the album. However, straight away, problems arose. The two founding members disagreed on how to record the album. Steve Howe wanted to spend money on a good quality and well equipped studio. However, Steve Hackett disagreed. He felt that GTR should be a low budget project. Ultimately, Steve Howe’s approach won the day. This would come back to haunt GTR.
Now that GTR had agreed on how to record their debut album, they began recording ten tracks. Four came courtesy of the Hackett-Howe songwriting partnership. This included When the Heart Rules The Mind, Here I Wait, You Can Still Get Through and Toe the Line. The pair also penned Jekyll and Hyde with Max Bacon; Reach Out (Never Say No) with Phil Spalding; and Imagining with Jonathan Mover. Other tracks included Geoff Downe’ The Hunter, Steve Howe’s Sketches In The Sun and Steve Hackett’s Hackett To Bits. These ten tracks were recorded at the Townhouse Studios, in London, England.
Recording of what became GTR began in 1985. GTR and producer Geoff Downes would become familiar with the Townhouse Studios. The album wasn’t recorded quickly. However, when the sessions began, each member of GTR was ready to play their part. Steve Hackett and Steve Howe both played guitars, synths and added backing vocals. The rhythm section featured drummer and percussionist Jonathan Mover and bassist Phil Spalding. Both men added backing vocals. Max Bacon added vocals. Eventually, GTR was completed in early 1986, and was scheduled for release in July 1986.
Before GTR was released in July 1986, critics had their say on the latest supergroup’s debut album. Reviews of GTR were mixed. Critics felt that GTR was a concept that promised much, but ultimately, failed to deliver. It was an opportunity lost.
Against this backdrop, GTR released their eponymous debut album in July 1986. Despite the mixed reviews, GTR sold well, reaching number eleven in the US Billboard 200. This resulted in GTR being certified gold. Two singles were released from GTR. The Hunter stalled at number eighty-five in the US Billboard 100. However, When the Heart Rules the Mind, which opened GTR reached number fourteen in the US Billboard 100. GTR’s debut album, it seemed had been a resounding success.
This wasn’t a surprise. With two of the greatest guitarists of the prog rock era, the foundations were in place for GTR to become a successful supergroup. However, where things started to go awry, were bringing onboard three relative unknowns. They were talented musicians, but not of the stature of Steve Hackett and Steve Howe. It was like a musical version of Rocky, with Messrs. Hackett and Howe giving a trio of contenders a shot at the title. This didn’t involve fifteen rounds in the ring, but ten songs in the studio.
When critics heard GTR, they realised that the prog rock sound of Steve Hackett and Steve Howe’s pasts was gone. Replacing it, was meant to be a much more hard rocking sound.
Before the release of GTR, the album was described as hard rocking. This sound promising. It was meant to showcase the duel guitars of Steve Hackett and Steve Howe. This happens on When the Heart Rules the Mind, which opens GTR. As glistening guitars set the scene for sudden thunderous bursts drums. However, it’s the blistering guitars that stand out. Along with a prowling bass, they set the sound for Max Bacon’s vocal. It’s impassioned, but sometimes, seems lacking in power. Especially when compared to the rest of the arrangement. Harmonies augment Max’s vocal, before searing, screaming guitars steal the show. Aided and abetted by the rhythm section they combine AOR, eighties rock and prog rock. It’s a heady and potent brew.
Understated describes the introduction to The Hunter. Soon, the rhythm section and guitars are adding an element of drama They’re joined by Max’s vocal. A burst of thunderous drums signals that the arrangement is about to unfold. Max’s vocal grows in power. He sounds as if he’s pushing his vocal to the limit. By then, the drums sound distant, and could do with being brought forward in the mix. However, this allows the searing, scorching guitars to take centre-stage. What follows is a rocky, eighties power ballad. It’s good, but far from great. It’s let down by the production. Especially ratty, distant drums.
There’s an almost Eastern sound to the guitars that open Here I Wait. They’re a curveball. From this understated sound, a stomping rocky eighties anthem unfolds. The rhythm section provide the heartbeat, while Messrs. Howe and Hackett unleash machine gun guitars. Sometimes, rather than trading licks, the guitars run into each other, and clash. Mostly, GTR are producing one of their best performances. Max Bacon delivers a vocal powerhouse and a stomping, rocky anthem unfolds.
GTR take a musical diversion on Sketches In The Sun. It’s an instrumental, where the guitars dominate. This allows Steve Hackett and Steve Howe to take centre-stage. They play together, but don’t overcrowd each other. Unlike Here I Wait. Both Steve Hackett and Steve Howe deliver solo. Both scamper across the arrangement. Steve Hackett’s solo has a classical twist. There’s also a nod to their progressive rock past, on what’s one of GTR’s highlights.
Straight away, GTR launch into the uber rocky Jekyll And Hyde. Briefly, it pays homage to Steve Hackett and Steve Howe’s prog rock past. However, mostly, it’s GTR doing what they promised, rocking, and rocking hard. At the heart of the action are the guitars. They play starring roles unleashing scorching, searing and blistering licks. Meanwhile, the rhythm section lay down the heartbeat. Again, it sits back in the mix. It’s as if the song has been mixed so the guitars take centre-stage. The final piece of the jigsaw is Max Bacon’s vocal. He’s unleashing another powerhouse of a vocal. However, it’s the guitar’s that steal the show, as GTR are rocking, and rocking hard.
From the opening bars, You Can Still Get Through has an eighties sound. The first clue are the drums, then the synth strings. As the guitars enter, the rhythm section seem to be moved slightly back in the mix. Then when Max’s vocal enters, one of the guitars is moved back in the mix. He’s accompanied by harmonies. They play their part in what in 1986, GTR hoped would’ve a hard rocking, anthem. That may have been the case nearly thirty years ago. Sadly, nearly thirty years later, and You Can Still Get Through has aged badly. Its dated, eighties sound is a reminder of why the eighties weren’t music’s finest hour.
Short, sharp, bursts of guitars open You Can Still Get Through. Soon, the rest of GTR join the fray. The rhythm section lay down the groove for what’s another rocky power ballad. Machine gun guitars punctuate the arrangement, while Max delivers a hopeful vocal. Later, Messrs. Hackett and Howe unleash searing guitar licks. Along with the vocal, they’re the best thing about what’s a disappointing, disjointed track. The sudden changes in tempo, eighties synths and ratty drums disappoint. The annoying thing is, that there’s the basis of a very good track. It’s crying to be let out. Sadly, twenty-nine years later, it’s still trying to escape.
Just a lone acoustic guitar opens Toe The Line. It’s panned right, as another guitar is panned left. When it drops out, the vocal enters. This accusing vocal is accompanied by the acoustic guitars. That’s until the arrangement builds. The rhythm section and electric guitar are added. As the arrangement smoothes out, am AOR ballad shines through. It’s as if GTR have penned this track with a view to arena tours. However, they come close to spoiling their good work. Later, the guitars come close to overpowering the vocal. Especially as the arrangement heads towards its dramatic, heartfelt crescendo.
Hackett To Bits sees GTR become one, and blistering guitar solos, accompanied by a thunderous rhythm section. GTR kick loose, and unleash some of the hard rocking sound they promised. There’s a nod to their prog rock past as GTR combine drama to their hard rocking sound. Playing starring roles, are Messrs. Howe and Hackett, who showcase their considerable skills.
Imagining closes GTR. Again, it’s just an acoustic guitar that scampers across the arrangement. It’s joined by synth strings. Then after 1.26, it’s all change. The hard rocking sound of GTR makes its presence felt. As the rhythm section provide a pulsating heartbeat, bursts of searing guitars replace and accompany Max’s vocal. At 2.49, GTR seem to draw inspiration from Queen, circa 1975. Then they kick loose, and for the last time, show what they’re capable of. In full flight, GTR are an impressive sound, who although they sold 500,000 copies in America, still continue to divivd opinion.
As a concept GTR, offered much, but ultimately, failed to deliver what many expected. With two of the best musicians of the prog rock era, GTR could’ve been the start of another chapter in Steve Hackett and Steve Howe’s career. Sadly, that wasn’t the case.
Having decided to spend money on a top class studio, with the best of equipment, where they spent months, GTR racked up huge bills. Despite selling 500,000 copies in America, still GTR found themselves massively in debt. So, in 1987, GTR was dissolved. The group’s legacy was their eponymous album GTR.
Despite their prog rock roots, Steve Hackett and Steve Howe, decided to record a hard rocking album. Granted, that’s what they came up with. However, the music on GTR hasn’t stood the test of time.
Some of the songs have aged badly, and are a reminder of why, the eighties wasn’t music’s finest hour. Ironically, GTR starts off so well, with When the Hurt Rules the Mind. After that, there’s everything from anthems and power ballads. Some work, some don’t. Sometimes, the production isn’t as good as it could be.
Listen carefully, and the drums sounding distant. It’s as if everything is pushed back to allow the drums to take centre-stage. With GTR featuring two legendary guitarists, that would make sense. However, sometimes, this doesn’t work. Rather than trading licks, they play together. Occasionally, they cramp each other’s style. Other times, it’s as if they’ve an allotted time for solo. Having taken centre-stage, they then exit stage left. For much of the time on GTR, Steve Hackett and Steve Howe show why they’re remembered as two of the best guitarists of the prog rock era. They reinforce this on disc two.
It features a live performance from GTR. They played live at the Western Theatre, Los Angeles, on 19th July 1986. That night GTR work their way through fourteen tracks. Messrs. Howe and Hackett win friends and influence people during their only American tour. After that, GTR was consigned to musical history.
Since then, that’s where GTR have stayed. No wonder. GTR is far from a classic album. Even with the bonus disc, the newly remastered version of GTR is far from essential listening. That’s despite selling 500,000 copies in America. However, GTR was an album that was of its time. Some of the music on GTR has a dated eighties sound. IT was a snapshot of music circa 1986. GTR is a case of an album that promised much, but ultimately failed to deliver. Twenty-nine years after its initial release, that’s still the case. GTR sounds dated and is very much a reminder of eighties AOR. Especially with its power ballads and anthems. Its far from essential listening. That’s despite the best efforts of Steve Hackett and Steve Howe. They played starring roles in GTR, which was a mixed musical bag that GTR never bothered to repeat.
GTR-GTR.
ROGER WATERS-AMUSED TO DEATH-VINYL EDITION.
ROGER WATERS-AMUSED TO DEATH-VINYL EDITION.
Following the departure of Syd Barrett from Pink Floyd, bassist Roger Waters became the group’s creative force. This was the case from Pink Floyd’s third album, Ummagumma, which was released in 1969, right through to 1983s The Final Cut. After the release of The Final Cut, Roger Waters left Pink Floyd. It was a bitter breakup. However, things had been coming to a head for some time.
Richard Wright, one of the founding members of Pink Floyd had been sacked from the band. As a result, he didn’t feature on The Final Cut. It was the only Pink Floyd album that he didn’t feature on. This was just the tip of the iceberg.
Pink Floyd had been a group divided since 1978. That was when the members of Pink Floyd found out the perilous state of their finances. Some of the investments made on their behalf went south. Amid accusations of financial negligence, Pink Floyd needed to recoup some of the money they had lost. So, Roger Waters presented the other members of Pink Floyd with two propositions.
The Wall.
The first was the script to The Wall, Pink Floyd’s 1979 concept album. Roger Waters’ other proposition was The Pros and Cons Of Hitch Hiking. After giving both propositions some consideration, The Wall won out, and The Pros and Cons Of Hitch Hiking became Roger’s 1984 solo debut album. However, from that day on, things weren’t well within Pink Floyd.
Keyboardist Richard Wright’s contribution to The Wall was criticised by Roger Waters. He was accused of not contributing enough and being uncooperative. Eventually, a deal was struck that Rick Wright would remain a member of Pink Floyd until The Wall was complete. That was just as well.
When The Wall was released in 1979, on 21st March 1983, it was to critical acclaim. Soon, The Wall became Pink Floyd’s biggest selling album. Incredibly, The Wall outsold even Dark Side Of The Moon. In Britain, The Wall reached number three and was certified double platinum. Across the Atlantic in America, The Wall reached number one on the US Billboard 200, selling twenty-three million copes, resulting in the album being certified platinum twenty-three times over. This was just the tip of the iceberg.
Elsewhere, The Wall reached number one in Australia, Austria, Canada, France, Germany, Holland and New Zealand. This resulted in The Wall being certified eleven times platinum in Australia; diamond in France; seven times platinum in Germany; fourteen times platinum in New Zealand; three times platinum in Switzerland, two times diamond in Canada; fourteen times platinum in New Zealand. If The Wall was Rick Wright’s swan-song, it was a profitable one. Roger Water’s final album with Pink Floyd never came close to being the same commercial success.
The Final Cut.
Nearly four years passed before the release of The Final Cut. This was the first Pink Floyd album without Rick Wright. Most of the lyrics and music was penned by Roger Waters. Just like The Wall, The Final Cut was a very personal album for Roger. It was exploring what Roger believed was the betrayal fallen servicemen, including his father, who died while serving during World War II. The only other member of Pink Floyd to contribute to The Final Cut was David Gilmour. He cowrote Not Now John. Mostly, The Final Cut was Roger Water’s work. It was scheduled for release on 21st March 1983.
On the release of The Final Cut, it was accompanied by a short film. It was produced by Roger Waters and directed by Willie Christie. The film featured four songs from The Final Cut, The Gunner’s Dream, The Final Cut, The Fletcher Memorial Home and Not Now John. However, despite the final and what was a powerful and moving album, The Final Cut didn’t win favour with critics and cultural commentators. Reviews were mixed, as the release date loomed.
When 21st March 1983 came around, The Final Cut was released. The Final Cut reached number one in Britain and number six on the US Billboard 200. This resulted in a platinum disc in Britain and The Final Cut was certified double platinum in America. Elsewhere, The Final Cut hadn’t sold in the same vast quantities as The Wall. However, at least The Final Cut was certified gold in Austria, France and Germany. Pink Floyd didn’t even bother touring The Final Cut. Instead, they turned to their various solo projects.
The Pros and Cons Of Hitch Hiking.
In Roger Waters’ case, this was The Pros and Cons Of Hitch Hiking. This was the project he had presented Pink Floyd with in 1978. It was another concept album from the pen of Roger Waters. It’s set in California, and focuses on a man in the throes of a midlife crisis. He’s on a road trip through California, where he dreams of committing adultery with hitchhikers. Other times, he’s beset by fears and paranoia. All this takes place between 04:30:18 AM to 05:12 AM. To bring this to life, Roger called upon some of his musical friends.
This included guitarists Eric Clapton and Ry Cooder. They were joined drummer and percussionist Andy Newmark, percussionist Ray Cooper and saxophonist David Sanborn. Pianist Michael Kamen co-produced The Pros and Cons Of Hitch Hiking. It was recorded between February and December 1983. Once the recording was complete, The Pros and Cons Of Hitch Hiking was released on 30th April 1984.
Before the release of The Pros and Cons Of Hitch Hiking, the critics had their say. Reviews were mixed. Some critics were impressed with The Pros and Cons Of Hitch Hiking. Others hated it, and didn’t shy away from saying so. One of the fiercest critics was Rolling Stone magazine. They gave The Pros and Cons Of Hitch Hiking their lowest rating. This was a huge body blow for Roger Waters. He wanted his solo career to get off to a successful start.
When The Pros and Cons Of Hitch Hiking was released on 30th April 1984, it stalled at number thirty-one on the US Billboard 200, where it was certified gold. In Britain, The Pros and Cons Of Hitch Hiking reached just number thirteen in Britain. The Pros and Cons Of Hitch Hiking hadn’t been the success Roger had hoped.
Things went from bad to worse for Roger. He was due to The Pros and Cons Of Hitch Hiking in 1984 and 1985. The tour began in Stockholm on June 16th 1984. Eric Clapton was part of Roger’s new band. They were going to play new songs, songs from The Pros and Cons Of Hitch Hiking and Pink Floyd classics. However, quickly, it became apparent that the tour wasn’t a success.
Ticket sales were poor, and some of the concerts at larger venues were postponed. It was only when Roger began playing smaller venues, that the sold out signs went up. Eventually, when the tour was over, Roger Waters realised he had lost £400,000 on the tour. That was a conservative estimate. To add to Roger’s problems, the ghost of Pink Floyd was still making its presence felt.
Following the release of The Pros and Cons Of Hitch Hiking, Roger Waters announced that Pink Floyd would not be reuniting. The only problem was, he hadn’t discussed this with the other members of Pink Floyd. He also wanted to dismiss Pink Floyd’s manager Steve O’Rourke. In his place, Roger employed Peter Rudge to look after his affairs. For the other members of Pink Floyd, all this came as a surprise. However, Roger Waters wasn’t finished.
He wrote to EMI and Columbia, and told them that he had left Pink Floyd, and wanted to be discharged from his contractual obligations. Roger Waters had left Pink Floyd, and in the process, tried to wreck the possibility of the band rising like a phoenix from ashes. This was bound to end up in either tears, or court.
Later, Roger Waters said that, if he other members of Pink Floyd made an album using the band’s name, he thought that they would be in breach of contract. This could result in their royalty payments being suspended. Further, Roger alleged that the other members of Pink Floyd had forced him from the band, by threatening to sue him. While all this was going on, Pink Floyd and its members past and present were in a state of flux. Nobody was making music. A resolution had to be found. So, Roger Waters headed to the High Court in London.
Roger Waters wanted to dissolve Pink Floyd, and also prevent the use of the band name. He believed the band were “a spent force creatively.” However, he was in for a surprise.
His lawyers discovered that the Pink Floyd partnership had never been formally confirmed. It was therefore impossible to dissolve something that never existed in the first place. Despite this, Roger Waters returned to the High Court.
This time, he was trying to stop the other members of the band using the Pink Floyd name. Again, he lost out, and Dave Gilmour stated that “Pink Floyd would continue to exist.” With that, the leadership of Pink Floyd passed from Roger Waters to Dave Gilmour. Roger Waters returned to his solo career.
Radio K.A.O.S.
With Pink Floyd returning to the studio, so did Roger Waters. He had penned another concept album Radio K.A.O.S. It was based upon key policies of late eighties politics, especially monetarism. Roger also takes aim at the then Iron, now rusty Lady, Margaret Thatcher. He was an outspoken critic of Thatcher on The Final Cut. Four years on, and he was equally outspoken. Other subjects Roger tackles include the Cold War, eighties popular culture and world politics. These subjects are seen through the eyes of Billy.
On Radio K.A.O.S., Billy is a mentally and physically disabled man from Wales. His brother Benny, is sent to prison after protesting against the government after he loses his job as a miner. This Benny is told, is the result of market forces. With Benny in prison, there’s nobody left to look after Billy. So he has to live with his uncle David in Los Angeles. Radio K.A.O.S. eavesdrops on Billy’s Billy’s mind and worldview, as he converses with Jim a DJ at a fictitious L.A. radio station, Radio K.A.O.S. This story is brought to life by Roger and what he called his Bleeding Heart Band.
Between October and December 1986, Radio K.A.O.S. was recorded at the Billiard Room, London. Accompanying Roger, was a large band. This included many well known names, including guitarist Andy Fairweather Low, vocalist Paul Carrack and saxophonist Mel Collins. Clare Torry who featured on Great Gig In The Sky, from Pink Floyd’s Dark Side Of The Moon, featured on two tracks. Surely with such an all-star band accompanying Roger, Radio K.A.O.S. would be released to critical acclaim and commercial success?
The first most people knew about Radio K.A.O.S. was a press release from EMI, on on 6 April 1987. It announced that Roger Waters’ sophomore solo album, Radio K.A.O.S. would be released on 15th June 1987, and originally, it was hoped that this rock opera would become a film, stage show and live album. First of all, Radio K.A.O.S. would be released as a studio album.
Just like The Pros and Cons Of Hitch Hiking, reviews of Radio K.A.O.S. were mixed. At least Rolling Stone were more positive about Radio K.A.O.S. However, it was a long way from Pink Floyd’s glory days.
So were the sales of Radio K.A.O.S. It stalled at number fifty in the US Billboard 200 and number twenty-five in Britain. Elsewhere, Radio K.A.O.S. didn’t sell in vast quantities. To rub salt into the wound, five months later, on 7th September 1987, Pink Floyd returned with their first album since Roger Waters left, A Momentary Lapse Of Reason. This coincided with the Radio K.A.O.S. tour
The Radio K.A.O.S. tour began in mid-August 1987, and finished at the end of November 1987. Everywhere he went, copies of Pink Floyd’s comeback album, A Momentary Lapse Of Reason were for sale. It had been released on 7th September 1987, reaching number three in Britain and in the US Billboard 200. A Momentary Lapse Of Reason was certified gold in Britain, and four times platinum in America. Having sold four million copies in America alone, the success continued throughout the world. Gold and platinum discs came Pink Floyd’s way. In Canada, Australia and New Zealand, through Europe, A Momentary Lapse Of Reason was a huge success. As the Radio K.A.O.S. winded its way across the globe, Pink Floyd’s A Momentary Lapse Of Reason continued to outsell Radio K.A.O.S. Roger’s solo career wasn’t the commercial success he had hoped.
Later, Roger admitted that he wasn’t a fan of Radio K.A.O.S. He felt the album sounded “too modern.” That was down to Roger and Ian Ritchie’s production. It spoiled Radio K.A.O.S. for the man who masterminded the project. Maybe that’s why Radio K.A.O.S. wasn’t a huge commercial success? However, Roger hoped that his next album would see him rubbing shoulders with his old comrades commercially.
The Wall-Live In Berlin.
To celebrate the fall of the Berlin Wall eight months earlier, Roger Waters performed The Wall-Live In Berlin on 21st July 1990. Roger Waters financed the project, and put together an all-star cast. Joni Mitchell, Van Morrison, The Scorpions, Snowy White and Bryan Adams were just some of the names that made a guest appearance. The concert was staged in what had been no man’s land between East and West. 350,000 people watched the sellout show which recorded and filmed. It would be released a month later on 21t August 1990.
This was a really fast turnaround. The Wall-Live In Berlin was recorded, produced, mastered and marketed within a month. This was a big ask. Ultimately, it proved too ambitious.
Having financed the project himself, the plan was that once Roger Waters had recouped his expenses, the profits from the live album and film, profits would go the Memorial Fund For Disaster Relief, a British charity founded by Leonard Chesire. However, it was a case of the best laid plans of mice and men.
Sales of The Wall-Live In Berlin were disappointing. In Britain, The Wall-Live In Berlin reached number twenty-seven. Across the Atlantic, the album stalled at just number fifty-six in the US Billboard 200. Elsewhere, sales were disappointing. They failed to meet the projections. This had disastrous consequences for the charity.
With the sales not meeting expectations, the charity incurred heavy losses. This resulted in the trading arm of the charity, Operation Dinghy, being wound-up a couple of years later. By then, Roger Waters had released his third studio album, Amused To Death which was recently released on double vinyl by Columbia Records/Legacy Recordings.
Amused To Death.
Just like his two previous albums, Amused To Death was a concept album. Roger had been working on Amused To Death since 1987. It’s recently been remastered, reissued and remixed.
The inspiration for Amused To Death came from Neil Postman’s book Amusing Ourselves To Death. By the time the concept was complete, it revolves around the a monkey who randomly switches between television channels. As channels change, different subjects are discussed. Among them are the Gulf War, World War I, the bombing of Jordan and Libya, and the Tiananmen Square protests of 1989. A total of fourteen tracks feature on Amused To Death. It was recorded between 1987 and 1992.
Recording Amused To Death at various London studios. This includes The Billiard room, Olympic Studios, CTS Studios, Angel Studios and Abbey Road Studios Just like Roger’s two previous solo albums, Amused To Death features a large backing band.
Some feature throughout Amused To Death, others feature on just one or two tracks. Many are well known names. Among them are guitarists Jeff Beck, Andy Fairweather Low, Steve Lukather and B.J. Cole, bassist Randy Jackson and drummer Jeff Porcaro. John “Rabbit” Bundrick plays Hammond organ, while vocalists include Don Henley and Rita Coolidge. Once the tracks were recorded, it was mixed in QSound.
There was a reason for this. It was to enhance the spatial feel of the album. Especially, the sound effects used on Amused To Death. There’s a rifle range, sleigh bells, cars, planes, horses, crickets and dogs. They come to life on Amused To Death. It was produced by Roger and Patrick Leonard. Given the problems with production on Radio K.A.O.S. he wasn’t going to make the same mistake again. It had proved a costly mistake, one they weren’t going to repeat.
After five years of work, Amused To Death was released on 7th September 1992. Given the reception The Pros and Cons Of Hitchhiking and Radio K.A.O.S. received, Roger awaited the reviews with baited breath. Reviews were favourable of what was a cerebral, poignant and thoughtful album. Certain songs stood out.
In The Ballad of Bill Hubbard which opens Amused To Death, a sample of veteran Alfred “Raz” Razzel describing how he found William “Bill” Hubbard severely wounded on the battlefield. Several times Alfred tried to take William to safety. Eventually, he was forced to leave him in no man’s land. It’s a poignant and moving opening track. Unlike What God Wants.
It features a child saying “I don’t mind about the war. That’s one of the things I like to watch–if it’s a war going on. “Cos then I know if, um, our side’s winning, if our side’s losing.” Who would’ve believed a generation would see war as entertainment? This is examined by Roger in Perfect Sense.
Fittingly, Roger examine war as entertainment in Perfect Sense. By 1992, CNN was broadcasting the Gulf War live. Perfect Sense, a two part song sees Roger examine this latest and disturbing phenomenon. Later on Amused To Death remembers two other conflicts.
On The Bravery of Being Out of Range, Roger remembers an air strike in Jordan. It’s a poignant track, one that resonates. So does Late Home Tonight, Part I. It features the same scenario from two very different points of view. It’s the 1986 US air strike against Libya from perspective of two married women and a young American F-111 pilot. While the result of the bombings on both songs is death and destruction, there’s a sense of hope on Watching TV.
Roger duet with Don Henley Watching TV. It’s a song which deals with the media’s influence on the Tiananmen Square protests of 1989. They were a force for good, and told the world what was happening to those who dared to protest for democracy. This scenario is the latest to come to life courtesy of Roger Waters and his band on Amused To Death. Its reviews were better than his two previous albums.
After the favourable reviews, Amused To Death reached number eight on the British charts. This resulted in a silver disc, marking sales of 60,000. While it was a far cry from his days with Pink Floyd, it showed that Roger Waters’ solo career was on the right track.
In America, this proved to be the case. Amused To Death reached number twenty-one on the US Billboard 200. He even enjoyed a hit single, when What God Wants, Part I reached number four on the Mainstream Rock Tracks charts. After three albums and eight years, Roger Waters was forging a successful solo career. Record buyers awaited Roger Waters’ fourth studio album.
They waited a year. A year became two, three, four and five. Five became ten, and ten became twenty. Then twenty became twenty-three. Roger Waters has never released another studio album. He’s now approaching his seventy-second birthday, and with each year that passes, a new album seems increasingly unlikely. However, his former comrade in arms, David Gilmour will soon release a new album, Rattle That Lock. By then, Roger will be seventy-two. Maybe Rattle That Lock will inspire Roger to release his long awaited fourth album?
Until then, which Amused To Death was recently released as a double vinyl by Columbia Records/Legacy Recordings. The reissue of Amused To Death is an opportunity to either acquaint or reacquaint yourself with what was Roger Waters’ finest solo album. It was a case of third time lucky for Roger Waters, when he released the underrated Amused To Death in 1992. If I was to compare Amused To Death to a Pink Floyd album, it would be More. Both Roger Waters’ Amused To Death and Pink Floyd’s More are vastly underrated albums, that for far too long, many music aficionados will have overlooked. If that’s the case, the recent reissue of Amused To Death is the opportunity to right a wrong. Roger Waters would approve of that, in more than one way.
ROGER WATERS-AMUSED TO DEATH-VINYL EDITION.
LOW DOWN-ORIGINAL MOTION PICTURE SOUNDTRACK.
LOW DOWN-ORIGINAL MOTION PICTURE SOUNDTRACK.
Each week, there’s countless compilations released. It seems that just about every genre is covered. Whether it’s psychedelia, rock and reggae or disco, funk and soul, there’s nearly something for everyone. I say nearly, because recently, there’s been a dearth of jazz compilations.
While there’s plethora of reissues of jazz albums and even low price box sets, compilations seem to have taken a back seat. That’s a great shame. Often, jazz compilations have been a gateway to the genre. They allow a newcomer to the genre to hear a variety of artists. It’s allows a newcomer to jazz to dip their musical toe into the water. When they discover that the water is indeed lovely, they embark upon a lifelong love affair with jazz. However, recently, the water has been choppy.
It seems compilers are turning their backs on jazz compilations . They’ve decided that other genres offer more profit potential. Nowadays, record companies aren’t willing to take risks. Instead, they’re risk averse. They’re unwilling to risk their capital on a lovingly compiled, lavish compilation of jazz which may only sell a few thousand copies. Especially, when they can play things safe.
One of the ways to play things safe, is to release a genre of music that’s guaranteed to sell. Northern Soul is a good example. A Northern Soul compilation is seen as a sure fire winner by many a record company. Usually, what the record company does, is get one of the supposed “faces” on the Northern Soul scene to throw together twenty-two predictable tracks. To that, they add a couple of rarities, and the job’s a good un. The result is a compilation that’s guaranteed to sell in vast quantities, purely because of the two rarities. It doesn’t matter that the other tracks feature on nearly every other Northern Soul compilation ever released. No at all; because the record company have minimised risk and guaranteed profit. That’s something they couldn’t have done with a jazz compilation.
So a new generations of music lovers, wanting to dip their toe into the world of jazz are left wondering how to do so? Many of the compilations that introduced a previous generation to jazz are now hard to find, or have been deleted. They’re left bewildered by how to find an introduction to jazz, which many sees as one of the most complicated musical genres.
Like all musical genres, there are sub-genres in jazz. A newcomer to jazz can be mystified by the various sub genres. Trying to distinguish the difference from bebop to post bop and modal jazz to free jazz isn’t easy. For many jazz veterans, compilations helped smooth their way through the waters, and played an important part in their jazz education. Recently, as Alice Cooer sung: “school’s out for summer.” I was beginning to wonder if he was right, and that: “school’s out forever?” That seemed to be the case. Or is it?
Having spent some time looking for a jazz compilation to review, the nearest I came was a soundtrack, which was recently released by Cinewax/Light In The Attic. Low Down-Original Motion Soundtrack tells the story of jazz pianist Joe Albany. It’s based on his daughter Amy-Jo Albany’s memoirs. She chose the fifteen tracks on Low Down-Original Motion Soundtrack. It includes seven tracks from Joe’s back-catalogue. This Amy-Jo Albany hopes that will be a primer for her father’s work. There’s also tracks from Coleman Hawkins, Max Roach and Thelonious Monk. These tracks may introduce a new generation to three jazz giants. There’s also tracks from Ohad Talmor’s score. His tracks pay stylistic homage to Joe Albany, whose been described as an ” extraordinary talent and life.” That’s what Joe Albany became. Joe’s Albany’s story began in 1957..
He was born Joseph Albani in Atlantic City, New Jersey on January 24th 1924. Growing up, Joe studied the piano. He was a natural. So much so, that by the time he was nineteen, he was making a living out of music.
By 1943, the nineteen year old Joe Albany was playing piano in Benny Carter’s orchestra. Three years later, in 1946, Joe accompanied Charlie Parker. The same year, he played alongside twenty year old Miles Davis. People were taking notice of the twenty-two year old pianist from New Jersey. He was one of jazz’s rising stars.
After rubbing shoulders with two future legends of jazz, Joe’s career continued apace. He worked with various artists, and in 1957, recorded an album with saxophonist Warne Marsh and bassist Bob Whitlock. The Right Combination was released on the Riverside label in 1957. Sadly, Joe wouldn’t record another album for two decades.
Disaster struck for Joe Albany. Like so many jazz musicians, Joe discovered heroin, and became addicted to heroin. For the rest of the fifties, and much of the sixties, bravely Joe battled his addiction. During this period, Joe lived a reclusive lifestyle in Europe, where many American jazz musicians now called home.
His time in Europe was part of Joe Albany’s lost years. The man who previously, had been one of jazz’s rising stars, was lost to music. This was a huge loss for anyone who loved jazz. Joe Albany was one of the great bebop pianists. To quote Marlon Brando. Joe; “could’ve been a contender, could’ve been someone.” However, for two decades he was lost to music.
It wasn’t until 1972, that Joe Albany recorded another album. Incredibly, for a musician that was a year away from celebrating thirty years in music, Joe hadn’t recorded a solo album. He rectified this with the release of Joe Albany At Home in 1972. This was the start of the most productive period of Joe’s career.
Twenty-six years after they last recorded together, Joe and Bob Whitlock reunited, were part of a trio who released Proto–Bopper in 1973. Later in 1973, Joe was part of another trio.
The trio featured Joe, Hans Nymand and Hugo Rasmussen. They released the live album, Birdtown Birds Recorded Live At Montmartre. This live album was Joe’s second of 1973. It seemed Joe Albany was the comeback king.
1974 saw Joe release another two album. He released Two’s Company with Danish bassist Niels-Henning Ørsted Pedersen. Then a quintet that featured Joe Albany and Joe Venuti released their eponymous album. Joe’s career seemed to have been rejuvenated. Living in Scandinavia was suiting him.
Another two years passed before Joe Albany released his sophomore solo album. He had been making music for over thirty years when Joe released This Is For Friends in 1976. It was a poignant title, given what Joe had overcome. He was now about to release three albums in the space of a year.
Like many musicians before him, Joe Albany delved into the great American songbooks. He released Plays George Gershwin and Burton Lane in 1977. The Albany Touch a trio recording with Art Davis and Roy Haynes. Live In Paris was the other album Joe released in 1977. It featured Alby Cullaz and Italian drummer Aldo Romano. After three albums in a year, it was another two years before Joe returned.
Bird Lives! was released in 1979, and saw Joe Albany reunite with Art Davis and Roy Haynes. The trio payed homage to a jazz great, Charlie Parker, who thirty-three years earlier, Joe had accompanied. Ironically, that proved the penultimate album that Joe was released during his life.
The final album released during Joe Albany’s lifetime was Portrait Of An Artist. It was a quartet recording featuring Jo, drummer Charlie Persip, cellist George Duvivier and guitarist Al Gafa. Portrait Of An Artist was released in 1982, and proved to be the final album of Joe Albany’s career. He died six years later on January 12th 1988 in New York. The cause of death was respiratory failure and cardiac arrest. Jazz was in mourning.
Joe Albany was only sixty-three when he died. However, he done enough living to last several lives. He had been married several times, and lived what’s best described as a colourful life. It’s documented in his daughter’s memoirs. Amy-Jo Albany penned Low Down: Junk, Jazz, and Other Fairy Tales from Childhood. It’s now been turned into a film. Amy-Jo has played a huge part in the project, and even features in the film. She even compiled the music on Low Down-Original Motion Soundtrack.
While Low Down-Original Motion Soundtrack isn’t a traditional compilation, it’s what Amy-Jo describes as a “primer.” It’s a primer that introduces newcomer’s to the music of her father, Joe Albany. He features five times on Low Down-Original Motion Soundtrack.
Fittingly, Joe’s first contribution to the Low Down-Original Motion Soundtrack is from The Right Combination, his collaboration with Joe Marsh. Lush Life comes from an Italian release The Legendary Joe Albany. Barbados featured on Joe’s 1972 comeback album At Home Alone. Lotus Blossom was a track from Joe’s 1976 album This Is For Friends. Everybody Knew But Me features a vocal that more than hints at betrayal. It’s a poignant track. Joe’s final contribution is The Nearness Of You. It’s another track from The Right Combination. This bookends Joe Albany’s contribution to the Low Down-Original Motion Soundtrack.
There’s also tracks from three legends of jazz. This includes Ruby, My Dear, which was penned by Thelonious Monk and featured on the Thelonious Monk Septet’s 1957 album Monk’s Music. The same year, Coleman Hawkins’ recorded his Think Deep album in New York on the 12th and 15th 1957. Around this time, Joe Albany was also making his recording debut. However, Think Deep was released until 1968. By then, Joe Albany had been lost to jazz for over a decade.
A year after Joe Albany made his recording debut, another of his contemporaries, Max Roach released his Deeds Not Words album. Amy-Jo Albany chose the title-track as part of the Low Down-Original Motion Soundtrack. She feels this is part of the perfect backdrop for her father’s life. Another man who features on Low Down-Original Motion Soundtrack was Ben Webster.
Despite being fifteen years Joe’s senior, Ben Webster had a lot in common with Joe Albany. After playing with Count Basie and then Duke Ellington, Ben played with everyone from Jimmy Withersoon to Oscar Peterson and Coleman Hawkins. He was also a member of Jack Teagarden And His Big Eight when they recorded Big Eight Blues. Eventually, Ben, like Joe left America. Ben spent the remained of his life in Copenhagen, Denmark, which became his adopted home until his death in 1973. One of Ben Webster’s most famous recordings, is Big Eight Blues which also features on the Low Down-Original Motion Soundtrack. It too was chosen by Amy-Jo Albany to provide the backdrop to his life-story. However, the man tasked with providing the score, was Ohad Talmor, a French saxophonist.
That’s just telling part of the story. Ohad Talmor was born in Lyon, France in 1970. His parents were Israelis, who moved to Switzerland. That’s where Ohad Talmor and mastered the saxophone. Since then, he’s come a long way.
Now the multitalented Ohad Talmor is a saxophonist, arranger and composer. He now resides in Brooklyn, which he’s called home for some time. Fittingly, that’s not far from where Joe Albany was born and brought up.
Ohad Talmor wrote the score to the Low Down-Original Motion Soundtrack. Daahoud, which Ohad Talmor opens the Low Down-Original Motion Soundtrack. Having set the scene, the story unfolds and Joe and some of the giants of jazz take centre-stage. It’s not until the seventh track, Free Couples that Ohad Talmor returns with the poignant and melancholy ‘Round Midnight. He then closes the Low Down-Original Motion Soundtrack with Ab Blues for Large Ensemble.
It brings to an end the story of Joe Albany’s eventful and colourful life. Low Down is based on his daughter Amy-Jo Albany’s memoirs. She tells her father’s story via the fifteen songs on Low Down-Original Motion Soundtrack. Amy-Jo Albany also features in Low Down, and is the executive producer. She’s a talented lady who described the soundtrack to Low Down as: “a beautiful homage to Joe Albany’s extraordinary talent and life.” That’s certainly the case.
Joe Albany was hugely talented pianist whose music is cherished by many. However, sadly, there are still people have yet to discover Joe Albany’s music. Amy-Jo Albany hopes that the Low Down-Original Motion Soundtrack will act as a primer for her father’s music. I certainly hope that that’s the case. Let’s also hope that any newcomer to jazz who buys the Low Down-Original Motion Soundtrack, will embark upon a lifelong love affair with jazz.
LOW DOWN-ORIGINAL MOTION PICTURE SOUNDTRACK.
THE JIMI HENDRIX EXPERIENCE-FREEDOM: ATLANTA POP FESTIVAL.
THE JIMI HENDRIX EXPERIENCE-FREEDOM: ATLANTA POP FESTIVAL.
On the 4th of July 1970, Jimi Hendrix journeyed 100 miles south of Atlanta. His destination was the second Atlanta International Pop Festival. It was being billed as the second Woodstock, and The Jimi Hendrix Experience were about play a starring role.
When The Jimi Hendrix Experience arrived at the Atlanta International Pop Festival, they were greeted by a crowd estimated to be between 300,000-400,000. What is now remembered as the “last great rock festival” was an unlikely event for Jimi Hendrix to appear at.
Byron, in Atlanta was in the heart of old the Deep South. This was Klan country. Racial tensions were always threatening to bubble over. The organisers of the 1970 Atlanta Pop Festival were well aware of this. So they made the conscious decision that the star of the show should be someone who appealed to everyone. This wasn’t going to be easy.
So the organisers set about thinking of an artist or band who would appeal to both sides of the racial, cultural and socio political divide. This wasn’t going be easy.
The organisers had to think how the audience would respond to certain artists, bands or situations. How would a rural audience in the Deep South feel about the so called long haired, hippie bands? Or how would they respond to black and white artists on the same bill? That could inflame an already volatile situation. While some promoters would’ve avoided this situation, the organisers of the Atlanta Pop Festival wanted to challenge the beliefs held by many of their potential audience. So, they booked a man who would unite the audience with the his music and his message of universal love, Jimi Hendrix.
It wasn’t just Jimi Hendrix that would star at the second Atlanta Pop Festival. No. On 4th of July 1970, the Jimi Hendrix Experience had reformed, and this alternate lineup of the Experience would take to the stage and work their way through sixteen songs that feature on Freedom-Atlanta Pop Festival, which was recently released by Sony Music. It’s a musical masterclass from a musical legend.
Accompanied by bassist Billy Cox and drummer Mitch Mitchell, Jimi Hendrix showman extraordinaire and guitar virtuoso had the huge audience spellbound as he worked his way through classics like Foxy Lady, Hey Joe and Purple Haze, plus a cover version of Bob Dylan’s All Along The Watchtower. Jimi even showcased songs from his next album, which was going to feature Room Full Of Mirrors, Freedom, Hear My Train A-Comin’ and Hey Baby (New Rising Sun) were heard by many for the first time. Then as fireworks exploded, Jimi launched into a rendition of The Star Spangled Banner. He wasn’t finished yet, and returned for an encore of Straight Ahead. When he left the stage that night, nobody realised that the second Atlanta Pop Festival would be the last major American concert Jimi Hendrix would play at. Ten weeks later on 18th September 1970, Jimi Hendrix was pronounced dead. He was just twenty-seven.
For Jimi Hendrix the last three years had been a whirlwind. He took music by storm when The Jimi Hendrix released their debut album Are You Experienced? in 1967. Music was never the same after the release of Are You Experienced?
Are You Experienced?
That was apparent from The Jimi Hendrix’s 1967 explosive debut album Are You Experienced. It featured the debut of the legendary power trio of drummer Mitch Mitchell, bassist Noel Redding and guitarist Jimi Hendrix. They fused rock and psychedelia on eleven tracks penned by Jimi Hendrix.
The eleven tracks that became Are You Experienced, were recorded between October and April 1966. Three London studios were used, De Lane Lea Studios, CBS, and Olympic Studios. That’s where The Jimi Hendrix Experience recorded their debut album Are You Experienced, which was produced by Chas Chandler. Once it was completed, it was released in Britain in May 1967.
When Are You Experienced was released, it was hailed as one of the greatest debut rock albums. It showcased an innovative fusion of rock and psychedelia. At the heart of the Are You Experienced’s sound was the freewheeling sound of Jimi Hendrix’s guitar. He could do things other guitarists could only dream of. Add to the equation Jimi’s languid, charismatic vocal and it’s no surprise that Are You Experienced was such a huge commercial success.
When Are You Experienced was released in Britain, in May 1967, it reached number two. This resulted in a gold disc for the Jimi Hendrix Experience. No wonder. Are You Experienced featured future Jimi Hendrix classics like Foxy Lady, Third Stone from the Sun and Are You Experienced? Three months later, in August 1967, Are You Experienced was released in the US. It reached number five, and was certified platinum five times over. For Jimi, this was the start of a three year period where he could do no wrong.
Axis: Bold As Love.
Seven months later, on 1st December 1967, the Jimi Hendrix Experience returned with their sophomore album Axis: Bold As Love in the UK. It featured thirteen tracks. Twelve were penned by Jimi. These tracks showed Jimi evolving as a songwriter. He may have just been twenty-five, but he was a talented songwriter. Proof of this were tracks like Spanish Castle Magic, Wait Until Tomorrow, Castles Made of Sand and Bold As Love. They featured Jimi coming of age as a songwriter. These songs were recorded at Olympic Studios, London.
Recording of Axis: Bold As Love took place at Olympic Studios, London. The sessions took place during May, June and October 1967. Axis: Bold As Love had to be released during 1967. The contract that the Jimi Hendrix Experience had signed stipulated this. Ironically, the album was nearly lost. However, Axis: Bold As Love was only released in Britain in December 1967.
One night, Jimi Hendrix took the master tapes to side one home. Unfortunately, Jimi left them in a taxi. The master tapes were never found. This resulted in side one being mixed again. This didn’t delay the release of Axis: Bold As Love.
Axis: Bold As Love, was released in Britain, on 1st December 1967. It was released to the same critical acclaim as Are You Experienced. Critics ran out of superlatives in an attempt to describe Axis: Bold As Love. Jimi was described as some sort of musical messiah, who had music’s future in his hands. Record buyers agreed with the critics description of Axis: Bold As Love.
When Axis: Bold As Love was released in Britain, it reached number five and was certified silver. Then on January 15th 1968, Axis: Bold As Love was released in America. However, Axis: Bold As Love hadn’t been released in America during 1967.
There was a reason for this. The Jimi Hendrix Experience’s record company were scared this would affect sales of Are You Experienced. So Axis: Bold As Love wasn’t released in America until January 1968. When it was released, it reached number three in the US Billboard 200 and was certified platinum. Although not as successful as Are You Experienced, Jimi Hendrix was riding the crest of a musical wave.
Electric Ladyland.
By October 1968, when The Jimi Hendrix Experience released Electric Ladyland, Jimi Hendrix was one of the most successful musicians in the world. His albums sold by the million, and when The Jimi Hendrix Experience played live, they were one of the hottest live acts. This showed when Electric Ladyland was released.
Unlike The Jimi Hendrix Experience’s two previous albums, Electric Ladyland was an ambitious double album. It featured sixteen songs. Thirteen songs were penned by Jimi. Two of the covers were Bob Dylan’s All Around The Watchtower and Earl King’s Come On (Let the Good Times Roll. These tracks, and the rest of Electric Ladyland were recorded at three recording studios.
Recording sessions took place between July and December 1967, then between January and April 1968. Three different studios in London and New York were used. This included Olympic Studios in London and Record Plant Studios and Mayfair Studios, New York. Once the sixteen tracks were recorded, Electric Ladyland was released in October 1968.
As soon as critics heard Electric Ladyland, they realised that this was The Jimi Hendrix Experience’s. It oozed quality. Tracks like Crosstown Traffic, Voodoo Chile, Voodoo Child (Slight Return), All Along the Watchtower and Gypsy resulted in what was the greatest album of The Jimi Hendrix Experience’s career. Critics hailed Electric Ladyland a career high for The Jimi Hendrix Experience. Record buyers agreed.
When Electric Ladyland was released in Britain, on 16th October 1968, it reached number six and was certified gold. Nine days, later, on 25th October 1968 Electric Ladyland was released in America. It reached number one on the US Billboard 200 and was certified double platinum. The rise and rise of The Jimi Hendrix Experience continued.
Just like their previous two albums, their third album Electric Ladyland became a classic. Electric Ladyland was the album that The Jimi Hendrix Experience were always capable of making. It was a coming of age for The Jimi Hendrix Experience. They’d released the finest album of their three album career. Sadly, there was a twist in the tale. Electric Ladyland would be The Jimi Hendrix Experience’s final album. However, it was a fitting swan-song from a legendary power trio.
Eight months after the release of Electric Ladyland, The Jimi Hendrix Experience played their last concert on June 29th 1969. This took place at Barry Fey’s Denver Pop Festival. This was a three day event. Little did anyone know The Jimi Hendrix Experience would only play one further concert. They reunited in 1970, to allow Jimi to spread his message of universal love. However, before that, Jimi’s new trio, Band Of Gypsys, recorded their only album
Band of Gypsys.
After The Jimi Hendrix Experience split-up, Jimi formed another trio, The Band Of Gypsys. The lineup featured drummer Buddy Miles, bassist Billy Cox and Jimi on guitar. The Band of Gypsys recorded their only live album on 1st January 1970.
When the Band Of Gypsys took to the stage at Filmore East, in New York, on 1st January 1970, they had been busy. They’d written six new songs. Jimi penned four tracks, including Who Knows and the funky, anti Vietnam War song Machine Gun. These two tracks comprise side one of Band Of Gypsys. He also wrote Power To Love and Message Of Love. Jazz drummer Buddy Miles, wrote Changes and We Gotta Live Together. These six tracks found the Band Of Gypsys moving in a different direction from The Jimi Hendrix Experience.
Elements of funk, R&B and soul shine through on Band Of Gypsys. This isn’t surprising, given Jimi’s bandmates’ past. However, Jimi’s trademark fusion rock and psychedelia is still present. What’s obvious, is that Jimi was keen to explore different musical directions. He wasn’t going to be tied to the one musical genre. Instead, he was willing to experiment musically. Band Of Gypsys was just the start.
When critics heard Band Of Gypsys, they were won over by the genre melting album. They realised that Band Of Gypsys was an ambitious album. Machine Gun, they felt, was the best track on Band Of Gypsys. It was the album’s centrepiece, and showed what Jimi Hendrix, musical maverick was capable of, even without The Jimi Hendrix Experience. Just like The Jimi Hendrix Experience, the Band Of Gypsys was the perfect vehicle for Jimi.
Band Of Gypsys was released in Britain on 25th March 1970. It reached number six. Nearly three months later, on June 12th 1970, Band Of Gypsys was released in America, reaching number five in the US Billboard 200. This resulted in Band Of Gypsys being certified double platinum. Jimi Hendrix it seemed could do no wrong. Everyone waited with baited breath to see what direction his career headed.
After the release of Band Of Gypsys, Jimi returned the studio, where he began work on his next album. Jimi was a prolific artist, and recorded many tracks over a relatively short space of time. So much so, that by the time he headed to the second Atlanta Pop Festival, which was held on the 4th of July 1970, there were many tracks in various states of completion. This was more than enough for several album’s worth of material. Some of the new songs newly reformed lineup of The Jimi Hendrix Experience planned to showcase at the Atlanta Pop Festival.
Freedon-Atlanta Pop Festival.
Lesser musicians than Jimi Hendrix would’ve been nervous about playing at the heart of the Deep South. Not Jimi. He relished the challenge of uniting a region divided. He planned to do so with the newly reformed lineup of The Jimi Hendrix Experience.
Sadly, bassist Noel Redding wasn’t going to take to the stage. Taking his place would be Band Of Gypsys bassist Billy Cox. At least Noel Redding The Jimi Hendrix Experience’s original drummer was by Jimi’s side as they took to the stage. What had been a legendary power trio were about to try to unite a region divided.
Disc One.
When The Jimi Hendrix Experience took to the stage at the Atlanta International Pop Festival, they were greeted by a crowd estimated to be between 300,000-400,000. The Jimi Hendrix Experience launched into what was a blistering set. A Jimi took to the stage, he’s greeted by an audience that’s united. As he tunes his guitar, he introduces the band. Only then does he launch into a blistering version of Fire, before moving on to Lover Man and Spanish Castle Magic. Red House sees a stylistic change, as Jimi pays homage to his bluesy roots. Not only does he unleash a spellbinding solo, but a testifying vocal. From there, Jimi showcased three new song.
The first of was Room Full of Mirrors, which The Jimi Hendrix Experience followup with Room Full Of Mirrors and Hear My Train A-Comin.’ It’s poignant listening to this trio of tracks, knowing that Jimi would be dead by the time these songs were released. After a trio of new songs, The Jimi Hendrix Experience kicks loose on Message to Love. Fittingly, Jimi’s guitar plays a starring role, while as the rhythm section of bassist Billy Cox and drummer Mitch Mitchell seem content to play a supporting role. It’s a fitting way to close disc one.
Disc Two.
Disc two opens with All Along the Watchtower. The Jimi Hendrix Experience are given an enthusiastic response as they launch into a classic track. It’s the first of several classics.
Before that, Freedom, The Jimi Hendrix Experience showcase another new songs Freedom. This is fitting. Jimi had gone into a region divided, and was preaching a message of universal love and now Freedom. Given the South’s history, it’s a poignant song. The way Jimi delivers the lyrics, it’s as if he’s making a point. Having done so, it’s nearly classic all the way.
A wash of feedback signals the introduction to Foxy Lady. It’s as if Jimi’s gotten something of his chest on Freedom, and unleashes a series of virtuoso performances. He launches into a blistering version Purple Haze then Hey Joe and Voodoo Child (Slight Return). The classics keep on coming, as Jimi teases the listener with a reworking of Stone Free. By then, he’s worked the audience into a frenzy. Sadly, his set is almost at an end.
Not quite. Jimi unleashes a version of the Star Spangled Banner on his guitar. Not everyone seems receptive to this. In the heart of Dixie, some see this as sacrilegious. There’s the odd jeer and whistle, before Jimi wins over the audience. All around him, fireworks explode. After that, Straight Ahead closes the show and the newly reformed Jimi Hendrix Experience take their leave.
The Jimi Hendrix Experience had written their place into music history by playing a starring role in what’s now remembered as the “last great rock festival.” Jimi had united a region that had been divided. His message of unity, universal love and Freedom had him friends on both sides of the racial divide. Now Jimi Hendrix could concentrate on completing his next album. However, that never happened
On 18th September 1970, music was in mourning. Jimi Hendrix, it was announced, was dead.
Jimi Hendrix had been found around 11a.m. on the 18th September 1970, that Jimi Hendrix was found unresponsive at an apartment in the Samarkand Hotel, in Notting Hill, London. He was rushed to the St. Mary’s Abbot’s Hospital, but pronounced dead at 12.45p.m. Jimi Hendrix was just twenty-seven. However, music had lost one of the most influential and innovative guitarists of his generation.
That’s despite Jimi’s solo career beginning just four years earlier. Since then, Jimi had released a trio of studio album and one live album. However, since Jimi’s death, numerous posthumous albums have been released. This includes Freedom: Atlanta Pop Festival, which was recently released by Sony Music. Freedom: Atlanta Pop Festival, is a reminder of a musical maverick at the peak of his powers.
Jimi Hendrix took music by storm, and vied for the title of rock’s greatest guitarist. Throughout his solo career, Jimi was a flamboyant showman, who growing up, modelled himself on T-Bone Walker.
It was T-Bone who Jimi saw playing his guitar with his teeth. When Jimi saw this, he took it as a challenge. This became part of Jimi’s routine. In years to come, Jimi played his guitar as if his life depended upon it. Jimi, on form, was like a man possessed. Some nights, Jimi played his guitar behind his back, played it with his teeth and as if trying to exercise some inner demons, set his guitar on fire. All this made Jimi one of the most exiting guitarists ever. However, Jimi was also a technically brilliant guitarists of his generation. That’s apparent on Freedom: Atlanta Pop Festival, which features a flamboyant, musical maverick at the peak of his powers. Along with the rest of The Jimi Hendrix Experience he combines classics, cover versions and new songs on Freedom: Atlanta Pop Festival, and in the process, united a region that previously, had been divided.
THE JIMI HENDRIX EXPERIENCE-FREEDOM: ATLANTA POP FESTIVAL.
JADE WARRIOR-FLOATING WORLD.
JADE WARRIOR-FLOATING WORLD.
All too often, musical innovators don’t get the credit they deserve. That was the case with Jade Warrior. Their fourth studio album, Floating World was released in 1974, and pioneered both ambient and world music. Floating World was the most ambitious album of Jade Warrior’s career. However, Floating World which was recently released by Esoteric Recordings, was an album that almost wasn’t released.
After releasing their third album Last Autumn’s Dream, in 1972, Jade Warrior headed off on a tour of America. When they returned home Jade Warrior were called to a meeting with Vertigo, who cancelled the band’s contract. Not long after this, Jade Warrior were dissolved. It looked like the Jade Warrior story was over.
This was ironic. Since signing to Vertigo in 1970, Jade Warrior had released a trio of groundbreaking albums, They released their eponymous debut album in 1971.
Jade Warrior.
When Jade Warrior began work on what became their eponymous debut album, they were a trio. The initial lineup featured guitarist Tony Duhig, flautist and percussionist Jon Field and bassist and vocalist Glyn Havard. They penned the ten tracks that became Jade Warrior. Little did they know the effect their debut album would have.
Jade Warrior was the album that pioneered the psychedelic-progressive sound. It combined elements of what would later, become known as world music. This came courtesy of the myriad of ethnic percussive sounds. They made up for the lack of drums, as at this point, Jade Warrior didn’t have a drummer. Adding another layer to Jade Warrior’s music were distorted, twisted guitars and ghostly, otherworldly sounds. The other ingredient was sudden changes in tempo. All this made Jade Warrior a groundbreaking album.
Critics realised this, and Jade Warrior received positive reviews. Despite this, Jade Warrior didn’t sell in vast quantities. However, Vertigo took the view that this was just Jade Warrior’s debut album. Maybe their fortune would change with their sophomore album Released?
Released.
When recording of Jade Warrior’s sophomore album Released began at Nova Sound in London, Jade Warrior were no longer a trio. Drummer Allan Price had joined Jade Warrior. Three had become four. With the addition of their latest recruit Jade Warrior began work on what’s on often called the difficult second album.
Thar wasn’t the case for Jade Warrior. At Nova Sound in London, Jade Warrior began recording the eight tracks the group had written. The nascent quartet were joined by Dave Conners. He added tenor and alto saxophone. One of his finest moments comes on the fifteen minute epic jam, Barazinbar. Dave Conners unleashes sheets of searing, soaring saxophone. His contribution is part of what was a stylistic departure for Jade Warrior. It was released in late 1971.
Gone was the world music influence of their eponymous debut album. Replacing it, was a much more progressive sound. Just like Jade Warrior, Released was well received by critics. They welcomed an album that was perceived as an album of contrasting songs. Ballads rubbed shoulders with jazz-tinged instrumentals and the much more progressive sounding tracks. Jade Warrior’s music, it seemed, was continuing to evolve.
Despite the continued evolution of Jade Warrior’s music, this didn’t translate into album sales. They were still to some extent, an underground band. Jade Warrior weren’t a prog rock Goliath. However, gradually, their reputation was growing. So they began work on their third album Last Autumn’s Dream.
Last Autumn’s Dream.
Having released two albums during 1971, Jade Warrior returned to the studio in early 1972 to record ten tracks. Nine of these tracks were penned by the four members of Jade Warrior, The other track, The Demon Trucker was penned by Tony Duhig and his brother David. He made two guest appearances on Last Autumn’s Dream.
When Jade Warrior made their way to the studio, they weer joined by David Duhig. He plays electric guitar on The Demon Trucker and lays down a solo on Snake. This wasn’t the first time had Jade Warrior had augmented their numbers with a guest musician, Nor would it be the last time.
Once Last Autumn’s Dream was recorded, Vertigo scheduled the release its release for the spring of 1972. After the release of Last Autumn’s Dream Jade Warrior were about to head off on a tour of America.
They embarked upon their American tour after some of the best reviews any of their three albums had enjoyed. Just like Released, Last Autumn’s Dream was an album of contrasts. Pensive instrumentals like Dark River, Obedience, Borne On The Solar Wind seemed reticent about sharing their secrets. Eventually, they did, and contrasted with the melodic nature of A Winter’s Tale and May Queen. Then on a trio of tracks, Jade Warrior found their inner rocker, and kicked loose on Snake, The Demon Trucker and Joanne. Critics were won over by the diversity of songs on Last Autumn’s Dream, and Jade Warrior’s versatility. Seamlessly, Jade Warrior flitted between musical genres, resulting in what critics called their finest moment. As Jade Warrior embarked upon their American tour, they felt like giants. After three albums they had arrived.
When Jade Warrior returned from their American tour, a new audience had been introduced to their music. However, back in Britain, Jade Warrior were still awaiting the big breakthrough. Last Autumn’s Dream wasn’t a commercial success. Three albums into their career, and still, none of Jade Warrior’s albums had proved a commercial success. It was a similar story with the two singles from Last Autumn’s Dream. Neither A Winter’s Tale nor The Demon Trucker charted. For Jade Warrior and Vertigo, this was a huge disappointment. However, Jade Warrior didn’t realise how disappointed Vertigo were.
Vertigo had had enough. They had supported Jade Warrior for three years and three albums. These albums had failed commercially. As a result, Jade Warrior were losing Vertigo money. It was all very well that they released innovative music. That however, didn’t pay the bills. So after the American tour was completed, Jade Warrior were invited into Vertigo’s offices. They were then told that Vertigo were cancelling Jade Warrior’s contract and Jade Warrior were dissolved. That looked like the end of the Jade Warrior story. However, it was only the end of of Vertigo years.
During 1973, Jade Warrior returned to the studio, and recorded enough material for two albums. Some of that music found its way onto various samplers. Despite this, no record label seemed willing to take a chance on Jade Warrior. That was until Steve Winwood of Traffic intervened, However, there was a catch.
Floating World.
By 1974, Steve Winwood of Traffic had spent the last seven years signed to Island Records. During that period, he had got to know Chris Blackwell quite well. Steve also knew Jade Warrior. He liked their music, and felt the group had potential. So had an old friend of Steve Winwood’s, Dave Mason.
The pair had played alongside each other in Traffic. Then in 1971 Dave embarked upon a solo career. On one of his tours, Dave asked Jade Warrior to open for him. That was a couple of years previously. Since then, Jade Warrior had been released by Vertigo and dissolved. However, there was still the chance that Jade Warrior may rise like a phoenix from the ashes. So, Steve Winwood spoke to Chris Blackwell.
Just like Steve Winwood, Chris Blackwell saw Jade Warrior’s potential. Both men saw Jade Warrior’s future as an instrumental group. So Chris Blackwell decided to offer Jade Warrior a contract. Steve Winwood suggested a four album deal. Chris Blackwell countered with a three album deal. Eventually, they settled on a four album deal. All that was left was to convince Jon Field and Tony Duhig to reform Jade Warrior.
The pair didn’t take a lot of convincing. After nearly two years without a record contract, Jade Warrior were back being paid to do what they enjoyed doing, making music. However,it was a case of absent friends. Glyn Havard hadn’t been included in the contract. Chris Blackwell thought that Jade Warrior’s future lay in making instrumental music. This was hugely popular in 1974, with Mike Oldfield’s Tubular Bells well on its way to selling millions of copies. Could Jade Warrior do the same thing?
While that was highly unlikely, given Jade Warrior’s track record, the Island years was the start of a new chapter in Jade Warrior’s career. For the first album in their four album deal with Island Records, Jade Warrior embraced the Japanese philosophy of Ukiyo.
The philosophy of Ukiyo, which translates as Floating World, is essentially, about being able to accept life and its surroundings. It’s also about living for the moment. Pleasure seeking is important in the Japanese philosophy of Ukiyo, whose roots can be traced back to the Edo period. It began in 1603 and lasted between until 1868. 106 years later, and the newly formed Jade Warrior were being inspired by Ukiyo.
Jade Warrior named their fourth, and comeback album Floating World. It featured ten tracks. Eight were penned by Jon Field and Tony Duhig. They also cowrote Quba with Martha Mdenge. the other track, Monkey Chant was a traditional song which Jade Warrior recorded for Floating World. It would feature Jade Warrior at their most versatile, seamlessly combining multiple musical genres.
From the moment Jade Warrior entered the studio, they were on the clock. Island Records had always a reputation for keeping an eye on costs. They gave artists a budget, and they had to work within it. Similarly, Jade Warrior only had a certain amount of time to record the ten tracks that became Floating World. Given how complex an album Floating World was, this wasn’t going to be easy. It was a challenge, and a challenge that Jade Warrior relished.
As the recording session began at Island Records studio, Tony Duhig began to lay down the bass, glockenspiel, guitars, organ, piano, percussion and vibraphone. Onlookers watched as Tony seamlessly switched between instruments. As a man once said, “you ain’t seen nothing yet.”
Jon Field arrived in the studio with various flutes and a myriad of percussion. This included bells, a bell tree, a cello, congas, flutes, a glockenspiel, gong, a harp, Japanese Flute, organ, piano, talking drum and vibraphone. Just like Tony Duhig, Jon Field was a truly versatile musician. This meant hardly any musicians were drafted in to augment Jade Warrior.
In total, only a six additional musicians featured on Floating World. Drummer Chris Carran played on Clouds and was joined on Mountain Of Fruit And Flowers by Coldridge Goode on string bass. Graham Deakin who was then part of John Entwistle’s touring band Ox, added drums on Red Lotus. David Duhig added lead guitar on Monkey Chant. Skalia Kanga added harp on Memories Of A Distant Sea. Martha Mdenge added vocal on Quba, which she cowrote with Tony Duhig and Jon Field. Along with the Orpington Junior Girl’s Choir who feature on the two versions of Clouds this completed the lineup of musicians who played on Floating World, Producing. Floating World, the first in the Island years quartet were Tony Duhig and Jon Field. Once Floating World was completed, it was released later in 1974.
Floating World was the most ambitious, complex, innovative and eclectic album of Jade Warrior’s career. Elements of ambient, classical, experimental jazz, prog rock, rock and world music combine with what’s now referred to as post rock. Jade Warrior were pushing musical boundaries to their limits on Floating World, their concept album based around the Japanese philosophy of Ukiyo.
The philosophy of Ukiyo saw like as a journey, and compared it to “a gourd floating along the river current.” Floating World was a journey, a musical journey through disparate musical genres. However, neither critics nor record buyers recognised Floating World for what it was, a truly groundbreaking album.
Critics were divided over Floating World. Some neither understood nor “got” Floating World, For those used to reviewing three chord pop or the output from the various American soul factories, they struggled and failed to understand a concept album based on an ancient Japanese philosophy. Some of the more erudite and cerebral critics grasped and understood where Jade Warrior were coming from on Floating World. However, while their reviews were positive, other reviews of this aural adventure were mixed. This didn’t bode well for the release of Floating World.
As Jade Warrior’s comeback album Floating World was released, sales were disappointing. History it seemed, was repeating itself all over again. However, Jade Warrior knew they had still three albums to write their way into Island Records history books. Little did they realise that they had already done this. Jade Warrior had released one of the most ambitious and innovative albums of their career, Floating World.
Over ten tracks Jade Warior take the listener on a captivating journey. It’s no ordinary journey. The listener to Floating World becomes the “gourd floating along the river current.” As they float down this musical river, the listener discovers twists and turns aplenty.
That’s the case on Clouds, which opens Floating World. Washes of ethereal harmonies from are joined by a classical acoustic guitar, Then from nowhere, there’s the first of several thunderous, dramatic interjection. It’s joined by glistening bells and gentle percussion. Contrasts abound. Especially as a searing guitar which cuts through the arrangement. Later, a much more understated, serene ambient sound returns. It meanders along, like the river carrying the gourd showcasing a Japanese influence.
This meandering musical journey continues on Mountain Of Fruit And Flowers. Again it has an understated sound. Haunting sounding flutes punctuate the arrangement as slowly, it grows in power and tempo. The rhythm section provide the heartbeat, with the bass and a jazz-tinged acoustic guitar plays leading roles. Horns and flutes are added, as the arrangement builds and the tempo rises. Elements of classical, jazz and prog rock are combined seamlessly by Jade Warrior, as this captivating musical journey continues.
Waterfall has a much more understated sound. Bells chime and glisten, before a wistful acoustic guitar plays. It’s joined by a blistering guitar. It plays in the background, its sound being reigned in. Gradually, it grows in power, but doesn’t quite overpower the rest of the arrangement. Each of the component parts are very different. A glockenspiel shimmers and percussion hurries along. Contrasts are everywhere as the music veers between elegiac and ethereal to dreamy and wistful. Other times, the music becomes urgent and dramatic. Especially as the percussion powers the arrangement along. All of a sudden, the journey gathers pace, before returning to a much more elegiac, melancholy sound.
An explosion of blistering rocky guitars cuts through the arrangement to Red Lotus. It takes centre-stage. Everything else seems to be playing a supporting role. That includes the percussion and crashing gong. Then the rhythm section kick loose. They seem determined to match the guitar every step of the way. Flutes are added. While they seem like unlikely bedfellows, this works. Opposites attract, as Jade Warrior veer between rock with an Eastern twist and freewheeling fusion. It’s a potent mix, before Jade Warrior throw a curveball. The arrangement almost comes to a halt, before meandering lazily along the river of life.
Clouds makes a reappearance on Floating World. A dramatic, almost discordant wash of sound reaches a crescendo, before being replaced by the ethereal sound of the choir and flutes. Mostly, though it’s the choir that work their ethereal magic.
Rainflower has a similar understated, mellow sound as the second part of Clouds. A wash of distant organ is joined by an electric guitar. At first, it’s in the distance. Gradually, it makes its way to the front of the arrangement, where its joined by an acoustic guitar. From there. instruments flit in and out of the arrangement. A harp, the searing, quivering electric guitar and the much more subtle sound of the acoustic guitar. Washes of organ are added resulting in an innovative and blissful soundscape that was years ahead of its time.
As Rainflower gives way to Easty, percussion plays and a flute shivers and quivers. It then floats above the arrangement, A hypnotic bass is joined by what’s best described as a myriad of percussive delights. Again, contrasting sounds melt into one. This includes a scorching, searing guitar. As it dissipates a much more mellow, jazzy sound unfolds. Jade Warrior jam, combining elements of ambient, jazz, lounge and world music. It’s another fascinating fusion of musical genres as Jade Warrior continue to captivate.
Monkey Chant is a traditional song, given a makeover by Jade Warrior. A hypnotic chant is augmented by a blistering, rocky guitar solo from David Duhig. It’s a show stealer, before a dramatic interjection punctuates the arrangement. After that, David Duhig continues to win friends and influence people with what’s a stunning solo.
It’s just a melancholy acoustic guitar that opens Memories Of A Distant Sea. Soon, it’s doubled and joined by a flute. A harp plays, and is joined by a cello on what’s a heartachingly beautiful song. Then at 2.36 Jade Warrior add an element of drama. An electric guitar threatens to cut through the arrangement. It never does, as drama and beauty combine to create a song the creates a sense of sadness and yearning.
Quba closes Floating World, the first in Jade Warrior’s Island years quartet. Just an acoustic guitar and melancholy flute combine. They’re distant, and sound as if they need brought forward in the mix. However, the way the song has been mixed, adds to the sense of melancholia. It evokes a sense of longing, longing for something long lost. When an electric guitar interjects, it adds an element of drama. Later, Martha Mdenge adds a spoken word vocal. This seems to highlight the sense of loss and longing, as the poignant musical journey that’s Floating World reaches its destination.
Floating World was the start of a new chapter in Jade Warrior’s career. No longer were the group a quartet. Instead, they were reduced to a duo, consisting of Tony Duhig and Jon Field. This multitalented pair could play a multitude of instruments. Their versatility is put to good use on Floating World.
Tony Duhig and Jon Field deploy a myriad of musical instruments, as they take the listener on a musical journey. The listener becomes “a gourd floating along the river current.” There’s plenty of twists and turns along the way on what’s best described as a genre-hopping album, Over Floating World’s ten tracks, Jade Warrior combine elements of African, ambient, avant-garde, classical, experimental, funk, fusion, post rock, prog rock, rock and world music. Continually, curveballs are thrown and surprises sprung. One minute the music is ethereal, serene and understated, the next it becomes dramatic and urgent. Always, though, the music on Floating World is ambitous, and innovative. Floating World is also captivating. There’s a reason for this.
The listener never knows what direction this music journey is heading? Is it heading for calm or rocky waters? It’s a case of waiting and seeing, as what’s a truly groundbreaking album reveals it secrets. Sadly, when Jade Warrior released Floating World, very few people discovered its delights. The album passed most people by.
It was only later, when a new generation of critics and record buyers reappraised Floating World that Jade Warrior’s fourth album found the audience it deserved, Since then, Floating World has been recognised as a groundbreaking album from a group who pioneered ambient and world music. Somewhat belatedly, Jade Warrior are receiving recognition for one of the great lost albums of the seventies, Floating World their cerebral concept album based on an ancient Japanese philosophy is a glorious aural adventure awaiting discovery.
JADE WARRIOR-FLOATING WORLD.
AS THE TIRED TRAINS CROSS EUROPE-LUCID MOMENTS.
AS THE TIRED TRAINS CROSS EUROPE-LUCID MOMENTS.
“Don’t believe the hype.” So sung Public Enemy in 1988. They could’ve been describing some of press releases that come the way of music critics. That’s not the case with the press release that accompanied the forthcoming album from As The Tired Trains Cross Europe. Their debut album Lucid Moments will be released by Big Pink Records, a new Norwegian label on the 18th September 2015. Big Pink Records and Vegard Eggum, the man behind As The Tired Trains Cross Europe take a refreshing approach to press releases. It combines honesty, modesty, mystery and brevity. Unlike some record companies I’ve come across.
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. Sadly, though, they’re often disappointed.
What they 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 you’ve been conned?” rings true. Sadly, certain labels are famous for over-egging the musical pudding. Others labels, including Big Pink Records take a very different approach. That’s to be welcomed.
Big Pink Records will be a new name to most people. There’s a reason for this. It’s a new label.The Norwegian label is so new, that it’s yet to release an album. They’ll rectify that on 18th September 2015, when Big Pink Records release Lucid Moments, the debut album from As The Tired Trains Cross Europe. This is a new project from Vegard Eggum. Lucid Moments came complete with a press release that took a new and welcome approach.
It was a mixture of modesty and mystery. It was also brevity personified. There was no wading through page after page of information. This had me hooked. I wanted to know more about As The Tired Trains Cross Europe’s debut album Lucid Moments.
What better way to find out about the making of Lucid Moments, than to find out from the man behind As The Tired Trains Cross Europe, Vegard Eggum. 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.”
Ideas were something Vegard Eggum had in abundance. That’s not surprising. Vegard Eggum’s life has revolved around music. Growing up, a disparate selection of artists have helped shape, inspire and influence Vegard Eggum musically. Vegard Eggum explains who he was: “inspired by David Bowie, Flaming Lips, Beck and King Crimson.” This lead to Vegard Eggum embarking on a career as a musician.
Since then, Vegard Eggum has been a member of Meadows and Io, Sightseers and the Ulf Myrvold Band. 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. With a myriad of instruments and effects for company, Vegard Eggum got to work. By then, he had already written ten tracks. Soon, Vegard Eggum was playing all the instruments and adding vocals. Vegard Eggum also took charge of production and mixed Lucid Moments. However, when Vegard Eggum started, there was 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.” That’s no exaggeration, as you’ll realise when I tell you about Lucid Moment.
Velvet Maze opens 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, where he 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.
As Wives and Children unfolds, it has an understated, airy sound. Drums clap twice and Vegard strums his guitar. Soon, he’s delivering a tender, heartfelt vocal of 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 soul-baring confessional. What’s essentially a roller coaster of emotions continues to unfold, before reaching a poignant crescendo.
Gold Rush 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 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 As The Tired Trains Cross Europe’s debut album Lucid Moments, which will be released by Big Pink Records on 18th September 2015. Lucid Moments is 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 is the perfect way to launch Norway’s latest record label, Big Pink Records.
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. What better way to launch a new label, than with an album that, without doubt, is one of the best debut albums of 2015. It comes courtesy of As The Tired Trains Cross Europe, whose forthcoming 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.
MICHAEL CHAPMAN-THE MAN WHO HATED MORNINGS.
MICHAEL CHAPMAN-THE MAN WHO HATED MORNINGS.
In 1977, Michael Chapman was about to release the eight album of his career, The Man Who Hated Mornings on Deram Records. That had been home to Michael since 1973, when he released his fifth album Millstone Grit. By then, Michael Chapman had released five albums in the four years since Michael Chapman’s career began in 1969.
Michael Chapman’s debut album was Rainmaker, which was released in 1969, on the prestigious Harvest label. He released a further three albums on Harvest. The first of this trio of albums proved to be the most successful album of Michael’s career.
That was Fully Qualified Survivor. It was released in 1970, and reached number forty-five in Britain. The following year, 1971, Michael Michael released two albums.
Following the success of Fully Qualified Survivor, Michael was keen to build on the album’s success. So, he went into the studio, and recorded his third album, Window. It was the most controversial album of Michael’s career. Michael disowned the album. He later, claimed it was an album of demos. However, the second album Michael released in 1971, Wrecked Again, was one of Michael’s finest albums. This proved to be a fitting way for Michael Chapman to leave Harvest.
After Michael Chapman left Harvest, it was another two years before he released another album. During that period, Michael toured almost non stop. That was his first musical love. It was also where he made his money. By then, Michael knew he was never going to get rich on record sales alone. So, Michael took to touring incessantly. He liked life on the road, and the camaraderie of travelling with his band. They were like modern day minstrels, heading from town to town. This appealed to Michael. However, after a two year period where he never released an album, Michael returned with the fifth album of his career.
Michael Chapman signed to Deram Records, and in 1973, released the first of four albums on their Deram Records’ imprint of Deram Records. After a gap of two years, Michael was back with the fifth album of his career, Millstone Grit.
Released in 1973, Millstone Grit was Michael’s Deram Records’ debut. It was a return to form from Michael, who was maturing as a singer and songwriter. Maybe, Michael had found his home at Deram Records?
Despite a busy touring schedule, Michael returned to the studio to record Deal Gone Down. It was released in 1974, and is one of the most underrated albums of Michael Chapman’s back-catalogue. Deal Gone Down is a showcase for Michael Chapman’s talent as a singer-songwriter, and his versatility. Sadly, Deal Gone Down didn’t sell well. However,thirty-three year old singer-songwriter seemed to be maturing with every album.
That was the case with Pleasures of the Street. Released in 1975, Pleasures Of The Street was Michael’s seventh album since 1969. Sadly, despite the quality of music on Pleasures of the Street, Michael was no nearer making a return to the chart. However, Michael Chapman was still a successful artist.
While Michael was averaging an album a year, it was touring where Michael was making his money. This meant Michael had a tempestuous relationship with the recording studio. He realised the longer he spent recording an album, the more money he lost through not touring. Unlike many artists, Michael realised this early in his career. It was no epiphany. Instead, it was a realisation that “time was money.” So Michael worked quickly in the studio. He was always keen to get back on the road. So were his band. The road was their natural habitat. So, when Michael arrived at the studio he was always ready to role.
This was the case when Michael began recording Savage Amusement. Michael had penned seven songs and covered Jimmie Rodgers’ Hobo’s Lament and Jimmy Reed’s How Can A Poor Man? These nine tracks were recorded at various studios, where Don Nix, formerly a member of the Stax Records’ house band, was tasked with reinventing Michael Chapman.
The sessions didn’t get off to the best start. When producer Don Nix arrived, he was on medication. This didn’t stop him heading out to a party. It was a party where Don Nix seemed to over indulge. The evening ended with Don Nix falling off a roof.
This didn’t please Michael. He realised that any delays would cost him money. So, Michael’s manager Max was dispatched to smooth things out.
While Michael’s manager Max, tried to sort out this little local difficulty, there was already an atmosphere. Then Michael took a dislike to the Dolby noise reduction filters. Eventually, though, Michael and Don Nix, got to work on Savage Amusement.
Recording of Savage Amusement took place at Sawmills Studios, Cornwall, Tapestry Studios, London and Ardent Studios, Memphis. Michael was a accompanied by members of his regular band, and a few guest artists. Once Savage Amusement was completed, Michael and his band returned to the road. His eighth album, Savage Amusement was scheduled for release in 1976.
Before the release of Savage Amusement, critics had their say. Straight away, they realised it was very different from Michael’s previous albums There was a reason for this. Many of Michael’s favourite guitarists came from Memphis. So, Michael wanted to make music where he could connect musically with them. Savage Amusement was essentially, a homage to the music Michael Chapman loved. He hoped it would see him return to the charts. So did executives at Deram Records.
A decision was made at Deram Records that Savage Amusement be heavily promoted. This was a first during Michael Chapman’s time at Deram Records. Given the change of direction, and quality of music on Savage Amusement, Deram Records thought the album might appeal to a wider audience.
That wasn’t the case. Savage Amusement didn’t connect with the wider record buying public. Apart from Michael’s loyal fans, Savage Amusement passed most people by. For Michael Chapman, it was a case of returning to his natural habitat, the road.
After the commercial failure of Savage Amusement, Michael could no longer afford to take a ten piece band on the road with him. Gradually, his band shrank. First ten became five. Then Michael Chapman’s band became a trio. This trio feature on The Man Who Hated Mornings, which was recently reissued by Secret Records.
As Michael and his band made their way to Sawmills Studio, Cornwall and Tapestry Studios, London, they had ten tracks to record for The Man Who Hated Mornings. Michael Chapman had penned seven tracks, Northern Lights, The Man Who Hated Mornings, Steel Bonnets, Dogs Got More Sense, Falling Apart, While Dancing The Pride Of Erin and Dreams Are Dangerous. Drummer Keef Hartley contributed I’m Sober Now. The other two tracks Michael chose were cover versions. Bob Dylan’s Ballad In Plain D and Blind Alf Reed’s Why Do You Bob Your Hair Girls? completed The Man Who Hated Mornings. It would be recorded by Michael tight trio and a few guest artists.
When recording of The Man Who Hated Mornings got underway, the rhythm section included drummer Keef Hartley, bassist Rick Kemp and guitarists Mick Ronson and Camel’s Andy Latimer. They were joined by steel guitarist B.J. Cole, violinist Johnny Van Derek and Pete Wingfield who played electric piano, organ and string synth. Backing vocals came courtesy of John McBurnie and Vivienne McAuliffe. They played their part in Michael Chapman’s new sound.
Critics noticed that The Man Who Hated Mornings had a much harder, electric sound. It’s apparent from the opening track Northern Lights, right through The Man Who Hated Mornings. Despite this stylistic change, still, commercial success eluded Michael Chapman. Despite his sound constantly evolving, his albums failed to sell in great quantities. Mind you, 1977 was the height of the disco era. Unfortunately, troubadours like Michael Chapman were out of fashion, and had been replaced by the inane sound of disco. For Michael Chapman, it was a frustrating time.
Especially considering the quality of music on The Man Who Hated Mornings. Northern Lights, the album opener, is one of seven songs Michael penned. It’s just Michael’s guitar that take centre stage. Soon, it’s joined by the bass, Michael’s heartfelt, needy vocal and cooing harmonies. Behind him, the rhythm section of drummer Keef Hartley and bassist Rick Kemp provide a steady groove. By then, Michael’s vocal is a combination of power and passion. Then when his vocal drops out, he adds a folk-tinged guitar. Later, synths strings and Johnny Van Derek’s violin are added. Providing yin to Michael’s yang are the harmonies. They compliment Michael’s vocal, as the Leeds born troubadour embarks upon a captivating new musical adventure.
Drummer Keef Hartley penned I’m Sober Now. It’s perfect for Michael’s lived-in sound. His vocal sometimes sounds like Bob Dylan. That’s still to come. Michael’s lone guitar is joined by the rhythm section. A roll of drums signals the arrival of Michael’s vocal. As he sings of carousing with a bottle, his band provide the harder, electric sound. Pete Wingfield plays Hammond organ and Mick Ronson unleashes a blistering guitar solo. Not to be outdone, the rhythm section adds an element of drama. The band stretch their legs, and showcase their considerable talents. So does Michael. Together, they play their part a melancholy missive, with a harder, contemporary sound. It’s hard to believe Michael recorded I’m Sober Now in 1977. Thirty-eight years later, and it has a timeless sound and quality.
Wistful and meandering describes the introduction to The Man Who Hated Mornings. Just a guitar plays in the distance. Then the rhythm section launch the arrangement. Meanwhile, Michael delivers a worldweary vocal. It’s joined by an electric piano and guitar. Michael lives the lyrics, sometimes, sounding like John Martyn. Both were troubadours who loved life and spent large parts of their career on the road. As a guitar injects some urgency, the band stretch their legs and take a jazzy diversion. This allows the listener to hear just how talented the band are. With Michael acting as bandleader, they enjoy the opportunity to stretch their legs and showcase their considerable skills.
Of all the Bob Dylan songs he could’ve covered, Michael decided to cover Ballad In Plain D. For many, this seems like an unlikely choice. However, it suits Michael. He unleashes choppy guitar licks and delivers a folk-tinged vocal. It brings the cinematic lyrics to life. So do his guitar licks. They veer between folk and blues, and provide a dramatic backdrop to his vocal.
Dogs Got More Sense was originally meant to be a single. Not this version though. Instead, it was bonus track on this reissued version of The Man Who Hated Mornings. It’s quite different to this version. It comes to life, showcasing Michael’s new sound. He’s accompanied by the rhythm section and B.J. Cole’s steel guitar. Confidently, Michael delivers the lyrics, while gospel tinged harmonies accompany him. By then, Michael and his band sound like early Dire Straits. Maybe Michael inspired Mark Knopfler and Co.? Certainly, the guitar lick must have inspired Duran Duran’s Girls On Film either consciously or unconsciously.
Later, Michael unleashes one of his best solos. Just at that moment, Pete Wingfield adds his string synths. While they don’t replace a string section, they work…just. At the breakdown, it’s just rhythm section and guitar, before the arrangement builds and reaches a crescendo. In doing so, one of the best tracks on The Man Who Hated Mornings takes shape.
Just a lone guitar opens Falling Apart before the rhythm section join Michael’s vocal. It’s full of heartbreak and despair. B.J. Cole’s steel guitar replies to Michael’s vocal. Meanwhile, the rhythm section march the arrangement along. Then B.J. Cole delivers a show stealing steel guitar solo, to what’s a melancholy tale of love gone wrong.
The rhythm section and guitars combine as Michael delivers an earnest, impassioned vocal on While Dancing The Pride Of Erin. B.J. Cole adds steel guitar. Harmonies reply to Michael’s vocal, which at one point, is panned hard left. The harmonies are then panned hard right. This balances the arrangement. Again, B.J. Cole’s steel guitar plays an important part in the songs sound and success. It’s a scene setter as Michael combines passion and urgency on a quite irresistible track.
From the distance, chugging guitars grow in power on Dreams Are Dangerous. They’re joined by searing guitar licks and the rhythm section. Michael’s powerful vocal is rueful. Soon, the tempo increases and the band kick loose. As the band stretch their legs, Michael drops the tempo. They continue to showcase their skills. When Michael’s vocal returns, Pete Wongfield adds boogie boogie piano and Camel’s Andy Latimer adds a blistering guitar solo. Everything is falling into place, as Michael and his band kick loose again, before dropping the tempo. Regardless of the tempo, it’s Michael Chapman and his band at their very best.
A cover of Blind Alf Reed’s Why Do You Bob Your Hair Girls? closes The Man Who Hated Mornings. From the opening bars, it has a sing-a-long sound. The rhythm section and guitars combine with Michael’s vocal. Again, the tempo is varied. To do this, a dramatic pause is added. Later, B.J. Cole delivers a country tinged steel guitar solo. Then the baton passes to Michael as he brings his eight album in eight years to a close.
Just like Savage Amusement, and indeed so many albums from Michael Chapman’s discography, The Man Who Hated Mornings is something of a hidden gem. It’s definitely worth discovering or rediscovering. Secret Records’ recent reissue is the perfect opportunity to do so. They also released Savage Amusement earlier this year. Both albums show how Michael Chapman’s music was evolving.
Savage Amusement, which Deram Records felt had huge potential was heavily promoted. It was Michael Chapman’s homage to the music of Memphis. However, Michael never made the same album twice. On The Man Who Hated Mornings he changes direction, and introduces a harder, electric sound. Accompanying him was his much smaller band. Previously, Michael was accompanied by a ten piece band. Not any more.
Times were hard. Ten became five. Then it was just Micael, drummer Keef Hartley and bassist Rick Kemp. Luckily, Michael could call on a few friends. This included two high profile guitarists, Mick Ronson and Camel’s Andy Latimer. They were joined by steel guitarist B.J. Cole, violinist Johnny Van Derek and keyboardist Pete Wingfield. Adding harmonies were John McBurnie and Vivienne McAuliffe. Each of these guest artists played their part in Michael Chapman’s new sound.
Sadly, Michael Chapman’s new sound wasn’t a commercial success. His loyal fans bought The Man Who Hated Mornings. However, trying to reach a wider audience wasn’t easy. What many British and indeed American record buyers was disco. Cerebral albums featuring elements of blues, country, folk and rock were out of fashion. This spelt the end of Michael Chapman’s time at Deram Records.
Michael Chapman’s time at Deram Records ended with The Man Who Hated Mornings. This is almost fitting, as it’s the best album of his time at Deram Records. Coming a close second is Savage Amusement, the album that preceded The Man Who Hated Mornings. After nine albums in nine years, Michael Chapman was looking for a new record label.
Ironically, a year after leaving Deram Records, Michael Chapman released another of his great “lost albums” Playing Guitar-The Easy Way. Just like Michael’s previous albums, commercial success managed to elude Playing Guitar-The Easy Way. It’s just one of many hidden gems in Michael Chapman’s back-catalogue, including Savage Amusement and The Man Who Hated Mornings. These two albums showcase one of the great British singer-songwriters, Michael Chapman, The Man Who Hated Mornings.
MICHAEL CHAPMAN-THE MAN WHO HATED MORNINGS.
JIGMASTAS-GRASSROOTS THE PROLOGUE DELUXE EDITION.
JIGMASTAS-GRASSROOTS THE PROLOGUE DELUXE EDITION.
By the time Jigmastas were formed in 1991, hip hop had come a long way from the genre was born in the Bronx in the late sixties. Its founding fathers were groups of African American and Latin American youths. This includes the Ghetto Brothers. They plugged the amplifiers for their instruments into the lampposts on 163rd Street and Prospect Avenue. Soon, music was being cranked out of their speakers. However, this was no ordinary music.
The music the Ghetto Brothers played was credited with breaking down racial barriers. It also had a social conscience. The Ghetto Brothers were involved with Puerto Rican independence, and the nascent Puerto Rican Socialist Party. Like future hip hoppers, they were determined to make a difference, and used their music to do so. Despite the importance of the music the Ghetto Brothers played, they only released one album Ghetto Brothers-Power-Fuerza in 1971. It’s become part of musical history. So have DJ Kool Herc’s block parties.
They took place at 1520 Sedgwick Avenue. At these parties, DJ Kool Herc sampled parts of records, looped breaks and added his imitable “shouts.” This was the equivalent to Jamaican DJs toasting. Nobody had ever done this before. It was a first. Modern hip hop was born, and DJ Kool Herc was its founding father. However, it was Afrika Bambaataa, who was of the Zulu Nation collective that identified the four key elements of hip hop.
Afrika Bambaataa believed DJing, MCing, B-boying and graffiti art were the four key elements of hip hop. It was only then, that many onlookers realised that there was more to hip hop that spinning records.
That was the DJs role. MCing or rapping saw the MC rap or chant rhyming lyrics. B-boying was the breakdancing that accompanied the music. Graffiti art was either writing or drawing that were illegally painted on a public place. This was the art of hip hop. Having identified the key components of hip hop and gone onto become one of the progenitors of breakbeat DJing, Afrika Bambaataa was about to join hip hop’s nascent hall of fame.
During the eighties, Afrika Bambaataa took to spreading the hip hop message worldwide. By then, a new generation of hip hop artists were making a breakthrough. Fab Five Freddy starting hosting parties in New York in 1981. The same year, RUN D.M.C. were founded. The released their eponymous debut album in 1984. Run–D.M.C. was released to critical acclaim and commercial success. Then in 1985, his LL Cool J his Radio album, Just like Run–D.M.C., it’s considered one of the most influential hip hop albums of the eighties. That’s the case with Run–D.M.C’s Raising Hell and the Beastie Boys Licensed to Ill, which sold over ten million copies. Hip hop was no longer the music of the streets. It was big business,
Rick Rubin realised this early on, and founded the Def Jam label in 1983. That was a shrewd piece of business. His label would release some of the biggest and most influential hip hop albums of the eighties.
While Eric B. and Rakim’s Paid in Full was released in 1987, on one of Def Jam’s competitors, 1988 proved to be a good year for Rick Rubin’s label. Def Jam released Slick Rick’s The Great Adventures of Slick Rick. Public Enemy’s seminal album It Takes a Nation of Millions to Hold Us Back. Full of social comment, It Takes a Nation of Millions to Hold Us Back sold a million copies in America alone. The album is now considered a hip hop classic. So would an album released by in another of Def Jam’s competitors.
Tommy Boy were another of hip hop’s biggest labels. It had been founded by Tom Silverman in 1981. In 1989, Tommy Boy released De La Soul’s 3 Feet High and Rising. Not only did it reach number one on the US R&B charts, but was hailed a classic. Another of Tommy Boy’s releases was Queen Latifah’s All Hail the Queen. This landmark released was certified gold in 1990.
That year, Public Enemy returned with another album bristing with outrage and social comment, Fear Of A Black Planet. Again, this Def Jam release was certified platinum. Another groundbreaking albums was A Tribe Called Quest’s People’s Instinctive Travels and the Paths of Rhythm. Given the success of hip hop during the eighties, hip hop was suddenly seen as a career choice.
As a new decade continued, 1991 proved a vintage year for hip hop. Albums like A Tribe Called Quest’s The Low End Theory, Cypress Hill’s double platinum eponymous debut album and De La Soul’s De La Soul Is Dead were among the highlights of the hip hop released 1991. They were also among the biggest selling hip hop albums of 1991. However, 1991, was also the year a new production duo was founded. Jigmastas.
DJ Spinna and Kriminul met, and founded Jigmastas in Brooklyn, This was the beginning of a long partnership for the DJ, producer-emcee combo. Their recording career began in 1995, when Jigmastas featured on Rude Rydims’ single Everybody Bounce, However, it wasn’t until 1996 that Jigmastas career began in earnest.
It’s documented on Jigmastas’ Grassroots The Prologue Deluxe Edition which will be released by BBE Music on 18th September 2015. This twenty-one track compilation documents part of Jigmastas’ twenty year recording career. Most of the tracks on Grassroots The Prologue Deluxe Edition are singles and non album tracks. They’re part of the Jigmastas story, which began in 1995.
Back in 1995, Jigmastas were making waves. A&R executives were constantly searching for hip hop’s next big thing. Some A&R executives thought Jigmastas were the future of hip hop. Especially, after they featured on Rude Rydims’ single underground hit Everybody Bounce. This brought Jigmastas to the attention of major labels. They knew hip hop was big money. That’s despite the change in hip hop. By 1995, the music had a much tougher edge.
That had been the case since the mid-eighties, when gangsta rap came to prominence. Many thought this glorification of the “thug” lifestyle would be a passing fad. It wasn’t. In 1992, Ice-T released one of the most controversial rap songs, Cop Killer. This caused outrage amongst the moral majority. The same year, 1992, Ice Cube released The Chronic.
It proved an equally controversial album. Described as G-Funk, it glorified the use of guns, alcohol, and marijuana. According to purveyors of G-Funk, this solved any problem. While three million people bought The Chronic, politicians and the album’s critics weren’t impressed by what was among the most explicit gangsta rap ever released. However, this was just the start.
The Chronic proved that what was explicit gangsta rap could prove commercially successful. After the success of The Chronic, West Coast gangsta rap came to dominate rap, and Death Row Records which released The Chronic, would become one of the most successful hip hop labels.
By then, hip hop was changing, and looking to its past. There was a resurgence in interest of Mafioso rap, after the release of Raekwon’s debut album Only Built 4 Cuban Linx…in August 1995. Then in October 1995, Nas released Doe or Die. This pseudo Mafioso rap continued the glorification of the criminal lifestyle. To some extent, it was playing out before hip hoppers eyes.
The East Coast-West Coast feud began in 1994. Suddenly, two of hip hop’s biggest names fell victim to the feud. Tupac Shakur was murdered in a drive-by shooting on September 13th 1996. The was just twenty-five. Less than a year later, twenty-four year old The Notorious B.I.G.died on March 9th 1997. Just like Tupac Shakur, he was the victim of a drive-by shooting. In the space of a year, two of the biggest names in New York hip hop were dead. By then, there was a new name in the New York hip hop block.
That was Jigmastas. Although they had interested major labels, DJ Spinna and Kriminul decided to found their own label, They called this new label Beyond Real Recordings. It had been inspired by a track Jigmastas had just recorded. Jigmastas decided that this would become their debut single Beyond Real. On the flip side, was Dead Man’s Walk. Both tracks feature on Grassroots The Prologue Deluxe Edition which will be released by BBE Music. What was Jigmastas gave them a minor underground hit, However, it was the last single Jigmastas released until 1998.
After two long years, Jigmastas returned with their new single Hip Hop. It was released on their own label Beyond Real Recordings. Hip Hop, which was produced by DJ Spinna features on Grassroots The Prologue Deluxe Edition. So does a remix of Beyond Mix. However, after the releae of Hip Hop, Jigmastas released a single on one of hip hop’s biggest labels.
Last Will & Testimony was the second single Jigmastas released during 1998. It was released on the Tommy Boy’s Black Label imprint. Jigmastas it seemed, were going up in the world.
Later in 1998, Soul Scream and Jigmastas released an E.P. in Japan. Soul Scream’s contribute was Vibe, while Jigmastas released the original and instrumental version of All Day. For Jigmastas, that was the story of 1998. 1999 would prove just productive.
During 1999, Jigmastas released another three singles. This included an E.P, with Defari. They both contributed three tracks. Jigmastas’ contribution was three versions of Let Me Hear It. Along with three version of Defari’s Blast, they were released on Tommy Boy’s Black Label imprint. After that, Jigmastas returned home to Beyond Real Recordings.
Chandon was one of two singles Jigmastas released on Beyond Real Recordings. On the flip side was Iz You Dee. Both the original and remix of Iz You Dee join Chandon on The Prologue-Deluxe Edition. So does if, an E.P. which featured Jigmastas and the then unsigned I.G. Off and Hazadous. Jigmastas contribution If, also features on Grassroots The Prologue Deluxe Edition. By then, Jigmastas’ music had a much more laid-back, mellow vibe. However, that would change with their next release.
As a new millennia dawned, Jigmastas were planning on releasing an all-star collaboration. This was their Lyrical Fluctuation E.P. Mos Def, Mr Complex, Pharoahe Monch, Shabaam Sahdeeq and Talib Kweli all featured on the Lyrical Fluctuation E.P. Two tracks. from the Lyrical Fluctuation E.P.,the Original Mix and 2000 Spinna Mix feature on Grassroots The Prologue Deluxe Edition. Both tracks have a much tougher sound than Chandon and Iz You Dee. It seemed Jigmastas’ sound was constantly evolving.
That became apparent when Jigmastas released a compilation album Grass Roots “Lyrical Fluctuation” in 2000. Over ten tracks Jigmastas showcase their musical prowess. That’s the case from Intro through Across The Globe. It features twice on Grassroots The Prologue Deluxe Edition. The other version on Grassroots The Prologue Deluxe Edition is the Joc Max remix, From Across The Globe, Jigmastas Keep On Rockin before dropping the Joc Max produced Matrimony. Jigmastas aren’t finished yet.
Awareness, Thief’s Theme and Outro conitune to showcase the skills and versatility of Jigmastas. Each of these tracks feature on Grassroots The Prologue Deluxe Edition. So does the remix of Iz Dee and the Original Mix and 2000 Spinna Mix of Lyrical Fluctuation. Essentially, the entire Grass Roots “Lyrical Fluctuation” album features on Grassroots The Prologue Deluxe Edition. It was released in 2000, which had been Jigmastas’ busiest, and most productive year.
2001 proved just as busy for Jigmastas. They released two singles and album. Their Infectious album was their debut album. It was released to critical acclaim and spawned two singles, Till The Day and Don’t Get Twisted. Both the Infectious album and the two singles were released on Jigmastas label Beyond Real Recordings, Just like Jigmastas, Beyond Real Recordings it seemed, was going from strength to strength.
2003 saw things slow down for Jigmastas. They released On The Strength on the Las Vegas label HipHopSite.com Recordings. That was the last we heard of Jigmastas until recently.
After releasing their debut album in 2001, Jigmastas released So What as a single in 2002. It was released on Beyond Real Recordings, and features on Grassroots The Prologue Deluxe Edition.
On 14th August 2015, Jigmastas dropped a new single Magnetize. It was released on Beyond Real Recordings, just in time for the release of Grassroots The Prologue Deluxe Edition. It’ll be released by BBE Music on 18th September 2015, and features twenty-one tracks from Jigmastas.
This includes Comments To The Sure Shot, which featured on the 1998 mix compilation Hip Hop Independents Day Volume 1. It makes a welcome reappearance on The Prologue-Deluxe Edition. So does Semi-Precious which in 1999, was one of three tracks Jigmastas contributed to The Beyond Real Experience compilation. These tracks complete the story of the Jigmastas compilation Grassroots The Prologue Deluxe Edition,
For anyone interested in hip hop, Grassroots The Prologue Deluxe Edition is the perfect introduction to Jigmastas. They celebrated twenty-five years together in 2016. That’s quite a feat in the world of hip hop. Especially hip hop in the mid to late nineties. However, Jigmastas were only interested in making music.
And music they made. Between 1995 and 2003, Jigmastas were at their most productive combining Moog synth riffs, sliced and diced samples and Krim’s gravelly vocals. The result is some of the most important underground hip hop to come out New York during the nineties and noughties. It features on the forthcoming Jigmastas compilation Grassroots The Prologue Deluxe Edition. It’ll be released on BBE Music on 18th September 2015. Grassroots The Prologue Deluxe Edition features twenty-one slices of Hip Hop Jigmastas style.
JIGMASTAS-GRASSROOTS THE PROLOGUE DELUXE EDITION.
LED ZEPPELIN-IN THROUGH THE OUT DOOR-DELUXE VINYL EDITION.
LED ZEPPELIN-IN THROUGH THE OUT DOOR-DELUXE VINYL EDITION.
On 15th August 1979, Led Zeppelin released their eighth studio album In Through the Out Door. By then, they were one of the biggest selling bands in the world. Their first seven studio albums and their 1976 live album The Song Remains The Same, had sold eighty-three million copies in America alone. Worldwide Led Zeppelin’s albums had sold over 100 million copies. However, little did the four members of Led Zeppelin realise that In Through the Out Door, which was recently reissued on vinyl as a double album, marked the end of an era.
In Through The Out Door was the last album to feature the original lineup of Led Zeppelin. Not for the first time, tragedy was about to touch Led Zeppelin. Things hadn’t been going well for Led Zeppelin since the 5th August 1975.
Before Led Zeppelin embarked upon an American tour, Robert Plant decided to take his family on holiday to Rhodes. Robert decided to hire a car so he could see the Island. Disaster struck on 5th August 1975, when the car spun off the road and crashed. He was taken to hospital where doctors discovered that Robert had broken his ankle and elbow. This resulted in the American tour being postponed.
Presence.
With the American tour cancelled, Robert Plant began the lengthy period of recuperation. His convalescence began in Jersey, where Robert began writing some of the lyrics for Presence. When Robert moved Malibu, he continued to write the lyrics for Presence. By then, he was joined by Jimmy Page. The pair began to knock the lyrics into shape. Soon, the Page and Plant songwriting partnership had enough material for an album.
and Robert’s recuperation looking like being lengthy, he he decided to write the lyrics for Led Zeppelin’s next album. This made sense. However, with Robert confined to a wheelchair, it wasn’t going to be easy for him to record his vocals.
Despite this, the early recording sessions for Presence took place at Hollywood’s SIR Studio. That’s where they spent the next month, working on the songs that became Presence. After a month, Led Zeppelin flew to Giorgio Moroder’s Musicland Studios, in Munich, Germany, which was perceived as the studio to record an album. Led Zeppelin were just the latest to make their way Musicland Studios.
As Led Zeppelin setup, onlookers something was missing. John Bonham’s drums and percussion were present. So were John Paul Jones four and eight string basses. Jimmy Pages’ array of guitars were setup in his corner of the studio. All Robert Plant brought was his trusty harmonica. Then it became clear what was missing, keyboards. It looked like Led Zeppelin were going to record an album without keyboards.
That’s what Led Zeppelin proceeded to do. Presence Plant and Page decided, should mark a change in Led Zeppelin’s sound. This should make Led Zeppelin’s return to hard rock. The riffs were much simpler, as Led Zeppelin moved towards guitar based jams. This was very different to some of the complex arrangements on Physical Graffiti. Another change was the lack of keyboards. Originally, they were meant to be absent. However, it was a case of needs must. Keyboards had to be used for the chorus on Candy Store Rock. Mostly, though, Presence was a much more stripped back, simpler and spontaneous album than previous Led Zeppelin albums. There was a reason for this.
Led Zeppelin had to work quickly. The Rolling Stones were scheduled to record Black and Blue. So, Led Zeppelin had to work quickly. They laid the tracks down quickly. There was an element of spontaneity in the sessions. Once the tracks were laid down, three nights were spent adding overdubs. By the 25th November 1975, Led Zeppelin’s yet unnamed album was recorded and mixed. It hadn’t been the ideal sessions for Led Zeppelin.
Usually, Led Zeppelin would spend much longer than eighteen days recording an album. However, they were against the clock.
If the album wasn’t recorded in time, Led Zeppelin would have to find another studio. They were determined not to have to do this, so they spent eighteen to twenty hours a day recording. Sometimes, members of Led Zeppelin fell asleep while mixing the album. Whoever was left awake, was left to mix the track. Somehow, Presence was recorded the album in eighteen days. Later, Robert Plant felt this showed.
With Robert Plant confined to a wheelchair, this made delivering his trademark vocals difficult. He couldn’t unleash the same power. As a result, Robert later though his vocal was “pretty poor”…and “sounds tired and strained.” Robert also felt “claustrophobic” as Led Zeppelin recorded in Musicland’s basement studios. He was also still suffering from the accident that happened three months earlier. Despite this, Robert soldiered on and the Presence sessions were finished on time.
Somehow, Led Zeppelin had managed what many thought was impossible, and recorded and mixed an album in eighteen days. It was ready for release in early 1976.
Before Presence was released on 31st March 1976, critics had their say about Led Zeppelin’s latest album. Previously, many critics hadn’t been fans of Led Zeppelin. It didn’t matter that they were one of the most successful bands in the world, certain critics enjoyed panning new Led Zeppelin albums. So, it was no surprise that Led Zeppelin tended to avoid the press. No wonder. Just like previous albums, Presence wasn’t well received by critics. Some critics remarked that the songs were all similar. Gone was the diversity of previous albums. Other critics called Presence inaccessible, and a difficult album to like. While Led Zeppelin had had bad reviews before, this didn’t bode well for the release of Presence.
Presence wasn’t released until 31st March 1976. The album had been delayed while the sleeve was completed. By the time Presence was released, it had racked up the highest ever advance orders in Britain. This resulted in Presence reaching number one and being certified gold upon its release, and later, was certified platinum. Across the Atlantic, Presence eventually reached number one in the US Billboard 200. It was the slowest selling of Led Zeppelin’s seven album career. Eventually, Presence sold just three million copies, and was certified triple-platinum. Considering Physical Graffiti had sold sixteen million copies, Presence was seen as a failure in America. Elsewhere, sales of Presence were slow.
In Australia, France, Japan, New Zealand, Norway, Spain and Sweden, Presence entered the top ten. Presence didn’t sell as well in Canada, where Led Zeppelin had always been popular. Gold and platinum discs were in short supply. Apart from Britain and America, Presence didn’t sell enough copies elsewhere. Nor did the single released from Presence.
Candy Store Rock was chosen as Presence’s lead single. It was perceived as one of Presence’s highlights. However, it failed to chart in any of the countries it was released in. For Led Zeppelin, Presence was a disappointing album commercially. Especially given Led Zeppelin were at the peak of their powers. What was even more galling was that Led Zeppelin were unable to tour. If they had headed out on tour, maybe sales of Presence would improve? Given Robert Plant’s injuries, this wasn’t possible. So Led Zeppelin decided to complete the concert film The Song Remains The Same.
The Song Remains The Same.
Ever since late 1969, Led Zeppelin had been planning a documentary film about the band. A performance was filmed at the Albert Hall in London, on 9th January 1970. However, the sound quality wasn’t satisfactory, so the idea was shelved temporarily.
Then on 20th July 1973, Led Zeppelin’s manager Peter Grant made contact with actor and director Joe Massot. He had previously filmed George Harrison’s Wonderwall. Joe was a friend of Peter Grant, and Jimmy Page. So when Peter Grant approached Joe about filming Led Zeppelin, he didn’t take much convincing. A month later, Joe was in New Your filming Led Zeppelin.
On 27th, 28th and 29th July 1973, Led Zeppelin were playing at Madison Square Garden. The three nights were filmed on 35mm film with a twenty-four track quadraphonic mobile recoding studio. This cost $85,000, which the four members of Led Zeppelin financed. After the three shows at Madison Square Garden, progress slowed. This didn’t please Peter Grant.
He decided to bring another direction onboard Peter Clifton to complete the project in July 1974. So, Peter Grant sent someone to Joe Massot’s house to collect the film. Joe Massot however, was owed money, and decided to hide the film. This he thought would ensure he was paid. Instead, Joe’s editing machine was taken as collateral. Before long, it was stalemate and Joe served a writ.
Once the writ had been served, Led Zeppelin’s lawyers paid Joe Massot the money he was owed. He delivered the films, and Peter Clifton was given the job of completing the film.This included Led Zeppelin recreating the Madison Square concerts at Shepperton Studios in August 1974. Eventually, The Song Remains The Same was completed after three years work.
A premiere of The Song Remains The Same took place at Atlantic Records. The label’s founder and president, Ahmet Ertegun is reported to have fallen asleep during the screening. This didn’t bode well for the release of The Song Remains The Same.
On 20th October 1976, the film and soundtrack to The Song Remains The Same was released. Critics weren’t impressed with the soundtrack. They felt the album was over-produced, clumsy and awkward. Even the four members of Led Zeppelin weren’t fans of The Song Remains The Same. Jimmy Page felt that The Song Remains The Same: “wasn’t necessarily the best live stuff we have. I don’t look upon it as a live album…it’s essentially a soundtrack.” Given the subsequent recreating of the Madison Square concerts and subsequent, there’s more than an element of truth in this. However, record buyers had the casting vote.
When The Song Remains The Same was released, it reached number one in Britain and number two in the US Billboard 200. Elsewhere, The Song Remains The Same reached the top ten in the album charts in Canada, Japan and New Zealand. The Song Remains The Same was certified gold in France and Germany, platinum in Britain and four times platinum in America. With around five millions sales, The Song Remains The Same had been a success for Led Zeppelin. However, 1977 proved to be the most difficult years of Led Zeppelin’s career.
With Robert Plant fully recovered, Led Zeppelin were ready to embark upon their American tour. Things however, didn’t go to plan. In February 1977, Robert Plant was diagnosed with laryngitis. This resulted in the opening date being postponed from February to April 1977. This further impacted upon ticket sales.
When Led Zeppelin announced their 1977 American Tour, the tickets sold well. However, they didn’t sell in the same quantities they had two years earlier. Back then, Led Zeppelin were at the peak of their popularity. Two years later, Led Zeppelin tickets weren’t selling as well. The postponement impacted upon the band.
With Led Zeppelin’s equipment being shipped to America, the band had no equipment to practice with. For a month, Jimmy Page never picked up a guitar. So when Jimmy played the first few shows, he stepped on-stage with a degree of trepidation. However, the shows went to plan, until Led Zeppelin reached Cincinnati.
The Cincinnati concert was marred by a group of ticketless fans forced their way into the stadium. Within minutes, all hell broke out. It was like a mini riot at the Riverfront Coliseum. This wasn’t the end of the controversy/
Two months later, in June 1977, Led Zeppelin were due to play in Tampa. The concert began, but didn’t finish. A thunderstorm forced the cancellation of the concert. Then the following month, Led Zeppelin were embroiled in controversy.
On 23rd July 1977 Led Zeppelin were playing in Oakland, California. The concert was promoted by Bill Graham. After the show, Led Zeppelin’s manger Peter Grant lead a group, which included John Bonham. They badly beat up one Bill Graham’s employees. This was just the latest example of darkness descending during the 1977 American tour. However, the events of three days later meant everything else paled into insignificance.
A couple of days after the events at Oakland, Robert Plant’s five year old son Karac contracted a stomach infection. Then on the 26th of July 1977 came the news, Karac Plant had died. His death was sudden and came without warning. Robert Plant was totally distraught. He struggled to come to terms with the death of Kovac.
Following the death of Kovac, Robert Plant returned home. He was struggling to cope. The press and media covered the story closely. All Robert wanted to do, was be around his family. John Bonham proved supportive of Robert. Music no longer interested Robert. At one point he applied, and was accepted for a career in education. Led Zeppelin it seemed were history. So it appeared were drugs.
Before the death of his son, Robert Plant, like the rest of Led Zeppelin lived the rock ’n’ roll lifestyle. They were regarded as one of the hardest living bands in rock music.
Ever since the early days, Led Zeppelin were one of the hardest living bands in rock music. They embraced the rock ‘n’ roll lifestyle. Especially on tour. Led Zeppelin lived the rock ’n’ roll dream. Drink, drugs and debauchery was commonplace. So was destruction. The four members of Led Zeppelin weren’t averse to wrecking hotel rooms. Having trashed a room in the Tokyo Hilton, Led Zeppelin were banned from the chain for life. Hotel rooms weren’t just trashed. Television sets out of hotel windows. Another time, John Bonham rode a motorcycle the Continental Hyatt House, which Led Zeppelin nicknamed Riot House. However, it wasn’t just on tour Led Zeppelin embraced the rock ‘n’ roll lifestyle.
When neither touring nor recording, Led Zeppelin lived the life becoming a rock star. Members of Led Zeppelin lived in mansions, drove fast cars and in Robert Plant’s case, flamboyant clothing and expensive jewellery. Robert Plant was every inch the rock star. He enjoyed the finer things in life, including holidays to the most glamorous of destinations. Robert Plant planned to give all this, and the rock ’n’ lifestyle up.
Later, Robert Plant claimed that following the death of his son, he quit the various drugs he was taking. Robert eschewed treatment, and went cold turkey. However, by the time Led Zeppelin began recording In Through The Out Door, he was addicted to heroin.
In Through The Out Door.
Sixteen months after the death of Robert Plant’s son, Led Zeppelin returned to the studio in November 1978. This was exactly three years since Led Zeppelin began recording their previous album Presence. Recording of Presence had taken just eighteen days. This time, Led Zeppelin would spend three weeks in November and December of 1978 recording In Through The Out Door. That’s quite incredible, given one member of Led Zeppelin was an alcoholic, and another a heroin addict.
By the time recording of In Through The Out Door began, John Bonham was an alcoholic. while Jimmy Page was addicted to heroin. This resulted in Led Zeppelin being split in two.
Robert Plant and John Paul Jones were clean. Although the pair had enjoyed the rock ’n’ roll lifestyle, they were clean. Neither were addicted to drink nor drugs when recording of In Through The Out Door began. They became the driving force of Led Zeppelin. Meanwhile, John Bonham and Jimmy Page became increasingly reliable. This resulted in John Paul Jones playing a bigger role in writing the songs that became In Through The Out Door.
Previously, Jimmy Page and Robert Plant proved a formidable songwriting partnership. That’s one of the reasons why by 1977, Led Zeppelin sold over 100 million albums worldwide. For In Through The Out Door, Jimmy Page and Robert Plant only penned one track, Hot Dog. They cowrote In The Evening, Fool In The Rain, Carouselambra and I’m Gonna Crawl with John Paul Jones. South Bound Saurez and All My Love. These seven tracks became In Through The Out Door, which was recorded in three weeks.
Gone were the days when Led Zeppelin spent months over an album. Instead, recording took began in November 1978 at Polar Studios, in Stockholm, Sweden. At Polar Studios, Led Zeppelin split in two. Jimmy Page and John Bonham teamed up. Sometimes, one or both of them failed to turn up for recording sessions. This meant that Robert Plant and John Paul Jones had to pick up the slack.
Bassist John Paul Jones was a happy man when the sessions began. Keyboards were back on In Through The Out Door. He played keyboards, piano, synths and mandolin. Jimmy Page added acoustic and electric guitars, and deployed his newly acquired Gizmotron effects device. He also produced In Through The Out Door. Recording took three weeks, with Robert Plant and John Paul Jones recording during the day. This allowed Robert Plant and John Paul Jones to tighten songs.However, when darkness descended, drummer John Bonham and guitarist Jimmy Page entered the studio. After three eventful weeks, recording of In Through The Out Door was complete in December 1978. Now the four members of Led Zeppelin could head home for Christmas. Little did they realise that the In Through The Out Door session were their final recording sessions together.
Once the holiday season was over, Led Zeppelin’s thoughts turned to their eighth album, In Through The Out Door. Hipgnosis who had designed previous Led Zeppelin albums needed to come up with an album cover. Each of their previous album covers were unusual. In Through The Out Door was no different.
Storm Thorgerson Hipgnosis’ inspiration for In Through The Out Door’s album cover came from the bootleg albums which were popular around 1978-1979. Many came wrapped in a plain brown sleeve, with the title of the album stamped on it by a rubber stamp. This Storm Thorgerson and Led Zeppelin decided would be perfect for their eight album. It was entitled In Through The Out Door, which was Led Zeppelin trying to describe what they had been through in the last few years.
The last few years had been tough on Led Zeppelin. Obviously, the death of Robert Plant’s Karac son had been the worst experience of this period. However, during this period, Led Zeppelin were tax exiles, and were living far from their friends and family. This was also taking its toll on Led Zeppelin. This meant In Through The Out Door was the perfect description of what Led Zeppelin had been through. Maybe, Led Zeppelin’s luck would change when In Through The Out Door was released?
Originally, In Through The Out Door was scheduled to be released before Led Zeppelin played two concerts at the 1979 Knebworth Festival. However, when Led Zeppelin took to the stage on the 4th of August 1979, In Through The Out Door had been postponed. Instead, it was released on 15th August 1979.
Before the release of In Through The Out Door, critics had their say. Many of the reviews were poor. Despite this, In Through The Out Door reached number one in Britain and in the US Billboard 200. In Through The Out Door was certified platinum in Britain and six times platinum in America. Across the border, In Through The Out Door reached number one. This was also the case in Australia, where In Through The Out Door was certified platinum. Elsewhere, In Through The Out Door reached the top twenty in Austrian, French, Italian, Japanese, Norwegian, Spanish and Swedish album charts. In West Germany, In Through The Out Door reached number twenty-eight. That wasn’t the end of the commercial success for Led Zeppelin.
Not for the first time, Led Zeppelin made history on the week beginning 23rd October 1979. In Through The Out Door, and each of Led Zeppelin’s previous albums charted in the US Billboard 200. Led Zeppelin repeated this feat a week later, on 3rd November 1979. Considering that critics had panned In Through The Out Door, Led Zeppelin were having the last laugh. However, were the critics correct to pan In Through The Out Door?
Opening In Through The Out Door is In The Evening. Jimmy Page’s low, droning washes of guitar combines with John Paul Jones’ bass. He uses his myriad of pedals to twist and torment the original sound. Meanwhile, John Bonham’s drums rumble in the distance. Gradually they grow in power, before Led Zeppelin unite. Robert Plant’s gritty, needy powerhouse of vocal is accompanied by blistering guitars. They quiver, soaring above the arrangement, as effects aplenty are deployed. Robert Plant struts his way through the arrangement. At 3.48, the arrangement explodes, and Led Zeppelin kick loose. After that the tempo drops, and a moody bluesy sound takes shape. That’s just a curveball, as Led Zeppelin return to their hard rocking sound. This Led Zeppelin doing what they do best
There’s no letting up on South Bound Saurez. This is just one of two Led Zeppelin tracks that Jimmy Page didn’t write or co-write. South Bound Saurez is built around John Paul Jones’ driving, honky tonk piano. Soon, a muted guitar and the rhythm section join the fray. Robert delivers a gnarled vocal, on a track that briefly borrows from A Whole Lotta Love. That’s no bad thing, as that’s a Led Zeppelin classic. Here, they unleash what’s a slice of good time rock ’n’ roll. This is just one of two Led Zeppelin tracks that Jimmy Page didn’t write or co-
Fool In The Rain marks a change of time signature. Led Zeppelin play in 12/8 time. This gives the song a Latin feel, John Paul Jones’ keyboards are at the heart of the arrangement. At first it’s the piano. The rest of the band play around him. Meanwhile, Robert delivers a deliberate, heartfelt vocal. Later, John Paul Jones flits between piano and keyboards, while a scorching guitar bounds along. Midway through song, the Latin influence becomes more apparent. A myriad of percussion and whistles are deployed, as Led Zeppelin show their versatility, one one of the hidden gems of their discography.
Jimmy Page’s guitar is counted in on Hot Dog. Soon, he’s unleashing blistering licks. John Paul Jones adds boogie woogie piano. Meanwhile, the rhythm section drive the arrangement along. Robert’s vocal is a country-tinged vamp. The rest of Led Zeppelin add harmonies, before searing, scorching guitars punctuate the arrangement. This results in country music with a Led Zeppelin rocky twist.
As Carouselambra unfolds, synths are to the fore. They’re then joined by crunchy, scorching guitars combine and the rhythm section. They create a wall of sound. It dominates the arrangement. So much so, that it almost overpowers Robert’s vocal. Even the drums are dwarfed by the synth driven arrangement. At one point, the arrangement sounds like a carousel. That’s before this near eleven minute epic charges on, taking a prog rock twist. There’s twists and turns aplenty as Led Zeppelin show their creativity and imagination. Stylistic changes, and changes in tempo are deployed effectively. Similarly, Jimmy Page unleashes some of his best, crystalline licks, despite his battle against heroin. Led Zeppelin were down, but far from out.
All My Love sees the tempo drop and synths play a leading role as the song takes shape. The synth is accompanied by drums, chiming guitars and Robert’s impassioned vocal. Again, there’s a prog rock influence on All My Love. It was written in honour of Robert Plant’s son Karac. He delivers a vocal that’s heartfelt and emotive. When it drops out, the synths take charge. Then when Robert’s vocal returns, he combines the same emotion as he delivers a paean to his late son.
I’m Gonna Crawl closes In Through The Out Door. Again, the synths opens the song. The tempo has dropped, as the rhythm section and a chiming guitar combine. The drums create a mesmeric backdrop for Robert’s tormented vocal. He’s infatuated and unleashes a soul-baring vocal on this dramatic, rocky ballad. It features another vocal powerhouse from Robert, who in the space of two tracks, shows his versatility as a vocalist. Along with the rest of Led Zeppelin, they take what would be their final bow, on this dramatic, rocky ballad.
Little did the four members of Led Zeppelin realise it, but the In Through The Out Door sessions were the last time they would record together.
On 25th September 1980 John Bonham was found dead. The previous day, he had drunk the equivalent of forty shots of 40% vodka. The day began, when John was heading for rehearsals, downed four quadruple vodkas. He continued to drink throughout the day. At the end of the day, Led Zeppelin headed to Jimmy Page’s house. When he went to bed, John had drunk 1.4 litres of 40% vodka. Despite putting him on his side, John Bonham was sick and choked on his own vomit. The next day, John Bonham was found dead, aged just thirty-two. In Through The Out Door was his swan-song.
In Through The Out Door also proved to be Led Zeppelin’s final studio album. Their final album, Coda which was released in 1982, was a compilation of unreleased tracks. Led Zeppelin’s final album was In Through The Out Door.
While In Through The Out Door wasn’t their finest moment, it wasn’t a a terrible album. Especially considering that Jimmy Page was addicted to heroin and John Bonham was an alcoholic. Led Zeppelin dug deep, and came up with an album that sees them flit between musical genres. There’s everything from blues, country, Latin, prog rock and rock. Not just any rock, but Led Zeppelin at their heaviest. Sadly, if In Through The Out Door didn’t feature Led Zeppelin at their hard rocking best, what a fitting finale it would’ve been to the 100 million selling band. Sadly, it wasn’t to be.
What put a lot of people off In Through The Out Door was the use of synths. Keyboards had long played an important part in the Led Zeppelin sound. Synths were something that divided opinion. Especially on In Through The Out Door, which was recently reissued by Atlantic Records, on vinyl as a double album. The second LP features an alternative version of In Through The Out Door. It comprises demos and alternate tracks. This will appeal to Led Zeppelin completists. However, whether In Through The Out Door will appeal to newcomers to Led Zeppelin is another thing?
They would be better beginning with Led Zeppelin and working their way through Led Zeppelin II, Led Zeppelin III, Led Zeppelin IV, Houses Of The Holy and Physical Graffiti. These six albums feature Led Zeppelin at their hard rocking best, and show just why Led Zeppelin have sold over 100 million albums. Led Zeppelin at their hard rocking best were, and are, one of the greatest bands in the history of rock. Led Zeppelin were at the top for ten years, and their swan song was In Through The Out Door, may not have been their greatest album, but is one of their most eclectic, and shows fleeting moments of their previous genius.
LED ZEPPELIN-IN THROUGH THE OUT DOOR-DELUXE VINYL EDITION.
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