RACHEL SERMANNI-TIED TO THE MOON.
RACHEL SERMANNI-TIED TO THE MOON.
Rachel Sermanni can’t remember life without music. It has always been there, and has been a constant in her life. This was certainly the case as long as Rachel can remember. Growing up, music provided the soundtrack for Rachel and her siblings. Music also provided Rachel with one of her earliest memories.
Even today, Rachel can vividly remember her father teaching her how to play Twinkle Twinkle Little Star on a penny whistle. Little did Rachel’s father realise, that his younger daughter would embark upon a musical career.
He certainly never realised that on the 7th November 1991. That’s when Rachel Sermanni was born, in Carrbridge, a tiny village in the highlands of Scotland, with a population of 708. Rachel’s mother worked for the N.H.S. and her father was a dog handler for the police. Carrbridge’s newest resident would one day, become its most famous. That was still to come.
As Rachel grew up, music surrounded her. At an early age, her taught her to play the penny whistle. Soon, Rachel and her siblings were singing and even making up songs. Later, Rachel would learn to play the guitar. By then, Rachel was immersing herself into music.
Especially, traditional Scottish music. At school, Rachel heard and performed traditional Scottish music. She enjoying singing in front of an audience, and was a natural performer. It seemed even at an early age the world was Rachel Sermanni’s stage.
Back home, Rachel listened to an eclectic selection of music. Everything from Bob Dylan, Tom Waits and Van Morrison, right through to Eva Cassidy, Joni Mitchell, Bjork and P.J. Harvey. Along with her love of traditional Scottish music, this would shape Rachel as a singer and songwriter.
By the time Rachel was sixteen, she was already writing her own songs. She was already drawing experience from her childhood, the landscape and the vivid dreams she was already having. All this played their part in Rachel’s early songs, one of which made its way onto her debut album, Under Mountains, which was released in 2012. That was five years away. Rachel still had musical apprenticeship to serve.
This resulted in Rachel playing in local pubs. Later, Rachel moved to Glasgow, where she was a familiar face at traditional music nights throughout the city. Rachel was one of many hopefuls who turned up, clutching a guitar. However, Rachel stood out from the rest. All she needed was a break.
It came in 2009. Rachel went to see Mumford and Sons at Ullapool’s Loopallu festival. After they played their set, Rachel discovered them in a local pub. She asked them if they wanted to jam. Later, Rachel and Mumford and Sons were jamming on Ullapool’s beach. This lead Mumford and Sons to invite Rachel to open for them at Dingwalls, in London in 2011. Before that, Rachel headed off on her travels.
A year after her encounter with Mumford and Sons, Rachel travelled to the Middle East in 2010. However, she wasn’t alone. Accompanying her were other Scottish musicians. They were going work on a project where traditional Scottish music and musicians collaborated with their counterparts from Jordan. For Rachel, this was a fascinating insight into another culture, and what happened when two cultures were combined. This experiment was repeated in 2011.
This time, Rachel headed to India, where she embarked upon another collaboration. Her collaboraties were a mixture of tradition Indian musicians and some of the biggest names in Bollywood. Among them, were Bikram Ghosh and Papon Angaraag Mahanta. They toured India with Rachel, and began work on an E.P. which has still to be completed. While this journey to India was one of the highlights of 2011 for Rachel, the biggest highlight had still to come.
It came when Rachel opened for Mumford and Sons at Dingwalls, in London in 2011. This was a far cry from a jam session on Ullapool beach. However, won friends and influenced people that night at Dingwalls, including many within the music industry. Later in 2011, Rachel was touring with Fink. By the end of 2011, Rachel Sermanni was a name on many people’s lips. She was one of the hardest working musicians of 2011.
If 2011 had been a big year for Rachel Sermanni, 2012 surpassed it. Rachel released her debut album Under Mountains in 2012. It reached number twenty-six in Scotland, and number twenty-three on the British Indie charts. Considering Rachel wasn’t signed to one of the bigger indie labels, this was a successful debut album. Her debut album was heard far and wide.
In 2012, Rachel Sermanni made her debut at the Celtic Connection festival in Glasgow. This was just the first of a number of high profile appearances she would make.
Between 2012 and 2015, Rachel Sermanni has toured far and wide. From America and Canada, to Europe and Australia, Rachel has been a familiar face. She has opened for Rumer and Elvis Costello, and played some of the biggest festivals. This includes the Greenman Festival, Cambridge Folk Festival, Orkney Folk Festival, T In the Park, Wickerman, Deershed, Loopallu, Calgary Folk Festival, CMW, Dawson City Music Festival, Interstellar Rodeo, Vancouver Folk Festival, Woodford Folk Festival and Iceland Airwave. It’s no wonder Rachel Sermanni has the reputation as one of the hardest working musicians.
Apart from touring extensively, Rachel Sermanni has also released numerous singles and E.P.s, including The Bothy Sessions, Black Currents, Eggshells, Waltz, The Boatshed Sessions and Everything Changes. Then there’s Rachel’s 2012 debut album Under Mountains, and a live album recorded at the Dawson City Music Festival. However, it’s three long years since Rachel Sermanni last released an album. Back then, she was only twenty-one and had just embarked upon her career as Nu Folk singer.
Three years later, and Rachel Sermanni is back with her sophomore album Tied To The Moon. Considering how busy Rachel has been, it’s amazing she has found time to write ten new tracks. They were inspired by Rachel’s childhood, her experiences as woman, instinct and inhibition. The ten songs are much more poetic and rhythmic. They were recorded by Rachel’s talented band, who made a journey across the water.
With her talented band in tow, Rachel made her way to the beautiful, picturesque Island Of Lewis. What better place could there be to record an album? Especially, with one of the veterans of Scottish music producing Tied To The Moon.
Happily ensconced on the Island Of Lewis, Rachel set about recording ten tracks at Further North Studios. Producing Tied To The Moon was none other than Colin MacLeod, the man behind the Mull Historical Society. He also played guitars and pedal steel. Colin was joined in the rhythm section by Louis Linklater Abbott on drums and percussion, while Gordon Skene played bass and cello. Jane Hepburn played fiddle, while Jennifer Austin played piano, organ, fiddle and added backing vocals. Nicola and Fiona MacLeod aded backing vocals on In This Love. Rachel added backing vocals and played guitar. These ten tracks became Tied To The Moon, which was recently released by Middle Of Nowhere. This long-awaited and much-anticipated album marks a welcome return from Rachel Sermanni, Scotland’s Queen of Nu Folk.
Opening Tied To The Moon is Run. From the opening bars, it’s best described as dramatic. That’s the case from the moment the a guitar shrieks and the rhythm section lock into a tight, moody groove. Rachel meanwhile, delivers a vocal full of disbelief. She can’t quite comprehend what happened the night before: “I have made a mess I know, there is nothing you can throw, last night I was one shadow, trying to kill another.” Soon, there’s a sense of acceptance and later, melancholy in Rachel’s voice that her relationship is over. By then, the rhythm section and atmospheric washes of Hammond organ combine with Rachel’s ethereal vocal. Complimenting her vocal are ethereal, cooing harmonies. So does the hypnotic, moody, broody groove. When combined, they more than whet the listener’s appetite for the rest of Tied To The Moon.
Wine Sweet Wine has a quite different sounds. There’s a much more country tinged sound. It’s almost a case of spright outta Nashville. As a guitar is strummed, the piano is played deliberately and the drums provide the heartbeat. Rachel’s vocal is weary and wistful. She’s just realised that: “I just can’t be with someone, who wants just anyone.” So she has to leave. “I cannot sit on the shelf, while you play with someone else.” As Rachel delivers the lyrics, sadness, frustration and anger well up. Behind her a country tinged arrangement replaces Rachel’s vocal. When Rachel’s vocal returns, the lyrics are still cinematic. Pictures unfold before your eyes, and you find yourself taking sides, and feeling sorry for the woman who has been wronged. It’s portrayed realistically by Rachel, and is like a short story set to music.
A guitar is carefully plucked as Old Ladies Lament unfolds. The arrangement is understated and allows Rachel’s tender, melancholy vocal to take centre-stage. She sings about a child growing old and leaving home for the first time. There’s a sense of sadness in Rachel’s voice. Partly, because the character in the song’s child is leaving home. However, she also realises she’s growing old, and is alone. Later a telling and beautiful line is: “I would do it all again, I’d have my heart be broken.”
Slowly, and deliberately Rachel delivers the introduction to I’ve Got a Girl. Soon, the arrangement grows in power and drama. An electric guitar dominates the arrangement. It’s joined by the rhythm section and organ. At one point the arrangement almost waltzes along. However, the one constant is the drama. Rachel’s vocal is equally dramatic and deliberate. By then, there’s a brief nod to Cabaret. Mostly, though, I’ve Got a Girl sounds as if it belongs on the soundtrack to the new series of Twin Peaks as slowly, deliberately and dramatically, Rachel articulates the lyrics, bringing them to life.
Just like Old Ladies Lament, the arrangement to Don’t Fade has a much more understated sound. It’s obviously been influenced by the folk and traditional music Rachel listened to growing up. As Rachel tenderly and thoughtfully delivers the lyrics, she’s accompanied by a piano and guitar. That’s all that’s needed to frame Rachel’s lyrics. They take pride of place, allowing you to hear truly beautiful lyrics. This includes: “don’t fade before, you reach the shore, I want to see your face.” As Rachel delivers the lyrics, her vocal is truly heartfelt, hopeful and needy.
Tractor has a much more “poppy” sound, and shows another side to Rachel Sermanni. She’s a truly versatile artist, one that’s capable of writing cerebral lyrics. That’s the case here. Rachel’s part poet, poet philosopher. As she delivers an impassioned vocal, behind her, the rhythm section provide a tight groove.
Producer Colin MacLeod unleashes washes of pedal steel. They add an atmospheric hue. Especially, as Rachel delivers lines like: “if you choose, you can paint your own truth,” and “all this living, just to lie down and love.” Poet, philosopher, singer and songwriter, Rachel Sermanni is a truly talented artist, one whose capable of combining social comment and subtle hooks.
Ferryman has a much more traditional sound. It’s obviously been inspired by traditional Scottish music. Accompanied by just a guitar Rachel tenderly paints pictures. Imagery is ever-present. It’s possible to picture the Ferryman, the journey across the water and the lovestruck lovers. However, there’s a twist in the tale. “They knocked hard on the door, boots hard on the floor, and took us down to the shore, told us no more, we could be.” As Rachel’s wistful, heartbroken vocal drops out, it’s replaced by strings. They replicate the melancholy and sadness, before setting the scene for Rachel’s as ponderously she sings: “I asked the old man about crossing the river?”
Briefly, Rachel sounds like Suzanne Vega on Banks Are Broken. Then she slowly she delivers a needy, heartfelt vocal. With just a guitar for company, her vocal becomes wistful, as she sings: “tonight is the last time, I get to hold you fast and fast go the hours.” Then there’s a twist in the tale. The arrangement takes on a country sound, and Colin MacLeod’s vocal enters. In an instant, he becomes Lee Hazlewood to Rachel’s Nancy Sinatra, or more likely, Mark Lanegan to Rachel’s Isobel Campbell. Washes of pedal steel, piano and hypnotic drums joins with the guitar. Occasional bursts of cooing harmonies are added. So is a cello. Everything is added at just the right time by producer Colin MacLeod. He’s also the perfect foil for Rachel, they’re like yin and yang on Banks Are Broken.
Begin is an acoustic ballad. Rachel’s wistful is accompanied by a guitar. Her vocal is heartfelt. Especially as she sings: “do you trust, give you all that I can, if you let me.” Before long there’s a sense of uncertainty in Rachel’s vocal. “I think we’re thinking the same, what are you thinking.” Does he feel what she feels? She’s no longer sure. By then, she’s racked with insecurity and uncertainty. That becomes apparent when Rachel sings: “swim in the lake, we’ll be sinking, diving diving, how to we begin?” As a guitar is played firmly and deliberately and joined by a mandolin. They provide the backdrop for Rachel’s ethereal, cooing, scat on this tale of love, insecurity and uncertainty.
This Love closes Tied To The Moon. It’s a tale of love and betrayal. At first, there’s a sense of hope. Especially as Rachel sings lyrics like: “this love is a blue sky, this love is a sweet tooth.” As Rachel delivers the lyrics, there’s no sense of hope or joy in her vocal. Far from it. She’s been cheated upon. She has betrayal and revenge on her mind. “Revenge is making a comeback,” sings Rachel, “self pity searches for a rope.” However, despite her “making a comeback,” Rachel realises that “This Love is no love at all.” This proves a sobering end to Tied To The Moon, Rachel Sermanni’s long-awaited sophomore album.
Three years have passed since Rachel Sermanni released her debut album Under Mountains in 2012. Since then, Rachel has toured almost non-stop. She’s one of the hardest working singer-songwriters. Rachel Sermanni is also one of the most talented. Her new album Tied To The Moon, which was released on Middle Of Nowhere, is proof of this.
Tied To The Moon is what I would describe as an old school album. It features just ten tracks, and lasts thirty-nine minutes. That’s what albums used to be like, way before the compact disc. Back then, space on a vinyl album was at premium, so an album featured what was an artist’s best work. That’s the case with Tied To The Moon. The ten tracks are variously beautiful, cerebral, cinematic and dramatic. However, cinematic is the perfect description of Tied To The Moon.
On Tied To The Moon, Rachel Sermanni paints pictures with her lyrics. Scenes and scenarios unfold before the listener’s eyes. Characters come to life. Listeners share their sadness, pain and joy. They empathise at their uncertainty and insecurity. Especially, when Rachel sings of heartbreak and betrayal. Her voice breathes life, meaning and emotion into the lyrics. As a result, the characters in Rachel’s songs become real. So does their flaws, and the pain, hope and sadness they experience. Not many singers-songwriters have the ability to do so. Especially an artist who previously, has only released one studio album.
However, Rachel Sermanni is unlike most artists. Although she’s just twenty-four, Rachel is already a talented and accomplished artist. The last four years she’s spent touring, has been time well spent. Rachel has used that time to hone her songs and sound. As a result, she was more than ready to record her sophomore album, Tied To The Moon.
When recording began, Rachel Sermanni brought onboard Colin MacLeod as producer. He brings out the best in Rachel, framing her vocals with arrangements that veer between country, folk, pop and rock. Often, there’s a twist in the tale or a surprise in store. None more so, than on Tractor, which has single written all over it. Other times, Rachel seems to have been inspired by everyone from Bob Dylan, Tom Waits and Van Morrison, right through to Eva Cassidy, Joni Mitchell, Suzanne Vega, Bjork and P.J. Harvey. Their influence can be heard throughout Tied To The Moon. So can the traditional Scottish music Rachel Sermanni grew up listening to. It has influenced and shaped Rachel Sermanni as a singer and songwriter, as she makes the next step on what will surely be the road to stardom.
There’s no doubt about that. Rachel Sermanni is one of the brightest prospects in Scottish music. A great future awaits The Queen of Scottish Nu Folk. Her new album Tied To The Moon showcases a talented and versatile singer-songwriter. Tied To The Mood will introduce Rachel Sermanni to a much wider audience, and will take Rachel Sermanni one more step along the road to stardom.
RACHEL SERMANNI-TIED TO THE MOON.
THE FANTASTIC FOUR-THE LOST MOTOWN ALBUM.
THE FANTASTIC FOUR-THE LOST MOTOWN ALBUM.
The story of The Fantastic Four begins in Detroit, in the early sixties. Ralph Pruitt was walking through his neighbourhood when he heard singing. Curiosity got the better of Ralph. He couldn’t stop himself knocking on the door where the singing came from. The door was opened by James Epps, who introduced Ralph to his friend William Hunter. Soon, the three men were singing together. Just before the three men were about to go their separate ways, Ralph Pruitt asked James and William to join a group he was about to form. They accepted, and that day, The Fantastic Four were founded. Their music is documented on a new compilation of The Fantastic Four’s music, The Lost Motown Album which was released on Kent Soul, an imprint of Ace Records.
Soon, Ralph Pruitt’s younger brother Joe was drafted into the nascent group. Joe seemed a good choice. Music was in the Pruitt family’s blood. Ralph and Joe’s father, Alonzo Tucker was a guitarist. He had been a member of Hank Ballard and The Midnighters. After that, he became a stalwart of Jackie Wilson’s back-room team. Soon, he was cowriting many of Jackie Wilson’s hit singles. Now his two sons were following him into what was the “family business.”
Before long, the group encountered a problem. William Hunter was older than the rest of the group. He had a family to support and worked during the day. There was no way he could turn his back on his day job for a new group. Music was a somewhat perilous way of making a living for a family man. What if it wasn’t a success? So with a heavy heart, William Hunter left, and Wallace “Toby” Childs was drafted in as his replacement. With a settled lineup, all that was needed was a name.
Deciding on a name for their new name wasn’t easy. Eventually, the four men decided to all write down a name, which was drawn out of a hat. The winning name was The Fantastic Four. So, The Fantastic Four were born and began practising in earnest.
Quickly, The Fantastic Four were making progress. Eventually, when The Fantastic Four felt they had perfected and polished their sound, they decided to audition at one of Detroit’s record labels.
While Motown was the biggest record label in Detroit, The Fantastic Four decided to try another label. The label the chose, was Ed Wingate’s Ric Tic. It was situated at the Golden World studios, which was home to Ed Wingate’s Ric Tic and Golden World labels. They had been built up by Ed Wingate over a period of time. By 1966, Berry Gordy, Motown’s founder was rattled. He knew he had a serious rival.
Despite dwarfing Ed Wingate’s labels, Berry Gordy decided to buy the Golden World studios. It became part of the Motown “empire.” So did some of Ric Tic’s bigger artists, including Edwin Starr. Once these artists had moved to Motown, Ed Wingate was free to run the Ric Tic and Golden World labels as he saw fit.
So when The Fantastic Four turned up for their audition, the decision to sign them or not, was Ed Wingate’s alone. However, Pat Lewis, who was already signed to Golden World, advised Ed Wingate to sign The Fantastic Four. When Ed Wingate heard The Fantastic Four, he liked what he heard and signed them to Ric Tic. Soon, they would begin work on their debut single.
The Fantastic Four’s debut single was Live Up To What She Thinks was produced by George Clinton. It was released on Ric Tic in December 1966. Although it wasn’t a commercial success, Live Up To What She Thinks showed what The Fantastic Four were capable of. Early in 1967, The Fantastic Four returned with their sophomore single Can’t Stop Thinking Of My Baby. Ric Tic staff producer was drafted in to produce Can’t Stop Thinking Of My Baby. While commercial success still eluded The Fantastic Four, they knew they were on the right road.
It quickly became apparent that Al Kent was able to bring out the best in The Fantastic Four. When he took them into the recording studio to record The Whole World Is A Stage. Everything seemed to click. Both Al Kent and The Fantastic Four knew their time had come. That proved to be the case. The Whole World Is A Stage was released in the spring of 1967, and reached number six in the US R&B charts and number sixty-three in the US Billboard 100. It looked like The Fantastic Four’s star was in the ascendancy.
That proved to be the case. The Fantastic Four headed into the studio to record their fourth single, I Love You Madly. It was produced by Mike Hanks. On its release in the summer of 1967, I Love You Madly started climbing the charts. Across Detroit, Ed Wingate at Motown realised that somehow, The Fantastic Four had been overlooked by his A&R men. So a deal was struck to transfer I Love You Madly over to Motown’s Soul Records’ imprint. Many within the music industry thought that The Fantastic Four had hit a home run. The Fantastic Four
No wonder. By 1967, Motown was one of the most success record labels of the sixties. It was home to The Temptations, The Four Tops, The Supremes, Marvin Gaye and The Jackson 5. Motown was a hit making machine. Teams of songwriters, arrangers and producers worked day in, day out to produce hits for Motown’s ever expanding roster. This now included The Fantastic Four.
Now signed to Motown, I Love You Madly continued its climb up the charts. Eventually, it reached number twelve in the US R&B and number fifty-six in the US Billboard 100. This vindicated Ed Wingate’s decision to sign The Fantastic Four.
Following the success of I Love You Madly, the Motown machine sprung into action. Work began on what was The Fantastic Four’s Motown debut proper. However, it wasn’t Motown’s A-Team of songwriters or producers that were working with The Fantastic Four. Instead, the reserve team got a run out. For The Fantastic Four, this must have been a sobering thought. At Ric Tic The Fantastic Four were one of the label’s biggest names.
Eventually, The Fantastic Four were ready to record their Motown debut. The song chosen, was I Feel Like I’m Falling In Love Again, which was released as a single on 13th March 1969. It was produced by James Dean and William Weatherspoon. The flip side, Pinpoint It Down, was produced by George Gordy, Berry Gordy’s brother. When Feel Like I’m Falling In Love Again was released on Soul Records, commercial success eluded the single. This proved an inauspicious start to The Fantastic Four’s Motown career.
Another six months passed before The Fantastic Four released another single. Just Another Lonely Night on 23rd September 1969. It was produced by Clay McMurray. Just like George Gordy, Clay McMurray wasn’t one of Motown’s top producers. Instead, he was one of the second string. For The Fantastic Four this was disconcerting. They were worried.
No wonder. When Just Another Lonely Night was released, lightning struck twice. The single sunk without trace. For The Fantastic Four, they must have been disappointed with how their Motown career was going.
Before signing to Motown, The Fantastic Four’s star was in the ascendancy. They had worked with Ric Tic’s top songwriters and producers. At Motown, things were very different.
Often The Fantastic Four were competing with other groups for songs. Sometimes the backing tracks had been recorded a year or more before. Occasionally, they been used on other songs. What must have troubled The Fantastic Four was that they weren’t working with top songwriters or producers. If they had, then they definitely had the potential to become a much bigger group. By 1969, that didn’t look like happening.
Even though The Fantastic Four had only released two singles, they had recorded much more music. With producer Clay McMurray, The Fantastic Four recorded cover versions of The Beatles’ We Can Work It Out, The Temptations’ Just Another Night, Jerry Butler’s Just Can’t Forget About You Baby and Marvin Gaye and Tammi Terrell’s If This World Were Mine. However, these four tracks were never released as singles. Instead, The Fantastic Four’s next single wasn’t released until 1970.
On The Brighter Side Of A Blue World was released as a single on 23rd April 1970, just over two years since The Fantastic Four had released their Motown debut. On the flip side was I’m Gonna Carry On. Both tracks were produced by Clay McMurray. However, just The Fantastic Four’s previous singles, they failed commercially. Little did anyone know that On The Brighter Side Of A Blue World was the last single The Fantastic Four released on Motown. However, nobody realised that.
Before the release of On The Brighter Side Of A Blue World, Motown had been making plans to release The Fantastic Four’s long awaited debut album. There was more than enough material for a debut album. So work began on narrowing down this material to twelve tracks. This included the singles I Feel Like I’m Falling In Love Again, Just Another Lonely Night and On The Brighter Side Of A Blue World. They were joined by B-Sides I’m Gonna Carry On and Don’t Care Why You Want Me (Long As You Want Me). Then there were cover versions of The Beatles’ We Can Work It Out, The Temptations’ Just Another Lonely Night, Jerry Butler’s Just Can’t Forget About You Baby and Marvin Gaye and Tammi Terrell’s If This World Were Mine. Other tracks included Take Him Back If It Makes You Happy, and A Little Too Much and Keep On Tryin’ (‘Til You Find Love). These twelve tracks were scheduled to be The Fantastic Four’s long awaited debut album.
Recording of The Fantastic Four’s long awaited debut album took place over a period of two years. It was a piece meal project, with twelve of the many tracks The Fantastic Four had recorded chosen. These twelve tracks were given a title, How Sweet He Is, and was scheduled for release in 1971. That was until On The Brighter Side Of A Blue World failed commercially.
That was a game-changer. Now all bets were off. Motown called time on The Fantastic Four’s debut album. It had been scheduled to be called How Sweet He Is. This proved a controversial title.
Soon, rumours spread that How Sweet He Is was going to be James Epps’ debut album. Many thought that Motown were ready to focus their attention, and budget on James Epps. While this idea had been considered, it was quickly dismissed. However, that was the least of The Fantastic Four’s worries.
By then, tragedy had struck for The Fantastic Four. Around the time On The Brighter Side Of A Blue World was released, Wallace “Toby” Childs died. He was replaced by Ernest Newsome, who previously had been a member of The Volumes. However, by then, Motown had lost interest in The Fantastic Four. When their contract expired, it wasn’t renewed. Since then, The Fantastic Four’s lost album How Sweet He Is has lain in the Motown vaults.
That’s until recently. How Sweet He Is was recently rediscovered when Chris Jenner and Tony Rounce were perusing the Motown vaults. Not only did the discover the twelve tracks on How Sweet He Is, but another thirteen bonus tracks. They include B-Sides and previously unreleased tracks. The result is what’s easily, the most comprehensive overview of The Fantastic Four’s Motown years.
Belatedly, How Sweet He Is can be heard by soul fans for the very first time. Previously, the only tracks that had been released were the singles I Feel Like I’m Falling In Love Again, Just Another Lonely Night and On The Brighter Side Of A Blue World. They were joined by B-Sides I’m Gonna Carry On and Don’t Care Why You Want Me (Long As You Want Me). If This World Were Mine featured on a compilation in 2008. Two years later, and Take Him Back If He Makes You Happy and Keep On Tryin’ (‘Til You Find Love). However, the rest of How Sweet He Is remained unheard. Nor had the original album been heard as it was meant to be heard. Belatedly, this is rectified on The Lost Motown Album. It’s just part of the story of The Lost Motown Album.
Apart from The Lost Motown Album, there’s another thirteen bonus tracks that were discovered in the Motown vaults. They showcase a versatile and talented group. They’re equally at home whether its uptempo, dancers or ballads. Two of the best uptempo tracks are How Big Is Your Heart and The Temptations’ inspired Pin Point It Down, The Fantastic Four. However, The Fantastic Four come into their own on ballads like I’ve Found My Goal and I Hate Myself For Loving You. They showcase The Fantastic Four at their best. They’re two impassioned ballads. I’m Still A Struggling Man is a real hidden gem, one that makes you wonder what heights The Fantastic Four might have reached with a label that backed them fully. The same can be said of Loving You (Is Hurting Me), with its quivering strings. Despite being paired with second rate producers, The Fantastic Four were still capable of delivering the soulful goods. They breathed emotion and meaning into songs. Sadly, most of these songs have lain unreleased in the Motown vaults until very recently.
Thankfully, Kent Soul, an imprint of Ace Records have reissued The Lost Motown Album. It’s a reminder of one of Motown’s forgotten groups. They went from riding the wave of success at Ric Tic, to the forgotten men of Motown.
The Fantastic Four weren’t didn’t even get the chance to release their singles on the Motown label. Instead, they were relegated to the Soul Records’ imprint. When they signed to Soul Records, The Fantastic Four had to compete with other groups for the best songs. They were always reserved for the big name groups. It was an impossible situation. Especially given
The Fantastic Four were always paired with second string producers. Despite being behind the black ball, The Fantastic Four punched above their weight. So much so, that one wonders what heights might The Fantastic Four have reached if Motown had backed them fully?
If Berry Gordy had ensured that The Fantastic Four worked with Motown’s top songwriters and producers, they may have gone on to rival The Temptations and The Four Tops. That sadly, wasn’t the case. Instead, The Fantastic Four became the forgotten men of Motown whose debut album has lain unreleased for forty-five years. Now that The Lost Motown Album has been released, it’s a welcome reminder of just how talented The Fantastic Four were. Their story is a case of what might have been?
THE FANTASTIC FOUR-THE LOST MOTOWN ALBUM.
TAMPA RED-DYNAMITE! THE UNSUNG KING OF THE BLUES.
TAMPA RED-DYNAMITE! THE UNSUNG KING OF THE BLUES.
Underrated and one of the unsung heroes of the blues. That’s a perfect description of Florida born guitarist, Tampa Red. He was, without doubt, one of the most influential blues guitarists ever. Tampa Red influenced everyone from Big Bill Broonzy and Robert Nighthawk, through to Muddy Waters, Mose Allison and Elmore James during a career that spanned over thirty years.
Tampa Red’s recording career began in 1930, and lasted right through until the sixties. However, only four of his singles reached the top ten in the US R&B charts. This was whilst Tampa Red was signed to the Bluebird and RCA Victor labels. Part of this period is covered in a new Tampa Red compilation released by Ace Records, Dynamite! The Unsung King Of The Blues. It’s a fifty tracks double album, which concentrates on the music Tampa Red released on Bluebird and RCA Victor between 1942 and 1954. By then, Tampa Red was one of the biggest name in the blues. His story began in Florida, in 1904.
The future Tampa Red was born Hudson Woodbridge, on January 8th 1904, in Smithsville, Georgia. Tragedy struck early in Hudson’s career, when both of his parents died.
This resulted in Hudson moving to Tampa Bay, Florida, where he was brought by his aunt and grandmother. Hudson adopted their surname, and became Hudson Whittaker. Growing up, one of the major influences on Hudson, was his elder brother Eddie.
Eddie was a musician. He played guitar, and had been taught by a veteran musician Piccolo Pete. Now Eddie was becoming an accomplished player, Hudson watched on eagerly. Soon, he was copying and replicating the blues licks his brother played. It wasn’t long before Hudson was a better guitarist than Eddie. So it was no surprise that Hudson would embark upon a career as a musician.
This happened in the early twenties, when Hudson Whittaker moved to Chicago. By then, Hudson had already mastered the slide guitar. When he arrived in Chicago, Hudson Whittaker became Tampa Red. Tampa was a nod to his old hometown, while Red was either after the shock of red hair he sported or his light skin tone. Little did anyone who met the newly named Tampa Red realise that a blues great had just been born.
Tampa Red got his break when Ma Rainey was looking for a new guitarist. She was one of the biggest names in blues music. So this was something of a coup for a relative newcomer. However, a year later, and Tampa Red’s was well known across America.
In 1928, Tampa Red and Georgia Tommy Dorsey recorded It’s Tight Like That. It went on to sell in excess of 500,000 copies. Suddenly, Tampa Red’s name was on everyone’s lips. The twenty-four year old had come from nowhere, to become one of the biggest selling bluesmen of the time. And he wasn’t going away.
Not long after the release of It’s Tight Like That, Tampa Red became friends with one of Chi-Town’s music publishers, Lester Melrose. He published many of the songs Tampa Red penned and for many years, was was his de facto manager. This relationship lasted right through to the sixties. However, as well as a publisher and business manager, Tampa Red had also acquired a wife.
It’s fair to say that Tampa Red and his Frances Whittaker were an unlikely pairing. She was much older than Tampa Red, and was almost maternal in the way she looked after her new husband. She was quite happy looking after Tampa Red and his musical friends who came to stay. Although the newly weds were an unlikely pairing, Tampa Red enjoyed a stable home life. He was the polar opposite to many bluesmen. They drank excessively, took drugs, smoke and brawled. Some went to jail. A couple even cheated the hangman’s rope. Not Tampa Red though.
Instead, Tampa Red was establishing a reputation as a musical pioneer. He came a National steel bodied resonator guitar. In the days before bluesmen plugged in, it was a game-changer. Importantly, the National was much louder. For Tampa Red playing in large, often noisy halls, this would help. What also appealed to Tampa Red, and many other bluesmen, was the National looked good. It was showy, brash and flashy. When Tampa Red played single string runs, the audience were awe struck. Here was a guitar that stood out from the crowd. So did the man playing it. His bottleneck style wowed audiences wherever he went. Unsurprisingly, Tampa Red was always in demand as a guitarist.
Right through to 1932, Tampa Red and Georgia Tommy Dorsey enjoyed a successful partnership. However, nothing lasted forever, and in 1932, the two men parted company. So, Tampa Red began working as a session musician.
Such a talented guitarist as Tampa Red was always going to be busy. Everyone from Sonny Boy Williamson to Big Maceo and Memphis Minnie bought Tampa Red onboard to play guitar. Then in 1934, Tampa Red signed to Victor Records.
This was the start of a relationship that lasted nineteen years, and includes the years covered on the Ace Records’ compilation, Dynamite! The Unsung King Of The Blues. However, that compilation covers the period between 1942 to 1954. Before that, Tampa Red would form a new band and a new sound.
Now signed to Victor Records, Tampa Red formed The Chicago Five. His new group consisted of session musicians. They were responsible for the Bluebird sound, which went on to influence jump blues and then rock ’n’ roll. During this period, everything in Tampa Red’s life was going to plan.
During the remainder of the prewar years, Tampa Red was one of the most respected figures in blues music. His records were selling well and Tampa Red compared to other bluesmen, he was reasonably wealthy. He was certainly able to live comfortably, and enjoyed spending time with two of his best friends within music, Big Maceo Merriweather and Big Bill Broonzy. Knowing how lucky he was, Tampa Red continued his open house policy.
Still, when any of Tampa Red’s musical friends came to play in Chicago, Tampa Red allowed them to stay at his home. Often, they were allowed to use it as a rehearsal space. This was also the case with musicians arriving from the Mississippi Delta looking for a new life. As the next generation of blues men came chasing the dream, Tampa Red gave them somewhere to stay. In this corner the blues capital of America, newcomers and legends were made welcome by Tampa Red, who was about to enjoy the most successful period of his career. It’s documented on Dynamite! The Unsung King Of The Blues.
By 1942, Tampa Red was releasing singles via RCA Victor’s Bluebird imprint. This just happened to coincide with the most successful period of his career.
Tampa Red was a truly prolific artist. During his career, who recorded in excess of 300 sides. This included the single You Better Be Ready To Go. It featured Don’t Deal With The Devil on the flip side. Tampa Red had recorded both tracks in June 1941, but didn’t release them until 1942. Later that year, She Wants To Sell My Monkey was released as a single with Mean and Evil Woman on the flip side. These two tracks had been recorded at a session on 6th February 1942. Both singles sold well, but nowhere near as good as Tampa Red’s third single of 1942.
Despite Tampa Red being an experienced solo artist, he had never experienced the success enjoyed with Let Me Play With Your Poodle. It was recorded at a session with Big Maceo Merriweather and Clifford “Snags” Jones. That day four tracks were recorded, including Let Me Play With Your Poodle and the B-Side My First Love Blues on the B-Side. On the release of Let Me Play With Your Poodle, it surpassed the success of Tampa Red’s previous singles, reaching number four in the US R&B charts. Little did Tampa Red know that was the most successful single of his career.
After the recording session in February 1942, Tampa Red only released two more songs during 1942. I Got My Habits On and Mary Lou Blues were recorded with Big Maceo Merriweather and Clifford “Snags” Jones on 28th July 1942. Neither track was released until now, when they make their debut on Dynamite! The Unsung King Of The Blues. These were the last tracks Tampa Red recorded until December 1944 due to the musicians strike by the American Federation of Musicians.
On 15th December 1944, after over two ways away from the recording studio, Tampa Red was back. He recorded Detroit Blues with Blind John Davis and Ransom Knowling. It was released as a single on Bluebird on 1945. This was Tampa Red’s first single for three years. However, it was a return to form from the veteran blues man.
In July 1946, Big Maceo Merriweather and Charles “Chick” Sanders joined Tampa Red in the studio. The three men recorded Texas Stomp, which was released in 1946 bearing Big Maceo’s name. However, it features on Dynamite! The Unsung King Of The Blues. So do two tracks Tampa Red recorded later in 1945.
Three months later, on 19th October 1945, Tampa Red returned to the studio. With Big Maceo Merriweather and Alfred Elkins, they recorded Corrine Blues and Play Proof Woman. Both tracks were released in 1947. By then, Tampa Red would’ve enjoyed another huge hit.
February 1946 saw Tampa Red enter the studio with a five piece band. They accompanied him on Crying Won’t Help and Let’s Try It Again. When Crying Won’t Help was released as a single later in 1946, it was on RCA Victor. No longer was Tampa Red signed to Bluebird. No. He had gone up in the world. This coincided with a successful period in Tampa Red’s career. It began when Crying Won’t Help reached number five in the US R&B charts. Tampa Red was one of the biggest selling blues men of the postwar years.
Although Tampa Red was riding a wave of success, it wasn’t until 23rd September 1947, that he returned to the studio. Two tracks were cut, I Know My Baby Loves Me and You Better Woo Your Baby. Then in October 31st 1947, Tampa Red returned to the studio. With a second musician’s strike looming, record companies were keen to have plenty of music recorded.
So Tampa Red, with a five piece band accompanying him, recorded another three tracks. I’ll Dig You Sooner Or Later and Roamin’ And Ramblin’ were released in 1946. However, Keep Jumping was kept in reserve by RCA Victor. By then, it was looking increasingly likely that the dispute wasn’t going to be resolved.
That proved to be the case. As the clock struck 00.01 on 1st January 1948, the second Petrillo ban came into force. Record companies were better prepared. Not only had they been recording music during the past few weeks, but since the last ban. They were determined that never again, would they be help to ransom by a union. This was all very well, but for artists like Tampa Red, the future looked uncertain.
It wasn’t until early 1949 that the musician’s strike was resolved. Caesar Petrillo had gone into battle for the musician’s union members and one. With victory secured, now his members could get back to what they did best, making music.
On 24th March 1949, Tampa Red was joined in the studio by Little Johnnie Jones, Odie Payne and Ransom Knowling. They recorded a trio of tracks; It’s A Brand New Boogey, When Things Go Wrong With You (It Hurts Me Too) and Please Try To See It My Way. After almost two years away, Tampa Red sounded even better. It was as if he had been reinvigorated, and was able to breath meaning and emotion into the lyrics. His hand picked band compliment him perfectly. Surely, these tracks would give Tampa Red a hit single?
It’s A Brand New Boogey and When Things Go Wrong With You (It Hurts Me Too) were released in 1949. When Things Go Wrong With You (It Hurts Me Too) was released reached number nine in the US R&B charts. This was Tampa Red’s biggest hit since the musicians strike ended. Buoyed by another hit single, Tampa Red returned to the studio.
Another four months passed before Tampa Red returned to the studio on 21st July 1949. During that period, Tampa Red was playing live and writing songs. So when he entered the studio, he had a couple of new song, That’s Her Own Business which was released in 1949, and It’s Too Late Now which was released in 1950.
Another four months passed before Tampa Red returned to the studio on 21st July 1949. During that period, Tampa Red was playing live and writing songs. So when he entered the studio, he had a couple of new song, That’s Her Own Business which was released in 1949, and It’s Too Late Now which was released in 1950.
So was Please Try To See It My Way, which had been recorded in March 1949. It’s the latest of the tracks on disc two of Dynamite! The Unsung King Of The Blues. They were recorded between 24th June 1941 and 21st June 1949. However, disc two of Dynamite! The Unsung King Of The Blues features the period between 7th March 1950 and 4th December 1953.
The period that disc one of Dynamite! The Unsung King Of The Blues begins on 7th March 1950. That’s when Tampa Red and his band of Little Johnnie Jones, Odie Payne and Ransom Knowling returned to the studio. They recorded 1950 Blues, Love Her With A Feelin’, It’s Good Like That and New Deal Blues which features on disc one. These tracks would be released as singles later in 1950.
For the first single, 1950 Blues was chosen as a single. On the B-Side was Love Her With A Feelin’. The followup was It’s Good Like That with New Deal Blues on the B-Side. Both singles sold well, but didn’t match the success of When Things Go Wrong With You (They Hurt Me Too). So the search for Tampa Red’s next single continued.
Tampa Red and his band reconvened on 5th November 1950. They recorded another three tracks, Sweet Little Angel, Midnight Boogie and I Miss My Lovin’ Blues. Midnight Boogie was released with I Miss My Lovin’ Blues as a single in 1951. Both songs oozed quality, but never came close to matching the commercial success of some of Tampa Red’s earlier singles. Over the next four years, this would become a familiar story. Music was about to change, and change beyond recognition.
After a five month gap, Tampa Red returned to the studio to record his new single in March 1951. Three tracks were recorded by Tampa Red and his usual band, She’s Dynamite, Pretty Baby Blues and Early In The Morning. Later in 1951, She’s Dynamite was released as a single. Early In The Morning was chosen as the flip side. While it didn’t give Tampa Red that elusive hit single, Pretty Baby Blues did. It reached number seven in the US R&B charts. Little did Tampa Red realise this, but it was the last major hit single of his career.
On 28th July 1951, Tampa Red and his band cut another three tracks, She’s A Cool Operator, I Won’t Let Her Do It and Green And Lucky Blues. Without doubt, the highlight of the session was She’s A Cool Operator. It was chosen as a single, and paired with Green And Lucky Blues. However, Tampa Red’s was out of luck.
In 1952, it was twenty years since Tampa Red and Georgia Tommy Dorsey went their separate ways. Since then, Tampa Red had been heralded as one of the most influential and innovative bluesmen. He was also one of the most successful bluesmen of the past twenty years. However, hits were getting hard to find.
Having recorded I’m Gonna Put You Down, But I Forgive You and Look A There, Look A There on 21st April 1952, Tampa Red chose But I Forgive You as a single. On the flip side was I’m Gonna Put You Down. When But I Forgive You was released it wasn’t a commercial success. Look A There, Look A There was then released as a single. History repeated itself.
This wasn’t the way Tampa Red wanted to celebrate twenty years as a solo artist. So in 17th November 1952, Tampa Red recorded Too Late, Too Long, I’ll Never Let You Go and Got A Mind To Leave This Town. Of the three tracks, Too Late, Too Long was released as a single in 1953, with I’ll Never Let You Go on the B-Side. Again, commercial success eluded Tampa Red. This was becoming a habit.
By September 1953, it was nearly two years since Tampa Red enjoyed a hit single. With a new five piece band in tow, he recorded So Crazy About You, Baby, If She Don’t Come Back and So Much Trouble. In 1954, So Crazy About You was released as a single, with So Much Trouble on the flip side. It was a familiar story, when the single wasn’t a commercial success. Part of the problem was, that rock ’n’ roll had just been born. To many record buyers, the blues was the music of the past. Despite that, Tampa Red wasn’t going to give up.
On 4th December 1953, which is the last recording session documented The Unsung King Of The Blues, Tampa Red and his band recored four tracks. They were Evalena, Big Stars Falling Blues, Rambler’s Blues and (If I Don’t Find Another) True Love. Only Big Stars Falling Blues was released as a single in America, while Rambler’s Blues was released in Britain. Neither single were a commercial success, despite their undoubtable quality. This wasn’t the end of Tampa Red.
The birth of rock ’n’ roll spelt bad news for the blues. It quickly fell out fashion. While Tampa Red and other blues players still played live and released singles, they were no longer the big draws they had once been. However, by the sixties, the blues was back in fashion.
Championing the blues were the new breed of rock ’n’ roll group, including The Rolling Stones, The Beatles and The Animals. So did John Mayall and Eric Clapton. Both were fervent champions of the blues. They too, were determined to introduce the blues and to a new audience. So often, when they headed out on tour in the mid-sixties, a blues artist was the opening act. Suddenly, Muddy Waters and Howlin’ Wolf were being heard by a new audience. This extended to Tampa Red.
The new generation of rock ’n’ roll fans were suddenly listening to Tampa Red’s records. This resulted in a resurgence of interest in Tampa Red’s music. It lasted well into the sixties, with new labels being setup to release blues music. However, blues music’s glory day’s were long gone.
Good as it was, to see legends of blues music make a comeback, nothing lasts forever. By the end of the sixties, many blues artists had faded back into obscurity. They struggled to make a living. Some were even forced back into civvy street. However, the decline in popularity of blues music was the least of Tampa Red’s worries.
Ever since his wife died in 1953, Tampa Red began the slow descent into full blown alcoholism. As Tampa Red grieved, he sought solace in a bottle. For this once proud and shrewd man, the story wasn’t going to end well.
Over the next twenty-eight years, Tampa Red bravely battled alcoholism. Sadly, it got the better of him, and on March 19th 1981 Tampa Red died. He was penniless and homeless. It was quite a fall to grace for one of unsung heroes of the blues. Tampa Red was, without doubt, one of the most influential blues guitarists ever. He was at his most productive, successful and innovative between 7th March 1942 and 4th December 1953, the period that Dynamite! The Unsung King Of The Blues covers. It was recently released by Ace Records and is the perfect introduction to Tampa Red, a true legend of blues music.
TAMPA RED-DYNAMITE! THE UNSUNG KING OF THE BLUES.
LED ZEPPELIN-PRESENCE-VINYL EDITION.
LED ZEPPELIN-PRESENCE-VINYL EDITION.
By 1975, Led Zeppelin were at the peak of their powers. They were one of the biggest bands in the world. Every time they released an album, it was to critical acclaim and commercial success. Led Zeppelin albums sold by the million. That had been the case since Led Zeppelin released their eponymous debut album album in 1969.
When Led Zeppelin was released in January 1969, it was certified double platinum in Britain. Elsewhere, Led Zeppelin was certified gold in France, Holland and Switzerland. In Canada, Led Zeppelin sold a million copies and was certified diamond. This was almost unheard of. However, this was nothing compared to sakes of Led Zeppelin in America.
In America, Led Zeppelin sold eight million copies. This resulted in Led Zeppelin being certified platinum eight times over. Despite the success of Led Zeppelin, it wouldn’t be Led Zeppelin’s biggest selling album in America. That was still to come.
Between the release of Led Zeppelin II in October 1970, and Physical Graffiti in February 1975, Led Zeppelin were the biggest selling band in America. Their first six albums sold seventy-six million albums in America alone. This included sixteen million copies of Physical Graffiti, which became Led Zeppelin’s second most successful album. Elsewhere, Led Zeppelin continued to outsell most bands. So when Led Zeppelin announced a tour later in 1975, tickets sold out quickly.
Tickets to Led Zeppelin’s 1975 were like gold dust. It was the show everyone wanted to see. No wonder. Led Zeppelin were one of the best live bands of the seventies. They were the hardest rocking band of the seventies. The only bands that had come close, were the other the other two members of the unholy trinity of rock, Led Zeppelin, Black Sabbath and Deep Purple.
However, by 1975, Led Zeppelin stood head and shoulders above the rest in more ways than one.
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.
On the 5th of August 1975, Robert Plant and his family were relaxing in Rhodes. He was about to join the rest of Led Zeppelin on the 23rd of August 1975, when they embarked upon their world tour. Just like previous Led Zeppelin tours, it would prove gruelling. Especially, they way Led Zeppelin relaxed after concerts. So, Robert was enjoying himself on the beautiful Greek island. Then disaster struck.
Robert had hired a car to use during his holiday. Everything had been going well until the 5th of August 1975. That day, Robert was driving along the road when all of a sudden, the car spun off the road and crashed. He was taken to hospital where doctors discovered that Robert had broken his ankle and elbow. Once Robert had been treated, he was taken to a ward. Straight away, Robert was immediately recognised. The man in the next bed was a fan, and took to serenading Robert with a selection of Led Zeppelin songs. For the next few days, Robert Plant spent time in hospital, before being discharged in a wheelchair. Considering Led Zeppelin were meant to be heading off on tour in less than two weeks, this presented a problem.
Manager Peter Grant and the rest of Led Zeppelin realised that with Robert Plant in a wheelchair, there was no way the tour could go ahead. Led Zeppelin’s world tour was cancelled. For Led Zeppelin this was a disaster, although they never realised how much. It would take two years before Robert Plant fully recovered. By then, they would’ve released their seventh album Presence, which will be reissued by Warner Music on vinyl on 31st July 2015. Presence was written and recorded as Robert Plant recuperated.
Following his return from Greece, 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. Now they could begin rehearsing what became Presence.
Bassist John Paul Jones and drummer John Bonham joined guitarist Jimmy Page and vocalist Robert Plant at Hollywood’s SIR Studio. That’s where they spent the next month, recording 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.
Led Zeppelin arrived at Musicland Studios, in November 1975. Page and Plant had penned seven of Presence’s eight tracks. The other track, Royal Orleans, was credited to the four members of Led Zeppelin. These eight tracks would feature a different Led Zeppelin.
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. All they needed now was a title and a cover.
Originally, Led Zeppelin wanted to call the album Thanksgiving. The idea was quickly forgotten, in favour of Presence. Led Zeppelin felt that this explained the powerful force and presence that surrounded the group. Now that the album had a title, Led Zeppelin asked the designers Hipgnosis to come up with an album cover.
Hipgnosis came up with an image of two people interacting within a black obelisk shaped object. This they named “The Object,” which was meant to represent the “force and presence” of Led Zeppelin. Now that the cover was complete, Led Zeppelin could release their seventh album Presence.
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. Was Presence the wrong album at the wrong time? After all, music’s bastard child, punk had just been born. Did that play a part in Presence’s commercial failure? Or was it that the album had been rushed? That’s what I’ll tell you, once I’ve told you about Presence.
Led Zeppelin open Presence with Achilles Last Stand, a ten and a half minute epic that was inspired by Robert’s visit to, and experiences in, Morocco. It’s the longest song in the Led Zeppelin back-catalogue, and a song of two parts. From an understated introduction, the arrangement literally gallops along. Crucial to this galloping sound, is John Paul Jones’ eight-string bass and John Bonham’s drums. They become one, and drive the arrangement along. They’re joined by bursts of blistering guitar riffs. Sometimes, they’re multi-tracked, with twelve layers of guitars adding an orchestral twist. The other component part to Achilles Last Stand is Robert’s vocal. Sadly, it lacks the strength of earlier albums. That can be forgiven, as he manfully delivered the lyrics from his wheelchair. Bursts of vintage Robert Plant shine through, as Led Zeppelin always the innovators, showcase their new sound, which would result in the New Wave of British Heavy Metal.
Slowly and dramatically, the rhythm section and searing guitars combine on For Your Life. Robert vamps, and unleashes a venomous vocal. Anger, frustration and fury fill his vocal, as he sings of “the city of the dammed.” That’s Los Angeles, after a blizzard of cocaine resulted in numerous casualties among its musical community. As Robert delivers one of his best, and most emotive vocals, the rest Led Zeppelin jam. The rhythm section provide the foundation for Jimmy’s guitar masterclass. It might not be the most complicated song he’s played, but his contribution makes the song. His playing is no frills. There’s no showboating, as he unleashes machine gun licks. It’s as if he’s happy to let Robert’s vocal takes centre-stage, as he fires off a warning shot about the dangers of cocaine within L.A.’s music scene.
Royal Orleans is allegedly, about an unwitting encounter John Paul Jones had with a transvestite in the Royal Orleans Hotel, in New Orleans. Not knowing she was a he, John invited them upstairs. They smoked a joint, and fell asleep. The only problem was that the transvestite had a join in their hand, and the room burnt down. The song tells the story. Blistering, machine gun licks join with the rhythm section and Robert’s vocal. He struts his way through the song, recovering some of his usual power. Crystalline guitar licks, hissing hi-hats and pounding drums join with percussion. They provide the backdrop for Robert as he fires of the warning shot; “be careful how you choose it,” and later; ”poor whiskers set the room alight.”
From their early days, Led Zeppelin found inspiration in the blues music. That’s the case with Nobody’s Fault But Mine. Its roots can be traced back to Robert Johnson’s Hellhound On My Trail. However, Led Zeppelin eschew the blues, and kick loose, delivering one of the hardest, rockiest songs of their seven album career. Straight away, waves of scorching, searing guitars assail the listener. Robert vamps and wails, before the rhythm section make their presence felt. Soon, Robert seems to have regained some of his power. He delivers a tormented vocal, admitting: “it’s Nobody’s Fault But Mine.” Robert then blows a mean blues harp. Behind him, Led Zeppelin are in the rockiest of grooves. For six minutes, Led Zeppelin are at their heaviest and rockiest, delivering a blistering performance,
Candy Store Rock was chosen as the lead single from Presence. Led Zeppelin play the song as if it’s a rock ’n’ roll number. In doing so, John Bonham and Jimmy Page eschew power. Instead, their performances are controlled. Robert is transformed into an old rock ’n’ roller. His lyrics seem to have been inspired by old Elvis Presley songs. Although quite different from previous tracks, it shows another side to Led Zeppelin.
Hots On For Nowhere finds a frustrated Robert Plant make his feelings known about Jimmy Page and Led Zeppelin’s manager, Peter Grant. After a stop start introduction, the rhythm section and searing guitars accompany Robert’s vocal. Straight away, Robert’s vocal lacks the power of previous albums. It’s weak, but still the track takes on a melodic sound. Later, la-la-la harmonies are added. Then Jimmy Page steps up and steals the show with some of crystalline licks. They literally cut through the arrangement. This seems to inspire Robert. Along with the harmonies, the track takes on a singalong, anthemic sound.
Bookending Presence is Tea For One, a nine minute track. It seems fitting that epics bookend Presence. Straight away, Led Zeppelin throw a curveball. It looks as if they’re about to unleash a vintage slice of rocky music. However, they then slow the arrangement down, and it takes on a hypnotic, spacious and bluesy sound. The rhythm section leave space for Jimmy’s searing, soaring, crystalline licks. Deliberately, he plays each note with care. After nearly two minutes, Robert’s vocal enters. It’s full of pain and hurt, and can almost be described as pained. He sounds as if he’s been homesick and lonely while on tour. Occasionally, the arrangement has taken on a harder and rockier sound. Mostly, though, Tea For One is a dramatic epic where blues and rock unite seamlessly, as Led Zeppelin keep the best until last.
While Presence failed to match the commercial success of Led Zeppelin’s six previous albums, there are several explanations for this. The first is that Led Zeppelin returned to the studio too soon. With the tour having been cancelled, this gave Led Zeppelin the opportunity to record their seventh album. However, it wasn’t well planned.
Robert Plant was still recovering from a broken ankle and elbow. He was unable to walk. This resulted in Robert Plant delivering his vocals from a wheelchair. For such an expressive and powerful vocalist, this was never going to work. Robert later admitted this, saying his vocals were “pretty poor”…and “sounds tired and strained.” This shows on Presence, with Robert never quite unleashing his trademark powerhouse vocal. However, this wasn’t the only problem with the recording of Presence which will be reissued on vinyl by Warner Music on 31st July 2015.
Having rehearsed Presence in Hollywood’s SIR Studio, Led Zeppelin flew to Munich. Like many bands and artists, they decided to record at Giorgio Moroder’s Musicland Studios. This was the fashionable place for bands to record. Everyone from Donna Summer to David Bowie and Deep Purple had recorded their. However, Led Zeppelin knew they had only eighteen days to record and mix Presence. Still, they decided that was the studio for them. In the end it backfired.
With only eighteen days of studio time, the recording of Presence was rushed. Whereas Led Zeppelin usually spent time honing an album, they quickly laid down the seven tracks. They then pulled several all-nighters, mixing Presence. Members of Led Zeppelin fell asleep at the mixing desk. The last man standing was left to mix the track. For Led Zeppelin, and especially Jimmy Page who produced Presence, this can’t have been satisfactory. Sometimes, it shows that Presence was recorded quickly. Mostly, Led Zeppelin get away with it. However, not everyone liked Led Zeppelin’s new sound.
Led Zeppelin had decided to adopt a heavier, stripped back sound. Presence saw Led Zeppelin return to hard rock. The riffs were much simpler, as Led Zeppelin moved towards guitar based jams. This was very different to some of the complex arrangements on Physical Graffiti. Another change was the lack of keyboards. For many critics and record buyers, they didn’t like what they heard.
As a result, Presence only sold three million copies in America. This was thirteen million less than Physical Graffiti. Presence was the least successful album of Led Zeppelin’s seven album career. For Led Zeppelin, this was a shock to their system. Surely, they weren’t yesterday’s men?
According to a new breed of “musicians,” that was the case. Punk had just been born, and the pantomime villain of music was trash talking. The punks called groups like Led Zeppelin, Deep Purple, Black Sabbath, Yes and King Crimson yesterday’s men. Their music represented the past. It had had its day. Now punk was the future. That obviously wasn’t the case. Talk is cheap, and the importance of punk has always been overstated. It certainly wasn’t going to stop people buying albums like Presence. The problem with the failure of Presence lay elsewhere.
Mostly, the failure of Presence was down to trying to record an album in eighteen days, while the lead singer was confined to a wheelchair. Then there was the sudden change of style. Led Zeppelin regressed to the hard rock of their early days. Gone was the diversity of previous albums. Acoustic tracks and anthems were nowhere to be seen. Instead, Presence featured Led Zeppelin at their hardest and rockiest. This alienated many record buyers. However, there’s another factor to consider.
What didn’t help, was that Led Zeppelin’s previous album, Physical Graffiti was a stonewall classic. It sold sixteen million copies. Following up Physical Graffiti was almost impossible. For six albums, Led Zeppelin could do no wrong.These six albums sold seventy-six million copies in America alone. Obviously, this success might not last forever. One day, Led Zeppelin would release an album that wouldn’t sell as well their previous albums. That just happened to be Presence. This could’ve been avoided if Led Zeppelin had taken more time to write and record their seventh album. Maybe then, Led Zeppelin might have had the third diamond certified album of their career? That wasn’t to be, and Led Zeppelin’s seventh album Presence, which sold three million copies in America, was perceived as a commercial failure. Despite that, Presence is one of the most underrated albums of Led Zeppelin’s career, which played a part in launching the New Wave of British Heavy Metal.
LED ZEPPELIN-PRESENCE-VINYL EDITION.
DORE L.A. SOUL SIDES 2.
DORE L.A. SOUL SIDES 2.
In the mid-fifties, many small record companies sprung up across America. Especially, in cities like New York and Los Angeles, which are two of America’s musical cities. One of these new labels was Era Records, which was founded in 1955 by two cousins, Lew Bedell and Herb Newman.
The two cousins came from very different backgrounds. Lew Bedell had been a comedian, but his career was at a crossroads. So he was on the lookout for a new career. Herb Newman however, was a music industry veteran. He’d started out as a West Coast sales rep for Mercury and later Decca. Having learnt the ropes, Herb wanted to form his own company. With his cousin looking for a new career, this seemed like the perfect opportunity for the two cousins.
Herb and Lew were like brothers. This and been the case since Lew’s parents split-up. Lew was born in El Paso, Texas. After his parent’s divorce, his mother took Lew and his sister to New York. They didn’t stay in New York long. Instead, they headed to Los Angeles, where they stayed with Max Newman. Not long after this, Herb Newman was born. The two cousins were brought up as brothers. So it’s no surprise that the two cousins went in to business together.
With the financial support of Herb’s father Max Newman, they founded Era Records in 1955. Three years later, in 1958, Doré Records, an imprint of Era Records was founded. The newly founded Doré Records was named after Lew’s first son, who’d been born to Lew and his wife Dolores in 1957. The rationale behind forming a second label was that it would double the chances of having a record played on the radio. Doré Records would also allow Herb and Lew to release much more groundbreaking records.
This was the case from the day Doré Records opened its doors. Having released two singles, a young Phil Spector approached Herb and Lew with To Know Him Is To Love Him, by The Teddy Bears. When Herb heard the understated arrangement, he thought that if it was to be released on Era the record would be rerecorded. Phil disagreed. So did Lew. He heard the potential in the To Know Him Is To Love Him and agreed to release the track in its original form. It became a huge worldwide hit. For the next couple of years, Lew and Herb’s opinions on music differed. Eventually, in 1959, Lew and Herb decided to go their own ways in May 1959.
It was an amicable spilt. Herb Newman continued with Era Records, but moved the company to new premises. Lew retained Doré Records, which stayed at 1481 Vine Street, Hollywood.
Doré Records became Lew’s baby. He was a shrewd judge of character and transformed Doré Records into one of the top independent soul labels of the sixties. That’s why in May of 2014, Kent Soul, a subsidiary of Ace Records released Doré L.A. Soul Sides, a compilation of music released by Doré Records and its subsidiaries Crescent and Horace’s. It was so successful that recently, a followup was released. This was Doré L.A. Soul Sides 2, which was also released by Kent Soul, an imprint of Ace Records.
Doré L.A. Soul Sides 2 features twenty-four singles tracks. Most were released on Doré Records. That’s apart from two tracks. The Vows’ I Wanna Chance was released on Markay, while Toussaint McCall’s From Saigon To San Francisco has never been released before. Several of the tracks on Doré L.A. Soul Sides 2 were penned by Lew Bedell using various aliases. Among them, were Lou Bideu, R.W. Chandler and B.J. Hunter. Lew Bedell, it seems had hidden talents. He was a dyed in the wool music man, who was determined to turn Doré Records into one of the most successful independent labels. Playing a part in the success of Doré Records, were many of the artists on Doré L.A. Soul Sides 2.
Opening Doré L.A. Soul Sides 2 is the first of two tracks from The Entertainers IV. They were formed in 1965, and released their debut single Temptation Walk in 1966. The followup later in 1966, was My Garden Of Eden. On the flip-side was Gettin’ Back Into Circulation, which was penned by Bobby Swayne and Cal Richardson. Gettin’ Back Into Circulation is something of a hidden gem, and became a a favourite on the Northern Soul scene. It’s been remixed for Doré L.A. Soul Sides 2. This whets the listener’s appetite for the rest of Doré L.A. Soul Sides 2, including The Entertainers IV other contribution.
That’s Just Aint My Day, which was released in 1968 was arranged, conducted and written by Richard “Dimples” Fields. He discovered a new lineup of The Entertainers IV. Two members of the band had left, and been replaced. This becomes apparent straight away. Just Aint My Day has the tougher, funkier sound that was becoming popular. However, Just Aint My Day didn’t find favour with record buyers, and only relatively recently, has found an audience.
Along with The Whispers, The Superbs were Doré Records’ most successful signings. They were also one of Doré Records’ longest serving groups. Their Doré Records came in 1964. A year later, in 1965, The Superbs released Goodess Of Love in 1965. This Ernie Freeman and B.J. Hunter composition marked the end of an era. Goodess Of Love was Bobby Swayne’s swan-song. Bobby and the rest of The Superbs ensure that Bobby’s left on a high. Soulful, catchy and dance-floor friendly, Bobby bowed out in style. However, The Superbs stayed where they were.
Eight years later, and The Superbs were still signed to Doré Records, and released Your Eyes as a single. On the B-Side was Wind In My Sails. Just like Your Eyes, it was penned by Ronald Cook and Lawrence Dickens. It’s very different from Goodess Of Love. That’s not surprising. By 1972, soul music had changed. That’s apparent on Wind In My Sails, which has tougher, funky, arrangement. The Superbs also adopt this tougher sound. Still though, their music can be smooth and soulful, as The Superbs’ music evolves in an attempt that their music stays relevant.
Former Superb Bobby Swayne cowrote Funky With My Stuff with his brother Billy and Antoinette Perry. The three of them then became The Natural Resources Unpolluted. Funky With My Stuff was released in 1971. Soulful and funky describes a track that seems to have been inspired by The Temptations’ Ball Of Confusion. It’s definitely a case of imitation is the sincerest form of flattery, in this homage to The Temptations.
Before releasing That’s What Love Will Do, Milton James was a member of The Creators. They joined Doré Records towards the end of 1965. By June of 1966, Milton James was about to record his debut single. The song chosen was My Lonely Feeling. On the flip side, was a song Milton James and Howard Scott penned, That’s What Love Will Do. This slow, melancholy but beautiful ballad released later in 1966. It’s too good for a B-Side. Sadly, when My Lonely Feeling was released as a single, it failed commercially and is now an extremely rare record. Both sides would later be rerecorded by the group The Creators became, War and at one point, were staples of their live shows.
One of the earliest recordings on Doré L.A. Soul Sides 2 is The Darlings’ My Pillow. The Darlings were a Los Angeles’ based quartet, that featured Julia and Maxine Walters. They would become part of the family band The Walters, and later, become song of the most in-demand backing vocalists. In 1963, that was still to come.
Back then, The Darlings were managed by Bobby Sanders, who produced My Pillow. It was arranged by Gene Page and released in 1963. Elements of soul and doo wop shine through, on what was the first of two singles The Darlings’ released Doré Records released.
Little Johnny Hamilton and The Creators released Keep On Movin’ in March 1965. It was penned by Gilbert Colvell, the band’s manager, one of The Creators, Bobby Nicholson. It’s without doubt the rarest record on Doré L.A. Soul Sides 2. Only one copy is known to have survived. As a result, it’s impossible to put a price on this track by one of the most underrated soul men who passed through Doré Records’ doors, Little Johnny Hamilton.
Without doubt, the best way to describe The Swans’ Nitty Gritty City is as a stomper. That’s the perfect description for Nitty Gritty City. It was penned by William Powell, and arranged by Miles Grayson. When Nitty Gritty City was released in 1966, this joyous, anthemic, stomper passed record buyers by. Over the last few years, its found favour within the Northern Soul scene. However, record collectors wanting a copy, will be hard pushed to find a copy. It’s another rarity, whose price will be beyond most people. So, its inclusion on Doré L.A. Soul Sides 2 will be welcomed.
Unlike many soul labels, Doré managed to survive the seventies, when when soul fell out of favour. By 1981, Doré were still going strong and had released Gail Anderson’s single We Communicate. On the flip side was Just A Little Ugly. This was a song she wrote with Wilbert James, who co-produced the song with Jesse Antoine and John Stephens. Just A Little Ugly is another song that falls into the category of hidden gem. Against a funky arrangement, Gail delivers a gospel inspired vocal tour de force. It veers between powerful, emotive and sassy.Why Just A Little Ugly was relegated to a B-Side seems a strange decision. It deserved better than that.
My final choice from Doré L.A. Soul Sides 2 comes courtesy of Eddie Kool, a.k.a. Eddie Williams. He penned I Look In The Mirror, which was arranged and produced by Bobby Day. It was released in 1968, and showcases a soul-baring ballad from Eddie Kool. It’s the perfect way to close Doré L.A. Soul Sides 2, as it leaves you wanting more and hopefully, Doré L.A. Soul Sides 3.
Not only does Doré L.A. Soul Sides 2, pick up where Doré L.A. Soul Sides left off. It was the perfect introduction to Lew Bedell’s Doré Records. The recently released Doré L.A. Soul Sides 2 continues the Doré Records story.
For over twenty years, Doré Records released innovative and exciting music. That’s what Lew Bedell set out to do when he founded Era Records in 1955. Four years later, and Lew and Herb decided to go their own ways in May 1959. With a steely eyed determination, Lew Bedell set about turning Doré Records into one of the leading independent labels in America. He succeeded in doing so.
There’s a reason for this. Unlike many of Doré Records’ competitors, Lew Bedell ensured his label evolved. He knew that music was constantly changing. It didn’t matter what genre of music, it was always changing. The trick was not to get stuck in the past. Lew had watched other labels suffer that fate. He knew that they wouldn’t last long. This proved to be the case. Meanwhile, Doré Records went from strength to strength.
Partly, that was because Lew embraced change. Another reason was he surrounded himself with talented people. Whether it was arrangers, producers or songwriters, Lew didn’t settle for second best. Especially when it came to artists.
Constantly, Lew Bedell on the look out for talented artists. He didn’t mind if they were up-and-coming or established artists. As long as he thought they were capable of producing a hit record, he would sign them to Doré Records. That was the case throughout the history of Doré Records. It was certainly the case with each and every one of the artists on Doré L.A. Soul Sides 2, which was recently released by Kent Soul, an imprint of Ace Records.
Lew Bedell thought each of the artists on Doré L.A. Soul Sides had potential. Sometimes he was right. Some of these artists went on to play an important part in the Doré Records’ story. Others, played a mere walk-on part. However, whether the twenty-four tracks on Doré Records Doré L.A. Soul Sides 2 were hits or hidden gems, they each have one thing in common…,their quality. That becomes apparent from the first time you discover the delights of on Doré Records Doré L.A. Soul Sides 2.
DORE L.A. SOUL SIDES 2.
TOMMY RIDGLEY AND BOBBY MITCHELL-IN THE SAME OLD WAY: THE COMPLETE RIC, RON AND SHO-BIZ RECORDINGS.
TOMMY RIDGLEY AND BOBBY MITCHELL-IN THE SAME OLD WAY: THE COMPLETE RIC, RON AND SHO-BIZ RECORDINGS.
Although Joe Ruffino’s Ric and Ron labels may not have been the first R&B labels in New Orleans, they would become two of the most important and influential. That’s no surprised. Joe Ruffino was a music industry veteran. By 1958, Joe was ready to go it alone. So he founded two labels, Ric and Ron,which he named after his sons. They became a showcase for some of New Orleans’ most popular and talented R&B singers. Some of the the most successful were Eddie Bo, Johnny Adams, Joe Jones, Irma Thomas and Professor Longhair. However, there’s more to the Ric and Ron discography than a quintet of singers.
Two other talented local R&B singers that signed to Ric and Ron were Tommy Ridgley and Bobby Mitchell. They recently featured on an Ace Records compilation, The Complete Ric and Ron and Sho-Biz Recordings. This twenty-two tracks compilations documents the singles Tommy Ridgley and Bobby Mitchell released for Ric and Ron, whose story begins in 1958.
It was back in 1958, in New Orleans when Joe Ruffino founded his Ric and Ron labels. He named them after his two sons, Ric and Ron. While they were the Big Easy’s first independent R&B labels, they became two of the most important and influential. That’s no surprise, the man heading Ric and Ron was a music industry veteran.
Previously, Joe had worked in the record distribution business. He’d been employed by the New Orleans’ distributor Record Sales. Joe had also worked with Johnny Vincent, who owned the Ace and Vin labels. They were based in Jackson, Mississippi. However, Joe was Johnny’s man in New Orleans. He looked after the companies’ interest. One way he did this, was by bringing new acts to Johnny. Two of these acts were The Supremes and Lenny Capello. However, eventually, Joe tired of working for other people. Now was the time to head out on his own.
As a token of his gratitude, Johnny Vincent gave Joe some Ace masters. This would help Joe’s nascent labels, Ric and Ron. That would get Joe started. However, Joe was looking beyond releasing the Ace masters. Joe wanted to sign artists to his nascent labels. So he needed an an A&R man. They had to be the best that Joe Ruffino could find.
Early on, Joe realised the importance of surrounding himself with talented people. So he went looking for the best person for each job. Not only did this include musicians, songwriters and producers, Ric and Ron’s A&R man, Edgar Blanchard.
Just like Joe, Edgar Blanchard was a veteran of the New Orleans music scene. Edgar had been around since the forties. He was a talented guitarist and bandleader. However, Joe wasn’t signing Edgar to play guitar or lead his studio band. Instead, he was looking for someone who bring both established and up-and-coming local artists. It didn’t take long before Edgar signed Ric’s first artist, Al Johnson.
Al Johnson only released two singles on Ric. His debut on Ric was You Done Me Wrong was released on Ric, in 1958. Two years later, Al released his best known song Carnival Time. It was written by Joe and Al and became Al’s theme song. After that, Al became known as Mr. Carnival Time. By then, things had changed at Ric.
Edgar Blanchard left Ric. Filling his shoes wasn’t going to be easy. However, Joe Ruffino caught a break with the man Joe appointed as Edgar Blanchard’s successor, Harold Battiste.
Joe Ruffino seemed to have the uncanny knack of appointing the right man. Surrounding himself with talented people, ensured that Ric and Ron had every chance of thriving. Competition was fierce, so Joe needed loyal and talented lieutenants. He found that in Harold Battiste was certainly that. He filled the void left by Edgar Blanchard.
Harold Battiste took over from Edgar. With Harold Battiste onboard, Ric and Ron’s reputation grew. Suddenly, people started sitting up and taking notice of Joe Ruffino’s nascent labels. However, when Harold Battiste left, many thought that this would impact badly upon Ric and Ron. It didn’t.
That’s because Joe Ruffino found a ready made replacement, in Malcolm “Mac” Rebenack, the future Dr. John. He was a guitarist, pianist, songwriter, arranger and producer. Mac was more than capable of filling the void left by Harold Battiste and played his part in the rise and rise of Ric and Ron. However, back in 1958, Joe Ruffino was slowly building up Ric and Ron’s roster.
Midway through 1958, Joe added Johnny Adams to his roster. Johnny would release more singles on Ric and Ron than any other artist. His first single was I Won’t Cry, which became synonymous with Johnny Adams, who was one of Joe Ruffino’s most successful signings. So was another artist signed in mid-1958, Eddie Bo.
Eddie Bo was one of the many talented piano players to come out of New Orleans. A talented singer, songwriter and pianist, Eddie not only enjoyed a solo career on Ric, but penned tracks for other artists. It seemed that Joe Ruffino was continuing his policy of signing talented and versatile artists. This was certainly true of Tommy Ridgley.
Tommy Ridgley became the third male R&B singer to sign to Joe Ruffino’s labels. By then, Tommy was thirty-five. His career began in 1946, when he won a talent contest at the Dew Drop Inn in New Orleans. Soon, Tommy was making a name for himself locally, in New Orleans’ clubs. Then he joined the Bama Band, which was akin to Tommy’s musical apprenticeship.
By 1949, Tommy was singing with Dave Bartholomew’s band. Then when Dave left, to become an A&R man at Imperial Records, he signed Tommy Ridgley. His first single was Shrewsbury Blues, which was the first New Orleans’ R&B record released on Imperial. It sold well, and resulted in Tommy releasing further singles on Imperial. In total, Tommy released six singles before parting company with Imperial in 1951.
Not long after he left Imperial, Tommy Ridgley and His Orchestra released Tra-La-La on Decca. It looked like giving Tommy a hit single. However, Imperial thought they still had Tommy and his orchestra under contract. A contractual dispute followed. This contractual dispute resulted in Tra-La-La failing to fulfil its commercial potential. To rub salt into the wound, the Griffin Brothers Orchestra then released a cover. It was almost identical to Tommy’s version. Ironically, the Griffin Brothers Orchestra outsold Tommy’s version. Things would get worse for Tommy Ridgley and His Orchestra discovered they were under contract to Imperial until 1952.
Once Tommy was free of his Imperial contract, he formed a new band, The Untouchables. They signed to Atlantic Records and recorded twelve tracks over the next eighteen months. Only two singles were released, and they never sold well. For Tommy, this period between 1952 and 1954 proved frustrating. The Untouchables had potential, but they never got the chance to show what they were capable of. Sadly, Tommy’s luck was out, in more ways than one.
Following the end of The Untouchables’ contract with Atlantic, Tommy spent the next two years without a label. Then in 1956, Tommy signed Al Singer’s New York label Herald Records. His debut was When I Met My Girl. It gave Tommy a minor hit.
Another five singles followed over the next two years. Sadly, success eluded these singles. These singles were distributed by Ric, who Tommy Ridgley was introducing up-and-coming singers to.
One of the singers Tommy Ridgley recommended to Joe Ruffino, was a young singer who occasionally sung one with The Untouchables. Her name was Irma Thomas, the future Queen Of New Orleans. Irma Thomas released two singles for Ric, before signing to their competitor Minit in 1960. By then, Tommy Ridgley had signed a contract with Joe Ruffino. So had a young singer called Bobby Mitchell.
When Bobby Mitchell signed with Joe Ruffino, he was just twenty-five. He was ten years younger than his label mate Tommy Ridgley. However, Bobby, who was also a native of New Orleans, had been releasing records since 1953.
Bobby Mitchell’s career began when his group The Toppers were signed by Dave Bartholomew, to Imperial Records. The Toppers were together until 1955, when the group ran its course. By then, Bobby was ready to embark upon a solo career.
Like many artists, the early years of Bobby’s solo career are a case of what might have been. He released a cover of Nothing As Sweet As You. It was well received, but failed commercially. Then in 1956, Bobby enjoyed a hit with Try Rock and Roll, which reached number fourteen in the US R&B charts, That was as good as it got for Bobby Mitchell at Imperial.
Early in 1957, Bobby released a cover of The Mills Brothers’ You Always Hurt The One You Love. Despite its quality, it failed commercially. So did I’m Gonna Be A Wheel Someday, which was released in December 1957. By then, Bobby Mitchell’s singles were hardly being promoted. It was as if Imperial had given up on Bobby. So Bobby signed to Sho-Biz Records in 1960.
Sho-Biz Records was founded by Jim Stewart, the program director at the WWOZ radio station. This was a short-lived label and in 1960, Bobby Mitchell released Well I Done Got Over It as a single. On the flip-side was Just Say You Love Me. Both tracks feature on The Complete Ric and Ron and Sho-Biz Recordings. During his dalliance with Sho-Biz Records, Bobby Mitchell signed to Ron, where he and Tommy Ridgley who was signed to Ric. The two men enjoyed a friendly rivalry, and released another ten singles which feature on The Complete Ric and Ron and Sho-Biz Recordings. Their rivalry began in 1960.
Having signed to Joe Ruffino’s Ric label in the spring of 1960, Tommy began work on his Ric debut. The song chosen was Is It True? On the release of Is It True in April 1960, Ric billed their latest signing as “Tommy Ridgley The New King Of The Stroll.”Tommy lived up to the hype. He delivers a vocal tour de force, combining power and emotion. On the B-Side, was Let’s Try and Talk This Over, where Tommy deliver a needy, hopeful vocal. Despite the quality of both sides, Tommy’s Ric debut failed commercially. While Is It True was a success in New Orleans, it didn’t sell elsewhere. Given this was only Tommy’s Ric debut, nobody was worrying too much.
Six months passed before Tommy Ridgley released the followup to Is It True in late 1960. The song chosen was Do You Remember, which was an another tale of heartbreak. The flip side was a cover of Please Hurry Home. Sadly, for Tommy, lightning struck twice. Do You Remember sold well locally, but wasn’t a success further afield. For Tommy this was disappointing. Just like Bobby Mitchell, 1960 was meant to mark the beginning of new chapter in his respective careers. Maybe it would be a case of third time lucky for Tommy Ridgley?
For Tommy’s third single, and first single of 1961, a familiar song was chosen, Should I Ever Love Again. Four years previously, it had given Wynona Carr a hit single in 1957. Joe Ruffino was hoping lightning would strike twice.
When Should I Ever Love Again was released in March 1961, Tommy did his part, and delivered a heartfelt cover of Should I Ever Love Again? For the B-Side, a Tommy Ridgley composition Double Eye Whammy was chosen. It would later “inspire” Freddy King when he wrote Double Eyed Whammy in 1966. He gave Tommy a co-writers credit. Sadly, that was the nearest thing to success that Tommy’s third single got.
Just like his two previous singles, Should I Ever Love Again which was a success in the New Orleans area, where Tommy was a star. However, outside of New Orleans, Tommy was almost an unknown. What didn’t help, was that Joe Ruffino didn’t have the budget to promote Should I Ever Love Again. For Tommy, 1961 hadn’t started well. Surely, things would get better?
Four months later, in July 1961, Tommy Ridgley released his second single of 1961, Three Times. On the B-Side, was The Only Girl For Me. Just like Three Times, it was a Cornish and Smith composition. Tommy brought both sings to life, in his own inimitable style. While Three Times was popular in New Orleans, it was the old story. Beyond the New Orleans’ boundaries, Three Times failed to sell. That made it four consecutive singles that had failed commercially. Things hadn’t got any better.
With success still eluding Tommy, Joe Ruffino and Tommy went looking for a song that stood a chance of giving Tommy that elusive hit. They thought they had found it, when the came across In The Same Old Way. It became Tommy’s fifth Ric single, when it was released in November 1961. On the B-Side, was another song penned by Tommy, the The Girl From Kooka Monga. Despite the quality of both sides, In The Same Old Way was no more than a local hit. This was the fourth single Tommy had released during 1961. Although they had all sold well locally, that was as good as it got. For Tommy and Joe, this was a worrying trend? However, was Bobby Mitchell doing any better?
Bobby Mitchell was still signed to Sho-Biz Records in 1961. However, things had been tough for Bobby. Aged just twenty-five, he suffered a heart attack and took time to recover. However, by early 1961, Bobby was ready to release a new single.
Jim Stewart, who owned Sho-Biz Records, decided to sell Send Me Your Picture to Joe Ruffino. This was a gamble. If the single was a huge success, this could prove costly. This was a risk Jim was willing to take.
From the first time Joe Ruffino heard Send Me Your Picture, he thought the song had potential. So it was released as a single in early 1961. On the B-Side was You’re Doing Me Wrong. Both sides found Bobby Mitchell in fine voice. Especially on Send Me Your Picture, which Bobby’s wife penned. Joe Ruffino had high hopes for the single. Sadly, by the time Send Me Your Picture was released, Bobby was no longer performing live. Given his health problems, this deemed to risky. This hampered the potential success of Send Me Your Picture. It failed commercially. While it was popular locally, that was as good as it got. This Joe saw as a setback. He still believed in Bobby Mitchell.
Six months later, and a followup to Send Me Your Picture was released. The song chosen was the heartfelt ballad There’s Only One Of You. On the flip side, was uproarious and rousing version of Mama Don’t Allow. Why it wasn’t chosen as the single seemed a strange choice. Especially when Send Me Your Picture wasn’t a commercial success outside of the Big Easy. For Bobby Mitchell this was disappointing, and brought to an end his relationship with Jim Stewart and Joe Ruffino. Tommy Ridgley however, was still going strong and looking for a hit.
It wasn’t until July 1962, that Tommy released his sixth single. By then,Malcolm “Mac” Rebenack was Joe Ruffino’s new A&R man. He oversaw the recording of My Ordinary Girl, which was chosen as Tommy’s next single. It was written by Joe Ruffino. On the B-Side was She´s Got What It Takes. When My Ordinary Girl was released, nothing had changed. My Ordinary Girl sold well locally, but nowhere else. For Tommy and everyone at Ric this was disappointing. However, things were about to get worse.
In August 1962, tragedy struck. Joe Ruffino died suddenly of a heart attack. Ever since he founded Ric and Ron, Joe had worked tirelessly. Now it seemed all the years of long days and hard work caught up with Joe Ruffino. His family and the wider New Orleans’ music community were shocked.
With Joe gone, his two sons were left to run the Ric and Ron labels. They tried to follow in their father’s footsteps. That, however, proved impossible. Eventually, Joe’s brother-in-law Joe Assunto took over the running of Ric and Ron. By then, the Ric and Ron labels were on their last legs. For Tommy Ridgley, this was a disaster.
Now Joe Assunto was running Ric and Ron, he had to try and pick up the pieces of Joe Ruffino’s mini musical empire. It wasn’t going to be easy. However, Joe was determined to do the best for his sister and nephews.
Given all that had happened, it had been a while since Tommy Ridgley last released a single. He was still under contract to Ric. So, Malcolm “Mac” Rebenack got to work, Ge cowrote Heavenly, which was chosen as Tommy’s next single. On the B-Side was I Love You Yes I Do. However, it was a familiar story. Heavenly had potential, but Ric hadn’t neither the means nor the money to promote the single. For Tommy, his search for a hit went on. The only small crumb of comfort was that Heavenly sold well locally. However, that wasn’t going to be enough to save Ric.
It was nearly the end of the road for Joe Ruffino’s two labels. Without him, the labels were a shadow of what they had once been. However, Joe Assunto wasn’t ready to call time on Ric and Ron. One of the final singles to be released on either label was Tommy Ridgley’s Ric swan-song I’ve Heard That Story Before. That was almost ironic, given so many of Tommy’s singles were going to be the one that gave him his big break. That wasn’t the case with I’ve Heard That Story Before, which featured a cover of Honest I Do on the flip side. Just like Tommy’s previous singles, they were successful locally, but nowhere else. It seemed that Tommy Ridgley was destined to never make it big outside of the Big Easy. The music industry like life, isn’t fair.
For both Tommy Ridgley and Bobby Mitchell, it was a case of what might have been. Both men certainly had the talent to become successful singers. What they never got, was a break. Instead, hit singles eluded both Tommy Ridgley and Bobby Mitchell. That’s despite the quality of music Tommy Ridgley and Bobby Mitchell released on Ric and Ron. It should’ve found a wider audience. Sadly, that wasn’t the case.
Maybe if Tommy Ridgley and Bobby Mitchell had been signed to a major label like Atlantic, or one of the larger independents like Stax, then they would’ve enjoyed the commercial success their talent warranted. Sadly, that wasn’t the case. Instead, commercial success eluded Tommy Ridgley and Bobby Mitchell. They’re the nearly men of Ric and Ron, who could’ve and should’ve enjoyed commercial success and critical acclaim. Sadly, that wasn’t to be.
Fifty-two years after Ric and Ron closed their doors, Tommy Ridgley and Bobby Mitchell, Ric and Ron’s nearly men, are now perceived as two of the most underrated singers who Joe Ruffino signed. Their music is celebrated on Ace Records recently released compilation, The Complete Ric and Ron and Sho-Biz Recordings. This twenty-two track compilation documents and celebrates two singers who could’ve and should’ve reached greater heights than they did.
They certainly didn’t lack talent. Far from it. Tommy Ridgley and Bobby Mitchell had that in abundance. That’s apparent on The Complete Ric and Ron and Sho-Biz Recordings which documents and celebrates the career of Tommy Ridgley and Bobby Mitchell.
TOMMY RIDGLEY AND BOBBY MITCHELL-IN THE SAME OLD WAY: THE COMPLETE RIC, RON AND SHO-BIZ RECORDINGS.
ANNELI DRECKER-ROCKS AND STRAWS.
ANNELI DRECKER-ROCKS AND STRAWS.
After a ten year wait, Anneli Drecker will shortly released her long awaited, and much anticipated third solo album, Rocks and Straws. It will be released on Rune Grammofon on 17th July 2015, marks a welcome return from Anneli Drecker. Her recording career began twenty-eight years ago, with Bel Canto.
Anneli Drecker first came to prominence in 1987, when she was the lead singer of Norwegian band Bel Canto. She was only seventeen, but was determined to make a career out of music. So Anneli made the brave decision to leave behind her Arctic hometown of Tromsø. However, she wasn’t leaving alone.
Instead, Anneli Drecker made the move to Bruxelles with the other two members of Bel Canto, Geir Jenssen and Nils Johansen. Soon, Bel Canto were part of Bruxelles’ thriving and vibrant indie scene. Bel Canto stood head and shoulders above the rest. It was only a matter of time before a record company came calling.
That proved to be the case. Belgian label Crammed Discs signed Bel Canto to their roster. Soon, Bel Canto began working on their debut album, White Out Conditions. Everything was going to plan until Bel Canto discovered a choir using the same name. So, Bel Canto were forced to release their debut album as Bel Kanto. This didn’t matter.
When White Out Conditions was released in 1987 by Crammed Discs, it was to critical acclaim. Critics and cultural commentators forecast a great future for Bel Kanto. They weren’t wrong. Three years later, in 1990, and Bel Canto were about to release their sophomore album Birds Of Passage. By then, Bel Canto were back using their original name. This just happened to coincide with album that wasn’t just released to critical acclaim, but was award winning.
When Birds Of Passage was released it was to widespread critical acclaim. Reviews of Birds Of Passage hailed the album one of the indie albums of 1990. Back home in Norway, the organisers of the Spellemannprisens, which are the Norwegian equivalent of a Grammy Award, agreed. Birds Of Passage won Bel Canto their first Spellemannprisens. For Bel Canto, Birds Of Passage was a game-changer.
Birds Passage was released internationally. Soon, Bel Canto star was in the ascendancy. However, what many critics remarked upon, was the ethereal quality of Anneli Drecker’s voice. It was almost inevitable that comparisons were drawn to the Cocteau Twins’ Liz Fraser. Both were the lead singer of successful indie bands. They both had a unique ethereal and enchanting vocal style. It would be another two years before it featured on another Bel Canto album.
It wasn’t until 1992, that Bel Canto released their third album, Shimmering, Warm and Bright was released on Crammed Discs. Just like Bel Canto’s two previous albums, it was released to critical acclaim. Superlatives were exhausted by critics who continued to champion Bel Canto. Back home in their native Norway, Bel Canto won their second Spellemannprisen with Shimmering, Warm and Bright. The critics had been right when they said Bel Canto were a group going places. That proved to be the case, in more ways than one.
After releasing a trio of albums on Crammed Discs, Bel Canto were signed by Atlantic Records. After five years and three albums, Bel Canto were leaving their indie roots behind.
Another three years passed before Bel Canto released their fourth album, Magic Box in 1995. This was Bel Canto’s major label debut. Magic Box was released on Atlantic and in America, on the Atlantic imprint Lava.
It seemed that making the move from indie to major hadn’t fazed Bel Canto. Nor did the fact that co-producing Magic Box was produced by Bel Canto were Jah Wobble, Mark Ferda, and Ulf Holand. This all-star production team were responsible for yet another critically acclaimed and award winning album.
Magic Box was released to same critical acclaim that had accompanied previous Bel Canto releases. It also won Bel Canto the third Spellemannprisens of their career. Now Bel Canto were one of the few artists or groups to have one three Spellemannprisens. How could Bel Canto surpass this?
Just two years later, in 1998, Bel Canto returned with the fifth album of their career, Rush. While it failed to win Bel Canto another Spellemannprise, Rush was hailed by some critics as a better album than Magic Box. This was fitting, because following Rush Anneli Drecker embarked upon a sabbatical from Bel Canto.
Following Rush, Anneli Drecker decided to embark upon a solo career. It saw Anneli collaborate with some high profile musicians on Tundra. This included Hans Magnus Ryan and Bent Sæther of Motorpsycho, plus Martin Horntveth and Sjur Miljeteig.
Former Cocteau Twin Simon Raymonde produced a track. So did Röyksopp. Torbjørn Brundtland of Röyksopp played on and produced four tracks. With this glittering array of talent aiding and abetting, Anneli Drecker, Tundra, promised to be one of the most anticipated debut albums of 2000.
It was no surprise that when Anneli released debut album her debut album Tundra in March 2000, it was to widespread critical acclaim. Critics were won over by Tundra’s more eclectic, genre-melting sound. Elements of electronica, rock and even post rock shine through on Tundra. As debut albums go, Tundra was the perfect album to launch Anneli Drecker’s solo career. However, Anneli’s solo career was put put on hold after Tundra.
In September 2001, Röyksopp released their debut album Melody A.M. Anneli Drecker cowrote Sparks with Röyksopp, and added the vocal. Sparks played its part in the runaway success of Melody A.M. Not only was it certified platinum in Norway, but in Britain. Then later in 2001, Melody A.M. won a Spellemannprisen for the best electronic album. By then, Röyksopp’s Melody A.M. was a huge success. In the process, it introduced Anneli Drecker to a wider audience.
Having toured Melody A.M. with Röyksopp, Anneli’s thoughts turned to Bel Canto’s sixth album. Dorothy’s Victory was produced by the three members of Bel Canto, and released in February 2002. Bel Canto, it seemed could do no wrong.
When critics heard Dorothy’s Victory, it received the same glowing reviews as its predecessors. It was fitting that critical acclaim accompanied Dorothy’s Victory. This would prove to Bel Canto’s final album. Anneli never knew this, a she embarked upon the next chapters of her career.
Three years later, and Anneli Drecker released her sophomore album Frolic. It was released in April 2005, and marked a change in direction. Frolic was a much more downtempo album. This appealed to many critics, who lauded Anneli’s brave decision to reinvent herself. They wondered what direction Anneli’s third album would take?
Another ten years passed before Anneli Drecker’s thoughts turned to her third album. During that ten year period Anneli Drecker was busy. She joined A-Ha for two gruelling world tours. However, part of the time Anneli spent with Røyksopp.
Having recorded Melody A.M. with Røyksopp, Anneli Drecker joined them on several tours. A live album was released in 2006, Röyksopp’s Night Out. It featured Anneli’s vocals on What Else Is There? and Sparks, two tracks she cowrote with Anneli Drecker. Four years later, Anneli rejoined Røyksopp for their third studio album Junior, which was released in March 2009. That would be the last Røyksopp album Anneli featured on. However, she continued to tour with them and collaborate with various artists.
Throughout her career, and way back to her days with Bel Canto, many artists and DJs have collaborated with Anneli Drecker. This includes everyone from DJ Krush, Gavin Friday, and Jah Wobble, to Hector Zazou, Tim Simenon, Guy Sigsworth and Ketil Bjørnstad. Each of these artists have worked with Anneli Drecker. So have many others, including those that would go on feature on Anneli Drecker’s long awaited third album, Rocks and Straws, which will be released on Rune Grammofon on 17th July 2015.
For Rocks and Straws, Anneli Drecker penned eleven new songs. These songs are based on lyrics by cult poet Arvid Hanssen, and were translated into English by artist and writer Roy-Frode Løvland. Arvid Hanssen´s poems have been strongly influenced by the mysterious and powerful nature of this arctic region, including the works of writer of Knut Hamsun. Despite the lyrics being based on Arvid Hanssen’s lyrics, the songs on Rocks and Straws are personal to Anneli Drecker. She describes them as an “ode” to the town and region she was born and brought up. Helping Anneli Drecker, who also produced Rocks and Straws, are some of the great and good of Norwegian music.
Among the musicians to play on Rocks and Straws are a rhythm section of drummers Rune Arnesen and Erland Dahlen, bassist Ole Vegard Skauge and guitarist Eivind Aarset. They’re joined by Tromsø´s prestigious Arctic Philharmonic Orchestra. They join Anneli, who adds vocals and plays the piano and organ at the Kysten Studio and Facing North Studio, in Tromsø. The result is an acoustic album which uses recording techniques from the seventies.
Alone opens Rocks and Straws. Washes of synths replicate the sound of an Arctic wind blowing. They’re joined by slow, moody notes on an organ. They accompany Anneli Drecker’s vocal. It’s as if she’s remembering the past, and growing up Alone in Arctic wilderness. Her thoughtful, ethereal vocal is accompanied by wistful strings. Still, the Arctic wind blows. So realistic is this soundscape that you’re transported to Anneli Drecker’s hometown, as she grows up Alone.
There’s a sense of hope as Anneli plays the piano on Circulating Light. The long winter months are gone, and spring has sprung. Suddenly, her hometown comes to life. It becomes vibrant and full of life and energy. Strings sweep and almost dance with joy. By then, there’ a joyousness in Anneli’s vocal. She paints pictures with her lyrics. Scenes come to life, as swathes of strings join the rhythm section and piano in providing the backdrop to Anneli’s joyous, hopeful vocal.
Just a long guitar opens Come Summer´s Wind. It signals the introduction of Anneli’s vocal. Again, she remembers how the arrival of spring showed that summer wasn’t far away. Accompanied by lush strings, her vocal veers between dreamy and tender to ethereal and enchanting. Again, she’s transported back to her youth, as she remembers spring becoming summer and the summer wind blowing gently against her skin. Dreamily and tenderly she sings: “Come Summer´s Wind,” on this beautiful ballad.
The changing of the seasons is important to Anneli. She’s not alone. That’s always been the case for people who live in places where the weather can be extreme. For Anneli growing up, that was the case. Green Leaves In The Snow is a song about spring, and the knowledge that a long, hard winter is behind her. Again, there’s a mixture of hope and joy in her vocal. Enthusiastically, she delivers the vocal. Meanwhile, her piano and the rhythm section play leading roles in the arrangement. So do the subtle strings. However, it’s Anneli’s vocal that steals the show, as a rocky anthem unfolds. It’s bound to be a favourite on Anneli’s forthcoming tour.
Strings quiver dramatically on Fisherman´s Blues. It’s as if they’re signalling the danger that the fisherman face every day of their life. There’s a melancholy nature to the strings. They set the scene for Anneli’s vocal. Her lyrics are cinematic lyrics. It’s almost possible to imagine the fishermen, as they prepare to head out to sea. Anneli’s vocal is sometimes jazz-tinged, as she pays homage to their bravery. This she does with just her piano and strings for company. That’s all that’s needed to frame her vocal on this cinematic song.
From an understated introduction, Ocean´s Organ soon grows in drama. Accompanied by just subtle strings, Anneli’s vocal is loud and clear. It then drops out. Backing vocals are barked out, replicating a ship’s crew manning a ship in days gone by. Meanwhile strings sweep and the rhythm section provide a driving, dramatic backdrop. Suddenly, the arrangement reaches a crescendo and Anneli’s crystalline vocal returns. The song is transformed, as her vocal becomes impassioned, as it soars above the now rocky, dramatic arrangement. Along with her band, she creates an captivating, dramatic and cinematic arrangement.
Straight away, Rain has a dreamy sound. It reminds me of Kate Bush and Jerry Burns. Anneli plays piano and delivers a slow, carefully articulated vocal. Her lyrics are thoughtful and cerebral. Especially, lyrics like: “every seed has its place in the rain…why should you complain in the rain.” Behind Anneli the arrangement is ethereal and understated. As it meanders along, this allows the listener to concentrate on the lyrics, and of course one of Anneli’s finest and most versatile vocals.
There’s a stylistic change on Rocks and Straws. The arrangement has a slightly experimental sound. A guitar and drone set the scene for Anneli. She delivers a tender, breathy and sometimes dramatic vocal. It also has an ethereal quality on this short track, where we hear another side to Anneli Drecker.
In the distance, a plink plonk piano opens Seagull´s Melody. Soon, strings sweep in. They signal Anneli’s tender, ethereal vocal. Soon, she’s remembering the landscape that surrounded her growing up. She remembers the sound of the: “nightingale came as a guest in July.” However, it didn’t stay. Wistfully, Anneli remembers the only thing that stayed were the seagulls, and the “Seagull´s Melody.” They were the only birds capable of surviving the inclement weather.
The piano lead Waiting For A Boat closes Rocks and Straws. Straight away, Anneli sounds like Kate Bush. The similarity is uncanny. While there have been similarities throughout Rocks and Straws, this is different. Partly, that’s because of the arrangement. Swathes of strings are unleashed, while a drum plays. Mostly though, it’s just Anneli and her piano, as she remembers Waiting For A Boat, and leaving her hometown behind.
Although Waiting For A Boat is meant to close Rocks and Straws, there’s still the hidden track Little Tree that awaits discovery on the CD. Again, it’s mostly Anneli and her piano. Occasionally dark strings and bells interject. They compliment Anneli’s hope filled vocal, as she sings of the Little Tree. It could be a metaphor for new life, given the sound of a baby later in the track. Given the sense of hope that new life brings, Little Tree bookends Rocks and Straws perfectly.
Ten years might seem a long time to wait for an album. However, in the case of Anneli Drecker’s third album Rocks and Straws, it’s been well worth the wait. Rocks and Straws is a carefully crafted album, one where Anneli Drecker pays homage to the town and region that shaped her.
That’s apparent when one listens to Rocks and Straws’ lyrics. Anneli Drecker sings about the landscape, habitat and changing of the seasons. There’s even Fishermen’s Blues, which pays tribute to the local fishermen, who like night follows day, brave the inclement weather. Just like the other songs on Rocks and Straws, Anneli Drecker toys with the listener’s emotions.
The eleven songs on Rocks and Straws veer between cerebral and incisive, to beautiful, hopeful and joyous. Other times, the music is melancholy and wistful. Sometimes there’s a mysterious quality to Anneli Drecker’s lyrics, which conjures up pictures of the barren Arctic landscape. Always though, Rocks and Straws captivates. Especially the way Anneli Drecker delivers the lyrics.
Anneli Drecker’s vocal is ethereal. That’s the perfect description of Anneli Drecker’s vocal. It’s complimented by understated, acoustic arrangement. They frame Anneli Drecker’s vocals, as effortlessly, she breathes life, meaning and hope into lyrics. Other times, her vocal veers between tender, dramatic and powerful. Occasionally, Anneli Drecker’s vocal and tinged with sadness. Always, it’s heartfelt and impassioned. That’s because each of the eleven songs on Rocks and Straws are personal to Anneli Drecker. They’re about Anneli Drecker and her life and formative years. These years shaped Anneli Drecker, and made her what she is now. That’s one of the most talented singers in Europe.
Sadly, many people are yet to discover Anneli Drecker’s music. They may have heard her with Bel Canto or with Röyksopp. These are just two of the chapters in Anneli Drecker’s twenty-seven year career. During her career, Anneli has also collaborated with everyone from DJ Krush, Gavin Friday, and Jah Wobble, to Hector Zazou, Tim Simenon, Guy Sigsworth and Ketil Bjørnstad. However, now, Anneli Drecker is concentrating on her solo carer.
Anneli Drecker’s long awaited and much anticipated third solo album, Rocks and Straws, will be released on Rune Grammofon on 17th July 2015. Rocks and Straw is a career defining album which hopefully, will introduce a wider audience to the ethereal voice of the multi-talented Anneli Drecker.
ANNELI DRECKER-ROCKS AND STRAWS.
GROOVE WITH A FEELING-SOUNDS OF MEMPHIS-BOOGIE, SOUL AND FUNK 1975-1985.
GROOVE WITH A FEELING-SOUNDS OF MEMPHIS-BOOGIE, SOUL AND FUNK 1975-1985.
Ever since the birth of rock ’n’ roll, music has continued to evolve. As a result, musical genres have come and gone.Those that were resistant to change were left behind. That could’ve happened to many within the Memphis music industry in 1975.
By then, soul music, which was one of Memphis’ most successful musical exports, was no longer as popular.Far from it. Soul music was very much yesterday’s sound. Disco had surpassed soul in popularity. This was a disaster for the city. Memphis was a musical city. Countless arrangers, backing vocalists, producers session musicians and songwriters relied upon soul music to make a living. Then there were engineers and studio owners.The change in musical tastes could prove disastrous for Memphis. Especially after the demise of Stax.
Once one of the biggest soul labels of the sixties and even into the early seventies, Stax was one of the most successful of Memphis’ record labels. Throughout the sixties, it was a hit making machine. However, by 1975, Stax filed for bankruptcy. This once musical colossus was no more. Worse was to come.
Hi Records, which was home to Al Green, Ann Peebles, O.V. Wright and Otis Clay was no longer the powerhouse it once was. Al Green its most successful artist had found religion. This just happened to coincide with a fall in his album sales. When Al Green Is Love was released in 1975, it reached number twenty-eight in the US Billboard 100 and number one in the US R&B charts. However, sales were way down, and Al Green Is Love became Al’s least successful album since 1971s Let’s Stay Together. This was as good as it got for Al Green. It was all downhill from here.
That was the case with every soul label. However, Memphis was a soul city. Soul was an integral part of the local economy. Many people relied upon soul music for their living. Without soul music, many local economists feared for the city’s economy.
What the local economists forgot, was the many within Memphis’ music industry had what economists called transferable skills. Not only could the musicians play soul, but the could play funk and boogie. At a pinch, they could even play disco. Many though, hoped it wouldn’t come to that. It didn’t; and for the next ten years, many within Memphis music industry made a living out of boogie, funk and even soul.
This included many people connected with the Sounds Of Memphis label, which previously, had been one of the city’s soul labels. However, those at Sounds Of Memphis were realists. Record buyers no longer had an appetite for soul. So it was a case of making music people wanted. It’s documented on Groove With A Feeling-Sounds Of Memphis-Boogie, Soul and Funk 1975-1985, which has just been released by BGP, an imprint of Ace Records.
Groove With A Feeling-Sounds Of Memphis-Boogie, Soul and Funk 1975-1985 is a nineteen track compilation. Among the contributors, are Lee Moore, Demetrius, Freedom Express, Fran Farley, Everyday People and Vision. Ex Ovation Louis Williams and ex Hi Records backing vocalist Erma Moore. Many of the tracks have never been released before, and make their debut on Groove With A Feeling-Sounds Of Memphis-Boogie, Soul and Funk 1975-1985, which I’ll pick the highlights of.
Opening Groove With A Feeling-Sounds Of Memphis-Boogie, Soul and Funk 1975-1985 is the first of three tracks from Lee Moore, You Can Bet I Can Get You Yet. This is the first of the unreleased tracks. It’s soulful slice of eighties boogie, that show’s Lee’s versatility. Previously, Lee had sung soul and disco. However, after disco’s demise, Lee knew he had to evolve as an artist. He combined his soulful past with the new boogie sound, on a session he cut for Sounds Of Memphis. A number of tracks were recorded, including Get Off, which Lee released as a single on his Score label. Sadly, You Can Bet I Can Get You Yet, What You Do For Love and What’s In The Dark were never released. However, these three slices of soulful boogie show just how talented and versatile a vocalist Lee Moore.
For anyone familiar with the Hi Records’ discography, they’ll be familiar with the name Erma Shaw. She added backing vocals on many of Hi Records’ recordings in the late seventies. Like many backing singers, Erma wanted to embark upon a career as a solo artist. Her career began at Hi Records, where she released several singles. She then moved to Sounds Of Memphis, where she recorded Ridin’ a song she penned with Ben Cauley and Jerod Minnies. Another song Erma Shaw recorded was Attraction, which she cowrote with Jerod Minnies and Linda Lucchesi, who had taken over the running of the Sounds Of Memphis from her father. Ridin’ is best described as a fusion of funk and Southern Soul. It features a vocal powerhouse from Erma. Attraction shows how much soul music had changed by the early eighties. Synths and drum machines accompany Erma’s old school vocal, as she combines power and emotion. Sadly, neither track were ever released and make their debut Groove With A Feeling-Sounds Of Memphis-Boogie, Soul and Funk 1975-1985.
By the time Linda Lucchesi took over the running of Sounds Of Memphis, Eddie Thomas was the bassist in the Sounds Of Memphis house band. Eddie wasn’t the only musician in the Thomas household. His son Demetrius had dreams of making a career as a singer. So, Eddie introduced Demetrius to Linda Lucchesi. She agreed to allow Demetrius to record several songs. This included One To One, which Richard Blackman, Wendell Moore and Eddie Thomas cowrote. In Demetrius’ hands, One To One became a futuristic sounding slice of funky boogie. Sadly, it was never released. Despite this, Linda asked Demetrius to cut Tighter Tighter with Takelia.
Linda Lucchesi’s decision to pair Demetrius with Takelia proved a masterstroke. They seemed to bring out the best in each other. On Tighter Tighter, their vocals are soulful and heartfelt. They prove to be a potent and soulful partnership. Takelia proves to be yin to Demetrius’ yang. Despite the quality and soulfulness of Tighter Tighter, the song was never released as a single. However, somewhat belatedly, this hidden gem can be heard by a new generation of record buyers.
The Ovations released their final single, Sweet Thing, in 1978. Not long after that, lead vocalist Louis Williams cut Don’t Fight It, the first single of his solo career. Don’t Fight It is a real fusion of influences. Everything from disco, funk, proto-boogie and soul is combined by Louis and the Sounds Of Memphis’ house band. The result is a track that straddles the disco and boogie era. Thirty-seven years later, Don’t Fight It has stood the test of time and will appeal to DJs and dancers alike.
Fran Farley features three times on Groove With A Feeling-Sounds Of Memphis-Boogie, Soul and Funk 1975-1985. These three tracks show different sides to Fran Farley. Cold Blooded Sally, which Fran and Phillip Farley penned is an uber funky soulful cut. It sounds as if it belongs on a seventies Blaxploitation movie. Partly, that’s down to the performance of the Sounds Of Memphis’ house band. They up the funk factor. Got To Have My Own is very different to Cold Blooded Sally. Here, Fran delivers a soul-baring vocal against a much mure understated, subtle arrangement. Then on Lord Give Me A Little Of Your Heaven gospel and Southern Soul become one, creating a truly beautiful track.
One of the funkiest tracks on Groove With A Feeling-Sounds Of Memphis-Boogie, Soul and Funk 1975-1985 comes courtesy of Everyday People. They wrote Politics, which is another genre defying track. It could be described as funk with a social conscience. There’s definitely a nod to Sly and The Family Stone and even, Gil Scott-Heron as Everyday People vamp their way through Politics, combining cutting social comment, funk, soul and even early hip hop.
One of the most left-field tracks in Kannon’s New Lang Syne. It’s what would’ve happened if Jimmy Shand had dropped acid in the White Heather Club. Funk, fusion and boogie combine head on, resulting in an alternative and lysergic way to bring in the New Year.
While The Jacksonians only ever released one single, they recorded a number of tracks at Sounds Of Memphis. This includes I’ll Be Around, which Thom Bell and Phil Hurtt cowrote. This is a cover of a song made famous by The Spinners. Apart from the occasional brief, funky intervention,mostly, The Jacksonians stay true to the original. There’s no attempt to reinvent the wheel. The result is what’s easily, one of the most soulful songs on Groove With A Feeling-Sounds Of Memphis-Boogie, Soul and Funk 1975-1985.
Anyone who like their music funky and soulful will enjoy Donald O’Connor’s We Need Love. This is a track that Donald penned. That was before he became Earth, Wind and Fire’s keyboardist and musical director. Back when he recorded We Need Love, Donald was a solo artist. Sadly, fame and fortune eluded him. That’s despite being a talented singer, songwriter and keyboardist. Donald showcases his considerable skills on the truly joyous and irresistible We Need Love.
Freedom Express feature twice on Groove With A Feeling-Sounds Of Memphis-Boogie, Soul and Funk 1975-1985. Very little is known about Freedom Express. Complicating matters, is that during there were two bands in Memphis with the same name. This Freedom Express are obviously a tight and talented band. Their first contribution is Groove With A Feeling, which lent its title to this BGP compilation. It’s a fusion of funk and soul. Adain the arrangement has a harder, uber funky sound. By comparison, the vocal is almost tender and restrained. However, the vocal comes into its own on Dream Girl. As a slow, meandering arrangement almost jazz-tinged unfolds, the vocal veers between sits a hopeful and needy, but always soulful. Dream Girl, which is a fusion soul and jazz, is a real find and is the perfect way to close Groove With A Feeling-Sounds Of Memphis-Boogie, Soul and Funk 1975-1985, in that it leaves you wanting more.
After soul fell out of favour around 1975, many soul labels folded. These labels were resistant to change. They kept churning out music nobody wanted to hear. Just like the gambler who always thinks their luck will change with the next throw of the dice, these labels thought the next single would give them a much needed hit. It never did. Instead, they were pouring good money after bad. Eventually, they ran out of money and were forced to close their doors. Other soul labels, including Sounds Of Memphis, realised they had to evolve.
So between 1975 and 1985, Sounds Of Memphis released a much more eclectic selection of music. Boogie, funk and soul was recorded and released by Sounds Of Memphis. This was the only way. Sounds Of Memphis had to change. That’s apparent from the nineteen tracks on Groove With A Feeling-Sounds Of Memphis-Boogie, Soul and Funk 1975-1985, which was recently released by BGP, an imprint of Ace Records.
Not only did Sounds Of Memphis evolve musically, but incorporated the new technology that was making its way into studios across America. By the late-seventies and early-eighties, drum machines, synths and sequencers were playing a much more important part in music. Some musicians and labels resisted these changes. Not Sounds Of Memphis. They realised this new technology wasn’t going away, so embraced it. It can be heard throughout Groove With A Feeling-Sounds Of Memphis-Boogie, Soul and Funk 1975-1985, which shows another side to the music Sounds Of Memphis released. No longer were they a soul label.
By that time Linda Lucchesi had taken over the running of Sounds Of Memphis. She knew that music was changing, and changing fast. Linda also knew that labels that didn’t embrace change, risked their future. There was no way she was going to let that happen to Sounds Of Memphis. Other label owners realised this too. The demise of Stax had been a shock to many label owner’s system. It forced their hand, they had to change.
Having moved from being just a soul label, to a label that released what record buyers wanted to hear Sounds Of Memphis stood a better chance of surviving. Other record labels and recording studios in Memphis weren’t so lucky. The problem was, they were resistant to change. That was fatal, and ultimately costly. As Billy Paul and Jerry Butler sang, Only The Strong Survive.
One of the survivors was Sounds Of Memphis. Linda Lucchesi made sure of that. She realised that Sounds Of Memphis had to record and release what people wanted to hear. Between 1975 and 1985, this including the boogie, funk and soul that features on Groove With A Feeling-Sounds Of Memphis-Boogie, Soul and Funk 1975-1985.
GROOVE WITH A FEELING-SOUNDS OF MEMPHIS-BOOGIE, SOUL AND FUNK 1975-1985.
HAPPY LOVIN’ TIME-SUNSHINE POP FROM THE GARPAX VAULTS.
HAPPY LOVIN’ TIME-SUNSHINE POP FROM THE GARPAX VAULTS.
By 1967, Gary S. Paxton had established a reputation as one of the top producers in Los Angeles. Success hadn’t come overnight for Gary S. Paxton. Far from it. He had overcome a lot to get to where he was.
Gary Sanford Paxton was born on 18th May 1939, in Coffeyville, Kansas. he was adopted when he just three, and brought up in abject poverty. Life was tough for Gary growing up. Aged eleven, he contracted spinal meningitis. A year later, Gary’s family moved to Arizona, where he discovered rock ’n’ roll.
Aged fourteen Gary was playing in his first band. They played both country and rock ’n’ roll. A few years later, and Gary embarked upon what was akin to his musical apprenticeship. He toured the Midwest playing with various bands. This stood Gary in good stead.
In 1959, Gary had been a member of various groups. None of them had enjoyed much in the way of success. He was a member of The Rockabillies. They morphed into The Pledges, who recorded on Rev Record. The Pledges then became Gary and Clyde, who single Why Not Confess was released on Time Records. However, it was only when Gary and Clyde became Skip and Flip, that success came their way.
Gary became Flip, of the pop duo Skip and Flip. They enjoyed a million selling single with It Was I, which Gary wrote. The pair recorded the song, put together a group, and then began shoping the demo to a label. This would become the way Gary worked when he became a producer. Having shopped the single to various labels, Brent Records wanted to release It Was I.
When It Was I was released on Brent records, the single reached number eleven on the US Billboard 100. The followup Fancy Nancy, stalled at number seventy-one in the US Billboard 100. Gary and Skip’s swan-song was Cherry Pie, which reached number eleven on the US Billboard 100. Their short-lived partnership had proved successful. Now, Gary S. Paxton decided to embark upon a career as a producer.
Having started his production career in 1959, it took Gary S. Paxton until the mid-sixties before he became one of top producers in Los Angeles. During that period, Gary’s entrepreneurial skills were shining through. He had cofounded several record labels, including Garllo and Star-Burst with Lloyd Johnson, whose son Kenny was a talented songwriter. These labels meant that Gary could write, arrange, record, produce and release a single. This was perfect Gary S. Paxton, whose star was in the ascendancy.
By 1967, Gary S. Paxton was one of the top producers in L.A. Gary’s production skills had the uncanny ability to transform an artist’s reputation and fortunes. However, Gary wasn’t just a producer.
Instead, Gary was also an A&R man, arranger, engineer, musician and songwriter. Versatile described Gary in more ways than one.
Gary didn’t just specialise in one type of music. Not at all. From the early days, Gary had worked with an eclectic selection of artists. That was still the case. He was just as happy working with The Association as he was The Four Freshman. There was no way Gary S. Paxton was ever going to be accused of being an auteur producer. No. Gary was a versatile producer, who was just as comfortable producing garage rock, psychedelia, R&B, country or sunshine pop, like that on Happy Lovin’ Time-Sunshine Pop From The Garpax Vaults. It was recently released by Big Beat Records, an imprint of Ace Records.
Happy Lovin’ Time-Sunshine Pop From The Garpax Vaults features twenty-four slices of sunshine pop. This includes thirteen previously unreleased tracks. So, Happy Lovin’ Time-Sunshine Pop From The Garpax Vaults is a mixture of familiar faces and hidden gems. There’s contributions from Augie Moreno, The Black Box, The Chocolate Tunnel, Jim Gordon, The Jaybees, The Bakersfield Poppy Pickers, The Lords, Mary Saxton and Dave Antrell. Some of the artists on Happy Lovin’ Time-Sunshine Pop From The Garpax Vaults feature twice. That’s because they’re among the finest purveyors of sunshine pop that Gary S. Paxton worked with. You’ll realise that when I pick the highlights of Happy Lovin’ Time-Sunshine Pop From The Garpax Vaults.
Opening Happy Lovin’ Time-Sunshine Pop From The Garpax Vaults is the first of the unreleased tracks, Augie Moreno’s Make Up Your Mind. It was penned by Kenny Johnson, who was a talented songwriter. Sadly, nobody got the opportunity to her this hook heavy pop gem. It’s lain unreleased for nearly fifty years, and makes a welcome and overdue debut on Happy Lovin’ Time-Sunshine Pop From The Garpax Vaults.
The New Wing released The Thinking Animal as a single in 1967. It was penned by Kenny Johnson, Bob Hopps and Jerry Ritchley, and released on Pentacle Records. This was the only single that Pentacle Records released. Mind you, what a single it was. It’s psychedelic pop at its finest.
Just like Gary S. Paxton, Curt Boettcher is a singer, songwriter, musician and producer. Sadly, his career was cut tragically short when he died in 1987, aged just forty-three. Two of the unreleased tracks come courtesy of Curt Boettcher. There’s a slight similarity to Scott Walker. That’s apparent on Christina, In My Dreams which Gene Parsons and Jon Paxton penned. It’s a hauntingly, beautiful ballad. Stay a Gene DeNovi composition, is Curt’s other contribution. This heartfelt ballad is the perfect showcase for Curt Boettcher, whose a truly talented singer capable of making a song come to life.
The Chocolate Tunnel only ever released one single, Ostrich People. It was released in 1967 on Era Records. It’s a Kenny Johnson and Jerry Ritchley composition. The version on Happy Lovin’ Time-Sunshine Pop From The Garpax Vaults is different from the single version. Instead it’s the stereo mix of this almost dramatic slice of psychedelic pop.
Dave Antrell’s career as a singer and songwriter began in the sixties, and continued into the early seventies. However, in the sixties, Dave worked with Gary S. Paxton. He penned some of the tracks that Gary produced. However, deep down, Dave wanted to forge a career as a singer. So, he recorded several tracks with producer Gary S. Paxton produced. Three of the tracks feature on Happy Lovin’ Time-Sunshine Pop From The Garpax Vaults. They’ve never been released before. The first is She Loves Me, a joyous and celebratory slice of sunshine pop. You Take Things Lightly Babe is a driving slice of psychedelic sunshine pop. If I Can Help It has a similar driving beat to You Take Things Lightly Babe. However, it takes on an anthemic sound, and isn’t short of hooks. This makes If I Can Help It one of best of the unreleased tracks on Happy Lovin’ Time-Sunshine Pop From The Garpax Vaults.
The Bogart Cult are without doubt, something of a mystery group. Almost nothing is known about them. All that I could find out, was that The Bogart Cult recorded Games in 1969. This Beatles’ inspired song was never released as a single. Instead, it’s case of what might have been? Games is a beautiful ballad penned by Kenny Johnson. If it had been released, it might have given producer another hit single.
Another group to feature twice on Happy Lovin’ Time-Sunshine Pop From The Garpax Vaults are The Jaybees, a Canadian band. They released Who Do You Think You Are as a single in 1967. This Kenny Johnson penned track was released on Columbia. Elements of pop, psychedelia and rock are combined by The Jaybees. There’s even a nod to The Beatles. On the B-Side was Bad Sign. another Kenny Johnson composition. Stylistically, it’s similar to Who Do You Think You Are. However, of the two tracks, I much prefer Bad Sign. Not only has it a slightly more psychedelic sound, but it’s much more catchy.
The Bakersfield Poppy Pickers were essentially a studio project that recorded on Gary S. Paxton’s Riverbottom label. Kenny Johnson played an important part in their recordings. He also penned Clean Up Your Own Backyard and It’s Written All Over My Face. These two tracks were recorded in 1969. By then, The Bakersfield Poppy Pickers’ music is best described as genre-melting. Everything from pop, psychedelia and rock was combined by to create two tracks that epitomise the late sixties sound.
Privilège are another Canadian band. released The Highly Successful Young Rupert White as a single in 1968. Lysergic and haunting, it’s another of the highlights of Happy Lovin’ Time-Sunshine Pop From The Garpax Vaults. It was released in 1968, on Capitol. However, the version on Happy Lovin’ Time-Sunshine Pop From The Garpax Vaults is the stereo mix of the single.
My final choices from Happy Lovin’ Time-Sunshine Pop From The Garpax Vaults, come courtesy of The Lords. Their first contribution is Savin’ (Everything for You Girl), a Bob Hopps, Kenny Johnson, Gary S. Paxton and Jerry Ritchley composition. As it takes on a rocky hue, there’s a nod to the Rolling Stones, before taking a psychedelic twist. The other tracks from The Lords, is the unreleased Don’t Put Me Down. It’s a fusion of rock and psychedelia, that’s far too good to have lain unreleased for nearly fifty years. Somewhat belatedly, Don’t Put Me Down makes its debut on Happy Lovin’ Time-Sunshine Pop From The Garpax Vaults.
Many of the tracks on Happy Lovin’ Time-Sunshine Pop From The Garpax Vaults date from 1967 to 1969. By then, Gary S. Paxton had spent the last eight years working almost nonstop. When he had time to himself, Gary enjoyed sampling the rock ’n’ roll lifestyle in Los Angeles.
By then, L.A. was one of America’s musical capitals. The great and good of music came to live and record in L.A. Just like Gary, when they weren’t recording, they came out to play. When they came out, it was easy to be tempted. Drink and drugs were readily available. Like many rock stars, drink and drugs became part of Gary’s diet, as he explored and enjoyed Tinseltown’s nightlife. He was a successful producer who was living the dream.
Gary S. Paxton had come a long way to the poverty of his early life. He had climbed out of poverty, and made a living out of music. Now he was one of L.A.’s most successful and versatile producers. He was just as comfortable producing garage rock, psychedelia, R&B, country or sunshine pop, like that on Happy Lovin’ Time-Sunshine Pop From The Garpax Vaults. It was recently released by Big Beat Records, an imprint of Ace Records, and showcases Gary’s just how talented and versatile a producer he was. That’s not all.
By the late sixties, Gary was also one of the most successful producers in L.A. It had taken him since 1959 to get this far.
He had already produced hits like Monster Mash and Alley-Oop. Not only was Gary living the dream, but he was making dreams come true. Gary had the ability to transform people’s careers. Previously unsuccessful artists went on to enjoy commercial success. Most people wouldn’t have even considered turning their back on such a successful career.
That’s what Gary S. Paxton did when he discovered religion. Gary turned his back on drink and drugs, and moved from L.A. to Nashville. Gary S. Paxton’s career as one of the most successful producers in L.A. was Gary’s in the past. His future lay with religion and the Lord’s work. This came as a shock to Gary’s friends and colleagues. However, for Gary this was the end of a chapter in his life. That chapter in Gary S. Paxton’s life is celebrated on Happy Lovin’ Time-Sunshine Pop From The Garpax Vaults, which was recently released by Big Beat Records, an imprint of Ace Records.
HAPPY LOVIN’ TIME-SUNSHINE POP FROM THE GARPAX VAULTS.
DAVE HAMILTON’S DETROIT DANCERS.
DAVE HAMILTON’S DETROIT DANCERS.
The Funk Brothers place in soul music’s history is assured. They were Motown’s studio band between 1959 and 1972, when Motown moved to Los Angeles. By then, The Funk Brothers were the most successful studio band in the history of soul music. Forty-three years later, and that’s still the case. However, there was life after The Funk Brothers.
That was the case for Marvin Gaye, Jack Ashford. Ray Parker Jr., Earl Van Dyke, Bob Babbit and Wah Wah Watson. They went on to enjoy long and successful careers after they left The Funk Brothers. So did guitarist Dave Hamilton.
Dave Hamilton was one of the original members of the The Funk Brothers. He was there in 1959, and spent three years playing guitar and vibes on early Motown recordings. Then in 1962, Dave Hamilton left The Funk Brothers and embarked on a solo career.
By then, Dave Hamilton had already released a single with Dave Hamilton and His Peppers. This was Donna’s Cha Cha, which was released on the Hi-Q label. On its release, Donna’s Cha Cha disappeared without trace. So Dave returned to The Funk Brothers. Then in 1962, Dave Hamilton left The Funk Brothers for good.
A year later, in 1963, Dave Hamilton released his debut album Blue Vibrations on the Motown jazz imprint, Workshop Jazz. Late Freight was released as the lead single from Blue Vibrations. However, neither Blue Vibrations, nor Late Freight was a commercial success. Nor was the sophomore single from Dave Hamilton and His Peppers.
Three years after the release of their debut single, Dave Hamilton and His Peppers released their sophomore single Beatle Walk. It was released on Fortune Records in 1964. Just like Donna’s Cha Cha, Beatle Walk wasn’t a commercial success. Just two years into his new career, and it looked like Dave Hamilton’s career wasn’t going anywhere. Dave Hamilton must have realised this, and decided to embark on a career as a producer.
This proved to be the best decision of Dave Hamilton’s musical career. It was as a producer, that Dave Hamilton excelled. Although he released continued to release the occasional single, Dave Hamilton is remembered a talented and successful producer. That’s why Dave Hamilton’s productions have been documented and celebrated by Kent Soul, an imprint of Ace Records since 1998.
Since Ace Records secured the rights to Dave Hamilton’s productions in 1998, four compilations of Dave Hamilton’s Detroit Dancers on have been released. The first was Dave Hamilton’s Detroit Dancers. It was released CD in 1998. Another three volumes of Dave Hamilton’s Detroit Dancers followed in 1999, 2006 and 2011. However, each of these were released on CD. Recently, however, Ace Records decided to release a compilation of Dave Hamilton’s productions on vinyl. It’s entitled Dave Hamilton’s Detroit Dancers, and is the perfect introduction the this much loved compilation series.
Why? Well, Dave Hamilton’s Detroit Dancers features some of Dave Hamilton’s finest dance tracks. This includes contributions from Little Ann, The Ravins, O.C. Tolbert, Tobi Lark, James Lately, Chico and Buddy and Priscilla Page and Rony Darrell. Fittingly, there’s even an appearance from the man himself, Dave Hamilton. Many of these fourteen tracks are real rarities.
Finding copies are almost impossible. If you were lucky enough to find a copy, they would be hugely expensive. Dave Hamilton’s Detroit Dancers, which I’ll tell you about costs only £12, €15 or $18.
Opening Dave Hamilton’s Detroit Dancers is an alternate mix of Little Ann’s What Should I Do. This is the first of two tracks from Little Ann, whose real name is Joanne Jackson. Originally, though many people thought it was Rose Valentine. That was the name on the label of version of What Should I Do being played on the Northern Soul scene around 2000. It only later came to light that it was Little Ann that recorded the single. What Should I Do, which was produced by Dave Hamilton made its debut on Dave Hamilton’s Detroit Dancers in 1998. Four years later, it was released as a single by Kent Records. Not only had a mystery been solved, but one of the hidden gems of the Northern Soul scene was available to a much wider, and appreciative audience Little Ann’s other contribution is Who Are You Trying To Fool, which was the B-Side to What Should I Do, a defiant Northern Soul stomper. Just like What Should I Do, Who Are You Trying To Fool showcases a talented and underrated singer, who never came close to enjoying the success she deserved.
Several of the artists on Dave Hamilton’s Detroit Dancers feature twice. This includes Tobi Lark, who in 1966, released Challenge My Love as a single. It was penned and produced Dave Hamilton, and released on the Topper label. It’s an uber rare single. Copies are almost I’m impossible to find. That’s because so few copies were sold. That’s surprising, given the quality of Tobi Lark’s hurt-filled vocal from Tobi Lark. On the flip side, was Sweep It Out In The Shed, which Dave Hamilton and Rony Darren cowrote and produced. Sweep It Out In The Shed features a tender, needy vocal. Just like Little Ann, Tobi Lark never enjoyed the commercial success her talent warranted.
Dottie and Millie only ever released one single, Talkin’ About My Baby, which was penned and produced by Dave Hamilton. released on the Topper label, just before Tobi Lark’s Challenge My Love. Sadly, it suffered the same fate. Talkin’ About My Baby. Accompanied by stabs of blazing horns, Dottie and Millie almost cha cha their way across the arrangement. The result is a truly irresistible and dance-floor friendly track.
O.C. Tolbert features twice on Dave Hamilton’s Detroit Dancers. His first contribution is I’m Shooting High (I Reach For The Sky). The other is You Got Me Turned Around. They’re both Dave Hamilton and Rony Darrel compositions. I’m Shooting High (I Reach For The Sky), which has a slow, but hopeful sound and made its debut on the first instalment in the Dave Hamilton’s Detroit Dancers series, which was released in 1998. You Got Me Turned Around was released as a single on the TCB label in 1969, and is a tale of hurt and heartbreak. Twenty years later, and You Got Me Turned Around featured on Dave Hamilton’s Detroit Dancers Volume 2. Just like I’m Shooting High (I Reach For The Sky), You Got Me Turned Around became a favourite on the Northern Soul scene.
The Ravines’ Your Love Is What I Want is easily one of the rarest tracks on Dave Hamilton’s Detroit Dancers. Copies just don’t change hands. Those fortunate to have a copy, aren’t for selling. When copies come up for sale, buyers exceed sellers. Your Love Is What I Want, which was released in 1965, on the short-lived Demo Ristic label, is seen by some as soul perfection.
J.T. Rhythm are responsible for what’s without doubt, one of the highlights of Dave Hamilton’s Detroit Dancers, My Sweet Baby. It was penned and produced by Dave Hamilton and Rony Darrel. They’re responsible for what’s a quite beautiful Northern Soul ballad. Originally, My Sweet Baby was the B-Side to J.T. Rhythm’s 1967 single All I Want Is You, which was released as a single by the Palmer Record Company. Sadly, the single disappeared without trace, and copies are almost impossible to find. So, in 1998, My Sweet Baby was chosen as one of the tracks to feature on the first volume of Dave Hamilton’s Detroit Dancers. At last, this beautiful, elegiac ballad was being heard by a wider audience. Seventeen years later, and My Sweet Baby returns for a welcome and overdue encore.
Danny Cobus recorded The Two Of Us is back in 1968. Sadly, it lay unreleased in Dave Hamilton’s vaults until 1999. By then, Ace Records were about to release Dave Hamilton’s Detroit Dancers Volume 2. The Two Of Us, which Dave Hamilton and Rony Darrell composed, and Dave produced, found its way onto Dave Hamilton’s Detroit Dancers Volume 2. At last this hidden soulful gem was being heard by a wider audience. Then in 2007, Kent Select released The Two Of Us as a single. On the flip side was Chico and Buddy’s You Won’t Miss The Water, which Dave Hamilton wrote and produced. It first featured on Dave Hamilton’s Detroit Dancers in 1998. Nine year later, and You Won’t Miss The Water made a welcome return on this limited edition single. Only 500 copies were pressed and quickly snapped up by eager record buyers, keen to acquire two long, lost soulful delights.
James Lately and Dave Hamilton cowrote James’ debut single, Love, Friends And Money. It was released on the Temple label in 1965. What followed was a familiar story. Love, Friends And Money, wasn’t a commercial success. That’s despite a needy, hopeful and soul-baring vocal from James. He didn’t release a followup to Love, Friends And Money, and was lost to music.
Although Dave Hamilton was spending most of his time producing other artists, he hadn’t given up on his solo career. So in 1967, Dave released Shoop Doop as a single. It was released on the Demo Ristic label, but just like Dave’s earlier singles, failed to find an audience. Sadly, it was only later, that Dave Hamilton’s music found an audience, especially within the Northern Soul scene.
Closing this special vinyl edition of Dave Hamilton’s Detroit Dancers, which was recently released by Kent Soul, an imprint of Ace Records, is Priscilla Page and Rony Darrel’s You Did. It was released on the Topper label, in 1965. You Did is another Dave Hamilton and Rony Darrel composition. They had formed a successful songwriting partnership. However, You Did was the first time Priscilla Page and Rony Darrel. Although it’s a tale of heartbreak, it’s not short of hooks. It’s a call to dance that will have dancers sashaying their way across the dance-floor.
This newly released vinyl edition of Dave Hamilton’s Detroit Dancers will appeal to both veterans of the Dave Hamilton’s Detroit Dancers series and newcomers to the series. It features a mixture of familiar faces and hidden gems. All of them have one thing in common, they’re dance-floor friendly. Some of the tracks may be fifty years old, but they’ll still fill a dance-floor. That’s partly down to one man, Dave Hamilton.
While Dave Hamilton may not have as high a profile as some soul producers, he was a successful and talented producer. He had the uncanny knack of bringing out the best in artists and groups. Sometimes, he transformed careers. Sadly, just like any producer, some of Dave Hamilton’s singles failed to find the audience they deserved. As a result, these songs are extremely rare.
That’s because very few copies of the singles sold. Despite their rarity, a few fortunate DJs and collectors picked up copies of Dave Hamilton’s productions, including those on this vinyl edition of Dave Hamilton’s Detroit Dancers. Many of these rarities were found years ago, in warehouses and basements of dusty record shops. Back then, these singles cost pennies. Nowadays, the same singles cost hundreds, if not thousands of pounds. However, fortunately, those unable to afford such exorbitant prices, can always pick up the Dave Hamilton’s Detroit Dancers compilation series.
Previously, four volumes of Dave Hamilton’s Detroit Dancers have been released. The first volume, Dave Hamilton’s Detroit Dancers was released by Kent Soul, an imprint of Ace Records in 1998. Further volumes of Dave Hamilton’s Detroit Dancers were released in 1999, 2006 and 2011. Apart from the four volumes of Dave Hamilton’s Detroit Dancers, Dave Hamilton’s Detroit City Grooves was released in 2005 and Dave Hamilton’s Detroit Funk was released in 2006 by BGP, another subsidiary of Ace Records. The latest addition to Ace Records’ Dave Hamilton portfolio, is the recently released vinyl edition of Dave Hamilton’s Detroit Dancers. Along with the six CDs, this newly released vinyl edition of Dave Hamilton’s Detroit Dancers goes some way to telling the story of Dave Hamilton’s career as a producer.
DAVE HAMILTON’S DETROIT DANCERS.
M.F.S.B.-UNIVERSAL LOVE.
M.F.S.B.-UNIVERSAL LOVE.
Unlike Motown, books haven’t been written about Philadelphia International Records. That’s a missed opportunity, as there are many stories waiting to be told. Until now, only parts of the Philadelphia International Records’ story has been told. Many of those who played an important part in the rise and rise of Philadelphia International Records, haven’t had their story told. That’s a missed opportunity. However, the other missed opportunity is failure to release loving curated reissues of the Philadelphia International Records’ back catalogue. Last year however, things looked hopeful.
On February 13th 2014, Sony Music announced that it had acquired the worldwide rights to Philadelphia International Records’ post 1975 back-catalogue. At last, one label, Sony Music now had control of the rights to the entire Philadelphia International Records’ back-catalogue. This was progress. Maybe now, a proper reissue program of Philadelphia International Records’ back-catalogue could get underway?
This would be an improvement from what has gone before. Previously, Philadelphia International Records’ back-catalogue fell into the wrong hands. It seemed that anyone with money, could license Philadelphia International Records’ back-catalogue. There seemed to be no checks into the background of the labels. What followed wasn’t pretty.
Cheap and nasty reissues of the back-catalogue made their way onto the shelves of record shops. Sometimes, the Philadelphia International Records’ back-catalogue was reduced to budget label products. Twofers were released. Occasionally, three albums were squeezed onto two discs. This meant there were no sleeve-notes and the bare minimum of details about the albums. A low point was reached when what came across what I can only describe as reissue that was a needle drop. It was obvious rather than the master tapes being sourced, a vinyl copy was used. Not a very good copy at that. What had been one of the most influential soul labels between 1972 and 1975, was reduced to this. How the mighty had fallen. Then came the news back in February 2014. This were looking better for Philadelphia International Records’ post 1975 back-catalogue.
At the time, I thought that maybe, at last, a comprehensive reissue of Philadelphia International Records’ back-catalogue would get underway. Like many people, I hoped for lavish and lovingly compiled box sets, remasters of classic albums and rereleases of some of albums that have never before released on CD before. Sadly, that’s never happened, and still any record company has licensed the Philadelphia International Records’ back catalogue has failed to do it justice.
The latest to reissue Philadelphia International Records’ back catalogue are BBR, who recently reissued a reissue of M.F.S.B.’s Universal Love. It was released at a crucial part in the Philadelphia International Records’ story. This was the end of the the golden period in the Philadelphia International Records’ story.
The history of Philadelphia International Records is separated into two parts. The first part was what I’d call Philadelphia International Records’ golden period, between 1972 and 1975 and then the second part, from 1976 onwards. There’s a good reason for doing this. Between 1972 and 1975, music released by Philadelphia International Records featured the classic lineup of M.F.S.B. They’re often referred to as Philadelphia International Records’ house-band. That however, is doing them a huge disservice.
M.F.S.B. were much more than a house-band. These musicians were also songwriters, arrangers and producers. Look at the sleeve-notes to any album released on Philadelphia International Records between 1972 and 1975, and you’ll see that among the arrangers, producers and songwriters were Vince Montana Jr, Norman Harris and Ron Baker. This dispels the myth, sometimes perpetuated by people who should know better, that M.F.S.B. were “just” Philadelphia International Records’ house band. Indeed, M.F.S.B. provided the heartbeat to the music of Billy Paul, The O’Jays, Harold Melvin and The Blue Notes, The Three Degrees and countless others. M.F.S.B. were also one of Philadelphia International Records’ most successful acts.
Love Is The Message was M.F.S.B’s debut album, released in 1973, with M.F.S.B. following later that year. During 1975, a pivotal year for both Philadelphia International Records and M.F.S.B, M.F.S.B. released two more albums. The first of these, Universal Love would prove to M.F.S.B’s penultimate album for Philadelphia International Records. Philadelphia Freedom was released later in 1975. However, when Universal Love was released, M.F.S.B. and musical auteurs Gamble and Huff were locked in a dispute.
At the heart of M.F.S.B’s dispute with Gamble and Huff was money. Although people involved aren’t keen to divulge exact details, it has been alleged that musicians were only offered a pay increase of $5, from $25 to $30 a session. Arrangers and producers were only offered an increase of $10, from $50 to $60 a session. Now this was a risky situation. After all, M.F.S.B. were Philadelphia International Records’ crown jewels. Replacing the original lineup wouldn’t be possible. Where would you find another Baker, Harris, Young rhythm section, Vince Montana Jr, Bobby “Electronic” Eli or Larry Washington? It’s not as if Gamble and Huff would be able to wander down to Manpower and hire an all-star band. Granted Philly had many talented musicians, but not as good as the original lineup of M.F.S.B. This was a high stakes poker game. Who was bluffing?
Dring 1975, while the negotiations continued, there was still music to be made, including albums by M.F.S.B. They would release two albums during 1975. The first was Universal Love.
Universal Love featured eight tracks. Gamble and Huff cowrote just three tracks, Sexy, M.F.S.B and My Mood. Three tracks prove my point about how M.F.S.B. were much more than musicians. Ron Baker cowrote Human Machine with Leon Huff, while Norman Harris and Bobby Martin cowrote T.L.C. (Tender, Lovin’ Care) and Bruce Hawkes and Cynthia Biggs cowrote Love Has No Time Or Place. Norman Harris, Ron Baker and Bruce Hawkes were all locked in the dispute with Gamble and Huff. Of the other two tracks, McFadden and Whitehead plus Victor Castarphen cowrote Let’s Go Disco with Leon Huff. Charles Heardon wrote K-Jee and would later, hit the jackpot, when the track was included on the fifteen-million selling Saturday Night Fever soundtrack. These eight tracks became Universal Love. Like previous M.F.S.B. albums, recording of Universal Love took place at Sigma Sound Studios in Philly, owned by Joe Tarsia.
The recording sessions for Universal Love proved to be the penultimate appearance of the original and best lineup of M.F.S.B. Playing on Universal Love were all the M.F.S.B. greats. Providing the album’s heartbeat were the Baker, Harris, Young rhythm section, along with guitarists Bobby “Electronic” Eli and Roland Chambers. Ron “Have Mercy” Kersey and Leon Huff played keyboards, Larry Washington percussion and Vince Montana Jr. vibes. Violinist Don Renaldo was part of the string section and alto saxophonist Zach Zachery plays an important part in Universal Love’s sound. Norman Harris, Bobby Harris and Bruce Hawkes all arranged or produced tracks, while Gamble and Huff produced five tracks. Once Universal Love was completed, it was released in 1975.
On the release of Universal Love in 1975, it reached number forty-four in the US Billboard 200 and number two in the US R&B Charts. T.L.C. (Tender, Lovin’ Care) was released as a single, reaching number fifty-four in the US R&B Charts and number four in the US Disco Singles Charts. Sexy then reached number forty-two in the US Billboard 200, number two in the US R&B Charts and number one in the US Disco Singles Charts. Given how successful Universal Love had been, surely Gamble and Huff would realize just how important M.F.S.B. were to Philadelphia International Records? Was that the case? I’ll tell you that, once I’ve told you about the music on Universal Love.
Opening Universal Love is the Gamble and Huff penned and produced Sexy, arranged by Bobby Martin. Just Norman Harris’ chiming guitar opens the track, before M.F.S.B. kick loose. Vince Montana Jr’s vibes, Bobby “Electronic” Eli’s wah-wah guitar and an uber funky Baker, Harris, Young join growling horns and lush, dancing strings. Soon, the music veers between funk, disco and jazz. One minute it’s choppy and funky, the next strings ensure it flows smoothly along. Horns blaze, strings swirl and the rhythm section provide a pulsating heartbeat. They’re augmented by vibes, percussion and wah-wah guitars as M.F.S.B. lay down a marker, showing just what they can do. In doing so, the irresistibly fuse funk, jazz and disco seamlessly and peerlessly.
Not many bands have a track named after them. M.F.S.B. did. Written by Gamble and Huff and arranged by Bobby Martin, it’s a fitting tribute to M.F.S.B’s combined talents. Stabs of keyboards, a pounding Baker, Harris, Young rhythm section and waves of Hammond organ combine, before the horns and strings get to work. Horns growl, strings dance with joy while, Vince Montana Jr, subtly sprinkles vibes. Soon, M.F.S.B. have hit their stride. The arrangement is a mass of braying horns, cascading string, while the thunderous rhythm section drive the arrangement along. While every member of M.F.S.B. play their part, it’s the horns that tug at your heartstrings. They’re crucial to the sheer beauty, emotion and drama of the arrangement, making this such a potent, powerful and moving track.
Human Machine was penned by Ron Baker with Leon Huff. It has a much more experimental sound. Given the title, this isn’t unexpected. There’s a spacious, choppy and thoughtful sound to the arrangement as it unfolds. The unmistakable sound of Bobby “Electronic” Eli’s wah-wah guitar is at heart of the arrangement. Keyboards, the Baker, Harris, Young rhythm section and grizzled horns provide the mainstay of the arrangement. When strings sweep in, they smoothen out the arrangement, which still, has a jumpy, edgy sound and feel. Although this track is quite different to the two previous tracks, it’s an innovative track, something which Philadelphia International Records were famous for.
Love Has No Time Or Place closes Side One of Universal Love. Here, backing vocalists join M.F.S.B. Strangely, it isn’t the Sweethearts of Sigma. They play their part in this grand and lush, dance-floor friendly track. Blazing horns, lush, wistful strings and elegant, crystalline harmonies sweep in while Baker, Harris, Young provide a funk, hustle style backdrop. They’re joined by vibes courtesy of Vince Montana Jr, percussion, keyboards and even synths. While this wasn’t the first time synths appeared on a Philadelphia International Records’ album, they seem out of place in the arrangement. Here’s this grand disco orchestra with all these traditional instruments. Then this slightly space-age sounding synth is added. Thankfully this doesn’t spoil the track, as it floats along, with harmonies, strings and horns key to the track’s sound and success.
T.L.C. (Tender, Lovin’ Care) opens Side Two of Universal Love. Written by Norman Harris and Bobby Martin, a curveball is thrown when a jazzy introduction unfolds. Sultry horns take you back to another era. Then it’s all change. Baker, Harris, Young take charge, combining with a Hammond organ and Bobby “Electronic” Eli’s wah-wah guitar. Next comes rasping horns and swirling strings. Norman Harris lays down some of his unique jazz-tinged guitar lines, while pensive horns, dancing strings and bursts of Earl Young’s thunderous drums play crucial roles. There’s a real hustle sound to this joyful, uplifting fusion of Philly soul, jazz, funk and disco, which quite simply, is one of the best tracks on Universal Love.
Let’s Go Disco is driven along by the Baker, Harris, Young rhythm section, piano and percussion. Chanted vocals are added before blazing horns and sweeping strings enter. With the vocals and rhythm section combining, this gives the arrangement a real hypnotic, driving sound. It’s catchy, memorable and sheer simplicity. It’s like a mantra, a call to dance, to a soundtrack provided by M.F.S.B.
K-Jee proved to be the most successful track on Universal Love. Charles Heardon who wrote K-Jee, would later, hit the musical equivalent of fifteen consecutive home runs, when the track was included on the fifteen-million selling Saturday Night Fever soundtrack. From the stabs of keyboards, percussion, urgent flourishes of strings and grizzled horns you’re transported back to disco’s heyday. M.F.S.B. seem to raise their game even higher. A myriad of percussion join Baker, Harris, Young, searing guitars and rasping horns. Strings dance, swirl and sweep and Bobby “Electronic” Eli adds wah-wah guitar. Zach Zachary’s growling alto-saxophone and a wash of wailing Hammond organ provide the icing and cherry for this delicious, cake. So good and tasty was the cake, that it sold fifteen-million slices.
Closing Universal Love is My Mood a much more mellow track. Just a subtle sprinkling of Vince Montana Jr’s vibes, percussion and Norman Harris’ sparse jazzy guitar combine before the arrangement grows. Baker, Harris, Young provide the understated heartbeat. Melancholy strings sweep and swirl, horns rasp and growl while keyboards add a warm melodic sound. M.F.S.B. resist the urge to kick loose one more time. Only the horns, drums and strings are given leeway, but don’t overdo things, bringing Universal Love to a mellow, pensive and quite beautiful close.
The standoff between M.F.S.B. and Gamble and Huff certainly never affected the quality of music on Universal Love. Quite the opposite. It’s almost as if M.F.S.B. were determined to show Gamble and Huff what they were risking losing. This was a high stakes poker game. Universal Love saw the stakes rising. M.F.S.B. upped the ante. Baker, Harris, Young, Bobby “Electronic” Eli, Larry Washington and Vince Montana raised their game, fusing Philly Soul, funk, disco and jazz. This was another impressive addition to M.F.S.B’s discography. Sadly, this reissue doesn’t really do Universal Love justice.
Despite being remastered, the sound quality isn’t as good as it could be. It doesn’t match the quality of music.This newly released version of Universal Love is described as “expanded.” However, all this means is the addition of the single version of Sexy, T.L.C., Let’s Go Disco and K-Jee. There’s nothing new from the Philadelphia International Records’ vaults added to this version of Universal Love. Even the sleeve-notes don’t do the story of this period in the Philadelphia International Records’ story justice. Still it seems, so far, no record company has done the Philadelphia International Records’ back-catalogue justice. All in all, it’s a somewhat disappointing reissue. Let’s hope that next time around, the Philadelphia International Records’ back-catalogue is given the treatment it deserves. Especially the first part in the Philadelphia International Records’ story, which Universal Love covers.
After Universal Love, the original lineup of M.F.S.B. recorded one more album for Philadelphia International Records, Philadelphia Freedom. That proved to be a prophetic title. By the time Philadelphia Freedom was released, the original lineup of M.F.S.B. had achieved their own version of Philadelphia Freedom.
Realizing their demands weren’t going to met, they called Gamble and Huff’s bluff. When no agreement could be reached M.F.S.B. headed to New York, taking their considerable talents to Salsoul Records, where they became The Salsoul Orchestra. As a result, Gamble and Huff lost some of the most talented musicians of the seventies. This included the Baker, Harris, Young rhythm section, who provided M.F.S.B.’s heartbeat, guitarist Bobby “Electronic” Eli, vibes virtuoso Vince Montana Jr, violinist Don Renaldo, percussionist Larry Washington and keyboard player Ron “Have Mercy” Kersey. By the time 1975 was over, The Salsoul Orchestra’s debut album had sold over one-million copies. The original members of M.F.S.B. had played and won what was a high stakes poker game. Following the departure of many of the original lineup of M.F.S.B. the music on Philadelphia International Records was still among the best in seventies soul, but lacked something.
That something, was the combined talents of the original members of M.F.S.B. There’s no doubt that Philadelphia International Records were affected by the loss of such hugely talented musicians. M.F.S.B. Mk II couldn’t fill the shoes of their predecessors. Not only was that a big ask, but almost impossible. Granted, their replacements were talented musicians, and Philadelphia International Records continued to release critically acclaimed and commercially successful music. However, M.F.S.B. were never the same. After all, how do you replace what many regarded as irreplaceable?
Ironically, many of the musicians that became The Salsoul Orchestra flourished. It was as if their talents were unleashed. Baker, Harris, Young, Bobby “Electronic” Eli, Ron “Have Mercy” Kersey and Vince Montana Jr. all flourished as songwriters, arrangers and producers at Salsoul. Gamble and Huff’s loss was very much Salsoul’s gain. Anyone who listens to Universal Love will realize that. Not only does Universal Love features M.F.S.B. at the peak of their powers, but whilst playing one of highest stakes poker games in musical history. The lesson to be learnt from this saga, is that “the workman is worthy of his hire.”
M.F.S.B.-UNIVERSAL LOVE.
HERE TODAY!-THE SONGS OF BRIAN WILSON.
HERE TODAY!-THE SONGS OF BRIAN WILSON.
Brian Wilson is seen by some, as the closest thing music has had to a genius. Proponents of this argument cite the Beach Boys 1966 progressive, psychedelic Magnus Opus, Pet Sounds. By then, Brian Wilson was one of the most successful singer, songwriter, and producers of his generation. Already, Brian Wilson had masterminded twenty-four hit singles, including two number one singles for the Beach Boys. It looked like Brian Wilson could do no wrong.
Sadly, Smile, the followup to Pet Sounds was cancelled. Brian Wilson had suffered the first of several nervous breakdowns. As a result of Brian Wilson’s health problems, his influence on the Beach Boys diminished. This just happened to coincide with a decrease in sales of the Beach Boys’ albums.
Following Pet Sounds, the Beach Boys albums were produced by the group. No longer was Brian Wilson the sole producer. Then in 1975, Brian Wilson produced 15 Big Ones, which was released in 1976. When it was released in July 1976, 15 Big Ones reached number eight in the US Billboard 200, and was certified gold. For many, onlookers, it looked as if Brian Wilson was back. However, that wasn’t the case.
By 1975, Brian Wilson had substance abuse problems and his health was failing. His wife Marilyn realised he needed enlisted the help of psychologist and psychotherapist Eugene Landy. He was best known for an unconventional twenty-four hour treatment program. At first, Brian was resistant to the demanding program. However, with the only alternative being admitted to a psychiatric hospital, Brian came round to Euege Landy’s program. Then in 1976, when Euegene Landy tried to double hi fees, he was sacked by the Beach Boys manager.
Six years later, with Brian’s health failing, and the Beach Boys not having released an album for two years, Eugene Landy was hired again. For the next ten years, Brian was treated by Eugene Landy. This didn’t end well.
Part of Eugene Landy’s treatment, was micromanaging his client’s lives. Usually, he did this with team of counsellors, nurses and doctors. However, in Brian’s case, Eugene Landy took a more hands on approach. Not only was he Brian’s therapist, but gradually, became his business adviser and cowrote songs with Brian. Then when Brain released his debut album Brian Wilson in 1988, Eugene Landy was credited as executive producer. Later, in 1991, Eugene Landy cowrote a memoir about Brian Wilson, Wouldn’t It Be Nice: My Own Story. However, by then people were questioning Eugene Landy’s relationship with Brian.
A year later, and the relationship was over. A restraining order was issued by the court barring Eugene Landy from contacting Brian Wilson ever again. This wasn’t the end of the story. In 1994, the state of California revoked Eugene Landy’s license to practise. There had been accusations of ethical violations and patient misconduct during his years with Brian Wilson. While the relationship ended badly, Brian Wilson was on the comeback trail.
Sadly, Brian Wilson never ever reached the heights of Pet Sounds. He released another ten solo albums, some of which, were released to critical acclaim. However, compared to Pet Sounds, they never came close. Pet Sounds was Brian Wilson’s finest hour. Incredibly, he was only twenty-four, with his whole life in front of him. Sadly, ill-health, substance abuse and the internal politics of the Beach Boys curtailed Brian Wilson’s career. He was the man who could’ve been King.
While Brian Wilson is still remembered as one of the most important successful singer, songwriter, musician and producers of his generation, to some extent, his critics say that Brian Wilson never fulfilled his early potential. That however, is an accusation that could be levelled at many musicians. However, in Brian Wilson’s case, that’s a bit harsh. If illness hadn’t interrupted his career, he would probably have fulfilled his potential.
Certainly, Brian Wilson’s music has influenced two generations of music. They’ve continued to cover his songs over the past fifty years. This includes the artists on Here Today!-The Songs Of Brian Wilson, which was recently released by Ace Records.
Here Today!-The Songs Of Brian Wilson features twenty-five cover versions of Brian Wilson songs. These songs have been covered by Darian Sahanaja, Bobby Vee, The Tokens, The Castells, Jan and Dean, The Tymes, Keith Green, Peggy March, Betty Everett, Carmen McRae and Kirsty MacColl. Among the twenty-five tracks are six cover versions of songs from Pet Sounds. That’s fitting as Pet Sounds was Brian Wilson’s Magnus Opus. However, there’s much more to Brian Wilson’s music, as you’ll discover when I pick the highlights of Here Today!-The Songs Of Brian Wilson.
There’s no better way to open Do You Have Any Regrets? opens Here Today!-The Songs Of Brian Wilson than with Darian Sahanaja’s of The Wondermints cover of Do You Have Any Regrets? This is a song from Brian’s 1990 album Sweet Insanity. Darian rolls back the years, and gives Do You Have Any Regrets? a sixties makeover. As a result, the song sounds uncannily like the Beach Boys at the peak of their power. That’s no surprise as Darian has worked with Brian Wilson during his comeback, and played an important part in his solo career.
Don’t Worry Baby is, without doubt, a Beach Boys’ classic. So anyone who decides to cover Don’t Worry Baby will have their version compared to the original. The Tokens’ cover is akin to a homage to the Beach Boys. Sonically and stylistically, The Tokens’ 1970 cover of Don’t Worry Baby is one of the best, and stays true to the original.
The original recording Help Me Rhonda featured on The Beach Boys Today!, which was released in 1964. The song was written by Brian and Mike Wilson, way before rivalries split the Beach Boys. Later in 1964, Future Beach Boy Bruce Johnston and Terry Melcher then decided to record Help Me Rhonda. However, fate intervened, when the Beach Boys rerecorded Help Me Rhonda. When it was released as a single, it became a huge hit. This lead to Bruce and Terry postponing the release of their cover of Help Me Rhonda. It wasn’t until 1998 that Bruce and Terry’s hook laden take on Help Me Rhonda was eventually released. Seventeen years later, and it makes a more than welcome return on Here Today!-The Songs Of Brian Wilson.
Just like the Beach Boys, Jan and Dean were one of the leading lights of the surf and hot rod scene. They covered The New Girl In School in 1964. This wasn’t a new song. Instead, it started life as (When Summer Comes) Gonna Hustle You, which Jan and Dean recorded in 1963. Originally, it was written by Brian and Bob Norberg. A year later, after a rewrite by Brian, Jan Berry and Roger Christian, (When Summer Comes) Gonna Hustle You became The New Girl In School. Rhis hook laden tale of teenage love was released as a single in 1964, and proved the perfect showcase for Jan and Dean’s vocal prowess.
Don’t Hurt My Little Sister is another song penned by Brian and cousin Mike Wilson. They wrote the song for The Blossoms, which featured Darlene Love. However, Don’t Hurt My Little Sister featured on The Beach Boys Today!, which was released in 1964. Then in early 1966, The Blossoms version of Don’t Hurt My Little Sister was released a single. A few months later, and The Surfaris, another mainstay of the surf scene covered Don’t Hurt My Little Sister. Their version was produced by Gary Usher, and featured on their 1977 compilation Gone With The Wave. It’s one of the highlights of Gone With The Wave, and is a reminder of one of the great groups of the surf era.
In 1964, The Hondells scored a top ten single with their udebut single, Little Honda. For the followup, Gary Usher who masterminded the rise of The Hondells cowrote My Buddy Seat with Brian Wilson. My Buddy Seat was then recorded by some of the top names in the surf scene. Among them, were Gary Usher, Brian Wilson, Bruce Johnston and Terry Melcher. So, it’s no surprise that My Buddy Seat oozes quality. What’s surprising is that My Buddy Seat wasn’t a commercial success.
Surf City was the song the first song that Brian Wilson penned to reach number one. Brian cowrote Surf City with Jan Berry, of Jan and Dean. Much to his father’s chagrin, Brian allowed Jan and Dean to record Surf City first. It gave them a number one single. No wonder. Jan and Dean’s version of Surf City is a classic of the surf era, and fifty-two years later, still sounds timeless.
Keith Green was a child prodigy. By the time he first met Gary Usher in 1965, the eleven year old was writing songs. Gary who was an experienced songwriter, wasn’t convinced at first. However, eventually, Gary signed Keith Green on a recording contract. His sophomore single was a cover of Brian Wilson’s Girl Don’t Tell Me. This Gary Usher production was released on Decca, in 1965, just after the Beach Boys version. It was was the B-Side of Barbara Ann. The main difference between the two version are Keith’s version has a quicker tempo, as Keith and Gary Usher give the song new meaning.
Soul singer Betty Everett is one of many people to cover what’s one of the Brian Wilson’s classic songs, God Only Knows. It originally featured on Pet Sounds, in 1966. Incredibly, Gold Only Knows stalled at number thirty-nine in the US Billboard 100. Nine years later, and Betty Everett covered God Only Knows on her 1975 album Happy Endings. Accompanied by gospel tinged backing vocals, God Only Knows is given soulful makeover that’s quite beautiful.
Good Vibrations, which featured on the Beach Boys 1967 album Smiley Smile, gave the Beach Boys a number one single in 1968. Not only was Good Vibrations by far the highlight of the Smiley Smile album, but one of the greatest songs Brian and Mike Love cowrote. Since 1968, Good Vibrations is perceived as one of the greatest singles ever released. Despite the original being a musical masterpiece, Hugo Montenegro covered Good Vibrations in 1969. The song lent its name to his 1969 album Good Vibrations. Without doubt. one of the highlights of the album is Good Vibrations, where Hugh pays homage to what many believe is Brian Wilson’s finest moment.
Nick DeCaro’s 1968 debut single was a cover of Caroline, No. It’s an wistful, piano lead cover of this Brian Wilson and Tony Asher composition. The addition of a sultry saxophone is a masterstroke, and is very different from the Beach Boys’ original on Pet Sounds. Here, Nick brings new life and meaning to another Beach Boys classic.
Closing Here Today!-The Songs Of Brian Wilson, is Kirsty MacColl’s cover of You Still Believe In Me, another track from Pet Sounds. Kirsty MacColl, the daughter of folk singer Ewan MacColl, had only released a quartet of singles when she released You Still Believe In Me in 1981. However, You Still Believe In Me was a game-changer. It was the finest single of her nascent career. The best way to describe Kirsty’s cover of You Still Believe In Me is understated and ethereal. This was the perfect tribute to one of Kirsty’s musical heroes.
The twenty-five tracks on Here Today!-The Songs Of Brian Wilson, which was recently released by Ace Records, is a reminder of the quality of songs Brian Wilson wrote in his heyday. He was, without doubt one of the most talented songwriters of his generation. That’s indisputable. However, Brian Wilson was much more than a songwriter.
Some people have gone as far as to describe Brian Wilson as the closest thing music has had to a genius. That is taking things to far. He was certainly one of the the most talented and successful singer, songwriter, and producers of his generation. Proof, if any is needed, are the twenty-four hit singles, including two number one singles for masterminded the Beach Boys. However, Brian’s finest hour was Pet Sounds, and of course, Good Vibrations, which was recorded at the same time.
Pet Sound, which was released in 1966 was the Beach Boys’ progressive, psychedelic Magnus Opus, Pet Sounds. They never bettered Pet Sounds. The abandoned Smile project, which was abandoned in 1967, as Brian had the first of several nervous breakdowns, onlookers believe, could’ve come close. Sadly, that wasn’t to be. Smile, the followup to Pet Sounds was cancelled.
Brian Wilson had suffered the first of several nervous breakdowns. As a result of Brian Wilson’s health problems, his influence on the Beach Boys began to diminish. This just happened to coincide with a decrease in sales of the Beach Boys’ albums.
Over the next twenty-six years, Brian Wilson’s suffered from mental health problems. During that period, he was constantly described as a troubled genius. Sadly, Brian never reached the heights he scaled between 1961 and the release of Pet Sounds in 1966.
With Brian no longer playing such an important part in the Beach Boys, their studio albums never came close to matching the Beach Boys of the sixties. The exceptions were 1976s15 Big Ones which Brian produced, and 1979s L.A. (Light Album). Bother were a return to form from the Beach Boys.
Right through to 1992, when Brian ended his association with Eugene Landy, his health problems meant he curtailed his musical career. Since then, Brian Wilson has released ten further solo albums. Some were released to critical acclaim; while others feature a fleeting glimpse of Brian Wilson’s talents. However, much of the greatest music of Brian Wilson’s career, was the music he released with the Beach Boys, between 1961 and the release of Pet Sounds in 1966. To that, I would add the musical masterpiece that is Good Vibrations, which is the work of a musical visionary.
That visionary is Brian Wilson, who has influenced two generations of music, including the artists on Here Today!-The Songs Of Brian Wilson, which was recently released by Ace Records.
HERE TODAY!-THE SONGS OF BRIAN WILSON.
FINLAND-RAINY OMEN.
FINLAND-RAINY OMEN.
Over the last ten years, the Norwegian music scene has been thriving. It’s now one of the most vibrant musical scenes in Europe. Playing an important part in the rise and rise of Norwegian music, are the members of Finland, whose debut album Rainy Omen, will be released on the 17th July 2015, by Hubro Music.
During that ten year period, Ivar Grydeland, Pål Hausken, Morten Qvenild and Jo Berger Myhre have been members of various bands. They’ve also worked with numerous artists on a variety of projects.
Given the schedules of the various members of Finland, they could be forgiven for sticking to their “day jobs.” There was no chance of that. The members of Finland love music. It courses through their veins. So in 2010, Ivar Grydeland, Pål Hausken, Morten Qvenild and Jo Berger Myhre formed Finland, who are best described as a multitalented supergroup.
That’s because Finland have an enviable musical pedigree. The four members of Finland have previously, been members of some of Norway’s most groundbreaking band. They’ve also worked alongside some of the biggest names in Norwegian music. This describes Ivar Grydeland, perfectly.
Ivar Grydeland was born in Trondheim in 1976, when was twenty, Ivar began to study at the Norwegian Academy of Music. He graduated in 2000, but returned in 2001 and graduated in 2003. Since then, Ivar has been a member of numerous groups, including Dans Les Arbres, Emo Albino, Finland, HISS, No Spaghetti Edition, Tony Oxley Project 1 and Wazahugy. However, many people will know Ivar Grydeland as Huntsville’s guitarist. He played on Huntsville’s five studio albums. On Finland’s Rainy Omen, Ivan also plays banjo, pedal steel, lap steel guitar acoustic guitar and adds vocals. This talented multi-instrumentalist is joined by an equally talented rhythm section.
The first member of Finland’s rhythm section is drummer Pål Hausken, who has been a member of many bands. This included Hilde Marie Kjersem, TUB Quartet, In The Country, Jonas H. Sjøvaag’s Navyelectre Large Ensemble, Music For A While and Sacred Hearts. Pål Hausken has also worked alongside Christer Knutsen, Ida Jenshus and Susanna Wallumrød. That’s not surprising. He’s one of Noway’s top drummers. Joining Pål Hausken in the rhythm section is another man with an illustrious musical past, bassist Jo Berger Myhre.
Describing Jo Berger Myhre as a bassist is unfair. Jo’s much more than a bassist. He also plays electric and baritone guitar. Again, Jo who has been a member of several bands, Splashgirl and Slow Motion Orchestra. Jo has previously played alongside Nils Petter Molvær and Mariam the Believer. However, for the last five years, Jo has been a member of Finland, where he’s the perfect foil for Pål Hausken. The final member of Finland is keyboard virtuoso Morten Qvenild.
Just like other members of Finland, keyboard virtuoso Morten Qvenild has been a member of numerous bands. This includes sPaceMonkey, In the Country, Susanna and the Magical Orchestra and The National Bank. That’s not all. Previously, Morten was been a member of Jagga Jazzist and The Shining. However, for the last five years, Morten Qvenild has been a member of one of Norwegian music’s rising stars, Finland.
Since 2010, the members of Finland have had to juggle their other musical commitments with that of Finland. However, when their schedules dictate, Finland play live. Finland live, and in full flight, is an impressive sight and sound.
When Finland take to the stage, four of Norway’s top musicians, fuse a disparate and eclectic selection of musical genres. The result is music that’s not just inventive, but innovative. After concerts, constantly, the members are asked when they will be releasing their debut album? Usually, the answer has been when they can find the time. However, now the time has come.
On 17th July 2015, Finland will release their debut album Rainy Omen, on Hubro Music. Rainy Omen has been a long time coming.
The sessions for Rainy Omen took place at Parachute Studio in Oslo, with technician Øystein Frantzvåg. Once the Rainy Omen sessions were complete, the album was mixed by Juhani Silvola. Since then, Rainy Omen has lain unreleased. Finland were waiting for the right time.
Partly, that was so the members of Finland could find time within their schedules. Getting everyone in the same place at the same time isn’t easy. It’s a logistical nightmare. However, eventually, everyones schedules permitted the release of Rainy Omen, which will be released on the 17th July 2015. This five track album shows why Finland are perceived as one of the rising stars of Norwegian music.
Dust Driven which opens Rainy Omen was written by Morten Qvenild. From the moment Finland are counted in, the track takes on a slightly experimental sound. Clunky drums, chiming crystalline guitars combine in the middle distance. A pizzicato guitar can be heard, while Ivan encourages Finland along. Soon, they combining quivering, shimmering, cinematic guitars with Finland’s rhythm section. A bold bass line is joined by hypnotic drums and keyboards. Washes of a lysergic, summery sounding arrangement unfold, as Finland fuse experimental, rock and surf seamlessly.
Slow and cinematic describes the introduction to George Lumineux, which is a Ivar Grydeland composition. That’s before the steel guitar and rhythm section combine to drive the arrangement along. Soon, the tempo is rising, as washes futuristic music sits above the main arrangement. By then, it’s best described as ethereal. Then Finland throw another curveball, as the arrangement rings out. That’s down to the guitars, while the rhythm section contribute the heartbeat. A muted, scrabbled bass joins the crystalline, neo Byrdsian guitars. Elements of avant garde and industrial music can be heard in this captivating, genre melting soundscape. It’s the perfect showcase for Finland, Norways fab four.
Jo Berger Myhre wrote Magnetic Sail. Straight away, it sounds like the soundtrack to a Wim Wenders film. Indeed, if Paris Texas was going to be remade in 2015, Magnetic Sail would be perfect. It’s slow, moody, but beautiful. The slow, moody sound comes courtesy of the rhythm section. Meanwhile, washes of shimmering, quivering guitars tremble provide the ethereal beauty on what’s Rainy Omen’s finest moment.
No Low Voices is a fourteen minute epic, written by Ivar and Jo. It sees Finland rock out. That’s the case from the get-go. Guitarist Ivar Grydeland, drummer Pål Hausken and bassist Jo Berger Myhre are like a power trio. While the rhythm section drive the arrangement along, a joyous jangling guitar rings out. This seems to encourage drummer Pål Hausken. Frantically, he powers his way round his kit. Bassist Jo Berger Myhre matches him every step of the way. Adding the finishing touch is Morten Qvenild’s keyboards. However, this frantic tempo can’t continue indefinitely. So, midway through the track the tempo drops and the track veers between cinematic to moody and ominous. Providing the moody, ominous sound are the drums, while guitars add a cinematic twist. Keyboards add an experimental hue, as the track becomes a dark, driving rock jam that allows Finland to showcases their considerable skills.
Rainy Omen closes Rainy Omen. This Jo Berger Myhre penned track, is very different from the previous track. It’s slow, trippy and has a darkness. The darkness comes courtesy of Ivar’s guitar. By contrast his guitars play a large part in the slow, triply and cinematic sound. Behind him, the rhythm section play slowly, adding a dramatic backdrop. By then, Finland are jamming, and into the tightest of grooves. The arrangement then takes on a moody, experimental sound. Drums provide a pounding heartbeat, while an industrial sound emerges in the background. It’s a truly innovative and atmospheric soundscape, where Finland show just why, they’re considered one of the rising stars of the Norwegian music scene.
Finland have been together since 2010, and recorded Rainy Omen in June 2011. By then, they had only been together a year. Already, they were a tight, talented band. That’s not surprising, as Finland featured four of the top musicians in Norway’s vibrant musical scene.
Ivar Grydeland, Pål Hausken, Morten Qvenild and Jo Berger Myhre had been at the heart of the Norwegian scene for over ten years. During that period, they had been part of some of the most important and innovative bands of the past decide. The members of Finland had also worked with some truly inventive and groundbreaking musicians. They’ve obviously learnt from each of these musicians, and grown and matured as musicians. By the time they formed Finland, they were vastly experienced and looking for another musical challenge. They found it in Finland.
It was like a meeting of minds. Each of the members of Finland’s musical raison d’être was to make groundbreaking music. They wanted to push musical boundaries to their limits, and sometimes, way beyond. That’s what they do on Rainy Omen. The music in innovative, inventive and genre-melting. Elements of avant garde, experimental, industrial, jazz, psychedelia and rock are combined to make music that’s veers between atmospheric and cinematic to dark and dramatic. Other times, the music on Rainy Omen flits between beautiful to ethereal, and between lysergic and trippy. Always, though, the music on Rainy Omen is captivating, and results in what’s without doubt, one of the best debut albums of 2015. So good is Rainy Omen, that I eagerly await their sophomore album.
Especially since the music on Rainy Omen was recorded in between the 4th and 6th of June 2011. Finland have come a long way in the past four years. So much so, that Finland are now regarded as one of the rising stars of Norwegian. Rainy Omen is just a tantalising taste of what Finland are capable of. The followup up to Rainy Omen could be Finland’s Magnus Opus. Only time will tell.
FINLAND-RAINY OMEN.
BOPPIN’ BY THE BAYOU-ROCK ME MAMA!
BOPPIN’ BY THE BAYOU-ROCK ME MAMA!
Asked to name America’s musical centres of excellence, and most people will come up with Chicago, Detroit, Los Angeles, Memphis, Nashville, New York and Philadelphia. Each of these cities are responsible for some of the best, and most important music of the past fifty years. To this list I would add the states of Ohio and Louisiana. Especially Louisiana.
While the music of Chicago, Detroit, Los Angeles, Memphis, Nashville, New York and Philadelphia has been celebrated and documented by compilers, the music of Ohio and Louisiana has sadly, been overlooked. Granted, there’s been compilations of the music of New Orleans. Sadly, very few compilers or record labels dig any deeper. However, one man, and one record label set about rectifying this.
That man was Ian Saddler, the compiler of the By The Bayou series. Along with Ace Records, Ian Saddler has been flying the flag for the music of Louisiana since August 2012. That’s when Ace Records released Boppin’ By The Bayou, Ian Sadler’s lovingly compiled retrospective of Louisiana’s musical past. Since then, Ian Saddler has continued to fly the flag for Louisiana’s illustrious musical past.
By January 2015, the tenth instalment in the By The Bayou series was released, Rhythm ‘N’ Bluesin’ By The Bayou-Mad Dogs, Sweet Daddies and Pretty Babies. Six months later, and Ian Saddler returns with the eleventh volume in the The Bayou series, Boppin’ By The Bayou-Rock Me Mama! This eagerly awaited compilation was recently released by Ace Records, and is a meaty reminder of Louisiana’s illustrious musical past.
There’s a total of twenty-eight tracks on Boppin’ By The Bayou-Rock Me Mama! Familiar faces and new names sit side-by-side. This includes Jeff Daniels, Warren Storm, Joe Carl, Tony Perreau, Al Ferrier, Bennie Fruge, Billy Blank, Rocket Morgan, Johnny Jano and Collay and The Satellites. These tracks are from the vaults of J.D. Miller, Eddie Shuler and Floyd Soileau, who have provided a myriad of musical delights on previous volumes in the By The Bayou series. However, Ian Saddler has dug even deeper for Boppin’ By The Bayou-Rock Me Mama! He’s dipped into Hack Kennedy’s Big Howdy and Big B labels. This is a first, and welcome first at that. Both labels are home to some great music, some of which has found its way onto Boppin’ By The Bayou-Rock Me Mama!, which I’ll pick the highlights of.
Jeff Daniels’ Switch Blade Sam opens Boppin’ By The Bayou-Rock Me Mama! This is the first of two tracks from Jeff. Switch Blade Sam was released on Hack Kennedy’s Big Howdy label in 1959. It’s an glorious slice of rockabilly, where Jeff pays homage to The Killer. His other contribution is Uh-Huh-Huh, the B-Side to Table For Two, Jeff’s 1959 single. It was released on the Big B label, and was penned by Jeff Daniels under his real name Luke McDaniel. Although Uh-Huh-Huh has a much more understated sound, it’s still truly irresistible.
Warren Storm is one of the familiar faces on Boppin’ By The Bayou-Rock Me Mama! He’s featured many time on the By The Bayou series. In the late fifties, Warren was signed to J.D. Miller’s label. During one session, J.D. Miller had Warren cut several versions of a song he had written, Mama Mama Mama (Look What Your Little Boy’s Done). It was later released on Ernie Young’s Nashville based, Nasco Records. However, the other versions lay in J.D. Miller’s vaults. That’s until Ian Saddler uncovered this accusing and rocking version of Mama Mama Mama (Look What Your Little Boy’s Done).
In 1959, Danny Winkle recorded two sides for Hack Kennedy’s Big B label. Bad Luck, which Danny had written was chosen as the single. It was released later in 1959, with Danny Winkle becoming Danny. Sadly, the single sunk without track, despite Danny’s despairing blues tinged vocal. Following the commercial failure of Bad Luck, Danny never released another single. That was music’s loss, as he was a talented singer, who was able to bring a song to life.
Johnny Jano is another of the artists who feature twice on Boppin’ By The Bayou-Rock Me Mama! He was discovered by J.D. Miller, who had high hopes for Johnny Jano. Ironically, it was J.D. Miller’s great rival, Eddie Schuler that Johnny enjoyed most success. However, Johnny’s two contributions date back to his days with J.D. Miller, who penned the two tracks. Havin A Whole Lotta Fun and Stop, Look And Listen show that Johnny Jano had the potential to be one of the stars of the rockabilly era.
A track Ken Lindsey recorded for J.D. Miller lent its title to the eleventh instalment in the By The Bayou series. That’s Rock Me Mama, which is a real hidden gem. It was written by Otis Hicks and J.D. Miller, then recorded at J.D. Miller’s studio. Sadly, it was never released until 1983, when it made its way onto a compilation. Thirty-two years later, and Rock Me Mama makes a welcome return, and is a reminder of one of the forgotten men of rockabilly, Ken Lindsey.
Al Ferrier features twice on Boppin’ By The Bayou-Rock Me Mama! That’s fitting, as Al Ferrier passed away on 6th January 2015, aged seventy-nine. When Al was just twenty-eight, he released You Win Again as a single. This was a song that Al had written. It was released on the Zynn label, and is a reminder of one of rockabilly’s great names. Twenty years after the release of She Left Me, Love Me Baby (Kiss Me Baby) featured on Let’s Go Boppin Tonight, which was released on Flyright Records in 1983, Incredibly, Let’s Go Boppin Tonight was Al’s debut album. By then, Al Ferrier was a favourite of rockabilly fans on both sides of the Atlantic. They all mourned Al’s passing earlier this year. He leaves behind a rich musical legacy including You Win Again and She Left Me, Love Me Baby (Kiss Me Baby).
Music was in Bennie Fruge’s blood. His father owned the Fruge Piano Company. While many thought he would follow in his father’s footsteps, Bernie had other ideas. He wanted to become a musician. His breakthrough came, when he got a job playing piano at J.D. Miller’s studio. Soon, he was playing on any session where a pianist was needed. However, Bernie wanted to pursue a solo career. Eventually, J.D. Miller allowed Bennie to cut Bayou and She’s Mine, She’s Yours, which feature on Boppin’ By The Bayou Rock Me Mama! These demos allow the listener to hear Bennie’s potential as he embarked upon what was an all too brief recording career. Sadly, most of the time, Bennie spent as a session musician, with his playing gracing many of J.D. Miller’s recordings.
Nathan Abshire and The Pine Grove Boys only released a quartet of singles on the Kajun label. Their debut was Popcorn Blues, which Nathan penned. It was released in 1960, twenty-five years after Nathan’s recording debut in 1935. Sadly, not long after this, the accordion fell out fashion in Cajun music. For Nathan this was a disaster. Twenty-five years later, and Nathan who sung in French, was fronting his own band. He proudly plays his accordion on this rocky slice of zydeco.
Most people won’t be familiar with Claylel Rodney Morgan. Mention Rocket Morgan, and that’s a name that will be familiar to veterans of the By The Bayou series. He’s making his fifth appearance. Rocket was signed to the Zynn label, and released You´re Humbuggin´ Me in 1958. Take Your Choice is a track that’s never been released before. It’s a a quite beautiful piano lead ballad, that’s the perfect showcase for Rocket Morgan’s heartfelt vocal.
Johnnie Allan could’ve been a contender. There is no doubt about that. His recording career began in 1960, when Johnnie released Angel Love as a single on Mercury. This lead to Johnnie Allan recording an album, South To Louisiana. One of the tracks that didn’t feature on South To Louisiana was the irresistibly rocky I’ll Be Waiting. Belatedly, I’ll Be Waiting finds the audience it deserves. Sadly, Johnnie’s music didn’t find the audience it deserves.
By 1975, Johnnie was still making music. Johnnie had never made the big breakthrough many thought. Then in 1975, Johnnie covered Chuck Berry’s Promised Land. British DJ Charlie Gillett championed the track. While it was popular in Britain, international stardom didn’t beckon for Johnnie Allan. He didn’t replicate the success of Chuck Berry. However, Johnnie recorded many a quality cut, including I’ll Be Waiting, which is the perfect introduction to man whose not just a singer and songwriter, but an author, publisher and producer.
My final choice from Boppin’ By The Bayou Rock-Me Mama! is Collay and The Satellites’ Little Girl Next Door, which closes the eleventh volume in the By The Bayou series. Allan Callais formed Collay and The Satellites when he was just sixteen. Soon, Collay and The Satellites were attracting the attention of those within the music industry. They cut Last Chance and Little Girl Next Door at Cosimo Matassa’s studio. It was then released by the Sho-Biz label in 1959. On its release, Last Chance became a favourite of DJs and record buyers. Last Chance gave Collay and The Satellites a huge hit. Sadly, they were never able to replicate Last Chance, whose blistering B-Side Little Girl Next Door shows just what Collay and The Satellites were capable of. Little Girl Next Door oozes quality, and is too good to be a B-Side. It’s also the perfect way to close Boppin’ By The Bayou-Rock Me Mama!, and whets your appetite for the next volume.
Usually, compilation series runs out of steam after four or five compilations. By then, the compiler has exhausted the supply of new music. However, as with every rule, there is an exception. The exception to this rule is Ian Saddler’s By The Bayou series.
Boppin’ By The Bayou-Rock Me Mama!, which was recently released by Ace Records, is the eleventh instalment in the By The Bayou series. Still, there’s no sign of the By The Bayou running out of steam. Far from it. That’s down to compiler Ian Saddler. His dogged determination, and in-depth knowledge of the Louisiana music scene means Ian knows where all the best music was recorded.
Previous volumes of the By The Bayou series have seen Ian Saddler dig deep in the vaults of J.D. Miller, Eddie Shuler and Floyd Soileau. They’ve provided a myriad of musical delights. However, on Boppin’ By The Bayou-Rock Me Mama!, Ian Saddler decided to dig even deeper. So, He’s dipped into the vaults of Hack Kennedy’s Big Howdy and Big B labels. Both labels have yielded some musical gold. That’s the case with all the labels that feature on Boppin’ By The Bayou-Rock Me Mama!
In total, there’s twenty-eight tracks on Boppin’ By The Bayou-Rock Me Mama! There’s contributions from familiar faces and new names. They sit side-by-side on Boppin’ By The Bayou Rock Me Mama!. This includes Jeff Daniels, Warren Storm, Joe Carl, Tony Perreau, Al Ferrier, Bennie Fruge, Billy Blank, Rocket Morgan, Johnny Jano and Collay and The Satellites, who close Boppin’ By The Bayou-Rock Me Mama!, and leave you wanting more.
Hopefully, Ian Saddler is currently working on the twelfth volume of the By The Bayou series. If it’s anywhere near as good as Boppin’ By The Bayou-Rock Me Mama!, then it too, will be a must have compilation. No wonder.
It’s no exaggeration to say that Boppin’ By The Bayou-Rock Me Mama! oozes quality. That’s the case from the opening bars of Jeff Daniels’ Switch Blade Sam, to the closing notes of Collay and The Satellites’ Little Girl Next Door. For twenty-eight tracks and sixty-five minutes, Boppin’ By The Bayou-Rock Me Mama! transports you to Louisiana, where you enjoy the soundtrack the soundtrack to eighteenth state’s illustrious musical past By The Bayou.
BOPPIN’ BY THE BAYOU-ROCK ME MAMA!
LED ZEPPELIN-PRESENCE-DELUXE EDITION.
LED ZEPPELIN-PRESENCE-DELUXE EDITION.
By 1975, Led Zeppelin were at the peak of their powers. They were one of the biggest bands in the world. Every time they released an album, it was to critical acclaim and commercial success. Led Zeppelin albums sold by the million. That had been the case since Led Zeppelin released their eponymous debut album album in 1969.
When Led Zeppelin was released in January 1969, it was certified double platinum in Britain. Elsewhere, Led Zeppelin was certified gold in France, Holland and Switzerland. In Canada, Led Zeppelin sold a million copies and was certified diamond. This was almost unheard of. However, this was nothing compared to sakes of Led Zeppelin in America.
In America, Led Zeppelin sold eight million copies. This resulted in Led Zeppelin being certified platinum eight times over. Despite the success of Led Zeppelin, it wouldn’t be Led Zeppelin’s biggest selling album in America. That was still to come.
Between the release of Led Zeppelin II in October 1970, and Physical Graffiti in February 1975, Led Zeppelin were the biggest selling band in America. Their first six albums sold seventy-six million albums in America alone. This included sixteen million copies of Physical Graffiti, which became Led Zeppelin’s second most successful album. Elsewhere, Led Zeppelin continued to outsell most bands. So when Led Zeppelin announced a tour later in 1975, tickets sold out quickly.
Tickets to Led Zeppelin’s 1975 were like gold dust. It was the show everyone wanted to see. No wonder. Led Zeppelin were one of the best live bands of the seventies. They were the hardest rocking band of the seventies. The only bands that had come close, were the other the other two members of the unholy trinity of rock, Led Zeppelin, Black Sabbath and Deep Purple.
However, by 1975, Led Zeppelin stood head and shoulders above the rest in more ways than one.
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.
On the 5th of August 1975, Robert Plant and his family were relaxing in Rhodes. He was about to join the rest of Led Zeppelin on the 23rd of August 1975, when they embarked upon their world tour. Just like previous Led Zeppelin tours, it would prove gruelling. Especially, they way Led Zeppelin relaxed after concerts. So, Robert was enjoying himself on the beautiful Greek island. Then disaster struck.
Robert had hired a car to use during his holiday. Everything had been going well until the 5th of August 1975. That day, Robert was driving along the road when all of a sudden, the car spun off the road and crashed. He was taken to hospital where doctors discovered that Robert had broken his ankle and elbow. Once Robert had been treated, he was taken to a ward. Straight away, Robert was immediately recognised. The man in the next bed was a fan, and took to serenading Robert with a selection of Led Zeppelin songs. For the next few days, Robert Plant spent time in hospital, before being discharged in a wheelchair. Considering Led Zeppelin were meant to be heading off on tour in less than two weeks, this presented a problem.
Manager Peter Grant and the rest of Led Zeppelin realised that with Robert Plant in a wheelchair, there was no way the tour could go ahead. Led Zeppelin’s world tour was cancelled. For Led Zeppelin this was a disaster, although they never realised how much. It would take two years before Robert Plant fully recovered. By then, they would’ve released their seventh album Presence, which will be reissued by Warner Music as a Deluxe Edition. This Deluxe Edition is a two CD set.Disc one features a newly remastered version of Presence, while disc two features reference mixes of Two Ones Are Won, For Your Life, 10 Ribs and All/Carrot Pod Pod (Pod), Royal Orleans and Hots On For Nowhere. These songs were written and recorded as Robert Plant recuperated.
Following his return from Greece, 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. Now they could begin rehearsing what became Presence.
Bassist John Paul Jones and drummer John Bonham joined guitarist Jimmy Page and vocalist Robert Plant at Hollywood’s SIR Studio. That’s where they spent the next month, recording 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.
Led Zeppelin arrived at Musicland Studios, in November 1975. Page and Plant had penned seven of Presence’s eight tracks. The other track, Royal Orleans, was credited to the four members of Led Zeppelin. These eight tracks would feature a different Led Zeppelin.
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. All they needed now was a title and a cover.
Originally, Led Zeppelin wanted to call the album Thanksgiving. The idea was quickly forgotten, in favour of Presence. Led Zeppelin felt that this explained the powerful force and presence that surrounded the group. Now that the album had a title, Led Zeppelin asked the designers Hipgnosis to come up with an album cover.
Hipgnosis came up with an image of two people interacting within a black obelisk shaped object. This they named “The Object,” which was meant to represent the “force and presence” of Led Zeppelin. Now that the cover was complete, Led Zeppelin could release their seventh album Presence.
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. Was Presence the wrong album at the wrong time? After all, music’s bastard child, punk had just been born. Did that play a part in Presence’s commercial failure? Or was it that the album had been rushed? That’s what I’ll tell you, once I’ve told you about Presence.
Led Zeppelin open Presence with Achilles Last Stand, a ten and a half minute epic that was inspired by Robert’s visit to, and experiences in, Morocco. It’s the longest song in the Led Zeppelin back-catalogue, and a song of two parts. From an understated introduction, the arrangement literally gallops along. Crucial to this galloping sound, is John Paul Jones’ eight-string bass and John Bonham’s drums. They become one, and drive the arrangement along. They’re joined by bursts of blistering guitar riffs. Sometimes, they’re multi-tracked, with twelve layers of guitars adding an orchestral twist. The other component part to Achilles Last Stand is Robert’s vocal. Sadly, it lacks the strength of earlier albums. That can be forgiven, as he manfully delivered the lyrics from his wheelchair. Bursts of vintage Robert Plant shine through, as Led Zeppelin always the innovators, showcase their new sound, which would result in the New Wave of British Heavy Metal.
Slowly and dramatically, the rhythm section and searing guitars combine on For Your Life. Robert vamps, and unleashes a venomous vocal. Anger, frustration and fury fill his vocal, as he sings of “the city of the dammed.” That’s Los Angeles, after a blizzard of cocaine resulted in numerous casualties among its musical community. As Robert delivers one of his best, and most emotive vocals, the rest Led Zeppelin jam. The rhythm section provide the foundation for Jimmy’s guitar masterclass. It might not be the most complicated song he’s played, but his contribution makes the song. His playing is no frills. There’s no showboating, as he unleashes machine gun licks. It’s as if he’s happy to let Robert’s vocal takes centre-stage, as he fires off a warning shot about the dangers of cocaine within L.A.’s music scene.
Royal Orleans is allegedly, about an unwitting encounter John Paul Jones had with a transvestite in the Royal Orleans Hotel, in New Orleans. Not knowing she was a he, John invited them upstairs. They smoked a joint, and fell asleep. The only problem was that the transvestite had a join in their hand, and the room burnt down. The song tells the story. Blistering, machine gun licks join with the rhythm section and Robert’s vocal. He struts his way through the song, recovering some of his usual power. Crystalline guitar licks, hissing hi-hats and pounding drums join with percussion. They provide the backdrop for Robert as he fires of the warning shot; “be careful how you choose it,” and later; ”poor whiskers set the room alight.”
From their early days, Led Zeppelin found inspiration in the blues music. That’s the case with Nobody’s Fault But Mine. Its roots can be traced back to Robert Johnson’s Hellhound On My Trail. However, Led Zeppelin eschew the blues, and kick loose, delivering one of the hardest, rockiest songs of their seven album career. Straight away, waves of scorching, searing guitars assail the listener. Robert vamps and wails, before the rhythm section make their presence felt. Soon, Robert seems to have regained some of his power. He delivers a tormented vocal, admitting: “it’s Nobody’s Fault But Mine.” Robert then blows a mean blues harp. Behind him, Led Zeppelin are in the rockiest of grooves. For six minutes, Led Zeppelin are at their heaviest and rockiest, delivering a blistering performance,
Candy Store Rock was chosen as the lead single from Presence. Led Zeppelin play the song as if it’s a rock ’n’ roll number. In doing so, John Bonham and Jimmy Page eschew power. Instead, their performances are controlled. Robert is transformed into an old rock ’n’ roller. His lyrics seem to have been inspired by old Elvis Presley songs. Although quite different from previous tracks, it shows another side to Led Zeppelin.
Hots On For Nowhere finds a frustrated Robert Plant make his feelings known about Jimmy Page and Led Zeppelin’s manager, Peter Grant. After a stop start introduction, the rhythm section and searing guitars accompany Robert’s vocal. Straight away, Robert’s vocal lacks the power of previous albums. It’s weak, but still the track takes on a melodic sound. Later, la-la-la harmonies are added. Then Jimmy Page steps up and steals the show with some of crystalline licks. They literally cut through the arrangement. This seems to inspire Robert. Along with the harmonies, the track takes on a singalong, anthemic sound.
Bookending Presence is Tea For One, a nine minute track. It seems fitting that epics bookend Presence. Straight away, Led Zeppelin throw a curveball. It looks as if they’re about to unleash a vintage slice of rocky music. However, they then slow the arrangement down, and it takes on a hypnotic, spacious and bluesy sound. The rhythm section leave space for Jimmy’s searing, soaring, crystalline licks. Deliberately, he plays each note with care. After nearly two minutes, Robert’s vocal enters. It’s full of pain and hurt, and can almost be described as pained. He sounds as if he’s been homesick and lonely while on tour. Occasionally, the arrangement has taken on a harder and rockier sound. Mostly, though, Tea For One is a dramatic epic where blues and rock unite seamlessly, as Led Zeppelin keep the best until last.
While Presence failed to match the commercial success of Led Zeppelin’s six previous albums, there are several explanations for this. The first is that Led Zeppelin returned to the studio too soon. With the tour having been cancelled, this gave Led Zeppelin the opportunity to record their seventh album. However, it wasn’t well planned.
Robert Plant was still recovering from a broken ankle and elbow. He was unable to walk. This resulted in Robert Plant delivering his vocals from a wheelchair. For such an expressive and powerful vocalist, this was never going to work. Robert later admitted this, saying his vocals were “pretty poor”…and “sounds tired and strained.” This shows on Presence, with Robert never quite unleashing his trademark powerhouse vocal. However, this wasn’t the only problem with the recording of Presence.
Having rehearsed Presence in Hollywood’s SIR Studio, Led Zeppelin flew to Munich. Like many bands and artists, they decided to record at Giorgio Moroder’s Musicland Studios. This was the fashionable place for bands to record. Everyone from Donna Summer to David Bowie and Deep Purple had recorded their. However, Led Zeppelin knew they had only eighteen days to record and mix Presence. Still, they decided that was the studio for them. In the end it backfired.
With only eighteen days of studio time, the recording of Presence was rushed. Whereas Led Zeppelin usually spent time honing an album, they quickly laid down the seven tracks. They then pulled several all-nighters, mixing Presence. Members of Led Zeppelin fell asleep at the mixing desk. The last man standing was left to mix the track. For Led Zeppelin, and especially Jimmy Page who produced Presence, this can’t have been satisfactory. Sometimes, it shows that Presence was recorded quickly. Mostly, Led Zeppelin get away with it. However, not everyone liked Led Zeppelin’s new sound.
Led Zeppelin had decided to adopt a heavier, stripped back sound. Presence saw Led Zeppelin return to hard rock. The riffs were much simpler, as Led Zeppelin moved towards guitar based jams. This was very different to some of the complex arrangements on Physical Graffiti. Another change was the lack of keyboards. For many critics and record buyers, they didn’t like what they heard.
As a result, Presence only sold three million copies in America. This was thirteen million less than Physical Graffiti. Presence was the least successful album of Led Zeppelin’s seven album career. For Led Zeppelin, this was a shock to their system. Surely, they weren’t yesterday’s men?
According to a new breed of “musicians,” that was the case. Punk had just been born, and the pantomime villain of music was trash talking. The punks called groups like Led Zeppelin, Deep Purple, Black Sabbath, Yes and King Crimson yesterday’s men. Their music represented the past. It had had its day. Now punk was the future. That obviously wasn’t the case. Talk is cheap, and the importance of punk has always been overstated. It certainly wasn’t going to stop people buying albums like Presence. The problem with the failure of Presence lay elsewhere.
Mostly, the failure of Presence was down to trying to record an album in eighteen days, while the lead singer was confined to a wheelchair. Then there was the sudden change of style. Led Zeppelin regressed to the hard rock of their early days. Gone was the diversity of previous albums. Acoustic tracks and anthems were nowhere to be seen. Instead, Presence featured Led Zeppelin at their hardest and rockiest. This alienated many record buyers. However, there’s another factor to consider.
What didn’t help, was that Led Zeppelin’s previous album, Physical Graffiti was a stonewall classic. It sold sixteen million copies. Following up Physical Graffiti was almost impossible. For six albums, Led Zeppelin could do no wrong.These six albums sold seventy-six million copies in America alone. Obviously, this success might not last forever. One day, Led Zeppelin would release an album that wouldn’t sell as well their previous albums. That just happened to be Presence. This could’ve been avoided if Led Zeppelin had taken more time to write and record their seventh album. Maybe then, Led Zeppelin might have had the third diamond certified album of their career? That wasn’t to be, and Led Zeppelin’s seventh album Presence, which sold three million copies in America, was perceived as a commercial failure. Despite that, Presence is one of the most underrated albums of Led Zeppelin’s career, which played a part in launching the New Wave of British Heavy Metal.
LED ZEPPELIN-PRESENCE-DELUXE EDITION.
VAN HALEN-VAN HALEN, VAN HALEN II, WOMEN AND CHILDREN FIRST, FAIR WARNING AND DIVER DOWN-REMASTERED.
VAN HALEN-VAN HALEN, VAN HALEN II, WOMEN AND CHILDREN FIRST, FAIR WARNING AND DIVER DOWN-REMASTERED.
In the history of rock ’n’ roll, Van Halen are one the most successful bands. They released twelve studio albums between their 1978 debut Van Halen, and their 2012 swan-song A Different Kind Of Truth. These albums sold an incredible 50.5 million copies in America alone. Four of Van Halen’s albums topped the US Billboard 200 charts. Van Halen were one of the biggest bands in planet rock. Rock ’n’ roll’s great survivors had outsold and out-rocked two generations of bands.
That too many people, was incredible. Van Halen were a notoriously hard living band. They burnt the candle at both ends, replicating the excesses of Led Zeppelin, Black Sabbath and Deep Purple. Just like Icarus, members of Van Halen sailed to close to the sun. Unlike Icarus, Van Halen lived to tell the tale, and in the process, released some of the best rock of a generation. That was the case from Van Halen released their debut album Van Halen in 1978.
When Van Halen released Van Halen in 1978, it wasn’t well received by critics. That’s somewhat ironic, as Van Halen reached number nineteen in the US Billboard 200. Gradually, critics changed their minds about Van Halen. Suddenly, they began to regard Van Halen as one of the best debut albums in the history of rock ’n’ roll. That’s the case today, with critics hailing Van Halen as a classic, and one of the greatest debut albums ever released. That’s why it’s fitting that Rhino are reissuing a remastered version of Van Halen on 10th July 2015.
However, it’s not just Van Halen that Rhino are reissuing. Instead, Van Halen’s first five albums have been remastered and will be reissued on 10th July 2015. These five albums were released between 1978 and 1982. During this period, Van Halen were one of the hardest working and successful bands in the world. Having released Van Halen in 1978, they followed this up with Van Halen II in 1979. As a new decade dawned, Van Halen released Women and Children First in 1980, then Fair Warning in 1981 and and Diver Down in 1982. Each of these albums have been remastered, and document the first five years of Van Halen’s recording career. By then, Van Halen were already an experienced band.
The Van Halen story began in the early seventies, when brothers, Eddie and Alex Van Halen had formed a band. Like many bands, they found it difficult to settle on a name. Initially, they were called The Broken Combs, then changed the name to The Trojan Rubber Co. By then, The Trojan Rubber Co. had a settled lineup.
Their lineup featured Alex on drums and Eddie on guitar. They were joined by bassist Mark Stone and vocalist David Lee Roth, who they had hired a sound system from. Eddie had initially failed the audition. However, Eddie and Alex were realists. Money was tight, so if they brought David onboard, they would save having to hire a sound system. They also thought that David might improve as a vocalist. However, in 1974, The Trojan Rubber Co. changed its name and its lineup.
1974 was a pivotal year for The Trojan Rubber Co. By then, bassist Mark Stone had been replaced by bassist Michael Anthony. His audition was unorthodox. Only after Michael took part in an all night jam session, was he hired. So, Michael left local band Snake and joined The Trojan Rubber Co. Soon, The Trojan Rubber Co. changed its name to Mammoth, and then Van Halen. For the next three years, Van Halen spent honing their sound.
Van Halen played wherever they could. Backyard parties, clubs and dive bars, they weren’t proud. Far from it. They certainly were loud. Too loud some thought.
When Van Halen went to audition at Gazzarri’s, a bar on Sunset Strip, that was down on its luck, the owner Bill Gazzarri, told them they were “too loud, and refused to hire them.” However, Van Halen’s new managers stepped in.
Mark Algorri and Mario Miranda had just been installed as Van Halen’s managers. They had also just taken over the booking at Gazzarri’s. So, Van Halen were installed as the house band. Not long after this, Van Halen entered the studio for the first time.
The four members of Van Halen headed to Cherokee Studios, which had recently housed Steely Dan. At Cherokee Studios, Van Halen recorded their demo tape. It would become their calling card, and see them play some of L.A.’s top clubs, including the famous Whisky-A-Go-Go.
Soon, Van Halen were a permanent fixture in L.A.’s top clubs. That’s where they continued to hone their sound. It’s also where they came to the attention of Kiss’ Gene Simmons.
Gene Simmons had heard good things about Van Halen. So, he went to check out Van Halen. According to what he had heard, they were one of the rising stars of L.A.’s music scene. When Gene Simmons arrived at the Gazzarri club in the summer of 1976, he was won over by Van Halen. He knew they were going places.
So, Gene Simmons took Van Halen to Village Recorders in L.A. to produce a new demo tape. Overdubs then took place at Electric Ladyland in New York. Things were looking good for Van Halen. The only thing Van Halen baulked at, was Gene’s suggestion to change the band’s name to Daddy Longlegs. That was a step too far. The next step was for Gene to take the newly recorded demo tape to Kiss’ management.
When Kiss’ management heard the demo, they were pretty disparaging about Van Halen. According to Kiss’ managers, Van Halen “had no chance of making it.” These words would come back to haunt them, after Van Halen sold over 50.5 million albums in America alone. However, with Kiss’ management not interested in signing Van Halen, Gene Simmons bowed out of the story. He would be replaced a year later by Mo Ostin and Ted Templeman.
Down but not out, Van Halen returned to the club circuit. For the next year, they continued to hone their sound on the club circuit. One night, in the middle of 1977, Van Halen were playing at the Starwood in Hollywood. There wasn’t much of an audience. However, little did Van Halen know, that two very special guests were in the audience, Mo Ostin and Ted Templeman of Warner Bros. Records. The pair liked what they heard and less than a week later, Van Halen had signed to Warner Bros. Records. Mo Ostin dispatched Van Halen to Sunset Sound Records with producer Ted Templeman, where recording of Van Halen I began.
Van Halen.
Like many bands recording their debut album, Van Halen were fearless. They had no apprehension. Mind you, this wasn’t exactly a new experience. Van Halen had been in studios before, recording two different demo tapes. However, this was for real. The band had written nine tracks. The other two were covers of The Kinks’ You Really Got Me and John Brim’s Ice Cream Man. These eleven tracks would eventually become Van Halen’s debut album, Van Halen.
Recording of Van Halen began in the middle of September 1977. Van Halen’s rhythm section of drummer Alex Van Halen and bassist Michael Anthony set about proving the album’s pulsating heartbeat. A week was spent recording Eddie’s guitar parts. Another two weeks were spent recording David’s vocals and the backing vocals. By early October 1977, recording of Van Halen was all but complete. The decision was made not to do much in the way of over-dubbing. This meant Van Halen was much more like hearing Van Halen live. How would critics respond to this?
Before the release of Van Halen, critics had their say. For everyone at Warner Bros. Records, they held their breath. Back in 1978, critics could be venomous. It was hardly rock critic’s finest hour. They were in the throes of a love affair with punk. Many critics took great pleasure in trashing rock albums. The critics didn’t hold back when it came to Van Halen. Most of the reviews were negative. One of the worst reviews came from the so called doyen of critics, the contrarian Robert Christgau. The equally contrarian Rolling Stone were not fans of Van Halen. At least they admitted that Van Halen were going places. Mostly, the reviews panned Van Halen. However, soon, critics would be eating their words.
When Van Halen was released on 18th February 1978, it began climbing the charts. Eventually, it reached number nineteen in the US Billboard 200 charts. This was just the start of the rise and rise of Van Halen, who critics had changed their mind about,
Gradually, critics changed their minds about Van Halen. Suddenly, they began to regard Van Halen as one of the best debut albums in the history of rock ’n’ roll. That’s the case today, with critics hailing Van Halen as a classic, and one of the greatest debut albums ever released. From that album, a trio singles were chosen.
Three singles were released from Van Halen. A cover of The Kinks’ You Really Got Me reached number thirty-six in the US Billboard 100. Runnin’ With The Devil Stalled at number eighty-four in the US Billboard 100. The final single released from Van Halen was Ain’t Talkin’ ’bout Love. It failed to chart. While the singles failed to replicate the success of Van Halen, it showcased the band at their hard rocking best.
Literally, Van Halen strut and swagger through the eleven tracks on their debut album Van Halen. It’s no surprise that rock and heavy metal fans were won over by Van Halen. It’s a track full of some of Van Halen’s biggest songs, including Runnin’ With The Devil, Eruption, You Really Got Me, Ain’t Talkin’ ‘Bout Love, Jamie’s Cryin’ and Ice Cream Man. Van Halen’s rhythm section of Alex and Michael provide the backdrop to Eddie’s blistering guitars and David’s lived-in vocal. From the opening bars of Runnin’ With The Devil, right through On Fire, Van Halen win friends and influence people. The band who just a year ago, were being hailed L.A.’s best bar band, were on their way to becoming a one of the biggest bands on planet rock.
Van Halen II.
When Van Halen entered Sunset Sound Recorders, in Hollywood, on 11th December 1978, the the four members of the band must have wondered what had happened in the last ten months? They had gone from bar room band, to a million selling rock band. All of a sudden, they were one of the biggest bands in the America. They were being touted as the saviour of American rock. This was hard to comprehend. It also meant that Van Halen were under pressure to record a fitting followup to Van Halen.
Recording of what became Van Halen II began on 11th December 1978. Nine of the ten tracks were penned by Van Halen. Many of the tracks weren’t new songs. Instead, they featured on the Gene Simmons’ sessions. However, given Van Halen were under pressure to record their sophomore album, it’s no surprise that they chose to dust off these songs. The other track chosen for Van Halen II was Clint Ballard Jr.’s You’re No Good. These ten track were produced by Ted Templeman. By January 1979, Van Halen II was complete, and ready for release.
Given the negative reviews of their debut album, the four members of Van Halen must have awaited the reviews of Van Halen II with bated breath. Mostly, reviews of Van Halen II were positive. That’s apart from the “usual suspects,” who still, failed to be won over by Van Halen. They were in the minority. The majority of critics were impressed by Van Halen II’s upbeat, feel good sound. Especially tracks like Dance The Night Away and Beautiful Girls, which some critics referred to Van Halen II as perfect party music. One track however, was very different to the rest.
This was the instrumental, Spanish Fly. It was perceived as the followup to Eruption on Van Halen. Spanish Fly however, is only a minute long, and featured Eddie Van Halen on an acoustic guitar. Rather than fingerpick, he uses a plectrum. This makes things doubly hard. Despite this, he delivers a guitar masterclass. Eddie deploys a variety of techniques, including finger tapping and tremolo picking. Those who had marvelled at Eruption, would be spellbound by Eddie’s performance on Spanish Fly.
That would be the case with Van Halen’s performance on Van Halen II. When Van Halen II was released on March 23rd 1979, copies of Van Halen II sold quickly. It was one of 1979s must have rock albums. Soon, Van Halen two reached number six in the US Billboard 200. Eventually, it sold five million copies in America, and was certified platinum five times over. Across the border, Van Halen II was certified double platinum in Canada. Meanwhile, in France Van Halen II was certified gold. It seemed Van Halen could do no wrong.
While that was the case with Van Halen’s first two albums, their singles were selling as well. While Dance The Night Away reached number fourteen in the US Billboard 100, Beautiful Girls stalled at number eighty-four. Just like many other rock bands before them, Van Halen looked like being an album’s band. Maybe that would change with their third album?
Women and Children First.
Just a year after Van Halen began recording their sophomore album, the band began work on their third album, Women and Children First. It marked the beginning of a new chapter in the Van Halen story.
On Van Halen’s first two albums, Van Halen had added cover versions. This included a cover of The Kinks’ You Really Got Me and John Brim’s Ice Cream Man on Van Halen. Then on Van Halen II, Van Halen covered Clint Ballard Jr.’s You’re No Good. However, when recording of Women and Children First began in December 1979, cover versions were a thing of the past.
Women and Children First, Van Halen’s third album was their first album featuring just songs written by the four members of the band. Maybe Van Halen had realised that putting cover versions on albums was costing the band royalties? There was certainly no need to resort to cover versions? The four members of Van Halen were talented songwriters, capable of writing their own material. So when Van Halen entered the studio to record Women and Children First, they came with ten new songs they had penned. This however, wasn’t the only change that became apparent.
As recording of Women and Children First began, onlookers in the studio realised that Van Halen’s music was becoming heavier. This wasn’t just a stylistic change, and to some extent, a thematic one. Some of Van Halen’s later songs had a degree of darkness. Mostly, though, Van Halen were still the same hard rocking, good time band. However, what became apparent was that their way of recording was changing.
Unlike Van Halen and Van Halen II, Women and Children First saw Van Halen rely more upon overdubs. Backing vocals weren’t used as extensively. They were on Could This Be Magic?, and Nicolette Larson was drafted in to sing the choruses and backing vocal. This was the one and only time a female backing vocalist featured on a Van Halen album. Another first was the keyboard driven And the Cradle Will Rock. Although it sounds like a guitar, it’s a Wurlitzer electric piano with a phase shifter used to transform the sound. It seemed that Van Halen had the confidence to experiment more on Women and Children First. Given that Van Halen were working with such an experienced producer as Ted Templeman, this was the perfect opportunity to try new things. He could show Van Halen how to make their ideas work.
Despite the stylistic change and change in their way of recording, producer Ted Templeman didn’t try to reign in Van Halen. He must have known that Van Halen wanted to broaden their horizons musically. They had always been a hard rocking band, and weren’t willing to sacrifice what many felt was their true sound. Maybe Van Halen had sacrificed some of their true sound on their first two albums. Now that they had their foot in Warner Bros’ door, they could show their true colours. This may not have pleased everyone.
Van Halen finished recording Women and Children First in February 1980. At last, those within Warner Bros. could hear Women and Children First. Some were aware of Van Halen’s music changing stylistically. This didn’t please everyone. Van Halen were one of Warner Bros.’ biggest success stories. By changing their style, this could alienate their audience. Not everyone who had bought Van Halen, and Van Halen II, would be receptive to a heavier Van Halen. Would this be the case within Warner Bros?
Once the executives at Warner Bros. heard Women and Children First, they were able to form an opinion. Most of those whose opinion mattered liked Van Halen’s new sound. They realised that Van Halen wanted to evolve as a band. They couldn’t keep rehashing Van Halen, and Van Halen II. Instead, they had to move forward. However, it was a big risk. Van Halen, and Van Halen II were million selling albums. There was a lot at stake. If Women and Children First flopped it would prove costly.
Van Halen had two hurdles to overcome before they would know if Women and Children First had been a success. The first was the critics.
As the critics their say, everyone at Warner Bros. and the four members of Van Halen awaited the verdict. Eventually, the reviews were published. Many critics remarked upon Van Halen’s heavier sound. They also noted that the four members of Van Halen had written the ten tracks on Women and Children First. Although Women and Children First was quite different from Van Halen II, it was well received by critics. They felt Van Halen were maturing as a band and songwriters. Proof of this were tracks like Could This Be Magic? and Everybody Wants Some!!, which reinforced Van Halen’s reputation and credentials as a good time party band. Having cleared the first hurdle, now record buyers had the final say.
Only if Women and Children First sold in similar quantities to Van Halen and Van Halen II could the album be declared a success. Women and Children First was released on March 6th 1980. Straight away, Women and Children First was selling well. Soon, Women and Children First reached number six in the US Billboard 200. Eventually, it sold three million copies in America, and was certified triple-platinum. Elsewhere, Women and Children First was certified double platinum in Canada and gold in France. As Van Halen and everyone at Warner Bros. breathed a sigh of relief, still Van Halen weren’t selling singles in vast quantities.
The only single released from Women and Children First, was And The Cradle Will Rock. It stalled at number fifty-five in the US Billboard 100. Van Halen it seemed, were never going to be a singles band. However, what really mattered was that Women and Children First had sold well. That was certainly the case. Worldwide, Women and Children First sold over three million copies. Van Halen’s decision to change direction had paid off.
Fair Warning.
By the time that Van Halen began recording their fourth album, Fair Warning, Van Halen were a divided band. The band’s two main men were at loggerheads. David Lee Roth wanted Van Halen to return to the sound of the first two album. He wasn’t in favour of the heavier sound, which he felt didn’t appeal to as many people. The proof of this was the sales of Women and Children First.
Eventually, Women and Children First sold over three million coupes. Van Halen eventually sold ten million copies and Van Halen II five million copies. David felt it Van Halen continued with the heavier sound, they risked alienating record buyers. Van Halen co-founder didn’t agree.
Eddie wanted Van Halen to continue their heavier sound. Women and Children First was the first time they showcased this sound. He felt that the way forward was longer songs with much more complicated song structures. This would allow Van Halen to shine as musicians, especially Eddie, who was seen one of the best guitarists of the late-seventies and early eighties. Given Eddie was one of the best guitarists of his generation, he felt his guitar playing should take centre-stage. David Lee Roth disagreed, and disagreed with Eddie’s other proposal.
The other change Eddie proposed was a continuation of the darker themes that Van Halen began exploring on Women and Children First. For David Lee Roth, this wasn’t what Van Halen were about. They were, in many people’s eyes, a good time rock ’n’ roll band. However, that wasn’t the direction Eddie wanted Van Halen to take. Instead, it looked as if Eddie wanted Van Halen to become the Led Zeppelin of the eighties. With David and Eddie at loggerheads, work began on Van Halen’s fourth album Fair Warning.
Just like Women and Children First, Van Halen penned the ten tracks on Fair Warning. Recording of these ten tracks began in late 1980. Quickly, it became apparent that Eddie’s ideas had prevailed. The music was fast, rocky and sometimes dark. This allowed Van Halen’s rhythm section to showcase their skills Fair Warning. Especially Eddie, who unleaded a series of fierce, blistering solos on tracks like Mean Street, Hear About It Later, Unchained and So This Is Love? David who seemed to have pst the argument, added his trademark vocals. Producer Ted Templman had the job of bringing Fair Warning together. The result was the hardest rocking album of Van Halen’s career, Fair Warning.
Before Fair Warning was released on April 29th 1981, the critics had their say on Van Halen’s hardest rocking album. Reviews of Fair Warning were mixed. Most of the critics embraced Fair Warning. They were impressed by Eddie’s virtuoso skills. Aided and abetted by his box of sound effects, Eddie unleashes a series of blistering solos. Along with the other two members of the rhythm section, he was key to Van Halen’s new, hard rocking style. Together, they provided the backdrop for David’s vocals. He brought to life the lyrics, as Van Halen continued to evolve musically.
It seemed Fair Warning had won over most of the critics. However, while most of the reviews of Fair Warning praised Van Halen’s fourth album, there were still some doubters. They felt that Van Halen were heading down the wrong road. On Women and Children First and Fair Warning, Van Halen’s music had become much harder. This had cost Van Halen precious sales on Women and Children First. Would this be the case with Fair Warning?
On the release of Fair Warning on 29th March 1981, sales were slow. Fair Warning was the slowest selling Van Halen album of their four album career. Eventually, it reached number six in the US Billboard 200. While this was the same as Van Halen II and Women and Children First, sales were way down. Fair Warning sold “just” two million copies. This was a million less than Women and Children First, and three million less than Van Halen II. To make matters worse, none of the singles charted.
Four singles were released from Fair Warning during 1981. The first was So This Is Love. It failed to chart. So did Mean Street, Push Comes To Shove and Unchained. This wasn’t unexpected, as Van Halen weren’t a singles band. However, it further reinforced David Lee Roth’s argument.
Given that Fair Warning was Van Halen’s slowest selling and least successful album, many onlookers wondered whether Van Halen would rethink their sound. It seemed record buyers weren’t embracing Van Halen heavier sound. Maybe it was time to come round to David Lee Roth’s way of thinking?
Diver Down.
After the release of Fair Warning, Van Halen headed out on tour. They spent months promoting Fair Warning. Still, Fair Warning sold slowly, and failed to match the sales of previous albums. Once the tour was over, Warner Bros. started pressurising Van Halen into recording their fifth album.
That wasn’t what Van Halen wanted to hear. They wanted to take some time out, and then spend time writing and recording their fifth album. That wasn’t to be though.
Not long after the Fair Warning tour ended, David Lee Roth came up with an idea. He wanted Van Halen to record a single and release it just after the New Year. He had the very song in mind, Roy Orbison’s Oh, Pretty Woman. While this wasn’t the most obvious choice for a single, the rest of Van Halen agreed.
So the four members headed to Sunset Sound and recorded their cover of Oh, Pretty Woman. After working out an arrangement with producer Ted Templeman, Van Halen recorded Oh, Pretty Woman. Once it was finished, Oh, Pretty Woman was released early in the New Year.
Just after New Year 1981, Van Halen’s version of Oh, Pretty Woman was released. Van Halen weren’t known as a singles band. However, Oh, Pretty Woman succeeded where better Van Halen songs failed, and reached number twelve in the US Billboard 100 and number one on the US Mainstream Rock charts. Ironically, this became the most successful single of Van Halen’s career. However, the success of Oh, Pretty Woman backfired on Van Halen.
Having just enjoyed the biggest selling single of their career, Warner Bros. started pressurising Van Halen into recording their fifth album. Van Halen didn’t get the time to write and record their fifth album.
Eventually, Van Halen relented. That’s despite having been on tour for months. For the last four years, Van Halen had been recording and touring albums. It was like a merry-go-round, one that Van Halen needed to get off. Especially since the last year hadn’t been easy.
Eddie and David were still at loggerheads. Although Eddie had won the day, David had been vindicated. Sales of Fair Warning were way down. It sold a million less than Women and Children First. This was costing Van Halen and Warner Bros. money. So, Van Halen could hardly refuse Warner Bros.’ request to begin recording their fifth album. However, that wasn’t Warner Bros.’ only request.
Given Fair Warning hadn’t been as successful as previous Van Halen albums, someone at Warner Bros hit on the idea that Van Halen should include some covers on what became Diver Down. The reasoning for this was, that if people recognised some of the songs on the album, they would be more likely to by it. Especially if these songs had been hits before. So, Van Halen went in search of covers.
Having already recorded and released Oh, Pretty Woman, Van Halen got to work on their fifth album, Diver Down. In addition to Oh, Pretty Woman, Van Halen had chosen four other cover versions. This included The Kinks, Where Have all the Good Times Gone and Martha and The Vandellas’ Dancing In The Streets. They were augmented by Milton Ager and Jack Yellen’s Big Bad Bill (Is Sweet William Now) and Dale Evans’ Happy Trails. Apart from the five cover versions, Van Halen had seven new songs. Three of the songs weren’t so new.
Hang ‘Em High started life as Last Night, a track from Van Halen’s 1977 demo. Happy Trails was another song from the 1977 demos, which had been included as a joke. Now the joke was on Warner Bros. The other song was Cathedral, a song Van Halen had been playing for a couple of years. During that period, the song had continued to evolve. These three songs would become part of Diver Down, which was recorded in two studios in Los Angeles.
Recording of Diver Down began in January 1982. Two studios were used by Van Halen. The first was Sunset Sound, where Van Halen had recorded previously. Other sessions took place at Warner Bros. Recording Studios, which before the corporate rebinding, was known as Amigo Studios. At these two studios, Van Halen and Ted Templeman got to work. Things weren’t going to plan as Van Halen began recording eleven of Diver Down’s twelve songs.
During the recording of Van Halen’s previous album, Diver Down, released in 1982, David, Eddie and producer Rod Templeman had clashed. The problem was, Eddie wanted to make keyboards a prominent part of the Van Halen sound. David and Rod disagreed. Thinking that Van Halen was a democracy, the two men thought the matter was settled. They were wrong.
Despite this, Eddie went ahead and recorded much of Diver Down at his home studio. When the band heard it, it was keyboard heavy rock rubbed shoulders with Van Halen’s trademark sound. Presented with what seemed like a fait accompli, David began to reconsider his position. He was far from happy with Eddie’s sudden discovery and love of synths. For a rock ’n’ roller like David, this was sacrilege. Despite this, David and Eddie managed to work together.
Over the next three months, Van Halen worked their way through the twelve tracks. Some were easier to record than others. Sometimes, things didn’t go to plan. Some of the covers were difficult to adapt, so that they took on Van Halen’s sound. One of the most problematic was Dancing In The Streets. The problem was Eddie couldn’t work out a guitar riff. Eventually though, Van Halen figured out an their take on Dancing In The Streets. Gradually, Diver Down began to take shape. By March 1982, Diver Down was completed. It would be released on April 14th 1982.
This meant there wasn’t long before Van Halen completed Diver Down and its release on April 14th 1982. By then, some of the members of Van Halen were beginning to realise that Diver Down wasn’t their finest moment. Eddie Van Halen would later say: “I’d rather have a bomb with one of my own songs than a hit with someone else’s.” However, Van Halen had folded too quickly for a band who had already sold over fifteen million albums. They had been cajoled into recording cover versions. For the hard rocking Van Halen, this almost subservient attitude was surprising. Or was it?
When critics were sent advance copies of Diver Down, they were struck by the album cover. It portrayed the diver down flag, which is used to indicate that a scuba diver is diving within that area. If ever it was a case of “a picture paints a thousand words.” David Lee Roth explained that “there was something going on that’s not apparent to your eyes…it’s not immediately apparent to your eyes what is going on underneath the surface.” That could easily be replaced by the press and record buyers weren’t aware what was going on behind the scenes. They never knew that Van Halen were pressurised to record Diver Down. Would the pressure Warner Bros. under, could come back to bite them?
Having received advance copies of Diver Down, critics were determined to have their say. Most were impressed by Diver Down. Some weren’t enamoured with the cover versions. This was quite unlike Van Halen. However, mostly, the reviews of Diver Down were positive. Things were looking up for Van Halen.
On its release on 29th April 1982, Diver Down reached number three in the US Billboard 100. This was the highest chart position of Van Halen’s first five album. Eventually, Diver Down sold four million copies, which was double the amount of Fair Warning. This was pretty good for album that included cover versions and a trio of tracks from Van Halen’s past. However, the success didn’t stop there.
Dancing In The Street was the second single to be released from Diver Down. It stalled at number thirty-eight in the US Billboard 100. The other four singles, Secrets, Little Guitars, The Full Bug and Where Have All the Good Times Gone failed to reach the US Billboard 100. At least they reached the US Mainstream Rock charts. However, times had changed, with Van Halen having enjoyed two hit singles from Diver Down. For a band who hadn’t been known as a singles band, this was changed times for Van Halen.
That had been the case throughout the last five years. Between the release of Van Halen in 1978, and Diver Down in 1982, Van Halen had been on a musical roller-coaster. Before signing to Warner Bros., Van Halen were just a bar band, albeit the biggest and best bar band in Los Angeles. Their career had began in a blaze of glory, with Van Halen, which went on to sell ten million copies. Van Halen II then sold five million copies. Suddenly, Van Halen were one of the biggest rock bands in the world. From there, the next three years were one filled with twists and turns.
After releasing Van Halen and Van Halen II, which are considered two of Van Halen’s finest albums, the next two years saw Van Halen’s music evolve. It become harder and rockier on Women and Children First. By then, Eddie Van Halen and David Lee Roth were at loggerheads as to the future direction of the band.
While Eddie wanted Van Halen’s music to take on a harder, rockier sound, David wanted Van Halen to continue the populist sound of their first two albums. Eddie won the day. However, it proved to be a Pyrrhic victory. Sales decreased on Women and Children First. The drop in sales continued on Fair Warning, where Van Halen’s music becomes even harder and rockier. After Fair Warning sold three million less than Van Halen II, Warner Bros. decided to intervene.
Ironically, Warner Bros.’ suggestion that Van Halen combine cover versions and original material on Diver Down, resulted in the most successful album since Van Halen II. Diver Down sound four million copies. For most bands, this would’ve been a cause for celebration. Not Van Halen. They soon realised that they had folded too easily. They shouldn’t have given in to Warner Bros., as they were an experienced and successful band. If they had taken the time to write and record the album they wanted, they may have reached the scaled the same heights as their next album.
Two years later, in 1984, and Van Halen’s first five albums were well on their way to selling twenty-four million copies. However, their sixth album, 1984. was a game-changer, in more ways than one.
Van Halen’s sixth album, 1984, was proof that if Van Halen were given time to write and record an album, they could come up with something very special. 1984 was a fusion of keyboard heavy rock, combined Van Halen’s trademark hard rocking sound. Thos proved a winning combination. These two sides of Van Halen resulted in a classic album that would become the biggest selling album of Van Halen’s career.
On its release on January 9th 1984, 1984 started climbing the charts. Eventually, it reached number two in the US Billboard 200. This was the highest chart placing of Van Halen’s six album career. It also became the biggest selling album of Van Halen’s career. Eventually, 1984 sold twelve million copies. 1984 became Van Halen’s second album to be certified diamond. Elsewhere, 1984 was a huge seller.
In Canada, 1984 was certified five times platinum. Over the Atlantic, 1984 was certified gold in Britain and France. Meanwhile, 1984 was certified platinum in Germany. Van Halen had recorded the album everyone knew they were capable of. It came at a cost.
Behind the scenes, all wasn’t well within Van Halen. David Lee Roth, Van Halen’s charismatic frontman would quit after 1984. In some ways, the writing had been on the wall. David left on a high. However, maybe, Van Halen might have released an album of the quality of 1984 two years earlier?
Given the time they wanted and needed, Van Halen’s fifth album would’ve been of a similar quality. Sadly, that wasn’t the case. Instead, Diver Down was an album that Eddie Van Halen openly admitted to disliking. Eddie was quite open when he said: ”I’d rather have a bomb with one of my own songs than a hit with someone else’s.” It as obvious that he didn’t see Diver Down as his finest hour. That’s the case.
While Diver Down is a good, but not great album, it’s nowhere near as good as Van Halen, Van Halen II and Women and Children First. They’re three of the first five Van Halen albums that have been remastered by Rhino. They will reissued on 10th July 2015. The others are Fair Warning and Diver Down. Of these two albums, Fair Warning is the best of the two. However, for the newcomer to Van Halen, then s Van Halen, Van Halen II and Women and Children First are the perfect introduction to Van Halen, who were well on their way to becoming one of the biggest selling bands in rock music.
From Van Halen’s 1978 debut album Van Halen, and their 2012 swan-song A Different Kind Of Truth, the former Los Angeles bar band’s twelve studio albums sold 50.5 million copies in America alone. Four of Van Halen’s albums topped the US Billboard 200 charts. Two albums were certified diamond, having sold ten million copies. This includes Van Halen and 1984, two classic albums from Van Halen, who are still one of the biggest bands on planet rock. Van Halen are one of rock ’n’ roll’s great survivors, who have outsold and out-rocked two generations of bands.
VAN HALEN-VAN HALEN, VAN HALEN II, WOMEN AND CHILDREN FIRST, FAIR WARNING AND DIVER DOWN-REMASTERED.
BILAL-IN ANOTHER LIFE.
BILAL-IN ANOTHER LIFE.
Just over two years ago, in March 2013, Bilal released his fourth album A Love Surreal, on BBE Music. A Love Surreal was billed as the most ambitious album of Bilal’s career. The music on A Love Surreal had been inspired by the art of legendary surrealist painter, Salvador Dali. It seemed that Bilal was intent on reinventing himself and his music. This was risky, as Bilal had just got his career back on track with Airtight’s Revenge, which was released in 2010.
Airtight’s Revenge had rejuvenated Bilal’s career, upon its release in 2010. The last few years hadn’t been easy for Bilal. Love For Sale, which was meant to be Bilal’s sophomore album, was scheduled for release in 2006, had been leaked on the internet. Interscope, Bilal’s record company pulled the release of Love For Sale. For Bilal, this was a huge disappointment, one that had him considering his future in music. Then came Airtight’s Revenge.
Airtight’s Revenge was released to critical acclaim. While it didn’t sell as many copies as Bilal’s debut album 1st Born Second, at least Bilal’s career was back on track. The man who was once the subject of a record company bidding was back.
Having rescued his career with Airtight’s Revenge, Bilal began thinking of his next album. Very few within the music industry thought that Bilal would release the most ambitious album of his career. That’s what he did though.
A Love Surreal was released in March 2013. On its release, critics hailed A Love Surreal an ambitious and groundbreaking album. Bilal’s comeback was complete, with what some critics believed was one of the best albums of his career. However, the only problem was following up such a successful album?
Just over two years later, and Bilal has returned with In Another Life. It was recently released on BBE Music, and is the his fifth album in Bilal’s career. His career began in 2001, in New York when he was the subject of a record company bidding war. However, Bilal was born and brought up in one of America’s most musical cities, Philadelphia.
Bilal Oliver Sayeed was born in Philadelphia, in 1979. That’s where he spent the first twenty years of his life. Philly’s is also where Bilal’s career began. However, it wasn’t until he moved to New York, that his career got going.
Aged just twenty, Bilal moved a hundred miles from Philly to New York. He soon began to become a familiar face within the city’s music scene. Soon, he knew artists across the hip and Nu-Soul scene, including Common, Erykah Badu and The Roots. Then when he was taking part in an after-school jam session, Bilal was discovered by Aaron Comess of the Spin Doctors. Aaron arranged for Bilal to record a demo, which was shopped to record labels. Eventually, after considering his options, Bilal signed to Inerscope Records.
Now signed to Interscope Records, Bilal began work on what became 1st Born Second. It featured contributions from the Soulquarians and saw Bilal work with producers Dr. Dre and J. Dilla.1st Born Second proved was critically acclaimed and commercially successful, reaching number thirty-one on the US Billboard 200 and number ten in the US R&B Charts. Eventually, 1st Born Second sold 319,000 copies. That wasn’t the end of the success of 1st Born Second. Bilal enjoyed his first it single.
Three singles which were released from 1st Born Second, Fast Lane, Love It and Soul Sista. The most successful single was Soul Sista, which reached number eighteen in the US R&B Charts and number seventy-one in the US R&B Charts. Things couldn’t get much better for Bilal. He had just enjoyed his first single and released what many consider is a landmark album.
Since then, 1st Born Second is perceived as one of the best R&B and hip hop debut albums of the past thirty years. With Bilal’s star was in the ascendancy, other artists were keen to collaborate with him. This was how Bilal spent the next few years.
Following the success of 1st Born Second, Bilal was keen to broaden his musical horizons. This lead to him collaborating with Jorge Ben, Dead Prez and Talib Kwell on a reinterpretation of Fela Kuti’s Suffering and Smiling. This was released as part of Red Hot and Riot’s well received compilation, where each artist covered a Fel Kuti song. During this period, Bilal collaborated with an eclectic selection of artists. From hip hop through jazz, R&B and Nu-Soul, Bilal worled with numerous artists. Among them, were Common, John Legend, Guru, J. Dilla, Jermaine Dupri, Jaguar Wright, Robert Glasper and Beyonce. This would give Bilal the inspiration for his sophomore album. However, Bilal’s career took an unexpected twist, which resulted in him questioning his musical future.
Bilal’s sophomore album Love For Sale was due to be released in 2006. Unlike his debut album 1st Born Second, Bilal was producing Love For Sale. The exception was Something To Hold On To, which was produced by Grammy Award winning songwriter and producer Nottz. Once Love For Sale was completed, the entire album was leaked on the internet. This resulted in Interscope shelving the album. They thought there was little point releasing an album that was already freely available. For Bilal, this proved to be a double edged sword.
He was questioning his future as a musician. It got so bad for Bilal, that he almost quit music entirely. Luckily, fans and critics alike, loved Love For Sale. Soon, Bilal was touring Love For Sale. This encouraged Bilal to continue his musical career. Four years later, came Bilal’s third album, which was aptly titled.
After Love For Sale was shelved, Bilal left Interscope. Again, Bilal collaborated with other artists. Whether it was hip hop, Nu-Soul or free jazz, Bilal was the go-to-guy. He worked with everyone from Sun Ra, The Roots, Scarface, Jaz-Z, J-Dilla and 88 Keys. Then in 2010, Bilal was ready to release his third album, the aptly-titled Airtight’s Revenge. So Bilal went look looking for a new label.
Rather than sign to another major, Bilal had signed to a smaller, independent label, Plug Research. It seemed that signing for a smaller label, with a lower profile allowed him the freedom to be slightly more experimental on his new album.
Despite deciding to experiment on Airtight’s Revenge, Bilal brought in many of the artists he’d previously collaborated with. Nottz, 88 Keys and Robert Glasper all joined Bilal for the recording of Airtight’s Revenge. While Bilal wanted to experiment, he wasn’t willing to sacrifice his trademark brand of Nu-Soul. One difference was Bilal’s decision to use effects to take detours into spacey jazz and funky jams. For Bilal, this seemed to reinvigorate his career, and allowed his to forget the frustrations of Love For Sale.
Bilal’s decision to combine the music of his past, with a more experimental sound paid off. Airtight’s Revenge was well received by critics and a commercial success. It reached number 101 in the US Billboard 200 and number twenty-one in the US R&B Charts. Nine years after his debut album 1st Born Second, Bilal was back, after the frustration of Love For Sale. However, it would be three more years, before Bilal released the followup to Airtight’s Revenge.
Three years after Airtight’s Revenge, Bilal returned with his fourth album, A Love Surreal. Bilal fused soul, funk and jazz over fourteen tracks and fifty-six minutes. This wasn’t just soul, funk and jazz as we know it, but Bilal’s bold, reinterpretation of it.
Bilal refers to A Love Surreal as: “an audio art gallery or musical museum.” His inspiration was the work of surrealist painter Salvador Dali. So, Bilal decided to challenge himself to do two things. One was to come up with a suite of music that reflected Dali’s paintings. The other challenge was to create music that investigates the many nuances of love. This twofold challenge was completed, when Bilal finished A Love Surreal.
Critical acclaim accompanied the release of A Love Surreal. Critics were won over by A Love Surreal, referring to the album as one of Bilal’s finest moments. It seemed Bilal continual quest to reinvent his music, and take it in a different direction had paid off. He had released one of his finest albums. However, given the quality of A Love Surreal, following it up wasn’t going to be easy. So Bilal brought decided to collaborate with songwriter and producer Adrian Younge.
For the recording of In Another Life, Bilal decided to bring onboard songwriter and producer Adrian Younge. The pair collaborated on In Another Life. Adrian’s addition is noticeable straight away. While Bilal’s usual jazz and soul sound is clearly apparent, Adrian gives several tracks on In Another Life a much more indie vibe. That’s to be welcomed, and gives the track a much more eclectic sound. One thing that stays the same, is the theme that runs through In Another Life.
On In Another Life, Bilal’s in a reflective mood. He ponders the uncertainty and paranoia of modern life. Throughout In Another Life, constantly, Bilal probes and questions. This results in some heartfelt, frustrated and impassioned vocals as he asks a similar question to Marvin Gaye, What’s Going On? Helping him in his search for answers, are some guest artists.
Among the are Def Jam’s Big K.R.I.T. He adds a verse on Pleasure Toy. Kendrick Lamar, whose star is currently in the ascendancy, features on Money Over Love. The third and final guest artist is Kimbra, who features on turns up on Holding It Back. It’s a song that Bilal dedicated: “to the victims of injustice all over the World.” These are just three songs of the thirteen songs on In Another World, which I’ll tell you about.
Sirens II opens In Another World, which touches on one of the album’s themes, paranoia Thunderous drums are joined by bubbling synths and the bass. They’re joined by stabs of shrieking synth. Having set the scene for Bilal, he adds lead and backing vocals. There’s a sense of despair and resignation in his voice. Especially as he sings: “sirens have come to take you away.” Meanwhile, a shimmering Fender Rhodes adds a melancholy backdrop. So do synth strings. Adding a dramatic contrast are the rhythm section and synths. Bilal meanwhile, delivers a vocal that’s full of regret and soulfulness, against a genre-melting arrangement.
Lengthy washes of Hammond organ open Star Now. Before long, the rhythm section enter, combining elements of R&B, rock and psychedelia. Bilal’s vocal is very different from the previous track. He indulges in what’s best described as vocal gymnastics. His vocal quivers, trembles and soars above the arrangement as dramatically, he delivers the lyrics. Stylistically, it’s as if Bilal has sought inspiration from old Prince, as he paints pictures with his vocal.
Slow stabs of Fender Rhodes open Open Up The Door, before the rhythm section join in. They raise the tempo as Bilal takes charge of lead and backing vocals. Soon, he’s delivering one of his best vocals. It bristles with emotion, especially when he sings: “we grow stronger every day…we’ve come to far to give up.” Later, synths strings are added. They prove the finishing touch to what sounds like a vintage slice of soul. The only difference are the drums. They’re more Nu Soul than the vintage soul that’s obviously inspired Bilal. That’s no bad thing, and allow Bilal to stamp his name on Open The Door.
As a piano opens I Really Don’t Care, the arrangement takes on a jazz-tinged sound. As the arrangement drifts along, the rhythm section accompany Bilal’s dreamy vocal. It’s reminiscent of Stevie Wonder. Proving a perfect foil for his vocal are the piano and bass. They frame Bilal’s joyous vocal as he sings of finding love second time around.
Briefly, Pleasure Toy’s introduction pays homage to Marvin Gaye’s Sexual Healing. Pounding drums combine with percussion and bass. Having set the scene for Bilal, he delivers a sultry, vamp that references Prince. Meanwhile, Big K.R.I.T. lays down a rap. By now, the arrangement has a strong eighties influence. Soul, funk, hip hop and boogie play their part in this homage to the eighties and the artist formerly known as Prince.
So far, Adrian Younge has played a huge part in In Another Life. Not only is he the producer, but is a talented multi-instrumentalist who plays many of the instruments on In Another Life. One of the instruments he plays on Satellites, is the drums. He gives them a rockier sound than on other tracks. Having laid down the drums, Adrian adds bass and washes of Hammond organ. Bilal delivers a questioning, probing vocal. Stabs of horns sound as Bilal sings: “why the hell did I get you high…why the hell did I let you run out.” As Bilal’s vocal soars above an arrangement elements of funk, R&B and Southern Soul are combined to create a track that’s funky and soulful.
Briefly, the tempo drops on Money Over Love, which features a guest appearance from Kendrick. Just drums accompany Bilal, who sounds like D’Angelo. Then producer Adrian Younge throws a curve-ball. Out of nowhere, the arrangement takes a rocky twist. Influences include the Sensational Alex Harvey Band and Prince. Later, Kendrick ups the ante, as he trades vocals with Bilal, who also adds harmonies. Hooks certainly haven’t been spared as funk, rock and soul is combined by Bilal and Kendrick.
As Love Child begins, it sounds not unlike The Beatles’ Fool On The Hill. Then it’s all change. Sharp bursts of drums drive the arrangement along and accompany Bilal’s heartfelt vocal. Subtle washes of organ and bubbling synths are added. So are female harmonies. They accompany Bilal as he sings about a man whose unable to see his “Love Child” because its mother has run away. Midway through the track, it takes another brief Beatles-esque twist. Then it’s a return to the jaunty arrangement, as this cinematic sounding track reveals the rest of its secrets.
Slowly and deliberately, Holding It Back, which features Kimbra begins. Just the rhythm section, Hammond organ and Fender Rhodes combine. This provides the perfect backdrop to Bilal’s and then Kimbra’s vocal. Their vocal are tinged with confusion and joy. They play the part of lovestruck lovers well, “not knowing which way is up.” As they deliver heartfelt, soulful vocals, they bring the lyrics to life, and are responsible for one of the highlights of In Another Life.
The soulful sound continues on Spiralling. Again, the drums have a rockier sound. They’re joined by bursts of horns, Fender Rhodes and the rest of the rhythm section. Bilal’s vocal has a wistful sound, especially as he sings: “she’s spiralling, she’s spiralling, out of control.” There’s a sadness in his voice as he delivers the lyrics, as if they’re personal to him. Later, as the arrangement heads to its dramatic high, Bilal delivers a brief, dramatic, Prince-like vamp. It’s like a cathartic outpouring of emotion, and is the finishing touch to the track.
Bury Me Next To You closes In Another Life. Washes of Fender Rhodes, sit in the background as the bass, guitar and drums take centre-stage. Bilal’s vocal is tinged with sadness and hurt, as the arrangement meanders along. Meanwhile, instruments flit in and out. Everything from a saxophone, slide guitar and synths are joined by flutes and a piano. They all play a supporting role to Bilal’s melancholy vocal.
That’s the story to Bilal’s fifth album In Another Life, which was recently released by BBE Music. In Another Life saw Bilal collaborate with Adrian Younge. The part he plays on In Another Life can’t be underestimated. Not only did he record and produce In Another Life, but he cowrote the twelve tracks on the album. Adrian, who is also a multi-instrumentalist, played on In Another Life. He plays everything from drums, bass and guitar, to Hammond organ, Fender Rhodes, flute and saxophone. The other thing Adrian brings to In Another Life, is the ability to switch between genres.
Granted Bilal’s flitted between genres on A Love Surreal, but on In Another Life sometimes, Adrian adds a rocky hue. Occasionally, In Another Life takes a psychedelic twist. Mostly though, Bilal sticks to soul, jazz and funk. To do that, Bilal seeks inspiration from Prince, Michael Jackson, Marvin Gaye, D’Angelo, Stevie Wonder. However, there’s also a nod to The Beatles and the Sensational Alex Harvey Band. All these artists have influenced Bilal on In Another Life. So have his guest artists.
Three guest artists feature on In Another Life. This includes hip hoppers Big K.R.I.T. and Kendrick Lamar. They take In Another Life in the direction of hip hop. The other guest artist is Kindra, who plays a starring role on Holding It Back. She was the perfect foil for Bilal’s vocal, and just like Adrian Younge, and Bilal’s other musical friends also play their part in In Another Life’s sound and success.
Just like A Love Surreal, In Another Life is a genre-melting album, one that showcases Bilal’s versatility as a singer. He constantly ponders the uncertainty and paranoia of modern life, In Another Life picks up where he left off on A Love Surreal.
Two years since the release of A Love Surreal, and Bilal returned with a worthy successor, In Another Life. Over eleven of In Another Life’s tracks, constantly, Bilal probes and questions the uncertainty and paranoia of modern life. This results in some heartfelt, frustrated and impassioned vocals from the Philly born singer. Just like Marvin Gaye On What’s Going On?, Bilal looks for answers to the big questions, on this fitting followup to A Love Surreal, In Another Life.
BILAL-IN ANOTHER LIFE.
JETHRO TULL-MINSTREL IN THE GALLERY-STEVEN WILSON 2013 MIX.
JETHRO TULL-MINSTREL IN THE GALLERY-STEVEN WILSON 2013 MIX.
By the time Jethro Tull began work on their eighth album Minstrel In The Gallery, they were one of the biggest selling groups of the seventies. Especially in America. Five of their albums had been certified gold, while 1971s Aqualung was certified triple-platinum. In America alone, Jethro Tull had sold 5.5 million albums by 1974. Jethro Tull were also enjoying a glittering career in Britain and Germany. Aqualung had been certified gold in Germany, and 1974s War Child was certified silver in Britain. For the members of Jethro Tull, this should’ve been one of the happiest time of their lives. It wasn’t though.
For lead singer Ian Anderson, it was a bitter-suite moment. The commercial success and critical acclaim was what every band craved. However, it came at a cost. The more successful Jethro Tull became, the more they had to tour. Soon, they were locked into a schedule of recording an album, then touring it. Eventually, the constant round of touring and recording, took its toll on Ian’s marriage. By April 1975, Ian’s marriage to Jennie Franks had ended in divorce. It wasn’t a good time for the Jethro Tull frontman.
So when he arrived in Monaco in April 1975, to begin work on what became Minstrel In The Gallery, it proved a cathartic experience. Ian wrote about his divorce, and the pressures of having to constantly, write, record and tour. It was as if Ian Anderson was venting his sadness and frustration as he penned Minstrel In The Gallery; which was remixed by Steven Wilson in 2013; and was recently reissued by Chrysalis. Once Minstrel In The Gallery was written, recording of Jethro Tull’s eighth album began.
When recording of Minstrel In The Gallery began, in April 1975, Ian Anderson had penned six tracks, and cowrote Minstrel In The Gallery with Martin Barre. These seven tracks were recorded using the Masion Rouge Mobile studio. Ian played flute, acoustic guitar and sang lead vocals. The rest of Jethro Tull included drummer and percussionist Barriemore Barlow, guitarist Martin Barre and bassist Glen Cornick who also played Hammond organ. John Evan played piano and organ. David Palmer took charge of the orchestral arrangements,while Ian Anderson produced Minstrel In The Gallery. It was released in September 1975. Before that, the critics had their say.
The reviews of Minstrel In The Gallery were hardly glowing. Some critics slated Minstrel In The Gallery. Rolling Stone’s unnamed critic didn’t hold back. Their review called Minstrel In The Gallery “instantly forgettable.” This is somewhat ironic, given that the 40th Anniversary: La Grande Edition is just the latest celebration of Minstrel In The Gallery. However, Rolling Stone weren’t alone. A few reviews weren’t favourable. Mostly, the reviews were mixed. However, the record buying public had the final say.
On its release in Britain on 5th September 1975, Minstrel In The Gallery reached number twenty. This resulted in Jethro Tull’s first sliver disc in Britain. Across the Atlantic, Minstrel In The Gallery reached number two in the US Billboard 200, and was certified gold. In Austria, Germany, Norway and Sweden, Minstrel In The Gallery sold well. Jethro Tull were still one of the biggest bands of the seventies, thanks to Minstrel In The Gallery.
Opening Minstrel In The Gallery, is the title-track. It was penned by Ian Anderson and Martin Barre. Here, Jethro Tull transport the listener back to Elizabethan times. They dawn the role of wandering minstrels. Their raison d’être is to entertain the guests in the gallery of the grand hall. As Ian sings, an acoustic guitar accompanies him. A lilting flute and harmonies drift in and out. Then with a flourish of guitar, a blistering electric guitar solo enters. The rest of Jethro Tull cut loose. They’re at their heaviest as the rhythm section, guitars, keyboards and Ian’s flute combine. Later, Ian’s vocal is akin to strut. It’s as if he’s frustrated at being a modern day Minstrel In The Gallery. He vents his frustration and anger. This seems to inspire the rest of Jethro Tull. Together, they play their part in this storming, but melodic opus. Elements of classic rock, English folk, jazz and prog rock combine seamlessly, as Jethro Tull start as they mean to go on.
Jethro Tull draw inspiration from Norse mythology on Cold Wind to Valhalla. In Norse mythology, Valhalla is a majestic hall, ruled over by the God Odin. Half of those who die in combat, travel to Valhalla, led by the Valkyrie. As Ian counts the band in, an acoustic guitar and organ combine. A roll of percussion signals the arrival of Ian’s flute and then Ian’s deliberate, dramatic vocal. Swathes of strings sweep urgently as the story unfolds. Drums and searing, screaming guitars add to the urgency. It’s best described as controlled aggression from Jethro Tull’s rhythm section. Later, as Ian’s vocal drops out, strings sweep dramatically, a guitar chimes and bursts of flute punctuate the arrangement. By now, it’s a masterclass from Jethro Tull. Things can’t get any better. They do. When Ian’s vocal returns, Jethro Tull are at their tightest. They never miss a beat, and with a flourish, they reach a dramatic crescendo.
As Ian’s flute flutters above the arrangement to Black Satin Dance and a bass probes. Originally, the bass playing was criticised for being rigid. This however, suits the arrangement. Soon, a piano plays and Ian’s heartfelt, needy vocal enters. He seems to have dawned the role of Elizabethan minstrel. Before long, a scorching guitar is straining at the reigns. So are sweeping strings. It’s a hint at what’s about to unfold. Jethro Tull return to their heaviest. As blistering guitars are unleashed, the bass probes and drums pounds. At the breakdown, the arrangement is stripped bare, before becoming frenzied. Ian vamps and plays his flute. After that, Jethro Tull combine controlled power, drama and imagery on this beautiful, cerebral example of prog rock at its finest.
Requiem has a much more understated sound. It reminds me of Pink Floyd. Accompanied by just an acoustic guitar and wistful strings Ian delivers a tender vocal. He delivers lyrics that are both beautiful and thoughtful. In doing so, we hear another side to Jethro Tull. Later, Requiem would remembered as one of the finest ballads Jethro Tull ever recorded.
One White Duck/010 = Nothing At All opens side two also has understated sound. An acoustic guitar and strings play an important part in the arrangement. They accompany Ian’s pensive vocal. So do the rhythm section. They take care not to overpower the rest of arrangement. Instead, they’re content to provide the heartbeat. Meanwhile, Ian’s vocal paints pictures of those he’s left behind; as the wandering minstrel tours the world. Poignantly, he sings: of “postcards on the mantlepiece” and “one white duck on the wall.” That’s reality. Not what he’s doing now. Pizzicato strings signal that a change is coming. As Ian returns to his other life, he urgently strums his guitar. His vocal is full frustration and confusion. You wonder if it’s what he wants? Ian knows he’s lucky, but isn’t sure this is the life he wants? On this very personal song, one can’t help wonder whether Ian Anderson was at a crossroads in his life.
Every Jethro Tull must have an epic. Minstrel In The Gallery has Baker St. Muse, a song in four parts. On the original album, they were one long track. Not now. Despite Ritalin, a generation’s attention span is shorter. So, Pig-Me and the Whore. Nice Little Tune, Crash Barrier Waltzer and Mother England Reverie become four tracks.
Ironically, Baker St. Muse is much more accessible than some of Jethro Tull’s previous epics. Seamlessly, the four parts become part of what’s a musical Magnus Opus. That’s the case from the opening bars of Pig Me, as Ian paints pictures of London in the seventies, and the sights, smells, sounds and sadness of Baker Street. Ian likens it to a fairground. As he does this, just an acoustic guitar plays. Soon, melancholy strings, a piano and a pounding rhythm section enter. They add an element of drama and a folk-tinged sound. As Ian’s vocal drops out, Jethro Tull stretch their legs. It’s all change. A cascading flute, blistering guitar, bubbling bass and stabs of Hammond organ unite. Joining the rocky arrangement, is Ian’s vocal before the song reaches its crescendo, giving way to Pig-Me and the Whore.
Straight away, Ian sings of Baker Street’s dark underbelly on Pig-Me and the Whore. Before heading home to respectability, the character in the song has an assignation with a hooker. Ian’s vocal is almost judgemental. Strident guitars accompany him. So do the rhythm section and swathes of lush strings. They set the scene for Nice Little Tune.
It’s an instrumental, lasting just over a minute. However, Jethro Tull pack a lot into Nice Little Tune. They jam, building the track up. Various instruments flit in and out. It has an understated, wistful sound, before the arrangement marches along to the beat of the drum. Later, swathes of strings prove the perfect bridge to Crash-Barrier Waltzer.
On Crash-Barrier Waltzer, Ian Anderson’s lyrics have a sense of sadness. They tell of a woman’s fall from grace. She’s: “some only son’s mother…a Baker Street casualty.” With wistful strings for company, Ian tells how he wanted to help her. However, he tells of the intransigent policeman’s response. Oh officer, let me send her to a cheap hotel, I’ll pay the bill and make her well – like hell you bloody will!” There’s a sense of anguish, anger and sadness as thoughtfully, he delivers the lyrics..
Mother England Reverie is the final part in Baker St. Muse. Ian’s been back on Baker Street, observing everyday life. He returns with what’s like a short story put to music. As the arrangement unfolds, it’s understated and melancholy. Just piano and guitars augment the string drenched arrangement. They provide the backdrop for Ian’s vocal. Then after two minutes, the arrangement grows. Flourishes of piano and flute are joined by a powerhouse of a rhythm section. Later, bursts of drums and cascading strings reflect the drama in Ian’s vocal. They play their part in what’s highlight of Baker St. Muse. Everything, it seems has been leading to this moment.
Grace closes Minstrel In The Gallery. It’s thirty-seven seconds of quite beautiful music. Just Ian, his acoustic guitar and lush strings combine. However, you can’t help but wonder whether this could’ve been the start of another Jethro Tull elegiac epic?
Forty years ago, very few critics thought that another generation would be celebrating the release of Minstrel In The Gallery. However, that’s what happened recently.
Chrysalis recently Steven Wilson’s 2013 remix of Minstrel In The Gallery. It’s a welcome reissue of what’s now regarded as one of Jethro Tull’s finest albums. However, back in 1975, very few critics thoughtMinstrel In The Gallery was worthy of a celebration. This poses a question, how did the critics get things so wrong?
With its fusion of art rock, avant-garde, baroque, classical, folk, free jazz, jazz, pop and psychedelia, prog rock was a melting pot of musical influences and genres. Innovative and groundbreaking, it was a move away from the throwaway pop songs that had dominated music. Prog rock was cerebral music. It provided the soundtrack to university campuses on both sides of the Atlantic. However, some critics weren’t impressed by prog rock.
When Minstrel In The Gallery was released in September 1975, already, critics were turning their back on prog rock. This was the ultimate irony. Many critics had championed prog rock. Not any more. A year later, and sadly, punk was born. This resulted in Napoleonic critics turning their back on prog rock. These self styled tastemakers tried to airbrush prog rock from musical history. They didn’t succeed.
Now, thankfully, the tide has turned, and prog rock is receiving the credit it deserves. Groups like Jethro Tull are being discovered by a new generation of music lovers. They’re no longer willing to be fed a diet of third rate modern music. This includes most of today’s hip hop and dance music. It’s disposable music at its worst. People won’t be listening to it in forty years time. It won’t stand the test of time. Unlike Jethro Tull and albums like Minstrel In The Gallery.
Since its release in 1975, Minstrel In The Gallery has been reappraised. Belatedly, Jethro Tull are receiving the credit they deserve for Minstrel In The Gallery. It’s far from the derivative album that some critics accused Jethro Tull of producing. Instead, it’s another groundbreaking album of genre-defying music. Minstrel In The Gallery saw Jethro Tull continue to create music that was cerebral, cinematic, dramatic and ethereal. Elements of classic rock, classical, folk, jazz are combined by Jethro Tull on Minstrel In The Gallery. Together, they play their part in what’s Jethro Tull’s oft-overlooked, prog rock classic, Minstrel In The Gallery.
JETHRO TULL-MINSTREL IN THE GALLERY-STEVEN WILSON 2013 MIX.
KARIN KROG-DON’T JUST SING-AN ANTHOLOGY: 1963-1999.
KARIN KROG-DON’T JUST SING-AN ANTHOLOGY: 1963-1999.
One of the most overused words in music journalism is innovative. That’s been the case throughout the last forty years. Everything from punk to hip hop and house music has been described as innovative. Go back further, and the music that Motown was making was described by many as innovative. That couldn’t be further from the truth.
Instead, the music the Motown factory made was formulaic. Teams of writers, producers and musicians churned out formulaic songs. They came rolling off the Motown assembly line. Its approach to music proved successful. Soon, other musical factories were setup.
One of the highest profile, was Philadelphia International Records. It was one the most successful soul factories of the seventies. Later, in the seventies, disco labels including Salsoul and S.A.M. Records followed the factory approach to music. For a few years, both labels enjoyed a degree of success. Since then, musical factories have come and gone. However, one thing stays the same, still overenthusiastic journalists have have continued to misuse the word innovative.
Ironically, still, music that’s genuinely innovative is being overlooked by music journalists. That includes the music of Karin Krog’s the veteran Norwegian jazz singer. She is a true innovator, who has pushed musical boundaries to their limits, and sometimes, way beyond. Despite this, Karin Krog is almost unknown outside of Norway. That’s despite being a prolific recording career that began in 1963.
Part of Karin Krog’s recording career is celebrated on Don’t Just Sing-An Anthology-1963-1999, which was recently released by Light In The Attic Records. Don’t Just Sing-An Anthology-1963-1999 features sixteen tracks, and includes collaboration Steve Kuhn, Dexter Gordon and John Surman. These are just three of the artists that have worked with Karin Krog during her long and illustrious recording career. It began in 1963, when when Karin Krog was twenty-six.
Karin Krog was born in Oslo, Norway, on 15th May 1937. She first started singing as a teenager, and in 1955, when she was eighteen joined Kjell Karlsen’s sextet. This was the start of Karin Krog’s sixty year career.
Seven years later, in 1962, Karin Krog had formed her first band. The same year, Norwegian-American singer Anne Brown took Karin under her wing. Anne taught Karin right through until 1969. During this seven year period, Karin sung everything from jazz, right though to R&B. This included a spell with the R&B band Public Enemies, who in the mid-sixties, enjoyed hits with Sunny and Watermelon Man. By then, Karin Krog had made her recording debut as a solo artist.
This came in 1963, when Karin contributed two tracks to the Metropol Jazz album. The same year, Karin recorded Tystnaden, a track from Don’t Just Sing-An Anthology-1963-1999. It was never released, but shows Karin Krog as her career was about to unfold.
Just a year later, in 1964, when Karin Krog was twenty-seven, she signed to Philips Records. Later that year, she released her debut album, By Myself. It was released to critical acclaim. Karin Krog, the critics forecast had a great future ahead of her.
A year later, in 1965, Karin won the first award of her career. It was a prestigious one at that. A Buddyprisen is awarded by the Norwegian Jazz Forum to the Norwegian jazz musician that has “been an excellent performer and significantly involved in Norwegian jazz by other means.” For an artist who had just received their debut album, this was a huge honour. However, it wouldn’t be the last award Karin Krog would win.
Two years after the release of By Myself, Karin released her sophomore album Jazz Moments. It was another album of standards. However, they were given a twist by Karin Krog. Jazz Moments was well received by critics. The album struck a nerve within the jazz community. Karin Krog was perceived by critics, record buyer and her fellow musicians as one of music’s rising stars.
Another two years passed before Karin released her third album, Joy. Karin was still under the tutelage of Anne Brown. Her influence was rubbing off on Karin, who was maturing as a singer. That’s apparent on Karin’s vampish, free jazz inspired take on Herbie Hancock’s Maiden Voyage. However, the highlight of Joy was the enchanting Lazy Afternoon. Karin had come a long way since the had released her debut album. Critics remarked upon this, and in 1969, Karin’s progress was recognised.
In 1970, Karin Krog made her way to Berlin, where she won one of Down Beat Poll Winners. Karin had won the Norwegian Poll. This resulted in her version of vampish, free jazz inspired take on Herbie Hancock’s Maiden Voyage. It featured on the album, Open Space (The Down Beat Poll Winners In Europe) and on Don’t Just Sing-An Anthology-1963-1999. Open Space (The Down Beat Poll Winners In Europe) was released in 1969, and should’ve helped spread the word about Karin’s music. However, still she remained almost unknown outside her native Norway. Maybe her fortune would change as the sixties gave way the seventies?
This seemed to be the case. In 1970 Karin recorded what was her first high profile collaboration. This was Some Other Spring, Blues And Ballads, which Karin Krog and Dexter Gordon recorded in Oslo on May 10th 1970 in Oslo. Two of the tracks recorded were the sultry sounding Blue Eyes, and a cover Ode To Billy Joe. They both feature on Don’t Just Sing-An Anthology-1963-1999.
However, when Some Other Spring, Blues And Ballads was released later in 1970, only Blue Eyes featured. It had previously been the B-Side of the single, Break Of Day In Molde, which was earlier in 1970, and also features on Don’t Just Sing-An Anthology-1963-1999. When Some Other Spring, Blues And Ballads was released, it was to critical acclaim. The album was hailed as a captivating collaboration between one of jazz’s veterans, and one its rising stars. This was reflected in the awards Karin won.
Not only did Karin win an award at the European Poll Winners awards in Osaka, but Some Other Spring, Blues And Ballads was voted Japan’s record of the year in 1970. Karin picked up her award in 1971. Given the success of Some Other Spring, Blues And Ballads, many critics thought that Karin would return to the studio straight away. That wasn’t the case.
It would be another three years before Karin released another studio album. Live At The Festival came out in 1973. Then in 1974, Karin released three albums.
This included You Must Believe In Spring (Songs By Michel Legrand). The album featured what was an all-star lineup of Norwegian jazz musicians. They played their part in what many critics felt was Karin’s best album. However, they would soon be forced to rethink this.
You Must Believe In Spring (Songs By Michel Legrand) wasn’t the only album Karin released in 1974. She also released Gershwin With Karin Krog. It saw Karin breath new life and meaning into the Gershwin songbook. While Karin wasn’t the first to give the Gershwin songbook a makeover, it was perceived musically, as a breath of fresh air. Good as Gershwin With Karin Krog was, Karin Krog’s career defining album was the other album she released in 1974.
That was We Could Be Flying, a collaboration with Steve Kuhn. We Could Be Flying also featured Steve Swallow and Jon Christensen. They were responsible for what was the most ambitious, and groundbreaking album of Karin Krog’s career. That’s apparent when one listens to songs like We Could Be Flying, Raindrops, Raindrops and All I Want. They’re among the highlights of a truly innovative, genre-melting album. Elements of avant garde, free jazz and fusion combine, creating the greatest album of Karin’s twelve year recording career.
Given the quality of music Karin had been releasing, it was no surprise that awards began to come her way. This included a Spellemannprisen, the Norwegian equivalent of a Grammy Award.
Then in 1975, Karin won the aware for Female Singer of the Year from the European Jazz Federation. Karin’s star was in the ascendancy. So in 1976, she released another album.
Different Days, Different Ways was released in 1976. However, it was only available in Japan. This meant that many people missed out on of the most groundbreaking songs Karin had recorded. As A Wife Has A Cow was way ahead of the musical curve. This was a marriage of music and technology was recorded in 1970, during downtime in a Eje Thelin session. With an hour to spare, Karin recorded As A Wife Has A Cow and Glissando. These two songs never saw the light of day until 1976, when Different Days, Different Ways was released. This hidden gem of an album was only released in Europe recently. However, European jazz fans were still able to buy a new Karin Krog album in 1976.
Karin released Hi-Fly, a collaboration with American jazz saxophonist Archie Shepp in 1976. Hi-Fly was recorded at Arne Bendiksen Studio, in Vålerengen, Oslo and was well received by critics. Karin it seemed was a popular partner for collaborations.
During 1977, Karin released three albums. They were allcollaborations. As You Are (The Malmö Sessions) was a collaboration with Swedish pianist and composer, Nils Lindberg. The other album was But Three’s A Crowd. It was a collaboration between Karin and American double bassist Red Mitchell, who was living in Sweden. The other album Karin released in 1977, was A Song for You, a collaboration with Bengt Hallberg. These three collaborations enhanced Karin’s reputation. However, in 1979 Karin’s next collaboration changed not just her musical life, but her personal life.
In 1979, Karin Krog and English saxophonist John Surman recorded their first collaboration, Cloud Line Blue. The pair had met three years earlier, in Nuremberg, Germany, in 1976. Three years later, they were recording Cloud Line Blue at Riverside Recordings, London and at Talent Studios, Oslo. One of its highlights of the sessions was Cloud Line Blue, which also features on Don’t Just Sing-An Anthology-1963-1999. It’s at the heart of Cloud Line Blue success.
Cloud Line Blue was hailed a captivating and innovative collaboration which is built around electronics. While this was a first for Karin, it wouldn’t be the last time she embraced electronics on an album. Nor would Cloud Line Blue be the last time she and John collaborated. They would collaborate again in 1985 on the album Freestyle.
By then, Karin was a prolific artist. She had released four further studio albums and a live album. Freestyle however, was different. John and Karin played all the instruments at the sessions at Rainbow Studio, Oslo. Among the songs that were recorded, was Just Holding On, a John Surman composition, which also features on Don’t Just Sing-An Anthology-1963-1999. Its lyrics were brought to life as Freestyle took shape. It was released later in 1985, and just like Cloud Line Blue was well received. However, it would a lot more than six years before John and Karin collaborated again.
By then, Karin had been just as busy as before. She was still one of the hardest working women in European jazz. Karin had also founded her own record company, Meantime in 1987. Ten years later, Karin and John collaborated on a track Images Of Glass. It was recorded at the Knowle Studio, in Oslo in 1997. Sadly, it wasn’t released and makes its debut on Don’t Just Sing-An Anthology-1963-1999. The same year, another song from Karin Krog’s vaults made its debut.
Back in 1980, Karin had covered John Coltrane’s A Love Supreme. After the recording session at Gagnef Church in Sweden, the song lay unreleased. Seventeen years later, and Karin was working on her latest album Malice Toward None. She dug out A Love Supreme and decided it was time for it to be heard. A Love Supreme which closes Don’t Just Sing-An Anthology-1963-1999 is one of the highlights of the compilation. It’s an impassioned rendition of this classic track. When Malice Toward None was released in 1997, critics praised the album, especially A Love Supreme. It was one of its highlights. The same can be said of a track from Karin and John Surman’s 1999 album.
Karin and John Surman renewed their acquaintance in 1999, when they collaborated on their album Bluesland. This twelve track album was recorded at Rainbow Studio, in Oslo. One of the highlights of Bluesland was Don’t Just Sing, which lent its title to the compilation Don’t Just Sing-An Anthology-1963-1999. It features an enchanting and impassioned vocal from Karin, who was maturing as a singer. Now sixty-two, she was releasing some of the best music of her career. John Surman was the perfect musical partner for Karin Krog. They seemed to bring out the best in each other, and in 2005, would become life partners.
By then Karin Krog had further reinforced her reputation as one of European jazz’s most prolific artists. Karin Krog had over a hundred albums to her name. This includes studio albums, live albums and collaborations with everyone from Dexter Gordon and Steve Kahn to her life partner John Surman.
Karin Krog and John Surman formed a formidable partnership. They were like a musical yin and yang, who complimented each other perfectly. Together, the created music that was ground break and often, ahead of its time. That head been a habit of Karin Krog’s for many years.
Ever since her recording career began in 1963, Karin Krog established a reputation as being one of the most versatile and innovative European jazz singers of her generation. She is just as capable of singing standards, as she is taking her music in the direction of free jazz. Improvisation is key to Karin Krog as her voice becomes an instrument. This is just one side to Sometimes, Karin’s music.
Other times, Karin Krog plays it straight, and delivers enchanting, captivating and beautiful vocals. Her vocal takes on an ethereal and elegiac sound. Then other times, Karin experiments, and with various collaborators, pushes musical boundaries.
This includes incorporating electronics and effects to her music. The first time that Karin did this, was in 1970. The two tracks d As A Wife Has A Cow and Glissando, weren’t released until 1976, on Different Days, Different Ways, which was only released in Japan. These two tracks were further proof that Karin Krog was one of music’s innovators. That’s no exaggeration.
Karin Krog, who is now seventy-eight is a true innovator. During a recording career that’s spanned six decades, Karin Krog has continually pushed musical boundaries to their limits, and sometimes, way beyond. That’s apparent on Don’t Just Sing-An Anthology-1963-1999, which was recently released by Light In The Attic Records. Despite being one of music’s true innovators, Karin Krog is almost unknown outside of Norway. That’s despite releasing over one-hundred albums. Sadly, that’s often the case with musical innovators. Often their music is way ahead of its time, and its only much later, that it’s understood and appreciated. Maybe that will be the case with Karin Krog, and the release of Don’t Just Sing-An Anthology-1963-1999 will result in her music being understood and appreciated by a much wider audience.
KARIN KROG-DON’T JUST SING-AN ANTHOLOGY: 1963-1999.
PERU BOOM-BASS, BLEEPS AND BUMPS FROM PERU’S ELECTRONIC UNDERGROUND.
PERU BOOM-BASS, BLEEPS AND BUMPS FROM PERU’S ELECTRONIC UNDERGROUND.
Nowadays, the world is a much smaller place. Partly, that’s down to the internet, which has been a boon for music lovers. In the pre-internet days, music lovers were less aware of the music being released around the world. Granted, there was a brief upsurge in interest in world music. Suddenly, some people took an interest in Afro-beat and Latin music. That was as adventurous as most people’s musical taste became. Then came the internet.
Suddenly, an internet savvy generation of music lovers were embracing disparate and eclectic musical genres. They immersed everything from Champeta to Cumbiana, and Dendi to descargo. From there, they moved on to gaita, kawina, Mapale and pachanga. Soon, record companies cottoned on to this sudden interest in what many referred to as “world music.”
Suddenly, compilations of Afro-beat and Latin music were making their way onto record shop shelves. Eventually, the more adventurous record companies dug deeper. They began to release compilations of Algerian, Arabian, Asian, Columbian, Cuban, Haitian, Indian and South American music. There were even compilations of music from behind the old “Iron Curtain.” It seemed that hardly a week went by without a new compilation being released. Many of these compilations were totally different from what many people expected.
Often, the music was funky, soulful and dance-floor friendly. Other times it was rock and psychedelic. Essentially, the music had much in common with the music being released in Britain, Europe and America. Music it seemed was a common currency worldwide.
Across the globe, there was a commonality in the music people were making. People were making rock, soul, funk and dance music from London, Lisbon and Louisiana to Lusaka and Lima. In each of these cities, music scenes had sprung up, with the participants sharing the same common interest. In some case, that had been the case for over fifty years, with music scenes coming and going. That was certainly the case in Peru, which has always had a vibrant musical scene.
That’s still the case today. One of the most vibrant and thriving music scenes in Peru today, is the electronic music scene. Especially, the Peruvian tropical bass and electronic music. Its documented on Peru Boom: Bass, Bleeps and Bumps From Peru’s Electronic Underground, which was recently released by Tiger’s Milk. The inspiration for Peru Boom: Bass, Bleeps and Bumps From Peru’s Electronic Underground came when Tiger’s Milk founder Martin Morales, visited a rave in Lima in 2012. That was a momentous occasion, one that forever changed Martin’s life.
That night in Lima, Martin danced alongside scenesters, hipsters and hedonistic youths looking forget their woes. Thunderous drums, pulsating bass lines and galactic lasers provided the backdrop to the evening. So did a soundtrack of bass, dubstep and the chicha and cumbia that could be heard in Peru during the sixties and seventies. Martin was mesmerised this melting pot of people. They came with one thing in mind, to loose themselves in the music. It didn’t matter their race or religion, or colour or creed. Instead, it was all about the music.
With this in mind, Martin returned home from Lima. He was left with the memories of this heaving mass of humanity who oozed energy, emotion and joy. This had made a big impression on him. He wanted to share this music with others.
Martin knew that previously, no record company had released a compilation of the music he had heard in Lima. So Martin decided to put together a compilation of tropical bass and digital cumbia. This wasn’t going to be easy. So, he brought onboard Chakruna and Duncan Ballantyne who helped him compile Peru Boom: Bass, Bleeps and Bumps From Peru’s Electronic Underground.
By the time Martin Morales, Chakruna and Duncan Ballantyne set about choosing the tracks that would make their way onto Peru Boom: Bass, Bleeps and Bumps From Peru’s Electronic Underground, they were already practised in the workings of Peruvian music industry. They had already released several compilations. However, this compilation was different. The tropical bass and digital cumbia scene wasn’t just about the music. It was a subculture were music and art went hand-in-hand.
With this in mind, Martin Morales, Chakruna and Duncan Ballantyne began drawing up a list of potential tracks for Peru Boom: Bass, Bleeps and Bumps From Peru’s Electronic Underground. Eventually, they settled on sixteen slices of tropical bass and digital cumbia. This included tracks from Animal Chuki, Chakruna, Deltatron, Dengue Dengue Dengue!, Piraña Sound System and Tribilin Sound. Some artists feature more than once. Indeed, Tribilin Sound feature four times, while Chakruna and Deltatron feature twice. Given their importance in the tropical bass and digital cumbia scene, and the quality of music they produce, that’s understandable. Now that Martin Morales, Chakruna and Duncan Ballantyne had chosen a track listing, their mind turned to the other important part of Peru Boom: Bass, Bleeps and Bumps From Peru’s Electronic Underground, the artwork.
The Tiger’s Milk team were aware of the colour, energy and and vibrancy of the tropical bass and digital cumbia scene. They had been fortunate enough to witness the ornate and extravagant stage backdrops. Even the flyer and posters advertising raves were colourful and vibrant. This extended to the masks that some of the artists wore. Then there were the records. Some of the covers were bold, bright, garish and referenced the graffiti art of the hip hop era. With all that in mind, Martin Morales, Chakruna and Duncan Ballantyne set about creating artwork that not only would do the music justice, but gave the listener a flavour of the tropical bass and digital cumbia scene.
To do this, the Tiger’s Milk trio brought onboard one of the top Peruvian artists, Ruta Mare. He was given the job of creating the artwork for Peru Boom: Bass, Bleeps and Bumps From Peru’s Electronic Underground. Ruta Mare’s design is bold and striking, and references eighties electronica. However, it’s also representative of disparate facets of the tropical and global bass scenes. With the artwork complete, and the track listing chosen, Martin Morales’ musical journey almost at an end.
This musical journey began in a rave in Lima, back in 2012. Fittingly, that’s where Martin Morales journey came to an end. At the Hard Party at Noise in Lima, some of the top Peruvian tropical bass acts launched Peru Boom: Bass, Bleeps and Bumps From Peru’s Electronic Underground. At last, what had been one of Peru’s last musical secrets was being heard by a much wider audience.
Given how talented that artists on Peru Boom: Bass, Bleeps and Bumps From Peru’s Electronic Underground are, that’s no bad thing. Music is for everyone, not just for a few discerning tastemakers. The wider record buying public deserve to hear the music on Peru Boom: Bass, Bleeps and Bumps From Peru’s Electronic Underground. It was made by eleven talented Peruvian producers.
This includes Animal Chuki, whose track Luto, opens Peru Boom: Bass, Bleeps and Bumps From Peru’s Electronic Underground. Animal Chuki are nu-cumbia production team featuring Andrea Campos and Daniel Valle-Riestra. Luto originally featured on their debut E.P. Nativa, which was released on the Spanish label folCORE NETlabel in 2012. Quickly, Luto draws the listener in, and leaves them wanting to hear more from this talented duo.
Deltatron feature twice on Peru Boom: Bass, Bleeps and Bumps From Peru’s Electronic Underground. Their first contribution is the mesmeric Ego Trip. It was initially released on the Track Meet Compilation 02 in October 2013, on the Track Meet label. It’s a timeless sounding track, one that’s hard to resist. That’s also the case with the anthemic El Que Abandona No Tiene Premio. It’s a joyous, hands in the air anthem.
The best way to describe Dengue Dengue Dengue! are sonic explorers. Their contribution is Como Bailar Cumbia, a track from their 2012 debut album La Alianza Profana. It was released in 2012, on the Auxiliar label. Como Bailar Cumbia features a myriad of space-age sounds, samples, squelchy bass lines and electronic beats. The result is music that’s futuristic, funky and innovative.
Piraña Sound System’s Naranja Limones is a real fusion of genres. Apart from psy-cumbia, elements of electronica, experimental, jazz and techno can be heard. All these genres play their part in a captivating and intriguing track.
Chakruna also feature twice on Peru Boom: Bass, Bleeps and Bumps From Peru’s Electronic Underground. That’s no bad thing. Cumbia Achorada and Sonido Chichero, which features Chapilitta, oozes quality. They show the standard of music being produced within Peru’s thriving electronic music community.
The maxim everything comes to he who waits, proves to be true with Rolovo’s Outropical (Version B). It’s something of a slow burner, with an almost lo-fi arrangement. That doesn’t matter. Gradually though, the arrangement builds; sweeping the listener along atop a wave of music that represents Peru’s past and present.
Straight away, Qechuaboi’s Iseecumbiapeopleagain has the listener hooked. Again, the arrangement is somewhat lo-fi. It’s also slow, robotic and has a hypnotic sound. That’s until a bass synth and thunderous drums prove to be game-changers. They play their part in another anthemic track; just like the ones that Martin Morales first heard at that life-changing rave in Lima, back in 2012.
Pe Garcia’s Subete A La Noche seems to draw inspiration from a variety of sources. This includes Acid House, eighties electronica and trance. They seem to have influenced Pe Garcia as the track takes on a big room sound.
Elegante and La Imperial’s Tardes has an intriguing sound. At the start, it’s understated and elegiac, cinematic sound. Before long, a dark, moody and experimental sound descends. The two sides of Tardes coexist side-by-side, and play their part in an intriguing and cinematic track.
Five years ago, Los Chapillacs self-released their debut album Odisea Cumbia 3000. Since then, one of Peru’s most popular cumbia bands star has been in the ascendancy. No wonder. It just takes one listen to the Deltatron Remix of Los Chapillacs’ Marcha Del Chullachaqui to realise why. It’s musical Prozac, that’s guaranteed to brighten your day.
So far, I’ve mentioned ten of the eleven artists that feature on Peru Boom: Bass, Bleeps and Bumps From Peru’s Electronic Underground. They’re responsible for twelve tracks. The other four tracks come courtesy of Tribilin Sound. El Carmen, Underground Cumbia, Negroide and Eduardo Y Hank, which closes Peru Boom: Bass, Bleeps and Bumps From Peru’s Electronic Underground showcase one of the leading lights of the Peruvian music scene. They combine the music of past and the present, to make the music of the future. This is no ordinary music. Instead, it’s catchy, full of hooks, moderne and often, has a timeless quality.
Three years ago, Martin Morales first encountered the music on Peru Boom: Bass, Bleeps and Bumps From Peru’s Electronic Underground. Since then, he’s been on a musical quest to share what’s one of Peruvian’s music’s best kept secrets. That’s what the tropical bass and electronic music on Peru Boom: Bass, Bleeps and Bumps From Peru’s Electronic Underground. It’s almost unknown outside of Peru. Not for much longer.
Through the efforts of people like Martin Morales, tropical bass and electronic music will be heard by a much wider audience. Previously, it was an underground phenomenon in the clubs of Lima and beyond. However, now tropical bass and electronic music is making its way to a record shop near you. That’s thanks to the Tiger’s Milk trio of Martin Morales, Chakruna and Duncan Ballantyne. They’ve spent not just weeks or months compiling Peru Boom: Bass, Bleeps and Bumps From Peru’s Electronic Underground, but years. It’s been a labour of love, but one that’s been worthwhile.
That’s apparent when you listen to the sixteen tracks on Peru Boom: Bass, Bleeps and Bumps From Peru’s Electronic Underground. It was made by twelve talented artists or producers. They showcase not just the talent within the Peruvian music scene, but the quality of music being made. Hopefully, Peru Boom: Bass, Bleeps and Bumps From Peru’s Electronic Underground will lead to an upsurge in interest in Peruvian tropical bass and electronic music. Maybe, the music on Peru Boom: Bass, Bleeps and Bumps From Peru’s Electronic Underground will be providing the soundtrack to raves much further afield than Lima, where Martin Morales first encountered the music he’s grown to love, enthuse and eulogise about.
PERU BOOM-BASS, BLEEPS AND BUMPS FROM PERU’S ELECTRONIC UNDERGROUND.
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