KANAKU Y EL TIGRE-QUEMA QUEMA QUEMA.
KANAKU Y EL TIGRE-QUEMA QUEMA QUEMA.
Nearly fifty-eight years ago, on 5th September 1957, Jack Kerouac published his seminal novel, On The Road. Since then, On The Road has influenced several generations. That’s just as true today.
Nico Saba and Bruno Bellatin of Kanaku y El Tigre can relate to Jack Kerouac. They describe themselves as “Peruvian indie folk beatniks.” Kanaku y El Tigre released their debut album Caracoles back in 2010. It was released to commercial success and critical acclaim. So the modern day beatniks began work on their sophomore album.
With ten tracks recorded at Kanaku y El Tigre’s Lima studio, their sophomore album was almost ready. However, they lacked one thing…a title. So, Nico Saba and Bruno Bellatin returned to the beatnik’s bible, On The Road. They decided to choose a quote from Jack Kerouac’s landmark novel.
There was plenty of choice. Nico and Bruno had 320 pages to choose from. Eventually, the quote they decided on was “Quema Quema Quema,” which when translated from Spanish to English, meant “burn burn burn.” Now, that Kanaku y El Tigre had a title the final piece in this musical jigsaw was in place.
Quema Quema Quema, Kanaku y El Tigre much anticipated, sophomore album will be released by Tiger’s Milk on 15th June. It’s the result of two long years work. During that period, Kanaku y El Tigre have been locked away in their Lima studio, honing the ten tracks on Quema Quema Quema. They showcase Kanaku y El Tigre fusion electronica, indie folk and psychedelia,on the long-awaited followup to Caracoles. As the man said, “it’s been a long time coming.”
Five years, but hey, who’s counting. It was back in 2010, that Kanaku y El Tigre released their debut album Caracoles. However, the two members of Kanaku y El Tigre, Nico Saba and Bruno Bellatin have been collaborating for much longer.
They first met in the nineties, back home in Lima. Nico and Bruno were teenagers, and members of a punk band. This was the genesis of a lifelong friendship, and musical partnership.
Fast forward to 2015, and Nico and Bruno have spent the last three decades travelling the world and making music.Previously, Nico and Bruno have spent time living in Britain and America. They’ve spent long periods in both countries. However, when it comes to recording their albums, they return to where it all began, Lima.
That’s where Nico and Bruno recorded their debut album Caracoles. It was released in 2010, and caught the attention of critics and record buyers. Caracoles had been inspired by American folk music. When it was released, it was to critical acclaim and commercial success.
Caracoles lead single gave Kanaku y El Tigre a hit single. When the sophomore single was released, Kanaku y El Tigre hit pay dirt. It featured on two soundtracks.Then as 2010 drew to a close, Kanaku y El Tigre’s name loomed large on Peru’s album of the year lists. However, since then, word has spread about Kanaku y El Tigre.
Now, Kanaku y El Tigre are attracting a following in Britain, Europe and America. Their sophomore album Quema Quema Quema has the potential to be a game-changer, and introduce the music of Kanaku y El Tigre to a much wider audience. That’s because is Quema Quema Quema no ordinary album.
Mind you, Kanaku y El Tigre are no ordinary band. They’re musical alchemists. Over Quema Quema Quema’s ten tracks, Kanaku y El Tigre combine a captivating fusion of indie folk, electronica and psychedelia. That’s not all. Seamlessly, lead vocalists flits between Spanish and English. Meanwhile, a myriad of effects, Hawaiian slide guitar and ethereal harmonies play a walk on part on the sound and success of Quema Quema Quema. It’s ten tracks of mesmeric and melodic music.
Any one of the 95,000 people who have heard Si Te Mueres Mañana, the lead single from Quema Quema Quema will be forced to agree. It’s the perfect showcase for Kanaku y El Tigre and their sophomore album Quema Quema Quema, which as you’ll soon realise, is a musical tour de force.
Opening Quema Quema Quema, is the title-track. It’s one of two tracks where Bruno delivers the lyrics in English. That’s still to come. Musical alchemists Kanaku y El Tigre, work their musical magic. Two notes are played on a keyboard. They’re twisted and transformed. Then Bruno’s vocal enters. He’s accompanied by the rhythm section, a shimmering guitar, keyboards and punchy harmonies. Soon, a joyous, hook heavy anthem is unfolding. It’s a call to dance, that’s impossible to ignore.
Drums provide the heartbeat to Nunca Me Perdi. Meanwhile,Bruno’s vocal is thoughtful and reflective. Harmonies sweep in and out. Meanwhile, washes of keyboards and the rhythm section are augmented by various effects. They transform the arrangement, adding a psychedelic sheen. Later, a crystalline guitar glistens; as wistful harmonies play yin to Bruno’s yang on this beautiful, melancholy sounding song.
Pulpos has a much more understated sound. Just bongos play while Nico delivers a vocal that veers between heartfelt, tender and sultry. Soon, her vocal has a late-night, jazzy sound. Then a curveball is bowled. The arrangement explodes and becomes a wall of sound. Layers of sounds become one. Guitars bristle,quiver and threaten to feedback. They don’t. Instead, they combine with percussion and jittery harmonies. As the arrangement dissipates, a wistful, jazzy horn sounds and Hawaiian slide guitar lingers. From there, the arrangement builds, growing in power. Elements of avant-garde, industrial, psychedelia and rock and play their part in a glorious wall of sound. It’s cocoons Nico’s vocal, which is a mixture of emotion and beauty.
Washes of guitar are unleashed as Quien Se Queda Quien Se Va unfolds. They’re reminiscent of the soundtrack to a Spaghetti Western. Soon, percussion and drums combine with Bruno’s impassioned, pleading vocal. Cooing harmonies interject and bursts of guitar hang trail of into the distance. An atmospheric, heartfelt and beautiful song is unfolding. Crucial to the song’s success are the vocal, harmonies and a series of guitar masterclasses.
The synths that open Si Te Mueres Mañana have an eighties sound. Bruno’s vocal is deliberate and urgent. He’s accompanied by drums, percussion, a chirping guitar and joyous harmonies. Before long, it’s time to break out the effects and the musical alchemists get to work. Briefly, they toy with the arrangement. It’s highly effective. Especially, when it takes on a dubby sound. This has the effect of punctuating the arrangement, and letting the listener know when another burst of joyous, feel good music are about emerge.
Just a lone acoustic guitar opens Bubucelas. That’s until effects are added. So is a plink plonk piano. It works though. Especially as Bruno delivers a reflective vocal. In the background a walking bass, drums and shimmering guitars are joined by harmonies. Together, they transform the track, as it takes on a feel good sound. However, when the arrangement is stripped bare it’s a very different song. This has the effect of connecting with the listener in a different way. Joyous becomes thoughtful. That’s until Beach Boys’ harmonies are added. They’re a masterstroke on this emotional roller coaster.
Big, bold, chords are played on the piano as 10 Años begins. A guitar is strummed and the drums play. They drop out as Bruno delivers another impassioned vocal. Meanwhile, the arrangement literally strolls along. Washes of guitar, piano, percussion and drums play their part. Bruno ad-libs,as he lays bare his soul. At just the right time, a harmonica and ethereal harmonies are dropped in. Another masterstroke is a searing, rocky guitar. It’s the perfect way to close 10 Años.
On Hacerte Venir, Nico takes charge of the vocal. Bruno sings below her.They’re accompanied by an understated arrangement. Just an acoustic guitar and bass combine. That’s all that’s needed as Nico and Bruno duet. As the song unfolds, other instruments make a brief appearance. They take care not overpower the tender, wistful vocals, as we hear another side to Kanaku y El Tigre.
Burn Burn Burn is the second song sung in English. “Nah nah nah” harmonies are joined by a bass synth, shimmering guitar and Nico’s vocal. The arrangement is jittery, as elements of electronica, indie rock and psychedelia combine. Instruments and flit in and out, chiming and chirping. Filters mask a guitar as it cuts through the arrangement. It accompanies Bruno and Nico’s vocals on this hands-in-the-air anthem.
Fittingly, Fin, a ballad closes Quema Quema Quema. The tempo drops, and the rhythm section and keyboards set the scene for Bruno’s vocal. It veers between pensive, rueful and hopeful. Harmonies sweep in, as sci-fi synths and hypnotic drums combine. Later, washes of glistening guitars are added. They’re the perfect accompaniment to Bruno’s vocal. It literally bristles with emotion and beauty, on this hook-laden track.
Five long years after the release of their breakthrough, debut album Caracoles, “Peruvian indie folk beatniks,” Kanaku y El Tigre, return with the much anticipated followup, Quema Quema Quema. It features ten tracks of genre-melting, hook heavy anthems from Kanaku y El Tigre. This makes Quema Quema Quema well worth the wait.
It’s taken Nico Saba and Bruno Bellatin two years to record Quema Quema Quema. That’s not surprising. Kanaku y El Tigre are perfectionists. They were determined to hone and polish each of the ten tracks. To do this, they headed home to Lima, to the same studio they recorded Caracoles.
When they entered the studio two years ago, Kanaku y El Tigre’s starting point was their trademark fusion of indie folk, electronica and psychedelia. To that, they added elements of avant-garde, indie rock, jazz and rock. That’s not forgetting a generous helping of poppy hooks. Recording of the ten tracks took time. Kanaku y El Tigre were determined to record a worthy successor to Caracoles.
Caracoles had been released to widespread critical acclaim and commercial success in 2010. This saw Kanaku y El Tigre hailed as one of Peruvian music’s rising stars. However, in the intervening years, word was spreading about Kanaku y El Tigre. They had built up a fan base in America, Britain and Europe. While many groups would’ve been tempted to rush out an album, this wasn’t the way Kanaku y El Tigre worked.
They were going to release Quema Quema Quema until they were ready. They owed it to themselves and their fans. So, for two years Kanaku y El Tigre laboured in the studio. Eventually, Quema Quema Quema which will be released on Tiger’s Milk on 15th June 2015, was complete. It’s been well worth the wait.
Five years after the release of Kanaku y El Tigre have grown and matured as a group. That’s apparent when you listen to Quema Quema Quema. With its mixture of glorious, hook heavy anthems and beautiful ballads,Quema Quema Quema is a worthy successor to Caracoles. The songs on Quema Quema Quema are variously beautiful, ethereal, irresistible, joyous and melodic. Quema Quema Quema is also full of poppy hooks, as modern day beatniks Kanaku y El Tigre, take you on a musical roller coaster that’s guaranteed to toy with your emotions.
KANAKU Y EL TIGRE-QUEMA QUEMA QUEMA.
LESLEY GORE-CALIFORNIA NIGHTS.
LESLEY GORE-CALIFORNIA NIGHTS.
Lesley Gore’s rise was meteoric. Her career began in June 1963, when she burst onto the scene with her debut single It’s My Party. It reached number one in the US Billboard 100 and US R&B charts. This resulted in It’s My Party being certified gold. The following year, It’s My Party was nominated for a Grammy Award. Meanwhile, Lesley’s debut album was selling well.
Released in June 1963, It’s My Party reached number twenty-four in the US Billboard 200 charts. Lesley’s second single was Judy’s Turn To Cry, which reached number five in the US Billboard 100 and number ten in the US R&B Charts. After the success of Judy’s Turn To Cry, Lesley Gore it seemed could do no wrong.
Five months later, in October 1963, Lesley released her sophomore album Lesley Gore Sings of Mixed-Up Hearts. It stalled at number 125 in the US Billboard 200. At least the singles She’s A Fool and You Don’t Own Me reached the top five in the US Billboard 100. Maybe this was just a temporary blip?
It wasn’t. When I Don’t Know Anymore was released as a single between Lesley’s second and third album, the single failed to chart. For Lesley and her record company Mercury, this was a worrying time. Music was just about to change.
When Lesley released her third album, Boys, Boys, Boys in April 1964, things didn’t improve. They actually got worse. Boys, Boys, Boys only reached number 127 in the US Billboard 200. The only saving grace was the success of the lead single from Boys, Boys, Boys.
That’s The Way Boys Are was chose as the lead single from Boys, Boys, Boys. This proved to be an inspired choice. It reached just number twelve in the US Billboard 100. The next single didn’t fare well. I Don’t Wanna Be a Loser reached just number thirty-seven in the US Billboard 100. Lesley’s career seemed to have stalled.
On the release of Girl Talk in October 1964, it became Lesley Gore’s least successful album. Girl Talk stalled at number 146 in the US Billboard 200. Lesley Gore’s music it seemed, was neither as popular, nor fashionable.
Lesley wasn’t alone. Other high profile singers, including Bobby Vee and Neil Sedaka were struggling. They were no longer enjoying the same commercial success and critical acclaim. There was a reason for this, music was changing.
At the heart of the change was the recent British Invasion. Groups like The Beatles, Rolling Stones, The Kinks, The Small Faces and The Who would take America by storm. Then psychedelia was born. Just like the British Invasion, psychedelia derailed the career of many previously successful pop singers. Suddenly, artists who enjoyed successful careers were struggling. This included Lesley Gore.
When Lesley entered the studio to record My Town, My Guy and Me, little did she know that it would be her final album with producer Quincy Jones. He was the man who “discovered” Lesley in 1963, when he heard her demo. Since then, he had produced each of her albums.
My Town, My Guy and Me was the fifth album Quincy Jones had produced for Lesley Gore. He had guided her career through good times and bad. Sadly, there had been more of the latter, than the former. Things improved slightly with My Town, My Guy and Me.
Lesley’s fifth album My Town, My Guy and Me was released in September 1965. The followup to Girl Talk, 1965 My Town, My Guy and Me. Produced by Quincy Jones, reached just number 120 in the US Billboard 200. Despite its lowly chart number, My Town, My Guy and Me was a Lesley’s second most successful album. It was also as good as it got.
As a new year dawned, so did a new era. Quincy Jones was replaced as producer by Shelby S. Singleton Jr. This coincided with one of the worst years of Lesley Gore’s career.
1966 was Lesley’s annus horiblis. She was due to release two albums during 1966. The first was Lesley Gore Sings All About Love. When it was released, it failed to chart. For Lesley Gore, this was a first. She was shocked. Mercury her record company were equally concerned.
Despite the failure of Lesley Gore Sings All About Love, Lesley and Shelby S. Singleton Jr. returned to the studio. They began work on Off and Running. Eventually, what should’ve been Lesley’s seventh album was completed. It was scheduled for release in November 1966. However, Mercury had other ideas.
With Off and Running recorded, Lesley was working towards the November 1966 release date. Mercury however, were having cold feet. With every release, Lesley Gore’s sales were shrinking. It was a long time since Lesley was one of the company’s rising stars. Many felt her time was past, and that she was a relic of Mercury’s past. They thought the company should cut their losses on Lesley Gore, and concentrate on rock and psychedelia. That was where the money was to be made. There was a problem though. Lesley Gore was under contract.
Mercury had a get out. Just because Lesley had recorded Off and Running, didn’t mean they had to release the album. So, Off and Running’ release was cancelled. This wasn’t be the first time an album had been shelved; and it wouldn’t be the last. Certainly not for Lesley. However, for Lesley her pride was at stake. She took the cancellation of Off and Running badly.
By 1967, it looked increasingly likely that Lesley’s hit-making days were behind her. Lesley began to consider the future. She still wanted to be a singer, and had recently recorded a new single, California Nights, with producer Bob Crewe. However, given her recent track record, it didn’t look like California Nights was going to pay the bills. So, she decided to try acting.
Lesley was offered a guest appearance on Batman on an episode shown on January 19th 1967. In the episode That Darn Catwoman, Lesley was cast as Pussycat, Catwoman’s partner. This was a huge break, as Batman was one of the most popular shows on American television. Even better, Lesley would mime her latest single California Nights which was produced by Shelby S Singleton Jr.
This was a masterstroke, one that would transform Lesley Gore’s career. Within a few weeks, California Nights was climbing the charts. Eventually, it reached number sixteen in the US Billboard 100. Lesley Gore was the comeback Queen. Batman and California Nights had rescued Lesley’s career.
For Lesley Gore, this couldn’t have come at a better time. Her career was at a crossroads. She realised that many at Mercury perceived her music as yesterday’s sound. However, Mercury weren’t ready to call time on her career. Instead, following the success of California Nights, Mercury began compiling Lesley’s seventh album California Nights which was recently reissued by Ace Records. This was make or break for Lesley Gore.
There wasn’t time for Lesley to enter a studio and record a whole album of material. So, Mercury decided to look though the songs that Lesley had recorded at previous Mercury sessions. They had plenty to choose from. Previously, Lesley had worked with various producers, including Bob Crewe and Herb Bernstein, plus Jack Nitzsche and Quincy Jones. Eventually, Mercury settled on the ten tracks that became California Nights.
Previously, Lesley had worked with Bob Crewe and Herb Bernstein. This session yielded seven of the ten tracks on California Nights. Bob produced five tracks and co-produced Treat Me Like A Lady and The Bubble Broke Herb Bernstein. However, didn’t just produce much of California Nights, he cowrote five of the seven tracks he produced.
This included Treat Me Like A Lady, I’m Going Out (The Same Way I Came In) and Love Goes On Forever, which he cowrote with Gary Knight. Bob Hirschhorn and Al Kasha penned Bad, and Bob cowrote The Bubble Broke with Raymond Bloodworth and Larry Brown. The other two tracks Bob produced were Maybe Now, a Lesley and Michael Gore composition. The other track was California Nights, which Marvin Hamlisch and Howard Liebling wrote. These seven tracks would play an important part of California Nights. Still, though, they needed more tracks
So Mercury they returned to the Jack Nitzsche and Quincy Jones’ sessions. Carole Bayer Sayer and Toni Milne’s Off and Running was chosen. So was Fred Anisfield and Larry Weiss’ Lilacs And Violets. The final track was Cry Like A Baby, which was penned by Joshie Armstead with Ashford and Simpson. Now Mercury had enough material for an album, California Nights.
California Nights was released in February 1967. It reached number 169 in the US Billboard 200. Normally, this wouldn’t be anything to celebrate. However, after Lesley Gore Sings All About Love failed to chart, and the cancellation of Off and Running, Lesley felt positive about the future.
With good reason. Despite featuring tracks by various producers, California Nights it was a cohesive album. California Nights, with its eclectic selection of songs, proved the perfect showcase for Lesley Gore. There’s ballads and uptempo tracks. Similarly, Lesley flits between pop, jazz and even takes a detour via doo wop. Seamlessly, she copes with the change of style and indeed, producer. She has the listener’s attention from the opening track,
That’s Lesley’s comeback single California Nights. It’s a joyous, string drenched anthem featuring tender, hopeful vocal from Lesley. Next up is Bob Crewe and Gary Knight’s jazz-tinged ballad Treat Me Like A Lady. They also contribute the defiant I’m Going Out (The Same Way I Came In) and another ballad, Love Goes On Forever. Lesley’s heartfelt vocal sits atop the waltzing arrangement.
Maybe Now was penned by by Michael and Lesley Gore. It features a reflective, heartbroken Lesley. She lives the lyrics. That’s the case on Bad, another of California Nights’ ballads. Lesley’s at her needy and soulful best, on what’s one of the highlights of the Bob Crewe and Herb Bernstein sessions, and indeed, California Nights. The final track chosen from the Bob Crewe and Herb Bernstein session was The Bubble Broke. It’s a much more uptempo, poppy song, where Lesley combines power and emotion. In doing so, Lesley shows her versatility. That’s not the end of California Nights though.
There’s still the tracks from the Jack Nitzsche and Quincy Jones’ sessions.. Off And Running is another uptempo, poppy track. A sassy Lesley struts her way through the track. Lilacs And Violets is a string laden ballad, featuring a tender, wistful vocal from Lesley. Cry Like A Baby closes California Nights. It’s ballad, where a Lesley lays bare her broken heart on this sixties sounding track. Having said that, Cry Like A Baby has stood the test of time, and is a reminder of Lesley Gore at her best. However, that’s not the end of California Nights.
There’s still another fifteen bonus tracks on California Nights. These tracks were produced by various producers. Among them are Bob Crewe, Herb Bernstein, Jack Nitzsche and Quincy Jones. Then there’s tracks produced by Shelby S. Singleton Jr., Teddy Randazzo and Alan Lorber. These tracks cover the period between 1963 and 1967. Again, they showcase Lesley Gore’s versatility.
On California Nights’ bonus tracks, Lesley Gore veers between ballads, uptempo tracks and dance tracks. One of the most intriguing is a cover of Phil Spector’s To Know Him Is To Love Him. It’s transformed into a string-laden ballad produced by Alan Lorber. He then breaks out the strings as Lesley reinvents Goffin and King’s Will You Love Me Tomorrow. The tempo rises, and Lesley delivers this classic with a swing, finger clicks and all. In a similar vain, is Start The Party Again. It’s a Shelby Singleton Jr. production. Originally, it featured on Lesley’s 1966 album Lesley Gore Sings All About Love. This was Lesley’s only Mercury album not to chart. However, Start The Party Again is one of the album’s highlight, and makes a welcome return on California Nights.
There’s much more to enjoy in the bonus tracks. Yeah, Yeah, Yeah (That Boy Of Mine) is inspired by the “girl group” sound. It’s a slice of musical sunshine. That’s What I’ll Do oozes drama; while there’s an air of optimism on the hooky pop of Happiness Is Just Around The Corner. Hold Me Tight was penned by Lesley and Michael Gore, and was produced by Jack Nitzsche. This stomping slice of pop builds up to a dramatic crescendo, which proves the perfect way to close California Nights.
While California Nights briefly rejuvenated Lesley Gore’s career, that was the end of her career at Mercury. Lesley recorded another album, Magic Colours. It was scheduled for release in November 1969. Then lighting struck twice for Lesley Gore.
Very few artists see one of their albums cancelled. It’s almost unheard of for an artist to have two albums cancelled. Lesley Gore suffered that fate. What was due to be her eighth studio album, Magic Colours, was cancelled. Mercury then cancelled her contract. For Lesley Gore, her career at Mercury came to an inauspicious end.
California Nights proved to be Lesley Gore’s Mercury swan-song. While it wasn’t a commercial success, it’s without doubt, one Lesley Gore’s best Mercury albums. Lesley Gore was able to leave Mercury with her head held high. She was a talented and versatile singer, who could’ve and should’ve enjoyed much more commercial success. What Lesley needed, was the right label behind her.
Another label might have paired Lesley with more suitable producers. While she worked with some top producers, they weren’t necessary the right producer for Lesley Gore. Similarly, some of the material Lesley recorded at Mercury wasn’t suited for Lesley Gore. During her time at Mercury, music was changing, and changing fast. Sometimes, Lesley wasn’t able to move with the times. She was held back, as Mercury hoped that Lesley Gore would, once again, reach the heights of It’s My Party and I’ll Cry If I Want To. That was before the British Invasion. It was a game-changer. Never again, would music be the same.
As music changed around her, Lesley Gore didn’t move with the times. Quincy Jones produced her first five albums. When he was replaced by Shelby S. Singleton Jr., Lesley fortunes didn’t improve. It was only through a guest appearance on Batman, where she lip-synched California Nights, that Lesley Gore’s career got back on track. Mercury hastily put together Lesley’s “comeback” album. While California Nights wasn’t a huge commercial success, it showed just what Lesley Gore was capable of. California Nights, which was recently reissued by Ace Records, proved to one of Lesley Gore’s best albums for Mercury, and showcased a truly talented and versatile singer and songwriter.
LESLEY GORE-CALIFORNIA NIGHTS.
KEEP A HOLD ON HIM! MORE GARPAX GIRLS.
KEEP A HOLD ON HIM! MORE GARPAX GIRLS.
Nowadays, record companies don’t waste time releasing the sequel to a successful compilation. Often, only six months to a year passes, before volume two is released in a blaze of publicity. However, that wasn’t the case with Boy Trouble: Garpax Girls, which Ace Records released back in May 2004.
When Boy Trouble: Garpax Girls was released in May of 200, it was to critical acclaim. It was a twenty-six track celebration of some of Gary S. Paxton’s finest productions for various female singers. This included Beverly Williams, Diana Dawn, Doris Webb, Mary Saxton, Sandie Shore and The Rev-Lons. These tracks were released in the mid-sixties, and included some of Gary S. Paxton’s finest productions.
By the mid-sixties, Gary S. Paxton had established a reputation as one of the top producers. He was at the top of his game, and had the uncanny ability to transform an artist’s reputation and fortunes. However, there much more to Gary S. Paxton’s career than the twenty-six tracks on Boy Trouble: Garpax Girls. So critics and record buyers awaited a sequel.
It proved to be a long wait. Eleven years passed before Ace Records announced the release of Keep A Hold On Him! More Garpax Girls. At last, the sequel to Boy Trouble: Garpax Girls hit the shops at the end of May 2015. That was almost eleven years to the day since Ace Records released Boy Trouble: Garpax Girls. However, would Keep A Hold On Him! More Garpax Girls prove to be worth the wait?
Keep A Hold On Him! More Garpax Girls features twenty-four of Gary S. Paxton’s productions. They were recorded between 1960 and 1966. Thirteen were released as a single. This included singles from The Idols, Beatrice Lee, Josephine Sunday, Chris Darlin and Dorothy Berry and The Swans. Then there’s eleven previously unreleased tracks. This includes five alternate mixes and two demos. These unreleased tracks feature several hidden gems. No wonder. There’s contributions from Linda Mackey, Mary Saxton, Beatrice Lee and Beverly Williams. With so much quality music to choose from, picking the highlights of Keep A Hold On Him! More Garpax Girls won’t be easy. However, here goes.
The Idols open Keep A Hold On Him! More Garpax Girls with Just A Little Bit More. It’s the first of two tracks they contribute. Their first contribution is Just A Little Bit More, a Richard Berry composition. Richard and Gary. S Paxton produced Just A Little Bit More. It was originally released as a single on Reveille in 1961 and credited to the Idols. Later, Just A Little Bit More was leased to the Dot label. They realised the potential of the Idols trademark harmonies. Their second contribution is Why Must I Cry. This is another track Richard Berry penned and then produced with Gary. On Why Must I Cry, The Idols drop the tempo and deliver a heart wrenching ballad.
Canadian singer Mary Saxton features three times on Keep A Hold On Him! More Garpax Girls. She arrived at Gary S. Paxton’s Hollywood studios in the summer of 1966. That’s when Mary recorded enough material for several singles and an album. This includes Losing Control, which was the B-Side to her 1966 debut single, Is It Better To Live Or Die. It was released on Canadian label Pace Records and features a vocal powerhouse from Mary.
Two years later, and Mary released A Tear on another Canadian label, Quality. It had been recorded at the same sessions as Losing Control. A wistful and heartbroken Mary delivers Gary S. Paxton’s lyrics like she’s lived and survived them. The following year, 1969, Mary’s debut album was released. It consisted of tracks recorded in the summer of 1966. Mary’s debut album was released on the Birchmount label in 1969.
Even then, there were tracks from the 1966 session that hadn’t been released. This includes It’s A Lonely World. It’s a a real find. Mary combines controlled power and emotion on this Mary McAullay composition.
Texan Beatrice Lee was only fourteen when she signed to Kent in 1962. Right through until 1962, Kent was Beatrice’s musical home. Three of the songs she recorded for Kent feature on Keep A Hold On Him! More Garpax Girls. The first is Keep A Hold On Him, which Beatrice released as a single in 1962. Despite her youth, Beatrice delivers a raw, distinctive powerhouse.
The same year, Beatrice cover The Classicals’ recent hit, Help Me. It was produced by George Motola, for Gary S. Paxton. With his help, Beatrice reigns in her power, and in the process, delivers one of her most soulful offerings.
Operator Operator was penned by future O’Jay William Powell. It was recorded by Beatrice, but never released…until now. It’s something of a hidden gem, where Beatrice showcases her impressive vocal range, and in doing so, displays her potential.
Most people won’t have heard of Doris Webb. That’s unless they bought Boy Trouble: Garpax Girls, back in May 2004. Doris featured on that illustrious compilation. She makes a welcome return on Keep A Hold On Him! More Garpax Girls with Just A Little Bit More. Her contribution is her 1962 single I Was The Lonely One. Accompanied by The Rockets and strings arranged by Jimmie Haskell, Doris delivers a needy, hurt-filled vocal.
Originally, The Fashionettes started life as The Fashions, fusing surf and R&B. However, Gary decided to reinvent the Fashions. So, The Fashions became The Fashionettes. Gary S. Paxton took the newly named group into the studio to record their new single. This was the Jackie DeShannon penned Day Dreamin’ Of You. It was released as a single on GNP Crescendo, in 1964. On the flip side was William Powell’s Only Love. Both tracks brought out the best in The Fashionettes. Sadly, the wistful and dreamy sounding Day Dreamin’ Of You, failed commercially. The Fashionettes recording career was cut shot, and they failed to realise their potential. Their contributions to Keep A Hold On Him! More Garpax Girls with Just A Little Bit More are a reminder of a talented duo.
Beverly Williams is another artist who features twice on Keep A Hold On Him! More Garpax Girls with Just A Little Bit More. Her first contribution is a stereo mix of Little Girl With A Big Hurt. It was released as a single on GNP Crescendo, in 1964. It’s a tale of teenage heartbreak that was tailor-made for Beverly. She was still a teenager when she recorded the song. That’s also the case with Beverley’s demo of He’s Hurtin’ Me. Although it was recorded around 1964, it’s never been released before and makes its debut on Keep A Hold On Him! More Garpax Girls with Just A Little Bit More.
It seemed almost inevitable that Linda Mackey would go on to enjoy a career in music. Music surrounded her. Linda’s father was a booking agent, who brought some of the biggest names in blues music to Bakersfield. His love of music rubbed off on Linda. By high school, Linda was singing in talent shows and concerts. She was inspired by Etta James and later, Tina Turner. Indeed, Tina Turner wanted Linda to join The Ikettes. However, because of her age, Linda’s mother said no. This wasn’t the end of Linda’s career.
Later, Linda met Gary S. Paxton who coincidentally, had worked with Tina Turner earlier in his career. Gary realised Linda was a talented singer, so signed Linda her. He produced Linda’s debut single Merry Go Round. It was released in May 1964. On the flip side was It Just Ain’t Right. Alternate mixes of both tracks feature on Keep A Hold On Him! More Garpax Girls with Just A Little Bit More. Listening to both tracks, it’s hard to believe that they were recorded so early in Linda’s career. That’s also the case with the demo of Reap What You Sow. Linda’s vocal bristles with hurt and emotion and showcases a talented and versatile singer. Linda would later release a Norther Soul single Yours For The Asking, and then embarked upon a career as a jazz singer.
The final two tracks from Keep A Hold On Him! More Garpax Girls with Just A Little Bit More I’ve chosen, come from Josephine Sunday. This includes Josephine’s 1964 single I Won’t Be Hurt Anymore. It’s ballad that was was written by Jerry Riopelle. Josephine delivers a heartfelt vocal on this tale of love gone wrong. On the flip side is He’s Not Mine Anymore. Again, it’s another tale of love lost. Listen carefully, and it seems that it’s been influenced by the Jackie DeShannon penned When You Walk In The Room. A year earlier, in 1963, it gave The Searchers a hit single. Despite the similarities, He’s Not Mine Anymore oozes hurt and regret.
Eleven long years after Ace Records released Boy Trouble: Garpax Girls, they release the long-awaited, and much anticipated sequel, Keep A Hold On Him! More Garpax Girls. It features another twenty-four of Gary S. Paxton’s finest productions for a variety of female singers between 1960 and 1966.
During this period, Gary S. Paxton was establishing his reputation as a hotshot producer. He had the ability to transform an artists career and fortunes. So, it’s no surprise that The Idols, Beatrice Lee, Josephine Sunday, Chris Darlin and Dorothy Berry and The Swans all found their way to Gary’s Hollywood studio. With various songwriters, arrangers and producers, Gary set about making dreams come true. Sometimes it worked, and artists enjoyed that elusive hit single. Other times, commercial success eluded artists. Often that’s despite creating a single that oozed quality. That’s the case with the thirteen singles on Keep A Hold On Him! More Garpax Girls. However, there’s more to Keep A Hold On Him! More Garpax Girls than just thirteen tracks.
There’s eleven previously unreleased tracks. Among them, are numerous hidden gems from several hidden gems. No wonder. There’s contributions from Linda Mackey, Mary Saxton, Beatrice Lee and Beverly Williams. Some of these unreleased tracks are alternate takes or demos. They show a different side to a familiar track. Others fall into the category of hidden gems. They’re the ones that, for whatever reason, were never released. Who knows, this might include the one that got away? What I do know, is that Keep A Hold On Him! More Garpax Girls is a worthy sequel to Boy Trouble: Garpax Girls. It may have been eleven years in the making, but Keep A Hold On Him! More Garpax Girls has been well worth the wait.
KEEP A HOLD ON HIM! MORE GARPAX GIRLS.
SECOND HELPINGS-SEQUELS TO THE SONGS THAT LEFT ‘EM HUNGRY FOR MORE.
SECOND HELPINGS-SEQUELS TO THE SONGS THAT LEFT ‘EM HUNGRY FOR MORE.
Nowadays, people take for granted sequels in the film industry. Most movie goers will remember the sequels to Star Wars, The Lord of the Rings: The Fellowship of the Ring and Harry Potter and the Philosopher’s Stone. However, who remembers the sequels to Carrie, The Birds, The Blair Witch Project, The Rocky Horror Picture Show, 2001: A Space Odyssey or The Sting? Creating these sequels was never going to be easy.
Many of the original films were classics. They were released to widespread critical acclaim and commercial success. Often, the sequel was an afterthought. Someone, somewhere, in Hollywood hit on the idea of a sequel to The Birds or The Sting. So, a script was commissioned, a multitalented case and a top director and producer hired. The film was shot, and then released in a blaze of publicity. Sadly, lightning didn’t strike twice. Neither the sequel to The Birds nor The Sting matched the commercial success and critical acclaim of the original film. However, it’s not just the film industry where sequels were popular.
Far from it. For a while, sequels were popular within the music industry. Often, after enjoying a hit single, someone within the record company hit upon the idea of a sequel. They decided that the sequel should tell the listener “what happened next.” So, sequels to Buddy Holly’s Peggy Sue, The Marvelettes’ Mr Postman, The Shirelles’ Soldier Boy, Paul Anka’s Diana and Booker T. and The MG’s Green Onions were released. They all feature on Second Helpings-Sequels To The Songs That Left ‘Em Hungry For More, which was recently released by Ace Records.
Second Helpings-Sequels To The Songs That Left ‘Em Hungry For More features twenty-four tracks. Some of the tracks will be familiar to most people. This includes Buddy Holly With The Fireballs, The Marvelettes, The Shirelles, Jan and Dean, Marty Robbins, Paul Anka and Booker T. and The MG’s. Then there’s contributions from Wanda Jackson, Jay and The Americans, Jimmy Dean, Claudine Clark, Robin Ward and Robin Ward. While many people will be familiar with many of these artists, they may not be aware of these sequels. So, now is the perfect opportunity to rediscover these tracks, as I choose the highlights from Second Helpings-Sequels To The Songs That Left ‘Em Hungry For More.
Opening Second Helpings-Sequels To The Songs That Left ‘Em Hungry For More, is Buddy Holly With The Fireballs’ followup to Peggy Sue, Peggy Sue Got Married. Buddy Holly had enjoyed a hit with Peggy Sue in 1957. Two years later, after Buddy’s death, his record company Coral released Peggy Sue Got Married. This version was never intended to be released as a single. It was merely a demo, or as Buddy saw it, work-in-progress. However, in 1964, the story takes a twist.
Producer, Jack Hansen decided to “beef up” Peggy Sue Got Married. He brought onboard backing musicians, while Jack added backing vocals. This was Jack’s way of trying replicate The Crickets. That wasn’t the end of the story,
Later in 1964, Buddy Holly’s original producer Norman Petty also decided to “beef up” Peggy Sue Got Married. He added backing vocals and brought onboard The Fireballs. They’re job was to try and replicate the sound of The Crickets. Their version featured on a posthumously released album released on Coral in 1966. Nearly fifty years later, and Buddy Holly With The Fireballs’ version of Peggy Sue Got Married features on Second Helpings-Sequels To The Songs That Left ‘Em Hungry For More; and shows just what the track might well have become, if Buddy Holly had lived.
It’s a case of from one great to another. George Jones was once regarded as “the greatest living country singer.” During his career, he bravely fought alcoholism. So, it’s somewhat ironic that in 1959, George enjoyed a number one country single with White Lightning, which celebrates moonshine. Three years later, George returned with the followup, Root Beer. It featured on George’s 1962 album for United Artists Records, The New Favourites Of George Jones. George literally vamps his way through the track, adopting the role of The Crown Prince Of Country Music, which was the title of his 1960 album.
Slim Harpo set the bar high when he released his debut single King Bee, in 1957. It was released on Excello, and became on oft-covered blues classic. Nine years later, and Slim released his sophomore album Baby Scratch My Back. One of the tracks on Baby Scratch My Back, was Little Queen Bee (Got A Brand New King). This was Slim’s long-awaited sequel to King Bee. Little Queen Bee (Got A Brand New King) doesn’t disappoint, and showcases the considerable talents of Slim Harpo, the former “Harmonica Slim.”
The Crests were formed in the mid-fifties, and in 1959, released their biggest hit was 16 Candles. It reached number two in the US Billboard 100 and number four in the US R&B charts, and in the process, sold over a million copies. For the next five years, they released a string of singles. Apart from a couple of top thirty singles, The Crests never came close to replicating the success of 16 Candles. So in 1964, The Crests decided to release the sequel to 16 Candles, You Blew Out The Candles. Sadly, despite the quality of this slice of soulful doo wop, it wasn’t a commercial success. You Blew Out The Candles failed to chart. That was the end of The Crests. What they didn’t realise that music had changed. Sadly, The Crests had stood still. Despite this, You Blew Out The Candles is a heartfelt, and soulful, reminder of another musical era.
Philly born, Claudine Clark’s biggest hit was Party Lights. It was released in 1962, on the Chancellor label. This just happened to be Claudine’s debut single. Party Lights shown brightly, reaching number five in 1962, and lending its name to Claudine’s debut album. After Claudine’s sophomore single Walkin’ Through A Cemetery failed commercially, it looked as if Claudine was destined to jon the ranks of the one hit wonders. So all thoughts turned to a sequel to Party Lights. Walk Me Home From The Party was released in 1963. Despite Claudine’s enthusiasm and joyousness, Walk Me Home From The Party wasn’t a commercial success. Claudine Clark proved to be a one-hit wonder, and reinvented herself as Joy Dawn.
Most people will remember Marcie Blane for her 1962 hit single, Bobby’s Girl. This was the Brooklyn born teenager’s debut single. It was released on Seville Records. The sequel to Bobby’s Girl was What Does A Girl Do, a Neil Diamond and Carl D’Errico composition. When it was released later in 1962, on Seville Records, history failed to repeat itself. Within three years, Marcie Blane had retired from the music industry. Her legacy includes her hit single, Bobby’s Girl, and the hidden gem that’s What Does A Girl Do.
Luther Dixon was partly responsible for rejuvenating The Shirelles’ career. He penned their first top twenty hit with Tonight’s The Night. That was just the start of a run of hit singles. Soldier Boy, which was released on Scepter Records, reached number one in 1962. Three years later, in 1965, and Luther Dixon was now running his own label Ludix. For The Shirelles, this presented a problem. Who would pen the followup to Soldier Boy?
The answer was Artie Wayne. He penned and produced (Mama) My Soldier Boy Is Coming Home. It was eleased on Scepter Records in 1965, and reached number twenty-two in the US Billboard 100. (Mama) My Soldier Boy Is Coming Home tells the story of the homecoming of a soldier. From the first ominous drum roll, it’s a captivating song. The Shirelles bring the lyrics to life, breathing emotion and meaning into them.
Before embarking upon a solo career, Robin Ward was a session singer. She released her debut single Wonderful Summer on Dot Records, in 1963. Later in 1963, Robin released the sequel to Wonderful Summer, Winter’s Here. It was penned and produced by Gil Garfield and Perry Botkin, Jr. Despite her tender, elegiac vocal on the wistful sounding Winter’s Here, the single failed to repeat the success of Wonderful Summer. This was the last solo single Robin released. The following year, 1964, Robin collaborated with The Rainbows on In His Car. That was the end of her career. Robin returned to session work, leaving behind two memorable singles.
Jan and Dean were giants of the surf and hot rod scene. They formed in 1959 and for the next seven years, released a string of hit singles. This included The Little Old Lady (From Pasadena), which was released on Liberty, in 1964. The sequel was The Anaheim, Azusa and Cucamonga Sewing Circle, Book Review And Timing Association. It featured on Jan and Dean’s 1964 album The Little Old Lady From Pasadena. Not only does it complete the story, but epitomises Jan and Dean’s trademark sound.
Johnny Burnette released Dreamin’ as a single in 1960. A year later, in 1961, Johnny returned with his I’m Still Dreaming E.P. It was released on London Records and featured a quartet of tracks. The highlight was the title-track I’m Still Dreaming, the sequel to Dreamin.’ It’s a beautiful and hopeful ballad from Johnny Burnette.
Little did Booker T. and The MG’s realise that when they released Green Onions in 1962, that the song would become a musical phenomenon. It’s become a standard of numerous compilations. So much so, that most people have had enough Green Onions. The sequel Mo’ Onions was released as a single in 1964. Since the, Mo’ Onions hasn’t suffered the same overexposure. Compilers have tended to overlook Mo’ Onions, and instead, reach for its big brother. That’s a great shame. Although Mo’ Onions has been heavily influenced by it’s big brother, it has a looser jazz-tinged track. Maybe that’s why I prefer Mo’ Onions?
Closing Second Helpings-Sequels To The Songs That Left ‘Em Hungry For More, is The Safaris Featuring Jimmy Stephens’ My Image Of A Girl (Is You). This was the sequel to The Safaris’ My Image Of A Girl. It was released in 1960, on Eldo Records and reached number six in the US Billboard 100. At last, The Safaris had their first hit single. This had been a long time coming. In the past few years, The Safaris had changed name changes several times, and flitted between labels. Surely, The Safaris would build on the success of My Image Of A Girl?
That wasn’t to be. The Safaris split-up shortly after the release of My Image Of A Girl. Twenty-nine years later, and doo wop was back “on trend.” So The Safaris got back together and released the sequel to My Image Of A Girl. This was My Image Of A Girl (Is You). It was released in 1989, on the Dee Jay label, and is a latter day reminder of the doo wop sound.
For record companies, coming up with a new concept for compilation isn’t easy. Nearly everything seems to have been tried. However, somehow, compiler Sam Szczepanski and Ace Records have managed to come up with something new and intriguing. That’s an album of sequels entitled Second Helpings-Sequels To The Songs That Left ‘Em Hungry For More, which was recently released by Ace Records.
Second Helpings-Sequels To The Songs That Left ‘Em Hungry For More showcases twenty-four sequels. Many of these, were sequels to well known tracks. This includes Buddy Holly’s Peggy Sue, The Marvelettes’ Mr Postman, The Shirelles’ Soldier Boy, Paul Anka’s Diana and Booker T. and The MG’s Green Onions were released. There’s also sequels from Slim Harpo, George Jones and Jan and Dean. However, other tracks aren’t so well known.
Claudine Clark, Marcie Blane, Robin Ward, The Crests and The Safaris never reached the same heights as Buddy Holly, The Marvelettes, The Shirelles, Paul Anka and Booker T. and The MG’s. However, they play their part in what’s a gloriously eclectic compilation. There’s everything from blues, country, doo wop, pop, R&B, rock, rock ’n’ roll and soul on Second Helpings-Sequels To The Songs That Left ‘Em Hungry For More. It tells the story of these twenty-four sequels, which are part of a truly eclectic and intriguing compilation, Second Helpings-Sequels To The Songs That Left ‘Em Hungry For More.
SECOND HELPINGS-SEQUELS TO THE SONGS THAT LEFT ‘EM HUNGRY FOR MORE.
BOB MARLEY AND THE WAILERS-KAYA-VINYL EDITION.
BOB MARLEY AND THE WAILERS-KAYA-VINYL EDITION.
Back in 1978, when Bob Marley and The Wailers released Kaya, critics and fans accused Bob Marley of selling out. Kaya was a much more laid-back album, whereas previous albums had been politically charged and crammed full of social comment. Previously, Bob Marley was seen as Jamaica’s social conscience. He was someone who spoke on behalf of Jamaica’s oppressed. So when Kaya was released in 1978, critics and fans discovered a was a very different album. Unlike previous albums, Kaya didn’t feature militant and outspoken music filled with social comment. Instead, Kaya had a much more relaxed, laid-back and optimistic sound. Many of the songs were about love, while others were about marijuana. This resulted in the cries of sell-out from critics and fans. They accused Bob Marley and The Wailers of going soft, being more concerned with commercial success than political problems. Given the backlash Kaya faced upon its release in 1978, not many people would’ve forecasted that Kaya would become one of Bob Marley and The Wailers’ classic albums?
Thirty-seven years later, Kaya is indeed regarded as one of Bob Marley and The Wailers’ classic album. So, it’s fitting that a vinyl edition of Kaya will be issued by Commercial Marketing on 16th July 2015. Kaya was Bob Marley and The Wailers’ first studio album for nearly two years. It marked the next chapter in the Bob Marley and The Wailers’ story.
Ever since Bob Marley and The Wailers had signed to Chris Blackwell’s Island Records, their career had been transformed. Their first release for Island Records was their fifth album Catch A Fire. Released in April 1973, Catch A Fire proved more popular in Britain than America. It reached number 171 in the US Billboard 200 and number fifty-one in the US R&B Charts. Critically acclaimed upon its release, Catch A Fire was certified silver in the UK and is featured in Rolling Stone magazine’s list of 500 best albums of all times. Six months after the release of Catch A Fire, came the album that broke Bob Marley and The Wailers in the US.
Burnin’ wasn’t just the album that broke Bob Marley and The Wailers in the US, but was also the last album to feature Peter Tosh and Bunny Wailer. After the release of Burnin’ in October 1973, they embarked upon solo careers. At they did so, with a gold disc. On its release, Burnin’ reached number 151 in the US Billboard 200 and number forty-one in the US R&B Charts. This resulted in a gold disc in America, while it was certified silver in the UK. Featuring classics like Get Up, Stand Up and I Shot The Sheriff, Burnin’ marks the debut of the militant, confrontational Bob Marley. If Burnin’ marked the birth of a reggae revolutionary, Bob Marley picked up the baton on Natty Dread.
Natty Dread was released a year after Burnin,’ in October 1974. The wait was worthwhile though. Here was an album which featured Bob Marley at his militant and confrontational best. He was like a reggae revolutionary, protesting against injustice, on an album that’s politically charged and full of social comment. Featuring No Woman, No Cry and Them Belly Full (But We Hungry) Bob rails against poverty, while Rebel Music (3 O’Clock Roadblock) and Revolution are akin to a call to arms). On it release, Natty Dread was more popular in the UK than US. It was certified gold in the UK, but only reached number ninety-two in the US Billboard 200 and number forty-four in the US R&B Charts. Following three commercially successful and critically acclaimed albums, it would be another two years before Bob Marley and The Wailers released another studio album.
While Bob Marley and The Wailers didn’t release another studio album until 1976, they released their first live album. Released in December 1975, and simply entitled Live, this gave fans an opportunity to hear what Bob Marley and The Wailers live sounded like. Recorded on 18th and 19th July 1975, Live was a tantalising taste of one of the best live groups of the seventies. Fans and critics agreed, with Live reaching number ninety in the US Billboard 200. This resulted in Live being certified gold in the US and silver in the UK. Although Live and their three previous studio albums had been successful, their next album would surpass everything they’d previously released.
When Rastaman Vibration was released in April 1976, it became Bob Marley and The Wailers’ only album to enter the top ten in the US Billboard 200. Not only that, but Rastaman Vibration featured Bob Marley and The Wailers’ most successful single in the US. The was the Vincent Ford penned Roots, Rock, Reggae, which reached number fifty-one in the US Billboard 100. Rastaman Vibration reached number eight in the US Billboard 200 and number eleven in the US R&B Charts. Unlike previous albums, Rastaman Vibration featured synths alongside the Wailers famed rhythm section. This added a contrast to the power of rhythm section, and are part of Rastaman Vibration’s success. Good as Rastaman Vibration was, Bob Marley and The Wailers next album was a stonewall classic…Exodus.
After an attempted assassination on 3rd December 1976 in Jamaica, Bob Marley took up residence in London. Although he’d been shot in the chest, he’d been lucky. Things could’ve been much worse. So rather than record the remainder of Exodus in Jamaica, parts of it were recorded in London. When Exodus was released in June 1977, it was the album that transformed Bob Marley into a worldwide star. Side Two of Exodus is crammed full of quality music. Opening with Jamming, through Waiting In Vain, Turn Your Lights Down Low, Three Little Birds and closing with One Love/People Get Ready, this is one of the best sides of music ever. Quite simply, it’s peerless. If Side Two is peerless, Side One doesn’t disappoint with Natural Mystic, Heathen and Exodus. Critics referred to Exodus as a classic album and it features in Rolling Stone magazine’s list of 500 best albums of all times. Fans loved Exodus. It reached number twenty in the US Billboard 200 and fifteen in the US R&B Charts. This resulted in Live being certified gold in the US and UK. Having released a timeless classic album, Exodus, Bob Marley and The Wailers tried to repeat this feat with Kaya.
Much of Kaya had been recorded at the same time as Exodus. Two of the tracks, Kaya and The Sun Is Shining had featured on Bob Marley and The Wailers 1973 compilation African Herbsman, which was released on Trojan Records. When Kaya was released in March 1978, it reached number fifty in the US Billboard 200 and US R&B Charts, resulting in Kaya being certified gold in the US. Kaya reached number four in the UK, and was certified gold. While Kaya was a commercial success, it would face a backlash from critics and fans.
Rather that revolution, Kaya was an album that saw Bob Marley and The Wailers’ music evolve. Bob Marley wrote the ten tracks on Kaya with saw Jamaican and Western music combined. Kaya was a fusion of two musical cultures that Bob Marley embraced. This was similar to previous albums, going back to Burnin.’ Where things differed were with Kaya’s lyrics. Whereas previous albums were politically charged and filled with searing social comment, Kaya focused on a variety of themes, including love and marijuana. Indeed, the word “Kaya” is synonymous with marijuana in Jamaican culture. When critics heard the songs on Kaya, they accused Bob Marley and The Wailers of selling out. The music on Kaya was much more laid-back and relaxing. Soon, critics and fans accused Bob Marley and The Mailers of selling out. Was that the case though?
Not only did critics accuse Bob Marley and The Wailers of selling out on Kaya, but they accused him of penning a ten track love letter to marijuana. That’s unfair though. While much of Kaya was about love, and there were tracks about marijuana, there was much more to Kaya than that. Subjects like unity, togetherness, commonality and spirituality. SWhile the music lacked the militancy of previous albums, it had a much more laid-back, understated sound. Proof of this is the rhythmic delights of Satisfy My Soul. This showed another side to Bob Marley and The Wailers’ music, one that was captivating and appealed to a wide range of music fans. Like most Bob Marley and The Wailers’ albums, Kaya contained a couple of classics. These timeless classics, the hopeful and optimistic hopeful Easy Skanking and Is This Love. Showing another side to Kaya, was the broody, moody and thoughtful Running Away. Despite the lack of politically charged songs, there was still a spiritual side to Kaya. Similar to other albums, Bob continues to seeks help and guidance from Jah. So Kaya was much more than a ten-track love letter to marijuana. Instead, there was much more to Kaya. It touched on several themes, and in the process, demonstrated another side to Bob Marley and The Wailers’ music.
Critics and fans accused Bob Marley and The Wailers of selling out when Kaya was released. This wasn’t the case. Instead, Kaya saw Bob Marley and The Wailers music evolving. Kaya was a much more subtle album, both in its content and style of music. With themes ranging from love, marijuana, unity, togetherness and spirituality, Kaya was a much more complex album than people realized. Originally, Kaya’s accusers had said it was no more than a love letter to marijuana. How wrong they were. The ten tracks on Kaya contained intelligent, thoughtful, introspective and beautiful music. These tracks demonstrated that Bob Marley and The Wailers were a versatile band, determined not to continue releasing albums of similar music. Instead, they wanted their music to be constantly evolving. This meant their music neither risked becoming stale nor predictable.
While not as overtly militant as previous albums, Kaya’s ten tracks were all written by Bob Marley. Unlike Exodus, which featured numerous songwriters, Kaya was all Bob Marley’s own work. It offered an insight to an intelligent, complex and spiritual man. Having gained a reputation as Jamaica’s social conscience, Bob Marley’s demonstrated another side to his songwriting skills. Love songs sat side-by-side with pleas to unity, paeans to marijuana and songs about spirituality. While Kaya wasn’t immediately hailed a classic, in the intervening thirty-seven years, critics have performed a volte face.
Now Kaya thirty-seven years after critics cried sell-out, Kaya is perceived as one of Bob Marley and The Wailers classic albums. While many albums are referred to as classics, Bob Marley and The Wailers’ Kaya truly is a classic. Kaya deserves to be spoken about in the same breath as Burnin,’ Natty Dread and Exodus. Quite simply, Kaya is hugely important and potent album which feature some intelligent, thoughtful, introspective and beautiful music.
BOB MARLEY AND THE WAILERS-KAYA–VINYL EDITION.
PIED PIPER FOLLOW YOUR SOUL.
PIED PIPER FOLLOW YOUR SOUL.
In the history of soul, production partnerships have been responsible for some of the most successful music. That was the case throughout the sixties, and into the seventies. Stax Records had Isaac Hayes and David Porter, Motown had Holland, Dozier, Holland and Philadelphia International Records had Gamble and Huff. These were three of the most successful production teams in the history of soul music. However, across America, other production teams were hard at work. This included the Detroit based Pied Piper Productions. Their music is celebrated on the recently released compilation Pied Piper Follow Your Soul, which was recently released by Kent Soul, an imprint of Ace Records.
Pied Piper was founded in 1965 by Sheldon “Shelley” Haines, a music industry veteran. His first job in the music industry, was as a distributor for King Records. This was the late-forties. By, 1952, Sheldon and Jack Gale, a local DJ, formed the short-lived Triple A record label. It lasted a mere five released. After that, Sheldon became interested in Detroit’s emerging R&B scene.
Soon Sheldon was a familiar face on the Detroit R&B scene. By 1954, Sheldon and songwriter Perry Stevens found themselves working with doo wop group The Spartans, for the Capri label. A year later, Sheldon and Irving Lief formed a production partnership and several record labels. This included labels like Pix, Plaid, Sterling and Studio. Groups and artists like The Coronets, Cool Papa Jarvis and The Jet Tones. The pair also recorded The Womack Brothers, who later, became The Valentinos. Sheldon and Irving’s partnership lasted until 1960, where they recorded artists at their own studio. It wasn’t just artists signed to their own labels, but artists signed to RCA’s Groove imprint. This was a sign of how well thought of the production partnership were. Despite this, Sheldon returned to becoming a distributor in 1961.
For the next four years Sheldon was happy worked as a distributor. Occasionally, he produced artists, and in 1965, made his comeback. Ed Wingate hired Sheldon as Vice President and General Manager of Ric-Tic, Golden World and Wingate record labels. His remit was overseeing marketing, promotion and product control. For his new business venture, Sheldon called the company Pied Piper Productions. The first two single produced by Pied Piper Productions were releases by Bob Santa Marie and Frank Meadow and The Meadowlarks. While they were neither successful nor groundbreaking releases, once Sheldon put together his production team, success wouldn’t be far away.
The two men who masterminded Pied Piper Productions were Jack Ashford and Mike Terry. Jack Ashford had studied music at college. He was a vibes player and a familiar face in Philly’s jazz scene. When he was asked to become a member of Marvin Gaye’s touring band, Jack went from jazz musician to Funk Brother.
Through meeting the Motown musicians, Jack decided to base himself in Detroit. Soon, he became part of Motown’s legendary studio band, The Funk Brothers. Jack’s trademark tambourine sound became a staple of Motown recordings. However, Jack was more than a tambourine player. He studied arrangers, engineers and producer and soon, was able to learn from them. Jack was also a talented songwriter. Essentially, Jack Ashford was a musical all-rounder, which made him perfect for Pied Piper Productions. His partner would be Mike Terry.
Mike Terry played baritone saxophone first in Popcorn Wylie’s Mohawks, then with Joe Hunter’s band. Like many musicians, he gravitated to Motown, which is the sixties, was one of the most successful labels. He was part of the touring and studio bands, and his trademark sound features on numerous Motown recordings. Despite being on Motown’s payroll, Mike, like other musicians, including Jack Ashford, felt the fees they were paid weren’t enough. So the pair left Motown.
Having left Motown, Jack and Mike briefly worked for Ed Wingate’s Golden World label. Mike with George Clinton and Sidney Barnes, formed the Geo-Si-Mik songwriting and production partnership. At the same time, Jack and Mike formed a songwriting and production partnership. One of their songs, Lonely One, for The San Reno Strings album on Ric-Tic came to the attention of Sheldon “Shelley” Haines. He realised this was a partnership to watch.
He was right. Jack and Mike head to Jack’s hometown Philly, to produce I Can’t Change for The Sensations with Yvonne Baker. This was their first production, which was released on the Junior label. Later in 1965, the pair produced Joe Douglas for the Playhouse label. With Bobby Martin penning the B-Side, this was a single that was made has Philly. Ironically, it wasn’t in Philly Jack made his name as a producer. No. It was in Detroit, where Jack Ashford and Mike Terry masterminded Pied Piper Productions. Twenty-four of these productions feature on Pied Piper Follow Your Soul.
The twenty-four tracks that feature on Pied Piper Follow Your Soul. All the tracks were recorded between 1965 and 1967. However, only fifteen were released during this period. This includes tracks from Sharon Scott, The Cavaliers, The Dynamics, Harry Hester, Mikki Farrow, The Metros, Sam E. Solo and Freddy Butler. Then there’s nine previously unreleased tracks from September Jones, The Pied Piper Players, Nancy Wilcox and Lorraine Chandler. Previously, these tracks have lain in record company vaults. Not any more. Belatedly, they make a welcome debut on Pied Piper Follow Your Soul, which I’ll pick the highlights of.
Opening Pied Piper Follow Your Soul, the first of three tracks from September Jones. She enjoyed a hit with I’m Coming Home in 1966. This Pied Piper Production was released on Kapp. On the B-Side was No More Love, Jack Ashford and Mike Terry composition. It’s a beautiful tender ballad. Very different is the moody and atmospheric Voo Doo Madamoiselle. It wasn’t released until 2014, when it was released as a single on Ace Records’ Pied Piper imprint. September’s other contribution is You Had Better Know Why. It’s a real find, and featured on the flip side of a single released by Kent Records in 2014. It too, is a showcase for a talented and elusive September Jones.
Many people won’t have heard of Nancy Wilcox. Her only single was 1967s Coming On Strong. However, two of Nancy’s unreleased recordings feature on Pied Piper Follow Your Soul. He’ll Be Leaving You, which was penned by Jack Ashford, Mike Terry and Lorraine Chandler, is bound to appeal to the Northern Soul crowd. More Than A Memory is a Jack Ashford and Randy Scott composition. It’s the perfect showcase for Nancy Wilcox, one of soul’s forgotten names.
Sharon Scott released Could It Be You in 1966. It was penned by Jack Ashford and Joseph Hunter. Herbie Williams arranged and conducted Could It Be You, which was released on RCA Victor. Could It Be You proved to be Sharon Scott’s only single. However, if Sharon was only going to release one single, make it one as soulful as Could It Be You.
The Cavaliers are another group who feature on Pied Piper Follow Your Soul. Their first contribution is a previously unreleased version of Ooh It Hurts Me. Again, it’s bound to appeal to the Northern Soul crowd. So will Without Someone To Tell Me. This is another unreleased track. Given its quality, one can’t help wonder why a record label weren’t willing to take a chance on Without Someone To Tell Me?
From the opening bars, of The Dynamics’ I Need Your Love, it’s obvious that one of the highlights of Pied Piper Follow Your Soul is unfolding. Soon, it becomes apparent that hooks haven’t been spared on this irresistible dancer. It was arranged and conducted by Joe Williams. Need Your Love was released on RCA Victor, in 1967. Since then it’s been guaranteed to fill dance-floors.
The tempo drops on Harry Gates’ hopeful ballad Love Will Find A Way. It’s another of the unreleased tracks. This is a real hidden gem that was penned by Tony Hester. Belatedly, it’s being heard by a wider audience.
Two tracks from Freddy Butler’s 1967 debut album With A Dab Of Soul feature on Pied Piper Follow Your Soul. The first is They Say I’m Afraid (Of Losing You). It’s a soul-baring ballad full of emotion. Give Me Lots Of Lovin’ is a much more uptempo track. This allows Freddy to cut loose, and deliver an impressive vocal powerhouse.
Lorraine Chandler wasn’t just a singer, she was also a talented songwriter. Ironically, she didn’t write Lost Without You. It’s another of the unreleased tracks. Here, Lorraine brings the lyrics to life, as she delivers a needy, pleading vocal. What Can I Do, which Lorraine cowrote, is her debut single. It was released on Giant Records in 1966. Dance-floor friendly and truly irresistible, it’s like a call to dance.
The Hesitations were based in Cleveland, Ohio. They drop the tempo on Wait A Minute. It’s a Jack Ashford, Lorraine Chandler, Joseph Hunter and Randy Scott composition. Wait A Minute was the B-Side of The Hesitations’ 1967 single Soul Kind Of Love. Very different is That’s What Love Is. Just like Wait A Minute, this stomper featured on The Hesitations’ 1967 debut album Soul Superman. These two tracks show two sides of The Hesitations.
On the 18th July The Pied Piper Players went into the studio, and recorded Hold To My Baby. It’s a driving instrumental, replete with braying horns and surf-tinged guitar. Four days later, and The Pied Piper Players returned to the studio. This time, they recorded another instrumental Love Sick. After that, it was a case of waiting. They’ve been waiting a long time. Neither track was ever released, until now. These two instrumentals make a welcome and overdue debut on Pied Piper Follow Your Soul.
The final tracks I’ve chosen from Pied Piper Follow Your Soul, come courtesy of The Metros. It’s Now was recorded in 1967, and released in 1969. Originally, the track was credited to Joe Buckman and released on Sepia Records 3. Now, a wrong has been righted, and The Metros receive the credit for this mellow, and hopeful slice of soul. You Don’t Know Me Do You has a tougher, harder sound. As The Metros vamp their way through You Don’t Know Me Do You, it’s hard to believe it’s the same group. The Metros weren’t for standing still, and were reinventing themselves. However, You Don’t Know Me Do You was never released, and lay in the Pied Piper vaults until now, when we can hear another side to The Metros.
Two years ago, Kent Soul, a subsidiary of Ace Records released Pied Piper Presents A New Concept In Detroit Soul. It was one of the most eagerly anticipated compilations of 2013. Soul fans weren’t disappointing. Pied Piper Presents A New Concept In Detroit Soul made its way onto many end of year lists. Since then, soul fans have been wondering if, and when a followup to Pied Piper Presents A New Concept In Detroit Soul would be released. Recently, Kent Soul announced the release of Pied Piper Follow Your Soul.
Compiler Ady Croasdell returned to the Pied Piper vaults, and chosen twenty-four tracks for Pied Piper Follow Your Soul. They’re a mixture of classics, old favourites and hidden gems. Fifteen tracks have been released before. This includes contributions from Sharon Scott, The Cavaliers, The Dynamics, Harry Hester, Mikki Farrow, The Metros, The Dynamics and Freddy Butler. The other nine, make their debut on Pied Piper Follow Your Soul. This includes some soulful delights from September Jones, The Pied Piper Players, Nancy Wilcox and Lorraine Chandler. Ady Croasdell’s exquisite taste and encyclopaedic knowledge of all things soulful, shines through.
For the umpteenth time, Ady has compiled an uber soulful compilation. Whether your preference is for ballads or dance tracks, there’s plenty of both on Pied Piper Follow Your Soul. What there’s not, is filler. Instead, Pied Piper Follow Your Soul is crammed full of top quality, soulful music. This makes Pied Piper Follow Your Soul the perfect followup and companion to Pied Piper Presents A New Concept In Detroit Soul. These two compilations are the perfect introduction to the soulful delights of the Pied Piper production partnership.
PIED PIPER FOLLOW YOUR SOUL.
SVEN GRUNBERG-HINGUS.
SVEN GRUNBERG-HINGUS.
From the sixties, right through to the Berlin Wall fell on 1989, Eastern Europe was a musical hotbed. The problem was, very few in the West realised this. That, to some extent, this still the case. Most music lovers have yet to discover the music that came out of Eastern Europe during this period. This music came courtesy of a myriad of talented artists and groups. Sadly, were in the wrong place at the wrong time.
Across Eastern Europe, the Communist Party ruled with an iron fist. Musicians like writers, poets and artists were scene as a threat to the status quo. Musicians had to be on their guard. They never knew when the state censors would arrive at concerts. Some bands became experts at avoiding the state censors, who were known to chastise a group for singing: “yeah, yeah, yeah.” This wasn’t exactly the best environment for creating music. Nor making money.
In many parts of Eastern Europe, releasing albums was neither possible nor profitable. Estonian prog rock band Mess realised this in the seventies.
Sven Grünberg and Härmo Härm formed Mess in 1974. By then, Sven was eighteen, and studying in the Tallinn music school, where he was studying composition. Sven would Mess’ songwriter, keyboardist and lead vocalist. Härmo, who was twenty five, invented a variety of devices that Mess used to make music.
Gradually, Mess’ lineup took shape. Their lineup would eventually include Andrus Vaht, Elmu Värk, Ivar Sipra, Matti Timmermann and Sven Grünberg. Messa were soon a popular and prolific live band. They toured the country, but in doing so, attracted the ire of the state.
Messa were an outspoken group. Their music Messa contradicted Soviet ideology. This was a dangerous road to go down, and impacted on Mess’ career.
While Mess were a prolific live band, they never released a studio album. That’s not to say they didn’t enter the recording studio. They did. The problem was, they couldn’t release their music. It wasn’t until well after the Berlin Wall fell, that Messa finally released an album.
That came in 1995. That’s when German label, Bella Musica released an album of Mess’ recordings entitled Sven Grünberg’s Proge Rock Group Mess. At last, prog rock fans were able to hear Estonia’s legendary prog rock Mess. This however, wasn’t the end of the Mess story.
No. Another nine years and then another album of Mess’ music was released. This was Küsi Eneselt, which was released on Strangiato Records. It featured seven tracks originally recorded between 1975 and 1976, at Eesti Raadio, by Lepo Sumera and Sven Grünberg. Küsi Eneselt was like being transported back to another time and place. Mess like so many bands across Eastern Europe during this period, were articulating what the ordinary people were feeling and thinking.
Back in 1976, Sven Grünberg must have becoming frustrated by Mess’ situation. With Mess not being able to release an album, people were unable to hear who Mess had grown and evolved as a group. They had come a long way since 1974. So had Sven.
His course at Tallinn music school helped him improve as a musician and composer. He had come a long way in the last two years. What he needed though, was a showcase for his talents. It looked like Mess wasn’t going to showcase his skills.
That proved to be the case. By 1977, Sven Grünberg decided to embark upon a career as a composer. This would prove to be a stylistic departure for Sven.
In 1978, Sven Grünberg wrote his first film scores. They weren’t for blockbuster films though. Instead, Linalakk ja Rosalind and Klaabu were short animated films. That didn’t matter. Sven had a foothold in the Estonian film industry.
A year later, Sven’s big breakthrough came. He was asked to penned the score to Hukkunud Alpinisti’ hotell. It was directed by Grigori Kromano, and released in August 1970. Hukkunud Alpinisti’ Hotell was well received by critics. Sven’s career as a composer was going places.
As a new decade dawned, Sven was back writing the score for short, animated films. This included Nike Kutse and Karsumm. They were released during 1980 and provided a showcase for Sven’s musical talents. However, by now, Sven was looking to broaden his horizons.
Still Sven was composing the scores for films. In 1981, he provided the score to Avo Paistik’s short, animated film, Klaabu kosmoses. However, now, Sven felt was the time to release his debut album, Hingus on the U.S.S.R. state label Мелодия.
For Hingus, Sven Grünberg had written and recorded three tracks. Breath (1979-1980) is an epic track featuring four movements; I, II, III and IV. These four movements last twenty-three minutes. Following Breath is Journey (1980). That’s a fitting title to what’s a captivating musical journey. Closing Hingus, is Flower Of Light (1978), another epic. It lasts nearly eighteen minutes. These tracks were recorded in Estonia’s capital, Tallinn.
In Tallinn, Sven Grünberg played every internment on Hingus. Literally, Sven becomes a one-man band, playing keyboards, synths, harpsichord, hand-bells, tambourines and castanets. Sven also engineered the Hingus sessions. Seven years after forming Mess, Sven Grünberg was about to release an album, Hingus.
When Hingus was released in 1981, the album was popular is some quarters. A new generation knew Sven from his film scores. However, still Sven Grünberg was remembered as a member of Mess. They were still remembered as one of the best prog rock bands in not just Estonia, but the rest of the U.S.S.R. Unsurprisingly, former fans of Mess embraced Sven’s debut album Hingus. While it was very different from Mess’ music, it proved popular. So much so, that Hingus was repressed in 1982, 1984 and 1985. You’ll soon realise why.
The main theme on Breath (1979-1980), is a man and the world around him. Over Breath’s four movements, a variety of sounds emerge. There’s the sound of a waterfall, a brook and the earth breathing. Sven examines how we face the universe in Breath. It’s cerebral and pensive piece of music in four movements.
As Part I opens, washes of dramatic, bubbling, sci-fi synths can be heard. Underpinning the arrangement is an acoustic organ. This brings to mind the sound of a cathedral. The sound is big and bold. Hovering in the middle of the arrangement is a buzzing sound. It’s as if a U.F.O. has landed. Especially as the arrangement takes on a sci-fi sound. From there, it becomes mellow and laid-back. However, there’s still an ominous sound lurking in the shadows. As sounds flit in and out, the acoustic organ dominates. These sounds might be in its shadow, but it provides as cinematic sound. So do a myriad of bubbling,shimmering and pulsating sounds. Later, the arrangement veers between ethereal and dramatic. By then, it’s apparent that for the four years before releasing Hingus, Sven was composing soundtracks. He’s capable of creating cerebral and cinematic music.
Part II of Breath opens with the sound of the organ playing in the distance. Gradually, it grows in power and drama. Sven stabs of the organ, and gushing gasps of music emerge. Soon, this begins to dissipate, and the music becomes crystalline and elegiac. Later, it becomes mellow and pensive, before reaching an explosive crescendo.
Flourishes of harpsichord open Breath Part III. Its elegiac sound is a contrast to the sheer power of the acoustic organ. It bellows out washes of music, before giving way to the harpsichord. Gradually, the arrangement takes on an Eastern sound. Synths are shimmer, before rumbling ominously. That’s the signal for the acoustic organ to make its entrance. Just like previous tracks, there’s a prog rock influence. That’s the case when the glacial synths, harpsichord and bells unite. However, you’re always aware that the raw power of the acoustic organ will roar in. It does. As it dominates the arrangement, the other instruments are unable to Breath. It’s as if the organ represents the state in the U.S.SR., as it crushes the hopes and dreams of musicians like Sven.
As the fourth and final part of Breath unfolds, the sound of the acoustic organ dominates the arrangement. That’s until a cymbal crashes. From there, an ethereal wash of music descends. So does what sounds like a helicopter. It hovers above the arrangement, as the organ makes a comeback. By now, the listener is expecting it roar back to life. That’s not the case. Sven seems to be toying with the listener. Elements of ambient, avant garde and experimental music play their part in the understated, genre-melting arrangement. By the end of Part IV, nature is merging with the human soul. So not only is this is Part IV mellow and understated, but cerebral.
Journey (1980) ibuilds on the Part IV of Breath. It’s no ordinary Journey. Instead, it’s a Journey to the most remote part of infinity, where a journey can begin again. With the backstory in mind, the listener is captivated as another understated, meandering arrangement unfolds. Washes of synths shimmer and glisten. A drum pulsates and lo-fi synth glides across the arrangement. It’s your guide on this captivating Journey. The synths are elegiac, ethereal and glacial. They’re mellow, understated and ambient sound cocoons the listener. It’s also a meandering,mellow and understated arrangement that’s sure to captivate. Without doubt its ethereal beauty is the highlight of Hingus.
Whereas Breath was an epic in four parts, Flower Of Light is a near eighteen minute epic, consisting of six parts. Again, the music is cerebral and cinematic. A droning, futuristic, sci-fi sound beeps and squeaks. The first of a trio of melodies unfolds. They merge into one, creating an otherworldly soundtrack. From there, Sven creates an understated moody but still futuristic sound in part two. Space is left within the arrangement as the synths are like yin and yang. By the third movement, the arrangement becomes more complicated. Gradually, a dramatic, space-age five-part polyphony emerges. It’s hard to believe this track is thirty-four years old. If The Orb or Underworld created it today, they would be hailed conquering heroes. Sven it seems, was ahead of his time, creating music that was innovative and timeless. As part four unfolds, a change occurs. A buzzing, bubbling, pulsating sound emerges. Washes of synths shimmer. Then part five takes on an understated sound. Musically, Sven creates the sound of flower blossoming. In the background, birds cheep, creating a hopeful, even joyous sound. There’s a similar sense of hope and joy in part six. Here, Sven reflects on the past and the future. New opportunities arise as the door is firmly open. All the listener has to do is go through the door to the future. Flower Of Light an innovative and enthralling musical journey, brings to an end Hungus, Sven Grünberg’s debut album.
Sadly, when Hingus Sven Grünberg released Hingus in 1981, very few people in the West were aware of the album. That’s still the case. It was only when the Berlin Wall fell on 1989, that Eastern Europe opened up to Westerners. While those from the West of Europe have embraced much of Eastern culture, Eastern popular music seems to have been eschewed. That’s a great shame.
Back when Sven Grünberg released Hingus in 1981, Eastern Europe was a musical hotbed. Very few people in the West realised this. That, to some extent, this still the case. Most music lovers have yet to discover the music that came out of Eastern Europe during this period. Ironically, Eastern Europe had an equally eclectic and vibrant music scene. Much of it was underground, given the supposed anti-establishment nature of some of the music. This had been the case with Sven’s previous group Mess. However, after Mess disbanded, Sven reinvented himself as a composer for films, television and theatre.
That’s what Sven had been doing since graduating from Tallinn music school. He was already establishing himself as an up-and-coming composer. However, still he wanted try and establish a career as a solo artist. Hingus was the first step in Sven Grünberg’s solo career.
With its fusion of ambient, avant grade, electronic, prog rock and cinematic sounds, Hingus was a groundbreaking album. Sven Grünberg took the music from his past and present, and created music that could’ve been created in the future. Flower Of Light sounds like a lost track from The Orb or Underworld. It’s not. It was created by Sven thirty-four years ago and is a truly timeless and innovative track. That’s the case throughout Hingus.
From Part I of Breath, right through to Flower Of Light, Sven Grünberg pushes musical boundaries. In doing so, he creates music that’s variously cerebral, elegiac, ethereal, futuristic, hopeful, melodic and otherworldly. Other times, the music on Hingus is ambitious, bold and dramatic. Always, the music on Hingus is captivating and enthralling. That’s why Sven Grünberg’s debut Hingus deserves to be heard by a much wider audience.
When Sven Grünberg released Hingus in 1981, it was on the U.S.S.R. state label Мелодия. While it found an audience within the U.S.S.R., very few people in the West heard Hingus. If they had, Sven Grünberg might have enjoyed a much more successful solo career. While he released three further albums, 1988s OM, 1993s Milarepa and 1995s Prana Symphony, it was as a composer for film, television and theatre that Sven Grünberg became famous for. However, at least belatedly, Mess, the group Sven Grünberg formed in 1974, and his debut album Hingus, are beginning to receive the recognition and audience they deserve.
SVEN GRUNBERG-HINGUS.
AKIRO ITO-JAPANESQUE.
AKIRO ITO-JAPANESQUE.
Before Akiro Ito embarked upon a solo career in 1978, he was a member of the Far East Family Band. They were a pioneering band, who are regarded as Japan’s first progressive rock band. Keyboards dominated the Far East Family Band’s music, as they fused prog rock, psychedelia and space rock. It was an innovative musical brew, one that caught the attention of Japanese record buyers in 1974.
That’s when the Far East Family Band released their debut album “The Cave” Down To The Earth. It was released on the MU Land label in 1974. “The Cave” Down To The Earth was released to critical acclaim and sold well in Japan. However, the Far East Band had set their sights higher. They wanted to the music to reach a wider audience.
So, in 1975, the Far East Family Band released Nipponjin-Join Our Mental Phase Sound. Essentially, Nipponjin-Join Our Mental Phase Sound featured some of the songs from the “The Cave” Down To The Earth sung in English. It was mixed and produced by Klaus Schulze. Nipponjin-Join Our Mental Phase Sound had the desired effect, and saw the Far East Family Band make a breakthrough in the West. Now the Far East Band were going places.
In 1976, the Far East Band returned to the recording studio, to record Parallel World. This time, they headed to the Manor Studio, in London. Producing Parallel World, were Klaus Schulze and Fumio Miyashita of the Far East Family Band. Between November 15th to December 5th 1976 Far East Band combined prog rock, psychedelia and space rock. Once Parallel World was completed, it was ready for release later in 1976.
Having made a breakthrough in the West, the Far East Family Band were keen to build upon this success. However, they were determined not to turn their back on their fans back home.
They need not have worried about this. Parallel Lines was the Far East Family Band’s best album. It was a trippy, progressive opus. The Far East Family Band were no ordinary prog rock band. No. They looked destined for greatness.
Sadly, the Far East Family Band story was almost over. They only released one further album, Mostly, it was recorded at Nippon Columbia Grand Studios. Parts were recorded at what the band referred to as Fumio’s Spaceroom. This was Fumio Miyashita’s studio. He was now the sole producer of the Far East Family Band. Fumio, a talented multi-instrumentalist was also lead vocalist, engineer, producer and mixed Tenkujin. It seemed he was the Far East Family Band’s driving force.
When the Far East Family Band released Tenkujin in November 1977, it was a fusion of disparate and diverse musical genres and influences. The Far East Band fused prog rock, psychedelia and space rock. There was even elements of disco and electronica added the the mix. It seemed Ash Ra, Tangerine Dream and Krautrock were all influencing factors on Tenkujin. While it was well received by critics, Tenkujin couldn’t quite surpass the quality of Parallel Lives. That was the Far East Family Band’s finest moment. Tenkujin meanwhile, was their swan-song.
After the release of Tenkujin, the Far East Family Band split-up. The members of the band went their separate ways. In Akiro Ito’s case, he embarked upon a solo career. Given Akiro Ito has already established a reputation as a musical pioneer, people were excited to hear what his debut album would sound like. They didn’t have long to wait.
Inner Light Of Life was released in 1978. It was a stylistic departure for Akiro Ito. Whereas the Far East Band fused prog rock, psychedelia and space rock, Inner Light Of Life was a mixture of ambient and new age music. The only common denominator was electronica. Akiro Ito seemed determined to reinvent himself.
Critics were impressed by Akiro Ito’s debut solo album. Inner Light Of Life was released on King Records. It was hailed a groundbreaking debut. Not only was the music innovative, but it an inherent beauty. There was a tranquility to some of the tracks. Unsurprisingly, great things were forecast for the Akiro Ito.
Just a year after the release if Inner Light Of Life, Akiro returned with his sophomore album Yasuragi (Mind Music). It was released on King Records 1979.
Just like Inner Light Of Life, Yasuragi (Mind Music) featured Akiro’s trademark style of electronic, new age music. It won over critics. Whether any of the critics realised that Akiro would eventually be regarded as one of Japan’s greatest new age composers?
Despite being regarded as a new age composer, Akiro Ito hadn’t turned his back on his past. Later in 1979, Akiro released his third album, Bosatu and Mugen. It was quite unlike his two previous album. Elements of psychedelia, rock, electronica and ambient music melted into one. Bosatu and Mugen seemed to be referencing Akiro’s musical past and present. However, his next album, Japanesque, was a return to the sound of Yasuragi (Mind Music). It would become one of Akiro’s cosmic classics.
For Japanesque, Akiro penned and produced the twelve new tracks. He then put together a band that featured fellow musical mavericks. His band featured musicians who weren’t just talented, imaginative and innovative. They were ambitious and keen to create music that was groundbreaking. So, with an open mind, they headed to the studio to record Japanesque.
As the band assembled, it became apparent that Akiro had put together an all-star band. The lineup featured Hyusuke Seto on acoustic guitar and koto; Hideki Ishima electric guitar and Kei Ishikawa on electric bass. Percussionist Hiroshi Okguchi was joined by pianist Nobuhiko Shinohara and Noburu Kimura on flute and saxophone. Masashi Kikuchi played shakuhachi, a Japanese end-blown flute. Completing the lineup was Akira on keyboards and synths. They recorded the twelve tracks that became Japanesque.
Before the release of Japanesque, advance copies were sent to critics. Straight away, they realised that this was the best album of Akiro’s four album career. Superlatives were almost exhausted as critics praised Akiro’s “floating electronics.” It was quite unlike anything released in Japan during 1981. Laid-back, ethereal, lysergic, floaty and spacey, it was regarded as illusionary mind music at its best. That becomes apparent as you delve into Japanesque, and let its delights wash over you.
Opening Japanesque is Source Of Life. A rumbling sound appears from the distance. It hastens a sense of drama. Then a wash of synths replicates the sound of a plane taking off. It’s definitely a case of we have life off. Dramatic, keyboards and bubbling, prog rock synths join with a piano and percussion as the arrangement builds to a crescendo. By then, there’s a noticeable Pink Floyd influence. From there, Akiro and his band combine prog rock, space rock and electronica. There’s also a sci-fi sound, as the arrangement meanders, bubbles and shimmers. A sultry saxophone proves the perfect addition as the arrangement is slowed way down. This allows you to wallow in its drama and beauty.
Seamlessly, Daybreak follows Source Of Life. The saxophone gives way to a blistering electric guitar solo. Meanwhile, drums rumble ominously. Percussion and sound effects flit in and out. Mostly, though, the focus of the listener’s attention is what can only be described as a stunning guitar solo. It’s at the heart of the track’s sound and success.
Etheral choral vocals, piano, and the saxophone combine as dramatically Birth (Prophet). A female vocal pays homage to Clare Tommy’s vocal masterclass on Pink Floyd’s Great Gig In The Sky, from Dark Side Of The Moon. The comparisons are undeniable. As she scats, harmonies soar, and the piano and bass combine. Together, they play their part in an ethereal opus.
As Love begins, a myriad of thunderous, galloping, bubbling and squeaking sounds assail you. Glacial synth add to the sci-fi sound, before a probing bass signals the drama to begin. It comes courtesy of the piano and keyboards. Along with the synths, they dominate this dramatic and cinematic soundscape.
Deliberate stabs of a keyboard open Cultivate The Teachings and Meditate Upon Them. Meanwhile, the bass and piano fill in the spaces. Slowly, thoughtfully and dramatically, the arrangement takes shape. Eventually, a heartachingly beautiful arrangement sweeps slowly along. It’s meditative sound is one of the highlights of Japanesque.
The tempo remains the same on Synchrotron Radiation-For The Children. So does the beautiful, thoughtful sound. Harmonies float above the arrangement. It’s dominated by the piano and synths. Aiding and abetting them, are a bass, searing guitar and percussion. Slowly they play, creating a wistful track that offers the opportunity to ruminate.
Literally, the arrangement to Epigram takes off. Sonically, there are similarities to Source Of Life. Banks of keyboards and synths join with ethereal harmonies and blistering guitar solo. Quickly, the arrangement reaches a crescendo, and Akiro and his band toy with the listener. Slowly, and thoughtfully they play. Harmonies, keyboards and a guitar combine, creating a reflective sounding tracks.
From there, they seamlessly cut to The Six Elements: Earth, Water, Fire, Wind, Air, (Material) and Consciousness [Mind]. A wistful sounding flute sits above a bubbling bass, washes of synths and percussion. Together they create two minutes of floaty, spiritual sounding music.
Lierally, Land Of Fire floats into being. Its ethereal sound is a joy to behold. Choral harmonies coo, as the bass probes and bubbles. Meanwhile, the flute floats dreamily above the arrangement. All seems right with the world as this dreamy sounding track cocoons you. With thirty seconds to go, Akiro throws a curveball, as the arrangement dissipates in a myriad of beeps and squeaks.
They’re the signal for the understated sound of Self Awareness to make its presence felt. It marches towards you. Gradually, the arrangement veers between ominous, funky, dreamy and lysergic. It’s as if an army dropped acid before parade.
Following the searing guitars, tender, heartfelt harmonies take centre-stage on Lord. They’re joined by the sultriest of saxophones. It’s a potent and powerful combination. That’s until midway through the track. It’s as if we’ve wandered onto the scene of a rock opera, as a ritual or incantation is performed dramatically, on what’s best described as a song of two parts.
To The Travellers closes Japanesque. It owes a debt of gratitude to Johan Bach’s Air On The G String. He’s not alone. Many prog rock musicians were inspired by classical music. Indeed, the genre was partly inspired by classical music. Here, Akiro combines harmonies, keyboards and a blistering guitar solo. In doing so, he ensures Japanesque closes on a melodic high.
Only three years after embarking upon a solo career, Akiro Ito released one of the finest albums of his career, Japanesque. Featuring twelve tracks, the music is variously beautiful, cinematic, dramatic, dreamy, ethereal, floaty, lysergic, melancholy and spiritual. Although this musical journey lasts just forty-five minutes, Japanesque leaves a lasting impression. This is a a spellbinding and innovative journey through musical genres.
During Japanesque, Akiro Ito draws inspiration from ambient, classical, electronica, experimental, new age, prog rock, psychedelia and rock. Seamlessly, musical genres melt into one as this spellbinding journey takes you to places you’ve never imagined.
That’s why, Japanesque, Akiro Ito’s fourth album, is music for the mind and the soul. It’s music to immerse yourself in. Let Akiro Ito’s innovative opus, Japanesque wash over you, cocoon and sometimes, assail you. Submit to Japanesque’s charms, nuances and subtleties and you’ll be richly rewarded.
AKIRO ITO-JAPANESQUE.
MARK KNOPFLER-TRACKER.
MARK KNOPFLER-TRACKER.
Three years have passed since Mark Knopfler released his previous solo album, Privateering. Since then, very little has been heard of Mark Knopfler. However, he recently made a welcome return with his eighth solo album, Tracker, which was released by Mercury. The release of Tracker in 2015 is fitting. It’s thirty years since Dire Straits released their landmark album, Brothers in Arms.
13th May 1985 passed almost unnoticed. There was no celebration of this momentus day. That daym thirty years ago, Dire Straits released their biggest selling album, Brothers in Arms. It was released to widespread critical acclaim on 13th May 1985. Soon, Brothers in Arms was well on its way to being certified thirteen times over in Britain. Across the Atlantic, Brothers in Arms sold nine million copies. Eventually, Brothers in Arms went on to sell thirty-million copies, and in the process, single handedly, launched the compact disc.
The compact disc was tailor made for Brothers In Arms. It was the perfect sonic showcase for Dire Straits’ latest classic album. At one point, it was thought that everyone who owned a compact disc plater, owned a copy of Brothers In Arms. This was almost unheard of. Never before had one album launched a new musical format. However, Brothers In Arms wasn’t like most albums.
What helped transform Brothers in Arms into a musical phenomena, were the singles. A total of five singles were released from Brothers in Arms. The sophomore single, quickly became a hit on Money For Nothing MTV. With its landmark video, suddenly, the MTV generation were discovering Dire Straits. This resulted in Money For Nothing reaching number one on the US Billboard 100 charts. Then in December 1985, Walk of Life, which had been destined for a B-Side released as a single. Just like Money For Nothing, the boogie of Walk of Life was very different from much of Dire Straits other music. Gone was their cinematic and smoky, late-night sound. Little did Dire Straits realise the effect these two songs would have.
Following the release of Brothers In Arms, Dire Straits spent the rest of 1985 and much of 1986 touring. A near two year tour was bound to take its toll. The schedule was gruelling. Dire Straits played on ever continent. Night after night, the crowds called for Money For Nothing and Walk Of Life. It was then that Dire Straits realised they had created a monster.
Neither Money For Nothing nor Walk Of Life was representative of Dire Straits’ music. For their longtime fans, it was like listening to a new band. The old Dire Straits featured on So Far Away, Why Worry and the late-night sound of Your Latest Trick. Mark Knopfler and the rest of Dire Straits realised this as night after night, the time came for Money For Nothing and Walk Of Life. These songs had became an albatross for Dire Straits. Eventually, though, the tour was at an end. It had taken its toll.
All the commercial success and critical acclaim came at a cost. Marriages had broken down during the Brothers In Arms tour. They would end in the divorce courts. Within Dire Straits, all wasn’t well. Being together for nearly two years strained relationships within the band. Especially since Mark Knopfler let the other band members know, he was calling the shots. Dire Straits was no longer a democracy. So, it was just as members took a break, allowing Mark Knopfler to work on other projects.
Very little was heard from Dire Straits over the next few years. They reunited for Live Aid in 1986. However, it was another six years before they released another studio album.
To keep their fans happy, Dire Straits released a greatest hits album, Money For Nothing. Someone clearly had a sense of humour. When Money For Nothing was released, it sold 6.1 million copies. It seemed the record buying public’s appetite for Dire Straits music hadn’t abated. That proved to be the case in 1991.
On 10th September 1991, Dire Straits released On Every Street. It was released to mixed reviews. Despite the mixed reviews, On Every Street sold ten million copies. Good as On Every Street was, it fell short of Brothers In Arms. By then, it was the third biggest selling British album, and was perceived as a classic. So, it’s no surprise that On Every Street failed to live up to Brothers in Arms. However, selling ten million copies of On Every Street was pretty good. The only problem was that this meant touring On Every Street.
A gruelling worldwide tour followed. Just like with Brothers In Arms, Dire Straits headed to the four corners of the globe. They played 216 concerts during 1991 and 1992. It was a punishing schedule. So, it’s no surprise that it proved to be Dire Straits’ final tour.
Two years later, on 10 May 1993, Dire Straits released their second live album On The Night. It came ten years after Dire Straits’ classic live album Alchemy was released in 1983. By 1993, Dire Straits were a different band. Their music had evolved. However, still Dire Straits were a tight, talented band live.
This was apparent on On The Night, which had been recorded in Nîmes and Rotterdam, during May 1992. Dire Straits ran through a string of their biggest hits and best known tracks. It was a fitting and popular souvenir of Dire Straits’ final tour. On The Night sold 7.1 million copies. This was a fitting finale from one of the best British bands of the past thirty years.
Two years later in 1995, without any fanfare, Mark Knopfler announced that Dire Straits were no more. The band were going their separate ways. There would be no comebacks in the twenty intervening years. Dire Straits was part of Mark Knopfler’s musical past.
Following the break-up of Dire Straits, Mark focused on his soundtracks. Mark’s first soundtrack was for Bill Forsyth’s Local Hero in 1983. Between Local Hero 1983 and the breakup of Dire Straits in 1995, Mark had written four further soundtracks. In 1984, Mark penned the soundtracks to David Puttnam’s Cal and Bill Forsyth’s Comfort and Joy. The Princess Bride followed in 1987, before Mark released one of his most critically acclaimed soundtracks, Last Exit To Brooklyn. After Last Exit To Brooklyn, took a break from soundtracks.
In 1990, Mark collaborated with The Notting Hillbillies on Missing Presumed Having Fun. The same year, Mark and Chet Atkins released Neck and Neck. Mark seemed to be enjoying working with different artists. However, still, he hadn’t released a solo album.
Eventually, Mark released his debut solo album Golden Heart in 1996. It may have been a long time coming, but was well worth the wait. Golden Heart was a reminder of what music had been missing.
Two years later, in 1998, Mark returned with the soundtrack to Wag The Dog. He also produced Randy Newman’s Land Of Dreams. After six years away from music, Mark Knopfler was back.
There was no stopping Mark. His sophomore album Sailing to Philadelphia was released in 2000, and featured guest appearances from Van Morrison and James Taylor. Sailing to Philadelphia received mixed reviews. Part of the problem for some critics and record buyers, was adjusting to Mark’s new sound. It was quite unlike the music he made with Dire Straits. That was his musical past. His solo career and soundtracks were his musical future.
In April 2002, A Shot at Glory was released. This was the last soundtrack that Mark penned. It was an against the odds story of a hapless football team and their new manager. It was shot in Scotland. So, it was fitting that Glasgow born Mark was asked to provide the soundtrack. While it may not have been the most successful film he provided the score to, many could relate to the story. The same can be said of Mark’s next album
Mark released The Ragpicker’s Dream in September 2002. The reviews were much more favourable. It seemed critics and record buyers were more attuned to Mark’s new, rootsy unplugged sound. With its late night sound, it won the hearts and minds of music lovers.
Another two years passed before Mark was able to release Shangri-La in September 2004. Originally, Shangri-La had been scheduled for 2003. That’s until Mark had a motorcycle accident in March 2003. This resulted in a broken collarbone, broken shoulder blade and seven broken ribs. After months of physiotherapy, Mark was able to head to Malibu, to record Shangri-La in February 2004.
When Shangri-La was released seven months later, thankfully, Mark’s guitar playing hadn’t been affected. He was still one of the best guitarists of his generation. Mark showcased his considerable talents on Shangri-La, fusing blues, country and folk rock. This struck a nerve with critics and record buyers.
After four albums, critics and record buyers had grown accustomed to Mark’s solo sound. In some ways, Shangri-La was a lovingly crafted homage to the music that influenced him. As usual, Mark had poured something of himself into Shangri-La, his comeback album.
It was another three years before Mark released another solo album. He hadn’t been resting on his laurels though. On 21st June 2005, Mark released One Take Radio Sessions. As the title suggests, all the tracks on the album were recorded in one take. It’s a warts and all performance, featuring tracks from Golden Heart and Shangri-La. This being Mark Knopfler, it was a pretty near flawless performance. Any mistakes were left untouched, allowing the listener to hear what Mark sounded like live. They would have another opportunity in 2006.
In April 2006, a collaboration between Mark and Emmylou Harris was released. All The Roadrunning had been recorded over a seven year period. Whenever they had time in their respective schedules, Mark and Emmylou entered the studio. It was a labor of love for the pair. However, by 2006, it was complete. Now the critics had to have their say.
All The Roadrunning was mostly, well received by critics. This bode well for the release of All The Roadrunning. There was no expensive advertising campaign. Quite the opposite. This was a low key release. Mark and Emmylou were happy to let their music do the talking.
That proved to be the case. Despite the low key release, All The Roadrunning reached number eight in Britain and number seventeen in the US Billboard 200. So, Mark and Emmylou toured All The Roadrunning. This resulted in a live album.
Real Live Roadrunning was released in November 2006. After taking seven years to record All The Roadrunning, Real Live Roadrunning hit the shops seven months later. It was well received and sold well. In Germany, Real Live Roadrunning was certified gold. Mark and Emmylou were a potent musical combination. However, this was just a side-project for the pair. They had to return to their solo careers.
Straight away, Mark got to work on his fifth solo album, Kill To Get Crimson. It was recorded between January and March 2007, at British Grove Studios. A total of twelve songs were recorded. They became Kill To Get Crimson, which was released on 17th September 2007.
Before that, Mark hit the road. As soon as Kill To Get Crimson was recorded, Mark and his began a ninety-four date tour of eighty-eight cities. It was as if Mark was determined to build on the success of his collaboration with Emmylou Harris, All The Roadrunning.
This succeeded, despite some mixed reviews. In eighteen countries, Kill To Get Crimson charted. It reached number nine in Britain and was certified silver. Kill To Get Crimson was certified gold in Denmark and Switzerland, and platinum in Norway. In America, Kill To Get Crimson reached number twenty-six in the US Billboard 200. For Mark Kill To Get Crimson was one of his most successful albums.
Once the Kill To Get Crimson tour finished in March 2008, Mark enjoyed some time off. However, in the back of his mind, he was already thinking about his next album. Given how successful Kill To Get Crimson had been, Mark couldn’t let the grass grow under his feet. Now was the time to Get Lucky.
From November 2008, right through to March 2009, Mark returned to British Grove Studios, in West London. With his band in tow, he recorded the eleven tracks that became Get Lucky.
Nearly six months after completing the recording of Get Lucky, Mark released his sixth album. Get Lucky received some of the best reviews any of Mark’s solo career. It seemed that after six solo albums, critics were warming to Mark’s roots’ sound. So were record buyers.
When Get Lucky was released on 14th September 2009, it managed to surpass the success of Kill To Get Crimson. Get Lucky reached number nine in Britain and number seventeen in the US Billboard 200. Across the world, Get Lucky proved to be one of Mark Knopfler’s most successful albums. Thirty-one years after Dire Straits released their debut album, Mark Knopfler was still going strong.
It wasn’t until 2012, that Mark released the followup to Get Lucky. Before that, he had produced Bap Kennedy’s eighth solo album, The Sailor’s Revenge. It was released in January 2012. Eight months later, Mark released his seventh solo album, Privateering.
Privateering had been recorded twenty songs between March and December 2011. As usual, Mark used British Grove Studios. He was used to the room, and its sound. It had proved the perfect environment for previous albums, so Mark wasn’t going to change a winning formula.
When critics heard Privateering, they were won over by Mark’s new material. Privateering was a fusion of blues rock, folk and country music. This struck a nerve with critics. So, it’s no surprise that critical acclaim accompanied the release of Privateering.
Upon its release on 3rd September 2012, the Mark Knopfler produced Privateering sold well in most parts of the world. Across Europe, Privateering reached the top ten in eighteen countries. In four Austria, Germany, Holland and Norway, Privateering reached number one. Privateering reached number eight in Britain and sixty-five in the US Billboard 200. While Privateering hadn’t sold as well in America, Mark was still a huge draw.
In 2014, Mark Knopfler finally became one of music’s veterans. He was sixty-five on 12th August 2014. However, there was sign of Mark slowing down. Far from it.
During 2014, Mark had been busy. He had recorded his eighth solo album, Tracker. It features twelve new songs. They were written by Mark. To record Tracker, Mark headed to British Grove Studios, in London.
Accompanying Mark, were a rhythm section of drummer Ian Thomas, bassist Glenn Worf and Mark. Keyboardist Guy Fletcher adds vocals, while Bruce Molsky plays fiddle, rhythm guitar and banjo. John McCusker plays fiddle and cittern, Michael McGoldrick whistle and wooden flute and Phil Cunningham accordion. Horns come courtesy of saxophonist Nigel Hitchcock and trumpeter Tom Walsh. Ruth Moody adds vocals on Wherever I Go. Mark and Guy Fletcher co-produced Tracker, which was released on 16th March 2015.
Before the release of Tracker, critics had their say. They liked what they heard, and hailed Tracker one of Mark’s finest albums. Critical acclaim accompanied the release of Tracker.
When Tracker was released, it became one of Mark Knopfler’s most successful albums. It reached the top ten in eighteen countries. In Austria, Belgium, Croatia, Denmark, Germany, Holland and Norway, Tracker reached number one. Tracker also reached number three in Britain and number fourteen in the US Billboard 200. Considering Tracker was only released two months ago, it seems Mark Knopfler’s music is just as popular as it ever has been. No wonder.
Tracker found Mark Knopfler in a reflective mood, looking back at his life and career. The music is understated, melancholy and eclectic. From blues, Celtic, country, folk and roots to rock, Mark has switches seamlessly between genres. Just like on previous albums, Mark has been people watching. His ability to conjure characters out of his every observations is uncanny. The listener is introduced to a cast of characters and emotions. There’s plenty to enjoy.
That’s the case from Tracker’s opening track, Laughs and Jokes and Drinks and Smokes. It’s sing-along sound puts a smile upon your face, before Mark unleashes one of Tracker’s highlights, Basil Bunting.
Instantly, Mark returns to his days as a copy boy on the local newspaper on Basil Bunting. He introduces an older man, trapped in a dead end job, with no apparent escape on the horizon. Then there’s a beautiful ballad, River Towns. It’s one of Mark’s best ballads of recent albums. He’s certainly not lost his magic touch. Next up is the laid-back, shuffling Skydiver. It allows Mark to weave his magic with his guitar, as he delivers a laconic vocal. From there, Mark draws inspiration from his old band.
Broken Bones is built around a two chord groove. There’s a nod to early Dire Straits, as Mark delivers a world weary vocal. That’s also the case on Long Cool Girl. It was an understated and sparse arrangement. Gradually, it unfolds, bringing back memories of a different musical era.
Lights of Taormina features a bluesy sound and influence. It’s a six minute epic, where Mark and his band enjoy the opportunity to stretch their legs. After that, Mark takes us onboard Bob Dylan’s tour on the cinematic Silver Eagle. Then Mark pays tribute to author Beryl Bainbridge. The song owes a debt of gratitude Sultans Of Swing and Lady Writer. However, Mark has kept one of his best tracks until last. Wherever I Go features vocalist Ruth Moody. She plays an important part in the sound and success of the track. It’s a fitting finale to Tracker, depending upon which version you buy.
Now that the music industry has been forced to reinvent itself, this is the age of the multi format album. This means there’s several versions of Tracker were released by Mercury. As well as CD and double vinyl releases, there was deluxe CD release and a box set. The deluxe CD features four bonus tracks, including 38 Special, My Heart Has Never Changed, Terminal Of Tribute To and Heart Of Oak. Then there’s the box set. It features a bonus CD, that features six extra tracks. There’s also a DVD in the box set, which features a short film directed by Henrik Hansen, plus an interview with Mark. There’s something for every budget.
Tracker is, without doubt, one of the best albums of Mark Knopfler’s eight album solo career. It features a reflective Mark Knopfler, as he looks back at life, and those he’s encountered. With the help of some of his musical friends, Mark dawns the role of storyteller. Just like he’s been doing since Dire Straits released their eponymous debut album in 1978, Mark is a storyteller par excellence.
Accompanied by a talented band, Mark paints pictures. His music is cinematic, beautiful, wistful, reflective, heartfelt, laid-back and understated. Other times, Mark is laconic, pensive and rueful. All the time, his band creates a suitable musical backdrop. They fill in the spaces left by Mark, taking care not to overpower his lived-in, worldweary vocal.
As Mark’s band provide the musical backdrop, they flit between musical genres. Everything from blues, Celtic, country, folk, roots and rock can be heard on Tracker. So can a Dire Straits’ influence. It’s good that Mark’s not turned his back on the band he founded and lead.
Especially thirty years after Brothers In Arms was released in May 1985, and went on to sell thirty million copies. Ten years later, Mark called time on Dire Straits in 1995. It was a very different group to the one that released their eponymous debut album in 1978. Fittingly, thirty seven years after the release of Dire Straits, their influence can be heard on Mark Knopfler’s critically acclaimed eighth album, Tracker.
MARK KNOPFLER-TRACKER.
\
MILES DAVIS-BITCHES BREW 40TH ANNIVERSARY COLLECTORS EDITION.
MILES DAVIS-BITCHES BREW 40TH ANNIVERSARY COLLECTORS EDITION.
Miles Davis’ recording career began in 1951, when he released his debut album The New Sounds. Soon, Miles Davis was establishing a reputation as a prolific, and innovative musician. He released further forty-three albums between 1951 and 1969. This included classics like 1957s Round About Midnight and 1959s Kind Of Blue. While both of these albums would become classic albums, neither sold in huge quantities. Certainly not enough to result in a gold or platinum disc. That was all about change when Miles Davis released his forty-fifth album, Bitches Brew; which has just been reissued as a four disc 40th Anniversary Collectors Edition by Sony Music.
Bitches Brew was the second of Miles Davis’ electric albums. This latest period in Miles’ career began with In a Silent Way. It was released in July 1969, and completed the shift that began on Filles de Kilimanjaro.
For Miles Davis, In a Silent Way marked a change in his fortunes. When it was released on 30th July 1969, In a Silent Way reached number 134 in the US Billboard 200. This became Miles first album to chart since Seven Steps to Heaven in 1963. In A Silent Way also reached number three in the US Jazz charts. This meant it was Miles’ most successful album. It seemed Miles’ new sound had introduced a new generation to Miles Davis. So, it’s no surprise that Miles decided to return to the studio straight away.
Miles booked three days at Columbia Studio B, New York. The sessions for what became Bitches Brew began on August 19th 1969. Over the next three days, Miles’ extended band would record six songs that became one of Miles’ most ambitious and innovative albums, Bitches Brew.
Between 19th and 21st August 1969, a huge cast of what can only be described as the great and good of jazz, made their way Columbia Studio B. This included a rhythm section of bassist Dave Holland, Harvey Brooks on electric bass guitarist John McLaughlin, drummers Lenny White and Jack DeJohnette. Joe Zawinul and Chick Corea played electric piano, Don Alias congas and Juma Santos played shaker and congas. Wayne Shorter added soprano saxophone, Bennie Maupin bass clarinet and Miles Davis trumpet. The session on the 19th August set the tone for the next three days.
Three songs were recorded on the 19th August by producer Teo Macero, Bitches Brew, John McLaughlin and Sanctuary. Miles’ band was different from most bands of that time. He used two drum kits and two electric pianos. Lenny White’s drum kit was situated on the right, and Jack DeJohnette’s on the left. Similarly, Chick Corea electric piano sat on the right, while
Joe Zawinul was situated on the left. There were also two bases used. Dave Holland played standup bass and Harvey Brooks electric bass. Some of the musicians had never encountered this setup. Neither had engineer Frank Laico. Nobody it seemed, had encountered Miles’ way of working on Bitches Brew.
Miles had brought the band together without much notice. Looking back, it’s as if he wanted them to arrive without any preconceived ideas. He needed them to work with them. Very little of the material had been rehearsed. That’s how Miles planned it. Everything was off-the-cut. Briefly, he would give them some hints about tempo, chord structure, melody, mood or tone. Then the red light came on. As Miles stood watching, he would study each of the musicians, encouraging and cajoling, giving cues when to change tempo or chord. Often, the only cue a musician had, was when Miles clicked his fingers. With Miles guiding his all-star band, gradually a very different style of music emerged.
The three tracks recorded on the 19th August, Bitches Brew, John McLaughlin and Sanctuary hinted at the direction Bitches Brew was heading. Miles was turning his back on traditional jazz rhythms. Instead, he embraced a much looser rock-tinged, improvisational style. This was what Miles had been trying to cajole out of his band. As Miles played the tapes back once the session was over, he knew he was on the right road.
Miles had coaxed and cajoled the basis for three tracks. Bitches Brew would eventually become a twenty-seven minute epic. John McLaughlin would be trimmed to just over four minutes. Sanctuary, which was penned by Joe Zawinul, would close Bitches Brew. It would eventually clock in at just under eleven minutes. However, there was still half an album to record, plus a lot of editing to do.
As the 20th August 1969 dawned, the same musicians made their way to Columbia Studio B. The only change was Stan Tonkel engineered the rest of the sessions. Everything else stayed the same.
If the previous day had been a shock to their system, now they had some idea of what Miles and producer Teo Macero was trying to achieve. Those that thought about it, realised that Bitches Brew potentially, was a truly innovative album in the making. Especially, those in the rhythm section.
For those in the rhythm section, they must have realised the enormity of rhythmic innovations. The use of two bassists, two drummers and two electric pianos was groundbreaking. Especially, as they all played together. This was what a generation of rock groups had been doing. Miles’ admitted to having been influenced and inspired by the Jimi Hendrix Experience. Their influence was playing a part in the reinvention of Miles Davis.
As part of the reinvention of Miles Davis, he decided that his rhythm section be allowed off the leash. They enjoyed took centre-stage, enjoying the opportunity to fire off lengthy and improvised solos. For musicians of the calibre of John McLaughlin, Dave Holland and Chick Corea, this was music to their ears.
Whereas the previous day, Miles’ band had recorded three tracks, they only recorded the one track on the 20th August, Miles Runs The Voodoo Down. It’s an equally ambitious track, that eventually, was edited down to fourteen minutes. However, that day in August, when the red light went on, Miles coaxed, cajoled and encouraged a performance out of his band. He wasn’t interested in a good performance. No, What he was looking for was an outstanding and groundbreaking performance. His band were capable of this. It was Miles’ job to coax it out of the band.
Unsurprisingly, Miles managed to do so. He had been a bandleader long enough. Using a mixture of praise and constructive criticism, somehow, Miles’ band raised their game. Just like the day before, the rhythm section were responsible for a truly innovative performances. Similarly, Wayne Shorter’s soprano saxophone, Bernie Maupin’s bass clarinet and Miles’ trumpet played leading roles in another epic track. It would later be edited down to fourteen minutes. That was still to come. There were two more tracks to record.
The two final tracks that would make up Bitches Brew, were Spanish Key and Joe Zawinul’s Pharaoh’s Dance. They were recorded on 21st August 1969. While the same band reconvened, Miles decided to add a third pianist. He knew the very man, Larry Young.
Bringing in a new face so let on in the Bitches Brew session made sense. Larry Young would have no preconceived ideas about what to play. He would play with an unbridled freedom. That’s what Miles and producer Teo Macero wanted from Larry, whose piano would sit in the centre of the arrangement. This resulted in yet another layer of music, as Miles and Ted continued to push musical boundaries.
Over the course of the 21st August, Miles encouraged, coaxed and persuaded two final performances out his band. They responded to Miles’ encouragement, unleashing two sterling performances. As engineers Frank Laico and producer Teo Macero looked on, little did they know that they were in the process of making history.
With the six songs that became Bitches Brew recorded, the band left Columbia Studio B, New York. None of them realised that they had just played their part in an album that would transform jazz music. However, there was a lot of work to do before then.
Much of this entailed editing. Miles had encouraged the band to lay down a series of performances. Now he was left to pick and choose what made its way onto the final tracks. Surrounded by piles of reel-to-reel tapes, Miles and Ted worked their way through the various reels. What followed was like piecing together a musical jigsaw. Sometimes, numerous edits featured in the one track. On Bitches Brew, there were fifteen edits, including the same loop being repeated on three occasions.
Then on Pharaoh’s Dance, the number rose to nineteen. Never before had editing been used so extensively. Bitches Brew was seen as a landmark use of studio technology. This wasn’t the only reason though.
In the studio, all producers had a variety of effects they can use. Like most musicians, Miles Davis was well aware of this. So, he encouraged Teo Macero to do so. Miles wanted to transform the studio into another musical instrument. This wasn’t new. The musique concrète composers of the fifties and sixties had used this extensively. Now was Miles time to deploy tape delays, reverb and echo. They would play their part in what would be the most ambitious and innovative album of Miles Davis’ career. However, before then, Miles returned to Columbia Studio B, New York, on January 28, 1970.
Many of the same musicians that featured on the other tracks on Bitches Brew returned. This included a rhythm section of bassist Dave Holland, Harvey Brooks on electric bass, guitarist John McLaughlin, drummers Lenny White and Jack DeJohnette. Joe Zawinul and Chick Corea played electric piano and Airto Moreira percussion and cuíca. Wayne Shorter added soprano saxophone, Bennie Maupin bass clarinet and Miles Davis trumpet. They would record Felio, which Wayne Shorter had written.
Over the course of January 28, 1970, Miles, producer Teo Macero and engineer Stan Tonkel recorded Felio. Gradually, the song began to take shape. Eventually, by the close of play, Miles had another song in the can. Would it make its way onto Bitches Brew?
The answer was no. Despite its quality, Felio didn’t make it onto Bitches Brew. It was an ambitious and groundbreaking double album that lasted ninety-four minutes and eleven seconds. Miles and Ted had poured their heart and soul into an album which they believed, could, change the face of jazz music.
There was a stumbling block though. Critics weren’t won over by Bitches Brew. Reviews were mixed. Rock critics seemed to “get” Bitches Brew. Most were excited by this melting pot of musical genres. They could understand the marriage of avant-garde, experimental, musique concrète, funk, jazz, psychedelia and rock. It seemed to harness the best of various disparate genres. However, not everyone agreed.
Jazz critics especially, wrote disparaging reviews of Bitches Brew. Some went as far as to say this wasn’t jazz music. The problem was, many critics fed on diet of mainstream jazz, just didn’t understand this gushing vortex of groundbreaking, genre-melting music. An expanded rhythm section featuring multiple drummers, bassists and pianists wasn’t something they had encountered before. This was something new, imaginative, influential and innovative, fusion. It caught the attention of a several generations of music lovers.
Unlike some music critics, record buyers tuned in and were turned on to the music on Bitches Brew. It was released in April 1970, and before long, became Miles Davis’ biggest selling album. Bitches Brew reached number thirty-five in the US Billboard 200 and number one on the US Jazz charts. This resulted in Miles’ first gold album. Over the Atlantic, Bitches Brew was certified silver. On both sides of the Atlantic, Bitches Brew had given Miles his biggest selling album. That was fitting, as it was his forty-fifth album. Eventually though, Bitches Brew sold over two million copies in America, and was certified double platinum. By then, people understood Bitches Brew.
Just like so much groundbreaking music, many people didn’t understand Bitches Brew. Critics, musicians and record buyers were puzzled. Why had Miles plugged in? What was with the expanded rhythm section and the myriad of effects? They found it hard to comprehend where Miles was coming from. Soon, it all became clear; at least to those who cared to listen.
The Godfather of cool and modal jazz was at the vanguard of a new musical movement, fusion. Where Miles Davis lead, others followed. Soon, it would become one of the biggest musical movements of the seventies. Miles Davis would, eventually, be crowned its founding father. Recognition came a year later.
In February 1971, Miles Davis released The Complete Bitches Brew Sessions. This four album set featured the Bitches Brew Sessions in their entirety. In some ways, this further explained where Miles Davis was coming from musically. The four discs explained the musical journey that became Bitches Brew. Suddenly, many who hadn’t understood Bitches Brew were enlightened. Already enlightened however, were the Grammy Awards’ judges.
From 1961, there had a Grammy Award for the Best Large Jazz Ensemble Album. One of the nominees in 1971, was Miles Davis’ Magnus Opus Bitches Brew. Looking back, it seemed inevitable Miles’ would win a Grammy Award for Bitches Brew. However, it was far from a fait accompli.
On its release, Bitches Brew had divided opinion. While Bitches Brew won the hearts and minds of rock critics, jazz critics weren’t convinced. To them it was strange brew of disparate musical genres and influences; one they either didn’t understand, or want to understand. However, the Grammy Award judges were made of sterner stuff. They understood innovation when they heard it, and were more than happy to reward it.
At the glittering Grammy Awards’ ceremony in April 1971, Miles Davis was vindicated. His decision to plug in, and change direction musically on Bitches Brew, was richly rewarded. He won a Grammy Award for the Best Large Jazz Ensemble Album. By then, fusion as it became known, was growing in popularity. The man who gave birth to fusion was receiving his reward. This has been the case over the last forty-five years.
Ever since the release of Bitches Brew, it has been recognised as a landmark album. This musical tour de force is now perceived as one of the most important albums in the history of jazz. Bitches Brew was a game-changer. Suddenly, jazz’s rhythmic rules were rewritten. Anything was possible. Rhythm sections grew in size. Suddenly, two drummers, bassists or pianists were acceptable. The use of effects were embraced, transforming the recording studio into an extra instrument. Similarly, editing was used as part of the creative process. Here, Miles drew inspiration from the musique concrète composers of the fifties and sixties. This was just another piece in the musical jigsaw that was Bitches Brew. It rejuvenated interest in jazz.
By 1970, many critics and record buyers regarded jazz as yesterday’s music. It was the music their parents and grandparents listened to. A new generation of record buyers turned their back on jazz. That was until Miles Davis released Bitches Brew.
Suddenly, jazz was back in fashion. It had been reimagined and reinvented by Miles Davis on Bitches Brew. This was a game-changer. Fusion as the genre became known, proved to be happy a marriage between jazz and rock. Before long, fusion was the most popular genre of jazz. A generation of jazz and rock musicians collaborated, resulting in jazz that was commercially successful and critically acclaimed. It’s also music that’s stood the test of time.
That’s why forty-five years after the release of Bitches Brew, Sony Music have released Bitches Brew 40th Anniversary Collectors Edition. This four disc set was originally released in 2010. However, it made a welcome return on 18th May 2015. The first two discs feature Bitches Brew plus six bonus tracks. On disc three, there’s a previously unissued performance at Tanglewood, in August 1970. It features Miles accompanied by Keith Jarrett, Chick Corea, Dave Holland, Jack DeJohnette, Airto Moreira and Gary Bartz. Then the final disc is a DVD of a previously unissued performance in Copenhagen. It took place in November 1969, and features Wayne Shorter, Corea, Holland and DeJohnette accompanying Miles Davis. Given that the Bitches Brew 40th Anniversary Collectors Edition box set can be found for £11, $16 or €14, then this is the definitive edition of Bitches Brew.
A copy of Bitches Brew 40th Anniversary Collectors Edition should make its way into every self-respecting record collection. It’s not just one of Miles Davis’ best albums, but one of his most ambitious and groundbreaking albums. Yet again, Miles Davis set out to reinvent himself and jazz music. Miles Davis succeeded in doing so, and in the process, created a pioneering album that transformed, and rejuvenated jazz, Bitches Brew.
MILES DAVIS-BITCHES BREW 40TH ANNIVERSARY COLLECTORS EDITION.
LONESOME HIGHWAY-AN ANTHOLOGY OF AMERICAN SONGS OF THE ROAD.
LONESOME HIGHWAY-AN ANTHOLOGY OF AMERICAN SONGS OF THE ROAD.
The automobile is one of the most celebrated of American institutions. That’s been the case for nearly 100 years. Right back to the days of the blues, the automobile and the highways they travel down, have been celebrated by musicians.
That’s the case on Lonesome Highway-An Anthology Of American Songs Of The Road. It’s a four disc celebration of the automobile and highway from Proper Box. They released Lonesome Highway-An Anthology Of American Songs Of The Road on 25th May 2015. A total of 100 songs feature on Lonesome Highway-An Anthology Of American Songs Of The Road. There’s everything from bluegrass, blues, country, folk, gospel, rockabilly and rock ‘n’ roll on Lonesome Highway-An Anthology Of American Songs Of The Road. It’s a celebration of American music. This celebration begins back in the days of the delta bluesmen.
Disc One.
Just like each of the four discs on Lonesome Highway-An Anthology Of American Songs Of The Road, there’ a total of twenty-five tracks. This includes some of the biggest names in blues music.
From the days of the delta blues, bluesmen like Robert Johnson, Blind Lemon Jefferson, Memphis Minnie and Sleepy John Estes celebrated and romanticised both the automobile and the highway. It spawned a wealth of material. Some of it features on disc one of Lonesome Highway-An Anthology Of American Songs Of The Road.
Lemon Jefferson’s Booger Rooger Blues opens disc one. His other contribution is D B Blues. He’s the first giant of the blues. Others include Ramblin’ Thomas, Robert Johnson, Sleepy John Estes and Charley Patton,
Many people won’t have heard of Ramblin’ Thomas, who was born Willard Thomas, in Logansport, Louisiana. He wasn’t a prolific musician. Far from it. However, tracks like Hard To Rule Woman Blues showcase a talented, and underrated musician. While many people won’t have heard of Ramblin’ Thomas, they’ll have heard of Robert Johnson.
Two of Robert Johnson’s classic tracks feature on disc one. Terraplane Blues and Cross Road Blues show why Robert Johnson is regarded as King Of The Delta Blues. Sleepy John Estes by comparison, sometimes, doesn’t receive the recognition he deserves. He also features twice. Poor Man’s Friend (T-Model) and Brownsville Blues show why blues connoisseurs hold Sleepy John Estes in such high regard. The same goes for Charley Patton. His only contribution is Down The Dirt Road Blues. It’s the perfect introduction to The Masked Marvel. However, there’s more to disc one that blues music.
There’s also country and folk music on disc one. When it comes to country music, three tracks stand out. This includes Roy Acuff’s Automobile Of Life, W.Lee O’Daniel and His Hillbilly Boys’ Lonesome Road Blues and Cliff Bruner and His Boys’ Truck Driver’s Blues. These tracks are an essential soundtrack to any road trip. So is a track by a legend of American music.
Legend is an oft-overused track. Not in the case of Woody Guthrie. He was born in 1912, and was a prolific songwriter and political activist. When he died in 1967, Woody Guthrie left behind a rich musical legacy, including Blowin’ Down This Road. It’s a fitting addition to disc one of Lonesome Highway-An Anthology Of American Songs Of The Road, and like other twenty-four tracks, whets your appetite for disc two.
Disc Two.
Some of the artists that feature on disc one, feature on disc two of Lonesome Highway-An Anthology Of American Songs Of The Road. This includes Roy Acuff and Woody Guthrie. Roy Acuff contributes Wreck On The Highway and There’s A Big Rock In The Road, while Woody Guthrie’s contributions are This Land Is Your Land and Car Song. Given how important their contribution to music was, and the quality of the tracks, this can be forgiven. However, they’re not the only big names on disc two.
Nat King Cole makes an appearance, contributing (Get Your Kicks On) Route 66. Hank Williams, one of the legends of country music features twice. Lost Highway and I’ve Been Down That Road Before are a reminder of a giant of country music, who tragically died aged just twenty-nine. By then, Hank had more than made his mark on country music. The same can be said of Hank Snow.
Canadian country singer Hank Snow enjoyed a lengthy career, living until he was eighty-five. He released over sixty singles and 100 albums. In 1950, Hank released The Golden Rocket. On the flip side was Paving The Highway With Tears, a true hidden gem, that’s a reminder of the man they called The Country Ranger. Similarly, Travelin’ This Lonesome Road shows bluegrass pioneer Bill Monroe at his groundbreaking best. Away from bluegrass and country, there’s much more to discover on disc two.
This includes a healthy serving of the blues. What better way to start is with two tracks from one of the biggest names in blues, John Lee Hooker. He contributes Highway Blues and Road Trouble. Lightnin’Hopkins contributes his single for Prestige, Automobile Blues, the B-Side of Lightnin’Hopkins. Apart from blues, there’s a myriad of musical delights on disc two.
There’s the R&B courtesy of Roy Brown’s Cadillac Baby is. Then’s there’s two gospel cuts. This includes The Pilgrim Travellers’ I’m Standing On The Highway and The Five Blind Boys Of Mississippi contribute Jesus Traveled This Road Before. However, one of my favourite tracks from disc two is Dick Reinhart’s 1948 single Hot Rod Baby. This was one of just two singles Dick Reinhart released on Columbia. Just like the rest of disc two, it’s the reminder of another age, and the perfect soundtrack to a musical road trip.
Disc Three.
It’s not just blues and country on disc three of Lonesome Highway-An Anthology Of American Songs Of The Road. Far from it. There’s R&B and rockabilly. This makes disc three just as eclectic as the first two.
There’s not as much blues on disc three. What blues there is, is electric blues. It comes courtesy of some blues’ legends. Howlin’ Wolf contributes Mr. Highwayman, Johnny Guitar Watson Motor Head Baby and Lowell Fulson Let Me Ride In Your Little Automobile. These three tracks show how blues music was evolving. It was a very different genre from the days of Blind Lemon Jefferson, Charlie Patton and Robert Johnson. Just as the blues was changing, so was country music.
Country duo, Flatt and Scruggs recording career began in 1950, and lasted right through to the early seventies. During that period, they were prolific recording artists, releasing over thirty-studio albums and thirty singles. Despite this, many people are unfamiliar with their music. So it’s fitting that I’m Working On A Road (To Glory Land) and Don’t This Road Look Rough And Rocky feature on disc three. They’re not the only country cuts on disc three.
Another of country music’s biggest names of the forties and fifties features on disc two, Bob Willis. Two of the singles with His Texas Playboys are included. This includes 1953s single Hubbin’ It and 1954s Cadillac In Model “A”. Other country cuts include Shorty Rogers’ A Mile Down The Highway (There’s A Toll Bridge), Ray Smith’s Lonesome Truck Driver’s Blues and Tillman Franks and His Rainbow Boys’ Hot Rod Shotgun Boogie #2. While country music was popular during the fifties, a change was gonna come.
A new breed of musicians were about to make their presence felt. This include R&B and rock ’n’ rollers like Little Richard, Bo Diddley and Chuck Berry. They would all go on to play in important part in the birth of rock ’n’ roll.
So it’s fitting that Little Richard’s 1951 debut single Taxi Blues features on disc three. So does Bo Diddley’s 1960 classic Roadrunner. It’s one of two tracks from Bo Diddley. The other is Cadillac. Then there’s two tracks from Chuck Berry. This includes his 1955 classic Maybellene and No Money Down. Each of these tracks show just how music was changing. Rock ’n’ roll has just been born as as we approach disc four of Lonesome Highway-An Anthology Of American Songs Of The Road.
Disc Four.
By disc four of Lonesome Highway-An Anthology Of American Songs Of The Road, the musical landscape has changed. The birth of rock ’n’ roll was a game-changer. So much so, that the delta blues on disc one seems a reminder of forgone musical age.
Good as the three previous discs are, disc four literally oozes quality. That’s the case from Gene Vincent’s Race With The Devil and Pink Thunderbird. The future member of the rock ’n’ roll hall of fame, starts disc one with a bang. From there, Jerry Lee Lewis contributes End Of The Road and Bobby “Blue” Bland Further Up The Road. Even after four songs, eclectic is the best way to describe the music.
That continues to be the case. There’s some rockabilly courtesy of Vince Taylor’s Brand New Cadillac. This was the B-Side to his 1959 single Pledging My Love. Another flip side is Howard W. Brady’s Hot Rod Boogie. This was the B-Side to Weary Walkin’ Blues. While neither of these tracks will be familiar to most people, they’re worthy additions. So are other tracks on disc four.
This includes The King Of Rockabilly, Carl Perkins. His contribution is a Pop, Let Me Have The Car. It was the B-Side to Carl’s 1958 single Levi Jacket (And A Long Tail Shirt). Pop, Let Me Have The Car is another hidden gem, and shows just why, Carl Perkins was crowned The King Of Rockabilly. That’s despite the competition being fierce.
There were many contenders to Carl Perkins’ crown. Some singers enjoyed a degree of longevity, releasing a string of singles. Not Bobby Johnston. His single Flat Tire passed most people by. Since then, it’s become a firm favourite among the rockabilly and hot rod community. The same can be said of Ray Burden’s 1960 single Hot Rodder’s Dream. It was released on the Adonis label and has become something of a collector’s item. The same can be said of a number of tracks on disc four.
Among them are the 1959 single from Duane Eddy and His “Twangy” Guitar And The Rebels’ Forty Miles Of Bad Road. It showcases Duane’s distinctive guitar sound. Similarly distinctive is the piano playing on Chuck Berry’s Jaguar And The Thunderbird. It features one of the original rockers, as Chuck Berry delivers a strutting vocal. A very different style of vocal closes disc four of Lonesome Highway-An Anthology Of American Songs Of The Road.
It comes courtesy of Glen Campbell’s slow, country-tinged vocal on his 1962 single Long Black Limousine. Glen’s vocal is full of sadness and emotion, as he brings the lyrics to life. Even then, it was obvious he was destined for greatness.
That was the case with many of the artists on Lonesome Highway-An Anthology Of American Songs Of The Road. They would go on to reach even greater heights, and become some of the most influential musicians in the history of American music. That’s the case from Robert Johnson, Woody Guthrie, Hank Williams, Howlin’ Wolf, John Lee Hooker, Bo Diddley, Chuck Berry, through to Jerry Lee Lewis, Gene Vincent and Glen Campbell. Still their music continues to influence generation of musicians. That’s not all. Their music is being enjoyed by another generation of music lover. They’ve the opportunity to discover music by each and every one of these artists on Lonesome Highway-An Anthology Of American Songs Of The Road.
Proper Box released Lonesome Highway-An Anthology Of American Songs Of The Road on 25th May 2015. It’s a musical celebration of an American institution, the automobile, and the highways they travel down. This is fitting, given the role the highway has played in music’s history.
From the days of the delta bluesmen, musicians have travelled the highways of America. Even today, bands traverse the highways and byways of America in everything from beaten up vans, to luxurious coaches. It’s almost a rite of passage for bands. Each band has their own musical soundtrack. What would be fitting was, if it was Lonesome Highway-An Anthology Of American Songs Of The Road, which celebrates several generations of musicians, who took the same journey.
LONESOME HIGHWAY-AN ANTHOLOGY OF AMERICAN SONGS OF THE ROAD.
BLACK SABBATH-MASTER OF REALITY-VINYL EDITION.
BLACK SABBATH-MASTER OF REALITY-VINYL EDITION.
1970 had been a year that defined Black Sabbath’s career. They’d released two hugely successful albums. This includes their debut album Black Sabbath, which was released in February 1970. It reached number eight in the UK and number twenty-three in the US Billboard 200 charts. This resulted in Black Sabbath being certified gold in the UK and platinum in the US. Black Sabbath launched the Birmingham trio’s career. However, things were about to get even better.
Paranoid, Black Sabbath’s sophomore album, was released in the UK in September 1970. It reached number one and was certified gold. Then in January 1971, Paranoid was released in the US, reaching number twelve and was certified platinum four times over. Ironically, in the US, Paranoid wasn’t well received by critics. Despite this, Paranoid sold over twelve-million copies and and featured three Black Sabbath classics Paranoid, Iron Man and War Pigs. After just two albums, Black Sabbath were one of the biggest names in rock music.
Unlike many bands, Black Sabbath’s rise and rise had been meteoric. Just two years after they’d formed in Birmingham, bassist Geezer Butler, drummer Bill Ward, guitarist Tony Iommi and lead vocalist Ozzy Osbourne were rubbing shoulders with rock royalty. There was a problem though. How do you followup an album as successful as Paranoid? After all, what chance had Black Sabbath of recording an album that surpassed Paranoid, a stonewall classic?
The answer to that is with Master Of Reality, is an album influenced three genres of music. They were stoner rock, doom metal and sludge metal, a fusion of hardcore punk and heavy metal. It seemed Black Sabbath were determined to continue pushing musical boundaries on Master Of Reality, which will be rereleased on vinyl by Sanctuary, on 1st June 2015.
Black Sabbath didn’t even get the opportunity to enjoy Paranoid’s success in America. It was released in America in January 1971. That was when Black Sabbath headed into Island Studios to record eight tracks. Six of them, Sweet Leaf, After Forever, Children Of The Grave, Lord of This World, Solitude and Into The Void were written by Black Sabbath. Embryo and Orchid were written by Tony Iommi. Between January and May 1971, Black Sabbath got to work.
At Island Studios, producer Rodger Bain was joined bassist Geezer Butler, drummer and percussion Bill Ward. They provided the rhythm section. Guitarist Tony Iommi also played synth, flute and piano. Adding his inimitable vocal was Ozzy Osbourne. By May 1971, Black Sabbath had completed Master Of Reality, which was released in July 1971.
Before the release of Master Of Reality, reviews were mixed. Just like Paranoid, Lester Bangs, the supposed doyen of critics, gave the album a mixed review. Other high profile critics didn’t take to Master Of Reality. It wasn’t cerebral enough for them. Among the criticisms were that Master Of Reality was “monotonous,” “dull and decadent.” Despite the mixed reviews, Master Of Emotion was a huge commercial success.
Master Of Reality, which was Black Sabbath’s third album, was released on 21st July 1971. In the UK, Master Of Reality reached number five and was certified silver. Over the Atlantic, Master Of Reality was certified gold on preorders along. Eventually, Master Of Reality reached number eight in the US Billboard 200 and was certified double-platinum. The Black Sabbath success story continued with Master Of Reality, which I’ll tell you about.
Master Of Reality opens with Sweet Leaf, one of the earliest examples of stoner rock. A loop of Tony coughing, whilst allegedly smoking a joint opens the track. After that, the rhythm section and blistering guitars accompany Ozzy’s powerhouse of a vocal. It’s a mixture of emotion and power., Machine gun guitars and the thundering rhythm section accompany him all the way. Guitarist Tony Iommi gives a guitar masterclass, before Black Sabbath’s rhythm section kick loose. Like a well-oiled machine Black Sabbath pickup where they left off on Paranoid, creating groundbreaking rock music.
After Forever was the only single released from Master Of Reality. However, it failed to chart. Black Sabbath were always more of an albums band. This is one of the most controversial songs on the album, given the lyrics about religion and Christianity. When this song was released in 1971, it must have provoked controversy. Back then, religion played a bigger part in British and American life. A buzzing synth gives way to Black Sabbath in full flow. It’s a joy to behold. Geezer, Bill and Tony lock into a tight groove. Drums like jackhammers accompany blistering guitars. Ozzy’s rabble rousing vocal is accompanied by stomping arrangement as heavy rock anthem unfolds.
The guitars that open Embryo have a sixties influence. There’s also a brief prig rock influence, before Black Sabbath cut loose. Quickly, the arrangement gathers momentum and a glorious, driving arrangement unfolds. Ozzy struts his way through the lyrics, singing about revolution. Dramatic bursts of guitar are fired above the arrangement. Tony unleashes some blistering licks, while the rhythm section drive the arrangement along further honing and defining Black Sabbath’s trademark sound.
Children Of The Grave is an anti-war song. Black Sabbath had two anti-war songs on Paranoid, War Pigs and Electric Funeral. This is just as good. It’s no mealy mouthed protest song, like Give Peace A Chance. They left that to ex-Beatles and conceptual artists. Neither do Black Sabbath do bed ins. That’s unless groupies and class As are involved. The arrangement is big, bold and in-your-face. Literally, the arrangement is a wall of sound. Searing, blistering and crystalline guitar licks and a thundering, driving rhythm section. Ozzy’s vocal is a mixture of anger and frustration. Tony seems to play as if his very life depends on it, before the track reaches a haunting crescendo.
Straight away, it’s obvious that Orchid is very different to the other tracks on Master Of Reality. It has a folk influence. Chiming, crystalline guitars and a subtle bass combine during this beautiful, short and melancholy instrumental.
Normal service is restored on Lord Of This World. Dark. Dramatic and moody describes the arrangement. The rhythm section glue the arrangement together, while scorching guitars match Ozzy’s grizzled vocal. Later, when Ozzy’s vocal drops out, the rest of the band get their chance to shine. It’s obvious that Geezer, Bill and Tony are top class musicians who were among the greatest rock musicians of the seventies. Lord Of This World is a reminder of this, if any was needed.
Solitude has an understated, melancholy sound. Just a chiming guitar and meandering bass combine with Ozzy’s vocal. It’s full of sadness, regrets and confusion. A flute floats above the arrangement, adding to the atmospheric, haunting arrangement. While this is very different to much of Master Of Reality, it’s a beautiful, haunting and cerebral song, that shows another side of Black Sabbath.
Into The Void closes Master Of Reality, was originally called Spanish Sid. A blistering guitar solo joins a pounding, thunderous rhythm section. Black Sabbath seem to be enjoying the opportunity to showcase their inconsiderable skills. They kick loose and are joined by Ozzy. He delivers his vocal urgently, in short, sharp bursts. Behind him Geezer and Tony join forces, while Bill seems determined to punish his drums.
Although Master Of Reality didn’t quite match the success of paranoid, it proved to be a hugely influential album. Master Of Reality influenced three genres of music. They were stoner rock, doom metal and sludge metal, a fusion of hardcore punk and heavy metal. It seemed Black Sabbath were determined to continue pushing musical boundaries on Master Of Reality, which will be rereleased on vinyl by Sanctuary, on 1st June 2015.
Master Of Reality also saw Black Sabbath further refine and and hone their unique sound. They were continuing to rewrite the rules of heavy metal. It was a case of the heavier the better. Leading the charge, were Black Sabbath. This didn’t please some people.
Among them were the critics. This self styled tastemaker seemed to have a downer on Black Sabbath. Along with many American critics, they felt Master Of Reality was too heavy. Critics didn’t approve of the aggression and later, satanic lyrics. That’s why Master Of Reality wasn’t released to critical acclaim. Despite that, Master Of Reality was certified gold in the UK and double platinum in the US. Not for the first time, the critics got it wrong.
Black Sabbath continued to redefine heavy metal on Master Of Reality. So much so, that Black Sabbath provided the blueprint for heavy metal If someone asked what heavy metal sounded like, Black Sabbath was what you played them. The albums that started this was Paranoid, Black Sabbath’s sophomore album. That’s why, in the history of heavy metal, there are only two periods, B.P. and A.P. Before Paranoid and After Paranoid. Following Paranoid would’ve been almost impossible for most bands. However, they weren’t Black Sabbath.
By the time Black Sabbath released Master Of Reality, they’d become a musical phenomena. That was the case for the next ten years. Excess and commercial success were ever-present for the band the redefined heavy metal. Black Sabbath rewrote the rules. Right through until 1981s Mob Rules, gold and platinum discs came Black Sabbath’s way. So did controversy. Much of it concerned Ozzy Osbourne. He parted company with the band in 1979. Sacked by the group he formed, both Ozzy and Black Sabbath survived to tell the tale. However, back in 1971, the Black Sabbath story was just taking shape and they’d go on to become one of the biggest and most successful bands in the history of heavy metal. However, back in 1971, when Black Sabbath released the influential and innovative Master Of Reality, they had another ten years of chaos, controversy, commercial success and critical acclaim coming their way.
BLACK SABBATH-MASTER OF REALITY-VINYL EDITION.
TOO SLOW TO DISCO VOLUME 2.
TOO SLOW TO DISCO VOLUME 2.
Ever since the birth of rock ’n’ roll, musical genres have fallen in, and then out, of fashion. That was the case as the seventies dawned. The sixties had come to a disappointing end. It may have been a musical age of aquarius, but it ended badly.
Undoubtably the sixties was a golden age for music. From the moment The Beatles burst onto the scene in 1962 with I Wanna Hold Your Hand, the times they were a changing. Soon, some of the biggest names in music announced their arrival. At first there were Bob Dylan, The Rolling Stones and The Beach Boys. Then the British Invasion bands took America by storm. From The Kinks, The Animals, The Who, The Small Faces, The Yarbirds and later Cream, British bands lead the way. However, America was soon fighting back.
The land of the free responded, and gave the world The Jimi Hendrix Experience, The Byrds, Big Brother and The Holding Company, The Doors, Jefferson Airplane, the Grateful Dead, Country Joe and The Fish and Crosby, Stills, Nash and Young. A golden age for music was unfolding.
Music was in a constant state of flux. From the pop of the early sixties, folk, country rock, folk rock, garage rock and psychedelia all ensured that the sixties swung. However, as the sixties drew to a close, a cloud hung over music.
On August 10th, 1969, America awoke in a state of shock. The previous night, The Manson Family had embarked upon a murderous spree at the Tate and LaBianca households. Gradually, the details started to filter out.
Americans were then shocked to discover that songs like Helter Skelter, from The Beatles’ White Album may have influenced The Manson Family. This resulted in a backlash against both psychedelia and the hippie movement. The final nail in psychedelia’s coffin happened at The Altamont Free Concert.
The Rolling Stones decided to put on free concert at Altamont Speedway, in Northern California. What was meant to be a concert featuring the great and good of psychedelia went badly wrong. Santana, Jefferson Airplane, The Flying Burrito Brothers, Crosby, Stills, Nash and Young, the Rolling Stones and Grateful Dead were all booked to play. It was meant to be a major event in psychedelic’s musics history. After the carnage in Los Angeles, everyone hoped this would be a good news story. It wasn’t.
As the Rolling Stones took to the stage, the concert descended into chaos. The Hell’s Angels fought with the audience, and Meredith Hunter, a black teenager, was allegedly stabbed by a member of the Hells’s Angels who were meant to be providing security at Altamont. After this, the event was cancelled. The Grateful Dead never even took to the stage. Altamont had been a disaster. There were three accidental deaths, many were injured, property was destroyed and cars stolen. As the sixties drew to a close, the events at Altamont played its part in the decline of psychedelia.
As the seventies began, music was continuing to evolve. Psychedelia was no longer as popular. However, new musical genres were making their presence felt. Prog rock was growing in popularity. So were singer-songwriters like Carole King, James Taylor and Jackson Browne. In Detroit, Memphis and Philly, the soul factories were churning out their trademark sounds. Then there was heavy metal. Black Sabbath, Deep Purple and Led Zeppelin were the holy trinity of heavy metal. They were also trailblazers for future generations of heavy metal groups. Meanwhile, in the West Coast of America, a new sound was emerging.
From the early seventies onwards, the West Coast Sound, was winning over the hearts and minds of record buyers. No wonder. With its lush harmonies, slick sound and clever chord progressions the West Coast Sound was irresistible. Groups like The Eagles, The Doobie Brothers, Fleetwood Mac, Chicago, Foreigner, Supertramp and REO Speedwagon would go on to enjoy widespread commercial success and critical acclaim. That’s no surprise. Their music was always slick, full of clever hooks and always memorable. So, it’s no surprise that nearly forty years after the heyday of the West Coast sound, the music is just as popular as ever.
That’s why last year, How Dare You Are Recordings released Too Slow To Disco. It was compiled by DJ Supermarkt. Featuring nineteen tracks, Too Slow To Disco was like a who’s who of the West Coast sound. So it’s no surprise that Too Slow To Disco caught the attention of music lovers. In a compilation market full of third rate compilations, Too Slow To Disco was a glittering gem. Surely there had to be a followup?
Just over a year later, and the news is out. Too Slow To Disco Volume 2 will be released by How Dare You Are Recordings, on 15th June 2015. Just like Too Slow To Disco, it features a glittering array of artists.
A total of sixteen artists feature on Too Slow To Disco Volume 2 . This includes Daryl Hall and John Oates, Jimmy Gray Hall, Eric Kaz, Dave Raynor, Paul Davis, Michael Omartian and Michael Nesmith. With such an illustrious lineup, choosing the highlights of Too Slow To Disco Volume 2 won’t be easy. However, here goes.
Daryl Hall and John Oates are, without doubt, the biggest name on Too Slow To Disco Volume 2. The Philly born duo’s contribution is Alone Too Long, a track from their 1975 eponymous album. It was Daryl Hall and John Oates’ RCA debut. It reached number seventeen in the US Billboard 200 ban and was certified gold. In Britain, Daryl Hall and John Oates stalled at just number fifty-six. That’s a great shame, given the quality of music, including this heartfelt ballad.
Jimmy Gray Hall released Be That Way as a single in 1973. It was released on Epic, and is one of just two singles the Nashville born singer-songwriter released. Funky and soulful with gospel tinged harmonies, hooks haven’t been spared on Be That Way.
Eric Kaz released two albums for Atlantic in the early seventies. His debut album was 1972s If You’re Lonely. This marked the debut of the New York born singer, songwriter and keyboardist. Two years later, Eric returned with Atlantic swan-song, Cul-De-Sac. It was released in 1974, and featured Come With Me. Sadly, Cul-De-Sac failed commercially and that was the end of Eric’s solo career. However, Come With Me is a reminder of a talented singer, songwriter and musician, who could’ve should’ve enjoyed commercial success and critical acclaim.
Dave Raynor only ever released one album, Rain Or Shine. It was released on Dave Raynor Productions in 1981. This private pressing featured Leave Me Alone Tonight. There’s similarities to James Taylor, Jackson Browne and Hall and Oates. With its slick sound, lush harmonies and clever chord progressions, Leave Me Alone Tonight epitomises the West Coast Sound.
The tempo drops courtesy of the Larsen/Feiten Band and Who’ll Be The Fool Tonight. They were signed to Warner Bros. Records, and in 1980, released their eponymous debut album. It featured the single Who’ll Be The Fool Tonight. It’s slick, smooth, jazz-tinged, funky ballad. Add in crystalline rocky guitars, and you’ve the recipe for a hidden gem.
Paul Davis had released three albums before he released Southern Tracks and Fantasies in 1976. This was the fourth album he released on Bang. The lead single was Medicine Woman. Laid-back, with an understated arrangement, it’s a quite beautiful, dreamy track.
In 1974, Joe Vitale had just signed to Atlantic Records. His debut album was 1974s, Roller Coaster Weekend. It featured the single Step On You. Sadly, commercial success eluded Roller Coaster Weekend and Step On You. However, it makes a welcome return on Too Slow To Disco Volume 2.
Bruce Hibbard was born in Oklahoma City and by 1980, was an accomplished singer, songwriter and keyboardist. He released his debut album A Light Within in 1980, on the Seed label. A year later, and Bruce had signed to the Myrrh label. He released sophomore album, Never Turnin’ Back later in 1981. One of its highlights was the title-track. From the sultry saxophone that opens Never Turnin’ Back, the arrangement bubbles along. Harmonies and a rocky guitar accompany Bruce’s tender, heartfelt vocal. It’s impossible not to be swept away by Never Turnin’ Back’s hook-laden sound.
Michael Omartian released his debut album White Horse in 1974. White Horse was released on ABC Dunhill Records, and featured Fat City. This was one of Michael’s compositions. He was a singer, songwriter, arranger, producer and keyboardist. Fat City showcased the multitalented Michael Omartian. He’s responsible for a funky, soulful slice of seventies rock.
Closing Too Slow To Disco Volume 2, is Michael Nesmith’s Capsule (Hello People A Hundred Years From Now). This is the track that closed Michael’s 1979 album, Infinite Rider On The Big Dogma. It was released on Michael’s Pacific Artis label, which he founded in 1974. Since then, it had been a musical home-from-home for the multi-talented singer, songwriter, musician and producer. Soulful, smooth and sometimes funky, it’s the perfect way to close Too Slow To Disco Volume 2.
Although I’ve only mentioned ten of the sixteen tracks on Too Slow To Disco Volume 2, I could just as easily have picked any of the tracks. That says a lot about the quality of the music on Too Slow To Disco Volume 2. It’s obviously a lovingly compiled collection. The familiar is often eschewed.
Instead, the compiler focuses on tracks most people won’t have heard of…until now. After hearing Too Slow To Disco Volume 2, they’ll be looking for albums by many of the artists they’re unfamiliar with. For whatever reason, the commercial success and critical acclaim Daryl Hall and John Oates enjoyed, eluded them. That could be for any number of reasons.
Dave Raynor’s album Rain Or Shine was a private pressing. Maybe music was only a hobby? Who knows. What I do know, is that Dave Raynor is a talented singer-songwriter. That’s the case with all the artists on Too Slow To Disco Volume 2. For whatever reason, they never enjoyed the success their talent warranted. That’s a great shame. Especially, that during this period.
Most of the music on Too Slow To Disco Volume 2 was released between the early seventies and the early eighties. While this was a golden era for music, there were a few blots on the musical landscape.
Throughout the seventies, the American soul factories were churning out manufactured music. It featured their trademark sound. Many of the artists that enjoyed commercial success, neither wrote, arranged nor produced the music they wrote. That’s ironic, given many of the artists on Too Slow To Disco Volume 2 were singers, songwriters, musicians and producers. Then there was the sound that sucked, disco. It become a musical phenomenon, before dying in July 1979, in of all places, a ball park in Chicago. Finally, there were the ultimate musical charlatans, punks. While the new breed of punk groups stole a living, many talented purveyors of the West Coast Sound struggled to make a living. Music, like life, was proving not to be fair. However, thankfully, now, the West Coast Sound is back in fashion.
After years when the West Coast Sound was out favour, now it’s enjoying a resurgence in interest. Over the last couple of years, the West Coast Sound has been embraced by a new generation of music lovers. Those of us who were “there,” are still enjoying what was part of the musical soundtrack to our lives. Through the release of compilations like Too Slow To Disco Volume 2, helpfully people will revisit the music of Daryl Hall and John Oates, Jimmy Gray Hall, Eric Kaz, Dave Raynor, Paul Davis, Michael Omartian and Michael Nesmith. While many of them aren’t household names, they could’ve and should’ve been. They certainly had the talent. What they didn’t have was luck. If they had caught a break, many of the artists on Too Slow To Disco Volume 2 would’ve enjoyed the commercial success and critical acclaim that their talent warranted.
TOO SLOW TO DISCO VOLUME 2.
JETHRO TULL-MINSTREL IN THE GALLERY-40TH ANNIVERSARY: LA GRANDE EDITION.
JETHRO TULL-MINSTREL IN THE GALLERY-40TH ANNIVERSARY: LA GRANDE EDITION.
By the time Jethro Tull began work on their eighth album Minstrel In The Gallery, they were one of the biggest selling groups of the seventies. Especially in America. Five of their albums had been certified gold, while 1971s Aqualung was certified triple-platinum. In America alone, Jethro Tull had sold 5.5 million albums by 1974. Jethro Tull were also enjoying a glittering career in Britain and Germany. 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 recently reissued as a four disc 40th Anniversary: Grand Edition 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 released Minstrel In The Gallery-40th Anniversary-La Grande Edition. It’s a fitting celebration of what’s now regarded as one of Jethro Tull’s finest albums. Disc one features Steven Wilson stereo mix of Minstrel In The Gallery, while disc two features a live show recorded in Paris, in July 1975. Then there’s two DVD’s of 5.1 DTS and AC3 Dolby Digital mixes. That’s not forgetting the lavish eighty page book. However, back in 1975, very few critics thoughtMinstrel In The Gallery was worthy of a celebration. This poses a question, 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-40TH ANNIVERSARY: LA GRANDE EDITION.
KILINDU-KILINDU.
KILINDU-KILINDU.
There aren’t many bands who are fortunate enough to have a two-times Grammy Award winning producer working on their debut alum. Kilindu have been. Last year, they worked with Grammy winning producer, Robert Cutarella. He producer their eponymous debut album, Kilindu which was recently released on CD.
Previously, Robert Cutarella has worked with the great and good of music. This includes some of the biggest names in music. Musical legends like Eric Clapton, Jeff Beck, Keith Richard, Alice Cooper and Slash have worked with Bob. So have Allison Krauss, John Legend and Joss Stone. Then there’s the 160 platinum discs artists Robert has been awarded. This is the equivalent to having sold 160 million albums. With a track record like this, Robert Cutarella can pick and choose who he works with. So when Robert agreed to work with Kilindu, people sat up and took notice. If Robert Cutarella was working with Kilindu, they must be a band going places.
They were right. In March 2014, Kilindu released their debut single O Que O Futuro. Released to critical acclaim, O Que O Futuro was an internet sensation. It was a genre-melting single whose beauty was breathtaking. Just by listening to O Que O Futuro, it was obvious Kilindu were a band going places.
Five months later, and on 20th August 2014, Kilindu released their eponymous debut album as a digital download. It was the next chapter in the Kilindu story. However, since then, Kilindu’s star has been in the ascendancy.
They’ve played a series of high profile concerts, and recently, one of the songs played on one of Portugal’s biggest radio stations. Suddenly, Kilindu’s music was being heard by a much wider audience. By then, Kilindu were attracting the attention of a number of record labels. The Lisbon based sextet were one of Portugese music’s rising stars. So, this is the perfect time for Kilindu to release their debut album Kilindu on CD.
The launch of Kilindu is due to take place at a glittering presentation party in Lisbon, on 3oth May 2015. This has been a long time coming. However, sadly, it will be a case of absent friends. João and Ivan’s father died. Obviously, this has affected them badly. They decided to quit Kilindu. That wasn’t the end of the changes in lineup. Now Kilindu are a trio, consisting of Pedro, João and Joaquim. The trio are augmented by some top session musicians. So, Kilindu haven’t lost their magic. Far from in. They’re still one of Portugal’s top bands, who currently, are currently promoting their eponymous debut album Kilindu. Already, it’s caught people’s attention. That includes a number of record labels. That’s somewhat ironic.
Just like many bands, Kilindu decided to self-release their debut album. They’ve financed the recording and release of Kilindu. Guitarist Pedro Duarte has been doubling as Kilindu’s manager. He’s done a good job. However, now Kilindu have brought onboard a P.R. company and booking agent. That’s not surprising. Kilindu are going places. They’ve come a long way since they were founded in 2012.
Kilindu are a sextet, who were formed in Lisbon, Portugal by guitarist Pedro Duarte and singer João Pedreira in 2012. Just like the rest of the band, Pedro and João are experienced musicians who’ve spent a lifetime dedicated to music. Each member brings something new to the band. Their musical tastes, influences and styles vary. That’s no bad thing. It makes for eclectic music.
Music from European, Latin, Afro Cuban, African and American music melts into one. Everything from Portuguese ‘Fado’ music, Cape Verde’s traditional Morna, Brazilian Samba, Bossa Nova, Cuban Habanera and Latin jazz plays its part in Kilindu’s music. So does blues, flamenco and folk. This results in a delicious musical fusion, that comes courtesy of a talented band lead by composer and guitarist Pedro Duarte.
Kilindu however, is no one man band. Far from it. Instead, Kilindu comprises a group of experienced musicians from Lisbon. They were formed in 2012, when composer and guitarist Pedro Duarte met R&B vocalist Joao Pedreira. Pedro is a guitarist who also plays mandolin, ukulele and Cuban trés. Soon, drummer Joaquim Preto, bassist Ivan Pedreira, violinist Tiago Simao, percussionist Emanuel Pitra and saxophonist Daniel Vieira joined Kilindu. This is the lineup that would feature on their debut album Kilindu.
Recording of Kilindu took place at at Atlantico Blue Studios. Eleven tracks were recorded. Pedro wrote the music and with vocalist Joao Pedreira, penned the lyrics. Kilindu were joined by producer Robert Cutarella and engineer Rui Guerreiro, who also mixed the album. With their debut album recorded, Kilindu started thinking about the album cover.
Kilindu could have easily chosen any number of top designers. After all, there’s more than a little kudos being involved with such a high profile project. However, Kilindu decided to have a contest. They asked designers worldwide to submit their idea for an album cover. The winner was American designer Arjun Gheewala. His design is truly striking. Just like the music on Kilindu, Arjun Gheewala’s album cover grabs your attention. Kilindu certainly caught the attention of critics.
When critics heard Kilindu’s eponymous debut album, they were won over by this genre-melting album. Critically acclaimed, great things were forecast for Kilindu. The critics saw what Robert Cutarella saw in Kilindu, a hugely talented band with bags of potential. That’s apparent on Kilindu, which I’ll tell you about.
Opening Kilindu is Adamastor. There’s two versions on the album, the original version and a radio edit. An acoustic guitar toys with you, before a drum pounds and a cymbal crashes. Soon, a sultry saxophone enters and Kilindu become one. They set the scene for Joao Pedreira’s tender, heartfelt vocal. Accompanying him is a myriad of percussive delights, gypsy violin and acoustic guitar. Providing the heartbeat is the rhythm section. Soon, Kilindu are in full flow. It’s a joy to behold. They’re a tight, talented band and Adamastor is the perfect way to open Kilindu. Jazz-tinged, smooth, soulful and beautiful it’s a tantalising taste of what’s to come.
Very different is Oxala Estivesses Aqui. It has a much more traditional sound. When the arrangement unfolds, Kilindu march to the beat of Joaquim Preto’s drums. Violins, keyboards and percussion combine with Joao Pedreira’s impassioned vocal. The rest of Kilindu add equally impassioned, sweeping harmonies. Midway through the track, Pedro takes centre-stage during a brief breakdown. After this joyous, anthemic track heads towards its crescendo.
As the arrangement to Ja Nao Te Quero Mais unfolds, it literally bursts into life. Gypsy violins and the rhythm section drive the arrangement along. Then handclaps signal the arrival of Joao’s emotive vocal. Soon, he’s joined by the rest of Kilindu. They add handclaps and harmonies. This adds to what’s a much more traditional sounding track. It’s given a modern twist by Kilindu, and the result is truly irresistible.
The tempo drops on O Ceu Chorou, and the arrangement is understated and spacious. A guitar is strummer, violins sweep and the rhythm section create a shuffling beat. When Joao enters, he’s dawned the roll of troubled troubadour. He delivers the lyrics with feeling. Meanwhile the arrangement literally floats along. It has taken on a much more subtle sound. Before long, it grows in power. This matches the emotion in Joao’s vocal. Later, when his vocal drops out during a breakdown, melancholy violins take centre-stage. This is a masterstroke. They add to the beauty, drama and melancholia of this track,
O Que O Futuro was Kilindu’s debut single. This was my introduction to Kilindu. From the opening bars I was hooked. The rhythm section, guitars and violins combine confidently. My immediate thoughts were that this was a tight, talented, band. They’d obviously spent time honing their sound. I was right. Then percussion signals the arrival of a heartfelt, soul baring vocal from João Pedreira. As João lays bare his soul, the rest of Kilindu create a pulsating, joyous and sultry backdrop. The result is a single that’s soulful, jazz-tinged and beautiful. One listen and they’ll be won over by its breathtaking beauty.
Two versions of Rua da Saudade on Kilindu. There’s the original version and the radio edit. A saxophone floats above the arrangement and is joined by percussion and a probing bass. They meander along until João heartfelt, earnest vocal enters. It takes centre-stage. This seems to signal the arrangement to unfold in waves. Sometimes, the tempo quickens. It reflects the emotion in João’s vocal. His vocal is key to the song’s sound and success. It’s no wonder this song has been earmarked as a single.
A crystalline guitar, gypsy violin and the rhythm section combine on O Sermao Do Pescador. Just like most of the songs on Kilindu, it’s a fusion of disparate influences and genres. Elements of folk, jazz, Latin and soul shine through. The soul comes courtesy of João’s vocal. His vocal is deeply soulful, as he breaths life and meaning into the lyrics. Later, his vocal drops out and a floaty, jazz-tinged breakdown allows the rest of Kilindu to showcase their considerable talents. After that, João returns to add the finishing touch to this six minute opus.
The sultriest of saxophone and hissing hi-hats provide the understated backdrop to Maria. Soon, João delivers a tender, seductive vocal. While the saxophone takes centre-stage, the rhythm section provide a shuffling beat and washes of keyboards float in and out. Then during a breakdown, Pedro’s acoustic guitar takes centre-stage. He’s joined by the rest of Kilindu. They’re let of the leash and enjoy the opportunity to stretch their legs, combining elements of jazz, rock, flamenco and Latin. There’s an urgency to Kilindu’s music that we’ve never heard before. This shows another side to the multitalented, and versatile Kilindu.
Straight away, there’s a Latin influence on Lavava No Rio Lavava. This comes courtesy of an acoustic guitar and braying saxophone. Soon, they’re joined by bongos and the wistful sound of gypsy guitars. Equally wistful is João’s hurt-filled vocal. As his vocal takes centre-stage, a rasping saxophone floats above the arrangement and the violins tug at your heartstrings.
Fado Bailarico is just the latest track that’s given a Fado makeover. The arrangement takes on a much more traditional sound. That’s apparent from the get-go. There’s a sense of urgency as violins, percussion and an acoustic guitar combine with drums. Their raison d’être is to set the scene for João’s impassioned vocal. Adding a moderne twist are the bass and the guitars. They play their part in a track that’s Fado, but Fado given an urgent, moderne, makeover by Kilindu.
Closing Kilindu is Amor A Agua Que Corre. Straight away, it’s obvious this is the perfect track to close Kilindu. It bursts into life a guitar joined by the rhythm section and percussion. They provide a pulsating, urgent backdrop for João’s seductive vocal. Soon, he’s joined by the rest of Kilindu. Their handclaps replace Joao’s vocal, as a breakdown begins. It’s the perfect showcase for each member of Kilindu to demonstrate their musical prowess. Each member enjoys the opportunity to take centre-stage. Then Joao returns and this irresistible track brings Kilindu to a joyous close.
When I reviewed Kilindu’s debut single O Que O Futuro last year, I said that their debut album Kilindu was the main event. Their debut single, O Que O Futuro, was just a tantalising taste of what Kilindu were capable of. After I reviewed O Que O Futuro, I wondered what Kilindu’s debut album would be like? They had set the bar high with O Que O Futuro. It was a huge internet sensation, being played over 230,000 times. That’s almost unheard of for a debut single by an unsigned band. However, not every band are as talented as Kilindu.
Similarly, not many unsigned bands get the opportunity to work with a Grammy Award winning producer like Robert Cutarella. He saw the potential in Kilindu. Not only that, but Robert Cutarella brought out the potential in Kilindu. He ensured that Kilindu fulfilled their potential. They’ve created a genre-melting album that oozes quality.
From the opening bars of Adamastor, right through to the closing notes of Amor A Agua Que Corre, Kilindu combine musical genres and influences. What follows is an eclectic album of traditional and modern music. European, Latin, Afro Cuban, African and American music melts into one. Everything from Portuguese ‘Fado’ music, Cape Verde’s traditional Morna, Brazilian Samba, Bossa Nova, Cuban Habanera and Latin jazz plays its part in Kilindu’s music. So does blues, flamenco and folk. This results in a delicious musical fusion, that comes courtesy of a talented band lead by composer and guitarist Pedro Duarte.
Pedro Duarte and the rest of Kilindu are a band with a huge future ahead of them. Although unsigned, they won’t be unsigned for long. Record companies are chasing Kilindu’s signature. However, it has to the right contract with the right label. Only then, will Kilindu sign on the dotted line. Hopefully, they’ll find the record label soon. After all, Kilindu have a big future ahead of them.
Whether it’s music lovers, A&R executives or producer Robert Cutarella, it’s obvious that Kilindu are going places. They’ve the perfect recipe for a successful band. Kilindu comprises experienced and talented musicians. They’ve spent a lifetime dedicated to music. Each member brings something new to the band. Their musical tastes, influences and styles vary. That’s no bad thing. It makes for eclectic music.
Eclectic is one way of describing Kilindu’s eponymous debut album. Their debut album has just been recently self-released by Kilindu. It’s dedicated to absent friends. This includes Edmundo Duarte, Pedro’s late father, and of course João and Ivan’s late father. They were hugely supportive of Kilindu, and are fondly remembered by bandleader Pedro Duarte. He dedicates Kilindu to their memory.
Despite the tragedy of the past few months, another chapter in the Kilindu story begins. Meanwhile, rise and rise of Kilindu continues. Who knows what heights Kilindu will have scaled by the time they release their sophomore album? If it’s anywhere near as good as Kilindu, then it’ll be an album to cherish.
KILINDU-KILINDU.
HOLGER CZUKAY-ELEVEN YEARS INNERSPACE.
HOLGER CZUKAY-ELEVEN YEARS INNERSPACE.
The very first Record Store Day took place back in 2007. Since then, Record Store Day has become a huge event. This year, on 18th April 2015, 1,400 record shops worldwide celebrated Record Store Day. For the ninth Record Store Day, record companies across the globe released a plethora of exclusive releases.
Ahead of Record Store Day, a list of releases was published. Just like previous years, the number of release has grown. Vinyl collectors were spoilt for choice. Record Store Day 2015 was going to be an expensive day. So, clutching a wad of cash and a credit card, vinyl junkies made their way to their local record shop. It was a case of arrive early.
Those that didn’t, risked being at the end of a lengthy queue. Mostly, it’s good natured day, with Record Store Day veterans swapping tales of past campaigns. Newcomers discuss their want lists. Then when the doors open, it’s every man or women for them-self.
Everyone makes a beeline for where the Record Store releases are situated. This includes the latest limited edition release from Holger Czukay, Eleven Years Innerspace, which was released by Berlin based Grönland Records.
Eleven Years Innerspace features six unreleased songs.Holger Czukay recorded the songs at the legendary Innerspace Studios earlier in his long and illustrious career. It began back in the late sixties. However, the Holger Czukay story began in 1938.
The future Holger Czukay was born in March 1938, as Holger Schüring. Holger’s home was what was then called the Free City of Danzig. Nowadays, it’s known as Gdansk. In January 1945, Holger and his family were forced to flee their home.
“When I was a child I had to leave my hometown Danzig in Poland. My mother had already bought the tickets for the ship, the Wilhelm Gustlof, when my grandmother warned us that the “water hasn’t got any planks”. I never forgot this sentence, because it saved our lives. We didn’t go onboard the ship, but went to the main station on January 13th 1945. It was a freezing night We were extremely lucky that a train with wounded soldiers picked us up, and they gave us a little bit of room on their mattresses to sleep, and we headed to Berlin. When we arrived i looked out of the window and all I could see were stones and a free field and I asked myself if this can be a capital city?” Having arrived in Berlin, Holger and his family became refugees.
Just like so many children, the war had an impact upon Holger’s education. Like so many displaced children, Holger’s education suffered. Despite this, Holger managed to get a job in a radio repair shop. Not only did he learn how to repair electrical equipment, but became fascinated by radio and the opportunities it offered. This would prove crucial to Holger Czukay’s later career. Before that, Holger served his musical apprenticeship.
For a three year period between 1963 and 1966, Holger Czukay was privileged to study music under the legendary Karlheinz Stockhausen. “A true pioneer, Karlheinz was way ahead of time.” During his time studying with Karlheinz, Holger met Conny Plank and Irmin Schmidt.
Holger remembers “Conny sitting behind him, writing out a score by hand.” At first “Conny was quiet,” but they “soon became close friends,” during their time studying with Karlheinz Stockhausen. It was a thorough musical education, where Karlheinz taught his pupils about aleatoric music, serial composition and musical spatialisation.
Karlheinz wasn’t just a “visionary” in terms of electronic music, but was fascinated by aleatoric music. Essentially, aleatory is controlled chance. With aleatoric music, some element of a piece are left to chance. Granted there will only be a certain number of outcomes, but the musician has to choose the outcome they believe is correct. Serialism was another subject Karlheinz was interested in. With serialism, a series of values are used to manipulate musical elements. This form of composition fascinated Karlheinz. So did musical spatialism, which would influence Can. Karlheinz was an evangelist, encouraging his pupils, including Holger Czukay and Conny Plank to investigate, examine and scrutinise each of these subjects between 1963 and 1966.
For Holger, he could have asked for a better musical education. He admits “Karlheinz taught me so much.” When I asked Holger the most important thing Karlheinz taught him, he didn’t hesitate. Karlheinz told him to “find your own sound.” Holger never forget those words of advice. They became his musical mantra, when eventually, he decided to make a career as a musician. However, when Holger finished studying with Karlheinz Stockhausen in 1966, he became a musical teacher.
Having graduated, Holger was enjoying life as a music teacher. Holger was enjoying his newfound career as an educator. He wasn’t a fan of pop or rock music. That was about to change in 1967.
That’s when Holger heard The Beatles’ I Am A Walrus in 1967, he was captivated by this psychedelic rock single. Holger describes this “as a life-changing moment…the music of the past and present came together.” At last, “here was music that made the connection between what I’d studied and I was striving towards” With the innovative use of bursts of radio and the experimental sound and structure, “I went in search of similar music.”
So I asked Holger about what type of music he started listening to? Specifically, I asked about Frank Zappa and Velvet Underground? Did they influence you, and ultimately Can? “Frank Zappa I didn’t get.” “Velvet Underground they were different, they were really influential” “They influenced the music I made…I remember the first time I heard Velvet Underground and where I heard it.”
Much of the music that influenced Holger, he heard whilst spending time with friends. Holger is a huge fan of vinyl. He remembers “sitting in a friend’s flat “looking through piles of albums. We’d study the sleeve-notes and then spread the album covers all over the floor. We scrutinised them, then immersed ourselves in the music. It was a shared experience. We listened and discussed the music. I can remember these times well.” Listening to Holger speak, he’s a real music fan. His enthusiasm is infectious. So much so, that it’s as if your sitting in the flat with Holger and his friends, looking at the album covers, listening to the music and discussing it. This music would go on to influence Holger’s future career.
Inspired by what he’d heard, Holger decided to form his own band in 1968…Can. Can’s roots can be traced back to the previous year, when one of Can’s co-founders was studying in time. This was Irmin Schmidtm who’d studied under Karlheinz Stockhausen, at the same time as Holger, fellow pupils was Irmin Schmidt.
After graduating, Irmnin headed to New York, where he spent time with avant-garde musicians like Steve Reich, Terry Riley and La Monte Young. Soon, Irmin was aware of Andy Warhol and Velvet Underground. This inspired him to form his own band when he returned home to Cologne.
In Cologne, Irmin a pianist and organist formed Can with American avant garde flautist David C. Johnson and bassist Holger Czukay. Up until then, the trio had exclusively played avant-garde classical music. Now their ambitions lay beyond that. Their influences included garage, rock, psychedelia, soul and funk. So they brought onboard three new members of the group, which started life as Inner Space, and then became The Can. Eventually, they settled on Can, an acronym of communism, anarchy, nihilism.
The first two new additions were guitarist Michael Karoli and drummer Jaki Liebezeit. Vocalist and New York-based sculptor Malcolm Mooney joined the band midway through 1968. By then, they were recording material for an album Prepare To Meet Thy Pnoom. Two tracks, Father Cannot Yell and “Outside My Door were already recorded. Unfortunately, record companies weren’t interested in Prepare To Meet Thy Pnoom. As a result, it wasn’t released until 1981, when it was released as Delay 1968. Undeterred, Can continued to record what became their debut album, Monster Movie.
Despite not being able to interest a record company in Prepare To Meet Thy Pnoom, Can were confident in their own ability. So Can continued recording what would become their debut album Monster Movies. That’s despite being what Holger referred to as “a poor man’s band.” They didn’t have the equipment that other groups did. What they did have was “an ambition to create innovative music.” However, before long, there was a problem.
David C. Johnson left Can at the end of 1968. He was disappointed at the change in musical direction. Little did he realise that he’d lost the chance to be part of one of the most groundbreaking band’s in musical history, Can.
Monster Movie.
Monster Movie had been recorded in Schloss Nörvenich, a 14th-century castle in North Rhine-Westphalia. Can recorded Monster Movie between 1968-69. It was the released in August 1969. This marked the debut of Can. Their career started as they meant to go on. A groundbreaking, genre-melting fusion of blues, free jazz, psychedelia, rock and world music, Monster Movies has a Velvet Underground influence. It’s as if Can have been inspired by Velvet Underground and pushed musical boundaries to their limits.
Throughout Monster Movie, Can improvised, innovated and experimented. Multilayering and editing played an important part in Monster Movie’s avant garde sound. So did spontaneous composition, which Can pioneered.
Spontaneous composition was hugely important in Can’s success. Holger remembers “that the members of Can were always ready to record. They didn’t take time to think. It was spontaneous. The music flowed through them and out of them.” Holger remembers that he was always “given the job of pressing the record button. This was a big responsibility as the fear was failing to record something we could never recreate.” In some ways, Can were an outlet for this outpouring of creativity, which gave birth to a new musical genre.
This new musical genre was dubbed Krautrock by the British music press. So not only was Monster Movie the album that launched Can’s career, but saw a new musical genre, Krautrock coined. The founding father’s of Krautrock were Can, lead by Holger Czukay.
Canaxis 5,
1969 saw the release of Holger Czukay’s debut album. Credited to the Technial Space Composer’s Crew, Canaxis 5 was a collaboration between Holger and Ralf Dammers. Canaxis 5 is an often overlooked album, which features two lengthy tracks. It shows two innovative musicians pushing the musical envelop, as Can would continue to do.
Soundtracks.
Released in 1970, Soundtracks, was Can’s sophomore album. Essentially, Soundtracks is a compilation of tracks Can wrote for the soundtracks to various films. It’s the album that marked the departure of vocalist Malcolm Mooney. Replacing him, was Japanese busker, Kenji Damo Suzuki. He features on five of the tracks, contributing percussion and vocals. The addition of Damo wasn’t the only change Can were making.
Soundtracks was a coming of age for Can. It marked a move away from the psychedelic jams of Monster Movie and a move towards their classic sound. That saw the music becoming much more experimental and avant-garde. The music took an ambient, meditative, mesmeric and thoughtful sound. This marked the beginning of what became known as Can’s classic years, when albums like Tago Mago, Ege Bamyasi and Future Days were released.
Tago Mago.
The first instalment in the golden quartet was Tago Mago. This was the first album where Kenji Damo Suzuki was a permanent member of Can. He and the rest of Can spent a year in the castle in Schloss Nörvenich. It was owned by an art collector named Mr. Vohwinkel. He allowed Can to stay at Schloss Nörvenich rent free. For what Holger described as “a poor man’s band,” this was perfect.
Holger remembers Can during this year as “just jamming and seeing what took shape. Songs started as lengthy jams and improvised pieces.” This Holger remembers is “how Can always worked” After that, Holger worked his magic. He edited them and these mini masterpieces featured on Tago Mago, which was four months in the making.
For four months between November 1970 and February 1971, Can recorded what would become one of their most innovative and influential albums, Tago Mago.
A double album, it featured seven groundbreaking tracks. Tago Mago was released in February 1971. Straight away, critics realised the importance of Tago Mago. Here was a game-changer of an album. It has an intensity that other albums released in 1971 lacked. Jazzier with an experimental sound, the music is mysterious, mesmeric and multilayered. It’s innovative, with genres and influences melting into one. Nuances, subtleties and surprises reveal themselves. No wonder. Can deliver an avant garde masterclass.
This comes courtesy of jazz-tinged drumming, improvised guitar playing and showboating keyboard solos. Then there was Kenji Damo Suzuki’s unique vocal style. All this, resulted in an album that was critically acclaimed, influential and innovative.
Released to widespread critical acclaim in 1971, Tago Mago was the start of a golden period for Can. Their reputation as one of the most innovative groups of the seventies started to take shape. Can had released one of the most innovative albums, Tago Mago. Holger remembers the reaction to Tago Mago. “I knew Tago Mago was an innovative album, but I never realised just how innovative an album it would become?
On Tago Mago’s release, it was hailed as their best album yet. However, not in Holger’s opinion. “Tago Mago is a classic album, but I much prefer Future Days.” Despite Holger’s preference, several generations of musicians have been inspired by Tago Mago, a true Magnus Opus, that belongs in every record collection. So does the followup Ege Bamyasi.
Ege Bamyasi.
Can were on a roll. It seemed they could do no wrong. They released Spoon as a single in 1972. It reached number six in Germany, selling over 300,000 copies. That was helped no end, by the single being used as the theme to a German thriller Das Messer. It seemed nothing could go wrong for Can. The money the made from Spoon, allowed Can to hire disused cinema to record what became Ege Bamyasi.
Can adverted for a space to record their next album, Ege Bamyasi. Recording began in a disused cinema, which doubled as a recording studio and living space. The sessions at Inner Space Studio, in Weilerswist, near Cologne didn’t go well. Irmin Schmidt and Kenji Damo Suzuki took to playing marathon chess sessions. As a result, Can hadn’t enough material for an album. This resulted in Can having to work frantically to complete Ege Bamyasi. Despite this, Can were still short of material. So Spoon was added and Ege Bamyasi was completed.
Ege Bamyasi was a fusion of musical genres. Everything from jazz, ambient, world music, psychedelia, rock and electronica melted into one. When it was Ege Bamyasi released in November 1972, it was to the same critical acclaim as previous albums. Critics were won over by Can’s fourth album. It was perceived as a more accessible album than its predecessors. Just like Can’s previous albums, the quality of music was consistent.
Critica hailed Can as one of the few bands capable of creating consistent and pioneering albums. They were one of the most exciting bands of the early seventies. Can were continuing to innovate and influence musicians and music lovers alike. Just like its predecessor, Tago Mago, Ege Bamyasi is an essential part of any self respecting record collection. Having released two consecutive classic albums and their first single, it seemed nothing could go wrong for Can.
Future Days.
Despite Tago Mago and Ege Bamyasi being referred to as two of the most influential albums ever released, Holger Czukay prefers Future Days. This is the album he calls “my favourite Can album.” It was the third in Can’s golden quartet, and marked a change in direction from Can.
Future Days saw Can’s music head in the direction of ambient music. The music is atmospheric, dreamy, ethereal, melancholy, expansive and full of captivating, mesmeric rhythms. It’s also pioneering and progressive, with elements of avant garde, experimental, psychedelia and rock melting into one. Rather than songs, soundscapes describes the four tracks. Future Days and Bel Air showcase Can’s new sound. Bel Air was the Future Day’s epic. It lasted just over nineteen minutes, and sees can take you on an enthralling musical journey. Just like the rest of Future Days, critics hailed the album a classic.
On its release in August 1973, Future Days was hailed a classic by music critics. The move towards ambient music may have surprised some Can fans. However, Brian Eno was just one artist pioneering ambient music. This move towards ambient music must have pleased Holger’s guru Karlheinz Stockhausen. He must have looked on proudly as Can released the third of a quartet of classic albums. The final album in this quartet, Soon Over Babaluma was released in 1974.
Soon Over Babaluma.
Soon Over Babaluma marked the end of Can’s golden period. It was the end of a period where they were releasing some of their most innovative and groundbreaking music. There was a change of direction on Soon Over Babaluma. Can were without a vocalist. Kenji Damo Suzuki left Can and married his German girlfriend. He then became a Jehovah’s Witness. Despite the lack of a vocalist, Can continued as a quartet. They released Soon Over Babaluma in November 1974.
When Can released Soon Over Babaluma in November 1974, it received praise from critics. With a myriad of beeps, squeaks and sci-fi sounds, Soon Over Babaluma is like musical journey into another, 21st Century dimension. A musical tapestry where layers of music are intertwined during five tracks on Soon Over Babaluma. It followed in the ambient footsteps of Future Days and brought to a close the most fruitful period of Can’s career. Following the “golden quartet,” Can didn’t go into decline. Instead, Can continued to reinvent themselves and their music.
Landed.
Landed was released in September 1975. It had been recorded between February and April 1972 at Inner Space Studios. Just like previous albums, Can produced Landed. Holger and Tony Robinson mixed the first four tracks at Studio Dierks, Stommeln. The other two tracks were mixed by Holger at Inner Space Studios. These six tracks marked a change of direction from Can.
As well as a change in direction musically, Landed was the first Can album to be released on Virgin Records. Gone is the ambient sound of Soon Over Babaluma. Only Unfinished on Landed has an ambient influence. Instead, Landed has a poppy, sometimes glam influence. With uptempo, shorter songs, Landed was a much more traditional album. How would the critics react?
Critics were divided about Landed. Some critics saw Landed as the next chapter in the Can story, while others praised the album as adventurous, eclectic and innovative. Others thought Can were conforming. Surely not?
Flow Motion.
Flow Motion was Can’s eight album. As usual, it was recorded at Inner Space Studios. Produced by Can, Flow Motion was an album that drew inspiration from everything from funk, reggae, rock and jazz. It was an eclectic, genre-melting album. It’s also one of Holger Czukay’s favourite Can albums.
Holger remembers Flow Motion as an “Innovative and eclectic” album. He calls it “one of Can’s underrated albums,” Flow Motion marked a another change in Can’s way of working.
Released in October 1976, Flow Motion featured lyrics written by Peter Gilmour. This was a first. Never before, had anyone outside the band had written for Can. It worked. Can enjoyed their first UK single I Want More. It would later be recorded Fini Tribe and then Italo disco group Galaxis. With what was just their second hit single in seven years, maybe Can were about to make a commercial breakthrough?
Saw Delight.
Sadly, that wasn’t to be. Saw Delight which was released in March 1977, wasn’t the commercial success many people forecast. That’s despite the new lineup of Can embracing world music.
Joining Can were bassist Rosko Gee and percussionist and vocalist Rebop Kwaku Baah. They’d previously been members of British rock band Traffic. Rosko Gee replaced Holger on bass. Holger decided to add a percussive element, Holger added a myriad of sound-effects. This was Holger at his groundbreaking best. Experimental sounds including a wave receiver was used. The result was one of the most ambitious albums can had released.
Despite the all-star lineup and a bold, progressive and experimental album, Saw Delight wasn’t a commercial success. It was well received by critics. The problem was, Saw Delight was way ahead of its time. If it had been released in the eighties, like albums by Paul Simon or Peter Gabriel, it would’ve been a bigger commercial success. Sadly, by then Can would be no more. That was still to come. However, things weren’t well within the Can camp.
Out Of Reach.
Nine years after Can had released their debut album Monster Movie, they released their tenth album, Out Of Reach. It was released in July 1978. The title proved to be a prophetic. After all, commercial success always seemed to elude Can. Not only did Out Of Reach fail commercially, but the Out Of Reach proved to be Can’s most controversial album.
So much so, that they disowned Out Of Reach. On Out Of Reach Holger was left to add myriad of sound-effects. Bassist Rosko Gee and percussionist Rebop Kwaku Baah of Traffic returned. They were part of the problem. Holger confirms this.
When I asked him what he meant by this, he said “During the recording of Out Of Reach, I felt an outsider in my own group. I was on the outside looking in. I was on the margins. All I was doing was add sound-effects.” For Holger, he felt his group had been hijacked by Rosko Gee and and Rebop Kwaku Baah. Things got so bad, that Holger quit Can.
Rosko Gee and Rebop Kwaku Baah dominated Out Of Reach. Gone was the loose, free-flowing style of previous albums. Even Jaki Liebezeit’s play second fiddle to Baah’s overpowering percussive sounds. The only positive thing was a guitar masterclass from Michael Karoli. Apart from this, things weren’t looking good for Can. It was about to get worse though.
The critics rounded on Out Of Reach. They found very little merit in Out Of Reach. Gee and Baah were rightly blamed for the album’s failure. Even Can disliked Out Of Reach. They later disowned Out Of Reach. Despite this, Rosko Gee and and Rebop Kwaku Baah remained members of Can.
Unable to play with the necessary freedom Can were famed for, the two ex-members of Traffic stifled Can. Rebop’s percussion overpowers Jaki’s drums, which have always been part of Can’s trademark sound. At least Michael’s virtuoso guitar solos are a reminder of classic Can. A nod towards Carlos Santana, they showed Can were still capable of moments of genius. There wouldn’t be many more of these. Can would breakup after their next album.
Can.
Following the failure of Out Of Reach, the members of Can began recording what became Can. Remarkably, Rosko Gee and Rebop Kwaku Baah were still part of Can. Sadly, Holger was not longer a member of Can. He’d left during the making of Out Of Reach. His only involvement was editing Can.
Can, which is sometimes referred to as Inner Space, was released in July 1979. Again, critics weren’t impressed by Can. It received mixed reviews. No longer were Can the critic’s darlings. The music on Can was a fusion of avant garde, electronica, experimental, psychedelia and rock. Add to that, a myriad of effects including distortion and feedback, and here was an album that divided the opinion of critics. The critics agreed, it was better than Out Of Reach. They agreed that Holger was sadly missed.
Even Holger’s renowned editing skills couldn’t save Can. Try as he may, he could only work with what he was given. He did his best with Can, which the eleventh album from the group he co-founded. By the time Can was released, Holger “had come to a realisation, that it was time to go his own way.” Holger describes this as “necessary.”
Can had split-up after the release of Can. That was their swan-song. However, even before that, Holger “felt marginalised, this had been the case since he Rosko Gee and Rebop Kwaku Baah became part of Can. They’d hijacked Can.” Now, Holger would embark upon his solo career.
Movies,
Holger hadn’t really been making music since 1976. The last two Can albums saw Holger editing the music. So, Holger set about finding “his own sound again.” He’d “been through this with Can,” Now he’d have to do so again. It would be worth it though, when he released his first solo album since 1969s Canaxis 5, Movies.
Recording of Movies took place at Inner Space Studio, Cologne. This was where Can had recorded the best music of their career. It was like a Can reunion. Jaki Liebezeit played drums on Movies. Irmin Schmidt and Michael Karoli played on Oh Lord, Give Us More Money. Even Baah was drafted in to play organ on Cool In The Pool. Holger threw himself into the project. He recorded Movies and played guitars, bass, keyboards and synths. Then when the four songs that became Movies were completed, Holger mixed and produced the album. Movies saw Holger hailed the comeback King.
Released to critical acclaim, Movies was hailed as one of the best albums of 1979. It was an eclectic album. Described as variously psychedelic, cinematic, melodic, moody, understated and progressive, here was the next chapter in Holger’s musical career. The one track that everyone agreed was a minor masterpiece was Cool In The Pool. It was Movies’ Magnus Opus. Holger’s decision to embark upon a solo career had been vindicated. He was back doing what he did best, creating ambitious, groundbreaking and pioneering music. That would continue in 1981, when Holger released On The Way To The Peak Of Normal.
On The Way To The Peak Of Normal.
When I spoke to Holger, he said “one of the albums I’m most proud of, is 1981s On The Way To The Peak Of Normal. It was Holger’s first collaboration with Conny Plank.
Working with Conny Plank Holger remembers, was a revelation. Holger felt Conny was a consummate professional. “Here was someone who understood what I was trying to achieve.” He ensured that I never made music people neither understood, nor wanted to buy. The sessions were organised and disciplined, very difference from the indiscipline of late Can albums.”
Recording took place in the familiar surroundings of Inner Space Studios, Cologne. The only member of Can were present was Jaki Liebezeit. Other members of the band included Conny Plank and Jah Wobble, who Holger and would collaborate with on the 1982 E.P. Full Circle and the 1983 Snake Charmer E.P. They’re two of many collaborations Holger would be involved with. That was still to come.
Before that, Holger released On The Way To The Peak Of Normal in 1981. Just like the early days of Can, Holger was the critic’s darling.
Critics were won over by On The Way To The Peak Of Normal. The albums was a fusion of ambient, avant-garde, electronic, experimental, funk, industrial, jazz, psychedelia and rock. Genre-melting describes an album of bold, challenging, innovative, inventive and influential music. It was a case of expect the unexpected on On The Way To The Peak Of Normal, which saw Holger continue to create groundbreaking music. Here, was one of the most inventive albums Holger had recorded.
Although Holger had been making music for three decades, he still had plenty to say musically. That would continue throughout the rest of the eighties, with his various collaborations and his 1984 album Der Osten ist Rot.
Der Osten ist Rot.
There was a three year gap between On The Way To The Peak Of Normal and Der Osten ist Rot. During that period, Holger was busy collaborating with other artists. A new generation of artists discovering his music, and Holger was discovering their music.
He remembers spending time with Conny Plank in Cologne. Devo and the Eurythmics had been working with Conny. Holger was able to spend time in their company. One night, Holger remembers “Devo jamming, and they asked me to join them. I was impressed by their discipline and stability. It was a pleasure to play with them. Compared to Can in the end, it was totally different and a great experience. Especially with the Eurythmics watching.” Conny Plank, Holger remembers, was a hugely important influence on him and his music.
When recording of Der Osten ist Rot began at Inner Space Studios, Cologne, there was still a Can influence. Holger had written six songs and cowrote three with Jaki Liebezeit of Can. Jaki also played drums, piano, trumpet and organ. Conny played synths and Michy took charge of vocal duties. Together, they played their part in another groundbreaking album from Holger Czukay.
Released in 1984, critics welcomed another ambitious and groundbreaking album. The combination of Holger, Conny Plank and Jaki Liebezeit had proved a powerful partnership. This is apparent when you listen to Der Osten Ist Rot, which remarkably, was released thirty years ago. Ambitious, progressive and eclectic, Holger and his band weave musical genres. They become something other artists will never have envisaged. These artists however, aren’t a visionary like Holger Czukay. That’s obvious on Der Osten Ist Rot, and the followup
Rome Remains Rome.
Rome Remains Rome saw Holger joined by some familiar faces. This included two of Holger’s old friends from Can, guitaristMichael Karoli and drummer Jaki Liebezeit. Bassist Jah Wobble completed what was a fearsome rhythm section. They provided the heartbeat to Rome Remains Rome, which was released in 1987.
On its release in 1987, Rome Remains Rome saw the continued reinvention of Holger Czukay. He was a musical chameleon. No two albums were the same. Holger’s music continued to evolve. That’s what you’d expect from one of the most innovative musicians of his generation, Holger Czukay. It seems that after leaving Can, Holger had been rejuvenated. He agreed with that.
I broached the subject of his leaving Can. Holger felt that Can had run its course. He explains it “as organic, it was time to go my own way. A new era unfolded when my solo career began.”
Listening to Holger, he enthuses about his solo career. It’s obvious that Holger feels his solo albums are overlooked. As a longtime Can and Holger Czukay fan, I don’t need convinced. He’s preaching to the converted. The problem is, that having been a member of one of the biggest and most innovative bands in musical history, anything that Holger released would be compared to that.
Following the release of Rome Remains Rome, it was another four years before Holger released another solo album. He was still making music. However, mostly he was collaborating with other people.
This included former Japan frontman David Sylvian. They collaborated on David’s 1988 album Plight and Premonition. A year later, the pair reconvened, for the recording of Flux + Mutability. It was released in 1989. Both albums were well received, with David and Holger proving a formidable musical partnership. However, another two years passed before Holger returned with a new album, Radio Wave Surfer.
Radio Wave Surfer.
Radio Wave Surfer was a thirteen track album. The first eight tracks had been recorded in the Can studio on 21st and 22nd October 1987. These tracks had been recorded “live.” There was no over-dubbing. That was also the case with the other five tracks.
They were recorded in Berlin, back on the 2nd December 1984. Again, there was no over-dubbing. On the sleeve, it says: “music played in teamwork, spontaneously. Recomposed on various hilarious nights.” Editing would’ve stifled the spontaneity. That couldn’t be allowed to happen. It would’ve gone against what Holger’s musical principles. He had his reputation to think of.
When Radio Wave Surfer was released, Holger’s comeback album was well received by critics. Now into his fourth decade, he was still relevant and still had plenty to say musically. So two years later, Holger returned with a new studio album.
Moving Pictures.
By 1993, Holger was ready to return with his first new album of material since 1987s Rome Remains Rome. Since then, music had changed. That didn’t matter. Holger had adapted musically. Just like since the early days of Can, constantly, Holger’s music evolved. As his music evolved, Holger was joined by two names from the past.
For his new studio album Moving Pictures, Holger reunited with Can guitarist Michael Karoli, and bassist Jan Wobble. Along with Sheldon Ancel, Romie Singh, U-She and Helmut Zerlett they recorded Moving Pictures at Can Studio. Once Moving Pictures was recorded, it was ready for release in 1993.
Given Moving Pictures was Holger’s first album of new material since 1987s Rome Remains Rome, critics wanted to hear if Holger Czukay’s music was still relevant. It was. Holger was like a musical chameleon, constantly changing direction, and keeping one step ahead of the pack. He might be fifty-five, but his music was just as relevant. It always would be.
Another seven years would pass before Holger Czukay released another solo album. He did collaborate on Holger Czukay Vs. Dr Walker’s album Clash. This collaboration between Holger and Ingmar Koch was released in 1997. It seemed Holger still had an appetite for collaborating and making music.
Another seven years would pass before Holger Czukay released another solo album. He did collaborate on Holger Czukay Vs. Dr Walker’s album Clash. This collaboration between Holger and Ingmar Koch was released in 1997. It seemed Holger still had an appetite for collaborating and making music.
Good Morning Story.
Six years after the release of Moving Pictures, Holger made a welcome return with Good Morning Story in 1999. Holger, who was always keen to keep up with musical innovations, used sampling extensively on Good Morning Story.
Fittingly, Holger sampled the music of his former Can bandmates. He sampled his former drummer Jaki Liebezeit’s drums, Michael Karoli’s guitar and Irmin Schmidt’s electronics. U-She added vocals and Rhani Krija percussion. They played their part in a triumphant return to form from Holger.
While Radio Wave Surfer and Moving Pictures had been well received, the genre-hopping Good Morning Story was perceived as Holger’s finest solo albums since Rome Remains Rome. With its fusion of ambient, avant-garde and experimental music, Good Morning Story struck a nerve. Critics and record buyers were in agreement, Good Morning Story was a very welcome addition to Holger Czukay’s discography. It was also a fitting way to bid farewell to a millennia.
La Luna.
As a new millennia began, Holger Czukay, forever the musical pioneer, returned with an album fit for a new millennia. This was La Luna, which featured just one track, An Electronic Night Ceremony. It lasted forty-five minutes. However, La Luna, was no ordinary album.
Holger compared La Luna to the: “automatic writing techniques of the Surrealists… and the transcript of this transcendental conversation between man and machine.” This musical dialogue between “man and machine” proved to be a truly groundbreaking album.
On its release, La Luna was critically acclaimed. Holger may have entered his fifth decade as a musician, but he was still one of the most innovative and visionary musicians. He was making music that other musicians couldn’t even envisage. This would continue. Holger wasn’t for turning his back on music.
Linear City.
Just a year after La Luna, Holger returned with Linear City in 2001. This was no ordinary album. Instead, it was an album of internet collaborations. Holger, now into his sixty-third year, had embraced the internet, and was happily collaborating with artists around the world. Four of these collaborations found their way onto Linear City.
Although Linear City featured just four tracks, the list of collaborators was lengthy. Among them were Susanne Drescher, Per Odderskove, Ray Darr, Darren B. Dunn, Marc Uzan, Ola Norlander, Haki, U-She, Drew Kalapach, Michael Letourneau, Luca Kormentini, James Webb and Tom Hamlyn. Each of these artists played their part in this new, innovative and imaginative way of making music.
Suddenly, geographical boundaries didn’t exist. All that was a Digital Audio Workstation and an internet connection. Then musical ideas could be exchanged across the globe. Holger realised the potential of this. Over a decade later, and only now are other artists catching up. Just like had always been the case, Holger Czukay was a trendsetter.
Following Linear City, Holger Czukay didn’t release any new solo albums. He collaborated with U-She on 2001s Time and Tide and 2003 The New Millennium. Then in 2007, Holger and Ursa Major collaborated on the album 21st Century. Holger was still influencing a new generation of artists. So, it’s no surprise that interest in Holger Czukay’s music has never been higher.
That’s why, over the past few years, there’s been reissues of all Can’s albums, and some of Holger Czukay’s solo albums. While Mute release Can’s albums, Grönland Records have released some of Holger Czukay’s solo material. This includes On The Way To The Peak Of Normal in 2013. Then in 2014, Grönland Records released excerpts from Rome Remains Rome and Der Osten Ist Rot. These releases were welcomed by fans of Holger Czukay’s music. However, a hugely exciting development came just before Record Store Day 2015.
Eleven Years Innerspace.
Grönland Records announced that to celebrate Record Store Day 2015, they were releasing Eleven Years Innerspace. It features six previously unreleased tracks. The six tracks are spread across two ten inch records. They feature a musical pioneer at the peak of his powers.
The six tracks on Eleven Years Innerspace, were recorded during the years Holger Czukay called the Inner Space Studio his musical home. During that period, Holger was creating some of the most ambitious and innovative music of his career. That’s apparent throughout Eleven Years Innerspace.
From In-Between, Holger begins the process of reinventing the six tracks on Eleven Years Innerspace. Something old becomes something new. Holger redefines, and reimagines the music. They become something new and innovative. Just like a sculptor, Holger takes the music and reshapes it, moulding it into something that he never originally imagined. That’s the case from the opening track.
In-Between opens Eleven Years Innerspace. Straight away, Holger re-orchestrates the track. Textures and tones combine. So do genres. Cinematic and haunting, with a classical twist describes Secret Of My Life. Early on, it takes on a wistful, almost dreamy sound. Soon, cinematic strings bring to mind thrillers or horror films. Later, a child’s vocal adds to the cinematic sound. Holger’s painting pictures with his music. He’s a sonic sculptor, who shapes the listener’s emotions. They all play their part in shaping the listener’s emotion.
This continues on Secret Of My Life. The music is slow, understated, melancholy and beautiful. Holger’s not scared to spring a few surprises. This comes courtesy of a moody, broody vocal and bursts of cinematic strings. Mostly, though there’s an inherent beauty to the music, as Holger creates what sounds like music for films.
My Can-Axis is a nod to Holger’s 1967 debut album. It’s a truly captivating track. The arrangement meanders along, as a myriad of influences and sounds shine through. There’s Eastern influences, skewed vocals and a myriad of percussive sounds. Together they play their part in a track whose ethereal beauty is omnipresent.
Give the title, it wouldn’t be a surprise if My Can Revolt was Holger’s response to the breakup of Can. It was as if something had been stolen from Holger. This is apparent as the frenzied introduction gives way to a blistering jam. As the drums drive the arrangement furiously along, keyboards and guitars are augmented by stabs of effects and vocals. It’s akin to Primal Scream Therapy, as Holger through his music, voices his frustration at the end of group he cofounded.
Again there’s an elegiac classical influence as My Maiden Dream unfolds. Strings are at the heart of the ethereal arrangement. Soon, Holger’s throwing curveballs. A myriad of sounds flit in and out. Some make only a fleeting appearance, as Holger takes on the role of musical alchemist. Elements of ambient, avant-garde and experimental music are combined to create a concerto for the 21st Century.
Melancholy and moody describes the introduction to Breathtaking, the final track on Eleven Years Innerspace. It’s like an incantation, with it’s understated, minimalist sound. This is still the case when the female vocal enters. Slow, crunchy drums provide a backdrop as the heartfelt vocal. There’s an obvious similarity to Kate Bush. They have a similar style and range. As the drums play yin to the vocals yang, swathes of strings sweep above the arrangement, before it reaches a Breathtaking crescendo.
The release of Eleven Years Innerspace is a very welcome addition to Holger Czukay’s illustrious back-catalogue. It showcases a musical visionary at the peak of his musical powers. Can was no more, and Holger was determined to forge a solo career. To do this, he headed to the Inner Space studio, where he made some of the best music of his solo career.
Throughout the period, that Holger called the Inner Space studio his musical home from home, he was creating some of the most ambitious and innovative music of his career. A tantalising taste of that features on Eleven Years Innerspace. The six tracks show, just what a musical visionary like Holger Czukay was capable of.
From the opening bars of In-Between, right through to the closing notes of Breathtaking, Holger begins the process of reinventing the six tracks on Eleven Years Innerspace. He takes something old, and transforms it into something new. Holger redefines, and reimagines the music. The six tracks on Eleven Years Innerspace become something new and innovative. It’s as if Holger dawns the role of a sculptor, taking a piece of music and reshapes it. Gradually, it takes on new form and meaning. Holger takes the music and reshapes it, moulding it into something that he never originally imagined. Eventually, the six tracks on Eleven Years Innerspace take shape.
These six tracks were released by Grönland Records as Eleven Years Innerspace, on 18th April 2015, which vinyl collectors know, was Record Store Day 2015. They’re a reminder of a true musical visionary, who is responsible for some of the most ambitious, innovative and inspirational musicians in the history of music, Holger Czukay musical alchemist.
HOLGER CZUKAY-ELEVEN YEARS INNERSPACE.
BERANGERE MAXIMIN-DANGEROUS ORBITS.
BERANGERE MAXIMIN-DANGEROUS ORBITS.
Crammed Discs’ Made To Measure series began back in 1983. For the next twelve years, a total of thirty-five albums were released. They’ve been described as the musical equivalent of a collection of art books. These albums are a reminder of some of the most innovative, important and interesting music of an era. This included albums by Steven Brown, John Lurie, Arto Lindsay, Harold Budd, Brion Gysin, Aksak Maboul and Hector Zazou. In total, thirty-five albums were released between 1983 and 1995. Sadly, in 1995, then Made To Measure series was put on hold.
Fast forward nineteen years, to 2014, and Crammed Discs’ Made To Measure series made a welcome return. Fittingly, the album that marked the return of a landmark series, was Jozef Van Wissem’s It Is Time For You To Return. Since then, five further volumes have followed. It seemed the Made To Measure series was back to its innovative best. The big question was, who would feature in the next instalment of the Made To Measure series?
Two months later, and the answer to that question has been revealed. It’s none other than Bérangère Maximin’s fourth album Dangerous Orbits. It’s been released on Crammed Discs, on 18th May 2015. This is a fitting addition to the Made To Measure series.
Bérangère Maximin has a reputation for continually releasing groundbreaking music. Her music is ambitious, challenging and pushes musical boundaries to their limits, and sometimes way beyond. The music can also be described as challenging, cerebral and engaging. That’s been the case throughout Bérangère Maximin’s career.
The Bérangère Maximin story begins in 1976, in the Reunion Island. It’s a French overseas territory in the Indian Ocean. Those that have visited the Reunion Island will be familiar with its unspoilt beaches. It must have been a beautiful and inspirational place for Bérangère to grow up. That’s apart from the active volcano that looms above the island. However, by the time Bérangère was fifteen, she was about to leave behind the beauty and danger of the Reunion Island behind.
Next stop for Bérangère Maximin was the Metropolis. However, she never turned her back on the place she grew-up. Instead, the samples the sounds of the Reunion Island on her albums. They’re what Bérangère refers to her “digital chimeras,” which she recalls using a myriad of midi controllers and laptops. That however, was still to come.
Before that, Bérangère Maximin studied electroacoustic music at the Conservatoire National de Région de Perpignan. Bérangère’s tutor was musique concrète composer Denis Dufour. He was Bérangère’s tutor right through to 1999, when she graduated.
Having graduated, Bérangère Maximin embarked upon a musical career. By then, Bérangère Maximin was using her personal experiences for musical inspiration. This meant that Bérangère’s music was very personal. There was an inherent honesty to Bérangère’s music. However, it took nine years before she released her debut album
It was American avant-garde composer, arranger and musician John Zorn, that “discovered” Bérangère Maximin. His New York based Tzadik label released Bérangère’s 2008 debut album, Tant Que Les Heures Passent.
On the release of Tant Que Les Heures Passent, critics forecasted a great future for Bérangère Maximin. This proved to be the case.
Four years passed before Bérangère Maximin released her sophomore album was released. A lot had happened to Bérangère. She had met Ukrainian artist Anton Yakutovych. He would provide the artwork for Bérangère’s next two albums. Anton also became one of Bérangère’s closest friends as she become one of the rising stars of New York’s improv scene.
Through exposure to New York’s thriving improv scene, Bérangère was inspired to embark upon two European tours. The first tour featured just Bérangère. However, the other tour saw her collaborating with Fred Frith, Fennesz or Rhys Chatham. Working with musicians of that calibre proved inspirational for Bérangère, and influenced her sophomore album, No One Is An Island.
No One Is An Island was released on indie label, Sub Rosa in 2012. Although very different to her debut album, No One Is An Island was released to widespread critical acclaim. Bérangère’s peers hailed the album a triumph. Already, Bérangère was gaining the respect of established artists. Her star was in the ascendancy.
Just a year after the release of No One Is An Island, Bérangère returned with her third album, Infinitesimal. It was released on Sub Rosa in 2013. When critics heard Infinitesimal, they hailed the album a truly innovative, introspective and ambitious album. This was very different from other albums in this genre. Mind you, they didn’t have the imagination of Bérangère Maximin.
That’s apparent on Infinitesimal. Bérangère was determined to push musical boundaries to their limits, and even way beyond. She tore the rule book up, then rewrote it. The result was Infinitesimal, a magical and mystical fusion of disparate sounds and effects. They merge and morph into one, playing their part in a series of Bérangère’s “digital chimeras.” The result was music that was captivating, engaging, innovative and minimalist. It seemed that Bérangère Maximin’s third album had made a big impression on critics, cultural commentators, musicians and music lovers. Will that be the case with Dangerous Orbits?
For Dangerous Orbits, Bérangère Maximin composed, recorded, arranged, produced and mixed the five soundscapes. This took place at Bérangère’s Home Sweet Home Studios, in Paris, during 2014 and 2015. Now they make their debut on Bérangère Maximin’s fourth album Dangerous Orbits, which just happens to be Volume 41 in Crammed Discs’ Made To Measure series. Dangerous Orbits, you’ll soon realise, is a welcome addition to the Made To Measure series?
Opening Bérangère Maximin’s fourth album Dangerous Orbits is Cracks, an eleven minute epic. Synth drone, as if firing off a warning sound. They’re like a siren. Meanwhile, a myriad of sounds assail you. Some are eerie, others industrial, futuristic or otherworldly. What sounds like a turnstile or rack can be heard. So can crackles, rumbles, bubbles and scrapes. Briefly, a futuristic vocal emerges from the depths. All the time, sounds flit in and out of the soundscape. Some like drills and machinery are recognisable. They play in Cracks’ musique concrète influence. Drone music, avant-garde, industrial and experimental play their part in what’s an ambitious and pioneering, genre-defying soundscape.
Distant bells jingle as Glow’s arrangement unfolds. Soon, a wash of dramatic, droning music sweeps in. It reaches a crescendo, like waves breaking on a beach. As the arrangement drones, glows and rumbles, it captivates. Panning is used effectively, so that it sounds as if you’re surrounded by swells of the arrangement. Later, the arrangement trembles and thunders. Deep down percussive sounds quiver and shiver. Sometimes, it’s like a journey onboard a steam train, destination unknown. Bérangère Maximin, it seems, is taking you on a captivating and engaging magical, musical mystery tour, where seamlessly, she fuses disparate musical genres. In doing so, she creates a mesmeric musical painting.
Just like the two preceding tracks, A Day Closer has a cinematic sound. In the first few bars, a fly buzzes, a lion roars, a car drives off and the sound of worn vinyl can be heard. Later, a horn beeps, while a myriad of growls, cackles, crackles and thunderous rumbles emerge. This is one of Bérangère Maximin’s legendary “digital chimeras.” It’s a day in the life, courtesy of Bérangère Maximin. Using a tape recorder or sampler, she takes snapshots of everyday life, and incorporates them into her music. As you listen, you can’t help but pick out sounds. That’s why cinematic describes A Day Closer perfectly. Then a droning sound gives way to a hypnotic sound. Still, sounds drift in and out. Relentlessly, they toy and tease with your senses. Constantly, you wonder what that sound was? It’s a sonic roller coaster, as elements of avant-garde, drone, electronica, experimental and musique concrète play their part in an innovative, and cinematic collage.
OOP (Our Own Planet) is a twenty-one minute epic. This allows Bérangère Maximin to head off on another sonic voyage of discovery. As the arrangement unfolds, it has a minimalist sound. In the distance, it rumbles and buzzes. Slowly, it become melodic and dreamy. Still its minimalist. The arrangement washes over you. Suddenly, all is well with the world. Gradually though, the arrangement grows, chirping and cheeping. It’s akin to a walk along a deserted beach, as birds fly overhead. All the time, the arrangement is evolving. As feedback shrieks, Bérangère tames the tiger. Similarly, a myriad of sounds are knitted together. Even when the arrangement grows, becoming louder and more dramatic, Bérangère remains in control. She’s like a conductor, bringing a myriad of disparate sound together. This includes feedback. In a Hendrix-esque way, Bérangère tames this tiger. Chaos becomes order. Not many people are capable of this. However, not many people have the talent, vision and imagination that Bérangère has. She’s responsible for a soundscape that’s variously beautiful, challenging, dramatic, ethereal and lysergic.
No Guru Holds Me closes Dangerous Orbits. It bookends the album perfectly. A note is held, droning constantly. Meanwhile, another wash of ominous music arrives from the distance. Deep down, sounds bubble and rumble. By now, the drone is trembling, quivering and shimmering. All of sudden, gunfire can be heard. So can wistful strings. Someone crashes through a door. An animal growls. Later, a siren sounds. What sounds like looting can be heard. Much later, there’s an industrial sound. It sounds like an old printing press. By now, the listener’s imagination is running riot. Scenarios unfold before their eyes. Short stories could be written about this captivating and cinematic “digital chimera.”
Bérangère Maximin’s fourth album Dangerous Orbits, which was released by Crammed Discs, on 18th May 2015, is a fitting, and welcome, addition to the Made To Measure series. There’s a reason for this. Dangerous Orbits showcases the music of a musical pioneer.
Ever since she released her debut album in 2008, Bérangère Maximin has established a reputation for continually releasing groundbreaking music. Constantly, Bérangère releases music that’s ambitious, challenging and pushes musical boundaries to their limits, and sometimes way beyond. That’s what she has done on Dangerous Orbits.
Without doubt, Dangerous Orbits is the most ambitious album of Bérangère Maximin’s career. Dangerous Orbits features five innovative soundscapes. They can also be described as captivating and cinematic “digital chimersa.”
These “digital chimeras” take you on a musical journey. If you embrace the music on this journey, you’re richly rewarded. As you embark upon this sonic voyage of discovery, you’ve no idea where the destination is. It’s a case of trusting Bérangère Maximin. She takes you on a journey that’s Dangerous Oribits. All you need to bring is your imagination. As you listen to Dangerous Orbits’ five tracks, scenarios and plots unfold. That’s not surprising, as Dangerous Orbits has a cinematic sound. However, the listener has to provide the script. The beauty of this is, that each script is different. Everyone will pick and choose different sounds. They’ll also interpret sounds differently. This makes Dangerous Orbits a fascinating album, one that’s a captivating, cerebral and cinematic. It’s also a journey through through disparate musical genres.
Listen carefully to Dangerous Orbits, and elements of ambient, avant-garde, drone, electronica, experimental, free jazz, industrial, musique concrète, psychedelia and rock all play their part in the sound and success of Dangerous Orbits. It features sonic explorer Bérangère Maximin creating music that’s challenging, cerebral, engaging and truly groundbreaking. So much so, that Dangerous Orbits is the most ambitious, cinematic and innovative album of Bérangère Maximin’s four album career.
BERANGERE MAXIMIM-DANGEROUS ORBITS.
20 YEARS OF HENRY STREET MUSIC-THE DEFINITIVE COLLECTION.
20 YEARS OF HENRY STREET MUSIC-THE DEFINITIVE COLLECTION.
Nowadays, not many independent record labels survive to celebrate their twentieth anniversary. Especially given how turbulent the last twenty years have been. During that period, the music industry was forced to reinvent itself. So much had changed.
Many labels struggled to survive. Some fell by the wayside. All of a sudden, labels that had been around for years, disappeared overnight. A few came back, but were never the same again. Other labels that had survived the fallout, were forced to reinvent themselves. It was a case of only the strong survive. Especially, in dance music.
For the last twenty years, dance music has constantly changed. Genres and sub-genres have come and gone. This was the case with house music.
First there was house. Then a myriad of sub-genres were born. Suddenly, there was deep, disco, French, funky, ghetto, jazz, Latin, soulful, tech and tribal house. Sub-genres fell in and out of fashion. The trick has been staying one step ahead of the pack. Knowing what the next popular genre in house music, and dance music per se, took “good ears.” Not many people are born with good ears. Johnny DeMairo was.
By 1993, Johnny DeMairo had spent most of his life working in the music industry. He had been working as a DJ since he was fifteen. This gave Johnny his first taste of life within the music industry. Straight away, Johnny knew this was how he wanted to make a living.
This proved to be the case. As the years went by, Johnny became immersed in music. He was a DJ, producer, record collector and by 1993, was working for S.I.N. one of New York’s leading promotions company. However, that still wasn’t enough. So he decided to found his own record label, Henry Street Music with Tommy Musto.
While both Johnny and Tommy were successful producers, the pair knew their way around the music industry. They knew how the business worked. This gave them an advantage over the competition. What also helped, was that Johnny was already successful businessman. So, it’s not surprise that Henry Street Music became one of dance music’s success stories and recently celebrated its twentieth anniversary. To commemorate this landmark, BBE Music will release Henry Street Music-The Definitive Collection 20 Years box set, on 18th May 2015.
And what a celebration of Henry Street Music, the Henry Street Music-The Definitive Collection 20 Years box set is. It features a total of fifty-four tracks spread across five discs. This includes some of Henry Street Music’s most successful releases. There’s contributions from Kenny “Dope” Gonzalez, Lil Louie Vega, Robbie Rivera, Ralphie Rosario and Armand Van Helde. That’s just the tip of a musical iceberg. There’s much more to enjoy on 20 Years Of Henry Street Music-The Definitive Collection. However, what of the man behind Henry Street Music, Johnny DeMairo?
His career began when he was just twelve years old. That’s when Johnny DeMairo started learning to mix on a pair of Lafayette T-2000s his father bought him. This was just the first step on the road to DJ stardom. Quickly, Johnny managed to master his set of Lafayette T-2000s, which as anyone whose ever tried to learn to DJ on a cheap set of decks, is quite a feat, and testament to Johnny’s ability and patience. A year later, Johnny got new set of Technics 1200 Mk IIs, one of the first sets in New York. That was the next step on Johnny’s journey.
Before long, Johnny was playing parties at the local high school, and in his local neighbourhood. Soon, he was spinning at block parties, where he met much older and more experienced DJs. Undeterred, and with an impressive array of records, Johnny soon won over the older DJs, with his skill and choice of music. His selection of music was eclectic to say the least, with Italo disco and Led Zeppelin sitting next to classics on the West End and Prelude labels. Having impressed his peers with his skills, he’d soon meet a DJ whose skills would impress Johnny no end…Leroy Washington.
Aged fourteen and having managed to acquire a fake id, Johnny managed to gain entry to New York’s hottest nightclub, Studio 54, where he’d meet resident DJ Leroy Washington. His mixing skills on a set of Thorens’ turntables blew Johnny away, where he’d mix every type of music, all with impeccable timing and stunning mixing skills. Leroy was just one of a series of people who’d inspire Johnny, and a year later, Johnny would have his own residency.
When Johnny was fifteen, he met Danny Cole, a Brooklyn DJ who DJ-ed each Friday and Saturday at Brooklyn’s Plaza Suite. Danny invited Johnny to join him, and together, the duo DJ-ed while live acts like Jimmy Castor also featured at the Plaza Suite. Not only was Johnny was Dj-ing at the Plaza, but also parties at night, and holding down a job in his family business. This allowed him to continue building his record collection, which now numbers eighty-thousand records. These records would find their way into his DJ sets. Around this time, he’d encounter someone else who’d become a huge influence in Johnny’s career, Shep Pettibone.
Back then, Shep Pettibone was one of the hottest DJs on New York radio. Along with Frankie Crocker, the pair ruled New York’s airwaves on Kiss FM. Johnny was hugely impressed by Shep’s reediting and mixing skills, and like Leroy Washington, became influential in shaping Johnny’s nascent career. They weren’t the only DJs who’d influence Johnny though. This also included freestyle DJs Albert Carera and Tony Moran who together, made up the The Latin Rascals.
As well as the Latin Rascals, The Dynamic Duo, a.k.a. the late Tommy Sozzi and Tommy Musto both influenced Johhny. All of these DJs played their part influencing Johnny’s DJ career.
Through meeting DJ at record pools and in clubs, Johnny soon had numerous contacts among New York’s music community. However, soon, he’d have contacts much further afield. Although Johnny had plenty contacts within New York, he needed contacts further afield. He was able to increase his contacts worldwide by joining a promotion company the Street Informations Network. This allowed him to network with DJs from worldwide and also played a part in Johnny forming his own record company Henry Street Music, which became one of the most important and influential label in dance music.
Henry Street Music was founded in 1993, by Johnny De Mairo and Tommy Musto. Both were already successful producers, and experienced in the ways of the music industry. Johnny was also a successful businessman. However, like all successful businessmen, he knew his limits. So he brought people in to help with other parts of Henry Street Music.
To deal with distribution and street marketing, Johnny originally enlisted the help of Silvio Tancredi and Tommy Musto, the owners of Northcote Productions. They were already responsible for legendary house labels Sub-Urban, 4th Floor and 25 West. A&R was left to Johnny, while Nicky Palermo became Johnny’s studio partner and right hand man. Quickly, Henry Street became known as one of the most innovative and influential dance labels in the US.
The reason for this was the quality of music Henry Street Music was releasing. It was groundbreaking, and streets ahead of the competition. Much of the music was described as innovative, and quickly found favour within the dance music community. That’s despite Henry Street Music being Johnny’s “other” job.
What makes the story of Henry Street Music even more remarkable, is that Johnny was still working full-time. At first, Johnny was working at S.I.N. a New York promotions company. Later, Johnny became head of A&R at Atlantic Records. This meant Johnny ran Henry Street in the evenings and weekends.
Despite this hectic and gruelling schedule, Johnny still managed to attract some of the biggest and most talented recording artists to Henry Street. Among them were Kenny “Dope” Gonzalez, Lil Louie Vega, Robbie Rivera, Ralphie Rosario and Armand Van Helde. They all released tracks on Henry Street Music. However, so did some tracks that had passed others by.
It wasn’t just new music Henry Street was releasing. Since the label was founded, old tracks and hidden gems were unearthed. Some were over twenty years old. Johnny resurrected these tracks, helping breath new life into them, using his enthusiasm, knowledge of all things disco and house and of course, his A&R skills. This meant that many a track that slipped through the net first time around, was given a second chance. These tracks played their part in the rise and rise of Henry Street Music.
Its star was in the ascendancy from its first release. This was Whew, a track from Kenny Dope Presents The Bucketheads. It was released in Spring of 1994. Straight away, Whew caught the attention of DJs and dancers. Already, Henry Street Music was providing part of the musical soundtrack in New York’s most fashionable clubs.
It didn’t take Henry Street Music long to hit the musical jackpot. This came as no surprise to some critics. Already Henry Street Music had established a reputation for releasing cutting-edge, contemporary dance music. Success came courtesy of the label’s fourth release, Kenny Dope Presents The Bucketheads’ Bomb (These Sounds Fall Into My Mind). Not only was Bomb a hit in the US, but worldwide.
Suddenly, Henry Street Music was one of the leading US dance labels. The success didn’t stop there. Henry Street Music was an international success story. After just four releases, Henry Street Music wasn’t just a player in the US, but worldwide.
With Johnny’s finger always on the pulse of the music scene, the success of Henry Street Records grew and grew, resulting in it becoming one of the major players in dance music. Meanwhile, Johnny became one of most influential people in the music business.
Constantly Johnny spent his every waking moment DJ-ing, producing and continually building his legendary eighty-thousand record collection. Now, twenty-two years after it was founded in 1993, Henry Street Records is still releasing quality music. That’s what it’s been doing since its first release. To commemorate the success of Henry Street Music, and its first twenty years in business, I’ll tell you about the 20 Years Of Henry Street Music-The Definitive Collection box set.
Disc One.
Disc One of 20 Years Of Henry Street Music-The Definitive Collection features eleven tracks. Most go back to the label’s early days. Fittingly, Henry Street Music’s first release opens disc one.
That was Kenny ‘Dope’ Presents The Bucketheads’ Whew. It was released in 1994, caught the imagination of DJs and dancers. This set the bar high for future releases. However, 1994 was going to be a vintage year for the nascent label.
Among the other releases during 1994, were Anthony Mannino presents Syncopation’s It’s Jazzy and Armand Van Helden presents Old School Junkies’ Hey Baby. Both were funky, soulful and most importantly, innovative. That’s apparent when you spin tracks like It’s Jazzy. Even twenty-one years later, it’s timeless. So, is the single the transformed Henry Street Music’s fortunes.
That was Kenny ‘Dope’ Presents The Bucketheads’ The Bomb! (These Sounds Fall Into My Mind). It gave Henry Street Music a worldwide hit. For the new label, this was a game-changer.
Just like The Bomb, JohNick’s first release on Henry Street, Play The Game, proved to be a game-changer. It was a taste of what was to come from Johnny De Mairo and Nicky Palermo Jr. Now that the two Brooklyn born producers had a platform for their music, they would go on to release a string of house classics on Henry Street Music. They weren’t alone. So did Dirty Harry
Dirty Harry, who was introduced to Johnny by Kenny Dope. One of the Sunset Park producer’s finest moments is Ascension (The Ethereal Funk Mix). It features on The Next Dimension E.P., which was released in 2003. Ascension draws inspiration from disco, funk and soul, and epitomises everything that’s good about house music. It’s one of Dirty Harry’s finest moments on Henry Street and disc one.
Although I’ve only mentioned six of the nine tracks on disc one, I could just as easily have mentioned any of the tracks. Johhny DeMairo took quality control seriously. Only the best and most innovative tracks were allowed to feature the Henry Street Music label. That would be the case throughout the next twenty years.
Disc Two.
It’s no surprise that disc two of 20 Years Of Henry Street Music-The Definitive Collection is also crammed full of quality house music. There’s eleven tracks to choose from, including Armand Van Helden presents Old School Junkies’ The Funk Phenomena. It was released in 1996, on Old School Junkies Pt. 2. Innovative describes a track which marries elements of French Touch, hip hop and funky house. Just like all good music, it’s stood the test of time. That’s the case with much of the music on disc two.
It’s difficult not to succumb to the delights of Todd Terry’s I Thought Your Love. This is a track from the 1996 deep house single, Todd Terry presents Fingertrips. Funky and soulful, hooks aren’t in short supply. The same of I Wanna Know. It comes courtesy of Kenny ‘Dope’ Presents The Bucketheads. They gave Henry Street Music their first worldwide single in 1994. On the B-Side was I Wanna Know. with its funky, soulful and its joyous sound is hard to resist.
Hooks certainly haven’t been spared on 95 North presents Da Hooligans 1996 single, Who’s Hoo. Stabs of a blazing saxophone add a jazzy sound, to a track that funky, soulful and sometimes, sultry. Then there’s JohNick’s Open Up Your Eyes. Anthemic and uplifting, it’s hard to resist the delights of Open Up Your Eyes. However, the best has yet to come.
My highlight of disc two has to be the Philly Jazz (Remix). It comes courtesy of Brutal Bill and featured on Project #3. Released in 1996, the Philly Jazz (Remix) is a delicious, and driving slice of jazz house. Relentlessly Brutal Bill teases the listener as the track builds and builds. All the time, a Henry Street classic is unfolding. Nearly twenty years later, and this Henry Street would still fill a dance-floor. That’s the case with so much of the music on disc two.
That includes Mike Delgado presents The Upstairs Lounge’s Byrdman’s Revenge and DJ Duke’s The Hustler. That’s not forgetting DJ Sneak presents Polyester 2’s Reachin’. Each of these tracks show why Henry Street Music was already one of the most respected, and successful dance labels. With Johnny DeMairo at the helm, Henry Street Music was one step ahead of the pack.
Disc Three.
As a new millennia took shape, Henry Street’s reputation was on the rise. The great and good of dance music were releasing tracks on Henry Street. This included both halves of Masters At Work, Armand Van Helden and Robbie Riviera. Henry Street Music had come a long way in a short space of time.
In 2001, The Pound Eyes released The Pretty Face EP on Henry Street Music. The E.P. also featured The Omi-Palones. They played their part in the success of The Pretty Face EP. Its highlight was My Eyes. Disco, jazz and soul combined seamlessly to create a hook-laden anthem. As the new decade began, Henry Street picked up where they left off in the nineties.
Back in 1996, Little Louie Vega collaborated with The Chameleon on The Missile. It’s an innovative deep house track. Little Louie Vega adds a myriad of sci-fi sounds and bursts of vocal to the hypnotic beats. It’s what one would expect from a Master At Work. However, back in the nineties, Henry Street was home to some of the biggest names in house music.
Many were creating Funky Music. This includes Norty Cotto presents 2nd Soul. They released Funky Music in 1996. Although funky, there’s a soulful twist to Funky Music, which still has a contemporary sound. That’s the case with Party Hardy, another track from 95 North presents Da Hooligans. It wasn’t released until 2000, when it surfaced on a promo sent out to DJs. Its inclusion on 20 Years Of Henry Street Music-The Definitive Collection is to be welcomed, as belatedly, a hidden gem can be heard by a wider audience.
By 1999, Robby Rivera was well on his way to becoming one of the top house producers. He released Crazy Mother EP Vol. 2 on Henry Street Music in 1999. It featured the infectious and urgent Get On The Floor. It showed what Robbie Rivera was capable of. Since then, he’s become one of the most successful producers, releasing a string of successful albums. Before that, Henry Street Music provided him with a musical platform.
That was the case with That Kid Chris whose I Believe features on disc three of Henry Street Music-The Definitive Collection 20 Years. So does DJ Stew’s Funky Fresh and JohNick’s Magic. This slice of musical Magic sees the quality continue on Henry Street Music-The Definitive Collection 20 Years. However, there’s still two more discs to go.
pDisc Four.
On disc four of 20 Years Of Henry Street Music-The Definitive Collection, there’s another ten tracks from the Henry Street vaults. Johnny DeMairo is spoiled for choice. Eventually, he settled on ten tracks.
This includes Ray Roc presents Ray Roc Zone’s Shake It Again. It was released in 2002, on The Ray Roc Zone (Parts 1 & 2). A sultry saxophone sits above the crispy, choppy beats. In doing so, they provide a yang to the drum’s yin. After this we go back to the nineties.
Furious George 3 released their eponymous single in 1997. It featured Paradise By the Furious Light, which was arranged, mixed and produced by George Rivera. It’s a joyous, hands in the air anthem. The same can be said of Next To You.
Next To You was released back in 2003. It’s multi talented collaboration. Producer Josh Harris enlists the help of Philter Inc and Sandy B. Straight away, when you see the words Sandy B, you realise there’s going to be vocal masterclass on Next To You. There is. Sandy whose best remembered for her classic, I Think I’ll Do Some Steppin’ Out, plays her part in a dance-floor filling anthem.
Albert Cabrera drops the tempo on Melted. It’s one of the lesser known tracks on Henry Street Music-The Definitive Collection 20 Years. Melted has never been released. That doesn’t matter. The hooks haven’t been spared, as Albert relentlessly teases the listener six magical minute.
Andy Ward and Paul ‘The Wikkaman’ Timothy presents The Mentalists provide another hidden gem. That’s Came Into My Life. With its choppy vocal, lush arrangement and even vibes solo, it’s a case of what’s not to like? Drawing inspiration from disco, jazz, funk and soul, Came Into My Life proves the perfect way to close disc four of 20 Years Of Henry Street Music-The Definitive Collection.
Apart from the tracks I’ve mentioned, BQE’s Steal Your Love, Tony Moran presents Bond-Age’s and Die Another Day and Groove Culture’s Feelin’ It deserve a special mention. I could just as easily have mentioned them. Just like the the preceding discs, disc four of 20 Years Of Henry Street Music-The Definitive Collection oozes quality.
Disc Five.
After four discs and forty-two tracks, the Henry Street story is almost at an end. There’s still the twelve track on disc four of 20 Years Of Henry Street Music-The Definitive Collection to consider. They bring the story up-to-date.
This starts with DJ Duke and Roland Clark’s D2-D2 (I Get Deep), The version chosen is the Timmy Regisford Shelter Mix. It was released on Henry Street Music in 1996. Elements of hip hop and house melt into one, on this hypnotic sounding track. From the hypnotic, to the melodic and dramatic.
That’s Mike Rizzo presents Tiger Blood’s Like That. It’s a real rarity, and has never been released before. For whatever reason, this killer house track has lain in the Henry Street vaults. Not any more. This melodic, dramatic and joyful anthem belatedly sees the light on 20 Years Of Henry Street Music-The Definitive Collection.
E-Smoove’s Lake Shore Drive is another track that’s never been released before. However, Smoove had released The Guitar E.P. on Henry Street in 2001. That was his only release for the label. Until now. Lake Shore Drive is something of a slow burner. Gradually, the arrangement builds, and E-Smoove shows their hand. All the time there’s a sense of anticipation, as the track takes shape. It’s worth the wait, as Lake Shore Drive proves to be another hidden gem.
DJ Kwest’s Love to Ecstasy was released in 2014, to celebrate the twentieth anniversary of Henry Street Music. That’s fitting. Love to Ecstasy epitomises the Henry Street sound.
Closing disc five of 20 Years Of Henry Street Music-The Definitive Collection, is a collaboration between two giants of dance music Todd Terry and Marshall Jefferson. It’s their original demo of Party People. This seems a fitting way to bring this musical history of Henry Street Music to a close.
Ever since Henry Street Music released Whew, by Kenny Dope Presents The Bucketheads, the New York based label was on its way to becoming one of most successful and innovative labels in the music of house music. With Johnny DeMairo at the helm, Henry Street Music released some of the past three decades. It’s documented on 20 Years Of Henry Street Music-The Definitive Collection, which will be released by BBE Music on 18 May 2015.
Featuring fifty-four tracks spread over five discs, Henry Street Music-The Definitive Collection 20 Years is a fitting musical history of one of house music’s greatest labels. 20 Years Of Henry Street Music-The Definitive Collection is a lovingly compiled box set, which is sure to bring the musical memories flooding back.
There’s classics aplenty on 20 Years Of Henry Street Music-The Definitive Collection. Alongside the Henry Street classics, are singles, tracks from E.P.s, hidden gems and rarities. Each of these tracks play their part in the sound and success of Henry Street Music. Its success and sound is documented on 20 Years Of Henry Street Music-The Definitive Collection.
From 1994 right through to 2014, Henry Street Music was one of the most successful and innovative labels. No wonder. Johnny DeMaira ensured that Henry Street Music was one step ahead of the pack. Constantly, he was looking for the next big thing. He was never content to stand still. That was other labels. Instead, Johnny ensured that the music Henry Street Music released was always groundbreaking.
Sometimes, Johnny was at the forefront of a musical genre, including French Touch. As one half of JohNick, he was one of the leading purveyors of French Touch. So it’s fitting that JohNick feature on 20 Years Of Henry Street Music-The Definitive Collection. They played their part in the rise and rise of Henry Street Music.
For twenty years, Henry Street Music’s star shawn brighter than the rest. During that period, Henry Street Records released some of the most influential, innovative and finest music from the golden age of house music. It’s documented on 20 Years Of Henry Street Music-The Definitive Collection, which is a reminder of house music’s golden era, from one of house music’s greatest labels, Henry Street Music.
20 YEARS OF HENRY STREET MUSIC-THE DEFINITIVE COLLECTION.
BLACK SABBATH-PARANOID.
BLACK SABBATH-PARANOID.
Just seven months after Black Sabbath released their eponymous debut album in February 1970, they were back with the album that defined their career, Paranoid. It was released in September 1970 and features three Black Sabbath classics Paranoid, Iron Man and War Pigs. They’ve since become staples of Black Sabbath’s live performances. They’re also three reasons why Paranoid which will be reissued on vinyl, by Sanctuary, on 1st June 2015, sold twelve-million copies. Incredibly, Black Sabbath had only been formed two years earlier.
In 1968, guitarist Tony Iommi and drummer Bill Ward found themselves with a band. Mythology, their previous band had just split-up. Tony and Bill decided to form a new band. So they got in touch with vocalist Ozzy Osbourne and bassist Geezer Butler. Ozzy had placed an advert in a local music shop saying “Ozzy Zig Needs Gig.” They were joined by slide guitarist Jimmy Phillips and saxophonist Alan Clarke. This was the birth of what would later become Black Sabbath.
At first, the new band was called The Polka Tulk Blues Band. This was shortened to Polka Tulk, and later, Earth. The band’s name wasn’t the only thing that changed. So did the lineup.
Tony Iommi became concerned that Jimmy Phillips and lan Clarke weren’t taking the band seriously. So they hatched a plan. Earth would breakup, and straight away, reform as a quartet. The quartet were still called Earth and recorded several demos. These demos were penned written by Norman Haines. Among them were The Rebel, Song For Jim and When I Came Down. It looked as if Earth were going places. Then in December 1968, another member of Earth left.
This was Tony Iommi. He left to join Jethro Tull and featured on the Rolling Stones’ Rock and Roll Circus television show. He didn’t spent long as a member of Jethro Tull. No. Unhappy with the direction Jethro Tull were heading, Tony rejoined Earth. Tony’s time working alongside Ian Anderson inspired him. Now he was determined that Earth were going to become a successful band.
Before long, Earth realised that there was a problem. With another band called Earth, this was causing confusion. So, when the members of Earth noticed that a cinema near their rehearsal room was showing a rerun of Moris Bava’s horror film Black Sabbath, which starred the inimitable Boris Karloff, they were inspired to write a song.
The inspiration was seeing people queue up to watch horror film. Essentially, people were paying to be scared. This the band felt was strange. So Ozzy and Geezer penned Black Sabbath, which was inspired by writer Dennis Wheatley. The lyrics were dark and gothic. Indeed, the song was later referred to as: ”probably the most evil song ever written” by Rob Halford of Judas Priest. Having written this dark opus, Earth decided to change their name to Black Sabbath.
Black Sabbath made their debut in Workington, in Cumbria on 30th August 1969. Four months later, in November 1969, Black Sabbath signed to Phillips Records. They released their debut single Evil Woman through Vertigo Records, which was Phillips Records’ new prog rock label. After appearing on BBC radio, Black Sabbath began work on their debut album.
With producer Rodger Bain, Black Sabbath began recording their debut album. Ominously, Black Sabbath was released on 13th February 1970. It wasn’t a case of unlucky for Black Sabbath. Their debut reached number eight in the UK and number twenty-three in the US Billboard 200. Despite mixed reviews, Black Sabbath was certified gold in the UK and platinum in the US. Just two years after they formed, Black Sabbath were one of the most successful of a new generation of rock bands. Their sophomore album Paranoid would be a game-changer.
Geezer Butler wrote the lyrics to six of the eight tracks on Paranoid. The exception were Planet Caravan and Fairies Wear Boots, which Geezer and Ozzy penned. Black Sabbath wrote the music the eight tracks. These tracks would be recorded at two studios in London.
Recording of Paranoid took place in Regent Sound Studios and Island Studios, in London. Geezer played bass, Tony guitar and flute and Bill Ward drums and congas. Tom Allom played piano on Planet Caravan. Producing Paranoid was Rodger Bain, who’d produced Black Sabbath. Once Paranoid was completed, it was released in September 1970 in the UK and Europe. Paranoid wasn’t released until January 1971.
On the release of Paranoid in September 1970, it reached number one and was certified gold. Then in January 1971, Paranoid reached number twelve and was certified platinum four times over. Ironically, in the US, Paranoid wasn’t well received by critics. Just like Black Sabbath, Paranoid was slated. Black Sabbath, as you’ll realise, had the last laugh.
Opening Paranoid is War Pigs, an anti Vietnam War song. Here, Black Sabbath provide a slow, moody backdrop. The rhythm section and flourishes of searing guitar are joined by wailing sirens. They set the scene for Ozzy. His angry, frustrated vocal is the signal for Black Sabbath to become a power trio. Guitar doubles are panned left and right, balancing he mix. Meanwhile, the rhythm section drive the arrangement along. A buzzing bass, blistering guitar and pounding drums provide the backdrop for Ozzy’s strutting vocal. The result is not just one of the best anti-war songs you’ll hear, but a Black Sabbath classic.
Make that two. Paranoid is another Black Sabbath classic. From the opening bars, the track is instantly recognisable. It’s like meeting old friends. They just happen to be raucous, rabble rousers. Black Sabbath burst into life. They’re at their rockiest best. Machine gun guitars join the driving, rhythm section. Listening to Ozzy’s grizzled vocal, it’s as if he can empathise with the character in the song. It’s as if he’s experienced and suffered the paranoia he’s singing about. That, together with a blistering performance from Tony, Geezer and Bill made this a heavy metal classic.
Planet Caravan sees a change in direction from Black Sabbath. They head in the direction of psychedelia. Ozzy’s distant, lysergic vocal is full of mystery, while the arrangement meanders along, bathed in echo. The rhythm section and guitar take care never to overpower Ozzy’s vocal. Later, Tony’s guitar references Peter Green of Fleetwood Man. Understated, lysergic and psychedelic it’s another side of Black Sabbath, one I’d like to hear more of.
Iron Man sees a return to heavy metal. Drums pound relentlessly before menacingly, Ozzy announces “I am Iron Man.” From there, Black Sabbath are back doing what they do best, playing heavy metal. Tony delivers a guitar masterclass, while the rhythm section lock into a groove, becoming one. Ozzy’s vocal is a mixture of menace and raw power as he sings about a time traveller. It’s Tony that steals the show. His guitar playing is some of the best on Paranoid.
Menacing describes the introduction to Electric Funeral. That’s down to the rhythm section, Tony’s guitar playing and Ozzy’s vocal. Black Sabbath become one. The tempo is slow and sounds dark and dramatic. There’s even a nod to prog rock. Mostly, though it’s Black Sabbath’s unique brand of heavy metal. With Tony wielding his guitar like a musical wizard, Ozzy vamps his way through the track, singing about a futuristic world. He mixes menace, drama and theatre. Then later, the rhythm section want in on the act. When the baton is passed from Tony’s guitar, they enjoy their moment in the sun. They prove that Black Sabbath wasn’t just a one man band.
Hand Of Doom was written by Black Sabbath after noticing the number of American soldiers arriving in the UK. Many of them were traumatised, and resorted to taking drugs to blot out the horrors they’d witnessed. Sadly, the drugs destroy them. As a result, there’s a darkness to this song. Dark and dramatic. The arrangement meanders along, understated before exploding into life. Ozzy unleashes a vocal that brings to life the horrors these soldiers have witnessed. Anger, frustration and pain fills his vocal as the arrangement builds and grows. Soon, Black Sabbath are in full flow. That’s a joy to behold. Especially, as machine gun guitars are unleashed and Ozzy delivers one of his finest vocals on Paranoid.
Rat Salad sees Black Sabbath return to their blues’ roots. They jam, mixing blues, jazz and rock. It’s a case of sitting back and enjoying this musical masterclass. Whether playing as a unit or unleashing solos, Black Sabbath are peerless. They’re a power trio par excellence. Geezer’s bass playing, Bill’s drumming and Tony’s guitar solos play their part in delicious jam.
Closing Paranoid is Fairies Wear Boots. Blistering guitars and the rhythm section lock horns. They drive the rocky arrangement along. Bill’s around the kit, while Tony’s fingers flit up and down the fretboard. Geezer joins Bill in glueing everything together. Then having enjoyed their moment in the sun, Ozzy struts centre-stage. His grizzled, rocky vocal is the perfect accompaniment to one of the hardest rocking arrangements. It’s as if Black Sabbath are determined to lift their game one last time. This they do, closing Paranoid on blistering rocky high.
Whilst Paranoid wan’t released to the critical acclaim that accompanies many classic albums, it’s gone on to become one of the most important albums in the history of heavy metal. It redefined heavy metal. So much so, that Paranoid became the blueprint for the genre. If someone asked what heavy metal sounded like, Paranoid was the album to play them. Indeed, in the history of heavy metal, there are only two periods, B.P. and A.P. Before Paranoid and After Paranoid. Ironically, music critics panned Paranoid.
Among them was the so called doyen of critics Lester Bangs. This self styled tastemaker seemed to have a downer on Black Sabbath. Along with many American critics, they felt the album was too heavy. Then there were criticism of the aggression and satanic lyrics. Not for the first time, the critics got it wrong.
Paranoid was certified platinum four times over in the UK. It was the album that rewrote the rules of heavy metal. Now it was a case of the heavier the better when it came to heavy metal. At the forefront were Black Sabbath. Eventually, Paranoid sold twelve million copies worldwide and Black Sabbath became a musical phenomena.
Right through until 1981s Mob Rules, gold and platinum discs came Black Sabbath’s way. So did controversy. Much of it concerned Ozzy Osbourne. He parted company with the band in 1979. Sacked by the group he formed, both Ozzy and Black Sabbath survived to tell the tale. However, back in 1970, the Black Sabbath story was just beginning.
It started with Black Sabbath in February 1970 and then Paranoid in September 1970. Since then, critics have reappraised Paranoid and belatedly, realised it was actually a classic. Twelve million people could’ve told them that Paranoid was a stonewall classic. That’s why it’s fitting that Sanctuary will rerelease Paranoid on vinyl, on 1st June 2015.
Paranoid is much more than a classic album. I’d go much further than that. I’d say that Paranoid, Black Sabbath’s 1970 sophomore album was a groundbreaking release. Paranoid saw Black Sabbath rewrite the rules of heavy metal, with what was the most successful and most innovative album of their long and illustrious career, Paranoid.
BLACK SABBATH-PARANOID.
LAKKER-TUNDRA.
LAKKER-TUNDRA.
Over the last nine years, Lakker have called various labels home. As a result, Lakker have been like musical nomads, moving from label to label. These labels have been based in Berlin, Dublin and London. Often, Lakker were only signed to a label for a short time, moving on after one or two releases. That isn’t ideal for Lakker.
Like any artist or group, Lakker would rather find the right label, and sign to it. This would afford them some security. Then they can get on with doing what they do best…make music. Last year, Lakker found the right label.
That was R&S Records. It was founded by Renaat Vandepapeliere and Sabine Maes. They lent their initials to the new label, which started life as Milos Music Belgium. However, after releasing Big Tony’s Bubble Up in 1983, Milos Music Belgium became R&S Records. This became Lakker’s home in 2014.
Signing to R&S Records just so happen to coincide with Lakker releasing some of the best music of their career. This included the release of two critically acclaimed E.P.s Lakker released in 2014. The first was the Containing A Thousand E.P. Next was the Mountain Divide EP. Both E.P.s saw plaudits heaped on the Dublin based production duo. After the success of the two E.P.s it was almost inevitable that Lakker would release an album.
This was something that Lakker hadn’t done since their 2007 debut album, Ruido. Since then, Lakker’s career has been full of twists and turns. That’s not forgetting numerous labels. However, now signed to R&S Records, Lakker began work on what would become Tundra. It was released on 11th May 2015, on R&S Records. It’s been a long time coming from Lakker.
Eight years to be precise. Lakker had released their debut E.P. Cosas’ label, in May 2006. It was released on Irish net-label Alphabet Set. Cosas was well received. This prompted Lakker to return to the studio, to begin work on their debut album. When they returned a year later, Lakker had moved labels for the first time. However, it wouldn’t be the last time.
Lakker returned with their debut album, Ruido,in 2007. Ruido was released another Irish label, Ladybird. Just like the Cosas E.P., Ruido was well received. Things were looking good for the two members of Lakker, Dara Smith and Ian McDonnell.
Or so it seemed. In June 2008, Lakker released another E.P., Ruido (Acroplane Remixes). It was released on another Irish label Acroplane Recordings. This would be the last we heard of Lakker for three years.
After their three year musical sabbatical, Lakker returned in 2011 with their single Spider Silk. It was released on Berlin based label, Killekill. Lakker it seemed, had landed on their feet. Killekill were perceived as a label going places. However, for Lakker, Spider Silk was a one-off release.
2012 saw Lakker release two E.P.s on London based Blueprint. The Torann E.P. and Arc E.P. marked a return to form from Lakker. Then as 2012 drew to a close, Lakker released their Deathmask E.P. in December. By then, Lakker’s star was in the ascendancy. Their lives shows were winning friends amongst the dance music community. Laurent Garnier, James Ruskin and Aphex Twin were all fans of Lakker. 2013 was shaping up to be a big year from the Dublin based duo.
As 2013 took shape, Lakker returned with the first of two E.P.s, Coal Bath. Later in 2013, the Untitled E.P. was released on the Berlin-based label, Stroboscopic Artefacts. Both E.P.s were well received. However, things were about to get even better, when Lakker found a label they could call home, R&S Records.
Lakker’s signing to R&S Records coincided with Lakker releasing some of the best music of their career. This included the two critically acclaimed E.P.s Lakker released in 2014. The first was the Containing A Thousand E.P. Next was the Mountain Divide EP. Both E.P.s saw plaudits heaped on the Dublin based production duo. After the success of the two E.P.s it was almost inevitable that Lakker would release an album.
Tundra was released on 11th May 2015. It’s eclectic album from Lakker. No wonder. They’ve been inspired and influenced various labels, singers and groups. One influence is the music released by No U-Turn Records. Then there’s the choral music of Arvo Part. Other influences include Merzbow, early Human League and raw, ethnic music. The resultant album Tundra, is the album that many within the music industry knew Lakker were capable of making.
To make what’s a career defining album, Lakker have combined the organic and synthetic. Sometimes, the lines have been blurred. Deciding which is which isn’t easy.
Especially with: “voices that sound like synths, and synths that sound like voices.” That’s not the only curveball on Tundra. What about the inclusion of field recordings from motorway tunnels in Japan? Then there’s recordings of church bells from Schöneberg. Recordings of a female choir from Dublin and Inuit throat singers play their part in the sound and success of Tundra, which I’ll tell you about.
Echtrae opens Tundra. It’s a track dominated by synths. They’re mostly shrill and jagged. That’s apart from the dark, buzzing bass synth. They’re joined by bursts of a floaty, dreamy vocal. Contrasts abound. Sometimes, the track is dark and dramatic, other times, ethereal and lysergic.
A tender, ethereal vocal is panned on Milch. The arrangement is floaty and dreamy. There’s a downtempo sound. That’s until thunderous techno drums make their presence felt. They dominate the arrangement, while the ethereal vocal floats in and out. Soon its beauty and elegance increase. All the time, the thunderous drums charge along. However, despite their volume, it’s the spellbinding beauty of the vocal that captivates.
As synths create a moody, broody arrangement, drums pulsate on Mountain Divide. Later, Hendrix-inspired feedback is unleashed. The tiger is tamed though. From chaos, comes order. So does an elegiac, melodic sound. Gradually, it makes its presence felt. Mostly though, the music is dark, dramatic and pulsating. There’s almost a futuristic, cinematic sound. Especially when synths cascade and chime, drums skip and gallop and hi-hats hiss. They play their part in cinematic soundtrack for the sci-fi generation.
Vocalist Eileen Carpio features on Three Songs. Her elegiac, ethereal vocals will stop the listener in their tracks. It also adds to the melodic nature of Three Songs. She sings unaccompanied. Then her vocal drops out. Pounding, thunderous drums are added. They’re distorted. So are the Acid House synths. They sit back in the mix. Above the arrangement is the angelic, ethereal sound of Eileen Carpio’s vocal. It’s at the heart of the track’s success
Droning, buzzing synths sweep in as Ton’neru unfolds. Galloping, pounding drums join beeping, squeaking synths. Soon, a myriad of moody, atmospheric sounds flit in and out. Panning is used effectively, moving sounds around the arrangement. At one stage, you’re assailed and surrounded by this unpredictable and fascinating fusion of man and machine.
Straight away, drums pound on Halite. However, the drums are something of a curveball. They’re designed to throw you off the scent of what’s an enchanting and melodic track. Don’t let them. There’s much more to the track than the drums. Slowly and gradually the melody makes its presence felt. Later, the drums provide a hypnotic backdrop to this enchanting and melodic track.
Tundra, the title-track is another genre-melting track. Techno is main influence. Then there’s elements of ambient, drone, electronica and experimental music. There’s even a nod to Kraftwerk’s Radio Activity. That comes courtesy of the clicks and crackles in the background. These type of sounds have recently become more prominent on techno tracks. Often they sit in the background, adding another layer. That’s not the case here. They play more than a walk-on role. As the mesmeric arrangement unfolds, Tundra sounds as if it’s been inspired by Kraftwerk’s Autobahn. It’s like a six minute musical journey courtesy of The Man Machine that is Lakker.
The drums on Pylon pound and then reverberate. They’re soon joined by washes of crackly synths. Soon, bells briefly ring out melodically. Mostly drums click and pound, while synths crackle. Occasionally a train whistles and piano plays. Later, a gong sounds, bells chime and a melody is picked out carefully on a piano. By then, you’re listening intently, decoding the disparate sounds that Lakker unleash on this innovative fusion of organic and synthetic sounds.
Hypnotic describes Oktavist perfectly. Whether it’s the drones, cracks, keyboards or drums, they’re hypnotic. The droning sound of the track has a hypnotic effect. You’re drawn into the track, intent on exploring its subtleties and nuances. Sometimes, there’s a melodic twist. Other times, Oktavist takes on an industrial sound, as Lakker push musical boundaries to their limits.
Herald, which closes Tundra is another genre-defying track. Lakker seem determined to explore other musical genres. This includes avant-garde and experimental. However, elements of ambient music shine through, resulting in a track that’s wistful, dreamy and lysergic.
Lakker’s new album, Tundra, which was recently released by R&S Records, is an ambitious, groundbreaking and genre-defying album. Elements of ambient, avant-garde, drone, electronic, experimental, neo-classical, techno and world music shine through on what’s a truly captivating musical journey.
The music on Tundra is variously challenging, dramatic, dreamy, ethereal, hypnotic, lysergic, melodic, mesmeric and wistful. Influences melt into one. This includes the music released by No U-Turn Records and the choral music of Arvo Part. Other influences include Merzbow, early Human League, Jimi Hendrix, Kraftwerk and raw, ethnic music. These disparate influences play their part in Tundra, the album that many within the music industry knew Lakker were capable of making.
To make what’s a career defining album, Tundra, Lakker have combined the organic and synthetic. In doing so, the lines have been blurred. Deciding which is which, isn’t easy. Especially when Lakker include “voices that sound like synths, and synths that sound like voices.” That’s one of many curveballs on Tundra.
As the ten tracks on Tundra unfold, it’s almost impossible to second-guess Lakker. When you do, Lakker take Tundra in the opposite direction. In doing so, the two members of Lakker, Dara Smith and Ian McDonnell take you on a captivating musical journey. All you can do, is sit back and enjoy this magical, musical mystery tour.
As you do, ten soundscapes unfold on Tundra. Each and every one, is very different from its predecessor. That’s no bad thing. Never will Lakker be accused of being predictable. They’re don’t rest on their laurels. No. Instead, Lakker make music that’s exciting, innovative and full of nuances, subtleties and surprises.
That’s what Lakker have been doing for the last nine years. However, for much of that time, Lakker have lead a nomadic existence. They’ve moved from label to label. Often, Lakker move on after one or two releases. However, in 2014 that changed.
Lakker signed to R&S Records. This just happened to coincide with one of the most fruitful periods of Lakker’s nine year career. Since then, Lakker have released some of the best music of their career. This includes two critically acclaimed E.P.s, and Lakker’s new album Tundra, which is a career defining album from the Dublin based duo.
LAKKER-TUNDRA.
dereksmusicblog
dereksmusicblog 