KEB DARGE AND LITTLE EDITH’S LEGENDARY WILD ROCKERS VOLUME 5.
KEB DARGE AND LITTLE EDITH’S LEGENDARY WILD ROCKERS VOLUME 5.
Four years ago, in June 2011, Keb Darge and Little Edith released the first instalment in their Legendary Wild Rockers’ compilation series, on BBE Music. This was Keb Darge and Little Edith’s Legendary Wild Rockers. It was so successful, that Keb Darge and Little Edith’s Legendary Wild Rockers’ series has been an annual occurrence. This is quite ironic, given Keb once called the records on the Legendary Wild Rockers’ series as “junk records.”
This was after Keb’s divorce. Like many people, a divorce proved devastating for Keb. He was forced to sell his beloved record collection. For a working DJ, this was a disaster. Without records, a DJ-ing career wasn’t feasible. Heading out into civvy street, Keb tried various jobs to make ends meet. Then, when he rediscovered some records in his loft, this would change his career, and life.
One night, Keb discovered a pile of records in his loft. When he looked through them, he realised that this was “only” his “junk records.” Or so he thought.
Little did Keb realise that his “junk records” would give birth to two musical phenomena. The first was “deep funk,” which Keb is the founding father of. However, Keb’s “junk records” would also feature on the early volumes of the Legendary Wild Rockers’ series.
Keb’s “junk records” player their part in the success of Keb Darge and Little Edith’s Legendary Wild Rockers. Back then, this was just the first instalment in the Legendary Wild Rockers’ series. Neither Keb, nor Little Edith realised that the Legendary Wild Rockers would become an annual occurrence.
Just over a year later, Keb Darge and Little Edith’s Legendary Wild Rockers 2 followed in July 2012. It featured R&B, rockabilly and surf. This eclectic selection of music caught the attention of music lovers. Keb and Little Edith were on a roll.
It was almost inevitable that there would be a third instalment in the Legendary Wild Rockers’ series. That came as no surprise. The Legendary Wild Rockers’ series had become one of BBE Music’s most popular series. Eleven months later, and Keb Darge and Little Edith’s Legendary Wild Rockers 3 was released to widespread critical acclaim. Somehow each instalment in the series seemed to surpass the previous instalments. Keb’s “junk records” were quickly becoming a musical phenomenon. However, this musical phenomenon nearly was no more.
In 2013, the village in the Philippines where Keb Darge and Little Edith livex was destroyed by a typhoon. Nothing was heard of Keb Darge and Little Edith for several days. Some people feared the worst.
Eventually, came the news, Keb Darge and Little Edith were safe. They’d survived one of the most devastating typhoons to hit the Philippines. It had been a harrowing period for Keb Darge and Little Edith. Despite this, they were determined to compile Keb Darge and Little Edith’s Legendary Wild Rockers 4.
Somehow, Keb and Little Edith managed to cheat death. Their house was in ruins and much of their possession destroyed. So, Keb and Little Edith had to escape from the devastation left behind by the typhoon. They decided to return to London, clutching a pile of records.
Among the records that Keb and Little Edith brought back to London, were the twenty tracks that made their way onto Keb Darge and Little Edith’s Legendary Wild Rockers 4. They were recorded between 1956 and 1964. These tracks were recorded by some of the music’s pioneers. This was perfect for Keb and Little Edith’s comeback compilation.
Despite the trauma that Keb and Little Edith had experienced, they had managed to compile what was regarded as the finest compilation in the Legendary Wild Rockers’ series. Critics, cultural commentators and music lovers were one over by Keb Darge and Little Edith’s Legendary Wild Rockers 4. After four volumes, there was still live in the Legendary Wild Rockers’ series. Did this mean there would be a Volume 5?
Of course there would be. Summer wouldn’t be summer without the latest instalment of the Legendary Wild Rockers’ series. So, on 11th May 2015, Keb Darge and Little Edith’s Legendary Wild Rockers Volume 5 was released on BBE Music.
Keb Darge and Little Edith’s Legendary Wild Rockers Volume 5 features a total of twenty-one tracks. The music is described as “more raw, rootsy rockabilly and surf sounds.” There’s contributions from Ahab and The Wailers, The Thunderbolts, Bobby Verne, Wally Hughes, The Dynamics, Bobby De Soto, The Jesters, Brownie Johnson and Elroy Dietzel. Together on Little Edith’s Legendary Wild Rockers Volume 5, which I’ll pick the highlights of.
This comes courtesy of Ahab and The Wailers. They released Cleopatra’s Needle, in Britain, on Pye Records, in 1963. This proved to be their one and only single. On the flip side was Neb’s Tune. It’s best described as cinematic surf, with a proto psychedelic sound. Neb’s Tune wouldn’t sound out of place on the soundtrack to the latest Tarrantino movie. If the rest of Keb Darge and Little Edith’s Legendary Wild Rockers Volume 5 is as good as Neb’s Tune, it’s going to be an explosive journey.
Originally, Ron Haydock and The Boppers released Baby Say Bye Bye on Cha Cha Records, in 1960. This was a year after they released their debut single 99 Chicks. Neither 99 Chicks, nor Baby Say Bye Bye proved particularly successful. However, both tracks are well regarded, and were later reissued. Keb Darge and Little Edith eschew the predictable however. Instead, they flip Baby Say Bye Bye over, and choose to cover Maybelline. While it’s an oft-covered track, Ron Haydock and The Boppers deliver a blistering and joyous version of this classic track.
In 1959, Jonnie and The Cyclones decided to release Scrub Bucket as a single. Rather than sign to a record label, they founded their own label McCady Records. Its first release was Scrub Bucket. On the B-Side, was Twisted Fender, a slice of surf rock. It’s become a favourite within the surf community, and found its way onto the Surf-Age Nuggets: Trash and Twang Instrumentals. No wonder. It’s an irresistible instrumental.
The Dynamics were a Louisville group, who provide another surf rock instrumental, Later On. It was recorded at Farrell Records, on Portland Road, Louisville. With its twanging guitars and blazing saxophone, it’s a real find and must be one of the highlights of Keb Darge and Little Edith’s Legendary Wild Rockers Volume 5.
Duke Dickson and The Teens are another group that only released one single. Mind you, what a single it was. Is You Is Or Is You Ain’t was released in 1959, on Bakersfield based, Global Records. Sadly, Global Records only released one further single, Joe Hall’s Bongo Beating Beatnik. The labels finest moment was undoubtably, the rock ’n’ roll of Duke Dickson and The Teens’ Is You Is Or Is You Ain’t.
Most people associate Folsom Prison Blues with Johnny Cash. It’s one of his classic songs. However, other people have covered Folsom Prison Blues. This includes Billy Tidwell and The Chivells. It was the B-Side to their 1965 single, I Was Standing Too Close To A Heartache. It was released on the Ko Co Bo label in 1965, and nowadays, is a real rarity. There’s a reason for this. The record company picked the wrong song for the single. Billy Tidwell and The Chivells’ cover of Folsom Prison Blues far surpasses the quality of I Was Standing Too Close To A Heartache. So when it was released, the single flopped. Since then, copies of the single have become increasingly rare. Collectors that have a copy, are holding onto them. Nowadays, the only way to get hold of a copy of this hidden gem, is by buying a copy of a compilation like Keb Darge and Little Edith’s Legendary Wild Rockers Volume 5.
If you’re a fan of rockabilly, then Alvis Wayne’s Swing Bop Boogie will be right up your street. This was Alvis’ debut single. It was penned by Tony Wayne, and released on the Westport label, in 1956. Swing Bop Boogie features a vampish vocal from Alvis, who pays homage to Elvis on this poppy slice of rockabilly.
The rockabilly keeps on coming. Bob Doss contributes Don’t Be Gone Long. It was released on Starday Records, and features none other than Hal Harris on guitar. His guitar is at the heart of the track. So is Bob’s Elvis’ inspired vocal. They play their part in what’s considered to be a rockabilly classic that was later reissued by Starday Records in 1972.
Royce Porter is responsible for what’s one of my favourite rockabilly tracks on Keb Darge and Little Edith’s Legendary Wild Rockers Volume 5. That’s Yes I Do. It was written by Roy Doggett and released on Look Records. With its jangling guitar, sweeping harmonies and a vocal that sounds as if it has been inspired by The King, Yes I Do is still guaranteed to fill a dance-floor.
The Jesters close Keb Darge and Little Edith’s Legendary Wild Rockers Volume 5 with their own brand of musical magic. Panther Pounce is their second contribution. The first was Side Tract, one of the rarest tracks on Keb Darge and Little Edith’s Legendary Wild Rockers Volume 5. The last copy of this surf rock track I could find, sold for $257. That was over a year ago. For that price, you could buy every volume in the Legendary Wild Rockers’ series. As for Panther Pounce, copies are almost impossible to track down. Apparently, this is a take on Strange Man, which Jim Messina and The Jesters recorded. Of the two versions, my favourite is definitely the uber rare and urgent Panther Pounce.
Just ten months after Keb Darge and Little Edith released their comeback compilation, Keb Darge and Little Edith’s Legendary Wild Rockers 4, they make a very welcome return with Keb Darge and Little Edith’s Legendary Wild Rockers Volume 5. It was released by BBE Music on 11th May 2015. Featuring twenty-one slices of rare rockabilly and surf rock, it’s the perfect soundtrack to the summer. That’s not all.
Somehow, Keb Darge and Little Edith’s Legendary Wild Rockers Volume 5 have managed to do what looked almost impossible, and surpassed the quality of the previous volumes in the series. That took some doing. Volume 4 was crammed full of quality cuts. However, Keb Darge and Little Edith pulled out all the stops for Keb Darge and Little Edith’s Legendary Wild Rockers Volume 5.
Starting with Ahab and The Wailers, Ron Haydock and The Boppers, Jonnie and The Cyclones, The Dynamics, Duke Dickson and The Teens, Alvis Wayne, Royce Porter and finishing with The Jesters’ unique brand of musical magic. In between, The Thunderbolts, Bobby Verne, Bobby De Soto, Brownie Johnson and Elroy Dietzel play their part in the sound and success of Keb Darge and Little Edith’s Legendary Wild Rockers Volume 5, which is without doubt, the best instalment in the series.
KEB DARGE AND LITTLE EDITH’S LEGENDARY WILD ROCKERS VOLUME 5.
I HAVE A TRIBE-YELLOW RAINCOATS E.P.
I HAVE A TRIBE-YELLOW RAINCOATS E.P.
Ever since 2012, Patrick O’Laoghaire has been one of music’s rising stars. Patrick first came to prominence as a member of Dublin based band Slow Skies. They were founded in 2012, and featured Karen Sheridan, Conal Herron and Patrick O’Laoghaire. Less than a year later, and Slow Skies were ready to release their debut E.P.
Slow Skies released their debut E.P., Close in May 2013. Close was well received by critics. A great future was forecast for the Dublin based trio.
Fast forward to September 2014, and Slow Skies had released their sophomore E.P. Keepsake . Suddenly, critics were taking notice of Slow Skies. They were now classed as “one to watch.” However, by then, Patrick O’Laoghaire had also embarked upon a solo career.
For the last few couple of years, Patrick had been contemplating a career as a singer-songwriter. So, he adopted the pseudonym I Have A Tribe, and was soon one music’s rising stars.
I Have A Tribe released their debut E.P. Yellow Raincoats in May 2014. Yellow Raincoats, which featured four songs penned by Patrick, was recorded in Dublin. Monsoon was produced by Conor O’Brien, who added beats and synths. Rob Ellis played on and produced, Yellow Raincoats, Biscayne and Wake The Cavalry (We’re Moving On). Once the four tracks were recorded and mastered, the Yellow Raincoats E.P. was ready for release in Europe by Grönland Records.
The Yellow Raincoats E.P. was released in May 2014. It was released to widespread critical acclaim. Critics were won over by I Have A Tribe’s fusion of folk and pop. The highlight of the Yellow Raincoats E.P., was Monsoon, a beautiful ballad. It caught the attention of Anna Calvi.
Anna Calvi was about to head off on a tour of Europe. She was looking for an opening act. When she heard Monsoon, Anna decided that I Have A Tribe fitted the bill.
So, each night, during Anna Calvi’s European tour, I Have A Tribe opened for her. Suddenly, I Have A Tribe’s music was being heard across Europe. Patrick O’Laoghaire was winging friends and influencing people, including Villagers.
Just like Anna Calvi, Villagers were looking for someone to open their Irish homecoming show. Who better than fellow countryman, I Have A Tribe? Villagers couldn’t have picked a better act. I Have A Tribe charmed the audience with their unique fusion of pop and folk. This however, wasn’t the end of this whirlwind year.
Over a twelve month period, I Have A Tribe were asked to play at some of the biggest music festivals. This included The Great Escape, Electric Picnic, the Reeperbahn Festival and CMJ in New York. Things it seemed, couldn’t get much better. However, it did.
I Have A Tribe was asked to headline at The Button Factory in Dublin. For Dublin based Patrick O’Laoghaire this was a huge thrill. Especially when he was welcomed with open arms by his hometown audience. With every appearance, it seemed, I Have A Tribe’s star was in the ascendancy. So, it was time for I Have A Tribe to record the followup to Yellow Raincoats, which I’ll tell you about.
Monsoon opens the Yellow Raincoats’ E.P. Accompanied by just a lone piano, Patrick’s vocal is heartfelt and emotive, as he delivers the cinematic lyrics. He paints pictures with his lyrics. So much so, that you can imagine the scenes unfolding before your eyes, and a Monsoon sweeping in. Meanwhile, Patrick is safely “cocooned” in his cottage in the hills. By then, a drum machine accompanies the piano. Patrick’s vocal is akin to a cathartic outpouring of emotion as he warns “Monsoon coming.”
Synths open Yellow Raincoats. They have an almost industrial sound. Their sound is bold, becoming almost hypnotic. Meanwhile Patrick’s vocal is wistful and almost grief-stricken. Guitars chime and ring out. Still the industrial synths, click and clack ominously. It’s as if they’re reflecting what Patrick’s feeling and suffering. That’s despair. As Patrick delivers a soul-searching vocal, the lyric “the depression rose in my throat,” is akin to a glimpse of his weary, troubled soul.
Patrick dawns the role of troubadour on Biscayne, a quite beautiful ballad. That’s apparent from the opening bars. Accompanied by his guitar, he sings: “I don’t want to let you down.” As string synths sweep in and ripple, Patrick almost uses his voice as instrument. It soars and weaves above the arrangement, sounding not unlike Jeff Buckley circa Grace. That might sound like high praise, but Patrick O’Laoghaire is a hugely talented singer. Especially when he becomes a balladeer, like does on Biscayne a beautiful ballad.
Wake The Cavalry (We’re Moving On) closes the Yellow Raincoats E.P. Briefly, the arrangement quivers and trembles, before resonating and introducing Patrick’s vocal. He sings: “my pills are gone, my evening settled.” As he does, his voices quivers. Meanwhile, a piano, and soon synths are added. Later, as Patrick sings slowly and emotively, harmonies are added. So is a drum machine. By then there’s an element of drama. Especially, as Patrick sings: “Wake The Cavalry (We’re Moving On), run to Calgary.” There’s an element of drama as he delivers the cinematic lyrics. Later, harmonies respond to Patrick’s call, adding to the ethereal quality of this cerebral, dramatic and thoughtful ballad.
Although the Yellow Raincoats E.P. only features four songs from I Have A Tribe, one thing is obvious, and that is that I Have A Tribe are one of music’s rising stars. Other people have realised that.
Anna Calvi asked I Have A Tribe to open for her on her 2014 European tour. Villagers asked I Have A Tribe to open for on their Irish homecoming concert. Numerous festival bookers were keen to add I Have A Tribe to their roster. Soon, I Have A Tribe had built a large, loyal following across Europe and in America. So, it’s no surprise that one of Europe’s leading labels have added I Have A Tribe to their roster.
Grönland Records have added I Have A Tribe to their illustrious roster. They’ll release I Have A Tribe’s music in Europe. That should prove the perfect label for I Have A Tribe, as Grönland Records is also home to singer-songwriter William Fitzsimmons. Hopefully, I Have A Tribe will reach the same heights as William Fitzsimmons.
Certainly, Patrick O’Laoghaire a.k.a. I Have A Tribe, is a talented singer, songwriter and musician. He writes songs that are beautiful, cerebral, cinematic, melancholy, poignant, thoughtful and touching. They’re framed by arrangements that are understated. They don’t get in the way of the vocal. Instead, the vocal is allowed to breath and becomes the focus of your attention. That’s as it should be.
Patrick’s delivery is heartfelt, emotive and melancholy. He doesn’t so much deliver the lyrics, but lives them. That’s why there’s an intensity to the four tracks on I Have A Tribe’s Yellow Raincoats debut E.P.
While the Yellow Raincoats E.P. is I Have A Tribe’s debut E.P., it won’t be their last. Another E.P. from I Have A Tribe is due for release on Grönland Records. I’m sure that the music on I Have A Tribe’s sophomore E.P. will be just as beautiful, intense and powerful as the four tracks on the Yellow Raincoats E.P.
I HAVE A TRIBE-YELLOW RAINCOATS.
DUKE ELLINGTON AND HIS ORCHESTRA-THE CONNY PLANK SESSION.
DUKE ELLINGTON AND HIS ORCHESTRA-THE CONNY PLANK SESSION.
By 1970, thirty year old Conny Plank was already well on his way to establishing a reputation as one of the most innovative producers in Germany. He had come a long way since his early days working as Marlene Dietrich’s sound engineer.
When multi-track recording was introduced, Conny spent time investigating its sonic possibilities. Soon, he was able to create dramatic productions through the use of effects. These production techniques would become part and parcel of Conny’s production style. Especially, when he worked on two of his musical loves.
Electronic music and soundscapes were two of Conny’s passions. He was an early advocate of electronic music’s possibilities, and throughout his career, worked with some of the leading lights of Germany’s electronic scene, including Kraftwerk and Cluster.
Indeed, in 1969 Conny Plank was asked to engineered Kluster’s debut album Klopfzeichen. It was released in 1970, the same year Conny Plank was asked to work with one of the legends of music, Duke Ellington.
To this day, an element of mystery surrounds the background to how Duke Ellington and His Orchestra came to work with Conny Plank. Several theories abound. One theory was that Wolfgang Hirschmann, a sound engineer, and onetime leader of the Westdeutscher Rundfunk big band, asked Conny to take charge of the sessions. However, when Wolfgang Hirschmann was asked about this, he was unaware of the sessions. That however, isn’t the only mystery surrounding The Conny Plank Session, which will be released by Grönland Records on 10th July 2015.
There’s even some debate about when the recording took place. Although the master tape is dated April 1970 this has been disputed. Those who chronicle Duke Ellington’s discography, date the sessions as July 1970. Most likely, this is because Duke Ellington and His Orchestra were touring Europe in July 1970. However, in the archives, there’s nothing to suggest Duke Ellington and His Orchestra recorded The Conny Plank Session at Rhenus Studio, Cologne, in July 1970. This would suggest that the session took place sometime in April 1970. By then, The Duke was approaching veteran status. He had come a long way since his early days in music.
Duke Ellington was born into a middle class family in Washington D.C. on April 29th 1899. Growing up, Duke Ellington learnt to play the piano. Before long, he was a prestigious talent. It was no surprise that in 1914, aged just fifteen, Duke Ellington made his professional debut. This was just the start of a long and successful career. Bandleader, composer, pianist and political activist, Duke Ellington did it all.
He moved to New York in the early twenties. In 1923, Duke Ellington formed his own orchestra in 1923. He played at the Cotton Club during the twenties. In the thirties, Duke Ellington and his orchestra toured the world. Right up to his death in 1974, Duke Ellington was still leading his orchestra. However, it wasn’t all smooth sailing for Duke Ellington.
After the Second World War, music changed. Duke Ellington’s orchestra was perceived as the music of the past. Crooners were the future. Frank Sinatra and Jo Stafford were flavour of the month. This was just the start of a slump in Duke Ellington’s popularity. At one point, Duke Ellington’s income as a songwriter and performer was subsidising his orchestra. Thing would get worse before they got better.
During the early fifties, Duke Ellington’s orchestra lost some of its top musicians. Not long after this, Duke Ellington’s music was seen as old fashioned. Bebop was the future. Duke Ellington’s popularity suffered. Things got so bad that he had to scale back his orchestra. However, in 1956, Duke Ellington became the comeback King.
At the 1956 Newport Jazz Festival, Duke Ellington made his comeback. Ironically, two of the songs at the centre of his comeback were old songs. Diminuendo and Crescendo in Blue had been part of Duke Ellington’s show since 1937. They were often overlooked. Not at the Newport Jazz Festival. This was just part of an explosive set that introduced Duke Ellington to a new generation of music fans. Such was the effect of Duke Ellington’s appearance at the Newport Jazz Festival, that Duke Ellington made the front page of Time magazine. Following the Newport Jazz Festival, there was a revival of interest in Duke Ellington’s career.
Right through the rest of the fifties and early sixties, Duke Ellington recorded a number of film soundtracks. This included 1957s Such Sweet Thunder, 1959s Anatomy Of A Murder and 1961s Paris Blues. For Duke Ellington, his career was back on track.
Especially when he started working with some of the current biggest names in jazz. Duke Ellington worked with Coleman Hawkins, John Coltrane, Charles Mingus and Max Roach. Although Duke Ellington was seen as part of jazz’s past, the new generation of jazz musician’s embraced him. They enjoyed working with one of jazz music’s legends. Duke Ellington still had plenty to offer jazz music.
This became apparent in 1963. This was the hundredth anniversary of President Lincoln’s Emancipation Proclamation. It stated that all slaves in the ten rebel states would be free. Duke Ellington was determined that this date should be celebrated. However, America in 1963 was a troubled country.
Racism was still rife in parts of America. So was poverty and conflict. Then there were the problems America were encountering abroad. Tensions were rising between East and West. The Cold War was at a crucial juncture. Then there was the war in Vietnam. A generation of Americans were losing their lives in Vietnam. For many people, there wasn’t much to celebrate. However, Duke Ellington wasn’t going to let the centenary of President Lincoln’s Emancipation Proclamation passed unnoticed.
To celebrate what was one of the most important dates in America’s history, Duke Ellington wrote My People, a stage play that celebrated President Lincoln’s Emancipation Proclamation. The soundtrack to My People was released in 1963. Despite being an important musical document, commercial success eluded The Duke. So, he spent much of the sixties touring and recording the occasional album.
Throughout the rest of the sixties, Duke Ellington seemed to be on a never ending tour. He seemed to spent months circumnavigating the globe with his orchestra. Still, albums were being released in The Duke’s name.
Many of the albums released, were live albums. It seemed that whenever Duke Ellington played live, the tapes were running. Many live albums were released, and would be released long after Duke Ellington’s death in 1974. Still, though, Duke Ellington found time in his busy touring schedule to enter the studio.
By the second half of the sixties, studio albums were becoming something of a rarity for Duke Ellington. An exception was The Popular Duke Ellington. It was released in 1966, but neither excited critics nor record buyers. Although The Duke was a popular live draw, some thought he had lost his Midas touch in the studio.
In 1967, Duke Ellington released Soul Call and The Far East Suite. They were an improvement on albums like The Popular Duke Ellington. Both albums saw The Duke trying to move with the times. Maybe there was still life in The Duke?
During the remainder of the sixties, Duke Ellington spent much of his time touring. He collaborated with Frank Sinatra on Francis A. and Edward K. It was released in 1968. Tellingly, The Chairman Of The Board took top billing. For Duke Ellington, who had spent fifty-four years as a professional musician, this must have been galling. However, by 1968 Frank Sinatra was a bigger draw than The Duke.
Despite this, when Duke Ellington celebrated his seventieth birthday in 1969, the great and good of music paid tribute to one of jazz’s leading lights. A concert was held to celebrate The Duke’s seventieth birthday. It was released in 1970 as Duke Ellington’s 70th Birthday Concert. That was the year Duke Ellington recorded The Conny Plank Session in Cologne.
It was in April 1970, that Duke Ellington and His Orchestra arrived at Rhenus Studio, Cologne. The Duke and his entourage were welcomed by one of German music’s rising stars, Conny Plank. He was responsible for recording Duke Ellington and His Orchestra. They recorded a total of six tracks, three takes of Alerado and three takes of Afrique. They’ve lain in Conny Plank’s vaults since the recording session in April 1970. That’s until they arrived at Grönland Records’ offices.
Having listened to what became The Conny Plank Session, Grönland Records realised they had struck gold. This was very different from the unissued recordings of Duke Ellington and His Orchestra that occasionally come to light. Most of them are live recordings. The remainder, are mainly outtakes or Duke Ellington and His Orchestra noodling. Not here.
Somehow, Conny Plank had managed to get the best out of Duke Ellington and His Orchestra. He had encouraged, cajoled and charmed a performance out of Duke Ellington and His Orchestra. It was as if Conny Plank had managed to transfer Duke Ellington and His Orchestra’s famous live sound onto the master-tape. Somehow, Conny had gotten one of the last great unreleased recordings of Duke Ellington and His Orchestra. They make their debut on the much anticipated The Conny Plank Session, which I’ll tell you about.
Opening The Conny Plank Session is Alerado (Take 1). It’s the first of three takes of Alerado. Straight away, grizzled horns and a standup bass drive the arrangement along. Meanwhile, washes of organ are added. That’s until the arrangement takes on an understated sound. With just the rhythm section for company, a flute adds the first solo. Next in the spotlight is the organ. Bold stabs and splashes of organ take centre-stage. Next up it’s the trumpet. It’s panned left by Conny Plank, while the organ is panned right. This ensures the mix is balanced. After the solos, the arrangement becomes a joyous sonic explosion. It’s as if The Orchestra have taken to their feet, and added some swing, before taking Take 1 to its joyful crescendo.
Straight away, there’s similarities between Alerado (Take 2) and Take 1. The horns lead the way. They’re aided and abetted by the organ, before a wistful flute is added. Deep down in the mix, subtle bursts of organ can be heard. Then when it’s time for the organ to enjoy its moment in the sun, it’s loud, proud and brash. It’s the polar opposite for the subtle, restrained sound of the horn. As the flute plays, the organ is reigned in, ensuring it doesn’t overpower the horn. Then it’s time for The Orchestra to kick loose. They seem to savour this moment. From 2.38 to 3.15 they sweep dramatically, but elegantly along. High kicking horns, the rhythm section and the organ unite. After that, The Orchestra plays within itself. There’s a subtlety to their playing as the arrangement meanders along, instruments dropping in and out, enjoying their moment in the spotlight.
On Alerado (Take 3), the tempo is dropped. It’s noticeable from the opening bars. Mostly, it’s the same instruments that play. This includes horn and rhythm section. They play slowly, thoughtfully and within themselves. Noticeably absent is the organ. That’s until it plays a supporting to a sultry horn. Gradually, stabs of organ make their presence felt. Soon, they’re taking centre-stage as the tempo rises. As the organist improves, the rhythm section up the tempo. That’s the signal for the horns to blaze in. Soon, they’re soaring about the arrangement. Later, they become restrained as the plucked bass helps power the arrangement along, as Duke Ellington and His Orchestra reinvent Alerado.
The three versions of Alerado are quite different. On the three different takes, the instruments are switched round. They’re used in different ways and at different times. Then on Alerado (Take 3), there’s a noticeable change in tempo at the start. That’s a curveball. Later, The Orchestra are let off the reigns, as they continue to reinvent Alerado. They do the same with Afrique.
Unlike the other two takes of Afrique, Afrique (Take 1) is seven minutes long. From the get-go, the track has a much more contemporary sound. Duke Ellington stabs urgently at his piano. Meanwhile, thunderous drums provide a pulsating heartbeat. Washes of organ give way to horns that growl menacingly. It’s as if firing off a warning shot. Soon, their sound changes, becoming sultry and slinky. Still, thunderous drums punctate the arrangement. So do bursts of braying horns and The Duke’s piano. By now, it’s as if The Orchestra are incorporating elements of free jazz, and thanks to the organ, soul jazz. Washes of cascading organ are fired off, and sit well with the bursts of grizzled horns and the discordant piano. Playing a crucial part, are the Afro-beat inspired drums. Their distinctive and thunderous heartbeat is a masterstroke. Just like the rest of The Orchestra, they play their part in an innovative, genre-defying epic from Duke Ellington and His Orchestra.
Whereas Afrique (Take 1) was seven minutes long, Afrique (Take 2) lasts just over five minutes. Straight away, drums replace the piano. The drums are joined by the organ, and stabs of piano. Braying horns join, before become sultry and slinky. They’ve a vintage sound. Soon, they growl, bray and howl. Still the thunderous, urgent drums pulsate. Later, the horns protest and the organ sounds. It replicates the sound of the horn. While all this is going on, the mesmeric drums provide a backdrop. A scrabbled bass and wistful horn unite. The Duke adds a dark and discordant sounds on his piano, as the arrangement gallops along creating a very different and totally captivating take on Afrique. Especially when it reaches it dramatic crescendo.
Closing The Conny Plank Session is Afrique (Take 3). This take is a similar length to Take 2. However, it’s quite different. The introduction is more like Take 1. Drums gallop along, washes of organ and stabs of piano combine. Then horns growl and bray. Before long, a sultry horn signals the sound of an ethereal female soprano vocal. It ghosts across the arrangement. Soon, the vocal, which many believe came courtesy of Conny Plank’s wife, is transformed into an instrument. She scats, honing and shaping her soaring vocal so it melts into the mix. As it does, grizzled horns, hypnotic drums, plink plonk piano and a scrabbled bass unite. Washes of organ replace the vocal. A horn replies to the organ’s cry. Then the sultry horn signals the return of the ethereal, ghostly vocal. From there, the Orchestra drive the arrangement along, and they continue to push musical boundaries. In doing so, they create what’s without doubt, the most groundbreaking, compelling and dramatic take of Afrique. Partly, that’s thanks to the addition of the vocal, which is was another masterstroke.
Just like the three versions of Alerado, the three takes of Afrique see the track reinvented. Duke Ellington and His Orchestra begin with Take 1, a seven minute epic. It’s a truly tantalising and innovative take. One wonders if this is the definitive version? However, it’s not. Take 3 steals the show. The addition of vocal was a masterstroke. Its ethereal sound, and the way the vocal is transformed into an instrument was an innovative addition. It weaves its way around, and above the arrangement, creating a captivating ethereal sound. This was something the pioneers of free jazz and avant-garde music had been doing for several years. One wonders if this was one of The Duke or Conny Plank’s idea?
While The Duke was quite rightly perceived as one of jazz music’s legends, he had spent much of the sixties touring. Conny on the other hand, was a true innovator, who was always one step ahead of the musical pack. He wasn’t just interested in the music of the past and present, he was interested in creating the music of the future.
Given Duke Ellington’s last few studio albums had been neither successful nor particularly innovative, Conny had the chance to help rejuvenate The Duke’s career. To do this, he combined music of the past, the present and the future. Elements of Afro-beat, free jazz, jazz, soul jazz and swing were combined with avant-garde and experimental music. Especially on the three takes of Afrique. It’s as if Conny Plank encouraged The Duke to head in new musical directions.
In doing so, Conny Plank coaxed, cajoled and encouraged a series of spellbinding performances from Duke Ellington and His Orchestra. Conny takes The Duke out of comfort zone, and encourages him to head on musical voyage of discovery. To do that, Conny charmed, encouraged and flattered Duke Ellington. He did whatever it took to get the best performance from The Duke. Once The Conny Plank Session was complete, Conny let Duke Ellington hear the fruits of their labour.
As Conny and Duke Ellington listened to the six tracks, the veteran jazz musician was enthralled. He complemented Conny for his work. Somehow, he had captured Duke Ellington and His Orchestra at their best. It was one of the last great recordings The Duke made. Sadly, however, Conny and The Duke never worked together again.
Whether the tracks on The Conny Plank Session, which which will be released by Grönland Records, on 10th July 2015, were meant to be the start of an album by Duke Ellington and His Orchestra, we’ll that is unclear. Information is scarce about The Conny Plank Session. What’s clear is that the session made a big impression on both men.
By the time Duke Ellington left Cologne, Conny Plank had made a big a big impression on The Duke. Sadly, Duke Ellington would only live another four years. He died in 1974. However, Duke Ellington and His Orchestra recording career enjoyed something of a renaissance. 1971s The Afro-Eurasian Eclipse and 1972s Latin American Suite saw a return to form from The Duke. Maybe Conny Plank had inspired Duke Ellington?
Conny Plank had certainly learnt a lot from The Conny Plank Sessions. He had never worked with a big band. It was a sound he had never experienced, but thoroughly enjoyed. After The Conny Plank Sessions, Conny realised that the performance was everything. He could only produce what was there. This is still true today. It doesn’t matter what technology or equipment a studio has, it counts for nothing if the performance isn’t any good. That stood Conny Plank in good stead right through his career.
Right up until his untimely death in 1987, Conny Plank worked with some of the most innovative bands in the history of music, including Kraftwerk, Cluster, Neu!, Harmonia, Holger Czukay , Brian Eno and The Scorpions. Each and every one of these artists owe a debt of gratitude to Conny Plank, producer, musician and innovator. This also includes Duke Ellington and His Orchestra, who worked with Conny Plank in April 1970, on the long lost, and eagerly anticipated, The Conny Plank Session, which will be released by Grönland Records on 10th July 2015.
DUKE ELLINGTON AND HIS ORCHESTRA-THE CONNY PLANK SESSION.
WILLIAM FITZSIMMONS-PITTSBURGH.
WILLIAM FITZSIMMONS-PITTSBURGH.
Like many artists, William Fitzsimmons draws upon personal experience for his songs. That has been the case since William released his 2005 debut album, Until When We Are Ghosts. Since then, William has released a further five albums.Each album has proved a compelling insight into William Fitzsimmons’ life.
It seems no subject is off-limits for William Fitzsimmons.On his third album, The Sparrow And The Crow, which was released in 2008, William relived the pain and trauma of his divorce. William was so badly affected by his divorce, that he took a two year break from music.
Only after a two year sabbatical from music, was William ready to resume his career. A year later, in 2011, he was ready to release one of his most personal albums, Gold In The Shadow. It dealt with the demons that have tormented William; the mistakes he has made in life; and the mental illness that he has suffered from. Gold In The Shadow was akin to a stark confessional. However, it also was a sign that William was on the road to recovery.
Since then, William’s career has continued apace. He released his sixth album Lions in 2013. Since then, William has been writing and recording another hugely personal album, Pittsburgh, which will be released on Grönland Records, on 18th May 2015.
Pittsburgh has been a long time coming. It was ten years ago that William first thought of the album, and the two themes that run through Pittsburgh. William describes Pittsburgh as: “It’s a memorial for my grandmother, who lived her whole life there, and it’s an honorarium to my hometown.” This makes Pittsburg a hugely personal album from William Fitzsimmons.
William Fitzsimmons was born in Pittsburgh, Pennsylvania in 1978. He was the youngest child in the Fitzsimmons family. Both of William’s parents were blind. Despite this, both parents were talented musicians, capable of playing a variety of disparate instruments. Their talent rubbed off on William.
By the time William was in elementary school, he was already able to play piano and trombone. This meant that William could join in the impromptu musical evenings in the Fitzsimmons family home.
With William’s parents both blind, music played an important part in the family home. Some nights, William’s parents, and the rest of the family, sang, and played the musical instruments that filled the house. For the Fitzsimmons’ family, these were happy times, with everyone sharing in a common interest, music. It would play an important part in William’s life.
When William entered junior school he began to teach himself guitar. Later, William learnt how to play banjo, melodica and ukelele. This would stand William in good stead when he embarked upon his musical career. That was a long way off.
Before that, William headed to college. He had decided to pursue a career in the mental health. Eventually, William hoped to become a therapist. This meant many years of study at Geneva College in Pennsylvania. Eventually, William graduated with a Masters Degree in Counselling.
Already William had experience working with people with mental health problems. This came during the summer months, when William was on holiday. However, during one summer, William’s interest in music was rekindled.
It was towards the end of his training, that William started writing and recording music. William was on a summer break. As usual, William was working. However, this summer he had been asked to write some songs. Rhis was in preparation for William beginning work as a therapist. However, it was partly a cathartic experience.
For some time, William had been suffering from some psychological problems. Through writing and recording a collection of songs, he was able to exercise some ghosts from William’s past. These songs became William’s debut album Until When We Are Ghosts. William self-released Until When We Are Ghosts in 2005.
Until When We Are Ghosts.
William wrote the eleven tracks that became Until When We Are Ghosts. He also played all the instruments and produced the album. Until When We Are Ghosts was then sold via William’s My Space page. It was a very personal album.
For Until When We Are Ghosts,William drew upon personal experience. With titles like When I Come Home, My Life Changed, Forsake All Others, The Problem Of Pain, When You Were Young and Shattered, it’s a soul-baring album. Until When We Are Ghosts is almost a cathartic confessional. This would be the case with much of William’s music.
Goodnight.
A year after releasing Until When We Are Ghosts, William was still juggling his career as a therapist, and as a musician. However, he had found time to write and record his sophomore album, Goodnight. It too, was a very personal album.
Just like Until When We Are Ghosts, Goodnight which was released in 2006, was a personal album. It dealt with his parent’s divorce. This obviously affected William badly. Songs like It’s Not True, Everything Has Changed, Leave Me By Myself, Please Don’t Go, You Broke My Heart, Never Let You Go, I Don’t Love You Anymore and Goodnight show just how his parent’s divorce affected William. It was a huge body blow, where the foundations of his life were shaken to the core. Suddenly, nothing seemed the same again.
The Sparrow And The Crow.
After a gap of two years, William returned with his third album. Ever since he release his first two albums, William’s profile was on the rise. His music began to feature on national television programs. Professionally, William was just as busy. Something had to give,
Ever since the making of Goodnight, William had been struggling. Things had been difficult. His marriage had come to an end, and William was undergoing a painful divorce. As if that wasn’t bad enough, the demons that had long haunted William had returned. What’s more, psychologically, William was struggling. So when the time came to write and record his third album, William had plenty of experience to draw upon.
Just like his two previous albums, The Sparrow And The Crow was a very personal and intense album. It was akin to a confessional.
On The Sparrow And The Crow, William relived relived the pain and trauma of his divorce. That’s apparent on I Don’t Feel It Anymore (Song Of The Sparrow), I Feel Alone, Further From You and Just Not Each Other. Then on Please Forgive Me (Song Of The Crow), William apologises to his wife. There’s a sense of hope on They’ll Never Take The Good Years. It’s sees William remembering that their time together wasn’t all bad. Like so much of The Sparrow And The Crow, the music is powerful, poignant and personal. So much so, that William revisited The Sparrow And The Crow the following year.
Derivatives.
Derivatives, which was William’s first release on Grönland Records, saw various songs from The Sparrow And The Crow reinvented.
For the reinvention of The Sparrow And The Crow guest artists and remixers were brought onboard. Guest artists included Brook Fraser. She featured on the George Raquet Remix of I Don’t Feel It Anymore. Loane featured on I Don’t Feel It Anymore. The Great Neck South High School Choir featured on You Still Hurt Me. Other tracks were remixed. Mikroboy remixed If You Would Come Back Home, while Pink Ganter remixed Good Morning and So This Is Goodbye. All this resulted in the reinvention of The Sparrow And The Crow. This showed a very different side to William Fitzsimmons’ music. Normal service was resumed on Gold In The Shadow.
Gold In The Shadow.
Three years after the release of The Sparrow and The Crow, William Fitzsimmons returned with his fourth studio album, Gold In The Shadow. It was another personal album, one where William reflected on what was one of the most difficult periods of his life.
Following his divorce, William was at his lowest. Psychologically, he wasn’t in a good place. He had been struggling to come to terms with his divorce, and the psychological problems that had long troubled him. It seemed that he had to reach his lowest, before rebuilding his life. That’s what he did.
Over the next couple of years, William confronted his inner demons. He came to terms with his divorce, and the other mistakes he had made. Most importantly, William sought help for the mental health problems that for a large part of his life, have afflicted him. With the problems of his past addressed, William set about healing his life. Part of this comes through music.
On Gold In The Shadow, William he describes the songs as: “a real and long coming confrontation with personal demons, past mistakes, and the spectre of mental illness that has hovered over me for the great majority of my life.” However, William concedes that the healing has begun.
No longer is William willing to submit to the illnesses and problems that have blighted his life. He had to change. There was no way he couldn’t continue as he had been doing. So William bravely confronted his problems and illnesses head-on. That’s apparent on Gold In The Shadow.
There’s a sense of optimism and hope on some of the songs on Gold In The Shadow. Fade and Then Return is proof of this. However, Gold In The Shadow also sees William combine therapy and music. This is the first William has broached first external perspective taking musically. On Gold In The Shadow, William examines not just his own life and his psychological struggle, but those around him. He does this on songs like Psychasthenia, Wounded Head, The Tide Pulls From The Moon Most and Blood And Bones. This results in a compelling, cerebral and personal album from singer, songwriter and therapist William Fitzsimmons, who was slowly, rebuilding his life.
Lions.
This continued on Lions, which was released in 2014. The long-awaited follow-up to Gold In The Shadow, was produced by Death Cab For Cutie guitarist Chris Walla. He played his part in what critics referred to as a “career defining album.”
Lions saw William pickup where he left off on Gold In The Shadow. He continued to document how he had rebuilt his life on Lions. It was an album to be proud of.
Prior to the release of Lions, William described his journey as “wonderful, painful, long, incredibly brief, and more educational and rewarding than any I’ve ever lived before. Lions is something I’m terribly proud of and utterly connected to.” And so he should be.
Critics hailed Lions, the finest album of William’s career. Songs like Well Enough, Josie’s Song, Hold On, From You and Speak were proof of this. Lions was a career defining album. It was the album many critics knew he was capable of producing. Everyone wondered what the future held for William Fitzsimmons?
Pittsburgh.
Just a year after Lions, William Fitzsimmons returns with another incredibly personal and poignant album, Pittsburgh.
Pittsburgh features seven songs, which were written, and produced by William. They play their part in what William describes as: a memorial for my grandmother.” She died in late 2014, “having lived her whole life in Pittsburgh.” William was obviously close to his grandmother. He wanted to tell the world how: “amazing a woman my grandmother was.” His way of doing this, is through the medium of music. The rest of Pittsburgh, is “an honorarium to my hometown” the city William and his grandmother shared for decades. It’s proved the inspiration for one of William Fitzsimmons’ most moving albums, Pittsburgh.
I Had to Carry Her (Virginia’s Song), opens Pittsburgh. Just a lone guitar is panned left, before it’s joined by a double that’s panned right. They envelop William’s vocal. It’s full of sadness and melancholia, as he sings of having to carry his grandmother’s coffin. A reflective William delivers the cinematic lyrics. Soon, he’s singing to her, telling her “I’m sorry it took me to two years to come, you should see how the kids have grown.” Cooing harmonies briefly sweep in, while percussion, guitars and keyboards combine. Together they provide the perfect backdrop for William’s beautiful, wistful homage to his grandmother.
Firmly William strums his guitar on Falling on My Sword. A lone drums booms in the background. Then suddenly, the tempo drops and William’s vocal enters. Just like the previous track, it sits forward in the arrangement. This is how it should be. Especially given the quality of William’s vocal and his lyrics. His delivery is heartfelt and emotive. There’s also an element of despair, as he sings: “you stand on the shoreline, shining like a bright light, but it’s not for me.” Behind him, ethereal harmonies sweep in, as an organ and guitar combine with plink plonk percussion. They frame William’s vocal, as with sadness and regret he sings: ‘“Falling on My Sword.” In doing so, he brings this folk-tinged track to a thoughtful crescendo.
The tempo rises on Better. Drums provide a pounding heartbeat. They’re accompanied by a bounding bass. By then, a heartbroken William sings: “I’m not enough to make you better.” Washes of keyboards and jangling, trembling guitars accompany William as he sings: “I will spread your ashes from the bridge from the city where we live.” It’s no ordinary city. Pittsburgh is the city where William and his grandmother, lived and shared. Poignant, melodic and full of poppy hooks, Better is one of Pittsburgh’s highlights.
Pittsburgh is another song that appears to have been inspired by William’s grandmother’s death. William examines not just his grandmother’s death, but those that fell on foreign fields. He also deals with the subject of forgiveness, asking can the sons forgive those responsible for their father’s death? Just like the previous songs, the arrangement is understated. At the start, it’s just William and his guitar. Soon, his melancholy, thoughtful vocal enters. As he reminisces, waves of quivering guitar and harmonies enter. They provide an understated accompaniment to William’s vocal. This is fitting, as he remembers: “the ones we left behind.” A piano is panned, a guitar is strummed and washes of steel guitar reverberate. Along with the ethereal harmonies they play their part in a track that’s not just beautiful, but cerebral, thoughtful and heart-wrenching.
Washes of synths open Beacon, another poignant song. Just a keyboards and guitar combine before they’re joined by William’s vocal. Together they play their part in creating a pensive and poignant backdrop. Tenderly, William remembers the loss of his grandmother: “I’ll watch you slip you go, into the dark where I cannot follow anymore. I’ll hold your head across the bridge who will be there, waiting for me.” After she is gone, William becomes the Beacon of her memory. It carries on through him. By the end of Beacon, you feel privileged to have heard what are, some of the most touching and poignant and lyrics on Pittsburgh.
An old school drum machine opens Matter. Soon, it’s joined by a Fender Rhodes and William’s thoughtful vocal. Soon, a guitar and buzzing bass enter. By then, William is telling the story of his grandmother’s life. Tenderly, and with sincerity, he delivers the lyrics. There’s a sense of sadness in William’s voice, when he sings of “the love I never gave to you, it doesn’t matter any more.” Despite the words he sings, regret fills William’s vocal. It’s apparent as his vocal drops out. Hypnotic drums and washes of guitar take centre-stage on William’s heartfelt tribute to his grandmother.
Ghosts of Penn Hills closes Pittsburgh. Just a lone guitar plays. It’s joined by William’s pensive vocal, as he sings of the ghosts: “he sees each night.” Soon, a twinkling piano and wistful strings play. They frame William’s heartfelt vocal as he sings “The Ghosts of Penn Hills will bring you where you are.”Later, and poignantly, William sings: “I was woke by the baby at 5am, found out a day later that’s when you left, and I hope it’s true that we meet again. Touching, poignant and from the heart, these lyrics are among the most moving on Pittsburgh, where William remembers those he’s loved and lost.
Although Pittsburgh, William Fitzsimmons’ seventh album, features just seven songs, lasting twenty-six minutes, it oozes quality. This makes it a fitting memorial for William Fitzsimmons’ grandmother and honorarium to his hometown of Pittsburgh.” It’s also an incredibly personal album.
Pittsburgh, which will be released on Grönland Records, on 18th May 2015, sees William Fitzsimmons roll back the years, as he remembers his grandmother, and the city that shaped him. William lays bare his soul on Pittsburgh. Hopefully, in doing so, it has proved cathartic. The loss of a loved one isn’t easy to get over. Hopefully, through writing and recording Pittsburgh, William will be able to work through his grief and hurt. He certainly has produced a fitting memorial to his grandmother.
Most of Pittsburgh’s arrangements are understated. Some are atmospheric. Often that’s down to William use of washes and waves of guitar. They play a part in framing William’s vocal. Quite rightly, they take centre-stage. Each of William’s vocal is heartfelt, and full of emotion, sadness and regret. His lyrics are variously beautiful, cerebral, melancholy, poignant, thoughtful and touching. Often, it’s possible to relate to the lyrics. Especially when William deals with death, and the loss of a loved one.
Despite setting out to write what was a hugely personal album, William Fitzsimmons has written an album that others will be able to relate to. Who knows, maybe the music on Pittsburgh might help people to come to terms with the loss of a loved one? Surely, as a therapist, this will please William Fitzsimmons?
What will definitely please William Fitzsimmons is if Pittsburgh receives the critical acclaim and commercial success it so richly deserves. It’s a spellbindingly beautiful and poignant album. From the opening bars of I Had to Carry Her (Virginia’s Song), right through to the closing notes of Ghosts of Penn Hills, I was captivated by what’s without doubt, the best album of William Fitzsimmons’ ten year career. This makes Pittsburgh a fitting memorial to William Fitzsimmons’ grandmother, and a tribute to the city he proudly calls home.
WILLIAM FITZSIMMONS-PITTSBURGH.
GIL SCOTT-HERON-SMALL TALK AT 125TH AND LENNOX.
GIL SCOTT-HERON-SMALL TALK AT 125TH AND LENNOX.
There’s been many an important day in Chicago’s musical past. That’s not surprising. The Windy City has given the world some of the biggest names in music. This includes Buddy Guy, Herbie Hancock, Nils Lofgren, Patti Smith, Ray Manzarek of The Doors and Pearl Jam’s Eddie Vedder were all born in Chicago. So was musician, novelist poet and political activist Gil Scott-Heron. Sadly, despite all he achieved, Gil Scott-Heron is to some extent, one of Chicago’s forgotten musical heroes. Gil Scott-Heron’s story began in 1949.
April Fool’s Day in 1949 was an important day in Chicago’s musical history. That was the day Gil Scott-Heron was born. His mother Bobbie Scott-Heron was an opera singer. She sang with New York’s Oratorio Society. Gil’s father was Gil Heron was a Jamaican footballer, who at one time, played for Celtic Football Club. Sadly, Bobbie and Gil’s marriage ended when Gil was young.
After this, Gil was sent to live with his maternal grandmother, Lillie Scott, who lived in Jackson,Tennessee. Then when Gil was just twelve, Lillie Scott died. Gil returned to New York to live with his mother. She was now living in the Bronx. Originally, Gil enrolled at the DeWitt Clinton High School, but later, moved to the Fieldston High School.
This came after impressing the head of the English department. He’d read one of Gil’s essays and recommended that Gil received a full scholarship. This proved a poisoned chalice. The education he was receiving was better. However, he was only one of five black students. He felt alienated. Another problem was the socioeconomic gap. Other students came from a much more affluent background. Gil was the son of a single mother. It was at this period, that Gil became socially and politically aware. His eyes were opened to inequality, injustice and racism. This would shape his music in later years. Before that, Gil headed to university.
Lincoln University was where Gil headed after high school. Gil was recommend to head to Lincoln University by Langston Hughes. He was also at Lincoln University and was a member of Gil’s first band, the Black and Blues. After two years at Lincoln University, Gil decided to take time out to write a novel.
During this period, Gil Scott-Heron wrote two novels. His first novel was a thriller entitled The Vulture, was published in 1970. Whilst writing The Vulture, Gil saw The Last Poets in Lincoln in 1969.
After watching The Last Poets, Gil approached the band and asked: “can I form a band like you guys?” The seed had been sown. Maybe, music rather than writing would be the direction Gil’s career headed?
Having been impressed with The Last Poets and now considering a career in music, Gil had a lot on his mind as he headed back to New York. He found a new home in Chelsea, Manhattan. Once he’d settled in, Gil decided to make his dream a reality. So he looked for a record company. Gil just so happened to approach a label tailor-made for his music, Flying Dutchman Productions.
After his departure from ABC/Impulse Bob Thiele decided to found his own label. Over the last few years, Bob had worked with some of the most innovative and creative musicians in the history of jazz. Bob realised that often, large record companies aren’t the best environment for innovative and creative musicians. Often, these musical mavericks didn’t thrive within such an orthodox environment. Their creativity is restricted, meaning they’re unable to experiment and innovate like they’d like. So when Bob parted company with Impulse, who he’d transformed into one of jazz’s pioneering labels, he founded Flying Dutchman Productions. This was the label that Gil Scott-Heron approached. There was a problem though.
While Bob wanted to sign Gil, there was a problem, funding. The funding that Phillips, the Dutch record label had given Bob wasn’t going as far as he’d hoped. Despite this, when he met Gil he was impressed by the poet, musician, and author. So what Bob did, was fund an album that was a fusion of poetry accompanied by understated, percussive arrangements.
This was Small Talk At 125 and Lenox, which was recently reissued by BGP, an imprint of Ace Records. Recording of Small Talk At 125 and Lenox took place in the summer of 1970. Rather than record his debut album in a studio, Gil decided to record the album live. So, with percussionists David Barnes, Eddie Knowles and Charles Sanders accompanying him, Gil recorded fourteen tracks he had written. They became Small Talk At 125 and Lenox.
Prior to the release of Small Talk At 125 and Lenox, critics had their say on Gil Scott-Heron’s debut album. Straight away, comparisons were drawn with the group who’d inspired Gil, The Last Poets. To some extent, this was a fair comment.
When one listens closely to tracks like Whitey On The Moon, plus what was the original version of The Revolution Will Not Be Televised, it’s apparent that Gil was taking what The Last Poets had been doing to the next level. With just a trio of percussionists accompanying Gil, Small Talk At 125th and Lenox was a potent and explosive mix of social comment and humour. Given that The Last Poets had enjoyed a degree of success, surely so should Gil?
Sadly, when Small Talk At 125th and Lenox was released, it wasn’t a commercial success. However, a small crumb of comfort was, that The Revolution Will Not Be Televised found its way onto radio play lists. That was encouraging for Bob and Gil. The Revolution Will Not Be Televised introduced a wider audience to Gil Scott-Heron’s scathing take on politics, social comment and satire. This was first heard on Small Talk At 125th and Lenox.
The first thing you realise, is that Small Talk At 125th and Lenox is quite unlike most of the music being released in 1971. The nearest comparison is The Last Poets. However, Gil took what The Last Poets were dong as a starting point, and took it much further. The result, Small Talk At 125th and Lenox is a potent, powerful and explosive mix of social and political comment. It’s a reflection of where America was, socially and politically. Racism still blighted America. Gil took this personally. It was like a personal affront. He felt obliged to speak up for those without a voice. On Small Talk At 125th and Lenox, Gil Scott-Heron also rails and rages against corruption, hypocrisy, inequality, poverty and racism. Gil Scott-Heron a long-term political activist and advocate for change warns against inactivity. He longs for change, and is determined to make America a better country. His manifesto for change was Small Talk At 125th and Lenox.
After introducing his band, fittingly, Gil Scott-Heron begins his set with the song that would become synonymous with him, The Revolution Will Not Be Televised. Accompanied by just bongos and congas, Gil delivers his unmistakable proto rap. His delivery is impassioned, as he encourages the audience to make a difference. Change won’t happen if they’re at home sitting on their sofas watching television. Instead, they’ve got to go out there and make it happen.
Having set the tone for the evening, Gil Scott-Heron goes on to combine satire and passion. Racism, poverty, corruption and inequality inspire Gil. So does hypocrisy on Brothers, The Rainbow Conspiracy on Comment #1 and the money spent on the space race on Whitey On The Moon. Gil rages against money spent on the space race, while deprivation is rife within housing projects. Gil’s anger and disgust is apparent. His delivery is inspired and impassioned. Just like other tracks on Small Talk At 125th and Lenox, Gil delivers the lyrics as if they’re a personal affront.
That’s the case on Evolution (and Flashback) and Enough. Both tracks see Gil examine the progress of black America since slavery. On Evolution (and Flashback), anger and frustration fills his voice as he delivers the lyrics. Later, as he mentions the arrival of Dr. Martin Luther King, there’s a sense of in Gil’s voice. It doesn’t last though. It’s as if the dream has died. especially when Gil ruefully says: “the bitter truth lives on.” Then on Plastic Pattern People compares life in the Northern and Southern states of America. Inequality and racism were rife in the South in the late sixties and early seventies. Again, Gil sees this as a personal affront. He rails against inequality, racism and injustice, as he provides a voice for the poor and oppressed. However, on a couple of tracks, Gil Scott-Heron draws inspiration from daily life.
Like all good poets, Gil finds inspiration in everything and anything. An example is Omen. He was found inspiration for Omen in the New York subway, when he saw a painting publicising Kinji Fukasaku’s film The Green Slime. Then on Small Talk at 125th and Lenox, Gil found inspiration on the street corner. It’s as if he’s been eavesdropping on everyday conversations. He recounts what people were saying, right down to what they had for lunch. Then on a trio of tracks, Gil the poet becomes Gil the vocalist.
On The Vulture, Who’ll Pay Reparations on My Soul? and Everyday, which closes Small Talk At 125th and Lenox sits down at the piano and sings. With just the trio of percussionists accompanying him, Gil is transformed. He proves to be a talented and soulful vocalist. Especially on Who’ll Pay Reparations on My Soul?, which takes a diversion in the direction of jazz. Everyday proves the perfect way to close Small Talk At 125th and Lenox. Especially with gospel tinged harmonies and handclaps accompany Gil’s heartfelt, soulful vocal.
Throughout a fourteen album career, Gil Scott-Heron provided a voice for the disenfranchised. Fearlessly, Gil highlights the social and political problems that blighted America. He encouraged Americans to join together and change America for the better. This pioneering poet and protest singer made a difference politically. Gil made people aware of the problems people were facing and urged them to take action. His career began with Small Talk At 125th and Lenox, which introduced the world to Gil Scott-Heron, novelist, poet, political activist, singer and songwriter.
For the next five decades, Gil Scott-Heron tried to make a difference with his music. His 1971 debut album, Small Talk At 125th and Lenox, is a mature and accomplished album. Gil combines power, passion, emotion, sadness, frustration, anger and confusion. In a way, his youthfulness helps Gil brings the lyrics to life. Gil was a young man and was aware of and possibly, had experienced the inequality and injustice he sings about.
Gil rails and rages against corruption, hypocrisy, inequality, poverty and racism. Gil Scott-Heron a long-term political activist and advocate for change warns against inactivity. He longs for change, and is determined to make America a better country. His manifesto for change was Small Talk At 125th and Lenox.
This potent, powerful and explosive mix of social and political comment was a reflection of where America was, socially and politically. Racism still blighted America. Gil took this personally. It was like a personal affront. He felt obliged to speak up for those without a voice on Small Talk At 125th and Lenox which was recently reissued by BGP, an imprint of Ace Records.
GIL SCOTT-HERON-SMALL TALK AT 125TH AND LENNOX.
GONG-CAMEMBERT ELECTRIQUE (VINYL EDITION).
GONG-CAMEMBERT ELECTRIQUE (VINYL EDITION.
In music, true innovators never seem to get the credit they deserve. That’s the case it seems in life and death. Especially, if the type of music they produce is shall we say leftfield. That was the case with Australian musicians Daevid Allen, who founded Gong in 1967. His death on 13th March 2015, passed almost unnoticed. Some music magazines didn’t even publish a fitting eulogy to this groundbreaking musician. Daevid Allen released several classic albums with Gong. The first was Camembert Electrique, which will be reissued by Charly, on 25th May 2015, on 180 gram heavyweight vinyl.
This newly remastered version of Camembert Electrique is what Gong fans have been waiting for. It’s packaged in a lavish replica of the original gatefold sleeve, complete with all the original inserts. That’s not all. For the first time, Camembert Electrique’s track listing, correct. The song titles and timings have been wrong since 1974, when Gong released Camembert Electrique. By then, Gong had been together four years. Fast forward forty-one years, and Gong are still going strong. Not many groups enjoy the longevity that Gong have enjoyed.
Gong, a Franco-British band were formed back in Paris, in 1967 by Daevid Allen, an Australian musician and Gilli Smyth a professor of the Sorbonne. They were joined by vocalist Ziska Baum and flautist Loren Standlee. This was the first lineup of Gong. However, it wouldn’t be the last.
Over the next six decades, Gong’s lineup was best described as fluid. Around thirty musicians came and went. Some left of their own accord. Others left in acrimonious circumstances. However, in 1967, when Gong were formed almost accidentally, it looked like a brave new world. Four years later, Gong released their debut album Camembert Electrique.
In 1967, Australian musician, Daevid Allen, was a member of Soft Machine. Daevid had been spending time in Paris, France. However, the time came to return to London, where Soft Machine were based. When Daevid arrived in London, there was a problem with his visa. He was denied entry into Britain, and returned to Paris where he met Gilli Smyth a professor of the Sorbonne, one of France’s most prestigious universities.
Daevid Allen and Gilli Smyth decided to form a band, which they named Gong. The pair, who were both vocalists, were joined by another vocalist, Ziska Baum, and flautist Loren Standlee. This was the first of numerous lineups of Gong, a group who six decades and forty-eight years later, are still going strong. That’s quite remarkable, given their turbulent history.
A year after Gong formed, France was in the throes of a student revolution. Police and students clashed on the streets during May 1968. This was a worrying time for the members of Gong. So much so, that Daevid Allen and Gilli Smyth fled from Paris, and eventually, settled in Deià, in Majorca.
This resulted in the first changes in Gong’s lineup. After fleeing Paris, the band’s lineup changed. Rumour has it, that Daevid and Gilli discovered saxophonist Didier Malherbe living in a cave in Deià. He would soon join Gong, when they headed to France to record the soundtrack toJérôme Laperrousaz’s movie Continental Circus.
Continental Circus.
For the recording of Continental Circus, Gong returned to France. Things were much calmer, than when they had been force to flee the country. On their return, Gong were a very different band.
Since they left France for Deià, the first changes in Gong’s lineup took place. Vocalist Ziska Baum and flautist Loren Standlee. However, saxophonist Didier Malherbe had joined Gong, who were now reduced to a trio. This was the lineup that recorded the soundtrack to Continental Circus.
The Continental Circus soundtrack kickstarted Gong’s nascent career. They were signed to Jean Karakos’ newly formed BYG label, on a multi-album deal. Their first album for BYG was Magick Brother.
Magick Brother.
Recording of Magick Brother, which is regarded as Gong’s debut album, took place in Paris. Between September and October 1969, recording of Magick Brother, took place at Studio ETA and Studio Europa Sonor. The same personnel that featured on Continental Circus, featured on Magick Brother, which was produced by Jean Georgakarakos and Jean-Luc Young.
They guided Gong through the recording of their debut album. Just like on Continental Circus, Daevid Allen played guitar and added vocals. Gilli Smyth was credited as adding vocals and a “space whisper.” Didier Malherbe played saxophone and flute. Augmenting Gong, were some top session musicians.
With Gong lacking a rhythm section, drummer Rachid Houari was brought onboard. So were Earl Freeman, Dieter Gewissler and Barre Phillips, who played contrabass on various tracks. Free jazz pianist, Burton Greene, a native of Chicago, was also brought onboard. The final piece of the jigsaw, was Tasmin Smyth. Her vocal features on Mystic Sister/Magick Brother. Tasmin and the rest of the guest artists, played their part in Gong’s debut album Magick Brother, which was released in March 1970.
On the release of Magick Brother in March 1970, Gong’s debut album was well received by critics. Gong were hailed as an innovative group, one who weren’t afraid to push musical boundaries. Their music was a fusion of musical influences and genres. Everything from psychedelia, free jazz, pop, rock and prog rock can be heard on Magick Brother. The future Kings of the potheads had made their presence felt. However, as was their want, Gong’s music wouldn’t stand still. continue to evolve. This would result in the first classic album of their career, and their first PhP album, Camembert Electrique.
Camembert Electrique.
Camembert Electrique is remembered as the first album in Gong’s PhP phase. The pothead pixies made their debut on Gong’s trailblazing sophomore album.
Gong were one of the earliest prog rock bands. Unlike other prog rock bands their music was a fusion of musical genres. Elements of psychedelia, jazz, avant garde, and pop are combined. Other times, the music is ethereal, spacey and atmospheric. Always though, there’s an intensity throughout Camembert Electrique, as Gong take you on a trailblazing journey. The destination is planet Gong. Providing the soundtrack to the journey was the now legendary radio gnome, which dips in and out of Camembert Electrique. Radio gnome plays its part in a truly groundbreaking album which was recorded in 1971.
Gong had some new additions to their lineup when work began in May 1971. The first of the new additions was bassist and guitarist Christian Tritsch. Drummer Pip Pyle slotted into the rhythm section. Eddy Luiss played Hammond organ and piano. They joined guitarist and vocalist Daevid Allen, vocalist and space whisperer Gilli Smyth and Didier Malherbe on saxophone and flute. This was the the lineup of Gong that headed to Michel Magne’s Strawberry Studios, in north west Paris where they recorded Camembert Electrique, which was mostly, written by Daevid Allen.
Eight of the tracks on Camembert Electrique were written by Daevid Allen. He wrote the other two tracks with new additions to Gong’s lineup. Bassist and guitarist Christian Tritsch cowrote And You Tried So Hard. These songs became Camembert Electrique, which Gong began recording in May 1971.
For Gong’s sophomore album Camembert Electrique, Gong headed to Michel Magne’s Strawberry Studios, in north west Paris. Gong couldn’t have picked a better studio. It was stocked with the latest equipment. This was the perfect location for a groundbreaking band. Over ten days in May 1971, Gong recorded what was the basis for the ten tracks that became Camembert Electrique. Two months later, Gong returned to the studio.
In July 1971 returned to Strawberry Studios, to finish recording of Camembert Electrique. Just like the sessions in May, everything was off the cuff. There was an experimental side to Gong. The used tape recorders that played backwards. Tape loops added bursts of laughter. Gong were making music with a smile on their face. To do this, they fused musical genres and influences. Elements of psychedelia, jazz, avant garde, and pop shine through on Camembert Electrique, which was eventually completed in September 1971, when Gong returned to Strawberry Studios. Little did they realise that they had recorded their first classic album, Camembert Electrique.
Camembert Electrique was released in 1971. Critics hailed the album a classic. The album also marked the debut of the pothead pixies (PhP). They made their debut on Gong’s trailblazing, genre-melting sophomore album Camembert Electrique.
Opening Camembert Electrique is Radio Gnome Prediction. Amidst the myriad of sci-fi sounds, sits Radio Gnome. He sounds like a create from another planet. That’s the case, he’s from the planet Gong.
Gong’s new rhythm section get to work on You Can’t Kill Me. They’re joined by searing guitars and Daevid’s vocal. It veers between frustrated, angry and a sneer. Meanwhile, Gilli vamps, and later a scorching saxophone is unleashed. By now, Gong are at their tightest, fusing prog rock, psychedelia and rock. later, the track heads in the direction of free jazz. The saxophone and guitars are unleaded, and go toe-to-toe. They play their part in a track that’s an innovative, lysergic and ambitious fusion of musical genres.
With a church organ for company, Daevid proudly sings I’ve Been Stoned Before. A subtle, sultry saxophone is added. It’s panned left. Later, a scrabbled bass and rolls of urgent drums are combined. By then Daevid’s vocal is a yelping vamp and drops out. When it returns, Daevid delivers an emotive plea. Accompanying him are the saxophone and rhythm section. They drive the arrangement to it’s urgent crescendo.
Straight away, Mr. Long Shanks/O Mother/I Am Your Fantasy has a languid, lysergic sound. The arrangement meanders lazily along, sweeping Gilli’s whispery vocal in its wake. Her vocal is dreamy and ethereal, the perfect accompaniment to the lysergic arrangement.
There’s a sense of urgency from the opening bars of Dynamite/I Am Your Animal. Repeatedly, Daevid sings “Dynamite.” It’s as if he’s delivering a warning shot across the Gong’s bows. The rest of Gong pickup on this sense of urgency, fusing rock, psychedelia and free jazz. Then on I Am Your Animal, Gilli delivers a wailing, teasing vocal. Still, Gong play with an urgency. Their new rhythm section are at the heart of this urgency, aided and abetted by chirping guitars and a wailing saxophone. Together, they play their part in an urgent, mesmeric and innovative track.
Wet Cheese Delirium is another announcement from planet Gong. Radio Gnome makes his pronouncement against a hypnotic backdrop. He returns on Squeezing Sponges Over Policemen’s Heads, a thirteen second track that ushers in one of the spaciest tracks on Camembert Electrique, Fohat Digs Holes In Space.
Straight away, Fohat Digs Holes In Space has a spacey, triply sound. The arrangement is constantly panned. Washes of subtle, but futuristic sounds almost hypnotise. Meanwhile, Gong’s rhythm section provide an equally hypnotic heartbeat. However, things are about to change. A saxophone is added. Daevid then adds his unique brand of lyrics. They’re akin to a proto-rap, where he combines humour, surrealism and social comment. Bursts of soaring harmonies and a scorching guitars and thunderous bass are added, as Daevid hollers in the distance. It’s a very different track. Indeed, Fohat Digs Holes In Space is more like two separate tracks, where we very different sides to Gong.
Chiming guitars open And You Tried So Hard. Soon, the rhythm section are playing softly. Daevid’s vocal, when it enters, is laid-back and dreamy. There’s a West Coast influence to the track. Then it’s all change. Blistering guitars are added, and an edhy rocky track unfolds. From there, they veer between the two different sides, showing Gong’s versatility. Later, Gilli adds a dreamy, lysergic vocal, taking this captivating musical adventure into yet another direction.
Tropical Fish/Selene literally bursts into life. The rhythm section and scorching guitars kick loose, driving the arrangement along. Accompanied by a braying saxophone, David delivers an urgent vocal. It’s not unlike a stream of consciousness. When his vocal drops out, Gong enjoy the opportunity to stretch their legs. They jam, fusing prog rock, jazz, psychedelia and rock. Then when Daevid’s vocal returns, it’s lysergic. Briefly it drifts in and out, as Gong jam. Later, Gilli delivers one of her trademark space whispers. After that, the arrangement and vocals become choppy, as Gong continue their mission to innovate.
Camembert Electrique closes with Gnome The Second. This is the final pronouncement from Radio Gnome. A gong sounds, and Radio Gnome delivers a short, futuristic sounding speech. After twenty-six seconds, he returns to planet Gong.
Camembert Electrique, which was recently reissued by Charly, was the first classic album of Gong’s forty-eight year career. It was a trailblazing and ambitious album. No other prog rock band had released such an ambitious album. That’s not surprising.
Gong were one of the earliest prog rock bands. Unlike other prog rock bands their music was a fusion of musical genres. They fused prog rock with psychedelia, jazz, avant garde, and pop. As a result, the music is atmospheric, challenging, ethereal, languid, lysergic, spacey, surreal and trippy. Other times, it’s jazz-tinged, rocky. It’s a true musical magical mystery tour. However, throughout Camembert Electrique the music has an intensity. That’s the case from the opening bars of Radio Gnome Prediction, right through to the closing notes of Gnome The Second, when legendary radio gnome makes his pronouncements. He’s part of this trailblazing journey to planet Gong. It’s a journey that must be experienced.
No wonder. Camembert Electrique is one of the most innovative, and ambitious albums of the early seventies. Seamlessly, musical genres and influences melt into one on Camembert Electrique. Gong continually push musical boundaries to their limits, and sometimes, way beyond. This was risky. They risked alienating their audience.
Neither Gong, nor their record company BYG Actuel, need have worried. When it was released in France in 1971, it was to widespread critical acclaim. However, in Britain, music lovers didn’t get the chance to hear Camembert Electrique until 1974.
Virgin Records reissued Camembert Electrique in Britain in 1974. To encourage record buyers to purchase Camembert Electrique, Virgin Records sold copies for 59p, which was the price of a single. The theory was, that having discovered the artist, record buyers would continue to buy their back-catalogue and new albums. This marketing strategy had worked well for Virgin Records a year earlier, when they released Faust’s 1973 album The Faust Tapes. It worked well for Faust and a year later, worked for Gong. There was a problem though. Albums sold at a discounted price, didn’t qualify for the British charts. However, at least many record buyers discovered Gong’s music. For many, it would be the start of a lifetime love affair with Gong’s music.
That’s why, when many people are asked what their favourite Gong album is, many will say Camembert Electrique. For them, Camembert Electrique was their introduction to Gong. Camembert Electrique was Gong’s first classic album. However, it wasn’t their last. They were about to release the Gnome Trilogy. It started with Flying Teapot and Angel’s Egg in 1973. The last in the Gnome Trilogy was 1974s You. Just like Camembert Electrique, they’re Gong classics. However, Gong, who will forever will be remembered as a trailblazing group, who released innovative and genre-melting music, including their first classic album, Camembert Electrique in 1971.
GONG-CAMEMBERT ELECTRIQUE (VINYL EDITION).
Z
JETHRO TULL-BENEFIT-STEVEN WILSON 2013 STEREO MIX.
JETHRO TULL-BENEFIT-STEVEN WILSON 2013 STEREO MIX.
For Jethro Tull fans, 2015 looks like proving an expensive year. Much of Jethro Tull’s back catalogue has been released on import. This includes Thick As A Brick, Passion Play, War Child, Stand Up and Benefit. 2015 was proving an expensive year for fans of the Tull. It was soon,about to get a lot more expensive.
Last week, PLG released the new 40th Anniversary: La Grande Edition of Minstrel In The Gallery. Given Minstrel In The Gallery is one of Jethro Tull classic albums, the box set was a must have for Jethro Tull fans. The same day, what billed as the Standard Edition of Minstrel In The Gallery was released. By comparison, it seemed to have a much more low profile release. Grudgingly, Jethro Tull completists added the Standard Edition to their collections. However, soon, Jethro fans will be dipping into their wallets again for two new reissues.
Aqualung and Benefit are being reissued on 25th May 2015 by PLG. This however, isn’t a reissue of the original album. No. It’s Steven Wilson Mix of Aqualung and Benefit Steven Wilson Mix. For some Jethro Tull fans, the thought of two of their beloved group’s best albums being remixed, will sound like sacrilege. That’s not the case.
Previously, Steven Wilson has worked wonders with some of King Crimson’s back-catalogues. So, allowing him to work his magic on Aqualung and Benefit is a calculated gamble. Having heard Steven Wilson’s 2013 mix of Benefit, which I’ll tell you about, his mix of Benefit will be a welcome addition to any Jethro Tull’s fans music collection. However, before I tell you Benefit, I’ll tell you about about the roots of Jethro Tull and their journey to becoming one of the most successful, groundbreaking and innovative of the prog rock bands in musical history. The Jethro Tull story starts in Blackpool, in 1962.
That’s where the origins of Jethro Tull began, It was in Blackpool, in 1962, that Ian Anderson formed his first group The Blades. Originally a four piece, featuring Ian Anderson on vocals and harmonica, they became a quintet in 1963 and septet in 1964. By that time, they were a blue eyed soul band. After three years, the band decided to head to London.
Having moved to London, the band split-up within a short time. Just Ian Anderson and bassist Glen McCornick were left. This proved a blessing in disguise. They were soon joined by blues guitarist Mick Abrahams and drummer Clive Bunker. This was the lineup that featured on their debut album This Was. That was still to come.
Before that, the band had to settle on a name. Various names were tried. Then someone at a booking agent christened them Jethro Tull, after the eighteenth century agriculturalist. Not long after that, Ian Anderson acquired his first flute.
Up until then, Ian Anderson played just harmonica and was trying to learn to play the guitar. He realized wasn’t a great guitarist though. So, having decided the world had enough mediocre guitarists, he decided to expand his musical horizons. So he bought his first flute. Little did he realize this would be one of Jethro Tull’s trademarks. After a couple of weeks, Ian had picked up the basics of the flute. He was learning as he played. Not long after this, Jethro Tull released their debut single.
Sunshine Day was penned by Mick Abrahams, with Derek Lawrence producing the single. On its release, the single was credited to Jethro Toe. It seemed thing weren’t going right for Jethro Tull. The single wasn’t a commercial success and failed to chart. Despite this disappointment, thing got better when they released their debut album This Was.
Having released their debut album This Was in October 1968, it reached number ten in the UK. Then when This was released in the US in February 1969, it reached just number sixty-two in the US Billboard. Critics praised This Was, which cost just £1,200 to record. Featuring mostly original material, which was penned by members of Jethro Tull, This Was was a fusion of blues rock, folk, jazz and prog rock. This Was was a successful start to Jethro Tull’s career, which was about to enter a period where critical acclaim and commercial success were almost ever-present.
Prior to the recording of Stand Up, Jethro Tull’s sophomore album, Mick Abrahams left the band. Mick and Ian Anderson disagreed over the future direction of Jethro Tull. The problem was, Mick wanted Jethro Tull to stick with blues rock. Ian Anderson realised there was no real future in blues rock. He wanted to take Jethro Tull in different directions, exploring a variety of musical genres. So Mick left Jethro Tull and was replaced by Michael Barre. Little did either Mick nor Michael realise that Stand Up marked the start of a period where Jethro Tull sold over sixty-million albums.
Drawing inspiration from everything from blues rock, Celtic, classical, folk and rock work began on Stand Up. With Mick Abraham having left Jethro Tull, Ian Anderson was the primary songwriter. He penned nine of the ten tracks. They became Stand Up, which was released in August 1969 in the UK, where in reached number one. A month later, in September 1969, Stand Up reached number twenty in the US Billboard 200 Charts. This resulted not just in the start of Jethro Tull’s first gold disc, but the beginning of a golden period in their career. The next album in this golden period was Benefit.
For what became Benefit, Ian Anderson had written ten tracks. These ten tracks were recorded at Morgan Studios, London, during December and January 1970. Ian played flute, keyboards, guitar and sang lead vocals. The rest of Jethro Tull included Clive Bunker, who played drums, guitarist Martin Barre and bassist Glen Cornick who also played Hammond organ. John Evan, who’d later become a member of Jethro Tull, played piano and organ. David Palmer took charge of the orchestral arrangements, while Ian Anderson produced Benefit. It was released in April 1970.
Unlike Jethro Tull’s two previous albums, Benefit was released simultaneously in the US and UK and was well received by critics. Upon its release in April 1970, Benefit reached number three in the UK and number eleven in the US Billboard 200 Charts. This meant another gold disc for Jethro Tull. Not only were they were on a roll, but as Benefit shows, continually reinventing their music.
Opening Benefit is With You There to Help Me. Straight away, there’s some studio trickery at work, with a flute played backwards. Then, Jethro Tull remind me somewhat of The Moody Blues. Ian’s earnest, heartfelt vocal is enveloped by harmonies, while searing, scorching guitars answer his call. Soon, we hear a different side to Jethro Tull. They’re rocking, and rocking hard. Driven along by the rhythm section and bursts of scorching, sizzling guitars, while flourishes of flute cascade above the arrangement. They prove a foil for the vocal and guitar, on a track where folk, blues, jazz and rock intertwine seamlessly and mesmerically.
Despite being recorded in 1970, Nothing To Say sounds way ahead of its time. It sounds more like a track recorded around 1973 or 1974. Again musical genres are fused. Rock becomes prog rock and then thanks to Ian’s wistful vocal and the languid arrangement, almost pastoral and then rocky. Then thanks to echo and filters, a lysergic, psychedelic sound can be heard. With Jethro Tull’s rhythm section joining forces with fiery guitars and piano, they provide a fitting backdrop for Ian’s dramatic, hurt-filed and defiant vocal. Shrouded in echo, it takes on an almost mysterious sound. From there, harmonies combine with the band as a timeless track unfolds where Jethro Tull, musical visionaries, showcase their inconsiderable skills.
A piano sets the scene for Ian’s vocal on Alive And Well And Living In. Stabs of piano are matched by the bass before Ian’s vocal enters. It’s deliberate and definite. He seems to be taking care as he articulates the lyrics. Meanwhile flourishes of flute and bursts of guitar are fired off. By now we’re hearing a harder rocking side of Jethro Tull. Then the arrangement is stripped back to the piano and bursts of flute which accompany Ian’s dramatic, powerful vocal. A fusion of blues, orchestral, classical, prog rock and rock it’s a continuation of Jethro Tull’s reinvention.
Son is a stomping, hard rocking number. Here, Ian Anderson reminds me of Alex Harvey, of the Sensational Alex Harvey Band. His vocal is almost a theatrical sneer. Strutting his way through the track, machine gun guitars accompany him, while the rhythm section provide the heartbeat. Midway through the track, it’s all change. The tempo drops and Ian’s vocal becomes pensive, probing and questioning. Then the drama returns as the track heads to its glorious hard rocking crescendo.
Crystalline, chiming guitars join Ian’s tender vocal on For Michael Collins, Jeffrey and Me. The meandering guitars and vocal are a potent partnership. You’re drawn to them. Soon, you’re enchanted. Then with a burst of guitar the tempo picks up and Jethro Tull combine folk, blues, rock, classical and Celtic music. Just like what’s gone before, what follows is enthralling, beguiling and enchanting. It also shows another side to Jethro Tull.
To Cry You A Song sees a return to Jethro Tull’s blues rock sound. Driven along by a powerhouse of a rhythm section and dual guitars, it’s Jethro Tull at their best. Ian’s vocal is a mixture of power and emotion. When it drops out, Jethro Tull concentrate on mixing blues rock with prog rock. A captivating combination the music of the past, present and future collides head on. Later, Ian’s vocal is enveloped by harmonies and bursts of guitar, showcasing Jethro Tull at their hard rocking, bluesy best.
A Time For Everything bursts into life. It’s best described as a fusion of rock, Celtic and folk. Scorching guitars, boron, flute and acoustic guitar create a wall of dramatic, rocky music. As if inspired, Ian launches himself into the lyrics. He becomes a seer or philosopher, as he delivers the lyrics. A wash of feedback envelops a vocal that’s pensive, thoughtful and dramatic. Later, as the track heads towards a sudden and poignant ending Ian’s vocal is akin to an unanswered question. It’s as if he’s asking is there: “A Time For Everything?”
Inside is one of the highlights of Benefit. A rousing, anthemic combination of folk, rock and blues music. Meandering gently, there’s a slight Eastern influence. That’s maybe down to Ian’s flute. His vocal has a folk influence. Tender, veering between wistful and joyously, his vocal is crucial to the song’s success. Behind him, the rest of Jethro Tull combine musical genres on this breezy, joyous and irresistibly catchy track.
The rhythm section are at the heart of this hard rocking, bluesy Play In Time. Ian adds a grizzled vocal and plays the flute. Again, there’s some studio trickery, with the piano and guitars speeded up. This works, adding a psychedelic influence on this driving, dramatic and genre-melting track. Cascading flute, thunderous drums and wizened guitars provide the backdrop for what’s one of Ian’s best vocals. Strident and confident he struts his way through the track, as Jethro Tull kick loose. They’re a tight and talented unit who never miss a beat. As they jam, the earlier psychedelic influence adds the finishing touch.
Sossity You’re A Woman which closes Benefit, is very different from any of the other tracks. It’s like something from an other age. It’s as if Ian Anderson has been transported back in time as has been given the job of entertaining at a medieval feast. Just acoustic guitars accompany him, before later an organ adds an almost gothic sound. Later, the arrangement is a mass of acoustic guitars, tambourine, shakers and organ, before reaching its melancholy, thoughtful ending.
Benefit was just the second album in the most successful and productive period of Jethro Tull’s career. Between 1969 and 1979, nine of Jethro Tull’s albums were certified gold. Aqualung, Jethro Tull’s 1971 Magnus Opus was certified triple-platinum. It seemed Jethro Tull could do no wrong. They were one of the most successful, groundbreaking and innovative of the prog rock bands in musical history. Several times, Jethro Tull reinvented themselves musically. Jethro Tull weren’t content to stand still. Far from it. In their early years, Jethro Tull were experimenting musically, so they could come up with their trademark sound and style. This saw Jethro Tull become one the most groundbreaking and inventive bands of the prog rock era. Despite being one of the most innovative bands of the prog rock era, sadly, Jethro Tull never received the recognition they deserved.
After the advent of punk, critics and music lovers shied away from prog rock. Confessing to liking prog rock wasn’t the done thing. No. It wasn’t fashionable. Critics who previously, had championed prog rock, referred to prog rock groups like Jethro Tull as dinosaurs. Despite that, Jethro Tull gold discs kept coming Jethro Tull’s way. Right through to 1979s Stormwatch, Jethro Tull were hugely successful. The reason for that was their music never stood still. It constantly evolved. Jethro Tull’s music was groundbreaking, genre-melting and innovative. That’s why Jethro Tull enjoyed so much critical acclaim and commercial success.
Having released their debut album This Was in 1968, Jethro Tull went on to release another twenty studio albums. Their final album was 2003s The Jethro Tull Christmas Card. Over five decades, where they released twenty-one albums, Jethro Tull were more successful in the US than the UK. Ten of their albums were certified gold and one triple-platinum. Over in the UK, five of Jethro Tull’s albums were certified silver. Worldwide, Jethro Tull sold over sixty-million albums, making them one of the most successful prog rock bands ever. Despite that, Jethro Tull haven’t received the critical acclaim and recognition their music deserves.
Hopefully, that’s starting to change, especially with the rerelease of the Stephen Wilson mix of Jethro Tull’s third album Benefit, which will be rereleased by PLG on 25th May 2015. The Stephen Wilson mix of Benefit first featured on the 2013 Collector’s Edition. For those who haven’t got the Collector’s Edition of Benefit, Stephen’s mix brings out Benefit’s subtleties and nuances. The albums shares its hidden secrets. In many ways, Benefit takes on new life and meaning. All this is down to Stephen Wilson remixing Benefit, which is the perfect introduction to Jethro Tull’s music.
Along with Benefit, I’d recommend Aqualung. They’re the perfect starting point to Jethro Tull, one of the most innovative, groundbreaking, commercially successful and critically acclaimed prog rock bands of all time, whose music is truly timeless, innovative and groundbreaking.
JETHRO TULL-BENEFIT-STEVEN WILSON 2013 STEREO MIX.
CLARENCE “FROGMAN” HENRY-BABY AIN’T THAT LOVE-TEXAS AND TENNESSEE SESSIONS 1964-1974.
CLARENCE “FROGMAN” HENRY-BABY AIN’T THAT LOVE-TEXAS AND TENNESSEE SESSIONS 1964-1974.
New Orleans is one of America’s great musical cities. It always has been. That’s always been the case for just over a hundred years. Back then, blues and gospel provided Big Easy’s soundtrack. Next came Dixieland and swing. By then, New Orleans lived and breathed music. Even prohibition couldn’t stop the musical party in New Orleans.
Speakeasies sprung up across the city, as the Jazz Age took shape. New Orleans, one of America’s musical capitals came alive. Especially when one New Orleans’ most successful sons, Louis Armstrong took to the stage.
In 1924, Louis Armstrong became the featured soloist in the Fletcher Henderson dance band. Louis Armstrong spent the year with the Fletcher Henderson dance band. This was part of his musical education. It paid off, and
Louis Armstrong became one of the legends of jazz. However, Louis Armstrong wasn’t the only New Orleans’ native making a name for himself back then.
The Big Easy was the birthplace of Jelly Roll Morton, Sidney Bechet and Mahalia Jackson. Just like Louis Armstrong, they were all making forging a successful career in music. Later, so would Professor Longhair and Fats Domino. They would become two of New Orleans’ most successful musical exports, and influenced the next generation of musicians. This included Clarence “Frogman” Henry, whose career is celebrated on Baby Ain’t That Love-Texas and Tennessee Sessions 1964-1974 which was recently released by Ace Records. It documents a ten year period in Clarence “Frogman” Henry’s career. His story began in New Orleans, back in 1937.
Clarence “Frogman” Henry was born in Algiers, New Orleans, on March 19th 1937. He was one of seven children, but the only one who showed any musical aptitude.
His musical aptitude became apparent from an early age. There was a battered old piano in the Henry household. Young Clarence looked at it as a challenge. He was determined to teach himself to play it. However, he was only a child. This wasn’t going to stop Clarence. Eventually, through persistence, practice and determination, Clarence became a proficient pianist. For Clarence, this was his Everest. Next, he moved onto the trombone. Like the piano, Clarence conquered the trombone. So, when Clarence enrolled at Algiers High School, he was already a proficient in two instruments.
When his teachers saw that Clarence was a talented musician, they encouraged him. He improved under their tutelage. However, it was the breakthrough of another New Orleans’ native, Fats Domino, that inspired Clarence musically.
From that day that Clarence first saw Fats Domino, he was determined to become a singer. For many teenagers, this was the stuff of dreams. Not Clarence. He was determined to make his dream a reality. By the time his school days were almost at an end, Clarence had taken his first foray into music.
This was with Bobby Mitchell and The Toppers. They were well known in New Orleans. Despite their potential and talent, they struggled to make a name for themselves further afield. Clarence was a longtime fan of Bobby Mitchell and The Toppers. So when they were looking for a trombonist, Clarence auditioned. Bobby Mitchell thought Clarence fitted the bill, and Clarence became a Topper. He was now a professional musician.
The only problem was Clarence was still a student. He wanted to graduate, so had to juggle his studies with playing with Bobby Mitchell and The Toppers. This wasn’t ideal. However, Clarence made the best of it, playing live dates with Bobby Mitchell and The Toppers. Then on 9th February 1953, Clarence played the trombone on four tracks with Bobby Mitchell and The Toppers. During this session, Clarence started to write his now songs. It seemed Clarence was looking to the future. Especially when, after two years as a Topper, Clarence called time on his career with Bobby Mitchell.
Looking back, Clarence was taking a risk, turning his back on Bobby Mitchell and The Toppers. Maybe he realised they were never destined for fame and fortune? For Clarence, the future looked bright.
Not long after leaving Bobby Mitchell and The Toppers, Clarence formed his own group. They were mostly, a covers band. Sometimes, though, Clarence sung some of his own songs. That’s where Clarence was spotted by Pascal Marcello. He offered Clarence a gig at the Joy Lounge, in Gretna. That’s where Clarence got his break.
Paul Gayten was known locally as an R&B singer and pianist. He was also Chess’ A&R man. When he heard Clarence, he liked what he heard. Clarence was what Chess Records were looking for.
Following the emergence of Fats Domino, every record label was looking for their very own Fats Domino. So, A&R men set off across America looking for the next big thing. Paul Gayten thought he found it with Clarence Henry.
Having heard Clarence, Paul phoned Leonard Chess. He told his boss about this young, unknown singer, Clarence Henry. Leonard Chess not wanting to risk losing a potential star, made his way to New Orleans. Paul urged the owner of Chess Records to sign Clarence to their Argo imprint. When Leonard Chess heard Clarence sing, he knew his trip was worthwhile. Clarence Henry, and also Bobby Charles, were both signed to Chess Records the same day. Now Clarence’s solo career was underway.
Before his first recording session, Clarence and Paul penned two tracks, Driving Troubles and Ain’t Got No Home. The two tracks were recorded. When the time came to release Clarence’s debut single, Driving Troubles was chosen as the single. Ain’t Got No home was destined for the flip side…for the time being.
On the release of Driving Troubles, the single looked like it was about to sink without trace. Then DJ Poppa Stoppa flipped the single over. From the moment ge played Ain’t Got No Home, the radio station was getting calls to play what listeners called “the frog song, by that frog man.” Not only was Clarence well on the verge of having his first hit single, but his nickname was born.
By January 1957, Ain’t Got No Home entered the top twenty on the US Billboard 100, and reached number three in the US R&B charts. It looked like Clarence was about to enjoy a successful career at Chess.
That wasn’t to be. Clarence’s next four singles flopped. After that, Chess Records stopped taking Clarence’s calls. Already, he was yesterday’s man.
Four years later, in 1961, Clarence heard from Chess Records again. Although he hadn’t recorded anything recently for Chess, he was still under contract. So, Leonard Chess was within his rights to ask Clarence to cover a Bobby Charles song, I Don’t Know Why.
When Clarence arrived at the studio, Chess Records had put together their A-Team. They accompanied Clarence on I Don’t Know Why. However, there was a problem. A song from the forties had the same title. So, I Don’t Know Why became But I Do, and in the process, rejuvenated Clarence’s career.
When it was released, But I Do reached number four in the US Billboard 100, and number three in Britain. The followup, a cover of the Mills Brothers’ You Always Hurt, The One You Love gave Clarence another hit single. It reached number twelve in the US Billboard 100 and number six in Britain. With two hit singles on both sides of the Atlantic Clarence “Frogman” Carter’s was the comeback king.
As comebacks go, it was somewhat brief. After You Always Hurt, The One You Love, Clarence’s next couple of singles failed to chart. The timing couldn’t have been worse. Clarence was due to tour Britain with Bobby Vee and Tony Orlando. By the time the tour began, Clarence was a forgotten man.
To coincide with the British tour, Pye released A Little Too Much. Clarence even lip synched his new single on the British pop program Thank Your Lucky Stars. However, it was too little too late.
By 1963, Clarence hadn’t had a hit single for two years. Chess in America, and Pye in Britain had had enough. They were pouring good money after bad, trying to transform Clarence’s career. The time had come to pull the plug when Clarence’s cover of Nat King Cole’s Looking Back sunk without trace. There was no Looking Back for Chess or Pye. They turned their back on Clarence “Frogman” Carter. Music was changing, and in Britain especially, Clarence seemed to represent music’s past.
Bob Astor, Clarence’s longtime manager, refused to give-up on Clarence. They had been together a while, and been through good and bad times. So, once Clarence’s contract with Chess expired, Bob took Clarence to see Huey Meaux. However, there was a problem.
Huey and Cosimo Matassa had been partners in what was then, New Orleans’ premier studio. However, the pair fell out. There was no mending their relationship. This meant that Huey had no regular recording studio To call home.
That however, didn’t seem to matter. It seemed that whatever studio Huey decided to use, he was able to conjure up his trademark New Orleans sound. That’s what Bob Astor was looking for, for his client Clarence “Frogman” Henry.
Huey, who back then, was one of the Big Easy’s top producers, agreed to help. From 1964, right through to 1966, it’s thought that Heuy Meaux and Clarence “Frogman” Henry worked together.
Ironically, though, Huey was never officially credited as Clarence “Frogman” Henry’s producer. Instead, Bob Astor and Peter Paul were. That’s disputed by some as Huey’s voice can be heard on the master tapes. There could be an innocent explanation. It could be that for two years, Huey and Clarence attempted to rejuvenate the “Frogman” ailing career.
By 1966, the two men went their own ways. However, they had managed to record a plethora of music, some of which finds its way onto Ace Records’ recently released compilation Baby Ain’t That Love-Texas and Tennessee Sessions 1964-1974.
There’s a total of twenty-eight tracks on Baby Ain’t That Love-Texas and Tennessee Sessions 1964-1974. This includes nine unreleased tracks. Eight tracks made their way onto an Edsel compilation released in 1999. The other eleven tracks on Baby Ain’t That Love-Texas and Tennessee Sessions 1964-1974 were released between 1964 and 1974.
Having found a new producer for Clarence, Bob Astor, his manager, found him a new label, Parrot, a subsidiary of London Records. Clarence was still in the game. However, would his career take off at Parrot?
Now signed to Parrot, Clarence released five singles for Parrot. The first three singles don’t feature on Baby Ain’t That Love-Texas and Tennessee Sessions 1964-1974. However, the inclusion of You Can’t Hide A Tear and Cajun Honey more than make up for this. So, does the inclusion of Baby Ain’t That Love, the Huey Meaux penned Think It Over, and a remake of Clarence’s first hit single Ain’t Got No Home. It’s transformed. A stomping beat and blazing saxophones accompany Clarence, as he unleashes a vampish vocal. His biggest hit takes on new meaning. Despite the quality of Clarence’s releases on Parrot didn’t sell well. This left Clarence “Frogman” Henry’s career at the crossroads.
It had been five years since Clarence “Frogman” Henry had enjoyed a hit. Clarence was a talented singer, songwriter and musician. However, during the two years he spent with Parrot, commercial success passed Clarence by. He couldn’t live on his past glories. So Parrot release Clarence from his contract.
Clarence wasn’t without a contract long. He soon signed to Nashville based, Dial Records. It was owned by musician turned musical impresario, and publisher, Buddy Killen. With Buddy’s help, Clarence recorded two singles at Chips Moman’s American Studio. If anyone could turn Clarence’s career around in 1967, it was Chips Moman.
After cutting four sides at American Studio, the time came for Clarence to release his Dial debut. Hummin’ A Heartache, was chosen and released as a single in 1967.
On the B-Side was This Time. Sadly, it wasn’t This Time for Clarence “Frogman” Henry. Despite its quality, this fusion of pop and R&B flopped. This wasn’t the time for Clarence “Frogman” Henry. Maybe next time?
That wasn’t to be. Clarence released That’s When I Guessed as a single in 1968. With its country-tinged sound, it marked a stylistic departure from Clarence. So did the flip side, Shake Your Moneymaker. It was a slice of good time, funky soul. However, despite Clarence’s best efforts, history repeated itself. The single sunk without trace. That was the end of Clarence “Frogman” Henry’s time at Dial.
Nothing was heard of Clarence “Frogman” Henry until 1969. Although he charmed the crowds on Bourbon Street, Clarence never entered the studio until he was asked to record a live album for Roulette.
Clarence “Frogman” Henry Is Alive And Well Living In New Orleans was released on Roulette in 1970. For some, this was a blast from the past. With Clarence not having had a hit since 1961, many people had forgotten about him. However, still Clarence hadn’t entered the recording studio since 1967. It would be another three years before he set foot in Huey Meaux’s studio.
After seven years apart, Clarence and Huey reunited in 1973. The result of the sessions were a trio of singles released on the American Pla-Boy label. The first single, In The Jailhouse Now was released in late 1974, with We’ll Take Our Last Walk Tonight on the B-Side. Just like Clarence’s previous singles, it passed most people by. Hot on the heels of In The Jailhouse Now, came You Can Have Her. This was the last single Clarence released on the American Pla-Boy label. Still a hit single continued to elude Clarence “Frogman” Henry.
You Can Have Her is the final single that features on Baby Ain’t That Love-Texas and Tennessee Sessions 1964-1974. However, there’s still plenty more music to enjoy, including the nine previously unreleased tracks on Baby Ain’t That Love-Texas and Tennessee Sessions 1964-1974.
The unreleased tracks on Baby Ain’t That Love-Texas and Tennessee Sessions 1964-1974, show different sides to Clarence “Frogman” Henry. Among their highlights of the unreleased tracks are covers of Billy Hill’s The Glory Of Love and a driving version of You Made Me Love You. Looking Back is transformed into a beautiful, soul-baring ballad. Then Clarence strolls his way through You’ve Got A Lot To Learn. Long, Lost And Worried, a Mac Rebennack composition, sounds as if it was written for Clarence. He breathes life and meaning into the song. Just like Clarence’s cover of Heartaches By The Number, it’s a real find. However, it’s not the last.
Eight tracks that feature on Baby Ain’t That Love-Texas and Tennessee Sessions 1964-1974, made their way onto an Edsel compilation released in 1999. This includes slow, moody and bluesy Cheatin’ Traces. So does an upbeat, poppy version of Huey Smith’s Sea Cruise. A real find is I Can’t Take Another Heartache. As Clarence delivers a worldweary vocal, gospel-tinged backing vocals accompany him. Mathilda has a country blues influence, as Clarence delivers a truly heartfelt vocal. It’s one of the best of the tracks that Edsel licensed back in 1999. So, it’s fitting it features on Baby Ain’t That Love-Texas and Tennessee Sessions 1964-1974, which was recently released by Ace Records.
Baby Ain’t That Love-Texas and Tennessee Sessions 1964-1974 documents a ten year period in Clarence “Frogman” Henry’s long and illustrious career. Sadly, it wasn’t the most successful period of Clarence “Frogman” Henry’s career. There’s a reason for this.
From the British Invasion of 1964, neither R&B nor soul music was as popular in America. Blues and jazz had suffered the same fate. Pop, psychedelia, rock and then prog rock was what most people were listening to during this period. This meant that soul and R&B were marginalised. It seemed that the upsurge in interest in pop and rock was affecting sales of other genres in music.
The only soul label that seemed to be enjoying any sort of success was Motown. They were continuing to churn out their unique brand of poppy soul. Apart from Motown, soul singers signed to Stax and Atlantic enjoyed a degree of success. This would be the case with soul music throughout the period that Baby Ain’t That Love-Texas and Tennessee Sessions 1964-1974 covers.
Between 1964 and 1974, the soul factories of Detroit, Memphis and Philly would enjoy their moment in the sun. They seemed to find a winning formula. However, their sound was formulaic, and the success didn’t last.
This meant that the singles charts on both sides of the Atlantic were dominated by pop and rock. For soul singers like Clarence “Frogman” Henry, it meant their music often passed record buyers by.
That proved to be the case. Between 1964 and 1974, commercial success eluded Clarence “Frogman” Henry. He never enjoyed the commercial success that enjoyed at Argo. This was ironic. During this period, Clarence “Frogman” Henry was continuing to mature as a singer and musician. He was a much better singer by 1974, than he was when has signed to Argo. However, throughout that ten year period, commercial success eluded Clarence.
That’s despite the best efforts of producers Chips Moman and Huey Meaux. So, Clarence “Frogman” Henry returned to where it all began, the Big Easy.
For nineteen years, Clarence “Frogman” Henry made his money on Bourbon Street. Each night, locals and tourists flocked to Bourbon Street, where Clarence “Frogman” Henry won friends and influenced people. Clarence “Frogman” Henry was one of the biggest draws on Bourbon Street, where he played a selection of his finest moments, including some of the music on Baby Ain’t That Love-Texas and Tennessee Sessions 1964-1974.
CLARENCE “FROGMAN” HENRY-BABY AIN’T THAT LOVE-TEXAS AND TENNESSEE SESSIONS 1964-1974.
LAU-THE BELL THAT NEVER RANG.
LAU-THE BELL THAT NEVER RANG.
Ever since the release of their 2007 debut album. Lightweights and Gentlemen, Lau have been variously described as “adventurous,” and “modern folk’s most innovative band.” That’s no exaggeration. Lau are, without doubt, one of the most exciting and ambitious folk bands of their generation. That’s why Kris Drever, Martin Green and Aidan O’Rourke have been winning awards, praise and plaudits ever since. This includes, winning the BBC Folk Award for the best group four times in six years. That takes some doing. However, Lau are no ordinary band.
Far from it. Lau are a groundbreaking group who release pioneering music. They’re also perfectionists. They always have been.
Ever the perfectionists, Lau freely admit to spending up to three weeks on a song. That’s been the case since Lau’s early days. They spent a year honing their songs and sound before releasing their debut album, Lightweights and Gentlemen. There was no way that Lau were going to release Lightweights and Gentlemen until they, and the album was ready. Their patience paid off, and ever since the release of Lightweights and Gentlemen, Lau’s star has been in the ascendancy.
Over the next eight years, Lau have released four further albums. Their latest album, The Bell That Never Rang, was recently released on Reveal Records. It’s the first album Lau have released since 2012s critically acclaimed Race The Loser. That’s not unusual though.
Ever since the early days of Lau, the three members have worked on other projects. Despite these other projects, they’ve always returned to Lau, which the three members fondly describe as “the mothership.”
On their return to the “the mothership,” Kris Drever, Martin Green and Aidan O’Rourke hit the live circuit with Lau. Soon, Lau had established a reputation as one of Scotland’s best live bands. Whether it was festivals or small intimate venues, Lau lifted the roof with their unique brand of folk music. Proof of this came on their second album Live. Combining electronic and traditional instruments Lau soon garnered a large, loyal following, who waiting Lau’s next studio album with baited breath.
Two years after their debut album Lightweights and Gentlemen, Lau released their sophomore studio album Arc Light, in 2009. Released to critical acclaim, critics hailed Arc Light as further proof that Lau were the future of folk music. Soon, other artist were wanting to collaborate with Lau.
First to collaborate with Lau was Karine Polwart. Five new songs were recorded. When Lau Vs. Karine Polwart released Evergreen, this reinforced and enhanced both Lau and Karine’s reputation as two of modern folk’s most best artists. Then in 2010, acoustic and electronic artist and producer Adem collaborated with Lau. Together, they recorded seven new tracks, which were released as Lau Vs. Adem’s Ghosts. The second in the Vs. Lau series proved just as successful as the first. As if this wasn’t encouraging enough, Lau’s reputation as a live band was still growing at home and abroad. All that was needed was another studio album from Lau.
Back in Castlesound Studios, Pencaitland, Lau recorded the nine tracks that became Race The Loser in May 2012. Lead vocalist Kres Drever played guitars and harmonica, Martin Green played accordion, Wurlitzer organ and electronics, while Aidan O’Rourke played the fiddle. Producing Race The Loser was Grammy Award nominated producer Tucker Martine. With a C.V. that included working with Sufjan Stevens, Camera Obscura, R.E.M. and Laura Veirs, having Tucker produce Race The Loser was quite a coup. However, would it pay off?
When Race The Loser was released in 2012. Praise, plaudits and critical acclaim came Lau’s way. Race The Loser was no ordinary folk album. It was much more than that. While folk was the most predominant influence, but were elements of jazz, rock, electronica and soul. The soul comes in the shape of Kris’ world-weary, all-knowing vocal. His vocal played a part in what was a folk album for the 21st Century. Race The Loser was a career defining album from Lau. However, would Lau followup an album like Race The Loser?
Lau’s loyal fans have been waiting three years to find out the answer to that question. Now the wait is over. Lau released recently The Bell That Never Rang. This six track album is the next chapter in the Lau story.
For The Bell That Never Rang, Kris Drever penned the lyrics to the six songs. These six songs were recorded at Lau’s studio of choice, Castlesound Studios. Producing The Bell That Never Rang, was Joan Wasser, a.k.a. Joan As Police Woman. Adam Sachs and Stuart Hamilton took charge of engineering duties. This allowed Lau to do what they did best, make music.
As The Bell That Never Rang sessions got underway, vocalist Kres Drever played guitars, Martin Green played accordion and “electronics,” while Aidan O’Rourke played the fiddle. They were joined by the Elysian Quartet. Its lineup features violinists Emma Smith and Jennymay Logan, Vince Sipprell on viola and Laura Moody on cello. Joan Wasser added vocals on The Bell That Never Rang. Once the recording of The Bell That Never Rang was completed, it was mastered in New York by Fred Kevorkian. All that was left was for The Bell That Never Rang to be released.
Just like previous albums, The Bell That Never Rang was released to widespread critical acclaim. Lau were back, and back to their innovative best. The Bell That Never Rang was triumphant return from Lau. So, when
The Bell That Never Rang was released earlier this week it should’ve been a joyous occasion. It was. However, there was a sense of sadness. When recording The Bell That Never Rang, Lau brought onboard a string quartet, the Elysian Quartet. They player their part in The Bell That Never Rang’s sound and success. Sadly, their viola player, Vince Sipprell, had died on 30th January 2015. By then, The Bell That Never Rang recording session were completed. So, Lau dedicated The Bell That Never Rang to Vince Sipprell, a talented and dedicated musician. He played his part in the success of Lau’s new album The Bell That Never Rang.
Opening The Bell That Never Rang is First Homecoming. It’s a track that showcases Lau’s unique brand of innovative folk. A rumbling sound in joined by a plink plonk guitar and wistful strings. Soon, thunderous drums signal the arrival of Kris’ vocal and a chirping guitar. There’s a sense of hope and joy in Kris’ vocal as he delivers the cinematic lyrics. He’s a changed man. No longer is he alone, now that he’s found someone to love: “in this new place I call my home.” Previously, this seemed out of reach, but: “I’ve lost the urge to be by myself.” By the time Kris delivers that line, seamlessly, the arrangement has come together. As the strings dance, drums pound and the guitar chimes, as Kris experiences hope, happiness and joy.
Martin Green’s accordion and Kris Drever’s chirping guitar unite on the irresistible The Death of the Dining Car. Soon, the Elysian Quartet add dancing strings. Lau it seems are returning to their traditional Scottish roots. However, being Lau, there’s always expect a twist. It comes when pounding, mesmeric drums accompany Kris’ vocal. He dawns the role of a storyteller. Meanwhile the drums inject a sense of urgency and drama. It’s with a sense of sadness that Kris delivers the lyrics. They too have a cinematic quality, as the rest of Lau fuse musical genres. Everything from electronica, folk, indie rock and Scottish traditional music are combined seamlessly, on his stomping anthem.
Back in Love Again has a much more understated sound. Kris strums his trusty acoustic guitar. Soon, lush strings sweep in from the distance. They flit in and out of the arrangement, playing yin to Kris’ yan. That’s until gradually, things begin to change. From the distance, a wash of sound enters. Gradually, it grabs your attention. That was its raison d’être. Now you’re paying attention, Kris delivers another hopeful vocal. Or is should it be cautious optimism, given he’s: “falling Back in Love Again?” As he delivers his hopeful vocal, the accordion and guitar propel the arrangement along. Augmenting Kris’ vocal are tender harmonies, they add to the beauty and soulfulness of this captivating, ethereal ballad.
A Lau album is not unlike Forest Gump’s box of chocolates, you never know what you’re gonna get.” Tiger Hill (Armoured Man) marks another change of direction. With its plink plonk guitars and myriad of disparate sounds, it’s as if Lau have been inspired by Fridge. Soon, a wash of moody, broody music sees a change of tack, before briefly, Lau pay homage to firstly Cream and then C.S.N.&Y. It’s the harmonies that leads to the C.S.N.&Y comparison. Later, washes of strings and a quivering, shivering guitar are added. They play their part what’s beginning to sound like another a cinematic sounding track. That’s until later, when Lau are transformed into an innovative power trio. Stabs of mellow keyboard accompany harmonies, as musical chameleons Lau, bring this magical, musical mystery tour on a melodic high.
The one way to describe The Bell That Never Rang is a seventeen minute epic. Slowly, and gradually, the arrangement begins to take shape. At the heart of its sound and success are the Elysian Quartet. Their elegiac and balletic strings, meander and skip across the arrangement, adding an ethereal, and sometimes wistful beauty. Later, they add an element of drama, as they’re played firmly and with a sense of purpose. As they reach a crescendo, the arrangement briefly bubbles dramatically. It then returns to its wistful, ethereal sound. Especially with Kris adding guitar, Martin accordion and Aidan his fiddle. Seamlessly, Lau the Elysian Quartet feed off each other, inspiring each other to greater heights. Sometimes, the music becomes cinematic, other times the Celtic influence is unmistakable. The Celtic influence is the signal for Kris to deliver his vocal. With just Lau accompanying him, he delivers a pensive, wistful and emotive vocal. Sadness is omnipresent as he sings: “nobody knows when you’ll go and no-one thinks to tell you.” While Kris delivers a thoughtful vocal, the rest of Lau add harmonies adding to the ethereal beauty and wistfulness of this seventeen minute Magnus Opus.
Ghosts closes The Bell That Never Rang. It’s another understated ballad. This is something Lau do so well. As Kris plays his acoustic guitar, he hums. It’s as if he’s just sitting at home playing his guitar. Instead, the red light is shining, and the tape is running. He delivers an inspired performance, singing of the “Ghosts” of his past. They surround him, and are everywhere. He realises that as he wonders where he would go to escape them. His lyrics, and his delivery of them are both beautiful and haunting. Especially with washes of accordion and a pulsating drums that plays in the background. They prove the perfect accompaniment to Kris on this hauntingly beautiful ballad.
Although it’s three years since we last heard from Lau, the three year wait for The Bell That Never Rang has been well worth the wait. The Bell That Never Rang oozes quality and beauty. From the opening bars of First Homecoming, right through to the closing notes of Ghosts, The Bell That Never Rang is a captivating album. The music is beautiful, dramatic, elegiac, ethereal, haunting and wistful. Other times it’s anthemic, hopeful and joyous. Quite simply, it’s an album that’s designed to toy with your emotions.
Throughout The Bell That Never Rang, Lau toy with your emotions on what’s akin to a magical, musical mystery tour. As mystery tours go, Lau spring surprises aplenty. No two tracks are the same. Indeed, often during the same track, Lau throw a curveball. The song heads in a totally different direction. It’s as if Lau are determined to keep the listener on their toes during The Bell That Never Rang. They succeed in doing so, on this old school album.
There’s a reason I refer to The Bell That Never Rang as an old school album. It features just six songs and lasts forty-four minutes. This means that The Bell That Never Rang would fit perfectly onto a vinyl album. That’s what bands used to do. However, that’s until the CD.
Since then, bands release sprawling, fifteen track albums. It’s as if they feel obliged to fill the CD. Ironically, they’re doing themselves a huge disservice. Usually, by the tenth track, the quality is starting to suffer. By the fifteenth and final track, the track should’ve stayed on the cutting room floor. Quality control, it seems, is sadly lacking. That, however, isn’t case with Lau.
Far from it. Only the creme de la creme makes it onto a Lau album. Remember, Lau are the archetypal perfectionists. They home and shape song until they’re totally satisfied with it. Only then, will they make it onto an album. That was the case with The Bell That Never Rang.
Each of the six of songs that made it onto The Bell That Never Rang, feature the Edinburgh based musical alchemists at their innovative best. The Bell That Never Rang sees Lau seamlessly combine disparate musical genres. Everything from Celtic, electronica, electro, folk, indie rock and rock is thrown into Lau’s melting pot. Producer Joan Wasser sprinkles some sonic magic and then gives this musical melting pot a stir. Only then is this musical treat ready to serve.
And what a dish it is. It’s fit for a king or queen. Lau have surpassed their previous efforts. The Bell That Never Rang marks a triumphant return from Lau. After three years away, Edinburgh based musical mavericks Lau, make a welcome return with their genre defying Magnus Opus, The Bell That Never Rang.
LAU-THE BELL THAT NEVER RANG.
DON’T BE BAD! 60S PUNK RECORDED IN TEXAS.
DON’T BE BAD! 60S PUNK RECORDED IN TEXAS.
Not everyone can spot a hit record. Especially over a variety of musical genres. That takes a very special person. It also takes “good ears.” Not many people are blessed with good ears. However, Huey Purvis Meaux was. Good ears are what Huey credits his success to.
Huey Purvis Meaux knew a hit record when he heard one. It didn’t matter if it was blues, country, garage, R&B, rock ’n’ roll, swamp pop or Tex Mex, Huey knew a hit when he heard one. So it’s no surprise that for two decades, Huey who owned Crazy Cajun Enterprises, became one of the leading lights of the Texan music scene.
During the sixties and seventies, Huey established a reputation as one of the top producers in Texas. He produced many of the twenty-six tracks on Don’t Be Bad! 60s Punk Recorded In Texas. This collection of Texan garage was recently released by Big Beat Records, an imprint of Ace Records. It includes ten previously unreleased tracks. The other sixteen tracks were released on the various labels Huey owned. These labels were a necessity in the post-Payola age.
Any record label who had several songs played on the radio at the same time, risked being on the wrong end of a Payola investigation. After what had happened in the late-fifties, and early-sixties, this was every record label owner’s worst nightmare.
Payola had blighted the music industry for three decades. It was commonplace for record labels to pay DJs to play their records. Some record labels gave DJs gifts. Often the bribery was a bit more subtle. Record labels paid for advertising on radio stations. By the late fifties, the US Government were keen to clean up the music industry.
The Congressional Payola Investigations of 1959 was the start of US government’s attempt to clean up the music industry. Then in 1960, the first Payola investigations began. Witnesses were called and soon, the clean up began.
DJ Alan Freed was called as a witness to the committee hearings. He proved an uncooperative witness. This didn’t please the committee, or his employers. After the committee hearings, Alan Freed was fired. One of his contemporaries survived, but only just.
Just like Alan Freed, Dick Clack was known across America. He was also asked to testify at the committee hearings. Dick Clark testified, and survived the hearings, but only after agreeing to sell his personal investments in music publishing and recording companies. Quite rightly, the committee considered these investments a conflict of interest. So, having sold his investments, Dick Clark lived to fight another day.
Following the Payola investigations, record label owners were worried about further investigations. This included Huey Purvis Meaux. Like many successful producers, he could have any number of songs in the charts at one time. They would all be played on radio. If that happened, he might find himself on the wrong end of a Payola investigation. However, there was a way round this.
Just like other record label owners, Huey setup different labels for different genres of music. Before long, in addition to Crazy Cajun, Huey had a string of labels, including Capri, Pacemaker, Pic One, Shane, Tear Drop, Tribe and Ventural. Each of these labels was a subsidiary of Huey’s Crazy Cajun Enterprises, which was housed at 227 Sterling Street, Pasadena, Texas. These labels allowed Huey to sleep safe in the knowledge that he wasn’t going to find himself on the wrong end of a Payola investigation.
This allowed Heuy to do what he did best, finding new talent and producing hit records. This is what Huey Purvis Meaux had been doing for years. He seemed to have the Midas touch. It didn’t seem to matter what musical genre it was, Huey could make magic happen in his recording studio in Pasadena.
Huey’s recording studio was situated in a former radio station in a suburb of Pasadena. Part of the old radio station was Huey’s recording studio. It had been built by Huey, albeit with the help of local teenage musicians. He told them he was building a recording studio, and somehow, the charismatic Texan managed to convince them to help build the recording studio. Next door was a club for teenagers. This gave the musicians and bands somewhere to hang out before the red light went on. Plenty of bands spent time there. Especially, between 1965 and 1967, which is remembered as as sixties punks golden era.
By 1965, American music was changing, and changing fast. The British Invasion of 1964 was a game-changer. Suddenly, America “got” The Beatles. Coast to coast, Beatlemania swept the States. This kick-started the British invasion. Suddenly, American artists no longer monopolised the American charts. Instead, British artists stole the limelight from their American counterparts. Soon, the Rolling Stones, The Kinks, The Who and later, The Animals and Cream would take America by storm. However, by 1965, a new musical genre was making its presence felt, and it was unashamedly American.
This new musical genre divided opinion in many ways. Even its name. Many called it garage rock, while others called it punk. One of the leading lights of sixties punk was Huey Purvis Meaux. Between 1965 and 1967, Huey was at the heart of the Texan punk scene. Any Texan punk band looking for a break, made their way to Huey’s Crazy Cajun Enterprises, at 227 Sterling Street, Pasadena, Texas. This includes the twenty-six bands who feature on Don’t Be Bad! 60s Punk Recorded In Texas, which I’ll pick the highlights of.
Opening Don’t Be Bad! 60s Punk Recorded In Texas is Barry and Life’s Top-Less Girl. It was recorded in late 1966, and released on Heuy’s Pic-1 label in 1967. It’s not just punk that can be heard on Top-Less Girl. So can garage, rock and psychedelia. There’s a noticeable Doors’ influence. Mostly, that’s down to the keyboards. At the start, there’s also a similarity to Lou Reed’s classic 1972 single Walk On The Wild Side. After that, a melodic and technically proficient slice of garage rock unfolds. It’s bound to have inspired later a generation of punks in 1976.
The Driving Wheels only released one single, One Year Ago Today. It was written by Tommy Bolton. He also penned Don’t Be Bad and She Comes Running, two of the unreleased tracks on Don’t Be Bad! 60s Punk Recorded In Texas. Both tracks were recorded on 10th October 1966, but never released. For The Driving Wheels this was a missed opportunity. They were obviously a talented band. That’s apparent on the two tracks. Don’t Be Bad epitomised the sixties punk sound, while She Comes Running has a much more poppy, chart-friendly sound.
Destiny’s Children are another group who only released one single. Their moment in the sun came in 1966. They entered Huey’s studios earlier in 1966, recording Your First Time and The Fall Of The Queen. When Destiny’s Children released their debut single, The Fall Of The Queen was destined for the flip-side. Ironically, Your First Time wasn’t a commercial success. The Fall Of The Queen, is a hugely underrated track. Jim McClain seems to have been inspired by Mick Jagger, as he struts his way through the lyrics, delivering an attitude packed, gravelly vocal.
1965 was the start of the sixties punk explosion. One of the groups at the vanguard of the Texan punk movement were The Pirates. On 27th July 1965, they made their way to Huey’s recording studio. That’s where they recorded Cuttin’ Out and Mona/Who Do You Love. Cuttin’ Out, a Stanley Chaisson and Mike Moore composition was released as a single later in 1965. Its introduction seems to have been inspired by John Lee Hooker’s Boom Boom. This motif reappears during the track, albeit only briefly. However, it plays a part in one of the best, and most melodic tracks on Don’t Be Bad! 60s Punk Recorded In Texas. The Pirates other contributions are covers of Mona/Who Do You Love. Both tracks are given a rocky and vampish makeover by The Pirates, as they take on new meaning.
Just a day after The Pirates recorded the two tracks that feature on Don’t Be Bad! 60s Punk Recorded In Texas, The People recorded Again. This Harvey Kagan penned track was recorded on 28th July 1965. It’s something of a slow burner. It has a slow, spacious and moody, that gradually unfolds. Soon, The Pirates are fusing pop, psychedelia and rock. In doing so, they don’t spare the hooks on what’s another of Don’t Be Bad! 60s Punk Recorded In Texas’ highlights.
The Actioneers recorded It’s You on 15th November 1965. It was penned by Ray Gilburn and produced by Huey Meaux. It’s You was then released on Huey’s Shane label. Sadly, It’s You came to nothing. This explosive fusion of surf, garage and rock disappeared without trace. Nearly fifty years later, it makes a welcome return on Don’t Be Bad! 60s Punk Recorded In Texas.
Another group who headed to Huey Meaux’s studio seeking fame and fortune were The Phinx. Sadly their trip in June 1966 was in vain. Neither To No Place Of Its Own, nor Everything’s Right were ever released. Again, that’s a great shame. They were obviously a talented band. Proof of that is the wistful sounding To No Place Of Its Own, and the Rolling Stones’ inspired Everything’s Right. Both tracks have bags of potential. However, it wasn’t to be. For The Phinx, it was a case of what might have been?
Baby, I Need You was recorded by The Eccentrics in January 1966. Later in 1966, this Les Swift penned was released on Huey Meaux’s Shane label. Huey, it didn’t seem, had much faith in the single. he only had 200 copies pressed. That’s ironic, given how polished sounding Baby, I Need You is. It’s polished sounding track that’s been influenced by the British Invasion. Especially The Beatles and the Rolling Stones. However, Baby, I Need You disappeared without trace. How different things might have been. With the right record label behind Baby, I Need You, maybe it would’ve given The Eccentrics that elusive hit single.
Blue Diamonds’ Gotta Tell Her is another of the unreleased tracks on Don’t Be Bad! 60s Punk Recorded In Texas. It was recorded on 9th June 1966, and since then, has lain in Huey Meaux’s vaults. It’s a real find.Elements of surf, garage, psychedelia and rock combine during this moody, stomper.
The Chancellors’ roots were in Louisiana. They however, made the pilgrimage to Pasadena to record Don’t Tell Me at Huey Meaux’s studio in 1965. Later that year, Don’t Tell Me was released as a single. This Howard Lee and Rusty Shafer was The Chancellors’ second single. They were obviously a tight, talented and proficient group. Don’t Tell Me is melodic, and almost Byrdsian, given its use of harmonies. Despite having all this going for it, Don’t Tell Me passed record buyers. Thankfully, it makes a welcome return on Don’t Be Bad! 60s Punk Recorded In Texas.
Closing Don’t Be Bad! 60s Punk Recorded In Texas is Dodad’s Bring Me. It was recorded in January 1966, but never released. With its raw, almost aggressive and punky sound, it’s the perfect way to close Dodad Don’t Be Bad! 60s Punk Recorded In Texas. After all, it goes a long way to defining the sixties Texan punk sound.
Probably the best way to describe Don’t Be Bad! 60s Punk Recorded In Texas is eclectic. While the music is described as punk, that is slightly misleading. Some of the tracks could be described as garage, pop, psychedelia, rock or surf. Other tracks are a fusion of musical genres. They’ve also been influenced by a variety of musicians.
Among the influences, arethe British Invasion groups. Two of the most noticeable influences are The Beatles and Rolling Stones. Other influences include The Byrds and The Doors early releases. These influences shine through on Don’t Be Bad! 60s Punk Recorded In Texas, which was recently released by Big Beat Records, an imprint of Ace Records. These tracks were produced by Huey Purvis Meaux, a leading light of the Texan music scene.
Huey Purvis Meaux was blessed with what he calls “good ears.” This meant he knew a hit record when he heard one. It didn’t matter if it was blues, country, garage, R&B, rock ’n’ roll, swamp pop or Tex Mex, Huey knew a hit when he heard one. By 1965, Huey turned his attention to Texan punk.
His studio became the go-to place for aspiring punk bands. Huey many young punk musicians thought could make their dreams come true. He could turn them into stars. Fame and fortune was only a hit single away. Then the doors to the rock ’n’ roll lifestyle would be thrown wide open. Sadly, many of the bands on Don’t Be Bad! 60s Punk Recorded In Texas didn’t get the chance to live the dream.
Some bands enjoyed a regional hit. For others, releasing a single was a status symbol. This meant they were a cut above their rivals on the Texan punk scene. They were meant to be going places. Often, that wasn’t the case. Like many bands over the last fifty years, they only released the one single. The lucky ones maybe released two or three singles. After that, the dream was over. That was the case for many Texan punk bands by 1967.
By 1967, music was changing. The psychedelic age was dawning. Punk had had its day, for the time being.
Nine years later, in 1976, punk made a return. It was very different to the music on Don’t Be Bad! 60s Punk Recorded In Texas. Although the twenty-six tracks on Don’t Be Bad! 60s Punk Recorded In Texas are described as punk, the title is slightly misleading.
The Texan punk that features on Don’t Be Bad! 60s Punk Recorded In Texas is very different from the punk of 1976. Let’s get this clear, this isn’t the punk of 1976. Far from it. Instead, the music is much more accomplished, melodic and polished. The music incorporates garage, pop, psychedelia, rock and surf. Unlike their seventies counterparts, the bands that feature on Don’t Be Bad! 60s Punk Recorded In Texas can actually play their instruments. They’re proficient and talented musicians. Some would say they’re too talented to be classified as punk musicians. I would. So will you, once you’ve heard the delights of Don’t Be Bad! 60s Punk Recorded In Texas.
DON’T BE BAD! 60S PUNK RECORDED IN TEXAS.
WOW, WOW, BABY! VOLUME 3-1950S R&B, BLUES AND GOSPEL FROM DOLPHIN’S OF HOLLYWOOD.
WOW, WOW, BABY! VOLUME 3-1950S R&B, BLUES AND GOSPEL FROM DOLPHIN’S OF HOLLYWOOD.
By 1958, Fred Grayton Dolphin was living the American dream. The Toast of The Coast was a successful businessman, who owned a record shop and independent record label. Fred was also a record producer and political activist. He was well respected within the Los Angeles’ community. However, not by everyone.
February the 1st 1958, was just like any other day. Fred had spent much of the day in his office, running his various businesses. Later, some young, up-and-coming musicians, including Sandy Nelson, Dave Shostac and future Beach Boy Bruce Johnson, came into Fred’s office. They were trying to interest Fred in their music. That was when shipping clerk and singer Percy Ivy burst into Fred’s office. Percy was clutching a gun. A moment later, and Fred Grayton Dolphin was dead.
Fred Grayton Dolphin had packed a lot of living into fifty-six years. He was born in Beatrice, Alabama, on 1st April 1902. Before long, the Dolphin family were on the move. Next stop was Boley, Oklahoma, Fred was brought up. However, he didn’t settle in Boley.
After leaving high school, Fred moved to Detroit, Michigan. For a while, Motortown was home for Fred. However, he then moved to Los Angeles. That proved to be the place Fred Grayton Dolphin called home. It’s where his business career began.
In 1948, Fred decided to open a record shop. This was no ordinary record shop. Dolphin’s Of Hollywood was open twenty-four hours a day. It was based on Central Avenue, Los Angeles. This proved a perfect location for a record shop, as Central Avenue was where the great and good of jazz and blues hung out. Everyone from Billie Holiday, Big Joe Turner, Charlie Parker, Duke Ellington, Jelly Roll Morton, Lionel Hampton, Louis Armstrong and Nat King Cole hung out in Dolphin’s Of Hollywood. Soon, Dolphin’s Of Hollywood became a hub for blues, jazz and later, R&B music.
As R&B became the most popular musical genre, Dolphin’s Of Hollywood played an important part in R&Bs rise and rise. Dolphin’s Of Hollywood was one of Los Angeles’ biggest, and most important shops. Fred, always a pioneer, encouraged local R&B DJs, Hunter Hancock and Dick Hugg to broadcast live from Dolphin’s Of Hollywood. This was a first. By then, Fred had expanded his musical empire.
In 1950, Fred founded his first label, Recorded In Hollywood. A year later, in 1951, the nascent label enjoyed its first hit single with Once There Lived A Fool. This came courtesy of Jimmy Grissom, Duke Ellington’s vocalist. For Fred Dolphin, this was the first of many hit singles his labels would release.
Unlike some label owners, Fred Dolphin didn’t concentrate specifically on one musical genre. Fred realised that music was constantly changing. So, he released everything from blues, gospel, and jazz, to R&B, rock ’n’ roll and soul. He produced singles by Charles Mingus, Gene Forrest, Illinois Jacquet, Linda Hayes, Major Lance, Pee Wee Crayton, Percy Mayfield and Sam Cooke on the various labels he founded.
Fred Dolphin’s first label was Recorded In Hollywood. He then founded Lucky Records, and later, Money Records and Cash Records. Tracks from each of these labels feature on Ace Records’ recent celebration of Fred Dolphin’s career, Wow, Wow, Baby! Volume 3-R&B, Blues and Gospel From Dolphins Of Hollywood. This twenty-four track compilation features Memphis Slim, Jimmy Witherspoon, James Reed, Scatman Crothers, The Mellow Tones, Johnny Fuller, Earl Burton and The Mellow Tones. They’re just a few of the names on Wow, Wow, Baby! Volume 3-R&B, Blues and Gospel From Dolphins Of Hollywood, which I’ll pick the highlights of.
Big Boy Groves and His Orchestra open Wow, Wow, Baby! Volume 3-R&B, Blues and Gospel From Dolphins Of Hollywood with Heavy Artillery (Aka The Solid Rock). It’s the first of two unreleased tracks from Big Boy Groves and His Orchestra. This is an unedited version of Heavy Artillery (Aka The Solid Rock). It features a blistering tenor saxophone solo from Roland Mitchell. The original version was released as a single on Money Records. On the B-Side was Traffic Ticket. The version included features Big Boy Groves on lead vocal, while the rest of the group add the chorus. Just like the unreleased version of Heavy Artillery (Aka The Solid Rock), Traffic Ticket is a welcome addition, and shows just why Big Boy Groves and His Orchestra were so popular in the fifties.
In 1951, Scatman Crothers released his second single for Recorded In Hollywood. This was a cover of Wynonie Harris’ Man Have I Got Trouble. On the flip side was Elaine, a Scatman Crothers composition. When Man Have I Got Trouble was released as a single, it flopped. That’s despite Scatman breathing life and meaning into the lyrics. His vocal is an outpouring of despair. It’s almost cathartic, and it sounds like Scatman has lived and survived the lyrics.
Memphis Slim is one of the true legends of blues music. He was playing a few live dates in L.A. when he recorded a session for Fred Dolphin. This included Pete’s Boogie. It was recorded, but never released until 1991, when it featured on a compilation. Pete’s Boogie is a glorious reminder, one of the greatest blues pianists. He and his band ensure Pete’s Boogie swings, and then some.
Jimmy Witherspoon is another blues great. He was a truly prolific artist, who for ten years, seemed to flit between labels. By the early fifties, Jimmy was signed to Dolphin. Among the tracks he cut, were S.K. Blues. It features a needy, hopeful vocal from Jimmy. Then on Take 1 of Teenage Party, Jimmy accompanied by a tight, talented band, reinvents himself as a rock ’n’ roller. This works, and could’ve helped Jimmy to break into the profitable youth market. That wasn’t to be. These tracks, which show two sides of Jimmy Witherspoon, weren’t released until 1991, when they found their way onto a compilation released by the Speciality label. They make a welcome return on Wow, Wow, Baby! Volume 3-R&B, Blues and Gospel From Dolphins Of Hollywood.
Just like Jimmy Witherspoon, Floyd Dixon was a rolling stone. After cutting forty sides for Modern, Floyd moved from label to label. He never staying long anywhere. By the time Floyd arrived at Cash Record, his career at a crossroads. Despite that, two of the tracks he recorded, Oh Baby and Never Can Tell (When A Woman’s Going To Change Her Mind) saw Floyd roll back the years. They were released as singles in 1958. Sadly, by then, Floyd’s brand of piano driven R&B was no longer as popular. Oh Baby and then Never Can Tell (When A Woman’s Going To Change Her Mind) passed the record buying public by. However, they’re a welcome addition to Wow, Wow, Baby! Volume 3-R&B, Blues and Gospel From Dolphins Of Hollywood, and are a reminder of just what Floyd Dixon was capable of.
In 1956, Fred Dolphin decided to add gospel singer Brother Prince Dixon to Cash Records’ roster. Two years later, in 1958, Brother Prince Dixon released Step In The Right Direction as a single on Cash Records. It was a rousing gospel track. Sadly, it failed commercially. Brother Prince Dixon’s other contribution is an unreleased track, I Need The Lord To Guide Me Everyday. Just like Stepping In The Right Direction, it’s a stirring slice of gospel from Brother Prince Dixon.
Earl Burton signed to Money Records in 1954. A year later, he turned his back on the music industry. His musical swan-song was Eat, Sleep, Drink And Play. It was attributed to The Earl Burton Combo, and was released on Money Records, in 1955. Although it wasn’t a commercial success, Eat, Sleep, Drink And Play falls into the category of hidden gem. That’s due to Earl’s hopeful vocal and the sometimes sultry saxophone.
Before signing to Money Records, James Reed was signed to the Bihari Brothers’ Modern Records. Next stop for James Reed was Money Records. That’s where he released My Love Is Real as a single in 1954. It’s a slow, wistful blues full of hurt and heartache. My Love Is Real proved to be James Reed’s only release for Money Records. Ironically, if Fred Dolphin had been a bit more patient, then maybe James would’ve released his hit single Fool’s Paradise on Money Records.
Another of the unreleased tracks on Wow, Wow, Baby! Volume 3-R&B, Blues and Gospel From Dolphins Of Hollywood is Tap Anthony and His Orchestra’s Fancy Pants. It’s one of just four tracks they recorded with Fred Dolphin. However, Fred never released the tracks. However, somehow, they found their way onto an E.P. Cavalcade Of Jazz. Whether it was with Fred Dolphin’s permission, that’s unclear. What’s clear is that Fancy Pants finds Tap Anthony and His Orchestra at the peak of their powers.
Closing Wow, Wow, Baby! Volume 3-R&B, Blues and Gospel From Dolphins Of Hollywood is Chuck Higgins and The Mellotones’ Oh Yeah! (Aka Rock And Roll). It was penned by Chuck and James Thomas, and released on Money Records in 1956. Oh Yeah! (Aka Rock And Roll) saw Fred Dolphin jump onboard the rock ’n’ roll bandwagon. No wonder. Rock ’n’ roll and groups like Chuck Higgins and The Mellotones were seen as the future of music. Especially, if they were capable of unleashing a barnstorming performance like Chuck Higgins and The Mellotones do on Oh Yeah! (Aka Rock And Roll).
Wow, Wow, Baby! Volume 3-R&B, Blues and Gospel From Dolphins Of Hollywood, sees Ace Records return to the vaults of Fred Dolphin’s record companies. There’s tracks from Recorded In Hollywood, Cash Records and Money Records. This includes blues, doo wop, jazz, R&B and rock ’n’ roll. That’s not a surprise.
Fred Dolphin was always looking for the “next big thing.” He realised that music was constantly changed. Musical genres fell in and out of fashion. This was the case throughout his eight year career as record label owner. It seemed Fred was always a step ahead of the pack.
When jazz was no longer as popular, Fred Dolphin moved onto R&B. Then when piano driven R&B had had its day, Fred jumped onboard the rock ’n’ roll bandwagon. Sadly, Fred Dolphin never lived to see the pop, rock and psychedelic ages.
On February 1st 1958, Fred Dolphin had spent much of the day in his office. He had a record shop and four record labels to run. So there was always a steady stream of aspiring musicians wanting to see Fred. That day, three young, up-and-coming musicians, Sandy Nelson, Dave Shostac and Bruce Johnson, came into Fred’s office. They were trying to interest Fred in their music. That was when shipping clerk and singer Percy Ivy burst into Fred’s office. Percy was clutching a gun. A moment later, and Fred Grayton Dolphin was dead. That day, music lost one of its pioneers.
Throughout his career, Fred Dolphin was a pioneer. He was partly responsible for the upsurge in R&B’s popularity. Fred managed to market R&B to a white audience. That was something that many had previously thought impossible. That was until Fred Dolphin played R&B on Los Angeles’ KRKD radio station. Soon, R&B had crossed America’s then racial divide. Suddenly, many talented R&B singers, who previously were struggling to make ends meet, were making a comfortable living. For Fred, who was a political activist, this was just one of his proudest achievements.
Another of Fred Dolphin’s proudest moments came in 1954. That was when Fred organised a protest against intimidation that was directed at interracial trade. Fred managed to get 150 other business owners onboard. There was safety in numbers. Together, they reacted against an organised campaign against African-American owned businesses. This included Dolphin’s of Hollywood, which was the biggest selling record shop in Los Angeles. If the campaign of intimidation continued, Fred feared his customers would be scared off. So, he and other business owners stood shoulder-to-shoulder. In doing so, the campaign of intimidation came to an end. After this, the success story that was Dolphin’s of Hollywood continued.
By the time of Fred Dolphin’s death in 1958, he was a successful businessman, political activist and record producer. He was running four record companies and L.A.’s most successful record shop. Fred Grayton Dolphin was living the American dream. Sadly, his life was cut tragically short, aged just fifty-six. However, Fred Dolphin left behind a rich musical legacy.
Fred Dolphin’s musical legacy is in good hands. It’s owned by Ace Records, who have released a string of lovingly compiled compilations. The latest compilation is Wow, Wow, Baby! Volume 3-R&B, Blues and Gospel From Dolphins Of Hollywood, which is a fitting tribute to Fred Dolphin, musical pioneer, record producer, label owner and the man they called The Toast of the Coast.
WOW, WOW, BABY! VOLUME 3-1950S R&B, BLUES AND GOSPEL FROM DOLPHIN’S OF HOLLYWOOD.
SWEET THINGS FROM THE ELLIE GREENWICH AND JEFF BARRY SONGBOOK.
SWEET THINGS FROM THE ELLIE GREENWICH AND JEFF BARRY SONGBOOK.
Ever since it was built in 1931, The Brill Building was synonymous with the music industry. Its eleven floors housed music industry offices and recording studios. The Brill Building was also home to some of the greatest songwriting teams in musical history.
Especially during the fifties and sixties. Back then, everyone from Bacharach and David, Lieber and Stoller, Barry Mann and Cynthia Weil and Gerry Goffin and Carole King called the Brill Building Home. They made their name at The Brill Building. So did Ellie Greenwich and Jeff Barry.
Ellie Greenwich and Jeff Barry first met in 1959, at a Thanksgiving Dinner. It was hosted by Ellie’s maternal cousin, who just happened to be married to Jeff’s cousin. Straight away, Ellie and Jeff realised they had something in common…music.
By 1959, Ellie Greenwich and Jeff Barry were aspiring singers. They were also songwriters. However, Ellie and Jeff had enjoyed different degrees of success.
Jeff had already written a number one single in Britain and America, Tell Laura I Love Her. He and Ben Raleigh cowrote the teen-tragedy ballad. It was recorded by Ray Peterson in America, and Ricky Valance in Britain. Both versions reached number one. For the twenty-one year old songwriter, it would the first of many hits. Especially with Ellie Greenwich.
Ellie Greenwich was only nineteen when she met Jeff Barry. However, she had packed a lot of living into the previous two years. In 1957, she enrolled at Queens College, where she studied music. Later that year, Ellie wrote and released her debut single, Silly Isn’t It on RCA Records. However, Silly Isn’t It didn’t make the charts. Neither did the followup.
In 1958, Ellie released her sophomore single, Cha-Cha Charming. This caused controversy at Queens College. One of lecturers belittled Ellie’s for daring to release a pop single. Ellie wasn’t going to stand for that. So she transferred to Hofstra University. Ironically, Cha-Cha Charming wasn’t a commercial success. A year later, and Ellie decided to put her singing career on hold.
That’s when Ellie met Jeff. After that Thanksgiving Dinner, Ellie Greenwich and Jeff Barry formed what would prove to one of the Brill Building’s most successful songwriting partnerships. So much so, that it’s taken Ace Records three compilations to celebrate the Ellie Greenwich and Jeff Barry songwriting partnership. The latest volume is Sweet Things From The Ellie Greenwich and Jeff Barry Songbook, which was recently released on Ace Records.
Sweet Things From The Ellie Greenwich and Jeff Barry Songbook features twenty-four tracks. It features tracks from Darlene Love, The Exciters, The Crystals, Dusty Springfield, Lesley Gore, The Shangri-Las, The Butterflys, The Ronettes, The Strangeloves, Wilson Pickett, Freddie Scott and Paley Brothers. Given the quality of music on Sweet Things From The Ellie Greenwich and Jeff Barry Songbook isn’t going to be easy.
Opening Sweet Things From The Ellie Greenwich and Jeff Barry Songbook is Bob B. Soxx and The Blue Jeans’ Why Do Lovers Break Each Other’s Hearts? Ellie, Tony Powers and Phil Spector cowrote Why Do Lovers Break Each Other’s Hearts? It was arranged by Jack Nitzsche and produced by Phil Spector. Why Do Lovers Break Each Other’s Hearts? was released on Phil Spector’s Philles Records, in March 1963, giving Bob B. Soxx and The Blue Jeans a top forty hit. No wonder. Darlene Love’s lead vocal and harmonies play an important role. So, does Phil Spector’s innovative production style. He combines elements of doo wop, pop and soul to create a slick, poppy track that’s full of hooks.
By April 1963, Darlene Love had already featured on singles by the Crystals, Duane Eddy and on Bob B. Soxx and The Blue Jeans’ top forty single Why Do Lovers Break Each Other’s Hearts? However, still, Darlene hadn’t released her debut single. Her time came in April 1963. (Today I Met) The Boy I’m Gonna Marry was chosen as Darlene’s debut sing. This was another Ellie Greenwich, Tony Powers and Phil Spector composition. It was arranged by Jack Nitzsche and produced by Phil Spector. On its release on London American Recordings, it gave Darlene a minor hit single. For Darlene, this soulful single was the start of a long and successful solo career.
The Crystals’ Then He Kissed Me typifies not just the early sixties girl group sound, but Phil Spector’s production style. However, Phil was more than a producer. He was the owner of a record label and a successful songwriter. He cowrote Then He Kissed Me with Ellie Greenwich and Jeff Barry. Jack Nitzsche was drafted in to arrange Then He Kissed Me. It featured La La Brooks’ debut as lead vocalist. She played her part in a genre classic. On its release in March 1963, Then He Kissed Me reached number six in the US Billboard 100. Since then, Then He Kissed Me is remembered as one of The Crystals’ finest moments, and one of Phil Spector’s best productions.
Although the Ellie Greenwich and Jeff Barry partnership began as songwriters, it was inevitable that they would become producers. Other songwriting teams were doing so. However, by September 1964, Ellie and Jeff had formed their own group, The Raindrops. They released six singles and an album. The Raindrops’s final single was One More Tear, which reached number ninety-seven in the US Billboard 100. Tucked away on the B-Side was the hidden gem, Another Boy Like Mine. It was far too good to be a B-Side, and is a welcome addition to Sweet Things From The Ellie Greenwich and Jeff Barry Songbook.
The Shangri-Las feature twice on Sweet Things From The Ellie Greenwich and Jeff Barry Songbook. Their contributions are Leader Of The Pack and its B-Side, Heaven Only Knows. Leader Of The Pack was a teen-tragedy ballad Jeff and Ellie cowrote with Shadow Morton. It was produced by Shadow and Jeff. On its release, Leader Of The Pack reached number one in late 1964. Heaven Only Knows, the flip-side, was penned by Jeff and Ellie, and produced by Shadow Morton. It’s a vastly underrated track.For too long its lived in Leader Of The Pack’s shadow. That’s not surprising. Leader Of The Pack is a girl group classic, and a song that forever, will be synonymous with The Shangri-Las.
In early 1965, Lesley Gore was recording her album My Town, My Guy and Me. Ellie and Jeff penned What’s A Girl Supposed To Do with Lesley Gore in mind. Once the song was written, Lesley and her friends recorded a demo. The demo was submitted to Claus Ogerman, Lesley’s arranger. He and Lesley like the track. So it was included on My Town, My Guy and Me, which was produced by Quincy Jones. When the time came to record What’s A Girl Supposed To Do, Ellie and her friends were asked to add backing vocals. They play their part in making What’s A Girl Supposed To Do one of My Town, My Guy and Me’s highlights.
It’s fitting that there’s tracks from Ellie and Jeff on Sweet Things From The Ellie Greenwich and Jeff Barry Songbook. Ellie Contributes her 1965 single You Don’t Know. She cowrote the single with Jeff and Shadow Morton. Jeff and Shadow produced the single. They worked hard on the single. Eventually, it was completed. Great things were forecast for You Don’t Know. Sadly, it failed commercially. That was the case with Jeff’s single Our Love Can Be Saved. This was another Ellie Greenwich and Jeff Barry composition. It was produced by Jeff and released in 1965. Just like Ellie’s single, Our Love Can Be Saved failed commercially. After this, Jeff concentrated on his songwriting career.
After enjoying a successful songwriting partnership, a disagreement over Chapel Of Love lead to Ellie and Jeff not working with Phil Spector for a while. In 1966, they decided to put aside their differences. However, by then, Phil Spector was enjoying the same success. Girl groups were no longer fashionable. Despite this, one of the first songs Ellie, Jeff and Phil wrote, was recorded by The Ronettes. I Wish I Never Saw The Sunshine was produced by Phil. The song but never released. Ellie Grenwich didn’t like the recording. So, it wasn’t released until 1976, when the song was released by Phil Spector on a compilation. Although not a Ronettes’ classic, it’s well worth including on Sweet Things From The Ellie Greenwich Songbook.
Freddie Scott’s Am I Grooving You was penned by Jeff and Bert Berns, who produced the track. It was released on the Shout label in 1967. Am I Grooving You is quite different from much of the music on Sweet Things From The Ellie Greenwich and Jeff Barry Songbook. It has a slow, smouldering, funky groove. The addition of gospel tinged harmonies are just the finishing touch to this irresistible fusion of soul, funk and gospel.
Mention Sugar Sugar, and most people think of The Archies, not Wilson Pickett. Sugar Sugar, which was penned by Jeff and Andy Kim, gave The Archies a hit worldwide in 1969. A year later, in 1970, Wilson Pickett covered Sugar Sugar. His cover was produced by Tom Dowd and released on Atlantic. Wilson Pickett delivers a gravelly, vampish, R&B version of Sugar Sugar, and in doing so, transforms the song.
Following the breakdown of Ellie and Jeff’s marriage, they decided to divorce. While Jeff’s career was on the up, Ellie’s career stalled. She signed to United Artists in 1966. Apart from a minor hit with I Want You To Be My Baby in 1967, it wasn’t the most successful period of Ellie’s career. So, she formed another songwriting and production partnership with Mike Rashkow. By 1970, Ellie was signed to Bell, a subsidiary of Atlantic. She was was all set to release What Good Is I Love You as a single. That was until Jerry Wexler of Atlantic heard the song.
Jerry Wexler felt What Good Is I Love You was perfect for Dusty Springfield. So, Ellie and Mike produced Dusty Springfield’s cover of their composition, What Good Is I Love You. On its release in January 1971, the single failed commercially. Given its undoubted quality, What Good Is I Love You could’ve rejuvenated Dusty’s career. However, by then Dusty’s career was on the slide. Chart success would continue to elude her, and never again would Dusty reach her earlier heights.
That’s the story of Sweet Things From The Ellie Greenwich and Jeff Barry Songbook. Or should I say, it’s part of the story. I’ve only mentioned fourteen of the twenty-four tracks on Sweet Things From The Ellie Greenwich and Jeff Barry Songbook. Choosing just a few of the highlights wasn’t easy. Not when the twenty-four tracks were penned by two of the most talented songwriters in musical history.
Ellie Greenwich and Jeff Barry, just like Bacharach and David, Lieber and Stoller, Barry Mann and Cynthia Weil and Gerry Goffin and Carole King are graduates of the Brill Building. That’s where they made their name. Over the next few years, they became one of the most successful and prolific songwriting partnerships of the sixties.
Not only did Ellie Greenwich and Jeff Barry write together, but they wrote with other songwriting partners. This included Phil Spector and Shadow Morton. These partnerships proved fruitful, and resulted in a string of hit singles. Other times, it would be just Ellie or Jeff that worked with other songwriting partners. It seemed that Ellie and Jeff were able to write with a variety of songwriting partners. Not every member of a great songwriting partnership is able to do this.
Often, once a songwriting partnership splits up, the hits dry up. Luckily, that wasn’t the case with Ellie and Jeff. They weren’t just songwriting partners. By 1962, they were married. Sadly, the marriage didn’t. This affected their songwriting partnership. It soon followed in the footsteps of their marriage.
Following their divorce, Jeff continued to enjoy a successful career. For Ellie, success was more sporadic. She returned to her career as a singer. After her singing career stalled, Ellie formed a songwriting and production partnership with Mike Rashko. Their partnership enjoyed a degree of a success. However, it was Jeff that enjoyed the more successful career following their divorce. Ironically, together, Ellie Greenwich and Jeff Barry enjoyed more success, than they did apart.
Who knows what heights Ellie Greenwich and Jeff Barry might have enjoyed if they had stayed together? They certainly were one of the most successful and prolific songwriting partnerships in American musical history. That’s why it has taken Ace Records three volumes to celebrate the career of Ellie Greenwich and Jeff Barry.
Sweet Things From The Ellie Greenwich and Jeff Barry Songbook follows in the footsteps of Do Wah Diddy: Words and Music By Ellie Greenwich and Jeff Barry and Da Doo Ron Ron: More From The Ellie Greenwich and Jeff Barry Songbook. While Sweet Things From The Ellie Greenwich and Jeff Barry Songbook is the third volume in the series, will it be the last? Maybe not. Ellie Greenwich and Jeff Barry were one of the most successful songwriting partnerships of the sixties. So it wouldn’t be surprising if there’s a followup to Sweet Things From The Ellie Greenwich and Jeff Barry Songbook, which is a reminder of one of American music’s most successful songwriting partnerships.
SWEET THINGS FROM THE ELLIE GREENWICH AND JEFF BARRY SONGBOOK.
ERRORS-LEASE OF LIFE.
ERRORS-LEASE OF LIFE.
After weeks of speculation, the long-list for the Scottish Album Of The Year Award 2015 was recently announced. Most of the albums that made the final twenty got there on merit. Belle and Sebastian, Mogwai, Phantom Band, Withered Hand, King Creosote,Twihlight Sad and Kathryn Joseph all deserve their place on the long-list. So, do Errors, whose fifth album Lease Of Life was released in March 2015. This meant Lease Of Life was eligible for the Scottish Album Of The Year Award 2015. Lease Of Life is the result of eleven years hard work.
Errors have come a long way since they were formed in Glasgow, in 2004, by Simon Ward, Greg Paterson and Stephen Livingstone. Back then, Errors’ makeshift studio was a bedroom. That was the Glasgow based musical alchemists laboratory. Through experimentation and innovation, Errors sound began to evolve. A years later, in 2005, Errors were signed to Mogwai’s Rock Action Records.
That’s been their home for the past ten years. Indeed, it was on Rock Action Records that Errors recently released their fifth album Lease Of Life. It shows a band that have come a long way since their debut single Hans Herman in 2005.
Having signed to Rock Action Records in 2005, Errors released their debut single Hans Herman. It was released as a limited edition single. Soon, the single sold out. Copies are now a prized item among record collectors. The future looked good for Errors.
The following years, Errors returned with their first E.P. How Clean Is Your Acid House? E.P. Released in 2006, How Clean Is Your Acid House? E.P. was well received. It proved the springboard for Errors’ career.
Not long after the release of How Clean Is Your Acid House? three became four, when drummer James Hamilton was recruited. He was part of Errors’ lineup when they headed out on tour with Underworld. For a group formed just three years earlier, Errors had come a long way.
It’s Not Something But It Is Like Whatever.
Touring with Errors’ meant their music was heard by a much wider audience. The audiences were receptive to Errors music. So, it made sense for Errors to begin work on their debut album, It’s Not Something But It Is Like Whatever.
Recording of It’s Not Something But It Is Like Whatever took place at Mogwai’s Castle Of Doom studios, in Glasgow. That’s where Errors recorded the ten tracks that became their debut album, It’s Not Something But It Is Like Whatever.
When It’s Not Something But It Is Like Whatever was released in June 2008, it was well received by critics. Great things were forecast for Errors, who some critics compared to American experimental rock group, Battles. Errors knew they were doing something right, so set out on the road with a spring in their step.
Just like any band who had just released their debut album, Errors set off on a gruelling touring schedule. Through the rest of 2008, Errors toured with Mogwai, Forward Russia and 65daysofstatic. Although it was a gruelling schedule, Errors, mentored by Mogwai, learnt a lot from their 2008 tour. When they returned, they were a stronger and better band. This became apparent when Errors set off on tour again in 2009.
For part of 2009, Errors spent months touring Europe. Again they toured with Mogwai, and Danish electro-rock band Whomadewho. Errors also made an appearance at the Eurosonic Festival. All this constant touring paid off. Errors music was being heard by a much wider audience, and they were maturing as a band. Now was the time to release their sophomore album.
Come Down With Me.
For their sophomore album, Come Down With Me which is a play on the title of a British television program, Errors took control. They wrote, recorded and produced the ten tracks that became Come Down With Me. Errors were even responsible for the artwork. So when Come Down With Me was released, it was very much Errors’ musical baby.
Come Down With Me was released on 29th March 2010. When critics heard Come Down With Me, they were won over by the music on Errors’ sophomore album. Plaudits and praise accompanied the release of Come Down With Me. However, Errors didn’t have time to enjoy the plaudits.
No. Errors had to tour Come Down With Me. Through the spring and summer of 2010, Errors toured Come Down With Me. Just like with It’s Not Something But It Is Like Whatever it was a gruelling schedule. However, it was worth it. Errors’ star was in the ascendancy, as they played bigger venues. Then in October 2010, Errors and Twilight Sad headed out on tour, where they shared top billing. By then, Errors had another album to promote.
Celebrity Come Down With Me’.
To coincide with the tour, Errors released a remix album entitled Celebrity Come Down With Me. It saw everyone from Mogwai, Wax Stag and Gold Panda remix tracks from Come Down With Me. So, as Errors toured, Celebrity Come Down With Me provided an alternative soundtrack to their latest tour which took them through until the end of 2010.
As 2011 dawned, Errors found themselves invited to the prestigious South by Southwest, in Austin, Texas. For Errors, all their hard work was paying off. Then in April and May of 2011, Errors toured North America. Sadly, as 2011 drew to a close, it was the end of era for Errors. Founding member Greg Paterson left Errors. Some critics wondered what the future held for Errors?
Have Some Faith in Magic.
The loss of Greg Paterson could’ve proved fatal to some bands. Not Errors. Now reduced to a trio, they seemed to come back stronger. It was as if they were desperate to prove their doubters wrong.
Errors headed into the studio to record their third studio album, Have Some Faith in Magic. It featured nine tracks penned and produced by Errors. Once Have Some Faith in Magic was completed, it became the first of two albums Errors released during 2012.
Have Some Faith in Magic was the album everyone knew Errors was capable of. It was the highlight of their eight year career. When the critics heard Have Some Faith in Magic, they agreed. Despite the loss of Greg Paterson, Have Some Faith in Magic, they agreed. Despite the loss of Greg Paterson was released to widespread critical acclaim. Errors had just released the album that would transform their career. However, Errors would release another album during 2012.
Relics.
Later in 2012, Errors decided to release a mini-album, Relics. It was an eight-track mini album with a twist. Rather than release Relics on CD or vinyl, Errors released Relics on two Relics’ of music’s past, cassette and VHS cassette. Despite this unusual choice of medium, Relics was well received, and ensured that Errors remained hot property. So, they headed out on tour.
During the remainder of 2012, Errors were on tour. They piled up the Airmiles touring Britain, Europe and America. By the end of this exhaustive tour, Errors were ready for a break.
After releasing two albums and touring three continents, Errors took a sabbatical for much of 2013. Then at Glasgow’s legendary Barrowlands Ballroom, Errors became the comeback kings. The three members of Errors were joined by former bandmate Greg Paterson. At this secret show, Errors rolled back the years during their only concert of 2013. However, they more than made up for it during 2014.
After a year of taking things easy, Errors got back to work. They embarked upon their first tour of Japan. However, Errors weren’t the headliners. No. Chvrches were the headline act. This didn’t matter, as the two Glaswegian bands took Japan by storm. Once the tour was over, Errors returned home to begin work on their fifth album Lease Of Life.
Lease Of Life.
Lease Of Life was written and recorded by Errors after they returned from their Japanese tour. Rather than record Lease Of Life in Glasgow, Errors headed to the beautiful island of Jura. Other parts of Lease Of Life were recorded in Errors’ home studio. Joining them, were a few familiar faces.
Having written the nine tracks that would become Lease Of Life, Errors got to work. Simon Ward and Stephen Livingston played guitars, keys and took care of programming. Drummer James Hamilton provided Lease Of Life’s heartbeat. Joining Errors were a number of guest artist. This included Bek Olivia. She wrote lyrics to Putman Caraibe and added the vocal. Cecila Stamp added vocals on Slow Rotor and Dull Care. The Glad Community Choir added vocals on the thirteen minute epic, Through The Knowledge Of Those Who Observe Us. Hannah Dent played saxophone on Genuflection and Through The Knowledge Of Those Who Observe Us. Once all these parts were completed, Lease Of Life was ready for release.
Nearly three years after the release of Have Some Faith in Magic, Errors released Lease Of Life on 23rd March 2015. Just like their previous album, Lease Of Life was released to critical acclaim. They might have been away from the studio for nearly three years, but Errors were back with another critically acclaimed album, Lease Of Life which I’ll tell you about.
Opening Lease Of Life is Colossal Estates. Washes of ethereal synths cascade. They’re joined by a probing bass synth. It provides the heartbeat to this cinematic soundscape. That’s until thunderous drums take centre-stage. This combination works. Seamlessly, everything falls into place, and an ethereal, cinematic anthem unfolds.
Lease Of Life is an enigmatic track. At the start, it doesn’t sound like a song recorded in 2014. Instead, the synths sound as if they belong on an eighties album. Think Yazoo, and you’re not away. Then a pulsating drumbeat thunders in. They’re accompanied by roller coaster synths. What follows is a track the veers between dance-floor friendly, moody, hypnotic and thanks to the vocal, haunting. Errors, forever the musical chameleons, continue to reinvent themselves, complete with a healthy supply of space-age sounds.
Straight away, Slow Rotor reminds me of Chvrches. Maybe Errors touring with Chvrches has rubbed off. The deliberate synths have a Chvrches influence. Atop the arrangement sits a dreamy vocal from Cecila Stamp. It literally floats lazily away, its lysergic, quixotic sound proving captivating and compelling.
As New Winged Fire unfolds, it’s as if the filters have been deployed. The synth sound is distant. Not for long. It’s as if a new day has dawned. Crispy drums accompany the swirling synths. So does the urgent, panicky vocal, as it sings: “I want out.” Later, synths bubble and there’s a sense of urgency in the keyboards and drums. Again, there’s a cinematic influence to a track full of drama and mystery.
There’s a dark, ominous sound as Early Nights begins. Slowly the broody, moody synths creep across the arrangement. They’re accompanied by cinematic synths. Together, they provide a hair raising backdrop, that would be the perfect soundtrack to a short film.
Dull Care is another track with a Chvrches influence. It’s the chirpy synths and Cecila Stamp’s vocal that lead to this comparison. Filling out the arrangement are dark, moody synths and drums. They’re part of an arrangement that’s slow, moody, dramatic and again, cinematic. So much so, that the music paints pictures in your minds eye. Just like their label mates Mogwai have been doing, Errors have a future providing soundtracks to films and documentaries.
Plink plonk synths open Genuflection. This is very different from previous tracks. Errors seem to be heading for the dance floor. Drums pound, providing the 4/4 beat and a soaring vocal. Add to this banks of synths and the second vocal. It’s very different, but they work well together, and play their place in a joyous hands in the air anthem.
from the opening bars of Putman Caraibe, it’s obvious that something special is unfolding. Synths and drums combine, creating the backdrop for Bek Olivia’s ethereal vocal. It has a dreamy quality. Adding to this are equally ethereal synths. They’re very different to the dark, bassy synths and crispy drums. However, they sit well together and play their part in a dreamy, sometimes dark and dramatic, floaty track.
Through The Knowledge Of Those Who Observe Us closes Lease Of Life, Errors’ long awaited comeback album. Eighties synths are scene setters. They meander along, while hi-hats hiss and effects swell. Soon, a dark synth enters. These layers of instruments are joined by the massed voices of The Glad Community Choir. As the synths bubble, The Glad Community Choir combine soulfulness, emotion and beauty. Later, during a breakdown some of the synths take on an ethereal sound. Then Hannah Dent unleashes the sultriest of saxophones. It’s the perfect addition. This however, is no ordinary saxophone. Hannah Dent delivers a saxophone masterclass. Searing, blistering guitars are unleashed as the saxophone soars, and zips across the arrangement. By then, the saxophone and guitars are like yin and yang, on this thirteen minute epic which features Errors’ at their best.
After three long years away, Errors return like conquering heroes. Lease Of Life picks up where they left off on Have Some Faith In Magic. By that, I mean making innovative, groundbreaking music.
To do this, Errors headed off to the beautiful island of Jura. That must have inspired Errors. Revitalised, they created music that’s variously beautiful, cinematic, dance-floor friendly, dark, dramatic, ethereal, hook laden and tinged with an air of mystery. Lease Of Life is a musical roller coaster journey. It’s a case of sit back, hold on and enjoy the ride.
Over nine songs, lasting fifty-three minutes Errors paint pictures with your music. Sometimes, they toy with your emotions on tracks like New Winged Fire and Early Nights. For much of the time, it’s as if Errors are providing the soundtrack to a series of short films. You can’t help let your imagination run riot. Before your eyes, plots and scenarios unfold. It’s an intriguing and captivating listen. Maybe Errors will follow in Mogwai’s footsteps and start making soundtracks? They certainly have the ability to do so.
Then other times, Errors head for the dance-floor. Errors aren’t afraid to drop in the occasional dance-floor anthem. They don’t make any apologies for doing so. Neither should they. Not when Errors can make joyous, hands in the air anthems like Genuflection. Other tracks including Slow Rotor, have that irresistible summery vibe. It’s the type of track that’ll go down a storm at festivals this summer, when Errors take the stage. When they do, they’ll win friends and influence people.
No wonder. Somehow, Errors have managed to make an album that will appeal to everyone. Whether it’s the slower cinematic tracks, or the hands in the air anthems, there’s something for everyone on Lease Of Life, which was recently released by Mogwai’s Rock Action Records. Lease Of Life, Errors first album since 2012, sees the comeback kings, return to form with what’s undoubtably a career defining album. That’s why Lease Of Life should see Errors among the favourites to win the 2015 Scottish Album Of The Year Award.
ERRORS-LEASE OF LIFE.
NICK CAVE HEARD THEM HERE FIRST.
NICK CAVE HEARD THEM HERE FIRST.
For the fourth volume in Ace Records’ Heard Them Here First series, the latest artist in the spotlight is shawn on Australian troubadour, Nick Cave. On Nick Cave Heard Them Here First, there’s twenty-two tracks that have influenced the career of Nick Cave. His career began over thirty hers ago, when he was the lead singer of Australian band The Birthday Party.
It was in 1978, just after the birth of punk rock, that The Boys Next Door were formed at Caulfield Grammar School, Melbourne. The Boys Next Door had been influenced by punk. So, it was no surprise that their music was a mixture of punk and proto punk. Before long, The Boys Next Door sound changed.
They began combining blues, free jazz, punk and rockabilly. Often, the music defied categorisation. This didn’t seem to matter. By then, The Boys Next Door had established a reputation as one of Melbourne’s best bands. However, after playing hundreds of live shows, The Boys Next Door decided to move to Britain in 1980. That’s when The Boys Next Door changed their name to The Birthday Party.
Having moved to London in 1980, The Birthday Party set about establishing themselves. It didn’t take long. After a year, The Birthday Party had released their debut album Prayers On Fire. A year later, in 1982, they released another two albums 1982, Junkyard and The Birthday Party. However, by then, things were pretty chaotic within The Birthday Party.
Drummer Phil Calvert was thrown out The Birthday Party in 1982. Things came to a head when Phil struggled to lay down the beats to Dead Joe. So, guitarist Mick Harvey became The Birthday Party’s new guitarist. Then Tracy Pew was jailed for drink driving and theft. To make matters worse, Shivers, The Birthday Party’s most popular song was banned from the radio. Could things get any worse? They did.
By 1983, Nick Cave and Rowland S. Howard weren’t getting on. It seemed inevitable that things would come to a head. They did. Many expected either Nick or Rowland to leave the band. Instead, Mick Harvey was first to leave. This couldn’t have happened at a worst time.
The Birthday Party were about to head out on tour. So, Des Hefner was drafted in to play the drums. After the tour, The Birthday Party split-up, and Nick Cave formed his own band, Nick Cave and The Bad Seeds.
After The Birthday Party disbanded, Nick Cave, Mick Harvey and Blixa Bargeld, the former Einstürzende Neubauten guitarist, founded Nick Cave and The Bad Seeds. This was the band that established Nick Cave’s reputation.
Success didn’t come overnight for Nick Cave and The Bad Seeds. It very rarely does. Their 1984 debut album From Her To Eternity, to reached just number forty in the British album charts. However, it would be another eight years and six albums before Nick Cave and The Bad Seeds reached the same heights.
By then, Nick Cave and The Bad Seeds’ lineup had changed. So had the group’s sound. It had evolved from the group’s early years. Now, Nick Cave and The Bad Seeds were about to become one of the most successful indie bands.
Henry’s Dream, released in 1992, was a landmark album for Nick Cave and The Bad Seeds. It reached number twenty-nine in the British album charts. This was their first album to reach the top thirty in Britain. It wouldn’t be the last.
After Henry’s Dream, Nick Cave and The Bad Seeds could do no wrong. 1994s Let Love In reached number twelve in the British album charts. Then 1995s Murder Ballads reached number eight in the British album charts. The icing on the cake was when Murder Ballads became Nick Cave and The Bad Seeds most successful album in Australia, reaching number three.
Two years later, Nick Cave and The Bad Seeds returned in 1997 with The Boatman’s Call. Critics hailed it one of Nick Cave and The Bad Seeds’ finest albums. Despite this, it stalled at number twenty-two in Britain. However, it reached number 155 in the US Billboard 200. After fourteen years, Nick Cave and The Bad Seeds were enjoying commercial success on both sides of the Atlantic. This would continue for the next sixteen years.
Four years passed before Nick Cave and The Bad Seeds released their eleventh album, No More Shall We Part. Nick Cave had been through the wars. He managed to overcome heavy heroin and alcohol addictions. What’s more No More Shall We Part was released to critical acclaim, reaching number fifteen in Britain and number 180 in the US Billboard 200. Nick Cave has back, and back to his very best.
When Nocturama was released in 2003, it didn’t received the same critically acclaimed reviews. Instead, the reviews of Nocturama were mixed. Mostly, though, they were favourable. Nocturama reached number twenty in Britain and number 180 in the US Billboard 200. This was slightly disappointing. However, Abattoir Blues/The Lyre of Orpheus marked a return to form from Nick Cave and The Bad Seeds.
Abattoir Blues/The Lyre of Orpheus was released in September 2004. It was one of the most ambitious albums of Nick Cave and The Bad Seeds. Seventeen tracks featured on this ambitious double album. When critics heard Abattoir Blues/The Lyre of Orpheus, they hailed it one of Nick Cave and The Bad Seeds’ finest albums. So, it was no surprise that Abattoir Blues/The Lyre of Orpheus reached number eleven in Britain and number 126 in the US Billboard 200. This was, however, the start of the most successful period of Nick Cave and The Bad Seeds’ career.
Nearly another four years passed before Nick Cave and The Bad Seeds released Dig, Lazarus, Dig!!! It had taken just five days to record. Dig, Lazarus, Dig!!! was an old school album. With its fusion of garage rock and alternative rock, Dig, Lazarus, Dig!!! won over critics and record buyers. Critical acclaim accompanied the release of Dig, Lazarus, Dig!!!, which reached number four in Britain and number sixty-four in the US Billboard 200. However, the best was still to come.
Push the Sky Away was the fifteenth studio album by Nick Cave and The Bad Seeds. It was released in February 2013, and was a landmark album. This was the first album not to feature Mick Harvey. He had picked the wrong time to leave the band.
Thirty years after Nick Cave and The Bad Seeds were first formed, they enjoyed the most successful album of their career. Critical acclaim accompanied Push the Sky Away’s release. There were no dissenting voices. Push the Sky Away reached number three in Britain and number twenty-nine in the US Billboard 200. Elsewhere, Push the Sky Away reached number one in Australia, Denmark, Holland and Norway. After thirty years hard work and persistence, Nick Cave was one of the most of the most successful artists of the indie era.
No wonder. Over the past thirty years, Nick Cave has refused to stand still. His music has been constantly changing. Through his music continuing to evolve, Nick Cave has continued to stay relevant. He realised that an artist that stands still, risks becoming irrelevant. Nick Cave, just like the artists who influenced him, has refused to stand still. He’s constantly influenced himself since his early days with The Birthday Party and then Nick Cave and The Bad Seeds. However, who are the artists who have influenced Nick Cave?
Nick Cave Heard Them Here First is a twenty-two track compilation. It was recently released by Ace Records, and is a truly eclectic compilation. The Stooges, Nina Simone, Johnny Cash, Gene Pitney, The Sensational Alex Harvey Band, Leonard Cohen, Serge Gainsbourg and Jane Birkin, Bob Dylan, Hank Williams, Blind Willie Johnson and John Lee Hooker. Quite simply, Nick Cave Heard Them Here First is crammed full or quality music. Choosing some of the highlights isn’t going to be easy, but here goes.
Opening Nick Cave Heard Them Here First is The Stooges’ Fun House. The Stooges were formed by Iggy Pop in Michigan, in 1967. Two years later, they released their eponymous debut album in 1969. It featured the classic single I Wanna Be Your Dog. The Stooges 1970 sophomore album Fun House, features another Stooges’ classic, Fun House. It’s a blistering fusion of rock ’n’ roll and proto punk, which would provide the template for punk.
During the sixties, Nina Simone was one of the most prolific recording artists. In 1964, Nina released five albums. Then in 1965, she released another three albums, including I Put A Spell On You. One of Nina’s finest performances is on I Put A Spell On You. It’s a truly spellbinding performance, where Nina combines soul and jazz, during this vocal masterclass.
Bn 1979, Johnny Cash was already veteran of country music. However, he hadn’t lost his Midas touch. He released a new album Silver during 1979. One of its highlight was an understated and poignant ballad, Muddy Waters. It was later covered by Nick Cave and The Bad Seeds on their 1986 album Kick Against The Pricks. This was their homage to Johnny Cash, the man in black.
As the sixties took shape, Gene Pitney was enjoying a successful career as a singer and songwriter. He enjoyed a string of hit singles, including of Gene’s best known songs, Something’s Gotten Hold Of My Heart. This was a Roger Cook and Roger Greenaway composition. It was produced by Stanley Kahan, and released in 1967, on the Stateside label. Something’s Gotten Hold Of My Heart reached number five in Britain, and is new regarded as a timeless classic.
The Sensational Alex Harvey Band are without doubt, one of the most underrated bands of the seventies. Lead by the charismatic Glaswegian, Alex Harvey, The Sensational Alex Harvey Band released a string of successful albums. This included Hammer Song, a track from Framed, The Sensational Alex Harvey Band’s 1972 debut album. It’s one The Sensational Alex Harvey Band best albums. Hammer Song, an Alex Harvey composition, features what can only be described as a vocal powerhouse. It’s a tantalising taste of what the inimitable Alex Harvey was capable of.
Leonard Cohen has influenced several generations of musicians, including Nick Cave. One of Nick’s favourite Leonard Cohen track is Tower Of Song. This is a track from Leonard’s 1988 album I’m Your Man. On I’m Your Man, Leonard Cohen reinvented himself. He incorporated synths into the understated arrangements. However, on Tower Of Song, it’s mostly Leonard and female backing vocalists that play their part in this beautiful, understated, ballad.
Maverick and innovator. They’re two words that described the late, great, Serge Gainsbourg. In 1969, he collaborated with Jane Birkin. Their album Jane Birkin Serge Gainsbourg and Jane Birkin featured one of the greatest tracks Serge wrote and recorded, Je T’aime… Moi Non Plus. Despite the controversy that surrounded its release, forty-six years later, Je T’aime… Moi Non Plus is now regarded as a classic from one of music’s true innovators.
There can’t be many artists who haven’t been influenced by Bob Dylan. In 1988, twenty-six years after he released his eponymous debut in 1962, Bob Dylan was continuing to reinvent himself. He was like a musical chameleon, having released folk, rock, country and gospel albums. Down In The Groove was Bob Dylan’s twenty-fifth album. Commercially, it was a disappointing album, stalling at number sixty-one in the US Billboard 200, and number thirty-two in Britain. Critics weren’t impressed with Down In The Groove. Rolling Stone went as far as to describe Down In The Groove, as Bob Dylan’s worst album. One of the album’s highlight was the poignant Death Is Not The End.
The word legend is used far to often. However, in Hank Williams’ case, it’s the only way to describe one of the greatest country singers. That’s despite Hank Williams dying aged just twenty-nine. Hank Williams packed a lot of living into his short life. He was born on September 17th 1923, in Mount Olive, Alabama. By the time he was twenty-four, Hank released his debut single Hey Good Lookin’ in 1947. Then in 1949, Hank Williams recorded a track that’s become synonymous with him, I’m So Lonesome I Could Cry. Sadly, on New Year’s Day 1953, Hank Williams was found dead in the back of his car. That day, country music lost one of its legends.
J.B. Lenoir and His African Hunch Rhythm recorded I Feel So Good in 1963. I Feel Good has been recorded by a number of artists, including bluesmen like Skip James and Blind Willie Johnson. However, J.B. Lenoir and His African Hunch Rhythm’s version of I Feel So Good is one of the best. No wonder. Producing it was produced in Chicago, by producer, singer and songwriter, Willie Dixon. With his help, J.B. Lenoir and His African Hunch Rhythm breath life and meaning into I Feel So Good.
The blues influenced Nick Cave. That was apparent in the early days of The Birthday Party. One of Nick’s favourite bluesmen was Blind Willie Johnson. However, Blind Willie Johnson wasn’t just a bluesman. He also sung gospel. When Blind Willie Johnson released John The Revelator as a single 1930. On John The Revelator, Blind Willie Johnson combines gospel and blues. This was one of ten singles Blind Willie Johnson released on Columbia between 1927 and 1931.
Closing Nick Cave Heard It Hear First, is John Lee Hooker’s Burnin’ Hell. It was penned by John Lee Hooker and released as a single in 1949. By then, John Lee Hooker was already thirty-two. His recording career had only started a year earlier, in 1948. John Lee Hooker’s debut single was Sally May. A year later, John Lee Hooker was spreading about the Mississippi born guitarist and singer. The man with the unmistakable voice, many said, was going places. That proved to be the case. Not only did John Lee Hooker become one of the biggest names in blues music, but he enjoyed an almost unrivalled longevity.
Most compilations I review, feature just one type of music. This means that they’ll only appeal to someone interested in that type of music. That’s not the case with Nick Cave Heard It Here First, which was recently released by Ace Records. It’s a truly eclectic compilation.
No wonder. There’s everything from blues, country, jazz, pop, proto punk, rock, rock ’n’ roll and soul on Nick Cave Heard It Here First. With The Stooges, Nina Simone, Johnny Cash, Gene Pitney, The Sensational Alex Harvey Band, Leonard Cohen, Serge Gainsbourg and Jane Birkin, Bob Dylan, Hank Williams, Blind Willie Johnson and John Lee Hooker all featuring on Nick Cave Heard It Here First it’s akin to a musical adventure. It’s also like being able to look through Nick Cave’s record collection.
Each and every one of the tracks on Nick Cave Heard It Here First means something to Nick Cave. They’re among his favourite tracks. That’s not all. Every one of the twenty-two tracks have been covered by Nick Cave during his career. Often, he’s reinvented the tracks, transforming them into something very different. However, on Nick Cave Heard It Here First, Nick shares the original versions of these tracks. Some of the tracks are classics, others album tracks and others fall into the category of hidden gems. They all have one thing in common, their quality.
That’s why Nick Cave Heard It Here First is the best volume in the series so far. I thought it would be hard to beat Bowie Heard Them Here First. However, Nick Cave Heard It Here First manages to do so. There’s a reason for this. Much of the music is influential and innovative. It has influenced several generations of musicians, including Nick Cave. However, other artists aren’t so well known.
Many people won’t have heard of The Sensational Alex Harvey Band, Tim Rose, J.B. Lenoir and His African Hunch Rhythm or Blind Willie Johnson. They do now. Hopefully, their inclusion on Nick Cave Heard It Here First will inspire people to go out and buy albums by these artists. If they do, then Nick Cave Heard It Here First will be the start of a musical journey of exploration. On that journey, you’ll discover albums you’v never heard before. These albums are a treasure trove of ambitious, groundbreaking, innovative, inventive and influential music.
The music on Nick Cave Heard It Here First certainly inspired Nick Cave. With The Birthday Party and then Nick Cave and The Bad Seeds, Nick Cave created music that was groundbreaking. It was inspired by the music on Nick Cave Heard It Here First.
NICK CAVE HEARD THEM HERE FIRST.
PSYCHEMAGIK PRESENTS MAGIK SUNSET-PART ONE.
PSYCHEMAGIK PRESENTS MAGIK SUNSET-PART ONE.
Most people have no idea the time and effort it takes to compile a compilation. Done properly, it can be a frustrating and time consuming. The Psychemagik team realised that last year, when they started to compile Psychemagik Presents Magik Sunset-Part One, which was released on Leng Records on 27th April 2014. It’s the final chapter in Psychemagik’s “Magik” series, and the result of over a years hard work.
Work began on Psychemagik Presents Magik Sunset-Part One last year. That’s when the Psychemagik began picking the tracks that they hoped would find their way onto the compilation. That took time. The Psychemagik team had to wade through a mountain of music.
This is music that Psychemagik have discovered on previous crate-digging trips. Whether it’s record shops, thrift stores, dusty warehouses or garage sales, no source of vinyl is left undisturbed. If it was, that would lead to sleepless nights. After all, that pile of vinyl might just contain that elusive hidden gem. Often, it does.
That’s why. when Psychemagik were compiling Psychemagik Presents Magik Sunset-Part One, they had plenty quality of music to choose from. Their previous crate digging mission had paid off. Psychemagik found themselves surrounded by rarities aplenty. However, there was a problem.
Many of the tracks Psychemagik had chosen, were private pressings. Often, they were released in limited numbers. Sometimes, only a few hundred copies were pressed. These tracks were often only released in America or parts of Europe. This really complicated matters.
If a compiler wants to use a track on a compilation, they need to license it. This is fairly straightforward with major labels. One particular label has a website where they take the compiler through the licensing process, step-by-step. However, private pressings are another matter.
Tracking down the artist can be time consuming and often, ultimately fruitless. Especially, if the tracks was recorded thirty or forty years ago. For the compiler, they’re forced to become Dick Tracey, Private Investigator. However, quickly, the compiler can run into any manner of obstacles. The artist can have moved, changed their name or sadly, even died. For a compiler sitting on a killer track, this is hugely frustrating.
Some labels unable to get clearance for the killer track, will still take a chance, and release the compilation with the track included. That’s not advisable. If they do that, they should then hold royalties in an escrow account. Sadly, not all record companies do that. Thankfully, nowadays, most labels and compilers ensure they have clearance to use a track.
Psychemagik were lucky, they managed to track down all the artists whose tracks they wanted to use. They were delighted that tracks they had recorded twenty or thirty years ago, as a private pressing, were about to reach a new audience on the newly released Psychemagik Presents Magik Sunset-Part One.
Just like previous instalments in Psychemagik’s “Magik” series, Psychemagik Presents Magik Sunset-Part One is a double album. Disc one features the fourteen tracks. This includes contributions from Bobby Brown, Kathy Stack, Mother Funk, Nathan Perkins Band, Al-Dos Band, Jake Hottell, The Electric Connection, Gene Lawrence, P’Cock and Terry Brooks and Strange. Quite simply, Psychemagik Presents Magik Sunset-Part One brings new meaning to the word eclectic.
There’s everything from ambient, Balearica, boogie, cosmic disco and electronica, to jazz, folk rock, psychedelia and soul. That’s not forgetting Eastern influences, prog rock, soft rock on this breathtaking and mind-blowing musical journey, which I’ll pick the highlights of.
Bobby Brown’s My Hawaiian Home opens disc one of Psychemagik Presents Magik Sunset-Part One. It’s a track from Bobby’s 1972 debut album The Enlightening Beam Of Axonda By Bobby. Released in 1972, on Destiny Records, The Enlightening Beam Of Axonda By Bobby is a real rarity. Copies in good condition change hands for $125. No wonder. My Hawaiian Home, with its fusion of psychedelia, folk rock and Eastern influences it’s a captivating track. You’re hooked and will want to hear more from Bobby Brown.
Summer Wind is a track from Kathy Stack’s 1982 eponymous album. It was released on the Canadian label, Clam Flats Music. Copies of the original album are hard to come by. That’s not surprising. Kathy Stack was a private pressing, so a limited number of albums would be pressed. Those who own copies, seem reluctant to sell. No wonder. Kathy Stack is a talented vocalist, who combines elements of country, folk and even funk on the beautiful Summer Wind.
Mother Funk are responsible for a truly beautiful, hopeful ballad Sunshine. Stylistically, it sounds similar to Knockin’ On Heaven’s Door. It’s akin to a homage to Bob Dylan’s classic track. Bobby Cirilli cowrote and co-produced this glorious slice of musical Sunshine, that makes the world a better place.
Jack Adkins released his American Sunset album back in 1984. It was the only album released on Boink Records. Sadly, it seems to have been the only album Jack released. That’s a great shame. He’s a obviously a talented singer-songwriter. His lived-in vocal brings the lyrics to American Sunset alive, leaving you wanting to more from the mysterious Jack Adkins.
In 1978, Greg Sonnleitner contributed a trio of tracks to a compilation Music From Santa Cruz Volume 1. It was released on Aardvark Records. Greg’s first contribution was As Long As I’m With You. He then collaborated with Phil Danielson with California Has It’s Faults. However, his finest moment is Misunderstood. It’s a fusion of blues, rock and a soulful vocal from Greg. His vocal is a mixture of frustration and sadness as he breathes emotion and meaning into the poignant lyrics.
The Nathan Perkins Band’s contribution is Soul Keepers. It sees Psychemagik Presents Magik Sunset-Part One head in a different direction. The music veers between understated, wistful and hopeful. Elements of folk and jazz shine through on this thoughtful sounding hidden gem.
Straight away, musical genres melt into one on Crosssection’s Over Again. Soft rock and funk are omnipresent. Chuckie Huff’s vocal and the additional harmonies add a soulful twist, to this Michael Richards’ penned track. It sounds as if it has been inspired by the Electric Light Orchestra circa, out Out Of The Blue. Sadly, Over Again, which is a real rarity, proved to be Crosssection’s only single.
Majik’s Take Me There was edited by Psychemagik. It’s their only edit on Psychemagik Presents Magik Sunset-Part One. Take Me There was penned by songwriter and saxophonist Tom McCormick, and produced by Ray Cork, Jr. The track is best described as a fusion of jazz, soul jazz and prog rock. However, the finishing touch is the vocal. It sounds as if it’s been inspired by Tom Waits and Dr. John. This results in a truly captivating and memorable track.
The Al-Dos Band only ever released one single, Doing Our Thing With Pride. It was released in 1977, on Warner Production, a label based in South Carolina. William and Elizabeth Robinson wrote Doing Our Thing, which in thanks to the Al-Dos Band, becomes a hopeful slice of funky, soulful music.
Thirty years ago, in 1985, Jake and Sharon Hottell released their debut album, Break The Chains. It was released on Horizon Records And Tapes. Sadly, it proved to be their only album. I say sadly, because Horizon, a track from Break The Chains shows that Jake had potential. On Horizon, Derald McCabe delivers a half-spoken vocal above slow, moody arrangement. Elements of ambient and new age music combine, to create what’s without doubt, a hidden gem.
1979 wasn’t the best year for The Electric Collection to release their only single. However, Groovy, which was released on Japanese label Casablanca Records, hit the shops in 1979. Back then, disco was at death’s door. However, Groovy was a fusion of disco, boogie and rocky guitars. When the guitars drop out, a vocoder is used to deliver a futuristic vocal. It’s as if The Electric Collection realised the end was neigh for disco, and were readying themselves for boogie’s onslaught.
Gene Lawrence’s After Sunrise was a track from his Sunset To Sunrise album. It was released on the Semp Production label, which was based in Trinidad and Tobago. After Sunrise is an eclectic track. Elements of Latin, jazz and sci-fi sounds melt seamlessly together with soulful harmonies, creating a laid-back vibe.
Klaus Schulze is credited with discovering German prog-rock band P’Cock. Seamlessly, they were able to fuse electronica, jazz and rock. That’s apparent on Telephone Song, from 3, their third and sadly, final album. It was produced by Achim Albrecht, and released on Ohrwurm Records, in 1983. Telephone Songs is laid-back, melodic, soulful and blessed with a summery sound.
Closing Psychemagik Presents Magik Sunset-Part One is High Flyer, a track from Terry Brooks and Strange. High Flyer was the title of Terry Brooks and Strange’s fourth album. It was released in 1981, on the Star People Records Inc. label. Moody and atmospheric, it’s the perfect type of track for a chill out set, when people are unwinding after a night’s clubbing. It’s also the perfect way to close disc one of Psychemagik Presents Magik Sunset-Part One
Then on disc two of Psychemagik Presents Magik Sunset-Part One, the fourteen tracks are mixed seamlessly by Psychemagik. Although I’m not a fan of mixed CDs, the tracks are well mixed by Psychemagik. That can’t have been easy given how eclectic Psychemagik Presents Magik Sunset-Part One is.
Referring to Psychemagik Presents Magik Sunset-Part One as eclectic, is almost an understatement. After all, how many other compilations see the compiler take the listener on genre-hopping musical adventure. Everything from ambient, Balearica, boogie, cosmic disco and electronica, to jazz, folk rock, psychedelia and soul melts into one. Then there Eastern influences, prog rock, soft rock and soul jazz on this breathtaking and mind-blowing musical journey.
Over Psychemagik Presents Magik Sunset-Part One’s fourteen tracks, were introduced to familiar faces and new names. There’s contributions from Bobby Brown, Kathy Stack, Mother Funk, Nathan Perkins Band, Al-Dos Band, Jake Hottell, The Electric Connection, Gene Lawrence, P-Cock and Terry Brooks and Strange. They play their part in what’s without doubt, the best compilation in Psychemagik’s Magik series, Psychemagik Presents Magik Sunset-Part One. It was recently released by Leng Records, and was meant to bring to a close Psychemagik’s “Magik” compilation series. Or does it?
Usually, a compiler starts with a long-list when compiling a compilation. This is in case they can’t get clearance to use some tracks. However, Psychemagik hit the jackpot. All the artists they contacted looking for clearance to use their tracks, said yes. This meant Psychemagik had too many tracks for one compilation. Hence the Part One. So, Psychemagik’s “Magik” compilation series swan-song, will be a swan-song in two parts.
That means we’ve another volume of Psychemagik’s “Magik” compilation series to look forward to. If it’s as good as Psychemagik Presents Magik Sunset-Part One, then it’ll be well worth adding to your collection. After all, Psychemagik Presents Magik Sunset-Part One, which was released by Leng Records, is the best compilation Psychemagik have released.
Eclectic, compelling and captivating Psychemagik Presents Magik Sunset-Part One marls a musical coming of age from Psychemagik. They’ve just released their most eclectic and best compilation. Psychemagik Presents Magik Sunset-Part One perfect late night listening. In some ways, Psychemagik Presents Magik Sunset-Part One is reminiscent of the downtempo albums that were popular in the late nineties, early noughties. However, very few of those compilations features the quality of music on Psychemagik Presents Magik Sunset-Part One.
There’s a reason for this. Psychemagik are renowned crate diggers. That’s why they’re the go-to-guys for DJs looking for that hard to find track. Thankfully, they’ve kept a few hidden gems for themselves. They feature on Psychemagik Presents Magik Sunset-Part One, the latest critically acclaimed compilation from Psychemagik, crate-diggers extraordinaire.
PSYCHEMAGIK PRESENTS MAGIK SUNSET-PART ONE
LABFIELD-BUCKET OF SONGS.
LABFIELD-BUCKET OF SONGS.
Five years after the release of their sophomore album Collab, LabField, one of the leading lights of the European improv scene make a welcome return. Their genre-melting third album Bucket of Songs, was recently released on Hubro Music. Bucket Of Songs marks the start of a new era for LabField. Not only have they changed direction musically, but a new member has joined the band. It’s exciting times for LabField.
The LabField story began when Swedish guitarist, David Stackenäs, met Norwegian percussionist Ingar Zach. Both were experienced musicians, and among the leading lights of the European improvisational scene.
Previously, Swedish guitarist David Stackenäs has played with a number of bands. Since 2002, David has been a member of numerous bands. This includes Agape, Boots Brown, Fire! Orchestra, Hot Four, Pipeline, Seval, SURD, The Christer Bothén Trio, Territory Band and Tri-Dim. Each of these bands have one thing in common, they produce groundbreaking music. That’s the same with the various bands Ingar Zach has been a member of.
Just like David, Norwegian percussionist Ingar Zach has an illustrious musical pedigree. Previously, Ingar has been a member of Batagraf, Dans Les Arbres, Huntsville, LOOPer, Mural, Muta, No Spaghetti Edition, the Magnetic North Orchestra and the Trondheim Jazz Orchestra. However, it was when Ingar was a a member of Tri-Dim, that he played alongside David Stackenäs, his future partner in LabField.
Tri-Dim released their one and only album 2 Of 2 in 2002. 2 Of 2 was billed as a collaboration between Tri-Dim, Jim O’Rourke and Barry Guy. It was well received upon its release. However, it proved to be the only album Tri-Dim released.
Eventually, Tri-Dim ran its course. While saxophonist went Håkon Kornstad his own way, David and Ingar decided to form a duo. This duo became LabField. Their musical manifesto was to create music that was radical and groundbreaking. However, before that, Ingar and David had a lot of music to make.
Apart from playing in various bands, Ingar has also played alongside some of the biggest names in the Norwegian improv scene. This includes Arve Henriksen and Erik Honoré. When they’re looking for a percussionist, it’s Ingar’s number they dial. So, given how busy Ingar and David have been, it’s no surprise that LabField have only released three albums since 2008.
It was in 2008, that LabField released their debut album Fishforms on the Bottrop-Boy label. On its release, Fishforms was well received by critics. Fishforms was hailed an ambitious and groundbreaking albums. Critics and cultural commentators forecast great things for LabField.
They were right. Two years later, LabField returned with their sophomore album Collab. It featured guest appearances from Ståle Storløkken and Milanese guitarist and composer, Giuseppe Ielasi. He featured on Crucial, and is credited with taking charge of “electronics.” However, Giuseppe had played an important part in Collab’s success.
When critics and cultural commentators heard Collab, they recognised that this was a career defining album. It transformed LabField’s career and fortunes. Suddenly, they were rubbing shoulders with the great and good of Norwegian music.
Despite the critical acclaim that accompanied Collab, it’s taken LabField five years to release their third album, Bucket Of Songs. However, the songs had been recorded over a three year period, by LabField’s new lineup.
Recording of Bucket Of Songs took place in various locations in Europe. The first session took place in Stockholm in October 2009. By then, LabField were a trio. Guitarist and electronics virtuoso Giuseppe Ielasi had joined LabField on a full-time basis. The Milan born musician was the perfect fit for LabField. He was an experienced musician.
Before joining LabField, Giuseppe Ielasi has released numerous solo albums, including several for the 12K label. Giuseppe has also collaborated with a number of artists, including Taku Sugimoto, Jerome Noetinger, Phill Niblock and Oren Ambarchi. When he’s not busy recording, Giuseppe finds time to run his own label, School Map. However in 2009, Giuseppe Ielasi became LabField’s third man.
Following the initial recording sessions in Stockholm, it wasn’t until March 2011, that LabField returned to the studio. This time, the location was Madrid. Nearly two years passed before a further session took place in Madrid, in January 2013. Gradually, Bucket Of Songs was taking shape.
The last recording session took place in July 2013. That’s when Mariam Wallentin of Wildbirds and Peacdrums, Mariam The Believer and the Fire! Orchestra added her distinctive vocals. Once Mariam added her vocals, all that was left was for Bucket Of Songs to be mastered.
Giuseppe Ielasi mastered Bucket Of Songs in Milan. He had been involved in Bucket Of Songs since March 2009. He plays on the album, and with the other two members of LabField, produced Bucket Of Songs. It was released recently to widespread critical. You’ll realise why, when I tell you about Bucket Of Songs.
Ragged Line Reversed opens Bucket Of Songs. The arrangement jitters, becoming jagged and dramatic. Soon, the arrangement drones, as washes of powerful music assail you. LabField are at their inventive best, improvising, and feeding off each other, taking their music in a new direction. Previously, LabField focused on lengthy, detailed and multi-textured soundscapes. A feature was long, slow, flowing drones. While that’s still present, the soundscapes are shorter, with more focus on improvisation. Here, LabField combine avant-garde, drone, experimental and industrial music, as they reinvent their music. One thing that hasn’t changed, is that still, LabField are musical pioneers.
Page 55 continues the reinvention of LabField. The tempo is slow, a scrabbled guitar, rustling drums and chimes ringing out. Sometimes, a cymbal crashes. Then Mariam Wallentin delivers a jazz-tinged vocal that’s variously breathy, whispery and urgent. She even adds harmonies, as the arrangement meanders ominously along, its heartbeat pulsating as the soundscape reaches a crescendo.
The tempo increases on Temporary Reasons. A crystalline guitar plays, before a myriad of percussion joins. David Stackenäs’ guitar playing seems to have been influenced by world music. Listen carefully and there’s a Latin influence. Ingar Zach’s percussion is urgent and dramatic. He plays with a sense of urgency. Somehow, David manages to keep up, matching Ingar all the way. In doing so, they create a track that’s dramatic, urgent and mesmeric.
As Bucket Of Songs unfolds, guitar is slowly strummed thoughtfully. Soon, what sounds like Morse Code interjects. This gives the soundscape a cinematic sound. Occasionally, a guitar is strummed. Still the beep, beep, beep of the Morse Code sends out its signal. By now, percussion punctuates the arrangement. Bells ring out. Briefly, feedback cackles and crackles. Then a synth creates a buzzing sound. It sweeps and soars above the arrangement. It’s like a plane looking for somewhere to land. With the addition of what sounds like Morse Code, this conjures up pictures of night-time sorties over enemy territory. This is Boys Own stuff from LabField, purveyors of cinematic music par excellence.
A plucked string plays opens Intensive Course In Bad Manners. It contributes to the understated backdrop. However, soon, a wash of droning music enters. Machine gun synths are unleashed. Still, the plucked chiming string can be heard. By now, it’s almost been overpowered as this droning soundscape reaches its crescendo.
Is it bells or a clock that chime on The Boy Who Never Remembered To Forget? Whichever it is, it contributes towards an eerie cinematic soundscape. Especially when the thunderous, rumbling sound combines with a detuned guitar and chiming clocks. It’s creates an eerie, ominous sound. The result is what sounds like the soundtrack to a 21st Century, improv remake of the soundtrack to Alfred Hicthcock’s The Birds.
Thunderous drums pound, a cymbal crashes and a harpsichord plays as Straight A’s In Constant Sorrow shows its secrets. Meanwhile, a buzzing sound underpins the arrangement. As the elegiac, crystalline guitar plays slowly, adding a wistful sound, drums and cymbals are pounded and punished. Still, the buzzing sound adds a sci-fi sound. Later, the guitar is strummed with a sense of purpose. Despite its lack of volume, it’s still at the heart of the arrangement where beauty, drama and raw power sit side-by-side. Quite simply, this is improvisational music at its most ambitious and innovative.
Just an acoustic guitar and Mariam Wallentin’s tender, thoughtful vocal combine on Members Crossed. Mariam delivers her vocal slowly, as if ruminating over lyrics. When she pauses, so does the guitar. This is highly effective. Gradually, though, the arrangement builds. Washes of feedback shriek, but are tamed. As percussion is added Mariam improvises. Her vocal becomes an instrument, as she scats. Later, her vocal becomes veers between powerful to ethereal. By then, LabField are pushing musical boundaries to their limits. They’re at their most adventurous, fusing avant-garde, experimental, free jazz, improv, industrial and rock during this sonic adventure.
Last Passacaglia closes Bucket Of Songs. A guitar is strummed, reverberating into the distance. It’s accompanied by jittery, persistent percussion and Mariam Wallentin’s elegiac vocal. It soars above the arrangement. Just at that moment, a roll of drums and crashing cymbals interject. They add drama and urgency. So does Mariam’s powerhouse of a vocal and David’s guitar. LabField it seems, are feeding off each other as they improvise. In doing so, they ensure that Bucket Of Songs finishes on a resounding high.
Five years after LabField’s critically acclaimed sophomore album Collab, they make a welcome return with Bucket Of Songs, which was recently released by Hubro Music. It’s a career defining album from LabField, who are now a trio. After featuring on Collab, Giuseppe Ielasi now joins LabField on a full-time basis. His addition comes at a time when LabField’s music was undergoing a change.
On Collab, LabField’s previous album, it featured just two soundscapes. Cebollon was a thirty-six minute epic, and Crucial, which featured Giuseppe Ielasi, lasted nearly eight minutes. Both tracks were full of detail and multi-textured. The two slow, flowing drones captured the imagination of critics, cultural commentators and music lovers. However, LabField felt it was time for a change.
So between March 2009, and July 2013, LabField recorded nine soundscapes. They’re much shorter. The shortest soundscape lasts just three minutes, the longest, just over six minutes. These nine soundscapes allow LabField to stretch their legs musically, and mix things up. Over the nine songs on Bucket Of Songs, LabField combine elements of ambient, avant-garde, electronica, experimental, free jazz, industrial, Latin, post rock, pop, rock and world music. However, at the heart of Bucket Of Songs’ sound and success, is LabField’s trademark brand of improvisational music. As LabField improvise, they visit a variety of disparate musical genres. Somehow, though, this fusion of all these disparate musical genres hangs together, and make perfect sense. It seems seamlessly, LabField have the ability to feed of each other, taking the music in a new and unexpected directions. That’s why you should never, ever, try and second guess LabField. That would be impossible.
That’s why the best way to describe LabField is musical mavericks. Their ability to manipulate sound sees the three sonic explorers take their listeners on a magical musical mystery tour. They take you places that other groups can only dream of. In doing so, LabField create music that’s variously ambitious, challenging, cinematic, dramatic, inventive, innovative minimalist and urgent. It’s also music that’s guaranteed to make you think.
Sometimes, the music on Bucket Of Sounds sets your mind racing. Don’t fight it, enjoy the ride. LabField will take you to places you’ve never been before. It’s just a case of letting your imagination run riot. If you do, LabField will richly reward you, as you experience Bucket Of Songs’ nine captivating and groundbreaking soundscapes.
LABFIELD-BUCKET OF SONGS.
TOUCHING THE VOID-LOVE, LONGING AND LOSS.
TOUCHING THE VOID-LOVE, LONGING AND LOSS.
Andy Oppenheimer and Mark Warner formed Touching The Void back in 2010. Two years later, Touching The Void released their debut single Parallel Lives, in 2012. It was well received by critics. Great things were forecast for Touching The Void.
So, a year later, in 2013, Touching The Void released their debut E.P. Obsession. It was released to critical acclaim. Surely it wouldn’t be long before Touching The Void released their debut album?
That wasn’t the case. A year passed, and still, there was no sign of Touching The Void’s long awaited debut album. Soon, a year became two. However, the good news is the wait is almost over. Love, Longing and Loss Touching The Void’s debut album will be released on SubCulture Records on 22nd May 2015. However, there’s a reason for the near three year wait. Touching The Void is just one part of Andy Oppenheimer and Mark Warner’s lives.
Music has been part of Andy and Mark’s lives for over thirty years. However, while Mark has been a career musician, Andy’s life has taken a few twists and turns along the way. The pair met in 2010. By then, the pair had sixty years of musical experience behind them.
Mark Warner is the elder statesman of Touching The Void. His career began in 1978, when he joined The Firm, becoming their guitarist. That’s where Mark served his musical apprenticeship. Four years later, Mark was on the move.
In 1982, Mark joined Sudeten Creche as their guitarist, keyboardist and songwriter. Sudeten Creche had been formed two years earlier in 1980, by Yvette Döll. She was then joined by Paul Carlin. Other associate members would later join the band. This included Mark in 1982.
Having joined Sudeten Creche in 1982, Mark cowrote Are Kisses out of Fashion?, which featured on the Europe In The Year Zero E.P. It also featured Yazoo’s Goodbye 70s. The Europe In The Year Zero E.P. reached number forty-three in the British charts. A year later, in 1983, Sudeten Creche, released another E.P.
The Kindergarden E.P was released in 1983. Mark cowrote Dance with Paul Carlin and Yvette Döll. Although he had only been a member of Sudeten Creche since 1982, Mark was playing an important role in the band. However, his time with was at an end.
Later in 1983, Mark joined The Virgin Brides as lead guitarist and drummer. For the next two years, Mark was a member of The Virgin Brides. However, in 1985, Mark left The Virgin Brides.
Having left The Virgin Brides in 1985, Mark’s next band was World Gone Mad. He joined World Gone Bad in 1987, and was a member until 1988. Another four years passed before Mark joined another band.
For Mark, it was a case of feast or famine. He joined Miles From Luton in 1992 and was a member until 1993, when he joined Tokyo Rose.
Mark was a member of Tokyo Rose for the next four years. He joined in 1993, and spent four years with the band. However, in 1994, Mark joined Three Fiddlers Not.
So between 1994 and 1997, Mark was dividing his time between Tokyo Rose and Three Fiddlers Not. However, in 1997, Mark left Tokyo Rose. This allowed him to concentrate on Three Fiddlers Not. Then in 1998, Mark left Three Fiddlers Not.
After leaving Three Fiddlers Not, Mark was still immersed in music. In 2006, he reformed Sudeten Creche. They released their comeback single Wounds, in 2007. A year later, Sudeten Creche released the first of two E.P.s. A Kiss From The Creche was released in 2008, with Are Kisses Out Of Fashion? following in 2009. However, just as Sudeten Creche were hitting the comeback trail, further opportunities arose for Mark.
By 2010, Mark was looking for a new musical vehicle. That was the year that Touching The Void was born. So was Rossetti’s Compass.
It was in Berlin in 2010, that Rossetti’s Compass was born. Mark was working with Andy Oppenheimer of Oppenheimer Analysis and Touching The Void. The third member of Rossetti’s Compass was the late Mark Warner. For the next two years Mark used Rossetti’s Compass to explore Mark Warner was keen to explore the wider EBM scene. However, it was Sudeten Creche that paid the bills. That was until late 2012.
As 2012 drew to a close, Mark split from Sudeten Creche. So, he turned his attention to Rossetti’s Compass and Touching The Void.
Touching The Void released their debut single Parallel Lives, in 2012. Parallel Lives was well received by critics. It looked like Touching The Void were going places. However, 2013 would be an important year for Touching The Void, and Rossetti’s Compass.
2013 was one of the busiest years of Mark’s thirty-five year musical career. Rossetti’s Compass released their debut E.P. Tear Garden in March 2013. It featured a new lineup of the band. Per Aksel Lundgreen, who previously, was a member of the critically acclaimed Norwegian band, Apoptygma Berzerk joined Rossetti’s Compass. Mark and Per wrote and recorded Tear Garden, which caught the attention of critics upon its release. So, did Rossetti’s Compass’ sophomore E.P.
The release of Rossetti’s Compass sophomore E.P. My Beloved, saw the band become a trio. Martin Bowes became the third member of the band. He arrived in time for the release of My Beloved in August 2013, which was a busy month for Mark Warner.
Not only had Mark been busy with Rossetti’s Compass, but he and Andy Oppenheimer had been working on Obsession, Touching The Void’s debut E.P. It was also released in August 2013. Critical acclaim accompanied its release. Great things were forecast for Touching The Void. Surely they would begin work on their debut album? Now was the time. Not quite.
Rossetti’s Compass had agreed to released The Cage Sessions, a semi-live album. It was released in November 2013. The new lineup of Rossetti’s Compass was augmented by John Costello, Martin Bowes’ partner in Engram. He added vocals to The Cage Sessions, which was released in November 2013. With The Cage Sessions behind him, surely Touching The Void could begin work on their debut album. That would depend on Andy Oppenheimer.
Just like Mark, Andy Oppenheimer has a busy career. However, unlike Mark, Andy enjoys a parallel career. His “other” jobs include working as author, analyst and lecturing in counter-terrorism. Andy Oppenheimer you’ll realise, is no ordinary singer-songwriter. Maybe once, but not now.
Andy Oppenheimer was born in Leeds in 1953, and in 1974, graduated from Liverpool University. By the early eighties, Andy had formed synth-pop duo Oppenheimer Analysis with producer Martin Lloyd. However, unlike Mark, music wasn’t going to become Andy’s full-time career.
Throughout the eighties and nineties, Andy worked as a researcher. His research included nuclear weapons, the Cold War and the I.R.A. Twenty years later, in 2008, Andy wrote a book on the I.R.A. By then, Andy was a renowned and respected academic.
For the last thirty years, Andy Oppenheimer has contributed to academic studies, worked as a lecturer and written for various defence journals. This makes Andy an unlikely musician. However, in 2005, Andy reformed Oppenheimer Analysis.
Not long after reforming, Oppenheimer Analysis released an E.P. of their early music. It was released on the New York based Minimal Wave label. Two further singles were released by Oppenheimer Analysis.
Five years later, in 2010, and Oppenheimer Analysis released their eponymous single. Science/Washington followed in 2011. Then in 2013, Oppenheimer Analysis released their long awaited their long awaited album, The Presence of the Abnormal as Oppenheimer MkII. It had been a longtime coming. However, it proved to be a bittersweet moment as Martin Lloyd died in 2013. The Oppenheimer Analysis’ story was over. However, a new chapter in Andy’s musical career had just begun.
Three years earlier, Andy and Mark Warner had formed Touching The Void. They released their debut single Parallel Lives, in 2012. It was well received by critics.A year later, in 2013, Touching The Void released their critically acclaimed debut E.P. Obsession. However, since then, nothing has been heard of Touching The Void…until now.
On 22nd May 2015, Touching The Void will release their debut album Love, Longing and Loss. It features fourteen tracks. There’s nine tracks from Touching The Void, plus five remixes on Love, Longing and Loss, which I’ll tell you about.
Fittingly, Parallel Lives, Touching The Void’s 2012 debut single opens Love, Longing and Loss. It’s a hauntingly beautiful ballad. The piano lead arrangement is sparse. This is the perfect accompaniment to Andy’s vocal. He plays the part of a stay at home husband, as his wife a soldier, goes away to defend her country. Andy’s admiration is obvious. He feels proud and afraid, afraid he’ll loose the woman he loves.
Crystalline synths opens Obsession. Soon, a buzzing bass synth grabs your attention. Andy’s vocal is slow and moody. There’s an element of darkness and menace in his vocal. So much so, his Obsession seems real.
In This Together originally gave Stephan Groth of Norwegian band Apoptygma Berzerk a hit single. Here, Touching The Void give the song a makeover. The arrangement is stripped bare. Just a piano and backing vocals accompany Andy’s vocal. His vocal sounds not unlike Morrissey. He delivers a vocal full of emotion and desperation. His relationship if falling apart and he’s desperate to save it. That’s apparent when pleadingly he sings: “don’t you see, we’re in this together, it’s you and me, one-on-one forever.” Later, strings are added. They add a melancholy sound, as Touching The Void reinvent In This Together, transforming the song into a beautiful soul-baring ballad.
Just a lone piano plays as Fragment unfolds. A synth buzzes in, and a roll of drums interject. Gradually, the pounding arrangement on Love, Longing and Loss unfolds. When Andy’s vocal enters, it’s full of hurt and heartbreak. His vocal is full of despair, as he sings of the love he lost. So meaningful is Andy’s delivery, it’s as if he’s loved, lost and lived to tell the tale on this anthemic track.
Banks of synths and drums machines provide the musical backdrop to Andy’s vocal on Inspiration. It’s song about how some people worship power. This is apparent in the song as Andy sings of it “becoming my Inspiration,” and “the villain of my mind.” Again, Andy breaths meaning and emotion into the lyrics, while the synths and drums machines accompany him. They provide a timeless accompaniment, to Andy and Mark’s cautionary tale about power.
The piano lead Highbury Fields is a ballad about living in London. It’s another song that Andy and Mark cowrote. As Mark plays the piano, Andy paints pictures about life in Highbury Fields. As the song unfolds, ethereal synths and then drums are added. They add an element of drama. Later, strings, like the ethereal synths, add to the beauty of the song. It’s without doubt one of the highlights of Love, Longing and Loss.
The synths on I’ll Be Here have an eighties influence. They work well though, underpinning Andy’s vocal. He tells the story of a friend whose fallen in love. Andy knew it wouldn’t last. That’s the case. So, Andy extends the hand of friendship. “Whatever you decide, I’ll be there for you.” Behind him, the synths frame Andy’s vocal, while the drums provide the heartbeat on this tale of betrayal and heartbreak
Love, Longing And Loss is a heartachingly beautiful ballad. Fittingly, the arrangement is understated, allowing Andy’s vocal to take centre-stage. It’s like a confessional as he songs: “I’d love to be near you, I’m longing to see you and I’m lost here without you.” In three lines, Andy brings together the themes that run through the album. Later, as Andy’s vocal drops out, Mark’s synth proves the perfect replacement. It sets the scene for Andy’s pleading, needy, hopeful vocal.
Then And Now closes Love, Longing And Loss. Woodblocks give way to a thunderous drums and washes of synths. Slowly, and gradually, the arrangement unfolds. When Andy’s vocal enters, it sounds vulnerable. His vocal is full of emotion and sadness as he wonders: “where did our love go, miss it every day?”
The other five tracks on Love, Longing And Loss consist of remixes. There’s two remixes of Obsession, plus remixes of Then and Now, Fragment and In This Together. These remixes bring something new to the original tracks. Sometimes, they take the track in a new direction. Other times, they stick closely to the original. Thankfully, there’s no cases of throwing the baby out with the bathwater. That’s a mistake many remixers make. Rather than remix a track, they rebuild it from the ground up. Not here. That would be a step too far, as the original songs are very special.
That’s the case throughput Love, Longing And Loss. Each and every one of the tracks oozes quality. There’s no filler whatsoever. Instead, each of the nine songs are like short stories, where you experience Love, Longing And Loss. Sometimes, you experience two or more of these themes. The songs seem very real. It’s as if Andy Oppenheimer and Mark Warner have drawn on personal experience. As a result, the lyrics come to life.
Especially with Andy Oppenheimer delivering them. Whether it’s love, love lost, hurt, longing, admiration, empathy or Obsession Andy makes it seem very real. Meanwhile, Mark Warner who produced, recorded and mixed Love, Longing And Loss, creates a musical backdrop for Andy’s vocal. Together, as Touching The Void, they form a potent partnership. Andy and Mark it seems, are like a musical yin and yang.
That’s despite being an unlikely musical partnership. Mark is a career musician. Music is all he’s ever known, whereas Andy is an author, analyst and lecturer in counter-terrorism. Although they’re an unlikely musical partnership, Love, Longing And Loss, Touching The Void’s long-awaited debut album has been well worth the wait. Love, Longing And Loss will be released on Subculture Records on 22nd May 2015. It’s an album I can’t recommend highly enough.
That why, come 22nd May 2015, I’d recommend adding a copy of Love, Longing And Loss, Touching The Void’s long-awaited, and highly anticipated debut album to your music collection. Love, Longing And Loss is a hauntingly beautiful, captivating and soul-baring album from Touching The Void; where they sensitively, and thoughtfully, explore the the themes of Love, Longing And Loss.
TOUCHING THE VOID-LOVE, LONGING AND LOSS.
HUNTSVILLE-POND.
HUNTSVILLE-POND.
Ever since 2006, Huntsville have established a reputation as one of the most innovative, inventive and imaginative bands in Europe. For the past nine years, Huntsville have been seamlessly been combining musical genres and influences. In doing so, musical boundaries are pushed to their limits, and sometimes, way beyond. Never do Huntsville play things safe. No. That’s not Huntsville’s style. Instead, they’re musical alchemists.
Ever since Ivar Grydeland, Tonny Kluften and Ingar Zach first met, they realised that they were kindred spirits. Music they realised, had to continue to evolve to stay relevant. So, Huntsville set about creating music that was innovative.
To do that, the three members of Huntsville combine musical genres and influences. They combine everything from rock and jazz, to electronica and psychedelia. Huntsville also draw inspiration from some of their musical heroes, including Miles Davis, Steve Reich, Ennio Morricone and early Tortoise. That’s an eclectic mix. However, each and every one of these artists have influenced Huntsville’s forthcoming fifth album Pond, which will be released on Hubro Music on 4th May 2015. It’s the long-awaited followup to Past Increasing, Future Receding. It was one of the best albums of 2013. Past Increasing, Future Receding was just the latest chapter in Huntsville’s career, which began back in 2006.
It was back in 2006 that the Norwegian trio Huntsville recorded their debut album For The Middle Class. A genre-sprawling album, critics realised that Ivar Grydeland, Tonny Kluften and Ingar Zach weren’t just talented, but truly innovative musicians and producers. A great future was forecast for Huntsville.
That proved to be the case. Two years after the release of For The Middle Class came their sophomore album Echo, Arches and Eras. This was no ordinary album. Quite the opposite. It was an ambitious double album where musical genres melted into one. One track, Eras, was a fifty-four minute opus, where Huntsville were joined by Glen Kotche and Nels Cline. If critics weren’t taking notice of Huntsville, they were after Echo, Arches and Eras. However, their next album would surpass everything that’s gone before.
Released in 2011, Music For Flowers, Cars and Merry Wars was the album that launched Huntsville. They’d switched labels, joining Hubro Music, a progressive label with a reputation for releasing innovative music. That was the perfect way to describe For Flowers, Cars and Merry Wars. Innovative, mesmeric and blessed with an ethereal beauty, critics and connoisseurs of good music awaited the followup to For Flowers, Cars and Merry Wars.
Following the release of For Flowers, Cars and Merry Wars, Huntsville were busy. They released a collaboration with Splashgirl. Entitled Splashgirl/Huntsville, it showcased two of Norway’s most forward thinking groups. After that, work began on Huntsville’s forthcoming album, Past Increasing, Future Receding.
Recording of Past Increasing, Future Receding took place in Emanuel Vigeland’s Mausoleum. For Huntsville, that was the only place the album could be recorded. After all, so important are the Mausoleum’s famed acoustics, that they refer to it as the fourth member of the group. Its dark, some would say bleak and gloomy surroundings are full of ghosts of the past. Atmospheric and evocative, full of historical and darkness, the surroundings proved inspirational for Huntsville.
Referring to Past Increasing, Future Receding as a critically acclaimed album is almost an understatement. Past Increasing, Future Receding was an epic album that surpassed Huntsville’s three previous album. It seemed that with every album, Huntsville were maturing and evolving as a band. Huntsville were now one of the most exciting and innovative bands in Europe.
Since the release of Past Increasing, Future Receding, Huntsville have spent time touring and recording their fifth album Pond. Huntsville are always busy. They’ve now played over a hundred concerts. With every tour, Huntsville’s music reaches a wider audience. It’s the same with their albums.
After the success of Past Increasing, Future Receding, Huntsville began work on their fifth album, Pond in June 2014. Just like previous albums, Pond was written and produced by Huntsville. Pond features four lengthy songs Er, Ing, Age and Ok. They allow Huntsville to improvise and embark upon a sonic voyage of discovery. That’s what happened over a week in Oslo at Amper Tone studio in Oslo.
Unlike Past Increasing, Future Receding, Huntsville decided to use a traditional recording studio. So, they chose Amper Tone studio in Oslo. Assisting Hunstsville was sound engineer Johnny Skalleberg. With his help, Huntsville got to work in June 2014. Ivar Grydeland played electric guitar, pedal steel and added electronics, Tonny Kluften played bass and Ingar Zach added percussion and timpani. Huntsville worked quickly. Within a week, the four songs that became Pond were recorded. Now Huntsville’s fifth album, Pond, was nearly complete.
Three months later, Pond was mixed by Johnny Skalleberg at Amper Tone studio. The album was then mastered by Helge Sten, at the Audio Virus Lab, in Oslo in October 2014. That was the final part in the process. Now Huntsville were ready to release Pond, which I’ll tell you about.
Age opens Pond. It’s best described as a moody, atmospheric soundscape. From the opening bars, there’s a cinematic sound. Distant bells chime, drums pound and a whip cracks. Washes of eerie, otherworldly create a captivating soundscape. Nothing is as it seems. Instruments are transformed into something totally different. Ivar Grydeland’s guitar becomes a quivering wash. He plays the strings of his guitar like a violin. Other times it takes on a brief Jimi Hendrix influence. Ingar Zach’s percussion veers between avant-garde and industrial. Later, what sounds like gunfire can be heard. It’s not though. As I said, nothing is quite like it seems. There’s even a brief nod to Pink Floyd’s cash register on Money. Soon, a sense of urgency emerges. Bursts of guitar are unleashed while percussion and sound effects fill the gaps. This is improvisation at its innovative best. Huntsville have drawn you in. Intently, you listen to hear what happens next. The music becomes ethereal, urgent, dramatic and captivating. Everything from ambient, avant-garde, electronica, free jazz, industrial, psychedelia and rock melts into one, creating a truly innovative and captivating soundscape.
As hypnotic drums play a shaker creates a rustling sound on Er. Tonny Kluften’s adds a probing, bounding bass line. Sound effects are added. Just like the bass line and drums, they draw you in. You focus on them, as Huntsville continue to paint pictures. A chiming guitar and Huntsville’s cash register effect is added. Soon, Ivar Grydeland play a note on his guitar. He stretches into the distance. Having seen this work he tries again. Same thing. The rest of Huntsville take confidence from this and continue to improvise. Percussion and a myriad of sound effects are added. So, is a pedal steel. It creates a lysergic wash. It’s impossible not to wallow in its beauty. Meanwhile, the drama is building underneath. Once its reached a crescendo, the arrangement glides along, Kraftwerk style. Think Autobahn or Trans Europe Express. Occasionally, Ivar unleashes bursts of quivering guitars. Much later, the arrangement becomes an ethereal soundscape, where neo-classical, ambient and avant-garde unite seamlessly to create an elegiac, mesmeric and cinematic soundscape.
Just the distant sound of scrabbled strings open Ing. Again, they’ve a cinematic sound. Already, Ing sounds like it would make the perfect soundtrack to a thriller or horror film. Atop the arrangement, industrial percussion is added. So too is Tonny Kluften moody bass. Behind his bass, the plink plonk percussion and scrabbled strings vie for your attention. They work well together, and make an unlikely musical yin and yang. Later, Ivar adds occasional washes of detuned guitar. Mostly though, it’s the bass and percussion that you focus on. That’s until Ivar adds ethereal washes of guitar. They’re reminiscent of John Martyn circa Solid Air. They prove the perfect finishing touch to a track that’s not just inventive, but spacious and lysergic. No wonder, with Huntsville fusing ambient, electronica, free jazz, industrial and post rock.
Ok, an eleven minute epic closes Pond. Percussion resonates into the distance. Soon, bells chime hypnotically. A buzzing sound sits low in the mix. Then a clock strikes. It has a Hitchcock sound. Meanwhile, scrabbled and plucked strings flit in and out. So does feedback. It’s transformed and shaped. As it beeps and squeaks, it adds to the arrangement. So do melancholy washes of guitar. They’re joined by wistful strings. Elements of avant-garde, classical, experimental, free jazz, post rock and psychedelia melt into one. Together, they play their part in Huntsville’s futuristic soundscape for the post industrial generation.
After two years away, Huntsville are back and better than ever. The Norwegian musical alchemists have released what’s without doubt, the greatest album of their nine year career, Pond. Somehow, they’ve managed to surpass their previous album Past Increasing, Future Receding. No wonder. Huntsville have pushed musical boundaries to their limits, and way beyond on Pond, which will be released by Hubro Music on 5th May 2015.
As a result, Pond is without doubt, Huntsville’s most ambitious and innovative album. It features a quartet of groundbreaking soundscapes. Pond, with its combination of innovative music and futuristic, sci-fi sounds is guaranteed to pique your imagination. It’s articulate and intelligent music. This is music for the mind. Pond’s four soundscapes are guaranteed to make you think. That’s why cinematic is a perfect description of the music on Pond, where Huntsville take you on a musical adventure.
Over four epic tracks, Huntsville take you on a journey. They supply the music. All you need to do is let your imagination run riot. What follows is akin to a four part play, where Huntsville supply a musical backdrop. The music can be melancholy and thoughtful. Other times, it’s moody and broody, but can just as easily become crystalline, elegiac and ethereal, as musical influences and genres melt into one.
Just like on previous albums, Huntsville have combined a disparate combination of musical genres and influences on Pond. They add to their musical melting pot, elements of ambient, avant-garde, electronica, experimental, free jazz, industrial, post rock, psychedelia and rock. Huntsville also draw inspiration from some of their musical heroes, including Miles Davis, Steve Reich, Ennio Morricone and early Tortoise. Other influences include Brian Eno, Can, Harold Budd, John Martyn, Mind Over Midi, Neu and Pink Floyd. That’s an eclectic mix. However, all these influences can be heard on Pond, a truly captivating and innovative album from musical alchemists Huntsville.
HUNTSVILLE-POND.
JOHNNY AND THE HURRICANES-HURRICANE FORCE-RARE AND UNISSUED.
JOHNNY AND THE HURRICANES-HURRICANE FORCE-RARE AND UNISSUED.
There aren’t many bands that have featured three hundred musicians. That was the case with Johnny and The Hurricanes. They were formed by Johnny Paris in 1958, and were together forty-eight years. It was only after Johnny Paris’ death on 1st May 2006 that the Johnny and The Hurricanes’ story was over. By then, an estimated three hundred musicians had been in the various lineups of Johnny and The Hurricanes. Not many bands had enjoyed the same longevity as Johnny and The Hurricanes, whose music is celebrated on Hurricane Force-Rare and Unissued, which was released by Ace Records on 27th April 2015.
They were formed in 1958 by saxophonist Johnny Paris. He was still a high school student, in Ohio, Toledo. Johnny and four of his fellow high school students, Dave Yorko, Tony Kaye, Tommy Curran and Paul Tesiuk became Johnny and The Hurricanes.
Johnny and The Hurricanes’ origins can be traced back to the eighth grade at Rossford High School. Some of the eighth-graders decided to form a band. This included Paul Tesiuk and Johnny Poscick, who arrived at Rossford High School.
Johnny’s mother was from a Ukrainian family, and his father was Polish. So, they lived in the Polish quarter of town. Money was constantly tight, and the Poscick family struggled to make ends meet. Then in 1954, Johnny’s father got a job in Libbey Owens Ford, a glass manufacturer. The Poscick family moved to the outskirts of town. It’s at that point, Johnny who was then fourteen, joined the Rossford High School Marching Band.
Initially, Johnny Poscick played the tuba. He didn’t find that easy. So, he switched to the baritone saxophone. It was the saxophone that Johnny Poscick would make his name playing in Johnny and The Hurricanes.
With the Rossford High School junior years students keen to form a dance band, it’s no surprise that Johnny was one of the earliest members. Recently, he had become much more involved in music. Soon, the band took shape. Joining Johnny and trumpeter Paul Tesiuk were joined by guitarist Lionel “Butch” Mattice, drummer Don Staczek and trumpeter Mike Woods. However, Paul was the nascent dance band’s trumpeter.
This could’ve presented a problem. It didn’t. Paul decided he would switch to piano accordion. Johnny, meanwhile, switched from baritone to tenor saxophone. Gradually, Johnny’s band begin to take shape. However, this wasn’t the only band Johnny and Paul played in.
Paul’s brother had a polka band called The Silver Tones. When Johnny and Paul weren’t busy with Johnny’s band, they played with The Silver Tones. This only lasted a short time. Before long, Johnny’s began to make a name for themselves.
Before that, Johnny’s band spent time practising, and honing their sound. It was during this period, that guitarist Dave Yorko joined the band. He was a couple of years older than the rest of the band. Despite the age gap, Dave fitted into the band. However, Dave’s joining the band lead to a few changes in lineup.
Lionel “Butch” Mattice, switched from guitar to bass. Trumpeter Mike Woods left the band. If a trumpet part was needed, Paul Tesluk could play it. With the lineup settled, the next thing the band needed was a name.
That was vital. The senior carnival wasn’t far away. So, the unnamed group had to settle on a name. Eventually, they settled on The Black Cats.
As the big day approached, someone suggested The Black Cats charge an entrance fee. While it might seem somewhat risky, a new band charging an entrance fee, it worked, and worked well. By the end of the day, The Black Cats had made more than the rest of the carnival had. This left The Black Cats with a decision to make.
The Black Cats could either market themselves as a dance or a polka band. After some thought, The Black Cats decided to become a rock ’n’ roll band. They had made the right choice. Rock ’n’ roll was about to explode in popularity.
Soon, The Black Cats were a familiar face on the local rock ’n’ roll circuit. That’s where they honed their sound. Before long The Black Cats were one of the biggest names on the Toledo circuit. Despite this, The Black Cats decided to change their name.
The space race was in its infancy. There was much speculation about satellites and moon landings. This captured a generation’s imagination. So, it was no surprise when The Black Cats became The Orbits. This wasn’t the only change that was about to happen.
Paul decided to switch from piano-accordion to Hammond organ. His parents agreed to help him buy a Hammond organ. It was a much more versatile instrument. Inspired by Johnny Rank, Paul was soon taking The Orbits’ sound in a new direction. The crowd loved the new sound.
Soon, The Orbits were being asked to play in ballrooms and nightclubs. This included Sylvia’s nightclub, where The Orbits secured a residency. Playing the club on Toledo’s south side was just a stepping stone. Before long, The Orbits were asked to play at Kathie’s Colonial five nights a week. While this was a huge opportunity, for one member of The Orbits, it was a step too far.
Most of the members of The Orbits were still at high school. Playing five nights a week could affect their education. This worried drummer Don Staczek. So he quit The Orbits, to be replaced by Tony Kaye, a regular on the Toledo club circuit. Next to go was guitarist Lionel Mattice. Ostensibly, Lionel was having a sabbatical. His replacement was Tommy Curran, of The Raging Storms. This new lineup of The Orbits was about to make a breakthrough.
Whilst playing the Toledo club circuit, The Orbits got to know Freddie and The Parliaments. They were managed by Harry Balk and Irving Micahnik, who ran an agency in Detroit. Harry Balk and Irving Micahnik were always on the lookout for new bands. So, an audition was arranged with Harry and Irving.
Before the audition, The Orbits learnt to play a number of Freddie and The Parliaments’ songs. That’s what they played at the audition. After than, they were asked to play some of their usual numbers. Having done so, Harry Balk and Irving Micahnik signed The Orbits to their Artists Inc. agency. It looked like skies the limits for The Orbits.
Now signed to Artists Inc., The Orbits would practice and rehearse at their offices. Sometimes, The Orbits accompanied other artists signed to the Artists Inc. agency. Soon, this would include accompanying artists when they recorded a single.
Previously, Harry Balk had run cinemas and theatres. He decided to return to the world of the theatre. So, Harry and his son Stuart bought the disused Carmen Towers Theatre. Rather than use it as a theatre, the pair transformed it into a recording studio. This would be where artists signed to the Artists Inc. agency recorded their singles.
One of the first groups to make their recording debut at the Carmen Towers Theatre studio, was Freddie and The Parliaments. Soon, Freddie Kelly, Harold “Chops” Hedges, Ray Hunt and Fred Kuntze made their recording debut at the Carmen Towers Theatre studio. Soon, it was time for The Orbits to record their debut single.
A year later, in 1959, Harry Balk and Irving Micahnik of Twirl Records singed Johnny and The Hurricanes. They sent the group out on tour. Ostensibly, this was to allow the group to hone their sound. Then when Johnny and The Hurricanes returned, they were ready to cut their first single.
Recording of Crossfire took place in February 1959. They had just finishing backing The Dream Girls at a session at the Carmen Towers Theatre studio. The recording of Crossfire didn’t exactly go smoothly. It took around thirty takes. Eventually, The Orbits recorded Crossfire and it was ready for release.
Harry Balk thought Crossfire was going to be a hit single. So he headed to New York, looking for a record company to release the single. He was out of luck. His only alternative was to release Crossfire via his own record company.
So, Harry went ahead and formed his own record company Twirl. It was then that Harry decided that The Orbits should become Johnny and The Hurricanes. Johnny, Harry decided, should become Johnny Paris. Given that The Orbits was already well known in Ohio, this was a risky move. However, it was one he was willing to take, and one that paid off.
When Crossfire was released, later in 1959, it reached number twenty-three in the US Billboard 100 charts. Crossfire spent fourteen weeks in the charts. Johnny and The Hurricanes career was off and running. They were about to sign to Warwick Records.
Following the success of Crossfire, Harry Balk’s partner Irving Micahnik, started negotiating with Warwick Records. By then he had setup EmBee Productions. It owned the masters, and licensed them to Warwick Records. After a short period, the licenses reverted back to EmBee Productions. Irving and Harry set up publishing companies. Harry’s was Vicki Music and Irving’s Melanie Music. Both companies were named after their daughters. Irving and Harry managed the artists. So every time they played live, they were making money. So, were artists like Johnny and The Hurricanes.
For the followup to Crossfire, Johnny and The Hurricanes were sent to Bell Studios, New York. It was one of the city’s finest studios. That’s where Red River Rock was recorded. It became Johnny and The Hurricanes’ sophomore single.
Red River Rock was released later in 1959.reached number twenty-five in the US Billboard 100 and US R&B charts. Over the Atlantic, Red River Rock reached number three in Britain. Little did Johnny and The Hurricanes realise it, but Red River Rock was Johnny and The Hurricanes’ biggest selling single. This was proving to be a somewhat bittersweet success.
There was a controversy about who wrote Red River Rock? T.J. Fowler cowrote Crossfire, Johnny and The Hurricanes’ debut single. However, he was under contract to Fred Mendelson. So, to avoid an expensive writ, Fred received a share of Red River Rock’s royalties. Meanwhile, all wasn’t well within the band.
Johnny and The Hurricanes had embarked upon a tour after the release of Red River Rock. They got as far as Indiana, when Tony Kaye quit. That’s when Don Staczek got the call to rejoin Johnny and The Hurricanes. There was a problem though. Don was in a new band. He couldn’t rejoin Johnny and The Hurricanes for another week.
Meanwhile, Bill Savich was drafted in to play drums. Then Don rejoined, just in time to play a few live dates, and then the Dick Clark and Alan Freed television shows. Don even played on some of the tracks for Johnny and The Hurricanes’ debut album, Beatnick Fly. The sessions were hard going. Johnny and The Hurricanes were packed into a small studio, and had to do countless takes of the tracks. Thunderbolt, took twenty-three takes. Throughout the recording, Don gave his all. However, he was in for a shock.
After playing on the album tracks at Bell Studio, Don Savich played a few more live dates. The tour ended in Toledo, Ohio. Once the show was over, and Don was packing up his drums, he was unceremoniously sacked by Johhny.
Unbeknown to Don, Bill Savich was due to join as Johnny and The Hurricanes’ new drummer. For Don, this came as a huge blow. Johnny and The Hurricanes’ debut album Beatnick Fly was just about to be released. Don never received any royalties, never mind any promotional copies of the album. Johnny Paris it seemed, was ruling his group with an iron fist. However, the success kept on coming.
Reveille Rock would become Johnny and The Hurricanes’ third single. It was released late in 1959, reaching number twenty-five in the US Billboard 100 and number seventeen in the US R&B charts. Over the Atlantic, Reveille Rock reached number fourteen in Britain. This meant Johnny and The Hurricanes had enjoyed three singles in America, and two in Britain. With a new decade about to dawn, would Johnny and The Hurricanes take the sixties by storm?
As the sixties dawned, Johnny and The Hurricanes embarked upon the six week The Biggest Show Of Stars Show. For the next six weeks, Johnny and The Hurricanes rubbed shoulders with Frankie Avalon, The Shadows, The Isley Brothers, Clyde McPhatter and Bobby Rydell. For Johnny and The Hurricanes this was a huge learning experience. After the tour, Johnny and The Hurricanes released the first of five singles during 1960.
Their first single of 1960, was Beatnik Fly, which reached number fifteen in the US Billboard 100 and number eight in Britain. Beatnik Fly was the final single Johnny and The Hurricanes released on Warwick Records. Ironically, that was as good as it got for Johnny and The Hurricanes.
It was downhill all the way after Beatnik Fly. Down Yonder was Johnny and The Hurricanes’ first single for Big Top Records. It stalled at number forty-eight in the US Billboard 100, but reached number eight in Britain. Revival sneaked briefly into the US Billboard at number ninety-seven. Rocking Goose fared better, reaching number sixty in the US Billboard 100, but reached number three in Britain. By then, Bill Savich had left Johnny and The Hurricanes.
For some time, Bill was getting tired of the continual touring. What didn’t help was the way Johnny conducted himself. Eventually, things came to a head. Luckily, Bill got the opportunity to join Joe Coe and The Gigoloes. Their former drummer Lynn Cole joined Johnny and The Hurricanes, and played on their final single of 1960, You Are My Sunshine.
Before the recording of You Are My Sunshine, Harry Balk decided to add string and horn players. The session players that played on You Are My Sunshine were vastly experienced. Johnny and The Hurricanes were still teenagers. They were in the studio with veteran professional musicians. So, it’s no surprise that some of Johnny and The Hurricanes were slightly nervous. Despite this, the You Are Mt Sunshine session went well. Sadly, the single stalled at number ninety-one in the US Billboard 100. 1960 had been a roller coaster year for Johnny and The Hurricanes. 1961 didn’t get any better.
Ja-Da was Johnny and The Hurricanes’ first single of 1961. It reached number eighty-six in the US Billboard 100. That proved to be Johnny and The Hurricanes’ last US hit single. They had enjoyed two years of hit singles. Meanwhile, Ja-Da fared better in Britain, reaching number fourteen. So did Old Smokie. While it failed to chart in America, it reached number twenty-four in Britain. That was Johnny and The Hurricanes’ final hit single. 1961 hadn’t been a good year for Johnny and The Hurricanes in more ways then one.
With the hits running dry, all wasn’t well within Johnny and The Hurricanes. Some members of the group tired of Johnny’s arrogance. When introduced to Connie Francis’ father, he blew smoke in Mr. Francis’ face. Other members of the band were shocked. However, Johnny had always in charge. From the early days, he lead the band. Some members joked that he was a dictator. Now that the hits had run dry, it was no longer a laughing matter.
Dave Yorko left in July 1961. A couple of weeks later, Lionel Mattice left. This left Paul Tesluk as the only other original member of Johnny and The Hurricanes. He left shortly afterwards. Not long after this Lynn Cole quit. That was the end of an era. However, it wasn’t the end of Johnny and The Hurricanes.
New lineups of Johnny and The Hurricanes continued to release singles through the sixties, and into the seventies. Similarly, Johnny and The Hurricanes played live for the next four decades. While they were still a popular draw live, Johnny and The Hurricanes
never again enjoyed the commercial success that original and classic lineup of Johnny and The Hurricanes enjoyed between 1959 and 1961. That was Johnny and The Hurricanes’ golden age. However, there’s more to the Johnny and The Hurricanes than three years of music.
Hurricane Force-Rare and Unissued, which was released by Ace Records on 27th April 2015, is proof of this. This two disc, fifty-two track compilation features a disc of studio recordings, and a disc of live tracks. There’s rarities aplenty on Hurricane Force-Rare and Unissued.
Disc One.
Disc one of Hurricane Force-Rare and Unissued, features twenty-six tracks. This includes a trio of tracks from 1967. They’re among the highlights of disc one. The Psychedelic Worm, which opens disc one, is one of the best tracks from the new lineup of Johnny and The Hurricanes. Their cover of The Beatles’ Because I Love Her and Judy’s Moody see Johnny and The Hurricanes try to become America’s answer to The Beatles. While this didn’t transform their fortunes, it shows that Johnny and The Hurricanes weren’t going to stand still.
That was the case with the other members of the original lineup of Johnny and The Hurricanes. This includes The Fascinators, which features Dave Yorko, Paul Tesluk, Lionel Mattice and Lynn Bruce. Back in Toledo, they became The Fascinators. Tracks like
You’re To Blame, Survived and The Charmer show that they were a group who should’ve reached greater heights. That’s also the case with Dave and The Orbits, contribute Cheetah’s Uncle and Chilli Beans. Sadly, these bands didn’t enjoy the longevity or success of Johnny and The Hurricanes.
Twenty-six years after the original lineup of Johnny and The Hurricanes split-up, a new lineup was still recording new music. This includes Home Baby and Strange and from a 1987 album. Twelve years later, and Johnny and The Hurricanes are still going strong. Ten Little Indians is a track from a CD released on Repertoire in 1999. However, what will really interest fans of Johnny and The Hurricanes are the unreleased tracks.
Among the unreleased tracks on disc one are Hurricane Force-Rare and Unissued are Home Baby and Night Train. Then there’s Cannon Blast, Um Um Um, Jamaican Moon and Sax Man. Alternate versions include Rockin’ T and Sand Storm. These tracks have never been released before and are a reminder of what Johnny and The Hurricanes in full flight, sounds like.
We hear another side to Johnny and The Hurricanes when they’re accompanying other artists from the Artists Inc. agency. This includes Freddie and The Parliaments and The Dream Girls. The Freddie and The Parliaments tracks chosen, are That Girl and Darlene. Crying In The Night is the only track from The Dream Girls included. However, it’s a very welcome inclusion to disc one of Hurricane Force-Rare and Unissued. What about disc two?
Disc Two.
On disc two of Hurricane Force-Rare and Unissued, there’s twenty-six tracks from Johnny and The Hurricanes. They were recorded between 1962 and 1990. This means that several lineups of Johnny and The Hurricanes feature. Sadly, there’s no tracks from the original, and classic lineup of Johnny and The Hurricanes. At least all their best known tracks are there.
This includes all the singles. From Crossfire, Red River Rock, Reveille Rock and Beatnik Fly, right through to Down Yonder, Rocking Goose, You Are My Sunshine, Ja-Da and Old Smokie. Other highlights include Honky Tonk, Come On Train, The Hurricane and Sand Storm. These tracks feature various lineups of Johnny and The Hurricanes rolling back the years, as they combine their unique blend of rock ’n’ roll and surf.
For forty-eight years, Johnny and The Hurricanes, with its various lineups, proved a popular draw. Even after the classic lineup of Johnny and The Hurricanes split-up, the group carried on. Johnny Paris drafted in around three hundred musicians over the next four decades. It was as if his motto was “the show must go on.” Go on it did.
Right through the rest of the sixties, into the seventies, Johnny and The Hurricanes continued to release singles and albums. Once they stopped releasing singles so regularly, Johnny and The Hurricanes continued to release albums. Sadly, never again did the original members of Johnny and The Hurricanes record with Johnny.
They came close. In 1991, Johnny tried to get the original band back together. By then, Johnny was living in Germany. Dave Yorko flew to Germany, but sadly, Johnny couldn’t interest a record label. His time had passed.
Despite this, Johnny and The Hurricanes continued to play live. Right through until six months before his death on Mayday 2006, Johnny and The Hurricanes were playing live. By then, Johnny and The Hurricanes had received the recognition they so richly deserved.
For some time, Johnny and The Hurricanes’ role in the history of rock ’n’ roll was overlooked by some. Gradually, though, critics and cultural commentators recognised the part that Johnny and The Hurricanes played. They were a pioneering band, whose genre-melting music was way ahead of its time. That’s why several generations of musicians have been influenced by Johnny and The Hurricanes. Even to this day, a new generation of musicians cite Johnny and The Hurricanes an influence. So, it’s fitting that Ace Records will release the Johnny and The Hurricanes’ compilation, Hurricane Force-Rare and Unissued on 27th April 2015. Hurricane Force-Rare and Unissued, is a reminder of Johnny and The Hurricanes, the long lamented, musical pioneers.
JOHNNY AND THE HURRICANES-HURRICANE FORCE-RARE AND UNISSUED.
SHUGGIE OTIS-FREEDOM FLIGHT.
SHUGGIE OTIS-FREEDOM FLIGHT.
What’s the best way to describe Shuggie Otis? A musical virtuoso. So is vastly underrated. That’s a good start. Certainly Shuggie was something of a child prodigy. He first playing the guitar aged two, and was playing with his father Johnny’s band from the age of twelve. As if that wasn’t impressive enough, Shuggie released his debut solo album aged seventeen. It’s certainly no exaggeration to call Shuggie a musical virtuoso.Not once you’ve heard him play guitar.
Then you’ll realise that’s almost an understatement. It’s not just guitar he plays. No. He’s a true multi-instrumentalist. Shuggie can play bass, drums, organ and piano. Sadly, despite Shuggie’s music is vastly underrated, partly because as yet, he’s still not made a commercial breakthrough. The music he makes is best described as a fusion of R&B, soul, funk, jazz, rock and blues, which when combined, sounds quite incredible.
Back in 1971, aged just nineteen, Shuggie released his second album, Freedom Flight the follow-up to 1969s Here Comes Shuggie Otis. Among the musicians accompanying Shuggie on Freedom Flight are keyboard player George Duke, drummer Aynsley Dunbar, bassist Wilton Felder and Johnny Otis, Shuggie’s father. Johnny played drums, piano and tambourine, as well as singing backing vocals. Together with Shuggie and the rest of his band, seven tracks were recorded, which became Freedom Flight. Of the seven tracks on the album, Shuggie wrote four, and cowrote two others.
Probably the best known track from Freedom Flight is Strawberry Letter 23, which was later covered by The Brothers Johnson in 1977. Their version was produced by Quincy Jones and reached number five in the US Billboard 100 and number one on the US R&B Charts. This eclipsed the success of both Shuggie’s original version of Strawberry Letter 23, which entered the US Billboard 100, but didn’t scale the heights of The Brothers Johnson’s version.
On Freedom Flight’s release in September 1971, it reached number twenty-three in the US Billboard 200, becoming Shuggie’s most successful album. Sadly, this was as close as Shuggie’s music got to being a commercial success. Three years after the release of Freedom Flight, came the release of Inspiration Information in October 1974. This was the last solo album Shuggie released, reaching number 181 in the US Billboard 200 and number fifty-six in the US R&B Charts. Again, commercial success eluded Shuggie, and after this no further albums by Shuggie were release. However, by the nineties interest in his music was growing, with Shuggie gaining a cult following. This was helped by artists like Lenny Kravitz and Prince praising his music. Since then, all of Shuggie’s albums have been rereleased, including Freedom Flight, which will be released by Music On Vinyl on 27th April 2015. Freedom Flight which I’ll now tell you about, features the musical coming of age, of from the nineteen year old Shuggie Otis.
Freedom Flight opens with Ice Cold Daydream, one of the four tracks written by Shuggie. With wah-wah guitars and rhythm section and organ combining elements of funk with soul, R&B and blues, the track literally bursts into life. As Shuggie’s vocal enters, it’s noticeable that his voice has a soft, youthful sound, that’s a contrast to much more powerful arrangement that’s unfolding behind him. Meanwhile, behind him, the arrangement is fast, with a fuller sound. Searing, soaring, rock guitars compete with the rhythm section and organ for your attention. However, it’s Shuggie that wins the day, demonstrating his virtuoso skills as a guitarist, dominating the sound and stealing the show from a group of much more experienced and seasoned musicians. Quite simply, it’s an astonishing display of guitar playing from a nineteen year old, who plays like a veteran.
Strawberry Letter 23 is by far, the best known track on Freedom Flight. As good as The Brother Johnson’s version was, this is quite simply the definitive version of this beautiful slice of sunshine pop. It’s almost impossible not to feel uplifted after hearing this track. It’s four minutes of pop perfection, and very different from the opening track. It’s easily the best track on Freedom Flight. A piano, percussion, guitar and rhythm section combine with Shuggie’s emotive, thoughtful vocal as the song meanders along beautifully. Backing vocalists accompany Shuggie’s subtle vocal, while percussion and acoustic guitar combine. After two minutes twenty seconds, the sound changes, filters are used to blur the sound when guitars chime and sear, climbing and climbing, repeating same notes. They combine with understated, lilting backing vocalists and this glorious combination continues for over a minute, until the song’s dramatic climax. It’s pop perfection .
Sweet Thang sees another change in sound and style. Shuggie combines with his band to create a real rootsy, bluesy sound. It’s a combination of soaring, chiming guitars, piano, wailing Hammond organ and rhythm section. During the track, there’s some stunning guitar and piano playing, with occasional haunting backing vocals. Add to this the atmospheric sound of the Hammond organ and some exotic sounding percussion and the result is a very different sounding track to Strawberry Letter 23, but one that demonstrates Shuggie’s versatility and talent.
The only track on Freedom Flight not written or co-written by Shuggie is Me and My Woman, which was written by Gene Barge. It closes side one of the album. Again, there’s a bluesy sound to the track, with Shuggie’s chiming guitar accompanied by flourishes of piano and rhythm section, before a similarly bluesy vocal from Shuggie. It’s an irresistible sounding track, one where Shuggie’s voice sounds stronger and much more mature. Driven along by the rhythm section and guitar, and augmented by the subtle piano, Shuggie’s talent shines through, contributing slick licks aplenty on this authentic sounding electric blues track.
Side two of Freedom Flight opens with Someone’s Always Singing a slow, moody sounding track, where a distant, wailing Hammond organ, slow rhythm section and searing guitar accompany Shuggie. It’s a very different sounding track from its predecessors. There’sa slight gospel influence, thanks to the backing vocalists. Mostly though, it’s just Shuggie’s soaring, chiming guitar combining with the Hammond organ, percussion and rhythm section. The track sees Shuggie the free spirit wanting to live “from day to day,” without ties nor commitments. However, it’s a slightly disappointing track, not up to the standards of its predecessors. It almost lacks a musical direction. Indeed, it almost has an unfinished sound, with an arrangement that’s neither as full for good as its predecessors.
Purple sees the quality return on a slow, bluesy sounding track. Here, Shuggie’s crystalline guitar, chimes and sears, as the rhythm section combine to play a shuffling blues. Augmenting the sound are piano and atmospheric sounding Hammond organ. However, like other tracks, Shuggie’s guitar playing takes centre-stage. It has an almost mesmerizing sound, as the track chugs along. Adding to the authenticity of the bluesy sound, is a stunning harmonica solo, which almost competes with Shuggie’s guitar playing. This adds to the track’s slightly dramatic sound. Later, the Shuggie plays bass and show-cases his versatility, before returning to guitar for the rest of track’s seven minute blues epic.
Freedom Flight closes with the album’s epic title track Freedom Flight. It’s just Shuggie’s guitar that opens the album, his fingers nimbly meandering up and down the fretboard. After nearly two minutes, dramatic drums, crashing cymbals and a wailing saxophone combine with Shuggie. Together, they combine to create a sound that has almost a free jazz sound. Eventually, Shuggie and his band come together for a prolonged jam lasting twelve memorable minutes. The track has a much fuller yet, spacious sound. For the remainder of the track, a rasping, wailing, soaring saxophone, keyboards and percussion, combine with the rhythm section and of course, Shuggie’s masterful guitar playing. Having vied with the saxophone for prominence, Shuggie’s guitar goes on to dominate the track, chiming, searing and soaring until the end of this absolutely magical, epic track that closes the album.
Although Shuggie was just nineteen when he released Freedom Flight, it was a really mature sounding album, that combined a variety of styles. From blues to R&B and rock to jazz, funk and sunshine pop there’s a bit of everything on the album. With just seven tracks, lasting only thirty-nine minutes Shuggie Otis, musical virtuoso, takes you on a tour of musical styles and his musical influences.
Not only does he play guitar, but plays bass and organ. However, it’s his guitar playing that dominates Freedom Flight. That’s no bad thing. Shuggie Otis is one of the most underrated guitarists of his generation. Too often, the word virtuoso is overused, but when applied to Shuggie Otis this title is fully deserved. He truly is a guitar virtuoso, playing every note with passion, seamlessly bringing the music to life. Apart from Someone’s Always Singing, which is a slightly disappointing track, the other six tracks feature some of the music music Shuggie Otis recorded. The highlight of Freedom Flight is Strawberry Letter 23, a slice of sunshine pop with a twist. On Strawberry Letter 23, Shuggie Otis and his all-star band reach new heights. It’s a joy to behold, and a reason why every record collection should contain a Shuggie Otis album.
If you don’t own a Shuggie Otis album, then you’ve let you to experience one of music’s best kept secrets. That’s no exaggeration. The publicity shy son of Johnny Otis is one of the most underrated musicians of his generation. Shuggie Otis for whatever reason, never seemed to want ti reach the heights his contemporaries did. Instead, he recorded a trio of albums, and disappeared for over thirty years. However, for the last ten years, there’s been a resurgence in interest in Shuggie Otis’ music. Sadly, still, however, many people haven’t heard Shuggie Otis’s music.
If you’ve let to hear the wonderful music of Shuggie Otis, then you’re very definitely in for a treat. Freedom Flight, which will be released by Music On Vinyl on 27th April 2015, features some of the best music Shuggie Otis ever recorded, and is without doubt, the perfect introduction to a true musical virtuoso.
SHUGGIE OTIS-FREEDOM FLIGHT.
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