DION RECORDED LIVE AT THE BITTER END AUGUST 1971.
DION RECORDED LIVE AT THE BITTER END AUGUST 1971.
After being one of the biggest selling artists of the late fifties and early sixties, the hits started to dry up for Dion. He had been one of the most successful artists of the rock ’n’ roll era. For the last six years, it seemed Dion could no wrong. This had been the case since Dion first entered a recording studio.
Having signed to Bob and Schwarz’s Laurie label, Dion first recording session was in 1957. Dion DeMucci was scheduled to record a single for Laurie’s Mohawk imprint. However, when he arrived at the studio, Dion wasn’t happy. The Schwarz brothers had arranged that The Timberlanes would accompany Dion. He wasn’t having that. So, Dion went out and recruited his friends Fred Milano, Angelo D’Aleo and Carlo Mastrangelo. They became The Belmonts. Soon, Dion and The Belmonts were enjoying commercial success.
Between 1957 and 1960, Dion and The Belmonts released nine singles and three albums. Their debut single We Went Away, was released in October 1956. When it failed to chart, this was an inauspicious start to their career.
Dion and The Belmonts’ next eight singles charted. A Teenager In Love reached number five in the US Billboard 100 in March 1959. Eight months later, Where Or When became Dion and The Belmonts’ most successful single, when it reached number three in the US Billboard 100 in November 1959. That was as good as it got for Dion and The Belmonts.
They only released two more singles. When You Wish Upon A Star reached number thirty in the US Billboard 100, in April 1960. Two months later, In The Still Of The Night reached reached number thirty-eight in the US Billboard 100. With Dion and The Belmonts’ popularity on the slide, Dion DeMucci decided it was time to embark upon a solo career.
Things started well for Dion. His debut single Lonely Teenager reached number twelve in the US Billboard 100, in 1960. However, the next year, Dion could do no wrong.
During 1961, Dion released five singles. Havin’ Fun and Kissin’ Game gave Dion minor hits. Then Somebody Nobody Wants failed to chart. For Dion, his solo career wasn’t going as planned.
Things changed when Dion released Runaround Sue. It gave Dion his only number one single. The followup to Runaround Sue, was The Wanderer, which reached number two in US Billboard 100. Given the success of his last two singles, Dion released his debut album, Runaround Sue, which reached number twelve in the US Billboard 200. This was the perfect way to close 1961, the most successful year of Dion’s career.
1962 saw Dion pickup where he left off in 1961. He released a quartet of singles that all reached the top ten. The year started well when Lovers That Wander reached number three in the US Billboard 100. The momentum continued when Little Diane reached number eight and Love Came To Me reached number ten. Then as 1962 drew to a close Ruby Ruby reached number two in the US Billboard 100. That was as good as it got for Dion.
After two years where Dion could do no wrong, 1963 saw music change. During 1963, Dion released seven singles. Although Sandy and This Little Girl both reached number twenty-one in the US Billboard 100, Come Go With Me stalled at number forty-eight. Things seemed to be improving for Dion when Be Careful Of Stones That You Throw reached number thirty-one. It was a false dawn. Lonely World failed to chart. For Dion, who for two years was one of the biggest selling artist, it was indeed, a Lonely World.
Just when Dion must have been thinking his luck had run dry, his next two singles, Donna The Prima Donna and Drip Drop reached number six in the US Billboard 100. However, this proved another false dawn.
As 1964 dawned, The Beatles took America by storm. While America didn’t “get” The Beatles until 1964, their effect was soon, being felt. So was the rest of the “British Invasion” bands. They were the toast of American record buyers. Dion, once one of America’s biggest selling artists, felt this backlash.
During 1964, Dion released another five singles. Then I’ll Be Tired Of You failed to chart. It was seen as yesterday’s sound, and failed to chart. So did Dion’s covers of the blues classic Hoochie Coochie Man, and The Isley Brothers’ Shout. Dion just couldn’t buy a hit. For the latest generation of record buyers, Dion was fast becoming yesterday’s man.
Desperately seeking a hit, Dion decided to cover Johnny B. Goode. Again, Dion was looking to the past to kickstart his career. This time, it nearly worked. Dion’s cover of Johnny B. Goode reached number seventy-one in the US Billboard 100. However, it was another false dawn.
By 1965, Dion had decided that now was the time to reinvent himself. He was Columbia Records’ most successful artist. However, Dion realised music had changed, and if didn’t change direction, he risked becoming irrelevant. So, Dion decided that his future lay singing folk and blues. This didn’t please everyone at Columbia Records.
For many at Columbia Records, Dion seemed to forget about the commercial viability of singles. Dion released four singles during 1965, Unloved, Unwanted Me, Kickin’ Child, Tomorrow Won’t Bring The Rain and I Got The Blues. None of the singles charted. Some of the executives at Columbia Records were far from pleased. Their most successful artist was releasing singles that weren’t commercial? For some onlookers, this was sure to end badly.
In 1966, Dion released two further singles. However, neither Time In My Heart For You nor Two Ton Feather charted. That meant two years had passed since Dion enjoyed a hit single. For executives at Columbia Records, their once prized asset seemed to be devaluing at a rate of noughts.
During 1967, Dion didn’t release a single. Dion’s career was at the crossroads. Many thought he had taken a wrong turning, when he decided to reinvent himself as a folk and blues singer. Dion however, who had been inspired by two generations of musicians, was playing the long game.
For many years, Dion had been inspired by blues legends like Robert Johnson, Mississippi John Hurt and Son House. He was also inspired and influenced by the new generation of folk singers, including Bob Dylan, Joan Baez, Phil Ochs and Tim Hardin. They inspired Dion musically and stylistically. Soon, he was finger picking.
This was something Dion had never done before. However, in the mid-to-late sixties, a generation of folk singers were finger picking. So, was Dion. He gently caressed his guitar and sung softly. This was a revelation, and transformed his fortunes. What also helped, was Dion getting clean in 1968.
Like many within the music industry, Dion had a penchant for the rock ’n’ roll lifestyle. However, in 1968 Dion made the decision to get clean. He had tired of alcohol and drugs. So, Dion decided now was the time to change. This decision transformed him. Suddenly, he felt at peace with the world. A Zen like calm descended, and Dion’s comeback began.
For his comeback, Dion covered a song recently written by Dick Holler, Abraham, Martin and John. It was his tribute to four Americans who affected social change. Dion recorded his understated, folk rock single at the Allegro Sound Studios, with Phil Gernhard producing Dion’s comeback single. It caught a nation’s imagination.
When Abraham, Martin and John was released in 1968, it reached number four in the US Billboard 100. However, the followup, a cover of Purple Haze stalled at just number sixty-three. Although this was a disappointment, Dion was back. He released his comeback album Dion later in 1968.
Over the next few years, Dion’s comeback continued. After two hit singles during 1968, a newly reinvigorated Dion released four singles, and the album, Wonder Where I’m Bound, during 1969. Things didn’t go to plan. I Can’t Help But Wonder Where I’m Bound failed to chart. Then From Both Sides Now stalled at number ninety-one. Dion’s luck didn’t change, when He Looks A Lot Like Me and If We Only Have Love both failed to chart. As a new decade dawned, Dion was looking increasingly like yesterday’s man.
1970 was a quiet year for Dion. He released just one single, Your Own Back Yard. It reached number seventy-five on the US Billboard 100. He also released another album, Sit Down Friend. Although it wasn’t a commercial success, Dion was by now a popular live act. So, it’s no surprise that Dion and his record company decided to record a live album, Dion Recorded Live At The Bitter End August 1971, which was recently released by Ace Records.
The decision to record a live album, couldn’t have been timed better. During 1971, singer-songwriters were among the biggest selling acts. Carole King and James Taylor had just made their commercial breakthroughs. Dion had released his latest album, Sanctuary. It wasn’t a huge commercial success. So, Dion needed an album that would kickstart his career. Maybe, just maybe, Live At The Bitter End 1971 would transform Dion’s fortunes?
For Dion Live At The Bitter End August 1971, Dion worked his way through seventeen tracks. They were a mixture of classics, cover versions and Dion’s own songs.
Fittingly, Dion opened his set with a Bob Dylan song. Dion, like all folk singers, owed Bob Dy;an a debt of gratitude. He was partly responsible for the resurgence of interest in folk music. However, Dion had repaid the debt, playing on a couple of songs on The Freewheeling Bob Dylan. Here, however, he delivers a pensive, poignant reading of Mama, You’ve Been On My Mind. From there, Dion moves onto the first of his own songs.
Dion wrote four songs on Dion Recorded Live At The Bitter End August 1971. Brand New Morning, a heartfelt, hope filled ballad is the first. Then there’s Sunshine Lady, a paean with a feel good sound. Willigo and Harmony Sound, which closes Dion’s set, showcase Dion’s skills as a singer-songwriter. That’s also apparent on the two tracks Dion cowrote with Tony Fasce, Your Own Backyard and Sunniland. Both tracks leave you wondering why Dion never enjoyed more commercial success and critical acclaim, during this period of his career.
That’s the case throughout Recorded Live At The Bitter End August 1971. After all, there aren’t many singers who are versatile enough to switch between Chuck Berry’s Too Much Monkey Business, Bob Dylan’s One Too Many Mornings, Lennon and McCartney’s Blackbird and Leonard Cohen’s Sisters Of Mercy. Seamlessly, Dion adapts to the change of style, including the blues.
After covers of Chuck Berry, Bob Dylan, Lennon and McCartney and Leonard Cohen, Dion returns to the blues. He covers Sam Hopkins’ You Better Watch Yourself and Sonny Williamson’s Don’t Start Me Talking. Dion it seems, is just as comfortable playing the blues. However, he’s not above throwing in a few of his “greatest hits.”
This includes the Dick Holler penned Abraham, Martin and John. Dick also cowrote Sanctuary, the title-track of Dion’s 1971 album, with Don Burnham. However, as the show drew to a close, Dion covered two of his best known songs, The Wanderer and Lieber and Stoller’s Ruby Baby. They proved popular choices. Closing the show, was one of Dion’s own songs, Harmony Sound. After seventeen songs in fifty-five minutes, Dion left the stage to rapturous applause.
Fourteen years after releasing his debut single with The Belmonts, Dion was still going strong. The last few years hadn’t been easy. The hits had dried up for Dion. No longer was he enjoying top ten singles. However, was still making a living out of music. To do that, he had to reinvent himself as a singer-songwriter.
That proved a shrewd move. During the early seventies, singer-songwriters like Carole King and James Taylor were among the biggest selling artists. Sadly, Dion didn’t enjoy the same success. Although Dion didn’t sell millions of albums, he still had a loyal fan-base. They continued to buy his albums, and would continue to do so.
This would be the case through the seventies and eighties. Dion regularly released albums. In 1989, Dion was inducted into the Rock and Roll Hall of Fame. After four decades in music, Dion a true musical chameleon, got the recognition he deserved. This didn’t mean Dion’s career was at an end.
Far from it. By the nineties, Dion was still going strong. He wasn’t releasing albums as regularly as he once had. However, he occasionally released a new album. That was the case as a new millennia dawned. Still, Dion was writing and recording. He never lost his enthusiasm for music. Now aged seventy-six, the Bronx-born musician is a musical veteran, whose recording career has lasted over fifty years. Part of the secret of Dion’s longevity, is his willingness to evolve musically. That’s apparent on Dion Recorded Live At The Bitter End August 1971, which was recently reissued by Ace Records, and shows the former wanderer and musical chameleon, reinvent himself as a singer-songwriter.
DION RECORDED LIVE AT THE BITTER END AUGUST 1971.
WITHERED HAND-NEW GODS.
WITHERED HAND-NEW GODS.
It’s at this time of year, everyone within the Scottish music industry starts thinking of the Scottish Album Of The Year Award. It’s without doubt, the most prestigious award in Scottish music. There’s a lot of kudos attached to the Award. Then there’s the £20,ooo cheque the winner is handed. For many Scottish artists, this will be a lifeline. It certainly could help Withered Hand, who took five years to produce his sophomore album Good News.
Six long years have passed since Withered Hand recorded their debut album Good News. It was released to critical acclaim, and praised for its stark honesty. There was a reason for this. The man behind Withered Hand, Dan Willson was a latecomer to music. He was already thirty when he wrote his first song. So, Dan had lived a life and had stories to tell. Many of them were based upon his life. This is also the case with Withered Hand’s sophomore album New Gods.
New Gods was released on 17th March 2014. With the help of funding from Creative Scotland, Dan was able to record New Gods, the long awaited followup to Good News. It was released via Fortuna POP! in the UK and Europe and Slumberland in the US and Canada. New Gods features more songs based on Dan’s life. That’s been the case since Dan wrote his first song.
This came during a period when Dan’s life had been turned upside down. A close friend had just died, and he was about to become a father, for the first time. Dan was reflecting on what life was about. He found himself asking the “big questions.” To help him find answers and express how he was feeling, Dan wrote his first song. For Dan, this proved a cathartic experience. It helped Dan to make sense of what had been happening in his life. This is when Dan realised he was a talented songwriter.
Aged thirty, he began writing the songs that became Good News. Rather than release the album as Dan Willson, Dan dawned the persona of Withered Hand. Maybe, it was easier for Dan to write and perform the songs via his alter ego? On Good News’ release, critics on both sides of the Atlantic and musicians like Jarvis Cocker were won over by Good News. Where had Withered Hand all these years?
Previously, Dan had been active in the world of visual art. He was interested in music and “dabbled.” However, it wasn’t until he dawned the persona of Withered Hand, that Dan decided to make a career as a musician.
Following the release of Good News, Withered Hand has established a reputation as a prolific live performer. That’s no bad thing. It allowed Withered Hand to further hone his sound. This has resulted in Withered Hand establishing a reputation as one of Scotland’s best singer-songwriters. During this period, Withered Hand has continued to win friends and influence people. Among them, are fellow musicians.
Many of Withered Hand’s fellow musicians are delighted to share a stage with one of Scotland’s rising musical stars. Recently, this has included Pam Berry, of America noisepop band Black Tambourine. Pam also joins Withered Hand on New Gods, adding backing vocals. Pam isn’t the only guest artist on New Gods. Far from it.
For New Gods, Dan penned eleven tracks. These songs deal with the big issues in life. This includes love, death, friendship and infidelity. There’s also songs about road trips, stargazing and cough mixture abuse. New Gods is a grownup album from a perceptive and talented songwriter. That’s why when Withered Hand recorded New Gods, he was joined by some of the biggest names in Scottish music.
When the recording of New Gods got underway at Mogwai’s Castle Of Doom Studios, Withered Hand’s band was augmented by a who’s why of Scottish music. Withered Hand’s band includes a rhythm section of bassist Fraser Hughes, drummer Alun Thomas and guitarist Malcolm Benzie. Peter Liddle plays accordion and Pam Berry of Black Tambourine, adds backing vocals and plays tambourine. Other guest artist include Pete Harvey on cello, Andy Robinson on djembe and Rob St. John on mellotron. They were joined by King Creosote, who Dan describes as his mentor. There were also guest appearances from some of Scottish music’s biggest names. Among them were Eugene Kelly of The Vaselines, Stevie Jackson and Chris Geddes of Belle and Sebastian and Scott Hutchison of Frightened Rabbit. Producing New Gods was another legend of Scottish music, Tony Doogan who previously, has produced Mogwai, Teenage Fanclub and Belle and Sebastian. It was this all-star lineup that recorded New Gods, which was funded in a different way to most albums.
Making an album is an expensive business, especially without a record company behind you. So, to fund New Gods, Withered Hand turned to Creative Scotland. They’ve previously helped Quickbeam and Blood Relatives to record and release albums. They helped Withered Hand to fund New Gods, which has just been released. Would New Gods be well received?
On its release New Gods critics have heaped praise upon New Gods. Just like Withered Hand’s debut, Good News, New Gods has been critically acclaimed. New Gods has been described as the equivalent of a “confessional” that’s variously wistful, joyous and “life-affirming.” That’s some recommendation. New Gods it seems, is one of the best Scottish albums of 2014 so far. Is that the case? That’s what I’ll tell you.
Opening New Gods is Horseshoe, which demonstrates Dan’s skill as a singer and songwriter. It’s a poignant and powerful song about fear and loss. Just a lone acoustic guitar accompanies Dan’s vocal. Fear and despair fill his vocal as he sings: “Please don’t put a shadow on her lung.” Accompanying him are distant harmonies, a strident rhythm section, searing guitars and keyboards. The arrangement grows, matching the despair in Dan’s vocal. He unburdens himself, revealing his deepest fears. His vocal is a cathartic outpouring of despair, fear and grief and results in a poignant, powerful and beautiful song.
Crystalline and jangling guitars join the rhythm section and harmonies as Black Tambourine unfolds. It’s a slice of perfect pop that’s described as an “anti-hipster anthem.” Think Lloyd Cole and The Commotions circa Rattlesnakes and that’s a fair comparison. Dan even finds his inner rocker, as blistering guitars are unleashed. Mostly, though, it’s the sweetest and purest perfect pop that’s melodic and anthemic.
Love Over Desire is a relationship song, sung from the point of view of a musician on the road. It has a much more understated arrangement. It’s just Dan and his trusty acoustic guitar. Gradually, the arrangement builds, with weeping guitars and the rhythm section combining. Later, an organ, cello and backing vocals enter. However, it’s Dan’s lyrics and vocal that grabs your attention.His lyrics paint pictures. They’ve a cinematic quality, and when Dan delivers them, his worldweary vocal brings them to life.
Joyously, King of Hollywood bursts into life. Folk and rock combine as Dan twists his way through the song. Accompanied by an accordion, rhythm section and guitars Dan tells the story of a night out in Los Angeles with King Creosote. As Dan reminisces, the accordion helps power this hook-laden opus along. Melodic, memorable and truly infectious describes this song.
California is the polar opposite of the previous track. The arrangement is moody and understated. Acoustic guitars accompany Dan’s wistful vocal his time in California, when he experienced its darker side. Dan reminisces, remembering how it all unfolded. It started well, “beer, ice cold, in my hand, I’m on my way” then later; “stopping for a burger in the In-n-Out” and then: “bag of powder,” “heart beating in my chest like a jackhammer.” Meanwhile, the rest of band provide a moody backdrop to Dan vocal, as he remembers what he’d sooner forget.
Chiming guitars and the the rhythm section set the scene for Dan on Fall Apart. His vocal is tender and thoughtful, before growing in power. Stabs of piano and harmonies accompany Dan. Memories come flooding back. Sadly, they mean more to him. Dan remembers: “you and I were dancing, by the light of every dead star” and “put your hand in mine, I remember the first time.” These lyrics are part of another anthem that showcases Dan’s talents as a singer and songwriter. Just like the other tracks, his all star band provide the perfect backdrop for his vocal powerhouse.
Between True Love and Ruin is another relationship song, but one with a twist in the tale. He loves and needs her, while she’s “dreaming of freedom.” That’s because of her insecurity. Dan sings: “you said when people say nice things to you, you found it hard to believe them.” Horns rasp, while the rhythm section provide the arrangement’s heartbeat. Dan’s vocal is melancholy and needy, as he lays bare his soul, constantly reassuring her: ”don’t you know you had a friend?” This results in a quite beautiful and perceptive song about the nature of relationships.
Life Of Doubt is a song about addiction and specifically, being addicted to cough medicine. With a blues harmonica, that’s reminiscent of a Neil Young album setting the scene, one of the most poignant and moving songs unfolds. Just the blues harp and acoustic guitar accompanies Dan’s vocal. His vocal is a mixture of hope, fear and despair. He knows he’s an addict, but doesn’t know if he can or wants to get clean. Bleak, despairing and brutally honest, it’s one of the best songs about addiction I’ve heard in a long time.
New Gods has an understated, folk influence. The song is set in Switzerland. Dan’s vocal is tender and heartfelt. He delivers the song to a woman mourning her youth. Dan describes running across the fields late at night, staring spellbound, at the sky above. With just tambourine, acoustic guitar and harmonies for company, Dan delivers an impassioned plea. Later, he reassures her by singing: “someday, you’ll be beautiful again.”
Heart Heart is a raucous slice of singalong rock-tinged folk. Withered Hand kick loose. It’s as if the spirit of ’76 has inspired them. Rebel rouser in chief is Dan. His vocal is powerful as he helps the rhythm section, guitars and keyboards drive the arrangement along. When the tempo drops, this is a curveball in a track that’s best described as a raucous everyman anthem.
Not Alone close New Gods. It’s a wistful and poignant song. The understated arrangement suits the song. This allows Dans’ delivery of the lyrics to take centre-stage. That’s until the braying horns, mellotron and la-la-la harmonies take charge. Soon, the wistfulness is gone, becoming celebratory as if saying goodbye for the final time.
“It’s been a long time coming”, so sang Sam Cooke. The same thing can be said about New Gods, Withered Hand’s sophomore album. However, it has been worth every minute of that long wait. New Gods features eleven songs dealing with the big issues in life. This includes love, death, friendship and infidelity. There’s also songs about road trips, stargazing and cough mixture abuse. That’s why I’d describe Withered Hand’s sophomore album New Gods is a grownup album from a perceptive and talented songwriter. That was the case with Good News, Withered Hand’s debut album. Released to critical acclaim, Good News followed from Withered Hand. A new album, New Gods, was due out on 17th March 2014 via Fortuna POP! in the UK and Europe and Slumberland in the US and Canada.
Much anticipated, New Gods was released to critical acclaim. No wonder. Cathartic, cerebral, heartbreaking, perceptive and witty describes New Gods, which was the first album Withered Hand recorded in a recording studio. With a the experienced producer Tony Doogan at the helm Withered Hand headed to Mogwai’s Castle Of Doom studios, in Glasgow. Joining Withered Hand were some of the biggest names in Scottish music. So it’s no surprise Withered Hand’s sophomore album New Gods is one of the finest Scottish albums of recent years. There’s a reason for this.
Dan is one of the most talented and perceptive songwriters around. His songs can make you laugh, cry and dance with joy. From the opening bars of Horseshoe, right through to the closing notes of Not Alone, New Gods is a spellbinding album. That’s why I’d describe it as a cathartic confessional. New Gods veers between wistful, joyous and everything in between. That’s why Withered Hand have a big future. With their unique brand of Americana, blues, country, folk and rock Withered Hand are one of Scotland’s most exciting bands, whose sophomore album New Gods, was one of the best albums of 2014, and would be a worthy winner of the Scottish Album Of The Year Award.
WITHERED HAND-NEW GODS.
BAD COMPANY-BAD COMPANY (DELUXE EDITION).
BAD COMPANY-BAD COMPANY (DELUXE EDITION).
When Free split-up in for the second and final time in 1973, vocalist Paul Rodger and drummer Simon Kirke joined the latest rock supergroup Bad Company. Completing Bad Company’s lineup, were Mott the Hoople guitarist Mick Ralphs and bassist Boz Burrell. They would become part of the most successful supergroup of the seventies.
From their 1974 debut album Bad Company, right through to 1979s Desolation Angels, Bad Company were one of the biggest selling bands on both sides of the Olympics. In Britain and America, Bad Company could do now wrong. Three of their five albums were certified gold in Britain. Across the Atlantic, Bad Company enjoyed four multi-platinum albums. They sold an estimated 13.5 million albums. This meant Bad Company were shoulders with the biggest, and most successful supergroups of the late-sixties and early seventies. The album that started this run of commercial success and critical acclaim, is Bad Company, which was recently released as a Deluxe Edition by Rhino.
Before long, Bad Company were signed to Led Zeppelin’s newly formed Swan Song label. Soon, they had acquired a manager. This was Led Zeppelin’s manager, Peter Grant. He would guide Bad Company through the most successful period of their career. It began in November 1973.
That’s when Bad Company began recording their eponymous debut album. Recording began in November 1973, when Ronnie Lane’s mobile recording studio became available. This came about purely by chance.
Having released their fifth album in February 1973, Led Zeppelin were due to return to the studio in November 1973. So, they had hired Ronnie Lane’s mobile recording studio, which Led Zeppelin had sent to Headley Grange. However, things didn’t go well. The recording session ground to a halt, and Bad Company who were about to record their eponymous debut album, used the studio time.
At Headley Grange, Bad Company would record the eight tracks that became their debut album Bad Company. Each of the eight tracks were written by members of the band. Drummer Mick Ralphs wrote Can’t Get Enough, Movin’ On and Ready for Love, which Mott The Hoople had already recorded. Mick and Paul Rodgers cowrote Don’t Let Me Down and Seagull. Vocalist Paul Rodgers contributed Rock Steady and The Way I Choose. He also cowrote Bad Company with drummer Simon Kirke. These eight tracks were recorded by Bad Company during November 1973.
Using Ronnie Lane’s mobile recording studio, Bad Company began recording and producing their debut album at Headley Grange. Vocalist Paul Rodger played rhythm guitar on Can’t Get Enough, piano on Bad Company and Don’t Let Me Down. He also played all instruments on Seagull. Bad Company’s rhythm section featured drummer Simon Kirke, bassist Boz Burrell and guitarist Mick Ralph. Augmenting Bad Company, were saxophonist Mel Collins, and backing vocalists Sue Glover and Sunny Leslie. They feature on Don’t Let Me Down. By the end of November 1973, Bad Company was completed. It would prove to be one of the most successful debut albums of the early seventies.
Before Bad Company was released, the critics had their say. They were won over by Bad Company’s spartan, stripped back brand of rock. There were no dissenting voices, just critically acclaimed reviews of Bad Company. Things were looking good for Bad Company.
Can’t Get Enough was chosen as the lead single from Bad Company. It reached number fifteen in Britain, number three in Canada and number five in the US Billboard 100. Then when Bad Company was released on June 26th 1974, it reached number three in Britain, number seven in Canada and number one in the US Billboard 200. This resulted in Bad Company being certified gold in Britain and five times platinum in America. The second single from Bad Company was Movin’ On, which reached number thirty in Canada and number seventeen in the US Billboard 100. Bad Company, the third and final single released from Bad Company failed to chart. However, Bad Company, which I’ll tell you about, was one of the biggest selling albums of 1974. It was also just the start of the rise and rise of Bad Company.
Opening Bad Company is the classic, lead single Can’t Get Enough. Drummer Simon Kirke counts Bad Company, before the rhythm section and bursts of scorching guitars sets the scene for Paul’s needy, hopeful vocal. Soon, a fist-pumping, future rock classic is unfolding. It’s apparent the four members of Bad Company are talented and experienced musicians. They never miss a beat, as they fuse rock and blues. Later, guitarist Mick Ralph delivers a guitar masterclass. This inspires Paul. He goes on to deliver a swaggering, powerhouse of a vocal on this classic rock anthem.
Rock Steady was penned by Paul Rodgers. Bursts of rocky licks are unleashed, before Bad Company’s rhythm section enter. They join Mick Ralph’s guitar, providing the backdrop for Paul’s vocal. His vocal veers between soulful and thoughtful, to powerful, and bluesy. Backing vocalists accompany him, adding further bursts of backing soulfulness. Soon, though, Bad Company are ready to kick loose. That’s the signal for Paul’s vocal to drop out. The rest of Bad Company jam, allowing the opportunity to showcase their considerable talents. They’re at their rocky best. As the rhythm section lay down a rocky groove, guitarist Mick Ralph unleashes searing, crystalline licks. When Paul returns, again, he’s a man inspired. He struts, whoops and hollers his way through the rest of Rock Steady, as Bad Company look set to join supergroup royalty.
Originally, Mick Ralphs wrote Ready For Love for Mott The Hoople, his former band. They recorded it. This didn’t stop Mick’s new band reworking the track. Some saw this as a brave move, as there would be the inevitable comparisons. Bad Company stay true to the original. It’s a case of dropping the tempo, and turning Ready For Love into a thoughtful ballad. Paul delivers a pensive, pleading vocal and plays piano. Cooing harmonies sweep above the arrangement. Meanwhile, the rest of Bad Company seem to play within themselves. They take care not to overpower Paul’s vocal or piano. The piano plays in important part in the song. Especially during the breakdown, where piano carries the melody. Then when Paul’s vocal returns, Bad Company threaten to kick loose. However, they never do, allowing the listener to hear another side to Bad Company during this beautiful ballad.
Slowly, and dramatically, Don’t Let Me Down unfolds. Guitar riffs, drums rolls and subtle bursts of piano accompany Paul’s probing, questioning vocal. He pleads “Don’t Let Me Down,” laying bare his soul for all to hear. Meanwhile, cooing, sweeping, gospel tinged harmonies join searing guitars, piano and sultry saxophone. Then when the saxophone drops out, guitarist Mick Ralph unleashes one of his best solos. This inspires the rest of Bad Company on this fusion of rock, soul and gospel harmonies.
Hesitantly and gently, Bad Company begins to unfold. Paul’s vocal is tender, as he remembers his younger days. Meanwhile, a piano plays and the rhythm section play within themselves. That’s until Paul delivers the lyric: “that’s what they call me Bad Company.” That proves the signal for Bad Company to cut loose. This they do briefly, before returning to the understated sound. From there, they veer between the understated and rocky sound. In doing so, Bad Company enjoy the opportunity to showcase their versatility
The Way I Choose has an understated, thoughtful sound. As the rhythm section play slowly and subtly, a chiming, crystalline guitar accompanies Paul’s vocal. It’sfull of emotion. One minute he sings: “I don’t need nobody,” the next, “I only love you baby.” No wonder. His partner isn’t sure. Paul pleads; “answer my question, don’t say goodbye,” on this soul-baring paean.
After the balladry of The Way I Choose, Bad Company turn to good time rock on Movin’ On. From the opening bars, it’s apparent why it was chosen as a single. Hooks haven’t been rationed, on this rocky anthem. Bad Company combine the rhythm section and blistering guitars. They provide the backdrop for Paul’s strutting vocal. As he sings about life as a rock star on the road, harmonies are added. They’re the perfect foil for Paul’s vocal. Then when his vocal drops out, guitarist Mick Ralph delivers a blistering, searing solo. It’s one of his best. It drives Paul and the rest of Bad Company to greater heights on this rocky anthem.
Seagull closes Bad Company and disc one of the Deluxe Edition. It’s another understated song. Mostly, it’s just Paul’s vocal and his guitar. As he strums his acoustic guitar, Paul wistfully delivers the lyrics. He’s very different from the swaggering, strutting rocker on Can’t Get Enough Of Your Love and Movin’ On. That’s no bad thing. It shows that Bad Company weren’t one trick ponies, never would be.
On Rhino’s recently released Deluxe Edition of Bad Company, disc two features another thirteen tracks. They’re a compelling collection of tracks. There’s demos of Little Miss Fortune and The Way I Choose. B-Sides include Little Miss Fortune, which was the B-Side to Can’t Get Enough, and Easy On My Soul, the B-Side of Movin’ On. Then there’s the long versions of Easy On My Soul and Superstar Woman. Can’t Get Enough features three times. There’s the single edit, take one and the Hammond Mix. This shows how the song evolved into a true rock classic. For anyone interested in Bad Company, or even classic rock, then disc two will provide an insight into one of the biggest, and most successful bands of the seventies.
Right through until 1979s Desolation Angels, Bad Company’s fifth album, they were one of the biggest selling bands on both sides of the Atlantic. In Britain and America, Bad Company, it seemed, could do now wrong. Three of their five albums were certified gold in Britain. Across the Atlantic, Bad Company enjoyed four multi-platinum albums. In America alone, Bad Company sold an estimated 13.5 million albums. The album that started the rise and rise of Bad Company, was their 1974 eponymous album, Bad Company.
With its mixture of rocky tracks and ballads, Bad Company caught the imagination of the record buying public. Across Europe, North America, Australasia and Britain, Bad Company were the latest supergroup to become part of rock royalty. They were at the top for five years, right through until 1979. After that, the hits dried up for six years.
By then, Paul Rodgers had left Bad Company. He left in 1982, and played a huge part in Bad Company’s success. The former Free vocalist struck gold with his second band, Bad Company. However, Bad Company weren’t a one man band.
Far from it. Each of the four members of Bad Company player their part in the band’s success. That was the case on their debut album Bad Company, which was recently released as a Deluxe Edition by Rhino. The rhythm section of bassist Boz Burrell and drummer Simon Kirke provided Bad Company’s rocky heartbeat. Guitarist Mick Ralphs unleashed a series of blistering, scorching and crystalline solos. Adding the final piece to the jigsaw, was Paul Rodger’s vocal. It veered between needy and hopeful, to a strutting, swaggering powerhouse. Together, the four members of Bad Company became an unstoppable musical juggernaut.
From 1974, right through to 1979, Bad Company were rubbing shoulders with the great and good of rock music. They were one of the most successful British rock bands, and also, one of the most successful rock supergroups. While some supergroups released just a couple of albums, Bad Company enjoyed an unenviable longevity. Their recording career lasted twenty-two years and twelve albums. However, Bad Company’s most successful album was their 1974 eponymous debut, Bad Company which forty-one years later, is regarded as a classic album.
BAD COMPANY-BAD COMPANY (DELUXE EDITION).
GRITS AND GRAVY-THE BEST OF THE FAME GANG.
GRITS AND GRAVY-THE BEST OF THE FAME GANG.
Back in the sixties, many soul and R&B labels had their own house band. One of the earliest examples in the sixties, were the Funk Brothers, Motown’s house band. They provided Motown’s trademark sound. Motown however, weren’t alone.
As the seventies dawned, HI Records was about to become one of Southern Soul’s leading labels. Their secret weapons were the Hi Rhythm Section and the Memphis Horns. They graced many a Hi Records release, and helped transform Al Green and Anne Peebles’ fortunes. Meanwhile, in Philly, M.F.S.B. were the session players the Mighty Three called upon.
The Might Three consisted of Thom Bell, Kenneth Gamble and Leon Huff. They would become Philly’s most successful producers. Thom Bell used M.F.S.B. on his recordings with The Deltonics, The Detroit Spinners and The Stylistics. By 1971, Gamble and Huff had founded Philadelphia International Records. Right through to 1975, the original lineup of M.F.S.B. would provide the backdrop to Gamble and Huff’s recording of Billy Paul, The O’Jays, The Three Degrees and Harold Melvin and The Bluenotes. M.F.S.B. played an important part in the success of Philadelphia International Records. That was the case with house bands across America.
On the West Coast, the legendary Wrecking Crew were Los Angeles’ go-to band for many producers. Unlike many of the bands who toiled in the soul factories like Motown, the Wrecking Crew were truly versatile. They played on everything from film and television soundtracks, to pop, psychedelia and rock, right through to soul and R&B recordings. The Wrecking Crew accompanied everyone from Phil Spector and Frank Zappa, right through to The Beach Boys, The Byrds, Leonard Cohen and The Association. Their versatility meant their services were always in demand. What also helped, was that the Wrecking Crew could improvise. Their off-the-cuff additions often transformed a recording. However, in Memphis, The Fame Gang were also able to transform a recording.
By the late sixties, Rick Hall’s Fame Records was enjoying one of the most successful periods in its history. This wasn’t just because of the records Fame Records were releasing. No. Fame Studios was often where the great and good headed to record singles or albums. However, the attraction wasn’t just the Fame Studio’s facilities, or Rick Hall’s skills as producer. Instead, it was The Fame Gang, Fame Records’ house band.
Just like many labels, The Fame Gang’s lineup gradually evolved. Musicians came and went. By the late sixties, three separate lineups of The Fame Gang had passed through Fame Records’ doors.
The Fame Gang story began in the early sixties. That’s when The Fame Gang Mk. 1 made their recording debut. Their lineup featured Terry Thompson, Jerry Harrigan, David Briggs and Norbert Putnam. They were responsible for Fame Records’ nascent soul sound. However, like many house bands, The Fame Gang’s lineup began to evolve.
Musicians came and went. Gradually, some of the most talented musicians in Muscle Shoals gravitated to Fame Records. This included Roger Dawkins, Jimmy Johnson, David Hood, Spooner Oldham and Junior Lowe. For five years, The Fame Gang Mk. 2 played on Fame Records’ releases. They also played on numerous other releases.
Many record companies sent their artists to Muscle Shoals, because of The Fame Gang Mk. 2 and of course, producer, Rick Hall. This included Atlantic Records, who sent Aretha Franklin to Muscle Shoals. With the help of The Fame Gang Mk. 2, Aretha Franklin recorded I Never Loved A Man the Way I Loved You. It was the album that transformed Aretha Franklin’s career and fortune. Suddenly, she was on her way to becoming the Queen of Soul. As for The Fame Gang Mk. 2, they were busier than ever.
Suddenly, artists were making their way to Muscle Shoals, looking to have their fortunes transformed. Often The Fame Gang Mk. 2 worked their magic. So, it’s not surprising that people would try to lure The Fame Gang Mk. 2 away from Muscle Shoals.
Eventually, The Fame Gang Mk. 2 were lured away from Muscle Shoals in early 1969. Their destination was Nashville, the home of country music. In Nashville, The Fame Gang Mk. 2 showcased their versatility, and unlike some soul house bands, showed they weren’t one trick ponies.
While The Fame Gang Mk. 2 were keen to show they were versatile musicians, capable of seamlessly switching between musical genres, Rick Hall wasn’t a happy man. Rick complained to friends that he had spent years nurturing The Fame Gang Mk. 2. He played an important part in their success. Without him, he fumed, The Fame Gang Mk. 2 wouldn’t have reached the same heights. However, little did he know The Fame Gang Mk. 3 would be even better than The Fame Gang Mk. 2.
With The Fame Gang Mk. 2 having headed to Nashville, Rick Hall needed a new band. Gradually, the new band took shape. Soon, The Fame Gang Mk. 3 were picking up where they left off. Many thought that filling The Fame Gang Mk. 2’s shoes wasn’t going to be easy. Rick Hall smiled knowingly. He had watched and heard The Fame Gang Mk. 3, as they evolved. They would prove to were the greatest lineup of The Fame Gang. They feature on some of the recordings on Grits and Gravy-The Best Of The Fame Gang, which was recently released by BGP, an imprint of Ace Records.
Ace Records’ Grits and Gravy-The Best Of The Fame Gang is a twenty-five track compilation. Essentially, it traces the development of The Fame Gang’s lineup. There were three separate lineups of the The Fame Gang. Each lineup featured some legendary musicians. They played their part in the sound and success of many Fame Records’ release, and numerous records recorded at Fame Studios. So, it made sense for The Fame Gang to release their own records.
Sadly, The Fame Gang’s recording career was all too brief. They released just a handful of singles, and one album. That represents this legendary house band’s output. The Best Of The Fame Gang feature’s seven tracks that have released before. However, the other eighteen tracks have never been released before. They’re a reminder of one of the hottest house bands, as they deliver their potent and smoking fusion of soul and funk. The Fame Gang’s story began in 1965.
That’s when a little known single Wish You Didn’t Have To Go, was released by Spooner and The Spoons. It was released on Fame Records in 1965. The single passed most people buy. Those that heard Wish You Didn’t Have To Go wondered at the identity of Spooner and The Spoons. Those in the know, realised that Spooner and The Spoons were Fame Records’ house band. That was all that was heard of what became The Fame Gang until 1968.
The Fame Gang Mk. 2 made their recording debut in 1968, when they released Spooky as a single on Atlantic Records. Spooky doesn’t feature on The Best Of The Fame Gang. Indeed, only seven of the twenty-five tracks on Grits and Gravy-The Best Of The Fame Gang have been released before. These tracks showcase The Fame Gang Mk. 3.
As The Fame Gang Mk. 3 took shape, people realised that this latest lineup of the Fame Records’ house band was the best. Playing a huge part in its success was The Fame Gang Mk. 3’s rhythm section.
Drummer Freeman Brown laid down the loose, fatback beats. Meanwhile, Jesse Boyce proved a versatile and inventive bassist. Guitarist Junior Lowe added some of his trademark, crystalline, soulful licks. Keyboardist Mickey Buckins was the final piece of the jogsaw. Together, they provided The Fame Gang Mk. 3’s heartbeat. Augmenting The Fame Gang Mk. 3’s rhythm section, were a quartet of horn players.
This was a new addition. Never before had a horn section been a feature of The Fame Gang. Instead, horns, if required, were overdubbed later. However, the horn section weren’t a permanent fixture at Fame Studios. Instead, they were brought onboard as and when, they were needed.
Manning the board was Mickey Buckins, another legend of Muscle Shoals’ music. He sprinkled some magic on the sessions, adding colour and texture. With his help, The Fame Gang Mk. 3 became Rick Hall’s secret weapon, accompanying not just those on Fame Records’ roster, but increasingly, the great and good of music. In 1968, Rick Hall signed The Fame Gang Mk. 3 to Fame Records’ roster. They can be heard on The Best Of The Fame Gang.
The earliest recording on The Best Of The Fame Gang, was released in 1969. This was The Fame Gang’s single Soul Feud, a blistering fusion of soul, funk and blues. Searing guitar licks and stabs of blazing horns grab your attention. From there, The Fame Gang Mk. 3’s rhythm section get funky, adding a wah-wah guitar and blistering horns. A bluesy harmonica proves the finishing touch to a truly smoking The Fame Gang Mk. 3. On the flip side of Soul Feud, Grits And Gravy is a driving slice of funk. The version on The Best Of The Fame Gang, is an extended version. It wouldn’t sound out of place on a Blaxpoloitation soundtrack. Nor would it sound out of place if it been released in 1973. Rick Hall had caught a break with his latest lineup of The Fame Gang.
Later in 1969, The Fame Gang Mk. 3 released what would be their one, and only, album, Solid Gold From Muscle Shoals. It featured fifteen tracks, including many cover versions. They were recorded at Fame Recording Studios 603 East Avalon Ave. Muscle Shoals. This included The Isley Brothers’ It’s Your Thing, Isaac Hayers and David Porter’s Your Good Thing and Curtis Mayfield’s Choice Of Colors. Sometimes, on Choice Of Colors, The Fame Gang Mk. 3 take the track in the direction of jazz. This is perfect, as it allows The Fame Gang Mk. 3 to showcase their versatility, switching between the soulfulness of It’s Your Thing and Choice Of Colors, to the heavy duty, futuristic funk of It’s Your Thing. Despite the quality of music on Solid Gold From Muscle Shoals, the album didn’t sell well. It didn’t look as if The Fame Gang were going to become stars in their own right.
As the seventies dawned, The Fame Gang released another single, Twangin’ My Thang. It was penned by Travis Wammack, and features The Fame Gang fusing funk and soul. There’s even a nod to Sly and The Family. However, this isn’t the only version of Twangin’ My Thang on The Best Of The Fame Gang. The closing track is an alternate take of Twangin’ My Thang. On the flip side of Twangin’ My Thang, was Turn My Chicken Loose. It’s a novelty slice of uber funky music. This brought to an end The Fame Gang’s recording career.
Sadly, The Fame Gang’s discography numbers just one album, and a trio of singles. However, for forty-five years, another seventeen tracks have lain unloved in the Fame Records’ vaults. They feature The Fame Gang fusing funk and soul seamlessly. It’s a joy to behold, and will appeal to anyone who likes their music funky or soulful.
Among the unissued tracks are covers of Syl Stone’s Stand and the Jimi Hendrix classic Hey Joe. That’s not all. The Fame Gang rework the blues classic Smokestack Lightning. Herbie Hancock’s Cantaloupe Island is also given an makeover. Elements of funk, soul and jazz are combined by The Fame Gang. They’re just a few of the highlights. Other highlights included the slow, languid Shoalin’ and Muscle Soul, a fusion of jazz and funk. Twenty Five Miles, which Johnny Bristol cowrote with Harvey Fuqua, Edwin Hatcher and Bert Russell takes on new meaning. That’s thanks to The Fame Gang’s talent and versatility.
Throughout Grits and Gravy-The Best Of The Fame Gang, which was recently released by BGP, an imprint of Ace Records, The Fame Gang Mk. 3 never miss a beat. They take familiar tracks in a new direction. This they were able to do effortlessly. Each of the members of The Fame Gang Mk. 3 seemed to know exactly what the others were going to do next. They also knew how to give a track a new twist.
This they do throughout Grits and Gravy-The Best Of The Fame Gang. They’re an inventive and versatile group of musicians. That’s why many regard The Fame Gang Mk. 3 as the greatest lineup of Fame Records’ legendary house band. However, The Fame Gang Mk. 2 enjoyed huge success, and were seen as the go-to band for many of artists. That would be the case with The Fame Gang Mk. 3. So, choosing the best lineup of The Fame Gang isn’t easy.
What it’s possible to say, is that they were one of the greatest house bands in soul music. That’s apparent when you listen to Grits and Gravy-The Best Of The Fame Gang, which features The Fame Gang Mk. 3, which Rick Hall regards as Fame Records finest house band. Coming from such a legendary producer, that’s high praise indeed.
GRITS AND GRAVY-THE BEST OF THE FAME GANG.
JOHN MARTYN-LIVE AT LEEDS (DELUXE EDITION).
JOHN MARTYN-LIVE AT LEEDS (DELUXE EDITION).
In January 1975, John Martyn released his eighth studio album, Sunday’s Child. John had been away from the studio for fifteen months. His previous album, Inside Out, was released in October 1973. Since then, John had been concentrating on touring. However, in August 1974, John headed to Island Studios, in London, where he recorded the eleven songs that became Sunday’s Child.
For Sunday’s Child, John had penned nine of the eleven tracks. The other two tracks on Sunday’s Child. were cover versions of the traditional ballad, Spencer the Rover, and the country standard, Satisfied Mind. These eleven tracks became Sunday’s Child, which marked the return of one of music’s maverick’s John Martyn.
Sunday’s Child was very different from John’s previous albums. Gone was the experimental sound of previous albums. Replacing it was a much more, melodic, song orientated album. John’s lived-in, worldweary vocal and effects driven guitar style were at the heart of Sunday’s Child. Then on My Baby Girl, Beverley Martyn, John’s former wife, added backing vocals. Beverley had played a small part in Sunday’s Child’s sound and success.
On its release in January 1975, Sunday’s Child was well received by critics. Like many of John’s albums, Sunday’s Child sold well, but not in huge quantities. Island Records were beginning to notice this.
After the release of Sunday’s Child, John headed back out on the road. That’s where he spent much of the seventies. He enjoyed the nomadic lifestyle and camaraderie. John was also a showman, born to perform. When he took to the stage, he seemed to come alive. So, it was no surprise that John began thinking about releasing a live album. This would become Live At Leeds, which was recently released by UMC as a Deluxe Edition double album.
Just a month after the release of John’s eighth studio album Sunday’s Child, John Martyn and his band took to the stage at Leeds University on 13th February 1975. That night, the concert was recorded. For a while, Johh had been contemplating releasing a live album. This he realised, would allow the record buying public to experience what John Martyn live sounded like. So, with the tapes about to get rolling, John Martyn and his band took to the stage at Leeds University on 13th February 1975.
That night, John was accompanied by a small, talented band. This included his bassist, and longtime confidante, Danny Thompson. Joining Danny in the rhythm section was drummer John Stevens, one of the founding members of the Spontaneous Music Ensemble. The final band member was Free guitarist Paul Kossoff. This trio of top class musicians accompanied John Martyn, who took charge of vocals played guitar. They worked their way through the six tracks that would later feature on the original album version Live At Leeds.
When John took to the stage, he was enthusiastically greeted by the audience. Soon, he and has band launched into a nineteen minute version of Outside In. This epic veers between atmospheric and lysergic, to dark and dramatic. The music envelops you, proving elegiac, ethereal and mesmeric. John has you where he wants you.
From there, John returns to one his classic tracks, Solid Air, the title-track of his 1973 classic album. It proves a crowd pleaser, and would continue to be throughout John’s career. This proved the perfect way to close side one of the original version of Live At Leeds.
So, with the crowd hanging on John’s every word, he returns to his Inside Out album, and delivers a soul-baring version of Make No Mistake. That’s followed by another John Martyn classic, Bless This Weather, the title-track of John’s 1971 album. John, by now, a veteran of hundreds of concerts, knew how to work an audience. So for his final two songs, he returned to his first classic album, Solid Air.
Solid Air was the best album of John’s career. It was an innovative and experimental album where John’s sound began to evolve. The success of Solid Air transformed John’s career. So, it’s no surprise that John closed Live At Leeds with two tracks from Solid Air. The Man In The Station was penned by John, and delivered with an urgency. I’d Rather Be The Devil was written by Skip James. However, John brought the song to life, and like many of the tracks on Live At Leeds, would become some of John’s favourite live tracks. The eight tracks which became the original version of Live At Leeds, were well received by the audience. John thought he would have no problem convincing Island Records to release Live At Leeds.
He was wrong. Island Records felt it was the wrong time in John’s career for him to release a live album. They refused to release Live At Leeds. John however, was determined to release Live At Leeds.
John decided to release Live At Leeds himself. The original working title for Live At Leeds was Ringside Seat. Its cover was going to feature a photo of John and bassist Danny Thompson sitting in a boxing ring. Eventually, John decided on the title Live At Leeds. He had ten thousand copies printed, and decided to sell them from his home. Everything seemed to be going fine.
When the ten thousand copies of Live At Leeds arrived, there was a problem. The record sleeve stated that Live At Leeds had been recorded during October 1975. There was nothing John could do about this. Not with, Live At Leeds due to be released in October 1975.
John held his breath as the critics had their say on Live At Leeds. He needn’t have worried. They were won over by the album. Its fusion of folk rock, jazz, psychedelia and rock was a winning combination. Especially, the way John combined his worldweary vocal with the washes of his guitar. Bather in effects, it gave the album textures and hues. John’s trusty Echplex was proving to be a potent secret weapon. It played an important part in Live At Leeds’ sound and subsequent success.
As Live At Leeds went on sale, the ten thousand copies began to sale. Quickly, they disappeared. Even without a record label behind Live At Leeds sold well. John’s loyal fans all seemed desperate to get a copy. This must have left Island Records ruing their decision to release John’s live album Live At Leeds.
In the past forty years, Live At Leeds is now regarded as a classic live album. The album that was released without a record company, back when record companies were king, now rubs shoulders with the greatest live albums in musical history. That’s why Live At Leeds has been rereleased so often.
The latest rerelease of Live At Leeds comes courtesy of UMC. Their Deluxe Edition is a double album. The first thing you notice is that the track listing is different. That was the case on Universal’s 2010 rerelease. Back then, Live At Leeds’ track listing was expanded to eight tracks. It’s the same track listing the features on the 2015 Deluxe Edition of Live At Leeds.
Disc One.
Disc One of the 2015 Deluxe Edition of Live At Leeds opens with upbeat May You Never, followed by Live At Leeds’ epic Outside In. It’s followed by Spencer The Rover, another track that wasn’t on the original version of Live At Leeds. However, No Mistake and Bless The Weather featured on the original version of Live At Leeds. What’s changed is the running order. That was the case back in 2010. Neither My Baby Girl, nor You Can Discover featured on the original version of Live At Leeds. Nor did Solid Air close the concert. The whole concert has been reprogrammed, with I’d Rather Be The Devil (Devil Got My Woman) being omitted from disc one. This change of running order isn’t new.
No. That was the case the last time Live At Leeds was reissued in 2010. Back then, further tracks were added. This made sense, as John and his band didn’t just turn up and play six tracks. They played for a couple of hours. However, there was a limit to how much music could fit on an LP. So, only six tracks were chosen. Now, forty years later, the CD allows music lovers to hear more of the tracks John Martyn and his band played on 13th February 1975.
Disc Two.
On Disc Two of the 2015 Deluxe Edition of Live At Leeds, there’s the version of I’d Rather Be The Devil (Devil Got My Woman), which was on the original version of Live At Leeds. It features on disc two of the 2015 Deluxe Edition of Live At Leeds. So does So Much In Love With You, Clutches and Mailman. Other tracks include rehearsals of May You Never, The Message, Outside In, Head and Heart and Clutches. The additional tracks that John played live on 13th February 1975 are a very welcome addition. They allow you to discover what one John’s sets in the mid-seventies sounded like. In some ways, the original version of Live At Leeds was almost a snapshot of John live. The 2015 Deluxe Edition of Live At Leeds is almost like John Martyn uncut. Similarly, the rehearsals are a welcome addition.
As for the rehearsals, they allow you to compare the rehearsal to the live version. No two tracks are the same. That was the case throughout John’s career. You could see him on two consecutive nights, and he’d play the tracks in different ways. He remade old favourites, giving them a new twist. It was as if John never wanted his fans to grow tired of him. They never will.
Forty years, and five reissues of Live At Leeds later, and still, John Martyn fans haven’t tired of his classic albums, including his classic live album Live At Leeds. While some purists prefer the original version, that John sold from his house, which is now a collector’s item, the expanded 2015 Deluxe Edition of Live At Leeds is a very welcome reissue. Live At Leeds features one of John Martyn’s legendary concerts, and for his legions of fans, is a reminder of a musical maverick live in concert.
JOHN MARTYN-LIVE AT LEEDS (DELUXE EDITION)
GUITAR SLIM GREEN’S “STONE DOWN BLUES” WITH JOHNNY AND SHUGGIE OTIS.
GUITAR SLIM GREEN’S “STONE DOWN BLUES” WITH JOHNNY AND SHUGGIE OTIS.
Guitar Slim Green was never the most prolific of musicians. That’s despite his career lasting four decades. However, during that period, Guitar Slim Green only released a handful of recordings. This included his one and only album, Stone Down Blues, which features Johnny and Shuggie Otis. It was released in 1970, five years before Guitar Slim Green’s death aged just fifty-five. Since then, Stone Down Blues has never been rereleased. That’s until now. BGP, an imprint of Ace Records have recently reissued Stone Down Blues which showcases the multitalented Guitar Slim Green. His story began in Oklahoma in 1920.
That’s where Guitar Slim Green was born Norman G. Green on 25th July 1920. Growing up, Norman played guitar. As he daydreamed, he had dreams of making a living as a musician. However, that seemed just a dream. Even when Norman moved to Las Vegas in his early twenties.
Las Vegas was home to Norman G. Green until 1947. In 1947, Norman G. Green decided to move to California. That’s where his dreams came true. Norman G. Green became a musician, and Guitar Slim Green was eventually born.
Norman’s inspiration was one of music’s most flamboyant showmen, T-Bone Walker. He had pioneered the electric guitar. Through listening to T-Bone Walker, Norman developed his own distinctive style. His distinctive style resulted in Norman making a breakthrough.
This came when Norman got the chance to work with J.D. Nickelson. Norman featured on the singles, Strange Woman Blues and Bouncing Boogie. They were released on Courtney Records. Not long after this, Norman released his debut single.
Alla Blues was credited to R. Green and Turner, and released on the J&M Fullbright label. This song would eventually become a blues standard. The followup to Alla Blues was Baby I Love You, released on the Murray label. It was credited to R. Green, and essentially was, Norman’s debut solo single. The two singles were well received, and showed the future Guitar Slim Green evolving from a country blues singer, to a much more urban, contemporary sound.
Having released his debut single, Guitar Slim Green moved to Fresno, where he played alongside Jimmy McCracklin and L.C. Robinson. Then in 1957, Norman headed to Los Angeles, where he formed his own band.
In Los Angeles, Guitar Slim Green and his band The Cats recorded two singles during 1957. This included My Woman Done Quit Me, where Guitar Slim Green takes charge of the vocal. Both singles were produced by Johnny Otis, who would reenter Guitar Slim Green’s life in 1970. Before that, Guitar Slim Green had more music to make.
Another two years passed before Guitar Slim Green released another single. Scratch My Back was released in 1959, and would be the last single Guitar Slim Green released until 1968.
Having been away from a recording studio for nine years, Guitar Slim Green was keen to record some new music. So, he recorded singles on the Gee Note and Solid Soul labels. These singles sunk without trace. Guitar Slim Green’s career looked as if it was at a crossroads. His music critics remarked, hadn’t evolved. What Guitar Slim Green needed, was someone who could get his career back on track.
Luckily, Johnny Otis was about to reenter Guitar Slim Green’s life. Johnny had turned his back on music for much of the sixties. Instead, he had been concentrating on Democratic politics and community projects. However, he still kept practising. By the end of the decade Johnny was ready to make a comeback.
Encouraged by his friend Frank Zappa, Johnny Otis returned to music. He signed to Kent and recorded two albums, Cold Shot and Snatch and The Poontangs. Johnny also signed Preston Love to Kent, and produced his Omaha Bar-B-Q album. The other artist Johnny Otis signed to Kent was Guitar Slim Green.
Although Guitar Slim Green had released a number of singles, he had never released an album. This was about to change. Johnny and Guitar Slim Green set about to write material for Guitar Slim Green’s comeback album.
Eventually, Guitar Slim Green and Johnny had penned ten tracks. Shake Em Up, Bumble Bee Blues, Make Love All Night, My Little Angel, You Make Me Feel So Good, Big Fine Thing and Play On Little Girl. 5th Street Alley Blues and Old Folk Blues were written by Guitar Slim Green. Johnny contributed This War Ain’t Right. These ten tracks would become Stone Down Blues.
When recording of Stone Down Blues began, Guitar Slim Green played guitar and added vocals. Producer Johnny Otis played drums. Johnny’s seventeen year old Shuggie Otis, played bass, guitar, piano and harmonica. Roger Spotts played piano on Bumble Bee Blues. Once Stone Down Blues was completed, it was released in 1970.
On the release of Stone Down Blues in 1970, on Kent, the album sunk without trace. For Guitar Slim Green, Stone Down Blues was an inauspicious end to his recording career. Never again, would he set foot in a recording career. Five years later, Guitar Slim Green was dead, aged just fifty-five. His musical legacy included Stone Down Blues, Guitar Slim Green’s only album which deserves to be reappraised. That’s what I’ll do.
Shake Em Up opens Stone Down Blues. It’s Guitar Slim Green’s attempt to launch a dance craze. he unleashes a chiming, crystalline guitar. He’s accompanied by a funky rhythm section. It comes courtesy of Shuggie and Johnny Otis. Meanwhile, Guitar Slim Green vamps his way, accompanied by some searing, blistering licks. They play their part in a contemporary sounding track, where Guitar Slim Green delivers a guitar masterclass.
Bumble Bee Blues sees a return to a much more traditional bluesy sound. The arrangement is slow, moody and bluesy. As the rhythm section create a churning arrangement, Shuggie blows a blues harmonica and a piano plays slowly. Guitar Slim Green delivers a needy, hopeful vocal. Then when his vocal drops out, the blues harp blows. It’s joined by the rhythm section and piano. Together, they provide a glorious bluesy backdrop, before Guitar Slim Green returns, to deliver a hopeful vocal.
Johnny and Shuggie Otis provide a driving arrangement on Make Love All Night. Meanwhile, Guitar Slim Green delivers a bravado fuelled, vampish vocal. Then when his vocal drops out, he unleashes a searing guitar solo. All the time, crystalline guitar licks and the rhythm section drive the bluesy arrangement along, as Guitar Slim Green struts his way through the lyrics to Make Love All Night, one of Stone Down Gone’s highlights.
Guitar Slim Green takes centre-stage on My Little Angel. Meanwhile, Johnny’s drums provide the heartbeat and Shuggie’s bass adds a bluesy hue. Flourishes of piano accompany Guitar Slim Green’s soul-baring vocal, as he lays bare his hurt and heartbreak to hear. His guitar playing is just as good. Especially when accompanied by Shuggie on piano. He’s the perfect foil for Guitar Slim Green, as he unleashes some of virtuoso licks and tricks.
Slow, moody and bluesy describes 5th Street Alley Blues. That’s down to the rhythm section and chirping, searing guitars. They join the piano, and play slowly, as Guitar Slim Green delivers a despairing vocal. As he sings: “where can my baby she went down 5th Sreet Alley and left me in misery,” it’s as if Guitar Slim Green’s lived and survived the lyrics.
A bass bounds, guitars ring out and hi-hats hiss on Old Folk Blues. Guitar Slim Green seems to be paying homage to John Lee Hooker. Both his vocal and guitar are similar in sound. Guitar Slim Green is like a man inspired. He unleashes some searing, ringing licks and a vocal full of emotion and hope.
This War Ain’t Right was an ant-war song penned by Johnny Otis. As Guitar Slim Green delivers a slow, pensive vocal, a jangling piano plays. It’s accompanied by a shuffling rhythm section and chiming, chirping guitar licks. However, Guitar Slim Green’s vocal takes centre-stage. This allows you to focus on the lyrics. That’s until it’s time for Guitar Slim Green to unleash what’s easily, one of his best solos. After that, he considers the folly of war, on this poignant anti-war blues.
The tempo rises on You Make Me Feel So Good. Straight away, the piano and rhythm section drive the arrangement along. They provide a backdrop for Guitar Slim Green’s vocal. It veers between joyous, to frustrated. Later, Shuggie unleashes a blistering guitar solo, as Guitar Slim Green vamps his way through the lyrics. Shuggie proves the perfect foil for Guitar Slim Green, as they drive each other to greater heights.
Big Fine Thing sounds as if it was recorded in the late fifties. It’s best described as a vintage sounding blues, with much more stripped down sound. As the rhythm section leave space, Shuggie blows his blues harmonica. Meanwhile, Guitar Slim Green delivers a vampish vocal, paying homage to his “Big Fine Thing.” He also unleashes some crystalline, searing licks. They’re the perfect accompaniment to Shuggie’s bluesy harmonica. Together, they add the finishing touches to this vintage sounding blues.
Play On Little Girl closes Stone Down Blues. It sees the tempo drop. It’s slow, broody and bluesy. The rhythm section join a jangling piano and Guitar Slim Green’s crystalline guitar. As it rings out, flourishes of piano accompany Guitar Slim Green’s despairing, hurt-filled vocal. It soars above the arrangement, as he lays bare his broken heart. Accusingly and despairingly, he sings “Play On Little Girl keep on playing till you break up your happy home.” The way Guitar Slim Green sings the lyrics, it’s as if he’s been there, and survived to tell the tale.
For forty-five years ago, Guitar Slim Green belatedly released his debut album. He had been a musician for twenty-three years, but had only released a handful of singles. When Johnny Otis reentered Guitar Slim Green’s career, he got him a recording contract with Kent.
Back then, Kent were no longer the powerhouse they once were. Neither was Johnny Otis. He was once one of the biggest names in R&B. However, music had change. That’s partly why Johnny sat out much of the sixties. Then in the late sixties, he made a comeback. Johnny signed to Kent and released two albums. Despite their quality, they didn’t fare well. Johnny Otis, it seemed, was no longer a big star. However, he was a talented musician and producer. This made him the ideal person to kickstart Guitar Slim Green’s career.
Together, Johnny and Guitar Slim Green wrote the ten tracks on Stone Down Blues. Johnny brought his seventeen year old son onboard for the recording of Stone Down Blues. The young virtuoso almost stole the show on several occasions. This seemed to spur Johnny and Guitar Slim Green on. They unleashed a series of spellbinding performances. Guitar Slim Green was like a man reborn. Surely, his career was about to be reborn?
Sadly, that wasn’t to be. Guitar Slim Green’s debut album, Stone Down Blues sunk without trace. It was the age old story. Stone Down Blues was the wrong album at the wrong time. Blues was no longer as popular. While the blues enjoyed a brief resurgence in interest, music had moved on. What also didn’t help was that Kent was no longer the force it once was. So, it’s no surprise Stone Down Blues failed to be heard by a wider audience. Hopefully, that’s about to change.
Stone Down Blues, Guitar Slim Green’s debut album, was recently released by BGP, an imprint of Ace Records. This is a welcome reissue of a long-lost, and hugely underrated album, Stone Down Blues where blues virtuoso, Guitar Slim Green made a welcome comeback.
GUITAR SLIM GREEN’S “STONE DOWN BLUES” WITH JOHNNY AND SHUGGIE OTIS.
GORAN KAJFES SUBTROPIC ARKESTRA-THE REASON WHY VOLUME 2.
GORAN KAJFES SUBTROPIC ARKESTRA-THE REASON WHY VOLUME 2.
For the last three decades, Goran Kajfeš has been a key figure in the Swedish music scene. There’s a reason for this. Goran Kajfeš has constantly been releasing groundbreaking, genre-melting music. To do this, Goran has pushed musical boundaries to their limits, and sometimes, way beyond. That’s been the case throughout Goran Kajfeš’ career, and has paid off.
Over the last fifteen years, Goran has been a member of various Swedish bands. This includes Goran Angles 8, Angles 9, Club Killers, Fire! Orchestra, The Moon Ray Quintet, Nacka Forum, Oddjob, Regis, Rocking Babooshkas and The Solution. However, still Goran has found time to pursue a solo career and form the Goran Kajfeš Subtropic Arekestra.
It was in 2000, when Goran Kajfeš, who was born in Croatia, but raised in Sweden, released his debut album Home. However, four years passed before Goran Kajfeš returned with his sophomore album Headspin. That’s no surprise. During that period, Goran Kajfeš was a member of various bands. He was also working as a session musician, songwriter, arranger and producer. So, it’s not surprising that there were four years between Goran’s debut and sophomore albums. However, six years would pass before Goran released his third album.
X/Y, however, was worth the wait. Released in 2010, on Headspin Records, critics hailed the album one of the most groundbreaking albums of the year. So, it wasn’t a surprise when X/Y won the prestigious Nordic Music Prize. For Goran Kajfeš all his hard work was beginning to pay off.
During this period, Goran Kajfeš seemed to hardly stop working. When he wasn’t working on his own projects, he was working with other artists. Goran was central figure in the Swedish music scene. He was also a musical pioneer.
If critics, cultural commentators and music fans didn’t realise this, they did in 2013. That’s when the Goran Kajfeš Subtropic Arekestra released The Reason Why Volume 1 on Headspin Records. Critics hailed The Reason Why Volume 1 as an ambitious album, of innovative, and eclectic music. Music lovers agreed, but weren’t surprised.
For the last year, the Goran Kajfeš Subtropic Arekestra had been winning friends, and influencing critics and music lovers with what Goran described as “acid rock with horns.” Wherever the Goran Kajfeš Subtropic Arekestra went, rave reviews followed them. This wasn’t a surprise to anyone who had seen the Goran Kajfeš Subtropic Arekestra live. They knew that they were a band with a big future ahead of them.
When the Grammy Awards’ nominations were released in 2013, the members of the Goran Kajfeš Subtropic Arekestra discovered that The Reason Why Volume 1 had been nominated. This was a huge honour. For Goran, all his hard work during the last nineteen years had been recognised.
Sadly, The Reason Why Volume 1 didn’t win a Grammy Award. However, many more people were aware of the Goran Kajfeš Subtropic Arekestra. They anticipated the release of the followup to The Reason Why Volume 1.
Two years later, and The Reason Why Volume 2 was released on Headspin Records, on 6th April 2015. The Reason Why Volume 2 marks the long-awaited return of the Goran Kajfeš Subtropic Arekestra. Joining them, are a few of their musical friends.
This includes a legend of Brazilian music, Milton Nascimento, American indie band Grizzly Bear and Cameroonian author and musician Francis Bebey. Other guest artist include Okay Temiz, Bayaz Kelebekler, Mahzar Ve Fual and Sevada. They join the Goran Kajfeš Subtropic Arekestra in making The Reason Why Volume 2 an eclectic, genre-defying album.
Recording of The Reason Why Volume 2 took place at Sturepark Studio. That’s where the six songs took shape. Providing the Goran Kajfeš Subtropic Arekestra’s heartbeat was a rhythm section of drummer and percussionist Johan Holmegard, bassist Johan Berthing and a trio of guitarists. Andreas Söderström played acoustic, electric and pedal steel guitar; Reine Fiske played guitar and mellotron; and Robert Ostlund played guitar and synths. They were joined by keyboardist Jesper Nordenström. He plays organ, upright piano, synths and omnichord. José González adds vocals. Then there’s the Goran Kajfeš Subtropic Arekestra legendary horn section.
At the heart of the horn section, is founding member, and bandleader, Goran Kajfeš. He’s a multi-instrumentalist, who plays trumpet, cornet, percussion and synths. The other two members of the horn section are also multi-instrumentalists. Per “Ruskträsk” Johansson, plays baritone, alto and soprano saxophones, plus clarinet and flutes, and Jonas Kullhammar plays tenor and soprano saxophone, clarinet and flute. This multitalented horn section plays an important part in The Reason Why Volume 2’s sound. So do Swedish mix engineer Mattias Glavå and producer Goran Kajfeš. They’re responsible for another album of pioneering music, from Goran Kajfeš Subtropic Arekestra, The Reason Why Volume 2, which I’ll tell you about.
Opening The Reason Why Volume 2 is Dokuz Seki Esmerim. Stabs of psychedelic keyboards add an element of drama. They’re the signal for the Goran Kajfeš Subtropic Arekestra to cut loose. The rhythm section and blistering, wah-wah guitars are at the heart of the arrangement. Searing guitars cut through the arrangement. They’re joined by an organ, percussion and blazing horns. Together, they combine Turkish psychedelia and Balkan tinged sounds. Add to that, the Goran Kajfeš Subtropic Arekestra’s unique brand or acid rock, plus elements of folk, funk, free jazz and rock. Later horns howl and wail, they’re akin to a soul-baring confessional. They’re aided and abetted by machine gun guitars, and a powerhouse of a rhythm section. Together, they create a dramatic, genre-melting opus, that shows the Goran Kajfeš Subtropic Arekestra at their best.
Wistful sounding, crystalline guitars weave their way across the arrangement to Adimiz Miskindir Bizim. They’re soon joined by braying horns and the rhythm section. The horns add to the melancholy, laid-back sound. So do guitars that gently wah-wah, plus the lushest of strings. Together, they’re responsible for the arrangement’s cinematic sound. Soon, the horns change. Then it’s the guitars. They add an element of drama. Still, though, the arrangement has a beautiful, cinematic and jazz-tinged sound, where the Goran Kajfeš Subtropic Arekestra show another side to their music.
Scrabbled guitars are panned left, a muted bass panned right on New Track. Soon, a guitar reverberates, hi-hats hiss and drums roll. Stabs of instruments are added, before braying, growling horns are unleashed on this nine minute epic. The Goran Kajfeš Subtropic Arekestra are enjoying the opportunity to head on a sonic voyage of discovery. It’s as if they’re feeding off each other. Instruments flit in and out. Whether it’s the pounding drums, screaming guitars or a growling horn, everything makes sense. It fits perfectly, and is akin to a musical jigsaw. Putting the pieces together, is Goran. Carefully he combines elements of free jazz, funk, psychedelia and rock. The result is a track that’s inventive, innovative, funky, mesmeric and truly captivating. No wonder, for nine minutes, you’re spellbound.
As melancholy horns plays on A Lua Girou, the sense of sadness and loss embraces you. Washes of guitars and synths dissipate. However, it’s the horns that play the starring role. Slowly, they create a poignant, and heartachingly beautiful sound. Again, cinematic describes the music. That’s still the case when a muted guitar attempts to cut loose. So do the drums and horns. They’re reigned in. Instead, the guitar sits way back in the mix, horns rasp and only the cymbals are played. By then, a piano, percussion and tender, dreamy scatted vocal have been added. They play their part in a cinematic sounding track, where beauty, melancholy and drama are omnipresent.
The arrangement to Tamzara quivers and shivers. As a horn adds a wistful hue, the rhythm section play with an urgency. Still, though, they’re playing within themselves. Gradually, they begin to kick loose. When the horn cuts loose, this is the signal. A blistering guitar solo joins the horn, as the rhythm section drive the arrangement along. Soon, another guitar is added, adding another layer of drama and urgency. Flourishes of piano, free jazz horns and a driving, dramatic rhythm section combine. Elements of free jazz, prog rock, psychedelia and rock melt into one. It’s a glorious and irresistible fusion. Especially when the Goran Kajfeš Subtropic Arekestra cut loose, and become one.
Yet Again closes The Reason Why Volume 2. Here, the Goran Kajfeš Subtropic Arekestra are joined by American indie rockers, Grizzly Bear. Drums add a sense of urgency while a mellotron and organ add colour. So, do the horns. They bray and blaze, while psychedelic washes trail across the arrangement. By then, the Goran Kajfeš Subtropic Arekestra are in full flow on what’s another cinematic track. It also has an uplifting, feel-good sound. Throughout Yet Again, the Goran Kajfeš Subtropic Arekestra toy with you. Several times the arrangement almost grinds to a halt. This allows the Goran Kajfeš Subtropic Arekestra to rebuild and unleash this glorious fusion of jazz, psychedelia and rock. Despite being an instrumental, the track has a fist pumping, anthemic sound. What a way to close The Reason Why Volume 2, with one of its most memorable tracks.
Two years after the release of their critically acclaimed, and Grammy Award nominated album, The Reason Why Volume 1, the Goran Kajfeš Subtropic Arekestra make a triumphant return with The Reason Why Volume 2. It’s a career defining album that should transform the Goran Kajfeš Subtropic Arekestra’s career.
They pickup where they left on The Reason Why Volume 1, and push musical boundaries even further on The Reason Why Volume 2. The result is another album of groundbreaking, genre-melting music. Everything from Balkan music, experimental, free jazz funk, jazz, prog rock, psychedelia and rock are combined on The Reason Why Volume 2’s six tracks. During these six tracks, we hear different sides to the Goran Kajfeš Subtropic Arekestra.
Throughout The Reason Why Volume 2 the music constantly changes. It veers between dramatic and urgent, to languid and laid back. Other times the music is beautiful, ethereal, cinematic and lysergic. It can also be captivating, spellbinding and mesmeric. That’s the case whether the music is funky, jazz-tinged or rocky. Always though, the music on The Reason Why Volume 2 innovative, inventive and is sure to prove influential.
Other musicians are bound to look at the Goran Kajfeš Subtropic Arekestra, and want to follow in Goran Kajfeš’ footsteps. That’s easier said than done. Founding member and bandleader, Goran Kajfeš has been a mainstay of Sweden’s thriving music scene for just over twenty years. He’s a talented multi-instrumentalist, arranger, producer and songwriter. He’s played in numerous bands, and has worked with many of Sweden’s leading musicians. Some of them feature on the Goran Kajfeš Subtropic Arekestra. Along with a few of Goran’s musical friends, the multitalented Goran Kajfeš Subtropic Arekestra have created a career defining album.
The Reason Why Volume 2, which was out on April 6th 2015, on Headspin Records, surpasses The Reason Why Volume 1. That took some doing. After all, The Reason Why Volume 1 was nominated for a Grammy Award. However, two years later, the multitalented Goran Kajfeš Subtropic Arekestra have come of age on The Reason Why Volume 2. They seem to have matured as a band. What’s more, the music on The Reason Why Volume 2 is even more eclectic and almost flawless. That takes some doing. However, Goran Kajfeš is a musical innovator. With Goran at the Arekestra’s helm, they’re definitely destined for greater things.
While the Goran Kajfeš Subtropic Arekestra are already popular in Europe and America, their latest album, The Reason Why Volume 2, should transform their career. Hopefully, the Goran Kajfeš Subtropic Arekestra’s star is in the ascendancy. This should lead to them playing bigger venues, and becoming the toast of the festival season. No wonder.
The Goran Kajfeš Subtropic Arekestra are musical pioneers. They’re responsible for the groundbreaking, genre-melting, music found on The Reason Why Volume 2, the Goran Kajfeš Subtropic Arekestra’s musical Magnus Opus, which showcases one of Europe’s most exciting bands at the peak of their musical powers.
GORAN KAJFES SUBTROPIC ARKESTRA-THE REASON WHY VOLUME 2.
NORTHERN SOUL’S CLASSIEST RARITIES VOLUME 5.
NORTHERN SOUL’S CLASSIEST RARITIES VOLUME 5.
Let’s make no bones about it, nowadays, Northern Soul compilations are two a penny. Hardly a week goes by and yet another Northern Soul compilation is released. That’s been the case for the last few years. Nothing has changed in the first few months of 2015. Most of the compilations are third rate. They’re just attempts to cash-in on Northern Soul’s popularity. That’s the case whether it’s the cheap budget label releases or the budget breaking box sets.
Part of the problem is that many compilations rehash the same songs. Pick up a pile of Northern Soul compilations and you’ll soon realise that’s the case. That’s why it’s a case of caveat emptor when buying a Northern Soul compilation. If you don’t, you risk disappointment.
My advice is “don’t believe the hype.” Especially when they come baring the words “featuring songs played at the Wigan Casino or Blackpool Mecca.” These words seem to suggest that the compilations ooze quality. All too often, that’s not the case. Having been played at the Wigan Casino or Blackpool Mecca isn’t a guarantee of quality. Far from it.
There’s several ways to separate the wheat from when the chaff, when it comes to Northern Soul compilations. Who compiled the compilation is hugely important. So, is the label that released the compilation. Some labels have established a reputation for releasing Northern Soul compilations. Others are just jumping on the bandwagon, looking to make a quick buck. They neither care about the music, nor the people that made it. However, labels like Ace Records do.
Through their Kent imprint, Ace Records have been releasing Northern Soul compilations for over twenty years. Their most recent Northern Soul compilation, was Northern Soul’s Most Classiest Rarities Volume 5, which was released by their Kent Dance subsidiary. It has everything you could want in a Northern Soul compilation.
That’s not surprising. Northern Soul’s Most Classiest Rarities Volume 5 was compiled by veteran compiler Ady Croasdell. He’s a man steeped in Northern Soul. With an almost encyclopaedic knowledge of all things soulful, Ady combines classics and collectors items with future classics, hidden gems, obscurities, rarities and a even a quintet of unissued tracks. The result is Northern Soul’s Most Classiest Rarities Volume 5, a welcome addition to the Northern Soul’s Most Classiest Rarities’ rarities series.
No wonder. Northern Soul’s Most Classiest Rarities Volume 5 features tracks from Marva Holiday, The Steelers, Clifford Curry, Terri Goodnight, Soul Brothers, The Ballads, Ray And Dave and Little Johnny Hamilton. Then there unissued tracks from The Avons, J. J. Barnes, Jeanette Jones, The Webb People and Jesse Cowan. However, one of the most intriguing tracks comes from the legendary blues shouter Big Joe Turner. These are just a few of the twenty-four tracks on Northern Soul’s Most Classiest Rarities Volume 5, which I’ll pick the highlights of
The opening track of any compilation, is always the most important. It’s got to grab your attention. That’s the case here, with When The Boy That You Love (Is Loving You), an unreleased track from The Avons. They were formed in Nashville, and featured Paula Hester, Beverly Bard and Fran Bard. Between 1963 and 1968, they released singles on the Groove, Sound Stage, Abet, Excello and Ref-O-Rea labels. Their last three singles were produced by Bob Holmes. He also wrote and produced When The Boy That You Love (Is Loving You). Bob adds cascading strings, braying horns and vibes, as The Avons deliver a mid-tempo slice of musical sunshine. This whets your appetite for the rest of Northern Soul’s Most Classiest Rarities Volume 5.
Tracks like The Volumes’ That Same Old Feeling restore your faith in Northern Soul. It’s something of an obscurity and proof you should always flip a single over. Many times, there’s a hidden gem awaiting discovery. That’s the case here. That Same Old Feeling was the B-Side to The Volumes’ 1966 single The Trouble I’ve Seen. It was released on Impact Records, and produced by Duke Browner. Here, the veteran producer plays in his part in what’s a wistful sounding track, tinged with hurt and heartbreak that quite simply, epitomises everything that’s good about Northern Soul.
Clifford Curry’s career began in Knoxville, Tennessee, where he was a member of various vocal groups. Then in 1964, Clifford released his debut single Kiss, Kiss, Kiss on Georgia based, Ridgecrest Records. After that, it was another three years before Clifford released another single. His comeback came at Elf, Buzz Cason and Bobby Russell’s label. That was home for Clifford until 1968. He went on to release eight singles, including I Cant Get Hold Of Myself. It was written by Buzz Cason and Mac Gayden. With its dancing strings, stabs of horns, soaring quivering harmonies and a despairing vocal, it should’ve replicated the success She Shot A Hole In My Soul. Sadly, that wasn’t the case. Despite that, the hook-laden I Cant Get Hold Of Myself is still guaranteed to fill dance-floors.
Terri Goodnight’s They Didn’t Know is one of the rarities on Northern Soul’s Most Classiest Rarities Volume 5. Copies are extremely rare. They Didnt Know was the B-Side to Terri’s sophomore single The Fighting Is Over. It was released on Johnny Cochran Sr.’s Phelectron Records in 1966. Ken Easton produced They Didn’t Know, which was penned by Jean Cochran. Sadly, The Fighting Is Over wasn’t a commercial success. However, a few years later, its flip side, They Didn’t Know became a favourite of Northern Soul DJs. No wonder, given its wistful, soulful and dance-floor friendly sound.
At one time, girl groups were popular within the Northern Soul scene. Not any more. For thirty years they’ve been out of favour. That means so many great songs are being overlooked. This includes Mousie and The Traps’ 1966 single It’s All In The Way (You Look At It Baby). It was released two years after sisters Genevieve and Susan Hernandez and Thelma Flores formed Mousie and The Traps at high school. Two years later, they released It’s All In The Way (You Look At It Baby) on Toddin’ Town. It’s an overlooked and underrated song that hopefully, one day, will find favour within the Northern Soul scene.
For thirty years, Roy Wright’s Hook Line and Sinker has been a favourite amongst Northern Soul fans. They head for the dance-floor when they hear Hook Line and Sinker’s driving beat and blazing horns. Hook Line and Sinker was released on Vick Records in 1966. By then, Roy was an experienced artist. He made his debut in the late fifties, when he recorded a quartet of singles for Drexel. After leaving Drexel, he released single on Vick and Crash Records. However, one of Roy’s finest singles is the version of Hook Line and Sinker, the Northern Soul floor-filler he recorded for Vick.
Darondo Pulliam’s How I Got Over is one of the real finds on Northern Soul’s Most Classiest Rarities Volume 5. It was released in 1972, on the Oscampo Records. How I Got Over was penned by Darondo and producer John Al Tanner. They’re responsible for a track that brings to mind early Al Green. The similarities are uncanny. Even the arrangement has a Hi Records’ influence. Sadly, Darondo Pulliam only ever released two more singles after How I Got Over. That was the last anyone heard from Darondo until 2006, when he released his debut album Let My People Go. Five years later, BGP Records released Listen To My Song: The Music City Sessions. At last, Darondo Pulliam’s music was finding a wider audience. However, tragedy struck in 2013, when Darondo Pulliam died on 9th June 2013. That day, soul music lost one of its best kept secrets.
Another of the five unreleased tracks is this version of The Webb People’s I’m Sending Vibrations. Originally, this Dave Hamilton and John C. Smith production was the B-Side to Bump With Me. That was a different take of I’m Sending Vibrations. There’s a reason for this. For many years, the multitrack master tapes of the version on Northern Soul’s Most Classiest Rarities Volume 5 were missing. They were only found recently. This is a real discovery, and finds The Webb People seamlessly combining soul and funk on I’m Sending Vibrations.
Two Loves Have I features Big Joe Turner as you’ve never heard him. The former blues shouter was transformed into a soul singer by Bob Thiele in 1970. That’s when Big Joe Turner signed to Bob Thiele’s Flying Dutchman Productions. His only album for Flying Dutchman Productions, was The Real Boss Of The Blues. Released in 1970, Big Joe Turner is at his soulful best on this mid-tempo ballad.
Back in the sixties, Eddy Giles was enjoying a career as a Southern Soul singer. Given his undeniable talent, many within the record industry, thought that Eddy would enjoy a long and illustrious career. While Eddy enjoyed some commercial success and critical acclaim, he never reached the heady heights he seemed destined for. His career was a case of what might have been? That’s despite being able to bring new meaning to a song. That’s what Eddy does on Floyd Jenkins country song Pins and Needles. Sadly, Eddy’s version of Pins and Needles was never released, and only made its debut on the Kent Soul compilation Southern Soul Brother-The Murco Recordings 1967-1969. It’s the perfect introduction to Eddy Giles, who could’ve, and should’ve, rubbed shoulders with the great and good soul music.
Jesse Cowan’s This Man Wants You closes Northern Soul’s Most Classiest Rarities Volume 5. It’s the fifth, and final unreleased track. This Man Wants You was written by Wally Cox. He and Jesse performed as a duo. However, they never recorded any material. They both recorded as solo artist. Their only release was Jesse’s Strange Love, which was released on the duo’s Golden State label. Among the unreleased tracks was Jesse’s This Man Wants You. It’s soulful, funky and dance-floor friendly. It also features a needy, pleading vocal that’s brings the lyrics to life.
Featuring twenty-four tracks, where classics and collectors items rub shoulders with future classics, hidden gems, obscurities, rarities and a even a quintet of unissued tracks, Northern Soul’s Most Classiest Rarities Volume 5 is essential listening for all Northern Soul fans. It was recently released by Kent Dance, an imprint of Ace Records. Northern Soul’s Most Classiest Rarities Volume 5 is a very welcome addition to the Northern Soul’s Most Classiest Rarities’ series. There’ a reason for this.
Northern Soul’s Most Classiest Rarities Volume 5 was compiled by veteran complier Ady Croasdell . He’s a man steeped in Northern Soul. With an almost encyclopaedic knowledge of all things soulful. However, Ady won’t rest on his laurels. He knows that there’s still mountains of soulful delights awaiting discovery. Ady also knows that in the cutthroat world of compilations, competition is fierce. So, still Ady is determined to dig deeper than other compilers.
This means many a crate-digging expedition, searching for elusive, hard to find tracks. This takes time, effort and patience. Warehouses, damp, dusty basements, backstreet record stores, thrift stores and charity shops are the territory of the crate-digger. That’s where often, they find the hidden gems, rarities and killer tracks are to be found. Then there’s Ady’s other habitat, record company vaults.
Often there’s a myriad of delights awaiting in a record company vaults. A hidden gem could be hidden in a mislabelled tape box. Within that box, could be a killer track, that crate-diggers find a lifetime searching for. Ady knows his way around record company vaults. He’s spent hours, days, weeks and months searching. That takes patience and dedication. However, in the case of Northern Soul’s Most Classiest Rarities Volume 5, Ady’s efforts have been worthwhile.
Northern Soul’s Most Classiest Rarities Volume 5 is a classy compilation, chock full of classics, hidden gems and rarities. Truly, it belongs in every Northern Soul fan’s collection. Ady Croasdell, man with the encyclopaedic knowledge of all things soulful, has done it again and compiled what’s the best Northern Soul collection of 2015, so far.
NORTHERN SOUL’S CLASSIEST RARITIES VOLUME 5.
MOGWAI-RAVE TAPES.
MOGWAI-RAVE TAPES.
With the Scottish Album Of The Year Award looming, the big question in Scottish music is, who are the contenders? This year, we’re spoiled for choice. It’s been a vintage year, or to be a accurate, fifteen month period. There’s a reason for this. The three-month extension of the eligibility window for the Scottish Album Of The Year Award 2015 will allow the qualifying period for future awards to run from April to March. This aligns the qualifying period more closely with the prestigious and glittering award ceremony in June. It’ll be attended by the great and good of Scottish music. This should include Mogwai, who released Rave Tapes back on 20th January 2014.
Rave Tapes features ten tracks, which were written by Mogwai. Recording took place at Castle Of Doom Studios, Glasgow. Producing Rave Tapes was ex-Delgado Paul Savage. He’s produced previous Mogwai albums and knew how the band worked. This was important, given Mogwai were at last, enjoying the critical acclaim and commercial success their music deserved. Work began on Rave Tapes back on the 28th August 2013.
This was like the first day back at school. Mogwai were ready to begin recording what was their eighth studio album. The lineup of Mogwai has been settled for a few years. This included a rhythm section of bassist and guitarist Dominic Aitchison, drummer Martin Bulloch and guitarists Stuart Braithwaite and John Cummings who also played piano. Barry Burns plays organ, piano and guitar at Castle Of Doom Studios, Glasgow, Mogwai recorded the ten tracks that became Rave Tapes.
Rave Tapes was one of the most anticipated albums of recent months. The big question was, what direction Mogwai’s music would head? After all, Mogwai’s music never stands still. It’s in a constant state of evolution. That’s no bad thing. Standing still is akin to going backwards in Mogwai’s book. On Rave Tapes, Mogwai’s music continues to evolve. Musical genres and influences melt into one. One of the most prominent influences was Krautrock. Add to this ambient, avant-garde, electronica, experimental, indie rock and rock. We hear different sides to Mogwai on Rave Tapes. Whether it’s fuzzy soundscapes or kicking out the jams, Mogwai don’t disappoint on Rave Tapes, which I’ll tell you about.
Heard About You Last Night opens Rave Tapes. It has an ambient sound, with keyboards and broody bass prowling along. The keyboards remind me of a setting in Ableton 9. Then as the bass and keyboard meander along, sneering guitars take centre-stage. Along with the drums, this transforms the track. Post rock, ambient and indie combine. Guitars reverberate, washes of synths sweep in and the bass pulsates, as the drama grows and builds. After reaching a crescendo, the arrangement takes on an understated sound as Mogwai settle into a groove. They’ve picked up where they left off on Les Revenants, by producing music that’s variously atmospheric, dramatic and ethereal.
Simon Ferocious sees a change in style. It’s best described as a fusion of post rock, electronica and Krautrock. Buzzing synths, pounding rhythm section and chiming, snarling guitars combine. The synths are at the heart of the arrangement, while everything revolves around them. Mogwai dig deep, drawing inspiration from Can, Harmonia, Neu and Kraftwerk. There’s also a nod to classic sixties and seventies rock when Mogwai kick loose on this genre-melting track. Mogwai are inspired by the music of the past, to create the music of the future
Remurdered is a track that gradually reveals its secrets. Mogwai throw a few curveballs in the process. An understated ethereal synth and pulsating bass are joined by keyboards before it’s all change. Having built up the drama, Mogwai take the track in the direction of post rock. There’s still a Krautrock influence in the groove. A combination of blistering post rock guitars and Krautrock drums and synths prove a potent combination. Especially with the electro influence. It gives the track an early eighties New York sound. That’s before Mogwai kick out the jams as they showcase their versatility and ability to constantly innovate and reinvent themselves and their music.
Briefly, Hexon Bogon has a nineties guitar sound. That’s before Mowai join forces and jam. Their rhythm section are at the heart of the track’s success. They’re augmented by keyboards and drive the arrangement along, fusing classic rock and post rock. It’s a glorious combination. Mogwai prove their doubters wrong by proving they were born to rock.
Repelish is one of the most captivating tracks on Rave Tapes. Against a moody, broody and eerie backdrop a speech by the Reverend Lee Cohen is played. This is the perfect foil for the dramatic backdrop of washes of synths, drums and guitars. They play their part in a haunting, menacing and dramatic soundscape which finds Mogwai experimenting and pushing musical boundaries.
Master Card is four minutes of swaggering rock. It’s as if Mogwai are paying their own unique homage to groups like the New York Dolls and Led Zeppelin. However, they’re doing it their way. Blistering, sneering guitar solos, washes of Krautrock synths and pounding drums combine. Later, machine guitars are unleashed. All the time, synths add drama and darkness. Right up until the track reaches its dramatic and rocktastic crescendo.
Deesh sees the tempo drop and Mogwai combine post rock, electronica and Krautrock. Driven along by the hypnotic rhythm section, banks of keyboards add drama and darkness. They’re aided and abetted by blistering guitars. This results in a soundscape that’s variously dark and dramatic, but also hypnotic, mesmeric and sometimes, ethereal.
Blues Hour has a mysterious, understated introduction. You wonder which direction it’s heading? What follows is a beautiful, wistful soundscape. Just a lone piano and acoustic guitar accompany Stuart’s vocal. It’s melancholy and accompanied by harmonies as the arrangement grows. Having reached a crescendo, the understated sound returns. This results in a wistful, melancholy fusion of ambient, electronica and post rock.
No Medicine For Regret has a Neo Gothic introduction. Played on an organ, this not only is dramatic but grabs your attention. Having gotten your attention, Mogwai don’t let go. Guitars, keyboard and rhythm section play their part in this track’s dramatic, cinematic sound.
Closing Rave Tapes is The Lord Is Out Of Control. Keyboards and guitars combine before a vocoder makes its entrance. This is really effective. In the wrong hands, i.e. Daft Punk, a vocoder can be annoying. Used properly and sparingly it can transform a track. Here, it adds drama and body to this soundscape. It’s a vital part of Mogwai’s futuristic orchestral sound. Just like so many tracks on Rave Tapes this reinforces that Mogwai are still one of the most innovative bands in music.
Rave Tapes is best described as a groundbreaking, genre-melting musical journey from Mogwai. They’ve been together for nineteen years and still, are creating music that’s influential, innovative and inventive. This is what they’ve been doing since 1997, when they released their debut album Mogwai Young Team. Sixteen years later, Mowai are still striving to reinvent their music. They’re not content to stand still. After all, what would the fun in that that be? Mogwai leave that to stadium rock groups and has-been remixers. They’re not the future. Mowai are. Why?
Well, Mogwai have just released Rave Tapes, another album of ambitious, bold, challenging, influential and innovative music. This is music full of nuances, subtleties and surprises. During a ten track journey through ambient, avant garde, classic rock, electronica, experimental, indie rock and Krautrock, Mogwai push musical boundaries to their limits and beyond. During these ten tracks, the music constantly changes. You never know what’s about to happen. The only thing you can expect, is the unexpected. That’s no bad thing though. After all, we’d be complaining if Rave Tapes was full of predictable music. It’s not. Far from it.
Throughout Rave Tapes, Mowai’s music constantly changes. Sometimes, it’s hard to believe it’s the same band. The music veers between wistful, melancholy and pensive, to dark, dramatic and disturbing. It’s also eerie and moody. Sometimes, it’s beautiful and melancholy. The music on Rave Tapes is always ambitious, bold, challenging, influential and innovative as Mogwai take you on a genre-hopping musical journey that is Rave Tapes. It was released on Rock Action Records on 20th January 2014 and is a must have album, which is sure to be a contender for 2015s Scottish Album Of The Year Award.
MOGWAI-RAVE TAPES.
KING CREOSOTE-FROM SCOTLAND FROM LOVE.
KING CREOSOTE-FROM SCOTLAND FROM LOVE.
At this time of the year, Scottish artists start to think of the Scottish Album Of The Year Award. It’s the most prestigious Scottish musical award. So the great and good of Scottish music wait with baited breath the announcement of the long-list of twenty. It’s then narrowed down to just ten albums. A winner is then announced at the Scottish Album Of The Year Award ceremony in June. That’s where artists will be hoping to join R.M. Hubbert, and Bill Wells and Aiden Moffat and Young Fathers, the last three award winners. This year, the award covers the fifteen month period between 1st January 2014 and 31st March 2015, and features one of the strongest field. Scottish music is in rude health. However, some artists are bound to feature on the long-list, including King Creosote.
There aren’t many artists who’ve released over forty albums. Scottish singer-songwriter Kenny Anderson has. However, many people won’t have heard of Kenny Anderson. They will have heard of King Creosote.
King Creosote is just one of a number of aliases Kenny Anderson records records under. He’s been a one man music making machine since 1995. That’s when he formed his own label Fence Records. After that, there was no stopping Kenny.
Kenny went onto record as the Skuobhie Dubh Orchestra, Khartoum Heroes, Kid Canaveral and Jokes. He also collaborates with Jon Hopkins. They record together as The Burns Unit. Another of their other collaborations proved hugely successful. King Creosote and Jon Hopkins released Diamond Mine in 2011. It resulted in them being nominated for the Mercury Prize. Since then, King Creosote’s music has been reaching a much wider audience.
Especially since King Creosote teamed up with Domino Records. They co-release some of King Creosote’s albums. This has helped to spread the word about the delights of King Creosote far and wide. King Creosote’s latest album is From Scotland From Love which was recently released by Domino Records.
From Scotland With Love is a the soundtrack to a documentary feature film directed by Virginia Heath. The film was commissioned as part of the Cultural Festival, which accompanied the 2014 Commonwealth Games in Glasgow.
During the Commonwealth Games, a screening of From Scotland With Love took place on Glasgow Green. It was accompanied by live music. This was fitting. After all, Glasgow Green has been the scene of many memorable musical events. The screening of From Scotland With Love was just the latest.
As films go, From Scotland With Love is quite unusual. The seventy-five minute film features no dialogue. That’s not surprising. The documentary was created entirely from archive film material from the National Library of Scotland and the Scottish Screen Archive. With no voiceover, Virginia Heath decided to add a musical backdrop. That’s where King Creosote came in.
Virginia Heath brought King Creosote onboard. “We came to Kenny because we felt he had a great storytelling ability in his lyrics. We knew that to get across some of the complexity of the sequences we wanted, we needed someone who could translate feelings and stories into song.”
King Creosote does this wonderfully well on From Scotland With Love. He gets to the nub of the themes that run through the film. This includes love, loss, resistance and migration. There’s a reminder of how Scotland has changed when the film touches on urbanisation and emigration. many Scottish people emigrated to Australia, Canada and New Zealand in the fifties and sixties. From Scotland With Love also shows Scotland at work and play. There’s a sense of sadness too. Especially when reminders of Scotland’s past.
Back then, shipbuilding, heavy industry and the fishing industry, were just three of Scotland’s industrial heavyweights. Not any more. Tragically, they’ve been brought to their knees. Another sense of sadness is when From Scotland With Love touches on the war. Far too many Scottish people died in battlefields around the world. From Scotland With Love is a reminder of that.
For From Scotland With Love, King Creosote wrote eleven tracks. This took place during composing session in a studio near Loch Fyne. For King Creosote, the surrounding beauty proved inspirational. Now he was ready to record From Scotland With Love.
Recording of From Scotland With Love took place at Chem 19 Studios, Blantyre. David McAulay produced From Scotland With Love. Ex-Delgado and now seasoned producer Paul Savage, also helped on From Scotland With Love. Paul had worked with King Creosote on his 2009 album Flick the Vs and his 2013 album That Might Well Be It, Darling. The band that accompanied King Creosote were similarly experienced.
At Chem 19 Studios, King Creosote’s band included a rhythm section of drummers Paul Savage and Andy Robinson who also played percussion. Pete Macleod played bass and David McAulay played electric and acoustic guitar, keyboards, synths, banjo, mandolin, percussion and added backing vocals. Derek O’Neil played piano, keyboards and organ. Kevin Brolly of Admiral Fallow played clarinet. Two members of Meursault, violinist Kate Miguda and cellist Pete Harvey made guest appearances. Asher Zaccardelli and Emma Peebles played viola. Backing vocalists included Jenny Reeve, Grant Keir, ex-Delgado Emma Pollock, Jim Sullivan of Sparrow and The Workshop and Louise Abbot of Admiral Fallow and the Beatroute Street Singers. Quite simply, an all-star case of musicians accompanied King Creosote on From Scotland With Love. It was released on 21st July 2014.
On the release of release of From Scotland With Love on 21st July 2014, it was critically acclaimed. So was Virginia Heath’s film. When several generations of Scots saw the film it seemed to strike a chord. People from eight to eighty looked back on Scotland’s past. Poignant, heartbreaking, joyous, uplifting and funny, memories came flooding back. For King Creosote, he was winning friends and influencing people with From Scotland With Love, which I’ll tell you about.
The wistful and beautiful Something To Believe In opens From Scotland With Love. A lone accordion sets the scene for King Creosote’s needy, hopeful vocal as he longingly sings: “you promised me a feeling, Something To Believe In.” As he sings, a piano and slow, steady drums add to the sense of melancholy.
Cargill is a song the refers to the part fishing has played in Scotland’s history. Kenny’s lyrics are truly poignant. Especially the lyric: “the dread of counting home the fleet, the sudden thrill of seeing that you’re back.” Again, there’s a sense of drama and sadness in the song. That comes courtesy of pounding piano, drums and melancholy strings. Along with a female vocal, they provide the backdrop for his vocal. It’s delivered with feeling and sincerity, as he paints pictures with his lyrics.
Largs for those unfamiliar with its delights, is a affluent seaside town just twenty miles from Glasgow. It’s where generations of Glaswegians have headed for a day out, or even holiday. That’s what this song is about. Instantly, King Creosote brings back memories. The song explodes into life. Strings swirl, drums pound and clarinet provide athe galloping arrangement. It provides the backdrop for King Creosote. He sings about ice creams, broken deck chairs, sea, sun and promises of romances for some. Not for others. It’s knock backs all the way. A wistful, wiser King Creosote’s sings against an understated backdrop: “maybe kid on I’m from Largs.”
Just thoughtful keyboards open Miserable Strangers. That’s before an acoustic guitar and sweeping strings enter. It’s a truly beautiful backdrop for King Creosote’s vocal. His vocal is tinged with sadness, as he sings about being one of a generation of Scots who emigrated in the fifties and sixties. He’s standing at the quay, tears in eyes and doubts in his mind. Eventually, he decides it’s for the best. So, he puts on a brave face. Strings sweep and swirl, a choir sings and the rhythm section provide the backdrop for a soul-baring vocal. All this results in a truly beautiful, but heartbreaking songs. Without doubt, it’s a long time since I heard a more powerful song.
Just pensive strings, acoustic guitar and drums accompany King Creosote on a story with a twist in its tale. He sings about a crofter struggling to make a living out the land their father worked. King Creosote’s weary vocal brings home their struggle to make ends meet. However, it’s not all bad. He sings: “that’s when I clap eyes upon my lass, and I find I’m singing like a lark.” Quite simply, poignant and beautiful.
For One Night Only tells the story of a Scot’s couple heading out for a night on the town. They’ve saved all week and now it’s time to celebrate. Firmly strummed guitars build the drama. Then pounding drums and sweeping strings join in. Last but not least is King Creosote’s vocal. His vocal is a mixture of joy and relief. He’s worked all week and wants to celebrate. Shrewdly, his wife is pocketing the change. After all, there’s still the rest of the week to go. Handclaps accompany King Creosote during this joyous, rocky track that paints a picture of a million Friday nights in the West of Scotland.
Bluebell, Cockleshell, 123 begins with children singing and clapping their hands. It sounds like the type of traditional rhyme children used to sing when they played in the streets. It is. They’re singing about becoming a fisherman’s wife. King Creosote sings from the point of view of the view fisherman. He’s accompanied by acoustic guitar and handclaps. His vocal is a mixture bravado, pathos and sadness. It’s as if death is almost inevitable for a fisherman. Especially when he sings about being buried: “beside my only brother, my coffin shall be black.”
Strings and a shuffling beat provide the backdrop for King Creosote’s needy vocal. Later, a Hammond organ and tender harmonies sweep in. His vocal is tinged with equal amounts of sadness and hope. Sometimes King Creosote reminds me of Lloyd Cole. Always though, he’s a troubled troubadour who breaths life and meaning into lyrics. Especially here, were he croons his way through the track.
Crystal 8s is an atmospheric instrumental. The arrangement shimmers and quivers, drawing you in. After that, a wistful acoustic guitar makes its way across the arrangement as it draws to an atmospheric close.
Paupers Dough one of the most poignant songs on From Scotland With Love. It has an understated, piano lead arrangement. The lyrics are tinged with social comment. They’re about a group of brave, determined people who demanded social justice. They wanted a better life for them and their families. That’s apparent from the lyrics: “and I want better for my boy, to bury my father in dry desecrated ground.” A truly poignant song designed to make you think and be thankful, for those brave, determined people.
Closing From Scotland With Love is A Prairie Tale. It’s another instrumental. Wistful, melancholy strings tug at your heartstrings. They’re a reminder of Scotland’s rich musical heritage. The track also has a cinematic quality, which encourages your imagination to run riot.
I can’t rate From Scotland With Love highly enough. It’s easily one of the best albums I’ve heard all year. Without doubt, From Scotland With Love was on the list of best albums of 2014. That’s testament to a hugely talented singer-songwriter, King Creosote.
Since 1995, Kenny Anderson, a.k.a. has been a musical machine. He’s released over forty albums. From Scotland With Love has to be a coming of age musically from King Creosote. Especially given the themes that run through From Scotland With Love. This includes love, loss, resistance and migration. There’s also a reminder of how Scotland has changed because of urbanisation and emigration. From Scotland With Love deals with Scotland and work and play. Scotland has always been a country who work and play hard. This is apparent on From Scotland With Love.
King Creosote sings of holidays in Largs. That was where people from the West of Scotland went on holiday. Some still do. It’s songs like Largs that make From Scotland With Love an album that will appeal to anyone between the age of eight and eighty. Any Scot will be able to relate to From Scotland With Love. Having said that, From Scotland With Love will appeal to much more than Scottish people.
Why? From Scotland With Love is a beautiful, joyous, melancholy, poignant, uplifting and wistful album. The music tugs at your heartstrings. Especially, when King Creosote is delivering vocals that are heartfelt, hopeful, needy, joyous and inspirational. King Creosote is the latest in a long line of Scottish troubadours. His Magnus Opus, From Scotland With Love, marks a coming of age from Scotland’s newly crowned musical King, King Creosote, whose sure to be a contender for 2015s Scottish Album Of The Year Award.
KING CREOSOTE-FROM SCOTLAND FROM LOVE.
SOUL EMISSARIES-SUPERFUNK.
SOUL EMISSARIES-SUPERFUNK.
Over the last ten years, I’ve watched as many record companies, especially small, independent labels, release a compilation that catches the record buying public’s imagination. For these record companies, they’ve hit the jackpot. Sometimes, they even hit the jackpot twice, when another compilation series proves popular. So, every year, as they’re working out their release schedule, you can guarantee that another volume in each of the compilation series is released. While this might seem like good business sense, in the medium to long term, they end up risking alienating their audience.
Previously, I’ve watched as record companies year in, year out, released another volume in what originally was a popular compilation series. Soon, though, record companies see these compilation series as a safe bet. They’re viewed as easy money. So, often these compilation becomes an annual event. That’s often when the quality suffers. The compilation is hurriedly thrown together. No longer is the compilation lovingly compiled. However, sometimes there’s often another reason for the quality beginning to suffer.
Often, the longer a compilation goes on, the amount of hidden gems and rarities reduces. Replacing them, are tracks that are best described as filler. Eventually, this once successful compilation series is a shadow of its former self. Its once loyal audience turns its back on the series, and eventually, this once successful compilation series is no more. The compiler and record company are left regretting making the compilation an annual event.
After all, releasing a compilation annually isn’t easy. Ask Dean Rudland. He compiled the latest instalment in the SuperFunk series, Soul Emissaries-SuperFunk. It was recently released by BGP, an imprint of Ace Records. Soul Emissaries-SuperFunk is a lovingly compiled compilation, and is the eighth volume in the SuperFunk series. However, nearly four years have passed since the previous volume, SuperFunk’s Mission Impossible: Hard To Find And Unreleased Funk Masters was released in July 2011. Since then, Dean Rudland will have been looking for potential tracks for Soul Emissaries-SuperFunk. That’s not surprising.
Finding and licensing the tracks takes time. The best compilers, including Dean Rudland, take time looking for the right tracks. They’re unwilling to throw together a selection of random tracks. No. Instead, they often they head off on a crate-digging expedition, searching for elusive, hard to find tracks. This takes time, effort and patience. Warehouses, damp, dusty basements, backstreet record stores, thrift stores and charity shops are the territory of the crate-digger. That’s where often, they find the hidden gems, rarities and killer tracks, including many of the tracks on Soul Emissaries-SuperFunk.
Soul Emissaries-SuperFunk features a total of twenty tracks. There’s forgotten classics, hidden gems, rarities and killer tracks from George Jackson, Billy Cee, William Bostic, Mary Love, Viola Wills, Tribe, McKinley Mitchell and Chuck Brooks. There’s even a quartet of unreleased tracks from Raymond Parker, The Funky Kids, Obrey Wilson and LaMont Johnson. They’re real finds, and are real hidden gems. However, much of the music on Soul Emissaries-SuperFunk is best described as funky soul.
Recently, the funk and soul scenes seem to have been converging. Whereas previously, they were two very different genres, there’s a commonality between the soul and funk scenes. So, Soul Emissaries-SuperFunk, which I’ll pick the highlights of, will appeal to both the soul and funk fraternities.
Samson And Delilah’s You Bring The Tears opens Soul Emissaries-SuperFunk. It’s a real rarity, released on Polydor in 1972. Polydor licensed You Bring The Tear from Malaco Productions. It was written by Anthony Mitchell and produced by Jerry Puckett. This was only Samson And Delilah’s second single. Will You Be Ready? had been released on ABC Records in 1967, but wasn’t a commercial success. That seemed to be the story of Samson And Delilah’s career. While they went on to release singles on various labels, including King James Records, Match Records and Saturn Records, commercial success eluded them. Their finest hour was the funky soulful sound of You Bring The Tears.
George Jackson’s recording career began in the early sixties, when he was signed by Ike Turner. After that, George spent the rest of the sixties touring, writing and recording. One of his most productive periods was spent at Fame Recording Studios. That’s when George wrote one of his best known, and most successfuls songs, One Bad Apple. It gave The Osmonds a million selling single. Later, George penned songs for Candi Staton and Clarence Carter. However, he hadn’t turned his back on his recording career. In 1971, George released Love Highjacker as a single on Verve. This fusion of funk and soul, sounds as if it belongs on an early seventies Blaxploitation soundtrack. It’s also the perfect introduction to one of the biggest names on Soul Emissaries-SuperFunk.
Funky. That describes William Bostic’s Sweet Thang. So, does soulful and irresistible. This little known single, was produced by Scorpio Productions, and released on Sound Of Richmond Records in 1984. It was the followup to William’s 1983 debut single, What You Do To Me which also features on Soul Emissaries-SuperFunk. It’s a funky, soulful and inventive track where William seamlessly combines soul and funk. While What You Do To Me is a good track, the hook laden Sweet Thang is a truly irresistible, funky and soulful dance-floor friendly track.
As the seventies dawned, Mary Love signed to a new label, Elco. Her one, and only, release was Born To Live With Heartache, which was released in 1971. It saw Mary given a musical makeover by arranger Roger Hamilton Spotts and producer John W. Cole. Stabs of blazing horns, wah-wah guitars and a funky rhythm section set the scene for Mary. She’s reinvented and delivers a vocal powerhouse. It’s a mixture of power, bravado, emotion and hurt. Especially, with cooing, soaring harmonies accompanying Mary. They play their part in what’s without doubt, one of the highlights of Soul Emissaries-SuperFunk.
In 1973, The Huck Daniels Co. released Foolish Man (Pt1) as a single on Kent. On the flip side was Foolish Man (Pt2). Just like the A-Side, it was a fusion of jazz and funk. Mostly, though, The Huck Daniels Co. kept things funky. However, there’s a noticeable jazz-tinged sound, as The Huck Daniels Co., featuring Johnny Adams enjoy the opportunity to stretch their legs on this long forgotten rarity.
Earl Foster only ever released one single. That was Jodine, which was released on the Earthquake label in 1971, and distributed by Kent. It was penned by Earl and Larry Nettles. It’s a tale of infidelity, caused by Jodine. Against a slow, funky, bluesy backdrop Earl delivers a vocal that can only be described as judgmental and soulful. He turns the track into a modern day morality tale, with Jodine is cast as the “other woman.” Sadly, Earl Foster never released another, single, but continued to write, arrange and produce. However, if you’re only going to release one single, make it one as good as Jodine.
McKinley Mitchell’s career began in 1959, when he released Lazy Dizzy Daisy as a single. This was the start of a career that lasted four decades. By 1976, McKinley Mitchell was signed to Chimneyville Records, a subsidiary of Jackson based Malaco Records. His first single on Chimneyville Records, was Trouble Blues. On the flip side was one of McKinley’s compositions Days Got Brighter. It’s a fusion of funk, soul and blues where McKinley delivers a needy, hopeful vocal. It proves the perfect showcase for a talented, and versatile vocalist, who sadly, died in 1986, aged just fifty-two.
Many artists have covered the Lennon and McCartney classic We Can Work It Out. Mostly, they’ve stayed true to the original. Not Raymond Parker. When he covered We Can Work It Out in 1976, he was determined to reinvent the track. That was a brave move. After all, the definitive version had been released. That didn’t bother Raymond. He and his band combined a wah-wah guitar, an uber funky bass and effects. To that, they added Raymond’s tender, heartfelt vocal. The result was the funkiest version of We Can Work It Out that you’ll ever hear.
Back in 1971, Chet Ivey and His Fabulous Avengers covered Johnny Otis’ So Fine. It was released as a single on the Sylvia label, and finds Chet drawing inspiration from James Brown. He vamps his way through the track, yelping and hollering. Meanwhile His Fabulous Avengers provide a funky backdrop on this funky rarity.
If ever a track was designed to tug at the heartstrings, it’s Obrey Wilson’s Daddy Please Stay Home. It was recorded in 1975, and produced by Phillip Rault. However, it was never released. Since then, this tale impassioned plea to a two-timing father “Daddy Please Stay Home,” has remained in the vaults. Thankfully, not any more. Obrey’s impassioned plea, the funky arrangement and soulful harmonies make a very welcome debut on Soul Emissaries-SuperFunk, where it’s one of the compilation’s highlights.
Closing Soul Emissaries-SuperFunk, is LaMont Johnson’s Forgotten. Just like the other unreleased tracks, Forgotten was produced by Phillip Rault in 1975. By then, disco was more popular than soul. That’s despite Forgotten being full of hooks and dance-floor friend. There’s even a Northern Soul sound, to the version on Soul Emissaries-SuperFunk. It’s mixed by Alec Palao and is the perfect way to close, Soul Emissaries-SuperFunk, as it leaves you wanting more, much more.
That’s the way it should be with any compilation. It should be a musical journey, which when it finishes, leaves you wanting more. That’s the case with Soul Emissaries-SuperFunk, which was recently released by BGP, an imprint of Ace Records. Soul Emissaries-SuperFunk is the eighth volume in the SuperFunk series, but the first in nearly four years. No wonder.
Soul Emissaries-SuperFunk is best described as a lovingly compiled compilation. Compiler Dean Rudland must have searched high and low to find the hidden gems, rarities and killer tracks on Soul Emissaries-SuperFunk. This means spending countless hours on crate-digging expeditions, searching for elusive, hard to find tracks. Often, it’s soul destroying search. Hidden gems and rarities are in short supply. There’s always the temptation to call it a day. Whether it’s record company vaults, warehouses, damp, dusty basements, backstreet record stores, thrift stores or charity shops there’s always the thought that long lost rarity will turn up. The crate digger, it seems, has to be the eternal optimist, always hoping to strike musical gold.
Dean Rudland, who compiled Soul Emissaries-SuperFunk struck gold several times when compiling the latest in the SuperFunk series. There’s a couple of reasons for this. He’s one of the most knowledgeable compilers of soul and funk compilations. His almost encyclopaedic knowledge of soul and funk was put to good use compiling Soul Emissaries-SuperFunk. However, the other reason for the success of Soul Emissaries-SuperFunk, is that volumes of the SuperFunk are churned out annually. They’re an occasional series. Three or four years can pass before another volume in the SuperFunk series is released. That’s no bad thing.
With only the occasional volume in the SuperFunk series being released, the compiler has plenty time to seek out the best music. That’s how it should be, and why after fourteen years, the SuperFunk series is stroll going strong. During that period, other compilation series, and indeed record companies have come and gone. However, the SuperFunk series is still going strong.
No wonder. Quite simply, Soul Emissaries-SuperFunk oozes quality. Forgotten classics, hidden gems, rarities and killer tracks sit side-by-side on Soul Emissaries-SuperFunk, the latest instalment in the SuperFunk series. Soul Emissaries-SuperFunk features twenty slices of funky soul. So, Soul Emissaries-SuperFunk is bound to appeal to both funk and soul fans alike. Soul Emissaries-SuperFunk will make a welcome addition to any music collection, and for newcomers to the SuperFunk series, then Soul Emissaries-SuperFunk is sure to whet their appetite.
SOUL EMISSARIES-SUPERFUNK.
DANIELE CIULINI-DOMESTIC EXILE (COLLECTED WORKS 82-86).
DANIELE CIULINI-DOMESTIC EXILE (COLLECTED WORKS 82-86).
Nowadays, the word innovator is used far too often. However, in Daniele Ciullini’s case, it’s a fitting description of a groundbreaking musician. The music on his forthcoming compilation, Domestic Exile is proof of that. Domestic Exile is the first reissue to be released on the Ecstatic label on sixth April 2015. Domestic Exile (Collected Works 82-86) is the perfect introduction to Daniele Ciullini’s music.
Domestic Exile features a total sixteen innovative tracks. These tracks were released in the eighties. They were way ahead of their time. In fact, it’s hard to believe that Daniele Ciullini released the music on Domestic Exile (Collected Works 82-86), between 1982 and 1986. It’s no exaggeration to say that, Daniele Ciullini’s music was way ahead of the curve. Sadly, it was never heard by a wider audience.
There’s a reason for that. Daniele Ciullini self-released his music. He released his music on cassette, and it sold by way of word of mouth. Mostly, Daniele Ciullini’s music was only heard by a small discerning group of music lovers. However, some journalists familiar with the groundbreaking TRAX collective discovered Daniele Ciullini’s music. Sadly, despite their efforts to promote Daniele Ciullini’s music, it remained one of the best kept secrets of the Italian music scene in the eighties.
Now, nearly thirty years later, recently there’s been a resurgence in interest in Daniele Ciullini’s music. This resurgence in interest began in 2012, when thirty years after he released his debut single, Oxidized Sounds in 1982, Daniele Ciullini returned with his Il Bacio Della Sirena E.P. It was released on the Italian label Quantum Bit. At last, Daniele Ciullini was back what he did best, making music. For the Florence born musician, it was welcome return.
Daniele Ciullini was born and brought up in Florence, Italy. From an early age, Daniele Ciullini was interested in music and art. It soon became his passion. So, it was no surprise when Daniele Ciullini joined the groundbreaking TRAX collective.
The TRAX collective were a pan-European collaboration network. Artists and musicians throughout Europe, were able to exchange ideas, and if they wanted, collaborate on art and musical projects. For a generation of artists and musicians, this increased connectivity across borders.
Suddenly, new opportunities arose for musicians. Now it was possible for an Italian musician like Daniele Ciullini, to collaborate with musicians in other parts of Europe. It was an exciting time in the pre-internet age, and was a godsend for musical innovators, including Daniele Ciullini who played an important part in the TRAX collective. Similarly, the TRAX collective would help him promote his music.
The early eighties was a very different time. This was way before the birth of the internet and social media networks. Computers were in their infancy. So was the new music technology.
As the eighties began to unfold, Daniele Ciullini realised he wanted to experiment musically. He was fortunate, that the new music technology was now within the budget of an aspiring musician. Drum machines, sequencers and synths although still expensive, had recently come down in price. No longer were they just found in recording studios. No. Now an aspiring musician like Daniele Ciullini could use them to record an album. He could do this at home, without the expense of hiring a recording studio. That’s what Daniele Ciullini decided to do in 1982.
Of the sixteen tracks on the Domestic Exile (Collected Works 82-86) compilation, the first eight tracks comprise the original Domestic Exile album. Opening Domestic Exile was Violet, an understated, spacey, minimalist track. There’s a darkness, and even, a sense of hopelessness. This is reflection of the early eighties for many young Europeans.
From there, Marbles In The Garden is a pulsating proto-techno track. It shows another side to Daniele Ciullini. It’s almost a hands in the air, fist pumping dance track. Thirty years later, it’s sure to light up a dance-floor.
Trance is aptly titled. Its lo-fi, hypnotic sound is almost mesmeric. Daniele fuses the nascent musical technology to good effect, creating an innovative industrial sounding track.
If carbon dating was used on Lipstick On The Glasses, it would date the track to circa 1982, 1983. Musically, it’s reminiscent of that era. It takes you back to a time and place. Again, there’s a lo-fi sound, as the bouncy, pulsating and crackling synths join drums that crack. They create a cinematic sounding track.
Decadence has a thoughtful, pensive sound. The arrangement is almost dark and bleak. It’s as if it’s how Daniele Ciullini sees the world, and his future.
Distant drums pound and pulsate, while synth bound and bubble on Naked And White. Others have a moody, sci-fi sound. Together, they create captivating cinematic sounding track. Just like previous tracks, it’s inventive and sees Daniele push musical boundaries.
Flowers In The Water is another track with a sci-fi sounding arrangement. Just synths and drum machines are deployed by Daniele. Just like previous tracks, everything is improvised. This could’ve gone badly wrong. It doesn’t. He creates a bubbling, meandering and sometimes persistent sounding arrangement. Its unapologetically lo-fi in sound. Despite that, it’s melodic and memorable, and has aged remarkably well.
The Shadow Whisper closes the Domestic Exile album. It’s a shock to the system. Straight away, there’s a sharpness to the arrangement. Drums literally crack like whips. They’re joined by sci-fi synths. They fill the gaps, beeping and squeaking, proving yin to the drums yang.
Daniele Ciullini’s 1983 debut album Domestic Exile showcased an innovative musician, as he embarked upon his career. Over eight short tracks, Daniele Ciullini was determined to push musical boundaries to their limits, sometimes, way beyond. That’s what he did. The music on Domestic Exile was variously broody, challenging, dance-floor friendly, ethereal, innovative, lo-fi, melancholy and reflective. The music was also cinematic.
For anyone growing up in Europe in 1983, it paints a picture of what the continent was like. With much of Europe in the throes of a recession, poverty, unemployment and unrest were rife. Daniele Ciullini was a realist. He was determined to paint a picture of Europe circa 1983. That’s why the music veers between bleak, broody and dance-floor friendly, to ethereal and reflective. While many Europeans suffered, others celebrated. It was a time of great inequality and injustice. Many people had nothing to celebrate. That’s apparent on Domestic Exile, Daniele Ciullini’s genre-melting portrayal of early eighties Europe.
Domestic Exile was a fusion of ambient, avant-garde, experimental, electronica and industrial music. These musical genres are combined by Daniele Ciullini over Domestic Exile’s eight tracks. They caught the imagination not just of the TRAX collective, but people who could relate to Domestic Exile. This would be the case with the rest of the music on Domestic Exile (Collected Works 82-86).
The rest of Domestic Exile (Collected Works 82-86) features on various compilations released by various labels. This includes two tracks released on compilations during 1983.
Deep Water featured the Hate’s Our Belief compilation. It was released in 1983 as a double cassette, on the Italian label Aquilifer Sodality. The same year, 1983, Daniele’s dark, dramatic industrial track Bloody Machine featured on the Italiano Industriale compilation. This compilation was released by the Area Condizionata label, and helped spread the word about Daniele’s music.
During 1984, three of Daniele Ciullini’s tracks featured on compilations. Marbles In A Garden featured on The Other Side Of Futurism compilation. Chinese Program featured on Grand Trax, a compilation released by the TRAX collective. The third compilation Daniele Ciullini featured on, was the Nouances compilation. It featured Silence, which features on Domestic Exile (Collected Works 82-86). After a busy 1984, there was not letup during 1985.
The TRAX collective released another compilation in 1985. This was the Neoist Ghosts compilation. It featured Dead Aids, a collaboration with Vivenza. Theme, another of Daniele’s tracks featured on L’Enfer Est Intime-Volume Général, which was released by the French label VP231. For Daniele, this meant his music was finding an audience outside his native Italy. Surely, Daniele Ciullini’s star was in the ascendancy?
A year later, in 1986, French electronic experimental label Actéon were compiling L’Archange Enflammé Vol. B. They decided that Daniele Ciullini’s Silence 3 should feature on the compilation. It’s another track on the forthcoming compilation Domestic Exile (Collected Works 82-86). However, after the release of L’Archange Enflammé Vol. B very little was heard of Daniele Ciullini.
Another twenty-six years passed before Daniele Ciullini released any more music. This coincided with a resurgence in interest in Daniele Ciullini’s music. So in 2012, thirty years after he released his debut single, Oxidized Sounds, Daniele Ciullini returned with his Il Bacio Della Sirena E.P. It was released on the Italian label Quantum Bit. At last, Daniele Ciullini was back what he did best, making music.
Two years later, and Daniele Ciullini returned with his long-awaited sophomore album. This was Resti, which was released by the Portugal based netlabel, founded by Portuguese musician João Ricardo. Resti had been a long time coming, but was worth the while. Daniele Ciullini had matured as a musician since the release of Domestic Exile in 1982. However, one thing remained the same, Daniele Ciullini’s ability to create innovative music.
That had been the story of Daniele Ciullini’s career. The music on his forthcoming compilation, Domestic Exile is proof of that. Domestic Exile (Collected Works 82-86) is the first reissue to be released on the Ecstatic label on sixth April 2015. It’s the perfect introduction to Daniele Ciullini’s music.
The sixteen tracks on Domestic Exile (Collected Works 82-86) show Daniele Ciullini maturing as an artist. Throughout this four year period, Daniele Ciullini’s music continued to evolve. As a result, Daniele Ciullini’s music was way ahead of its time. Back then, Italian “mail-artist” Daniele Ciullini was pushing musical boundaries to their limits.
As a result, Daniele Ciullini’s music was variously broody, challenging, cinematic, dance-floor friendly, ethereal, innovative, lo-fi, melancholy and reflective. It’s a fusion of musical genres. Elements of ambient, avant-garde, experimental, electronica and industrial music can be heard on the forthcoming compilation, Domestic Exile. That’s not all. There’s also a proto-techno sound on Marbles In A Garden. Thirty-two years later, this hands in the air anthem will still fill a dance-floor. It’s also proof that thirty-two years after Daniele Ciullini released his debut album Domestic Exile, the music on the forthcoming Domestic Exile (Collected Works 82-86) compilation is still innovative, influential and relevant.
DANIELE CIULINI-DOMESTIC EXILE (COLLECTED WORKS 82-86).
GONG-CAMEMBERT ELECTRIQUE.
GONG-CAMEMBERT ELECTRIQUE.
There aren’t many bands who have enjoyed the longevity that Gong have enjoyed. The 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, which was recently remastered and released by Charly.
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.
THE ELECTRIC PEANUT BUTTER CO.-TRANS-ATLANTIC PSYCH CLASSICS VOLUME 1.
THE ELECTRIC PEANUT BUTTER CO.-TRANS-ATLANTIC PSYCH CLASSICS VOLUME 1.
From the mid sixties, right through the early seventies was the golden age of psychedelic music. During that period, psychedelic music was King. Originally, folk rock and blues rock bands were influenced by psychedelia. Soon, psychedelia’s influence could be heard throughout music. Everything from folk, funk, jazz, pop, rock and soul was being influenced by psychedelia’s new and innovative sound.
Psychedelia was a fusion of new recording techniques, effects, with non Western music. This often included the ragas and drones that could be heard in Indian music. Other influences included instruments like the Mellotron, harpsichords, Hammond organs and electric guitars drenched in feedback. To do this, guitarists deployed wah wah and fuzzbox effects pedals. Among the other secret weapons used by a psychedelic bands were effects like panning, phasing, delay, reverb, looping and playing tapes backwards. Anything was possible. All it took was imagination. This resulted in innovative music that sounded as if the doors of perception had been opened fully. However, having become a musical phenomenon, psychedelia’s popularity began to decline.
By the late sixties, psychedelia was no longer as popular. Several factors had contributed in psychedelia’s decline. L.S.D. was now illegal on both sides of the Atlantic. The drug that had fuelled the psychedelic revolution had been outlawed. Then there was the trail of destruction left by The Manson Family.
America was in a state of shock as The Manson Family embarked upon a murderous spree. They were then shocked to discover that songs like Helter Skelter, from The Beatles’ White Album may have influenced The Manson Family. This resulted in a backlash against both psychedelia and the hippie movement. The final nail in psychedelia’s coffin happened at The Altamont Free Concert.
The Rolling Stones decided to put on free concert at Altamont Speedway, in Northern California. What was meant to be a concert featuring the great and good of psychedelia went badly wrong. Santana, Jefferson Airplane, The Flying Burrito Brothers, Crosby, Stills, Nash and Young, The Rolling Stones and Grateful Dead were all booked to play. It was meant to be a major event in psychedelic music’s history. After the carnage in Los Angeles, everyone hoped this would be a good news story. It wasn’t.
As the Rolling Stones took to the stage, the concert descended into chaos. The Hell’s Angels fought with the audience, and Meredith Hunter, a black teenager, was allegedly stabbed by a member of the Hells’s Angels who were meant to be providing security at Altamont. After this, the event was cancelled. The Grateful Dead never even took to the stage. Altamont had been a disaster. There were three accidental deaths, many were injured, property was destroyed and cars stolen. As the sixties drew to a close, the events at Altamont played its part in the decline of psychedelia.
While psychedelia continued into the early seventies, its popularity declined. No longer was psychedelia King. The King it seemed, had lost its crown. However, psychedelia’s influence has never been forgotten.
Far from it. For the next forty-five years, psychedelia’s influence can be heard in modern music. From glam rock, funk, fusion, synth pop, electro, Acid House and trance, psychedelia’s influence shines through. That’s still the case today.
Recently, Ubiquity Records released The Electric Peanut Butter Co.’s new album Trans-Atlantic Psych Classics Volume 1. It’s a collaboration between Shawn Lee and Adrian Quesada.
They wrote and recorded the twelve tracks on Trans-Atlantic Psych Classics Volume 1, which they describe as 35% psychedelia, 25% soul, 20% rock and 20%^ funk. By fusing these four musical genres, The Electric Peanut Butter Co. set out to make a psychedelic album for the 21st Century.
To do this, Shawn Lee and Adrian Quesada got to work. Shawn began work at his London studio, where he laid down the vocals. Meanwhile, Adrian, who lives in Austin, Texas, was on tour. So, he turned his hotel room into a makeshift recording studio. While this wasn’t the ideal way to record an album, it seemed to work.
Gradually, the twelve tracks on Trans-Atlantic Psych Classics Volume 1 began to take shape. Instrumental parts were added, and eventually, the two musicians and producers had completed Trans-Atlantic Psych Classics Volume 1. The only thing left was for Trans-Atlantic Psych Classics Volume 1 to be mixed.
Mixing of Trans-Atlantic Psych Classics Volume 1 took place at Trans Yank Studios. That’s where Pierre Duplan and Shawn Lee mixed Trans-Atlantic Psych Classics Volume 1. It was then ready to be released on Ubiquity Records. At last, this transAtlantic collaboration was ready to hit the shops. What did record buyers find? That’s what I’ll tell you.
Opening Trans-Atlantic Psych Classics Volume 1, is Flexi Funk. From the moment the song is counted in, fuzzy keyboards, scorching guitars and ratty, lo-fi drums combine. Soon, The Electric Peanut Butter Co. are kicking loose. They embark upon a slow, churning jam. Stabs of keyboards, bursts of urgent guitars and the rhythm section unite. There’s also a trippy, crystalline, cinematic sound. It has a real sixties influence. Mostly, though the music is cinematic, moody, dramatic and urgent, as The Electric Peanut Butter Co. combine elements of blues, psychedelia, rock and space rock. In doing so, they turn the clock back nearly fifty years.
Beer Good is a driving jam, where guitars and the rhythm section. Together, they continue to roll back the years. It sounds as if the Jimi Hendrix Experience have influenced The Electric Peanut Butter Co. Later, keyboards are added, and effects used sparingly. They play their part in another track with a late-sixties, early-seventies sound. All too soon, it’s over, leaving a reminder of music’s golden age.
After The Electric Peanut Butter Co. are counted in, drums pound on Spread The Jam, providing the heartbeat. Futuristic sound effects are unleashed, and Shawn delivers the vocal to this slice of lysergic pop. A his guitar rings out, languid harmonies and sound effects combine. Later, subtle keyboards are added. So, is percussion, as the track takes a Latin twist. With blistering guitars and Shawn’s punchy, sometimes dreamy vocal, the track heads to its surreal, lysergic high.
Stealio has a slow, trippy sound. Distant drums and a hypnotic bass, are joined by washes of guitars and a piano. By then, the arrangement almost quivers and shimmers. Later, keyboards add an element of drama. Guitars chime, reverberate and shiver. Still, the arrangement is quivering, and has taken on a cinematic hue. The sixties psychedelic sound is omnipresent. The sci-fi sound effects that close the track see to this.
Drums are at the heart of the arrangement to Mary’s Chair. That’s before washes of guitar, trip across the arrangement. The bass helps anchor the arrangement. Shawn’s vocal is swathed in effects, and takes on a trippy sound. Stabs of keyboards and harmonies are added. Later, the arrangement briefly takes on a cinematic sound. Soon, a sense of urgency is injected, as rock, funk and psychedelia are combined, as this magical musical mystery tour continues. It’s best described as melodic, dramatic, funky, lysergic and cinematic.
There’s a surf influence to the chiming guitar that opens Go Go Go. Drums and a buzzing bass are added. Along with Shawn’s vocal, they add a sense of urgency. He hollers and vamps, as he unleashes guitar licks swathed in effects. Urgent and dramatic, this fusion of rock, surf and psychedelia, sounds like a lost psychedelic track from sixties San Francisco.
As Tennis Elbow unfolds, it sounds like the type of track a power trio would unleash in the late sixties. It’s just the rhythm section, complete with buzzing bass, and blistering, searing guitar licks. They’re joined by a grinding Hammond organ. Later, myriad of effects are deployed, and a guitar masterclass unfolds. It plays its part in one of Trans-Atlantic Psych Classics Volume 1’s highlights.
Drums crack and reverberate on Mister Pink. Soon, a bass, keyboards and woodwind combine. Soon, searing, scorching guitars soar above the arrangement. By now, everything from from rock and reggae, to funk, psychedelia and prog rock can be heard. This jam veers between rocky to laid back, and sometimes, a summery vibe shines through.
Straight away, Damn Skippy takes on a hypnotic, cinematic sound. It sounds like part of the soundtrack to a seventies detective program. The rhythm section, and bristling, chiming guitars combine. They combine drama and urgency, before a lingering drone soars above the cinematic arrangement. As the track ends, I’m reminded me of a track from an old KPM library record.
Drums and keyboards combine on Austin City Limiter, to give the track a late-sixties sound. Drums sit smack bang in the middle of the track. They’re loud, maybe too loud. With the drums taking centre stage, other instruments are spread out. Keyboards are panned right and chirping, chiming, crystalline guitars are panned left. Good as the guitar playing is, it’s somewhat dwarfed by the drums and keyboards. That’s my only criticism of this mesmeric, psychedelic jam.
Just like the previous track, drums set the scene on Jenn Wu. They’re joined by Shawn’s Texan drawl. Meanwhile, guitars chime and a trippy Hammond organ accompanies Shawn’s dramatic vocal. Adding to the drama are bells that chime. Later, blistering guitar licks and effects add yet another layer of drama. They play their part in what could’ve been a the soundtrack to a psychedelic Spaghetti Western.
Fat Budda closes Trans-Atlantic Psych Classics Volume 1. Just the rhythm section, persistent percussion and washes of trembling guitar combine. Together, they create a melodic, trippy track. The only thing that could be accused of spoiling the trip is the percussion. After a while it grates. Everything else sits nicely in the mix, and is responsible for an early seventies fusion of rock and psychedelia.
When Shawn Lee and Adrian Quesada began work on Trans-Atlantic Psych Classics Volume 1, the album could’ve ended up going two ways. They could either have remade a late-sixties or early-seventies psychedelic album, or made a a psychedelic album for the 21st Century. What The Electric Peanut Butter Co. have come up with, is a bit of both.
To record Trans-Atlantic Psych Classics Volume 1, The Electric Peanut Butter Co. combined the same instruments that musicians had in late-sixties or early-seventies. This meant guitars, drums, bass, keyboards and a Hammond organ. To that, they added the new technology that’s available to 21st Century musicians.
A modern musician’s studio is often no more than a laptop, audio interface and Digital Audio Workstation. This means that the modern musician is no longer limited to 8, 16, 24 or 32 tracks. No. Now, in DAWs like Pro Tools, Logic, Reason and Ableton Live, there’s no limit to the tracks. These DAWs come packed full of plug-ins. This allow tracks to be polished to perfection. Even once the tracks have been recorded in the box, they can be transferred back onto tape. For Adrian, who recorded much of Trans-Atlantic Psych Classics Volume 1 in hotel rooms whilst on tour, this meant the album was finished much quicker. Meanwhile, Shawn was busy in his London studio.
Shawn Lee recorded his parts of Trans-Atlantic Psych Classics Volume 1 in his London studio. Helping him, was his engineer and fellow musician Pierre Duplan. Using his analogue equipment and wide array of instruments, Shawn laid down his parts. Then once Adrian had completed his parts, Trans-Atlantic Psych Classics Volume 1 came together.
The result of Shawn and Adrian’s transAtlantic collaboration, is best described as an album that’s been inspired by late-sixties and early seventies psychedelia, but with a much more polished sound. Trans-Atlantic Psych Classics Volume 1 sees The Electric Peanut Butter Co. pay homage to the golden age of psychedelia. To do this, The Electric Peanut Butter Co. combined musical genres.
On Trans-Atlantic Psych Classics Volume 1’s sleeve, The Electric Peanut Butter Co. describe their music as 35% psychedelia, 25% soul, 20% rock and 20% funk. That maybe be slightly tongue-in-cheek. The psychedelic and rocky sides shine through. That’s when The Electric Peanut Butter Co. are at their best. They also make music that’s funky, and sometimes soulful. However, other musical genres make brief appearances on Trans-Atlantic Psych Classics Volume 1. Blues and even prog rock can be heard briefly on Trans-Atlantic Psych Classics Volume 1. There’s even brief Eastern influences. Mostly thought, Trans-Atlantic Psych Classics Volume 1 is a fusion of rock, psychedelic, funk and soul, where The Electric Peanut Butter Co. pay homage to the golden age of psychedelia.
THE ELECTRIC PEANUT BUTTER CO.-TRANS-ATLANTIC PSYCH CLASSICS VOLUME 1.
FAIRPORT CONVENTION-MYTHS AND HEROES.
FAIRPORT CONVENTION-MYTHS AND HEROES.
There aren’t many groups that enjoy the longevity that Fairport Convention have. They were formed in 1967, and are widely recognised as the founding fathers of English folk rock. Since then, Fairport Convention have influenced several generations of folk musicians. However, it’s not all been smooth sailing for Fairport Convention.
The story began in 1966, when bassist Ashley Hutchings met guitarist Simon Nichols were both members of the Ethnic Shuffle Orchestra. The band rehearsed above Simon Nichols’ father’s medical practice, in a house called Fairport, in Fortis, Muswell Hill. This house would lend its name to a future musical institution a year later.
A year later, in 1967, guitarist Richard Thompson and drummer Shaun Frater joined bassist Ashley Hutchings met guitarist Simon Nichols, and became Fairport Convention. However, quickly, Fairport Convention’s lineup changed.
The newly formed Fairport Convention played their first concert at St Michael’s Church Hall, Golder’s Green, North London. That night, a member of the audience Martin Lambie convinced the rest of Fairport Convention that he could play better than their drummer Shaun Frater. This would be the first of many changes in lineup over the next forty-eight years.
Things have never gone smoothly for Fairport Convention. There’s been numerous changes in lineup, fallouts and even the occasional musical sabbatical. Despite this, Fairport Convention have still managed to release twenty-five studio albums between their eponymous debut album in June 1968, and their twenty-fifth album, Myths and Heroes, which was released on Matty Grooves Records.
For any group, releasing their twenty-fifth album is quite an achievement. However, in the case of Fairport Convention, the founding fathers of English folk rock, this was an amazing achievement. Several times, it looked as if Fairport Convention were about to become history. Somehow, they pulled through, though not necessarily without the occasional casualty. Fairport Convention have lived to fight another day, and last year, recorded their twenty-fifth album Myths and Heroes.
Myths and Heroes features thirteen tracks, including the Chris Leslie composition Myths and Heroes, Theodore’s Song, Love At First Sight and Grace and Favour. Chris Leslie cowrote The Fylde Mountain Time/ Roger Bucknall’s Polka with Dave Pegg, and Weightless/The Gravity Reel with James Wood. Ric Sunders penned The Gallivant and Jonah’s Oak. The other five tracks on Myths and Heroes were cover versions. This includes Ralph McTell’s Clear Water, Rob Beattie’s The Man in the Water, Anna Ryder’s Bring Me Back My Feathers and P.J. Wright’s Home. John Condon was written by Richard Laird, Sam Starrett and Tracey McRory. These thirteen tracks became Myths and Heroes, which was recorded at Woodworm Studios, in Barford St. Michael, Oxfordshire.
Recording of Myths and Heroes started at Woodworm Studios, in March 2014, and was completed in November 2014. For seven months, Fairport Convention worked on the twenty-fifth studio album of their career. They brought onboard their favoured producer, John Gale, who co-produced Myths and Heroes with Fairport Convention. Their lineup included founding member and vocalist Simon Nichols, who played guitar and electric guitar. Dave Pegg played bass, double bass, mandolin, bass ukulele, bouzouki, tenor banjo and added vocals. Chris Leslie played violin, mandolin, bouzouki, banjo, Celtic harp, tenor guitar, chromatic harmonica, whistle and added vocals. Ric Saunders played violin, ukulele, bass ukulele and keyboards. Gerry Conway played drums and percussion. However, to complete Myths and Heroes Fairport Conventions brought in some guest artists, and a member of the Fairport Convention family.
This included bassist Matt Pegg, who played on four tracks. However, most of the guest artists were brought in to play on just one track, The Gallivant. The string section included violinists Joe Broughton, Paloma Trigas and Aria Trigas. They were joined by a horn section that featured trumpeter Rob Spalton, tenor saxophonist Emma Jones and alto saxophonists Jake Thornton and Benjamin Hill. These guest artists all played their part in Myths and Heroes, which was released in two stages.
As 2015, dawned, Fairport Convention were on their Winter Tour. During the tour, Fairport Convention played tracks from Myths and Heroes. So, it made sense to sell the album after shows. Fairport Convention fans could also buy copies of Myths and Heroes from their website from the 1st of January 2015. However, everyone else had to wait until March 2015. That’s when Myths and Heroes was eventually released. By then, the critics had had their say.
Mostly, reviews of Myths and Heroes were positive. Yet again, critical acclaim accompanied the release of a Fairport Convention album. This seemed fitting, given Myths and Heroes was Fairport Convention’s twenty-fifth album since they formed in 1967. However, what Fairport Convention’s latest album, Myths and Heroes sound like? That’s what I’ll tell you.
Myths and Heroes opens with the title-track, Myths and Heroes. Straight away, Fairport Convention’s rhythm section, guitars and violins drive the arrangement along. Chris Leslie delivers a questioning, probing vocal. His lyrics draw inspiration from the Romulus and Remus, the main characters in Rome’s foundation myth. As Chris paints pictures with his lyrics, violins urgently sweep and swirl. Meanwhile, the rhythm section, guitars and mandolin match the urgency of the violins. It’s Fairport Convention doing what they do best, playing their award winning brand of folk rock.
Clear Water was penned by Ralph McTell, who in the sleeve-notes writes of his admiration and respect for Fairport Convention. His lyrics are delivered by Simon Nichol, against a much more traditional arrangement. Everything from an acoustic guitar, violins, percussion, drums and ukelele combine with harmonies. Simon’s vocal is full of hope as sings: “I want clear water from here to the horizon.” This is a metaphor for the journey that’s life. He’s a realist though. He knows it won’t always be plain sailing. Despite this, Simon is forever an optimist, with hope filling his voice during this quite beautiful song.
The traditional folk sound continues on The Fylde Mountain Time/Roger Bucknall’s Polka. Fairport Convention deploy a myriad of traditional instruments. At the heart of the song is multi-instrumentalist Dave Pegg. If he can strum or pluck it, he’s guaranteed to get a tune out of it. Bazoukis add to the Greek influence and sound on Roger Bucknall’s Polka which is truly joyous and uplifting.
From the opening bars, it’s obvious that Theodore’s Song is more than a little special. The song tells the story of Theodore, a travelling watch and clock repairer and musician, who travelled across Oxfordshire in the first half of the 20th Century. He had been hurt, and hurt badly. Chris Leslie takes charge of the vocal and tell his story. His worldweary vocal brings the lyrics to life. Meanwhile, drummer Gerry Conway marks time. An acoustic guitar, ukelele and tenor guitar combine, as Chris tells the story of how Theordore was jilted at the altar, and how he never was the same after that. Together, Fairport Convention play their part in a song that manages to be heartbreaking, emotive and also, beautiful.
Violins urgently play, drums pound and Fairport Convention’s rhythm section kick loose on Love at First Sight. Bursts of search guitars are added, as Fairport Convention get into their stride. They’ve been transformed into a hard rocking folk rock band. Chris Leslie tells the story of the lengths a woman goes to join become a Morris dancer. Having done so, she finds love. This hook laden, irresistible rocky track tells her story as only Fairport Convention can do.
John Condon marks a return to a more traditional folk sound. Wistful violins play and a guitar is strummed, before Simon Nichol delivers melancholy vocal. He tells the story of those who fell on the Belgian battlefields during World War 1. In John Condon’s case, he was a “wee lad who’ll not grow old, heroes who won’t come home, here they lie in Belgian fields and Picardy.” It’s a heartbreaking song, that brings home the folly of war, and reminds the listener of all the lives that were lost, including many like John Condon, who were just boys.
For recording of The Gallivant, Fairport Convention brought onboard the Broughton’s Conservatoire Folk Ensemble. They supply the string and horn section. Meanwhile, Fairport Convention drive the arrangement. Again, they deploy an eclectic selection of instruments. Drums and keyboards are joined by an Ibanez bass, a mandolin, and electric violins. They play their part in a stirring, scorching slice of folk that’s guaranteed to get any party started.
Rob Beattie wrote the wistful sounding The Man in the Water. From the opening lines: “there’s a man in the river, policemen standing in a circle, round the man, man in the water, who sees nothing but circles,” you’re captivated. The track has a cinematic sound. Especially with the understated arrangement, and Chris’ wistful, questioning vocal. He’s searching for answers. Who was he, what did he do? Meanwhile, swathes of melancholy strings, a Celtic Harp, drums and a bouzouki join the fretless bass. Fairport Convention play thoughtfully and with subtlety, framing Chris’ vocal, on what’s one of Myths and Heroes’ highlights.
Anna Ryder wrote Bring Me Back My Feathers on what was originally a five-string banjo. However, when she bought it in a charity shop in 1987, it had lost a string. She’s never rectified this, and still managed to write this song. Chris Leslie sings the lead vocal and plays a banjo. Gerry Conway’s drums provide the heartbeat. Soon, the arrangement unfolds. An electric violin, Ibanez bass, percussion and electric guitar enter, and drive the arrangement along. It has a much more traditional folk sound. So has Chris’ vocal. It’s needy and hopeful as he sings: “bring me back me sweetheart, else I cannot live, bring me back me sweetheart, anything I give.” Chris’ vocal plays an important part in the sound and success of Bring Me Back My Feathers.
Grace and Favour was written by Chris Leslie after visiting the Grace Darling Museum in Bamburgh. That’s where he saw the gold medal awarded to Grace Darling from the Humane Society. She rescued nine people from a raging storm. Here, Fairport Convention tell her story, and pay tribute to a incredibly brave woman. From the opening bars, Chris’ lyrics are cinematic. So much so, that if you close your eyes, the scenes unfold before your eyes. Meanwhile, a violin, electric guitar, bouzouki and the rhythm section provide the backdrop, as this breathtaking story of courage and selflessness unfolds.
As Weightless/The Gravity Reel unfolds, Chris delivers a despairing vocal. He brings to life Weightless’ lyrics, which deal with loss. The arrangement floats along slowly. Drums mark time, violins add a melancholy sound and Chris’ vocal is full of despair. Then as a crystalline guitar weaves its way across the arrangement and Celtic violins sweep and swirl, The Gravity Reel begins. It was inspired by the film Gravity, which tells the story of a woman rebuilding her life after losing a child. The deliver of the lyrics: “I am striving, am striving to rebuild,” is heartfelt and full of hope, hope for the future. Just like Weightless, The Gravity Reel is a truly poignant and moving song.
Home was written by P.J. Wright. An acoustic guitar is strummed before Chris vocal enters. He’s in a reflective mood, realising that the years are passing by. That’s why he sings: “this is home and where I’ll stay.” He wants to be with his family and friends. Later, there’s a sense of realisation: “were any of us ever aware, we’re living on borrowed time?” By the, a guitar and violin combine with the rhythm section and percussion play. They provide a backdrop to Chris’ sudden realisation of how “we’re living on borrowed time.” It’s a wakeup call, and makes him realise how precious life is.
Jonah’s Oak closes Myths and Heroes. A melancholy violin plays, a guitar is strummed and they rhythm section play slowly, thoughtfully and with a subtlety. Together, they provide a beautiful, wistful track that’s the perfect way to close Myths and Heroes.
Myths and Heroes is Fairport Convention’s twenty-fifth album since they formed in 1967. Since then, there’s been numerous changes in lineup, fallouts and even the occasional musical sabbatical. Despite this, Fairport Convention have still managed to release twenty-five studio albums between their eponymous debut album in June 1968, and their twenty-fifth album, Myths and Heroes, which was released on Matty Grooves Records. It’s a very welcome addition to Fairport Convention’s discography.
On Myths and Heroes, we hear three different sides to Fairport Convention. There’s the traditional folk sound, balladry and Fairport Convention where they kick loose, and rock out. Much as I like the traditional folk sound, Fairport Convention are at their best delivering beautiful ballads and unleashing their trademark folk rock sound. Both feature the veteran band at the peak of their powers. All their years of experience shines through on Myths and Heroes, Fairport Convention’s twenty-fifth album in forty-eight years. Fairport Convention, the founding fathers of English folk rock, might be reaching veteran status, but as Myths and Heroes shows that they’re still a band with much to offer.
FAIRPORT CONVENTION-MYTHS AND HEROES.
HENRY AND FLEETWOOD-ON THE FOREST FLOOR E.P.
HENRY AND FLEETWOOD-ON THE FOREST FLOOR E.P.
Recently, I’ve noticed that there’s been a shortage of quality new music. At one point, it looked like the well had almost run dry. While the first couple of months of the year are always quiet, this year was worst than most. That’s apart from a few European labels, who continually, manage to release innovative music. Granted the reissue market was still vibrant. Nostalgia it seems, is the future for the music industry. Then over the last couple of weeks, things started to change. Gradually, the music industry was beginning to awake from its slumber. More and more new albums were starting to hit the shelves of record shops. Even better, some of the best music was coming out of Scotland.
This included Bill Wells and Aidan Moffat’s The Most Important Place In The World, Errors Lease Of Life and The Phantom Band’s Fears Trending. They were they of the best albums of 2015, so far. Newcomer David Knowles had just released his debut album Footsteps. It showcased one Scotland’s rising stars. David Knowles however, isn’t Scotland’s only rising star.
Far from it. Two more rising stars of Scotland’s vibrant music scene are Henry and Fleetwood, who will release their On The Forest Floor E.P. on Glasgow’s Olive Grove Records, on 13th April 2015. The One The Forest Floor E.P. is the first collaboration between Martin John Henry of De Rosa and Gillian Fleetwood of the State Broadcasters.
Martin and Gillian first met when Martin was the opening act for Danish songwriter Agnes Obel. Gillian was playing the harp for Agnes Obel. During the tour, they Martin and Gillian bonded over their shared love and appreciation of Hamish Imlach, Michael Marra and The Blue Nile’s music. Soon, the pair were playing live together.
They didn’t waste any time. Realising they shared a lot in common musically, they made their debut at none other than Cirque Royal in Brussels. That’s where they covered Elliott Smith’s Between the Bars. This was just the start of their musical relationship.
Originally, Gillian Fleetwood, who was born and brought up in Inverness, grew up playing traditional Scottish music. This resulted in Gillian pursuing a career in music.
Since then, Gillian has released two albums, including Aventine, which was released on the Play It Again Sam label on 2013. Gillian has also also toured the world, playing in Europe, USA, Mexico and Brazil with the Scottish harp duo The Duplets. That’s not the only band Gillian has been a member of.
Somehow, Gillian has found the time to record two critically acclaimed albums with the Glasgow based folk-pop band, State Broadcasters. Their debut album was The Ship and The Iceberg, which was released in 2009. Three years later, and the State Broadcasters returned with Ghosts We Must Carry in 2012. Since then, Gillian’s been developing her skills as a composer.
Gillian was part of the Distil programme, which helped her to hone her skills as a composer. She proved a natural, and in 2015, was a featured composer by Mr McFall’s chamber at Glasgow’s prestigious Celtic Connections festival. Not long after that, Gillian and Martin John Fleetwood recorded their On The Forest Floor E.P.
For those unfamiliar with Martin John Henry’s work, he’s a songwriter who hails from Bellshill, in Lanarkshire. Bellshill has previously produced many musicians, including members of the Teenage Fanclub, Soup Dragons and BMX Bandits. Martin is just the latest graduate of Bellshill.
Previously, Martin was the lead singer of De Rosa. They released three albums. Their debut was Mend, released on Chemikal Underground in 2006. Two years later, in 2008, De Rosa self released their sophomore album Appendices 2008. However, a years later, and De Rosa were back on Chemikal Underground, where they released what was their swan-song, Prevention. After that, Martin embarked upon a solo career.
Two years after De Rosa released their final album, Martin released his debut The Other Half Of Everything. It had been funded by Creative Scotland, and was released on Gargleblast Records in 2011. Since then, Martin has collaborated with other Scottish musicians, including Malcolm Middleton, King Creosote. Malcolm has also worked with author Michel Faber, and had his music featured in the movie The Great Hip Hop Hoax. His latest coloration is with Gillian Fleetwood.
Following the tour with Danish songwriter Agnes Obel, Gillian and Martin headed into Gargleblast Studios to record their debut E.P. On The Forest Floor. It features four tracks, where Gillian and Martin explore themes like birth, wildness, partnership and solitude. To do this, they combine Gillian’s harp with a guitar and synths. The result was the On The Forest Floor E.P.
Opening the On The Forest Floor E.P. is The Forest Floor. A guitar is strummed insistently, a harp is plucked and Martin delivers a needy, hopeful vocal. Invitingly he sings: “so you found the rest of me at chapel door, come and find the best of me on the Forest Floor.” As Martin lays bare his soul, flourishes of an elegiac harp, keyboards and ethereal harmonies accompany him. Later, a searing electric guitar cuts through the arrangement. Then a droning synths and harmonies close It plays a part in an song that’s beautiful, dramatic, emotive and haunting song.
Forestry has a sparse, understated arrangement. Just a slow, broody bass and crystalline guitar accompany Martin’s tender, emotive vocal. So, do harmonies and crispy drums. Gillian’s harp adds another contrasting and disparate sound. Meanwhile, Martin delivers an impassioned vocal, about living life in the wilderness. By now, elements of folk, pop and rock are combining seamlessly. Together, they create another track where drama, beauty are omnipresent. Its success is down to the genre melting backdrop, and Martin’s ability to bring the lyrics to life.
Urgently synths beep and squeak on Timber. Strings sweep. They’re joined by short, sharp, swathes of ethereal harmonies. Gillian plucks her harp, while drums provide the heartbeat and guitars help drive the arrangement along. Joining them are melancholy strings and those ethereal harmonies. Together, they combine elements of Scottish traditional music, folk, prog rock and rock. It’s a potent and irresistible fusion, where music’s past and present combine.
Closing the On The Forest Floor E.P is A Perfect Mess. It’s quite different from the previous track, but a very beautiful song. Martin’s vocal veers between despairing and hopeful. Accompanying him, are swells of strings, washes of synths and harmonies. Later, drums are added. Slowly, they add a thoughtful backdrop. Then Gillian’s elegiac harp and a searing guitar are added just at the right time. Everything just seems to fall into place, resulting in the perfect way to close the On The Forest Floor E.P.
As P.T. Barnum once said, leave them wanting more. That’s what Henry and Fleetwood do. The four tracks on the On The Forest Floor E.P. whet your appetite. You’re left wanting to hear more of from this unlikely partnership.
Martin John Henry and Gillian Fleetwood might seem like unlikely collaborators. After all, John was part of De Rosa, an indie rock band, while Gillian was a member of Scottish harp duo The Duplets. However, Gillian was also a member of folk-pop band State Broadcasters. However, it was over their mutual love and appreciation of The Blue Nile, Hamish Imlach and Michael Marra they bonded.
These three artists have one thing in common, they’re hugely talented songwriters and storytellers. Almost seamlessly, they bring lyrics to life. So does Martin. His worldweary voice sounds as if he’s lived several lives. He brings life and meaning to the lyrics. Meanwhile, Gillian contributes to the ethereal harmonies and plays harp. Both of Gillian’s contributions are part of innovative, genre-melting soundscapes.
Over the four tracks on the On The Forest Floor E.P., Martin and Gillian combine disparate musical genres. There’s everything from elements of classical, electronica, folk, pop, prog rock, rock, soul and Scottish traditional music on On The Forest Floor E.P. Seamlessly, these musical genres melt into one, and play their part in four flawless and innovative tracks, which will be released on Glasgow’s Olive Grove Records, on 13th April 2015 as Henry and Fleetwood’s debut E.P.On The Forest Floor E.P.
The release of Henry and Fleetwood’s On The Forest Floor E.P. is the first of what’s hopefully, many collaborations between Henry and Fleetwood. It’ll also whet your appetite for, Henry and Fleetwood’s debut album which will be released on Olive Grove Records later in 2015. If Henry and Fleetwood’s debut album is as good as their On The Forest Floor E.P., it’ll find them rubbing shoulders with the great and good of Scottish music when the award are handed out at the end of 2015.
HENRY AND FLEETWOOD-ON THE FOREST FLOOR E.P.
BEATSPOKE-THE JOURNEY IS THE DESTINATION.
BEATSPOKE-THE JOURNEY IS THE DESTINATION.
It’s been eleven years since Josh Fontan and Sarah Gessler formed Beatspoke in 2004. Since then, singer Sarah Gessler and beat maker and producer have released two albums as Beatspoke. Their debut album No Rush was released to critical acclaim in 2009. It caught the imagination of critics, and was hailed as an innovative album. Spinner Magazine Spain went as far as to describe Beatspoke as the “best new act” of 2009. Then as 2009 drew to a close, and the annual awards were handed out, French radio Grenouille called No Rush the “best debut” album of 2009. For Beatspoke, and what they described as their unique brand of future vintage soul, the future looked bright.
Especially considering how No Rush had been received within the the Nu Beats and soul communities. Nu Rush was a fusion of the two genres. So two disparate communities sat in judgement on No Rush, Beatspoke’s manifesto for slow living. They were both impressed by music that wasn’t just moderne and innovative, but paid homage to the classic soul sound of yesteryear. Beatspoke’s contemporaries and peers realised that here No Rush was a groundbreaking album. So did promoters and festival bookers.
Soon, Beatspoke were rubbing shoulders with some of the biggest names in the Nu Beats and soul communities. This included Alice Russell, Bonobo, Dam Funk, Diplo, DJ Vadim, Simbad, Theo Parrish and Wax Tailor. Before long, Beatspoke’s music was being heard by a much wider audience. It seemed that Beatspoke’s star was in the ascendancy. Surely, this was the perfect time for Beatspoke to release their sophomore album?
Beatspoke seemed to be in no rush to release their sophomore album. A year and then two years passed. Soon, three years became four, five and six. However, Beatspoke hadn’t split-up. No. They were still touring their impressive live show. During their downtime, Beatspoke were working on their sophomore album, The Journey Is The Destination, which is out now on BBE Music.
Many people didn’t realise this. Like many artists, Beatspoke had been working on their album in between live dates. To do this, beat maker and producer Josh Fontan and singer Sarah Gessler brought onboard a few of their musical friends. This included Joseph Derteano, Metropolis and Pumpkin, RQM and Sneaky. They feature on five of The Journey Is The Destination’s ten tracks. So do beats, analogue synths, live looping, harmonies, spoken word vocals, video game controllers, tambourines and Sarah Gessler’s soaring soulful vocal. When all this is combined, the result is The Journey Is The Destination, a musical roller coaster from Beatspoke.
Opening The Journey Is The Destination is Seed Of Doubt, which features trumpeter Joseph Derteano. Keyboards are joined by a sultry sounding trumpet and thunderous drums. Then comes Sarah’s soulful, soul-baring vocal. Meanwhile, synths bubble and buzz, fingers click and the trumpet sympathises at Sarah’s plight. Her vocal and Joseph’s trumpet, play crucial roles in bringing the lyrics to Seed Of Doubt to life.
The introduction to Untended sounds like listening to a really old, much loved vinyl album. That’s down to the clicks, crackles and pops. Soon, however, Sarah’s powerhouse of a vocal enters. Her vocal has been multi-tracked, so she sings harmonies. Behind her, synths buzz, bubble and meander, drums crack and percussion is added. Their raison d’être is to frame Sarah’s soulful powerhouse.
Washes of synths and crunchy drums open Beg and Plead. They’re joined by handclaps and Sarah at her most soulful. She combines power and sass, as her vocal soars above the arrangement. Harmonies accompany her. So do old school, Acid House synths. They’re an interesting addition, and prove a contrast as Sarah struts her way through a sassy slice of Nu Soul.
Mellow keyboards open Sink Or Swim, before Sarah delivers a vocal that veers between needy and hopeful. Handclaps, pounding drums and washes of keyboards accompany Sarah, who also adds harmonies. As Sarah delivers her vocal, it’s as if she’s been searching, searching for who she really is. Sometimes, her vocal is full of hope, other times it’s tinged with despair. She experiences a range of emotions, and in doing so, reminds me of Erykah Badu, Ledisi and Angie Stone.
On Solid Intervention Beatspoke are joined by hip hoppers Metropolis and Pumpkin. Washes of synths are panned right to left. Soon, beeps punctuate the arrangement, synths buzz and drums crack. Atop the arrangement sits Sarah’s soulful, emotive vocal. She’s joined by a swaggering rap, handclaps and buzzing synths. Later, a sultry spoken word vocal is added. This is just the latest contrasting layer, in track that’s variously edgy, urban, futuristic, soulful and sultry.
As Joy unfolds, keyboards play, the arrangement reverberates. Soon, drums crack as Joy features Sarah Gessler vocal that’s variously heartfelt, haunting and emotive. It’s without doubt Sarah’s best vocal on The Journey Is The Destination.
Futuristic, sci-fi synths and combine with thunderous drums that crack on Never Enough. This grabs your attention. So does Sarah’s vocal. As usual, it’s soulful, but this time, is subtle and almost understated. Soon, though, it’s growing in power and passion. From there, it veers between understated and powerful, to soulful, sassy and thoughtful, as later, she vamps and struts her way through Never Enough questioning: “where does this chain break?”
Fading Fast sees the return of Pumpkin, who earlier, featured on Solid Intervention. He plays his part in an arrangement that’s starts off, understated. Swathes slow rippling synths provide a backdrop for Sarah’s despairing vocal. It’s captivating. That’s what grabs your attention. Then percussion and drums join slow, deliberate keyboards. Later, buzzing synths are used to add an element of drama. They fill the spaces left by drums and vocal. Later, Sarah adds another of her spoken word vocals. Her vocal is almost a rap, as she adds vampish harmonies, on an innovative fusion of musical genres and influences.
Lately features another of the guest artists, RQM who collaborated with The Tape on Hip Hop Is Dead. Again, there’s an old school analog sound, before swathes of synths add an element of drama. They’re a scene setter for Sarah’s deliberate, dramatic vocal. She’s soon joined by RQM. He’s the perfect foil for Sarah, his vocal adding to the drama. Later, Sarah’s vocal grows in power, before she delivers a soliloquy. It’s full of frustration and anger, as she delivers lyrics full of social comment. Sarah’s impassioned delivery of the lyrics are at heart of track’s success.
Closing The Journey Is The Destination, is Fortress which features another guest artist, Sneaky. A prolonged stab of keyboard, scrabbling bass, a thunderous buzzing synth and crisp drums provide a backdrop for Sarah’s pensive vocal. Instruments flit in and out of the arrangement. It’s full of contrasts. One minute synths beep and buzz, the next wistful strings play. They reflect the sadness and despair in Sarah’s vocal, as one last time, she lays bare her soul for all to hear.
Six years after the release of their debut album No Rush, Beatspoke return with their sophomore album The Journey Is The Destination which is out now on BBE Music. It’s been a long time coming, but features Beatspoke doing what they did on No Rush, fusing disparate musical genres.
Just like they did on No Rush, Beatspoke fuse Nu Beats and Nu Soul with electronica and hip hop. They’re four of the musical mainstays that have influenced Beatspoke on The Journey Is The Destination. So has classic soul. Along with Nu Soul, it’s influenced Sarah Gessler as a vocalist .Listen carefully, however, and other musical genres shine through on The Journey Is The Destination.
Sometimes, Beatspoke’s squelch synths reference late eighties Acid House. Then there’s Beatspoke’s thunderous drums. They’re a feature of many recent Nu Soul albums. Other times, The Journey Is The Destination briefly takes on an experimental sound. That’s not surprising, as Beatspoke were hailed as innovators following the release of No Rush. They’ve decided to continue innovating on The Journey Is The Destination.
Beatspoke it seems, aren’t content to stand still. That’s been the case since they released their debut album No Rush, in 2009. It was released in 2009 to critical acclaim, and Beatspoke were hailed as innovators. Beatspoke’s star was firmly in the ascendancy.
Since then, they’ve worked with some of the biggest names in Nu Beats and Nu Soul, including Alice Russell, Bonobo, Dam Funk, Diplo, DJ Vadim, Simbad, Theo Parrish and Wax Tailor. However, Beatspoke haven’t released an album since 2009. So they had no alternative to innovate, again.
If Beatspoke released No Rush II, it would’ve been the wrong album, at the wrong time. Instead, Beatspoke had to innovate. So, they headed into the studios, where they recorded ten tracks. Joining them were some of Beatspoke’s musical friends. This included Joseph Derteano, Metropolis and Pumpkin, RQM and Sneaky. They played their part in what Beatspoke describe as their pursuit of “soulful high-fidelity.” Eventually, The Journey Is The Destination was complete and Beatspoke were belatedly back.
Nearly six years after the release of their debut album No Rush, Beatspoke were back with their sophomore album The Journey Is The Destination. Six years had passed since Beatspoke released No Rush. That’s not surprising. Josh Fontan and Sarah Gessler, wrote Beatspoke’s manifesto for slow living. They believe in a slower pace of life. This extends to making music. So, who knows when we’ll next hear from Beatspoke again? Until then, Beatspoke’s pursuit of “soulful high-fidelity,” The Journey Is The Destination, can provide the soundtrack to Beatspoke’s manifesto for slow living.
BEATSPOKE-THE JOURNEY IS THE DESTINATION.
DON RAY-GARDEN OF LOVE.
DON RAY-GARDEN OF LOVE.
Although Don Ray played an important role in European disco music, working with Marc Cerrone and Alec Constandinos, Don only ever released one solo album, Garden of Love, released in 1978. Garden of Love was co-produced by Marc Cerrone, who released albums like Love In C Minor, Cerrone’s Paradise and Supernature. Don Ray had collaborated with Marc Cerrone on his 1976 debut album Love In C Minor,1977s Cerrone’s Paradise, and would work with Marc again on Cerrone IV-The Golden Touch, released in 1978. However, even though Don Ray only released one solo album, Garden of Love, it’s an album that features some amazing music, from the disco classics of Got To Have Loving and Midnight Madness, to the jazz funk of Standing In the Rain. This made Garden of Love a Euro Disco classic, which was recently reissued as double vinyl album by Because Music. This is the only way to buy Garden of Love this year. Other inferior reissues won’t come close to the quality of Because Music’s reissue of Garden of Love, which will allow fans of Euro Disco music the opportunity to hear Don Ray’s only solo album again.
Since 1977, Don Ray had been a busy man, collaborating with Marc Cerrone and Alec Constandinos. Don had worked with Marc Cerrone on two albums, Cerrone’s Paradise and Cerrone IV-The Golden Touch. Now, however, was Don Ray’s time to step out of the shadow and record his debut solo album, Garden of Love. Little did Don know, but this would be his only solo album.
Joining Don Ray for the recording of what would become Garden of Love was Marc Cerrone, who cowrote the six tracks on the album with Lene Lovich and Don. Marc and Don co-produced Garden of Love, with Marc also playing synths and drums on the album. Other familiar faces were Madeline Bell and Sue Glover, who’d both sung backing vocals on Cerrone’s Paradise, which Don collaborated on. They were joined by Kay Garner, who like Sue Glover, had contributed backing vocals on Cerrone IV-The Golden Touch. These female vocalists weren’t singing lead vocals, with male vocalists Lee Rich and Rob King chosen for the role. The reason for this was simple, Don wanted to distinguish his album from Cerrone’s. Lee Rich who sung most of the lead vocals, was known to Don, having previously sung on albums by the Kongas and Revalacion. Together with a small, tight band, Don recorded six tracks at London’s Trident Recording Studios, where Cerrone recorded his early albums. With Garden of Love completed during December 1977 and January 1978, the album was scheduled for release in August 1978.
Garden of Love was released in August 1978, where it would join Cerrone’s fourth album Cerrone IV-The Golden Touch. The album reached number 113 in the US Billboard 100, while reaching number four in the Disco Charts. Two singles were released from Garden of Love, with the disco classic Got To Have Loving the first single to be released. It reached number forty-four in the US Billboard 100, while the jazz funk single Standing In the Rain failed to chart. However, although both Garden of Love and the two singles weren’t a huge commercial success, Garden of Love is perceived as a classic album from the Euro Disco era, and I’ll now tell you just why that’s the case.
Opening Garden of Love is the classic disco track Got To Have Loving, which was the first single released from the album. The track gets underway with a combination of pounding drums, synths, keyboards and swirling strings, before blazing horns join the arrangement. Straight away, the track has a really catchy sound, which is added to when the trio of backing vocalists unite. Although there are similarities with Cerrone’s Paradise, which was released at the same time, especially the strings and drum sound. However, the use of male vocalists gives the track a quite different sound. The vocal is delivered with emotion and power, while the backing vocalists respond to his call. Meanwhile, synths, thunderous drums and braying horns all play their part in the dramatic arrangement. When the arrangement is pared down to just the drums, you can feel the drama and tension increase. Then when the arrangement rebuilds, it’s a myriad of drums, synths, keyboards and a loping, funky bass line. As the track heads a close, it somehow just keeps getting better. Backing vocalists, combine with Lee’s lead vocal as this brilliant track powers to its impressive and dramatic ending.
Body and Soul has a a quite different sound, opening with percussion and drums combining, before the track takes on a funky sound. The funkiest of bass lines, combines with synths, joining the drums and percussion. Unlike other tracks on the Garden of Love, this track doesn’t have a male lead vocal. Instead, it sees the joyous combination of Madeline Bell, Kay Garner and Sue Glover unite, while the deliver the lyrics almost like a chant. A flute soars above the busy arrangement, which now, combines elements of funk and even Afro-beat. However, good as the arrangement is, the highlight of the track is the joyful, united vocals of Madeline, Kay and Sue.
When Midnight Madness gets underway, the track combines elements of disco and funk. The song literally bursts into life, with the tempo the quickest on Garden of Love at 128 beats per minute. Not only that, but it’s the best track on the album. Here, Madeline, Kay and Sue’s backing vocalists accompany a powerful, sassy vocal from Lee Knight. Sung against an arrangement that’s a mass of cascading, swirling strings, a relentless drum beats, sweeping synths and blazing horns it’s an irresistible sounding, sizzling slice of the finest disco music. For nearly six minutes, the track is driven along by the pounding beat, while the trio of backing vocalists and Lee Knight deliver their best vocals on the album. This is one of these songs where everything is perfect about it, the arrangement, vocal and production from Don Ray and Marc Cerrone. It really is the highlight of Garden of Love.
How do you follow one great track? Quite simply with another. Standing In the Rain was the second single released from Garden of Love, and amazingly failed to chart. That seems remarkable given the quality of the song. With its driving drumbeats, punchy rasping horns, percussion and synths accompanying Lee’s vocal, the tempo is quick, the arrangement fuses elements of Euro disco, funk and electronic music. Again, Madeline, Kay and Sue contribute some scintillating backing vocals when the lead vocal drops out. For much of the arrangement, there’s no vocal, with synths and drums to the fore driving the track along, while horns and percussion augment Cerrone and Don’s production. What strikes me about the track is its timeless nature. Often albums from the late seventies that feature synths a lot, have aged badly. This isn’t the case here, with the track having a contemporary, almost timeless sound. Not only that, but it’s laden with energy and sounds fantastic.
The title track, Garden of Love sees the tempo drop to 107 beats per minute, which is the slowest track on the album. Again, percussion and crunchy drums open the track, before shimmering guitars enter, giving way to Lee’s raw vocal, full of chagrin. Madeline, Kay and Sue’s backing vocalists offer a contrast, their voices sweet and soulful, while there’s an edge to Lee’s voice. As his vocal drops out, the drums signal a change in tempo and sound. Guitars take the lead, giving the track a very different sound, almost laid back, mellow sound. Quickly, the guitars are replaced by percussion and synths, as the track takes on a different sound. However, this sound is just as compelling and captivating, on a track that although quite different from previous tracks, with its mellow and quite beautiful sound.
Closing Garden of Love is My Desire another track that bursts into life, mixing Latin, disco and jazz funk. Horns blaze as the track opens, joined by percussion, punchy drums and guitars, before a lilting, sad sounding vocal enters. The tempo increases as drums help drive the track along, reaching 128 beats per minute. Lush strings enter, just as percussion and punchy drums decide to drive the track along. When the backing vocalists enter, their voices are subtle, almost overpowered by the rest of the dynamic arrangement, which mixes elements disco and Latin music seamlessly. A combination of rasping horns and swirling string combine with drums and percussion as the song heads to its dramatic ending, after seven and a half magical minutes of the catchiest, finest disco music. It seems Don Ray decided to keep this gem of a track until last, and it’s a fitting way to end this visit to his Garden of Love.
It seems quite fitting that although Don Ray only released one solo album, Garden of Love, it was a classic disco album. On Garden of Love are two stunning slices of disco music Got To Have Loving and Midnight Madness, while Don demonstrates his musical versatility on Love is My Desire, a sizzling jazz funk track. Although there are some similarities with Marc Cerrrone’s Cerrone’s Paradise, Don’s use of male vocalists helps distinguish the two albums’ sound. Like Cerrone’s Paradise, Don Ray’s Garden of Love is a classic Euro Disco album, that demonstrates that American producers didn’t have the monopoly on producing quality disco music.
While the album wasn’t a huge commercial success, Garden of Love should’ve been a bigger success. Even thirty-seven years later, Garden of Love still sounds as good as did in 1978. Especially on Because Music’s recently reissued double vinyl version of Don Ray’s Garden of Love. It’s the only way to listen to Garden Of Love this year. Other versions don’t come close. This gives a new generation of disco lovers the opportunity to rediscover one of the classic albums of the Euro Disco era, Don Ray’s Garden of Love.
DON RAY-GARDEN OF LOVE.
HIGHLIFE ON THE MOVE-SELECTED NIGERIAN AND GHANIAN RECORDINGS FROM LONDON AND LAGOS-1954-1966.
HIGHLIFE ON THE MOVE-SELECTED NIGERIAN AND GHANIAN RECORDINGS FROM LONDON AND LAGOS-1954-1966.
The importance of Highlife in modern Nigerian and Ghanian culture can’t be understated. It was, after all, the first genre of modern popular music in both countries. As such, it’s important to recognise and celebrate, the importance of Highlife in Nigeria and Ghana. After all, without Highlife what would modern music sound like in Nigeria and Ghana. However, Highlife’s influence stretches much further than just two countries.
Highlife’s influence stretches far and wide. Across Africa, Highlife found an audience. Before long, it became a musical phenomenon. Its sound and influence reached Europe, and then Britain. Soon, London began to play an important part in Highlife’s development and history.
Indeed, it was in London, in 1958 that a young music student Fela Ransome-Kuti arrived to study music. Soon, Fela was introduced to London’s vibrant jazz and Caribbean music scenes by his friend and former piano teacher Wole Bucknor. Not long after that Fela Kuti and His High Rakers recorded his first songs, Fela’s Special and Aigana. Both these tracks feature on Highlife On The Move-Selected Nigerian and Ghanian Recordings From London and Lagos-1954-1966, which will be released by Soundway Records as a double CD or triple LP on 30th March 2015.
Highlife On The Move-Selected Nigerian and Ghanian Recordings From London and Lagos-1954-1966 celebrates not just the evolution of Highlife, but how it travelled from West Africa to London. During the period between 1954 and 1966, Highlife evolved, incorporating elements of jazz, mambo and calypso. By the end of this period, 1966, Highlife had changed, and reinvented itself. That ensured that it stayed relevant.
Throughout that period, a new generation of musicians played their part in the development of Highlight. Many of these musicians feature on Highlife On The Move-Selected Nigerian and Ghanian Recordings From London and Lagos-1954-1966. The compilation also features lengthy and detailed sleeve-notes from Highlife historian Dr. Markus Coester. He tells the story of Highlife’s development during this period. Dr. Markus Coester are the perfect accompaniment to the music on Highlife On The Move-Selected Nigerian and Ghanian Recordings From London and Lagos-1954-1966. The story behind the music begins as the twentieth century dawned.
Highlife’s roots can be traced back to Ghana, at the turn of the twentieth century. This new genre, was a fusion of musical influences. Highlife incorporated the traditional harmonic 9th, and married them with the melodic and rhythmic structures of traditional Akan music, whose origins can be traced to the Gulf of Guinea. The other component of Highlife was Western ideas and instruments. Often, this included jazz-tinged horns and several guitars, which would drive the arrangements along. It was an irresistible musical fusion, which appealed to a cross section of society.
In the early days of Highlife, everyone from the local workers, through to the aristocracy and expats were won over by its sound. Regardless of their creed, colour or cultural background, Highlife caught people’s imagination. Even then, it was obvious that Highlife was going to become a musical phenomenon.
By the twenties, Highlife’s popularity begin to spread throughout West Africa. From Sierra Leone, to Gambia, Liberia and Nigeria Highlife’s popularity spread. Local musicians took Highlife and adapted its sound. Right through to the thirties, Highlife was providing the soundtrack to much of West Africa. However, Highlife’s popularity still had to peak. That would take another twenty years.
As the fifties dawned, Highlife was about to enter what was a golden era in Ghana and Nigeria. Highlife was hugely popular. It provided the soundtrack to many a nightclub. Patrons happily danced the night away to a local Highlife band. However, before long, Ghanians and Nigerians could listen to Highlife in the comfort of their home.
Unlike other countries in West Africa, Ghana and Nigerian had a fledgling recording industry. While it may not have been as sophisticated as those in Britain, Europe or America, it allowed local Highlife bands to record their music. This was a game-changer.
Previously, if a Highlife band wanted to have their music heard throughout Ghana or Nigeria, they had embark on an arduous tour. Not any more. Instead, they could enter the recording studio and record some of their music. This was then released on various record labels.
Some budding entrepreneurs setup record labels. This included many owners of recording studios. They quickly realised the benefits of vertical integration, and added a record label to their business portfolio. However, many British, European or American labels setup African subsidiaries. These subsidiaries would release the latest Highlife releases.
This allowed those that attended dances, to listen to the music at home. Even better, it allowed music lovers in far flung parts of Ghana and Nigeria to hear the same music as those who lived in towns and cities. Ghana and Nigeria’s nascent recording industry seemed to make music much more democratic. It also began to transform the lives of musicians.
Suddenly, musicians had another income stream. Previously, touring was the only way to make money. While they made some money out of touring, it was hard work and they were away from home for long periods of time. There were also limits to the amount of people they could play to. Releasing records changed this. Now, anyone who could afford the price of their records, could hear their music. Ghana and Nigeria’s music industry were transformed. However, another turning point came in 1957 and 1960.
1957 was the year that Ghana gained independence. All of a sudden, there was a sense of hope, hope for the future in Ghana. Now that Ghana was an independent country, it was as if the country had been revitalised. Suddenly, Ghana was in the throes of a social and cultural revolution. This newly independent country looked like it had a great future ahead of it. Part of this, was music, and specifically Highlife. Three years later, and Nigeria was also freed from the shackles of colonialism.
Just like Ghana before it, Nigeria became an independent country in 1960. Now free to make its own decisions regarding its future, the same sense of hope for future swept Nigeria. Anything seemed possible in this newly independent country. The Highlife coming out Nigeria was proof of this. However, Highlife’s influence was spreading much further afield.
Across West Africa, Highlife grew in popularity. However, not every every West African country was releasing the same amount of music as Ghana or Nigeria. Especially, some of the war torn countries. That’s partly why Ghana and Nigeria became centres of excellence for Highlife. By the, London had joined the Highlife map.
Ever since the early fifties, a generation of West Africans had arrived in Britain seeking a new, and better life. For many West Africans, they saw Britain as the land of opportunity. The Windrush Generation arrived with hope and optimism, for a brighter future. With them, The Windrush Generation brought with them their music, Highlife. It became an important part of the evolution of British cultural history.
Some of The Windrush Generation included a generation of aspiring musicians. They arrived dreaming of finding fame and fortune through their musical ability. Other Ghanian and Nigerians who arrived in Britain, didn’t intend to stay. Instead, they arrived to study, before returning home, to help revolutionise their newly independent country.
One of the visitors to Britain arrived in 1958. He was a young music student, called Fela Ransome-Kuti, who arrived to study music. Soon, Fela was introduced to London’s vibrant jazz and Caribbean music scenes by his friend and former piano teacher Wole Bucknor. Two years later, in 1960, Fela Kuti and His High Rakers recorded the first songs of a long and illustrious career, Fela’s Special and Aigana. Both of these tracks feature on Highlife On The Move-Selected Nigerian and Ghanian Recordings From London and Lagos-1954-1966, which I’ll tell you about.
Disc One.
There’s a total of twenty tracks on disc one of Highlife On The Move-Selected Nigerian and Ghanian Recordings From London and Lagos-1954-1966. This includes Ginger Folorunso Johnson and His Afro-Cuban Band, Nigerian Union Rhythm Group, Steve Rhodes and His London Hi-lifers, Soundz Africana, The Black Star Band, Buddy Pipps Highlifers and The Quavers. There’s also contributions from Afro Rhythm Kings, Bobby Benson and His Orchestra and Adams’ African Sky Rockets. Some groups feature twice. That’s fitting, given their contribution to the development of Highlife. However, choosing the highlights of disc one isn’t easy. It’s no exaggeration to say that Highlife On The Move-Selected Nigerian and Ghanian Recordings From London and Lagos-1954-1966 is full of quality music. It’s a case of all killer, and no filler. That’s not surprising when you study the track-listing. It essentially features a whose who of Highlife. That’s also the case with disc two.
Disc Two.
Looking at the eighteen tracks on disc two of Highlife On The Move-Selected Nigerian and Ghanian Recordings From London and Lagos-1954-1966, it also oozes quality. No wonder. The great and good of Highlife showcase their considerable skills. This includes some of the artists on disc one. Fela Ransome-Kuti and The Highlife Rakers, Nigerian Union Rhythm Group, Ginger Folorunso Johnson and His Afro-Cuban Band, Buddy Pipp’s Highlifers, Nigerian Union Rhythm Group and The Black Star Band all make a welcome return. New names include Bobby Benson and His Combo, Rans Boi’s African Highlife Band, West African Swing Stars, T. Odueso’s Akesan Highlifers, Willie Payne & The Starlite Tempo and Victor Ola-Iya & His ‘Cool Cats. They’re just some of the names that make disc two of Highlife On The Move-Selected Nigerian and Ghanian Recordings From London and Lagos-1954-1966 such a tantalising prospect. Just like on disc one, choosing a few of the highlights is almost impossible. So, what I’ve decided to do, is tell you about some of the artists on the two discs of Highlife On The Move-Selected Nigerian and Ghanian Recordings From London and Lagos-1954-1966 and their music.
Undoubtably, there’s few bigger names in African music than Fela Ransome-Kuti. Even those with just a passing interest in Highlife know his name and reputation. Fela features three times on Highlife On The Move-Selected Nigerian and Ghanian Recordings From London and Lagos-1954-1966. This includes his two earliest recordings, Fela’s Special and the joyous Aigana (Let Us Go Home). They were recorded in 1960 but have passed many people by since then. They were released on Melodisc in either January or February 1960. Back then, Fela was just an aspiring musician. He had never been in a recording studio before. However, it doesn’t show. It’s an assured and polished performance from Fela Ransome-Kuti and The Highlife Rakers, who had a great future ahead of him. Little did he realise it. Nowadays, he’s one of the giants of West African music. His other contribution is Nigerian Independence, a collaboration between Fela Ransome-Kuti and Koola Lobitos. Nigerian Independence was released as a single on Fela’s RK label in 1960. Its celebratory sound is full of hope for Fela’s newly independent home country.
With Highlife having made the journey from West Africa to London, it’s not surprising that many multicultural bands were formed. This included Kwamalah Quaye Sextetto Africana. Augustus Kwamalah Quaye was a London born singer and musician. His parents were from the Gold Coast. He had been making a living as a musician for some time. Then when Highlife grew in popularity, Augustus rediscovered his African roots and formed a Highlife band. It included Cardiff born guitarist Laurie Denitz. His father was from Cape Verde. Frank Holder, who had arrived in Britain to join the R.A.F., played bongos. Along with Chris Ajilo on claves, they recorded two tracks for London based label Melodic around 1954. This included Sons Of Africa, the first London Highlife track. Its understated, percussive sound was a trendsetting track, that piqued Melodisc’s interest in this new musical genre, Highlife.
The West African Rhythm Brothers were founded in the forties by Brewster Hughes and Ambrose Campbell. Soon, they had established a reputation as the top African band in Britain. Their theme tune was Egbe Mi, which was recorded for Melodisc, but never released. Belatedly, Egbe Mi makes a welcome debut Highlife On The Move-Selected Nigerian and Ghanian Recordings From London and Lagos-1954-1966. Iwa D’Arekere is the other contributions The West African Rhythm Brothers. It was the B-Side of Ero Ya Kewawo, which was written by Ambrose Campbell. Just like Egbe Mi, Iwa D’Arekere shows just why The West African Rhythm Brothers were Britain’s best African band of that time.
Originally, Willie Payne was an actor. That’s how he first found fame. Then Willie became a Highlife bandleader in Lagos. This became Willie’s second career. Then he moved to London. Willie found life in London tough. So, he recorded a song that told the folks back home how tough life was. This was Wa Sise, which Willie Payne and The Starlite Tempo recorded in 1957, for Melodisc. His fiery proto-rap is accompanied by some of London’s top Highlife musicians, including Brewster Hughes. Together, they’re a potent combination, and a reminder of Nigeria’s pre-independence days.
Without doubt, one of the highlights of Highlife On The Move-Selected Nigerian and Ghanian Recordings From London and Lagos-1954-1966 is Oju Rere (Merciful Eye), one of two tracks from Steve Rhodes and His London Hi-lifers. It was written by none other than Chris Ajilo, and recorded by Steve Rhodes and His London Hi-lifers around 1958. They were a band Steve put together in London, during his second spell at Melodisc. Oju Rere is sometimes described as Gospel Highlife. Steve Rhodes and His London Hi-lifers’ other contribution is the jazzy Drink A Tea. It’s a sultry sounding track, that shows another side to Steve Rhodes and His London Hi-lifers, and indeed Highlife.
Apart from penning Oju Rere, Chris Ajilo was also enjoying a successful recording career. Chris Ajilo and His Cubanos recorded Afro Mood in the early sixties. It’s one of the most complex and polished tracks on Highlife On The Move-Selected Nigerian and Ghanian Recordings From London and Lagos-1954-1966.
When John Santos Martins recorded Maggie and Fancy Baby, he was fortunate enough to be accompanied By Zeal Onyia and His Band. It featured much travelled drummer Bobby Martins. He was a vastly experienced drummer, who had played across West Africa, from the Gold Coast to Ghana and Nigeria. Then when Bobby moved to London, he won the BBC taken competition What Makes A Star. That’s not surprising, given Bobby’s vast experience and the fact that he was training at London’s Central School Of Dance music. Here, John Santos Martins Accompanied By Zeal Onyia and His Band, which featured Bobby Martins, are responsible for two highly accomplished West African Highlife calypsos.
The Quavers were a group of musicians from the Gold Coast, whose leader was Joe Meneza. He lead the group as they recorded a track by the little known composer and musician Mathola, Money Money. Mathola plays bongos and piano, and takes charge of the lead vocal, delivering an impassioned, pensive vocal. The result is a powerful track, where Mathola ruminates about “all this money.”
It’s no exaggeration to describe The Ghana Black Star Band, as an all-star band. They featured several talented songwriters ande musicians. Among their number were Oscar More, Eddie Quansah and and Eddie Davis. Often, members came and went. So, their numbers were augmented musicians from Nigeria and Sierra Leone. This resulted in The Ghana Black Star Band becoming one of the top Highlife bands in England between 1962 and 1966. Abrokyri Awo Yi and Ekuona Rhythm feature The Ghana Black Star Band at the peak of their powers. Both tracks are real rarities, and as such, a very welcome addition to Highlife On The Move-Selected Nigerian and Ghanian Recordings From London and Lagos-1954-1966.
The final track I’ve chosen from Highlife On The Move-Selected Nigerian and Ghanian Recordings From London and Lagos-1954-1966 is The African Messenger’ Highlife Piccadilly. It’s a glorious fusion of jazz and Highlife, that shows just what’s possible when talented and innovative musicians, push musical boundaries to their limits.
Highlife On The Move-Selected Nigerian and Ghanian Recordings From London and Lagos-1954-1966, which will be released by Soundway Records, on 30th March 2015, is without doubt, the perfect introduction to Highlife. It’ll be available as double CD or a triple LP, which features thirty-eight tracks. That’s not all. The compilation also features lengthy and detailed sleeve-notes from Highlife historian Dr. Markus Coester. He tells the story of Highlife’s development during this period. Dr. Markus Coester sleeve-notes are the perfect accompaniment to the music on Highlife On The Move-Selected Nigerian and Ghanian Recordings From London and Lagos-1954-1966, which charts the evolution of Highlife.
Between 1954 and 1966, Highlife, like all good music, evolved. Elements of Afro-Cuban, calypso, Caribbean, jazz, mambo and soul found its way into Highlife. Constantly, Highlife was evolving. That was the case in Ghana, Nigeria and London, the three Highlife capitals featured on Highlife On The Move-Selected Nigerian and Ghanian Recordings From London and Lagos-1954-1966,. By 1966, Highlife was a very different musical genre than it was in 1954. This evolution was crucial.
If a musical genre fails to evolve, it risks becoming irrelevant. That never happened to Highlife. It remained relevant between 1954 and 1966, the period that Highlife On The Move-Selected Nigerian and Ghanian Recordings From London and Lagos-1954-1966 covers.
Nearly fifty years later, and Highlife is still relevant and influencing yet another new generation of musicians, like it influenced previous generations of musicians. However, Highlife also documented one of the most important period in Ghanian and Nigerian history.
Highlife documented the pre and post independence period in Ghana and Nigeria. Musicians provided a voice for the people of Ghana and Nigeria, voicing their fears and hopes, hopes for the future of countries newly reborn. This can be heard on Highlife On The Move-Selected Nigerian and Ghanian Recordings From London and Lagos-1954-1966, which covers the pre and post independence periods in Ghana and Nigeria. However, there’s much more to the music on Highlife On The Move-Selected Nigerian and Ghanian Recordings From London and Lagos-1954-1966.
The music on Highlife On The Move-Selected Nigerian and Ghanian Recordings From London and Lagos-1954-1966 is also celebratory joyous, pensive and uplifting. It features songs about hardship, hope, love and religion. There’s songs from the Windrush Generation, telling of their new life. Meanwhile, Steve Rhodes and His London Hi-lifers take Highlife in the direction of gospel, which shows yet another side to Highlife. That’s why Highlife On The Move-Selected Nigerian and Ghanian Recordings From London and Lagos-1954-1966 is best described as a lovingly compiled, and eclectic compilation, that charts the development of Highlife between 1954 and 1966, and is the perfect introduction to Highlife.
HIGHLIFE ON THE MOVE-SELECTED NIGERIAN AND GHANIAN RECORDINGS FROM LONDON AND LAGOS-1954-1966.
ERRORS-LEASE OF LIFE.
ERRORS-LEASE OF LIFE.
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.
Its 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.
ERRORS-LEASE OF LIFE.
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