NEXT STOP SOWETO-ZULU ROCK, AFRO DISCO AND MBQANGA 1975-1985.
NEXT STOP SOWETO-ZULU ROCK, AFRO DISCO AND MBQANGA 1975-1985.
Back in October 2014, Strut Records released the latest volume in their critically acclaimed Next Stop Soweto series, Next Stop Soweto Presents Spirit of Malombo: Malombo, Jabula, Jazz Afrika 1966-1984. It was released to widespread critical acclaim, and lauded as the finest instalment in the Next Stop Soweto series. So much so, that Next Stop Soweto Presents Spirit of Malombo: Malombo, Jabula, Jazz Afrika 1966-1984 was hailed as one of the best compilations of 2014. Many thought that following up Next Stop Soweto Presents Spirit of Malombo: Malombo, Jabula, Jazz Afrika 1966-1984, wasn’t going to be easy.
Given there had been a gap of four years between volumes two and three, music lovers resigned themselves for a wait. However, it was always worthwhile. Compiler Duncan Brooker, who has masterminded the previous volumes of the Next Stop Soweto series, had never let them down. He’s a student of South African music and knows where the musical gold is buried. Duncan has been busy, unearthing more musical gold, that’ll feature on the soon to be released, fourth instalment of the Next Stop Soweto series.
Just five months after the release of the critically acclaimed Next Stop Soweto Presents Spirit of Malombo: Malombo, Jabula, Jazz Afrika 1966-1984, Strut Records will release Next Stop Soweto-Zulu Rock, Afro Disco and Mbqanga 1975-1985 on 23rd March 2015. Next Stop Soweto-Zulu Rock, Afro Disco and Mbqanga 1975-1985 features fifteen tracks from what was a hugely important period in South African musical and political history.
The ten year period that Next Stop Soweto-Zulu Rock, Afro Disco and Mbqanga 1975-1985 covers, was a hugely important one for South Africa. At the start of this period, 1975, South Africa was tightly controlled by Apartheid. This had been the case since 1970, when non-white political representation was abolished. As a result of this legislation, a generation of black South Africans were denied education and health care. If these services were available, often they were third rate. That wasn’t the end of the segregation. Even neighbourhoods, transport and even beaches were segregated. It was a shameful period in South African history, one that prove costly for South Africa and South Africans of all race.
Given what was going on in South Africa, the international community had to bring in sanctions against South Africa. Soon, trade embargoes were brought against South Africa. Sanctions meant countries couldn’t trade with South African. However, with South Africa rich in gold and diamonds, some companies defied the sanctions. Mostly, though sanctions resulted in Western companies not trading with South Africa. Similarly, many sportspeople and musicians refused to tour South Africa.
Throughout the Apartheid era, many nations refused to send teams to South Africa. Individual sportspeople also refused to tour South Africa. It was the same with musicians. Many musicians refused point blank to tour South Africa. That was despite being offered huge sums of money. Those that toured South Africa, were blacklisted. However, despite the lack of musicians touring South Africa, Western music influence the evolution of South African music.
Everything from disco, rock, funk, punk, prog rock and soul were influencing the latest generation of South African musicians and producers like Hamilton Nzimande. They were absorbing what can only be described as eclectic selection of music. This includes everything from War and Edwin Star and prog rock pioneers Yes and producer Norman Whitfield. They influenced South African collectives like Xoliso, Marumo and Kabasa who feature on Next Stop Soweto-Zulu Rock, Afro Disco and Mbqanga 1975-1985. These collectives fuse rock and soul with Zulu lyrics and township harmonies. It’s a potent and pioneering fusion of influences. Sadly, it struggled to be heard by a wider audience.
Again, this was down to South Africa’s oppressive and regressive apartheid laws. Things got worse after the Soweto Uprising in 1976. After that, bands struggled to find venues where they could play live. Often, restrictions were imposed upon their movements. Then when they found a venue, they would come under the ever watchful eye of the secret police. However, at least a few radio stations, including Radio Bandu would play their music.
For South African musicians, especially black musicians, it wasn’t easy to have their music heard by a wider audience. Eventually, a few radio stations decided to make a stand. This included Radio Bandu. They were one of a group of radio stations who would play music by collectives like Xoliso, Marumo and Kabasa. Despite their music being played on some radio stations, still these musicians couldn’t make a living out of music. So, they had to hold down a day job. Music became more like a hobby, than a way of making a living. Eventually, that would change.
By the early eighties, apartheid was on its last legs. Many South Africans realised things had to change. By 1983, a new constitution was passed, implementing what was called the Tricameral Parliament. This was another step towards ridding South Africa of apartheid. A few years later, black homelands were declared nation states. South Africa was well on its way to becoming a modern country, fit for purpose and the 21st Century. One of its up-and-coming exports was its music.
As the eighties dawned, what was initially called world music exploded in popularity. One of the many nations at the vanguard of the world music explosion was South Africa. Hugh Masakella, Mahotella Queens and Ladysmith Black Mambazo were among the first wave of South African artists to take the West by storm. Since then, South African music has become hugely popular, and compilations like Strut Records Next Stop Soweto-Zulu Rock, Afro Disco and Mbqanga 1975-1985 are eagerly awaited.
No wonder. Compilations like Next Stop Soweto-Zulu Rock, Afro Disco and Mbqanga 1975-1985 are a musical treasure trove offering musical riches aplenty. Next Stop Soweto-Zulu Rock, Afro Disco and Mbqanga 1975-1985 features fifteen tracks that show how South African music was evolving during this period. This includes contributions from Saitana, Movers, Abafana Bama Soul, Damara, Harari and The Drive. They’re just a few of the artists on Next Stop Soweto-Zulu Rock, Afro Disco and Mbqanga 1975-1985. With quality like this, choosing the highlights of Next Stop Soweto-Zulu Rock, Afro Disco and Mbqanga 1975-1985 isn’t going to be easy.
Opening Next Stop Soweto-Zulu Rock, Afro Disco and Mbqanga 1975-1985 is Unga Pfula A Chi Pfalo, a track from Kabasa. Their music was a fusion of funk, jazz, rock and soul. That’s apparent from Unga Pfula A Chi Pfalo a track from their sophomore album Searching. It was released on Atlantic in 1981. Unga Pfula A Chi Pfalo is without doubt, one of Searching’s highlight. It’s a fusion of Western and South African music. With its combination of jazz, funk, rock and Zulu lyrics, there’s no better way to open Next Stop Soweto-Zulu Rock, Afro Disco and Mbqanga 1975-1985. You’re left wanting more, much more.
From the opening bars of The Actions’ Kokro-Ko (Hide and Seek) you’re hooked. It’s an irresistible and joyous fusion of Afro-beat, funk and soul. The Actions get into the groove, combining equal measures Afro-beat and funk. As for the vocal, it’s sung in a call and response style. Forever the showman, The Actions lead singer drives the rest of the group to even greater heights, on what’s essentially a joyous and irresistible call to dance.
Almon Memela released his one and only album Funky Africa in 1975. It was released on Atlantic, and showcases one of South Africa’s best kept secrets. Recorded at Superdisc Studio’s Johannesburg, and produced by Almon Memela, Funky Africa features ten tracks. The final track on Funky Africa, which was was The Things We Do In Soweto. It’s uber funky, jazz-tinged and soulful. Quite simply, The Things We Do In Soweto is a truly timeless track from Almon Memela.
Marumo are another band who only released one album. It was Modiehi, which was released on the Spade label in 1982. Produced by West Nkosi, it’s another fusion of Western and South African music. The Marumo collective combine elements of funk, gospel, soul and African rhythms with Zulu lyrics. The result is funky, soulful, spiritual and truly uplifting.
For anyone who likes their music soulful, funky and dance-floor friendly, then they’ll love Saitana’s 1,2,3. Slow and funky, the rhythm section and keyboards provide a mesmeric and funky backdrop for the vocal. It’s truly soulful, and is the finishing touch to this dance-floor friendly hidden gem.
The Movers were one of the most prolific South African bands. Their recording career began in 1969, and lasted right through until the early eighties. They recorded everything for a variety of labels, including South African budget labels. This included funk, soul and disco. One of The Movers’ best disco cuts was Soweto Disco. However, there’s more to Soweto Disco than disco. Everything from Afro-beat, funk, jazz and disco can be heard on Soweto Disco, a floor-filler from The Movers.
Xoliso are another of the collectives from the South African townships. Their music was played on Radio Bandu, following the Soweto Uprising in 1976. Straight away, it’s apparent that Xoliso are a talented group of musicians. There’s a rocky influence before Xoliso combine Zulu lyrics with soul, funk, jazz and Afro-beat. It’s a tantalising fusion of influences and musical genres
Damara are another of South African music’s best kept secrets. They never enjoyed the same success as their contemporaries. However, they made some melodic and soulful music. This includes Mmamakhabtha. It’s a fusion of musical genres. Elements of Afro-beat, funk, jazz, rock and soul shine through on what’s a glittering hidden musical gem.
When Harari were founded in the late sixties, they were known as The Beaters. However during a tour through Rhodesia in the seventies, The Beaters decided to change their name to Harari. This marked a change in fortune for Harari. Their fusion of Afro-beat, rock, funk and fusion proved popular. They released their debut album Genesis in 1977. Their sophomore album Mañana followed in 1978. Kala-Harari-Rock was released on the Gallo label in 1979. It features Give, a truly innovative sounding track. Harari make good use of synths, adding a proto boogie sound. The rhythm section add a disco influence, while Masike Mohapi delivers a vocal masterclass. He’s aided and abetted by gospel tinged harmonies. When they combine with the organ, the gospel influence intensifies, and you find yourself worshipping at Harari’s altar.
Isaac and The Sakie Special Band are another band who’ve been influenced by the disco sound. That’s apparent from the get-go. Get Down is a soulful, funky slice of disco with a spiritual twist. It’s guaranteed to fill any dance-floor, and just like many of the tracks on Next Stop Soweto-Zulu Rock, Afro Disco and Mbqanga 1975-1985 is timeless.
Closing Next Stop Soweto-Zulu Rock, Afro Disco and Mbqanga 1975-1985 is The Drive’s Ain’t Sittin’ Down Doin’ Nothing. It’s another funky track, with a jazzy twist. There’s also an Afro-beat influence in this mesmeric and sultry funky track where The Drive, another of South Africa’s long forgotten groups showcase their considerable skills.
Many thought that following up Next Stop Soweto Presents Spirit of Malombo: Malombo, Jabula, Jazz Afrika 1966-1984, wasn’t going to be easy. However, they hadn’t reckoned on Duncan Brooker’s in-depth knowledge of South African music. He knows where musical gold is buried in South Africa. There’s certainly plenty on musical gold and hidden gems on Next Stop Soweto-Zulu Rock, Afro Disco and Mbqanga 1975-1985.
So good is the music on Next Stop Soweto-Zulu Rock, Afro Disco and Mbqanga 1975-1985, that choosing just a few of the compilation’s highlights was impossible. In the end, I picked ten of the fifteen tracks. I could just as easily have picked any of the tracks on Next Stop Soweto-Zulu Rock, Afro Disco and Mbqanga 1975-1985. It’s not often you can say that about a compilation. However, Next Stop Soweto-Zulu Rock, Afro Disco and Mbqanga 1975-1985 is crammed full of quality music. As music goes, Next Stop Soweto-Zulu Rock, Afro Disco and Mbqanga 1975-1985, which will be released by Strut Records on 23rd March 2015 is an eclectic compilation that oozes quality.
With contributions from Kabasa, The Actions, Almon Memela, Saitana, Movers,, Damara, Harari and The Drive, Next Stop Soweto-Zulu Rock, Afro Disco and Mbqanga 1975-1985 is case of all killer, and no filler. That’s what we’ve come to expect from the Next Stop Soweto series. It’s now one of the most eagerly awaited compilation series. That will continue to be the case, as long as Strut Records release compilations as good as Next Stop Soweto-Zulu Rock, Afro Disco and Mbqanga 1975-1985. It’s a worthy addition to the Next Stop Soweto series. I’ll go even further than that, Next Stop Soweto-Zulu Rock, Afro Disco and Mbqanga 1975-1985 is the best instalment in the Next Stop Soweto series. One listen to Next Stop Soweto-Zulu Rock, Afro Disco and Mbqanga 1975-1985, and you’re sure to agree.
NEXT STOP SOWETO-ZULU ROCK, AFRO DISCO AND MBQANGA 1975-1985.
DEKE LEONARD-KAMIKAZE.
DEKE LEONARD-KAMIKAZE.
By the time Deke Leonard came to releasing his sophomore album Kamikaze, in April 1974, the last few years had been turbulent, to say the least. Deke had been fired from Man in May 1972. Looking back, it wasn’t entirely unexpected.
Man had released their fourth studio album, Do You Like It Here Now, Are You Settling In? in November 1971. Before long, Man headed out on tour again. It seemed if Man weren’t touring, they were recording. This were taking its toll for Man. However, the show had to go on. So, after appearing on German television, Man embarked upon their latest tour.
This time, Man were heading off on a tour of Iceland, with Badfinger. However, it seemed Man were never off the road. Life for some members of Man, was becoming like one never-ending tour. Unsurprisingly, this lead to tensions within the band. Arguments became commonplace. Eventually, the tensions took their toll.
First to leave was Clive John in January 1971. He left to form Lowerth Pritchard and The Neutrons. Now a quartet, Man made their debut at a charity concert at the Roundhouse, in London.
Man’s reduced lineup made their debut at the Roundhouse, where they supported Hawkwind and Brinsley Schwarz. Not long after the concert, a double album was released, entitled Greasy Truckers Party. Then on 8th April 1972, Man recorded another live album.
This was Live at the Padget Rooms, Penarth. Man decided that Live at the Padget Rooms, Penarth should be a limited edition, low budget album. So, only eight thousand copies were pressed. They sold within a week, resulting in Man reaching number one on the low budget album chart. However, Man it seemed, were riding a roller coaster, where commercial success, controversy and disaster were commonplace.
Following the success of Live at the Padget Rooms, Penarth, Man decided to start work on their next album. When they sat down to write the album, Man it seemed, had collective writer’s block. Making matters worse, Martin Ace left Man, form a new band The Flying Aces. This however, wasn’t the end of the departures.
Around this time, Man should’ve had a revolving door, fitted to recording studios. Members came and went. Next to go was Deke Leonard. Micky Jones and Terry Williams sacked Deke Leonard. Replacing Deke was Clive John, who brought Phil Ryan and and Will Youatt, who previously, had been Lowerth Pritchard and The Neutrons. With this latest lineup of Man, Deke Leonard found himself out in the cold. So, it seemed the perfect time to embark upon a solo career.
With a few of his musical friends, Deke Leonard headed into the recording studio. They helped Deke record his debut album Iceberg. It was released in 1973.
Described as roots rock, critics were won over by most of Iceberg. Deke couldn’t please all the people all the time. Some of the instrumentals and more experimental tracks veered towards filler. Despite this Iceberg sold reasonably well. So with a spring in his step, Deke headed out on tour.
Deke headed out on tour with Status Quo and Thin Lizzy. Opening for such big names, gave Deke’s nascent solo career a boost. However, before long, Deke decided to form a band, Iceberg.
Having been a member of a band for so long, it took Deke a bit of getting used to being a solo artist. Like many artists before him, he must have missed the solidarity and gang mentality. So, he formed Iceberg. They were a short-lived band, who split-up by the time Deke Leonard released his sophomore album Kamikaze, which was recently rereleased by Esoteric Recordings.
For Kamikaze, Deke had penned eight of the eleven tracks. Deke cowrote Cool Summer Rain and Broken Glass and Lime Juice with Francis Leonard. Tom Riley wrote Louisiana Hoedown. These eleven tracks were recorded between June 1973 and January 1974.
Recording of what became Kamikaze, took place at three studios, Rockfield Studios, Chipping Norton Studios and Olympic Studios. Accompanying Deke, were some of his musical friends. This included another former member of Man, bassist Martin Ace. They were joined in the rhythm section by drummers Dave Charles, Keith Hodge and Tommy Riley; bassists Martin Ace, Lincoln Carr and Ken Whalley; and guitarists Brian Breeze, Lincoln Carr and Mickey Jones. Other musicians included Byron Berlin on fiddle and mandolin. Deke played guitar, piano and added vocals. Producing Kamikaze was Dave Charles. After seven months, Kamikaze was completed, and was released in April 1974.
When Kamikaze was released, it wasn’t as well received as Iceberg, which had received mostly positive reviews. Iceberg’s problem critics felt, was a couple of tracks were filler. Hopefully, that won’t be the case on Kamikaze.
Opening Kamikaze is Cool Summer Rain. Pounding mesmeric drums, searing guitars and keyboards combine to create thirty seconds of drama. Is this a taste of things to come?
It is. Blistering guitars are unleaded on Jay Hawk Special. Mesmeric drums provide the perfect accompaniment to Deke’s guitar. Soon, he’s unleashing a gnarled, despairing vocal. Then when Deke’s vocal drops out, he and his band jam. What follows is rocky, bluesy masterclass, from a band of top class musicians. When Deke’s vocal returns, his earlier despair and frustration shines through. From there, Deke and his musical friends combine to create blistering, good time rock ’n’ roll.
Sharpened Claws sees the tempo drop. Stabs of a thoughtful piano are joined by, rolls of drums and a weeping guitar. A fiddle and mandolin add to the country sound. When Deke’s vocal enters, it’s worldweary. He reminisces about nights spent carousing, and his on-off affair with the woman with Sharpened Claws.
Crystalline guitars join with a slow, rhythm section and piano on Taking The Easy Way Out. Straight away, you’re transported back to the seventies. That’s no bad thing. The first half of the decade was a golden age for music. Deke was part of this with Man. Now taking centre-stage as a solo artist, he draws inspiration from the West Coast sound, country and the Laurel Valley sound. What follows is a beautiful soul-baring ballad from Deke. it’s one of Kamikaze’s highlights, and features one of the albums best productions.
As The Black Gates Of Death open, briefly, the track takes on an experimental sound. Urgent drums and scorching guitars combine. Deke’s fingers fly up and down the fretboard. Then just like Sharpened Claws, the vocal belatedly enters. By the time it does, you’re wondering if it’s an instrumental. It would’ve worked as an instrumental. Especially given the lyrics aren’t the best on the album. They lack depth, and are almost throwaway pop, despite the bleak backstory. However, just like previous tracks, the standard of musicianship can’t be faulted.
Stacia is another short track,just a minute long and features Deke and Brian Breeze playing guitar. Although the guitar playing can’t be faulted, the track sounds like work in progress. It’s more like a demo than a finished track. Maybe it would’ve been best left-off Kamikaze?
A pounding, marching rhythm section and blistering, scorching guitars combine on Broken Glass and Lime Juice. Then the arrangement is stripped bare. Just guitars accompany Deke’s pained, pensive vocal. As memories come flooding back, the arrangement rebuilds. The pounding rhythm section and searing guitars combine, as Deke delivers a tormented vocal about forbidden fruit.
April The Third sees the tempo slow, and a fusion of blues and rock unfold. Somewhat hesitantly, blistering guitars join the rhythm section, piano and a bluesy harmonica. By the time the harmonica enters, the band have found their feet. Deke’s vocal seems to lack power, compared to the rest of the arrangement, which almost dwarfs it. Sadly, it’s as case of could do better for Deke, despite the band’s performance.
Louisiana Hoedown was chosen as one of the singles from Kamikaze. Penned by Tommy Riley of Memphis Blend. Washes of guitar play an important part. So, do some blistering licks. They provide the backdrop for Deke’s vocal. They combine well, and result in a catchy enough track that’s good, but not great.
The introduction to In Search Of Sarah and Twenty-Six Horses gallops along. That’s down to the the rhythm section, chugging guitars and piano. Deke finds his voice, delivering a vocal powerhouse. This suits the arrangement, and results in a return to form from Deke.
The Devil’s Gloves closes Kamikaze. Searing, blistering guitar licks join the rhythm section and galloping congas. They inject a sense of urgency. This is reflected in Deke’s vocal. Combining power and emotion, he delivers a probing, questioning vocal. Then when his vocal drops out, his band stretch their legs. There’s no stopping them. For the rest of the track, the band are on easy street showboating their considerable skills.
When I reviewed Deke Leonard’s debut solo album Iceberg, recently, I stated that Iceberge, despite a few disappointing tracks, was his best album. I stand by that statement. Iceberg was a couple of tracks short of a good album. Kamikaze has three poor tracks and one that’s merely average.
The Black Gates Of Death has some of the weakest lyrics on Kamikaze. That’s a great shame, as Deke’s band play really well. Stacia never rises above being filler. It sounds like a demo, and should never have made Kamikaze. April The Third features a poor vocal from Deke. It’s weak and lacks power and emotion. Louisiana Hoedown is good, but no better. Despite that, Kamikaze has its highlights.
From the opening track Cool Summer Rain through Jay Hawk Special, Sharpened Claws and Taking The Easy Way Out, things look more than promising. Then comes Stacia and The Black Gates Of Death. By then, Deke seems to have lost his way. Then on Broken Glass and Lime Juice a tormented Deke starts to try and turn things around. Sadly, it’s a false dawn. Things go wrong On April The Third and Louisiana Hoedown. However, In Search Of Sarah and Twenty-Six Horse and The Devil’s Gloves mark a return to form from Deke Leonard. By then it’s too late.
While the good tracks outweigh the bad on Kamikaze, it certainly isn’t a great album. It has its moments, but that’s it. Kamikaze certainly isn’t as good as Iceberg, which was a couple of tracks short of being a great album. That’s not the case with Kamikaze.
Just like Iceberg, there were too many tracks on Kamikaze. Eleven tracks were too many. Even the best artists in 1973 and 1974 would struggle to come up with eleven great tracks. So, there was a quality control issue with Kamikaze. Some of the tracks shouldn’t have made it onto the album. If they did, it should’ve been in a different form. The Black Gates Of Death would’ve made a good instrumental. What lets the song down are the lyrics. Sadly, that’s just one example. There’s four poor tracks on Kamikaze. That’s why Kamikaze isn’t the best introduction to Deke Leonard. If you really want to buy a Deke Leonard solo album, I’d recommend Iceberg. However, the best way to discover Deke Leonard is on the early Man albums.
The best, and cheapest way to do this, is by buying the Original Album Series five disc box set. It covers the period from 1971 to 1974. The five albums include 1971s Man, 1971s Do You Like It Here Now, Are You Settling In?, 1972s Be Good To Yourself At Least Once A Day, 1974s Rhinos, Winos and Lunatics and 1974s Slow Motion. Three of these albums, Be Good To Yourself, Rhinos, Winos and Lunatics and Slow Motion find Man at their very best. These Man classics are the perfect introduction to Deke Leonard.
DEKE LEONARD-KAMIKAZE.
BAMALOVESOUL PRESENTS ON DECK 3.
BAMALOVESOUL PRESENTS ON DECK 3.
Roderick Moody’s On Deck compilation series looks like it’s about to become BBE Music’s latest success story. The latest instalment in the series, BamaLoveSoul Presents On Deck 3 will be released on 23rd March 2015. That’s just over a year after the much lauded BamaLoveSoul Presents On Deck 2. After its success, it looked like the On Deck series compilation series was about to become a fixture of BBE Music’s release schedule. That proved to be the case. The story behind the On Deck series, began three years ago.
For any aspiring entrepreneur, spotting a gap in a market can be a short cut to success. For Roderick Moody, that proved to be the case. He, like a lot of people he knew, liked their music soulful. However, local radio in Alabama was churning out a diet of mainstream R&B. There was no alternative. It was a case of Hobson’s choice. That’s until Roderick Moody decided to shake thing up.
Roderick, whose better known as DJ Rahdu is known as a musical tastemaker. He’s a man with his finger on America’s musical pulse. Not only that, but Roderick is also the host of the Diamond Soul Xxxperience Show. Alabama was the next state to hear the Diamond Soul Xxxperience Show.
Once a week, for two hours, citizens of Alabama could listen to the Diamond Soul Xxxperience Show. This meant all things soulful. It didn’t matter whether it was Caribbean, funk, hip hop, house or jazz as long as it was soulful DJ Rahdu would give it a spin. There was only one musical no-go area….R&B. DJ Rahdu figured that other stations were catering for the needs of fans of R&B. This has proved a successful formula. What started in a small way, is a worldwide phenomenon.
Having established a reputation as a purveyor of all things soulful, DJ Rahdu decided to hot the streets. He began holding open mic events. Then in 2012, DJ Rahdu launched his BamaLoveSoul.com website. It’s been discovered by over one-million music fans worldwide. Then in 2012, DJ Rahdu released BamaLoveSoul Presents On Deck.
Released to critical acclaim, the compilation proved a commercial success. So much so, that on two years later, BamaLoveSoul Presents On Deck 2 was released by BBE Music on 10th February 2014. BamaLoveSoul Presents On Deck 2 caught people’s attention.
When compiling BamaLoveSoul Presents On Deck 2, DJ Rahdu asked artists to submit a new track. The response was overwhelming. So, he spent time working his way through this mountain of soulful music. Eventually, he managed to settle on a dozen “future soul classic for the new b-boy generation.” These tracks became BamaLoveSoul Presents On Deck 2, which showcased a new generation of artists whose raison d’être was creating soulful music. That’s the case with BamaLoveSoul Presents On Deck 3.
For BamaLoveSoul Presents On Deck 3, DJ Rahdu has picked tracks from fifteen up-and-coming purveyors of soulful music. This includes contributions from Salah Ananse, Columbia Nights, Idesia, Renee Dion, Dos Angeles, Sean Haefeli, Doc Mastermind, Henry Wu and Saturn’s Children. They’re just some of the fifteen tracks that feature on BamaLoveSoul Presents On Deck 3, which I’ll pick the highlights of.
Opening BamaLoveSoul Presents On Deck 3 is Alive, a track from Waju and Garimastah featuring Muc J. This is a collaboration between Southern Californian MC Waju and Moscow-based producer Garimastah. It featured on their Live and Direct E.P. It’s a mellow, understated slice of old school hip hop, with a dreamy, jazz-tinged sound.
After sixteen years working as a producer and DJ in Alabama, Salah Ananse knows what makes a dance-floor tick. Salah also has an impressive C.V., including remixing tracks for India Arie and collaborating with Anthony David, DJ Kemit and Gaelle. All this helped Salah’s soulful music gradually find a wider audience. Hopefully, the inclusion of the uber soulful When I Call on BamaLoveSoul Presents On Deck 3, will see Salah Ananse’s music reach an even wider audience.
Columbia Nights are based in Washington D.C. That’s where Hayling Price, John E Daise and Jason Edwards and combine the music of the past and present. Their influences include soul, fusion, hip hop and electronic music. These influences can be heard in Wait A While. It’s a slow, wistful and beautiful ballad with a needy, soulful vocal.
It was on September 2014, that Idesia released Nu as a single on Bandcamp. It’s a track that at first glance, epitomises the Nu Soul sound. Listen closely, however, and sometimes, the drums have a hip hop sound. However, what makes the track are Idesia’s vocal and her lyrics. With the right record company behind her, the future could be bright for Idesia.
Renee Dion is a stalwart of the music scene in Columbus, Ohio. She’s best known for her fusion of jazz, R&B, hip hop and soul. It’s a potent and heady brew. That’s apparent from the opening bars of Not Enough, which is slow, soulful and sultry.
Describing Sean Haefeli isn’t easy. He’s a singer, songwriter and pianist. Sean is also versatile, and is just as comfortable crooning, playing jazz, singing soul or MC-ing. That’s apparent on Essential, where genres seamlessly melt into one. The result is a track with a jazz-tinged sound that’s Essential listening.
Rob Milton must be unique. After all, no other songwriter can have written a song about love, computers and binary code? However, Rob did. Her is a collaboration between Rob Milton and MC Ill Camille. Together, they’re responsible for a captivating and soulful tale of applied mathematics and love.
J. Mitchell Melodiousfly is another talented singer-songwriter. Her contribution is Holy Breath. It’s a tantalising taste of what the Los Angeles based rising star is capable of. Having taken Tinseltown by storm, playing at The Roxy, The Temple Bar and The Hollywood House of Blues, a great future is forecast for J. Mitchell Melodiousfly. She’s been inspired by everyone from John Coltrane and Miles Davis, through Ella Fitzgerald, and Nina Simone, to Jimi Hendrix, Shuggie Otis, Erykah Badu and J Dilla. They’ve inspired J. Mitchell Melodiousfly is able to produce music that’s beautiful, melodic and sensual.
London based, Henry Wu, released his Negotiate E.P. on Ho Tep Records on 2nd March 2015. Without doubt, the highlight of the Negotiate E.P. is Joint Seventeen. Slow, mellow, laid-back and jazz-tinged, this is one of the highlights of BamaLoveSoul Presents On Deck 3.
Closing BamaLoveSoul Presents On Deck 3 is Suede Jury featuring Chris Faust and Chris Turner. Suede Jury is a Brooklyn based producer, whose music ranges from hip hop and rap to experimental music. On Soul Child, Suede Jury joins forces with Chris Faust and Chris Turner to create a track that’s variously moody, melodic and soulful. It’s the perfect way to close the latest instalment in the On Deck series.
Just like Bama LoveSoul Presents On Deck 2, Bama LoveSoul Presents On Deck 3 will allow a new generation of artists to have their music heard by a wider audience. Bama LoveSoul Presents On Deck 3 is, in effect, a showcase for their music. Hopefully, the release of Bama LoveSoul Presents On Deck 3, on BBE Music on 23rd March 2015, will give each of these artists the break they’re looking for.
After all, none of the artists on Bama LoveSoul Presents On Deck 3 are lacking in talent. Far from it. They’re all talented artists. All they need is a breakthrough. Then, their music can be heard by a much wider audience. Whether it’s hip hop, fusion, jazz or Nu Soul, each of the artists have plenty to offer. That’s apparent throughout Bama LoveSoul Presents On Deck 3.
The music on Bama LoveSoul Presents On Deck 3 is funky, jazz tinged and soulful. It’s also dreamy, ethereal, heartfelt, hypnotic, laid-back, lysergic and sometimes, futuristic. Importantly, the music on Bama LoveSoul Presents On Deck 3 is also groundbreaking.
Many of the artists on Bama LoveSoul Presents On Deck 3 are determined to innovate. That’s no bad thing. Nowadays, too much music that’s being released is anodyne and derivative. Thankfully, that’s not the case on Bama LoveSoul Presents On Deck 3 of that. The music on Bama LoveSoul Presents On Deck 3, is music for the 21st Century, from fifteen artists who hopefully, have a big future ahead of them.
BAMALOVESOUL PRESENTS ON DECK 3.
PRIMAL SCREAM-GIVE OUT BUT DON’T GIVE UP.
PRIMAL SCREAM-GIVE OUT BUT DON’T GIVE UP.
It’s never easy to followup a classic album. Countless bands have discovered that. In 1994, the latest band to realise that were Primal Scream. Three years earlier, at the height of the Acid House era, Primal Scream had released Screamadelica, a fusion of rock and dance music. Released on 23rd September 1991, Screamadelica reached number eight in Britain, and was certified double platinum. After three albums, Primal Scream had finally made a commercial breakthrough. However, as time passed by Primal Scream realised that it wasn’t going to be easy to followup Screamadelica.
Following the success of Screamadelica, Primal Scream headed out on tour, winning over rock and dance music fans simultaneously. However, not everyone was happy. Previously, Primal Scream were a rock ‘n’ roll band. Bobby Gillespie, Primal Scream’s lead singer didn’t even like dance music. He was a died in the wool rock ‘n’ roller. Then he was introduced to the Acid House scene.
Bobby, who revelled in the rock ‘n’ roll lifestyle, dived in head first. He, like the rest of Primal Scream were embracing Acid House culture. Even after Screamadelica, the party continued. Tales of hedonism were commonplace. So were stories that certain members had flown to close to the sun. Before long, the party had lasted over a year. Now it was time to record their fourth album, which became Give Out But Don’t Give Up which will be reissued on vinyl by Music On Vinyl as a double album on 23rd March 2015.
For Give Out But Don’t Give Up, Primal Scream’s songwriting team of Bobby Gillespie, Andrew Innes and Robert “Throb” Young penned eleven tracks. The title-track, the trio penned with George Clinton of Funkadelic and Parliament. Recording of the ten tracks began at the Roundhouse Studios, in London in September 1992.
When the Primal Scream arrived at the Roundhouse Studios, their lineup now included vocalist Bobby Gillespie, guitarists Andrew Young and Robert “Throb” Young and keyboardist Martin Duffy. They were augmented by various session musicians and backing vocalists. The sessions were stop start affairs, not helped by the band’s lifestyle. Some of Primal Scream had climbed onboard the horse, and embraced it. This wasn’t ideal for recording an album. It made the recording of Give Out But Don’t Give Up fraught with difficulties.
Over the next two years, Primal Scream worked at various studios in Britain and America. Different producers came, and went. Among them were Tom Dowd, George Drakoulias, David Bianco and George Clinton. They played their part in Give Out But Don’t Give Up’s sound. So did Jim Dickinson, The Muscle Shoal Rhythm Section, The Memphis Horns, Amp Fiddler and Toby Toman, Nico’s drummer. George Clinton and Denise Johnson were among the backing vocalists. Over the next eighteen months, at various studios, Primal Screamh and friends recorded Give Out But Don’t Give Up. Eventually, it was completed and ready for release in March 1994.
When critics heard Give Out But Don’t Give Up it wasn’t well received. Far from it. It received a lukewarm reception at best. Many of the critics didn’t like it. They weren’t willing to give the album a chance. Mostly, that’s because it was so different from Screamadelica. There other reason was because it was a return to the pre-Screamadelica sound.
Before Screamadelica, Primal Scream were good time rock ‘n’ roll band. They didn’t apologise for this. This was their sound. However, that was before Screamadelica. Good time rock ‘n’ roll bands, according to critics, cultural commentators and tastemakers, were “so not of the time.” On trend was house music. Sadly, old style rock ‘n’ roll bands were out of fashion. So Primal Scream found themselves with an unfashionable album out, one that the critics almost sneered at. Despite this, Primal Scream had the last laugh.
Upon its release, Give Out But Don’t Give Up reached number two in Britain, and was certified gold. The lead single Rocks, reached number seven in Britain. Then Jailbird reached number twenty-nine in Britain. The only disappointment was that the ballad (I’m Gonna) Cry Myself Blind, didn’t fare better than number forty-nine. However, Primal Scream had proved their critics wrong. The only problem with Give Out But Don’t Give Up was it was the wrong album, at the wrong time. If rock had been undergoing a resurgence in popularity, Give Out But Don’t Give Up would’ve been an even bigger success. With tracks like Jailbird, Rocks, and Everybody Needs Somebody, Give Out But Don’t Give Up is a hugely underrated album, from Primal Scream.
Jailbird is the perfect way to open Give Out But Don’t Give Up. The track almost has a false start. Quickly, you wonder where the track is heading. Then blistering guitars and the rhythm section combine with percussion. They provide the backdrop for Bobby’s swaggering, sassy vocal. Accompanied by soaring backing vocals, Bobby struts his way through the track. It’s a return to form from Primal Scream, who are back doing what they do so well, producing good time, rock ‘n’ roll music.
Straight away, Rocks brings to mind The Rolling Stones, circa Exile On Main Street. Thundering, pounding drums join bursts of searing guitars. They set the scene for Bobby, who picks up where he left on Jailbird. His vocal is a feisty, aggressive and powerful. Later, soaring, quivering harmonies sweep in. By then, Primal Scream are in full flight. It’s a joy to behold, as the comeback Kings pay homage to The Rolling Stones on a Primal Scream classic.
Just a lone guitar opens (I’m Gonna) Cry Myself Blind, the third single released from Give Out But Don’t Give Up. It’s a beautiful ballad, where a worldweary Bobby Gillespie shows his versatility as a vocalist. His vocal is needy, and hopeful as he sings: “baby I want you, baby I need you you.” Just then, gospel tinged harmonies are added. They’re a masterstroke. So, are washes of Hammond organ and stabs of piano. During the bridge, Primal Scream jam, and a guitar takes centre-stage. Aided and abetted by the Hammond organ, they set the scene for a soul baring vocal from Bobby on another of Give Out But Don’t Give Up’s highlights.
As Funky Jam unfolds, a cry of “get a little funky now,” sees Primal Scream head for the dance-floor. Soon, funk, acid house and rock are being fused by Primal Scream. However, it just doesn’t work. It sounds like a jam where the vocals were an afterthought. George Clinton, who remixed the track, didn’t cover himself in glory. It’s without doubt the weakest track on Give Out But Don’t Give Up. It’s as if Primal Scream, or their record company were determined to have a dance track on Give Out But Don’t Give Up.
Big Jet Plane is a return to form for Primal Scream after the disappointment of Funky Jam. They drop the tempo, and guitars and Primal Scream’s rhythm section combine to create a wistful backdrop. Before long, Bobby delivers a vocal that’s worldweary. Tired of life touring the world, wearily, he sings: “fly me home on a Big Jet Plane.”
Free is another track remixed by George Clinton. The sultriest of saxophones and a slow, deliberate guitar is joined by a melancholy piano. Then Primal Scream leave space for Denise Johnson’s vocal. It’s tinged with hurt at the betrayal she’s experienced. Still she manages to sing: “free again.” Later, as anger and frustration boils over, she sings don’t want to touch me, everything is broken, I don’t love you no more.” Meanwhile, the understated arrangement allows Denise to centre-stage on what’s a heart wrenching ballad.
Call On Me is another good time rock ‘n’ roll song. From the get-go, Primal Scream are at their very best. That’s the case from the band are counted in. Blistering guitars, boogie boogie piano and the rhythm section kick loose. Bobby delivers another strutting, needy vocal. Accompanying him are stabs of blazing horns, and some good time piano. When all this is combined, it’s good time rock ‘n’ roll Primal Scream style.
Struttin’ is another track like Funky Jam. It’s a fusion of funk, rock and acid. Primal Scream’s rhythm section provide 4/4 beats. They’re joined by machine gun guitars, washes of Hammond organ and a myriad of sci-fi sounds. While there’s a rocky undertow to the track, it veers off in the direction of funk and Acid House. Mostly, it’s an instrumental, with the occasional burst of “Funky Jam” added. The result is a track that almost seems out of place with most of Give Out But Don’t Give Up.
Washes of a bluesy slide guitar and an a firmly strummed acoustic guitar combine on Sad and Blue. Soon, Bobby’s delivering a heart wrenching vocal. He’s then joined by sweeping, soaring gospel tinged harmonies and a Hammond organ. Meanwhile, the rest of Primal Scream provide an understated backdrop. Soulful, bluesy and beautiful, you think things can’t get any better. They do. Bobby sings call and response, before a blistering, bluesy harmonica is added. This spurs Primal Scream to even greater heights, as they fuse blues, gospel and soul, to create a quite beautiful, soul baring paean. It’s another of the highlights of Give Out But Don’t Give Up
Give Out But Don’t Give Up is the third track to be remixed by George Clinton. Although it’s funky track, there’s a somewhat experimental sound. Horns sound, before the rhythm section lock into a slow, funky groove. They’re joined by a sultry vocal from Denise. Rocky guitars, percussion and braying horns are then joined by Bobby. From there the vocals drop out, a funky jam unfolds. Primal Scream and friends show their versatility, fusing elements of funk, rock and even Acid House. Slow, moody, funky and sometimes, lysergic it’s very different from much of Give Out But Don’t Give Up. That’s why many people described Give Out But Don’t Give Up is an album with an identity crisis. That’s unfair. Primal Scream, like they would continue to do for several albums, were constantly reinventing themselves.
A wistful piano opens I’ll Be There For You. Soon, horns that sound as if they’re from a classic soul album sound and a Hammond organ plays. They’re the signal for Bobby to deliver a heartfelt, tender vocal. As he delivers his vocal, harmonies accompany him and an acoustic guitar is strummed. Then during the bridge, the rest of Primal Scream take centre-stage. Stretching their legs they jam, before Bobby, accompanied by quivering harmonies soulfully and sincerely sings: “ I’ll Be There For You.” The way he delivers the beautiful lyrics, it’s as if he means every word.
Everybody Needs Somebody, which closes Give Out But Don’t Give Up, picks up where I’ll be There For You. It’s another slow ballad, where Primal Scream show a very different side to their music. Gone is the good time rock ‘n’ roll band. Replacing it, a band that’s responsible for an understated arrangement. Guitars and a piano play before Bobby delivers a melancholy, pensive vocal. His vocal takes centre-stage, as the arrangement unfolds. The guitar and piano become more prominent. Later, sweeping harmonies accompany Bobby. They’ve a slight gospel arrangement. Rocky guitars then replace Bobby’s vocal, as the rest of the band threaten to cut loose. That never happens, and Primal Scream ensure that Give Out But Don’t Give Up closes on on a soulful high.
Following up Screamadelica was never going to be easy for Primal Scream. They were caught between a rock and a hard place. Their traditional fan base were used to Primal Scream’s good time brand of rock ‘n’ roll. Many weren’t won over by Screamadelica. Rock ‘n’ roll and Acid House were strange bedfellows. For many, it was a case of never the two shall meet. By 1994, the Acid House era was all but over. Acid House, with its synthetic sounding music, was just the latest in a long line of musical trends. However, through Acid House, Primal Scream now had a fan base within the dance community.
While the Acid House was all but over, house music, techno and hip hop were all increasing in popularity. Dance music was here to stay. Many within the dance music community were still fans of Primal Scream. So, if Primal Scream released an album good time rock ‘n’ roll, this would alienate their new fans. Maybe, Primal Scream decided to release an album which would appeal to their old, and new fans. The result was Give Out But Don’t Give Up.
That might have seemed a good idea at the time. Here, were Primal Scream carrying on their fusion of rock and dance music. However, when the critics heard Give Out But Don’t Give Up they weren’t impressed. They didn’t hold back. Critics didn’t like Give Out But Don’t Give Up. Many accused Primal Scream of regressing, into an old fashioned rock ‘n’ roll band. That’s too simplistic though.
There’s much more than rock on Give Out But Don’t Give Up. There’s everything from Acid House to blues and funk, right through to rock soul and Southern Soul. However, Primal Scream were at their best combining blues, rock, soul and Southern Soul. Whether it’s kick ass, swaggering rock ‘n’ roll or heartfelt, soulful ballads with a bluesy hue, Primal Scream are at their very best. They never miss a beat, bringing back memories of The Rolling Stones and The Faces in their prime. That’s not all. Sometimes, Primal Scream with their soulful, bluesy sound, sound as if they’re from Memphis, not Glasgow. For ten tracks Primal Scream can do no wrong. Where things go awry, are on tracks like Funky Jam and Struttin.’
Both Funky Jam and Struttin’ were remixed by George Clinton. However, it had been a long time since George Clinton was making either hits or dance-floor friendly records. Funky Jam and Struttin’ were the wrong songs on the wrong album. Give Out But Don’t Give Up would’ve been a better album without these tracks. By doing this, Give Out But Don’t Give Up would have been much stronger album. Maybe then, critics might not have argued that Give Out But Don’t Give Up lacked direction?
Twenty-one years have passed since Since Give Out But Don’t Give Up. Primal Scream went on to release another six albums. On each of these albums, Primal Scream have constantly sought to reinvent themselves. However, Primal Scream are at their best when they’re playing their own brand good time brand of rock ‘n’ roll. It’s music that’s truly timeless. That’s the case for much of Give Out But Don’t Give Up. Whether they’re delivering their own brand of good time brand of rock ‘n’ roll, or heartfelt ballads, Primal Scream are doing what they do best on what’s the most underrated album in their back-catalogue.
Sadly, for too long, Give Out But Don’t Give Up, which will be reissued on vinyl by Music On Vinyl as a double album on 23rd March 2015, has been overlooked. That’s a great shame. It sees Primal Scream return from to what they do best playing rock ‘n’ roll. With Bobby Gillespie at the helm, Primal Scream the last real rock ‘n’ roll band, fly the flag for rock, and the rock ‘n’ roll lifestyle on Give Out But Don’t Give Up. They pick up where The Rolling Stones and The Faces left off with their own brand of good time brand of rock ‘n’ roll. Swaggering and strutting their way through Give Out But Don’t Give Up, Primal Scream, the last gang in town, were back with a bang, after their adventures in Acid House.
PRIMAL SCREAM-GIVE OUT BUT DON’T GIVE UP.
JOHNNY ADAMS-I WON’T CRY-THE COMPLETE RIC AND RON SINGLES 1959-1964.
JOHNNY ADAMS-I WON’T CRY-THE COMPLETE RIC AND RON SINGLES 1959-1964.
Johnny Adams’ recording career lasted exactly forty years. His career began in early 1958, when Johnny released his first single I Won’t Cry on Ric. It was a hit single in New Orleans, and the Southern states. For twenty-six year old Johnny Adams, this was the beginning of a forty year recording career.
After the success of I Won’t Cry, Johnny enjoyed five further hit singles on Ric. Right through to 1964, Johnny Adams was one of Ric’s success stories. However, after the death of Ric’s owner, and guiding light Joe Ruffino in 1962, Ric became a rudderless ship. That was the end of Johnny’s time at Ric. However, it wasn’t the end of his career.
Right through to Johnny Adams’ death, on 14th September, 1998, he was still working. He had just completed his ninth album for Rounder Records, Man Of My Word. Johnny Adams was a much loved artist, whose career had lasted five decades. However, it was at Ric and Ron where Johnny’s career began. His time at Ric and Ron is documented on I Won’t Cry-The Complete Ric and Ron Singles 1959-1964, which was recently was released by Ace Records. This was where Johnny Adams’ five decade career began.
By the time Johnny Adams signed to Ric, he was nearly twenty-six. Johnny was born New Orleans, on 5th January 1932. He was the eldest of ten children. Just like many future R&B and soul singers, Johnny’s introduction to music was through the church. That’s where he discovered his powerful baritone voice, that had a wide vocal range. However, music was nothing more than a hobby to Johnny. He certainly didn’t want to sing what he thought of as the devil’s music.
That’s how R&B and rock ’n’ roll music was viewed, when Johnny was growing up. R&B and rock ’n’ roll singers were doing satan’s work. So, Johnny, a deeply religious young man, stuck to singing gospel music.
Initially, Johnny was a member of The Soul Consolators. They were mentored by Bessie Griffin, who would later, become one of the biggest names in gospel music. After leaving The Soul Consolators, Johnny joined The Soul Revivers, who featured the Reverend Clay Evans, another future gospel star. However, Johnny had no ambition to take music any further. It was just a hobby. That was until one night, someone knocked on his door.
As was Johnny’s habit, he often sung when he was at home. He loved music, so it seemed natural. What he never imagined was that one of New Orleans’ songwriter, Dorothy La Bostrie would be passing his door. She had often heard Johnny singing. However, the pair had never met. That day however, Dorothy decided to speak to Johnny, as she had just written some new songs. So, she knocked on Johnny’s door and asked if he would like to sing her songs.
Previously, Johnny had only sung gospel music. Johnny hadn’t sung secular music before. This was going against everything he believed in. However, after a while, Johnny had a change of heart. Johnny Adams was about to crossover.
Dorothy decided that she would record Johnny singing her two new songs, I Won’t Cry and Who You Are. Johnny was accompanied by just a lone acoustic guitar. Once Dorothy had coaxed an emotive performance out of Johnny, she took the tape to Joe Ruffino, who owned the Ric label.
When Joe Ruffino heard the two songs, he was won over. However, it wasn’t just the songs that impressed him. No. It was the singer. Joe wanted Johnny to sign to Ric. His first single would be I Won’t Cry.
Given the version of I Won’t Cry Dorothy had recorded was just a demo, Joe decided that a new recording be made. Joe brought onboard his A&R man and guitarist Edgar Blanchard. He took a band to Cosimo Matassa’s studio, where new versions of I Won’t Cry and Who You Are were recorded. They were released in early 1958.
With the two songs recorded, Joe decided that I Won’t Cry would be Johnny Adams’ debut single. The flip side was Who You Are. Both sides had been penned by Dorthothy La Bostrie. However, by the time of the release, Joe Ruffino had gained a co-writers credit. Whether he played any part in rewriting the song is unknown? What is know, is that when I Won’t Cry was released in early 1958, Johnny Adams’ career got of to a dream start.
Before long, New Orleans’ premier R&B radio station picked up on the Dorothy La Bostrie’s tale of hurt and betrayal, I Won’t Cry. It seemed to strike a chord with people. Soon, I Won’t Cry was a hit in New Orleans. Then the song became popular across the Southern states. Despite not becoming a hit nationally, Joe Ruffino realised that Johnny Adams had potential, potential as a hit maker. So, he signed him to Ric, and a few months later, would release his sophomore single.
For Johnny’s sophomore single, Dorothy La Bostrie was nowhere to be seen. The woman who brought Johnny Adams to Joe Ruffino had been replaced by Seth David and Mac Rebennack, who later, reinvented himself as Dr. John. Along with Joe Ruffino, they penned Come On. On the flip side was Nowhere To Go, which was penned by the New York songwriting team of Fred Wise, Ben Weisman and Brad Fredericks. These two tracks were recorded by Joe Ruffino’s musical lieutenant Edgar Blanchard. Once the songs were recorded, they became Johnny’s sophomore single.
Come On, an uptempo dance track, with a poppy sheen, was chosen as Johnny Adams’ sophomore single. It was quite different from I Won’t Cry. With its poppy sound, it seems Joe Ruffino was trying to sell Johnny Adams to the youth market. This worked. Johnny enjoyed another local hit. Things got even better, when in September 1959, British label Top Rank licensed Come On. However, Come On failed to chart in Britain. Never again would any of Johnny’s songs be released in Britain. Instead, he was left to try and break the lucrative American market.
At the end of 1959, Joe Ruffino’s trusted lieutenant Edgar Blanchard left Ric. Joe had a ready made replacement in Mac Rebennack He became Joe’s new A&R man. Mac also cowrote Johnny’s third single The Bells Are Ringing with William Allen and Joe Ruffino. The B-Side was Teach Me To Forget, penned by Seth David, Larry McKinley and Mac Rebennack, who produced the two tracks with a new studio band.
The A.F.O. Combo, short for All For One, had been put together by Harold Battiste, the head of A&R for both the Ric and Ron labels. His new band, which epitomised the then New Orleans sound, had been honing their sound. On The Bells Are Ringing, everything seemed to come together for The A.F.O. Combo. Would The Bells Are Ringing see them play on Johnny’s first nationwide hit single?
It was a case of the same old same old. Just like Johnny’s first two singles, The Bells Are Ringing, which was released in 1960, sold well locally. However, still Johnny couldn’t make a breakthrough nationwide. This would be the case with Johnny’s next four singles.
Between 1960 and 1961, Johnny released a quartet of singles that failed to chart. The first of this quartet was Someone For Me, which was written by William Allen, John Marris and Mac Rebennack. The B-Side was the Delores Johnson penned Let The Wind Blow. Although it was a success in the New Orleans’ area, that was as good as it got. That was also the case with Ted Jarrett’s You Can Make It If You Try.
It had previously given Gene Allison a hit single in the mid-fifties. With The A.F.O. Combo accompanying him, Johnny reinvented You Can Make It If You Try. His tender, heartfelt reading brings new meaning to the song. Despite this when You Can Make It If You Try was released as a single in 1960, with Closer To You on the flip side history repeated itself. You Can Make It If You Try was successful in New Orleans, but still that nationwide hit eluded Johnny Adams.
Things didn’t improve for Johnny when Johnny released Wedding Day as a single in 1961. This string drenched ballad had been penned by Joe Ruffino and Morris Sweetwyne. On the B-Side was Ooh So Nice, a Frank Katz and Carl Morgan composition. Just like its predecessors, Wedding Day was popular in the South, but failed to make an impact nationally. For Johnny Adams in 1961, Life Was A Struggle.
Ironically, that was the title of Johnny’s seven single. Written by Frank Douglas and Chris Kenner, that must have been like rubbing salt into the wound. Despite this, Johnny recorded Life Was A Struggle and the B-Side I Solemnly Promise, a Mae Vince penned track. Released in 1961, Life Was A Struggle continued the familiar pattern, of selling well in the South, but nowhere else. Just like Johnny, Mac Rebennack was left shaking his head.
Mac knew that Johnny Adams had what many referred to as “star quality.” His singles sold well locally, and he was a popular and charismatic live performer. All Johnny needed was a record company willing to back him. That meant money to promote his singles. So far, Joe Ruffino had been reluctant to do so. Maybe, Joe was in his comfort zone?
While Johnny’s singles were only selling well in the South, maybe, Joe Ruffino was making money? To break Johnny nationally would take a lot of money. For Joe, this would be risky. It would be like betting the bank. However, when he found the right song, he was willing to do this.
A Losing Battle was an unlikely song for Johnny. The former gospel singer was being asked to sing a song that more than hints at adultery. Surely, Johnny would baulk at recording this track?
That proved not to be the case. Johnny went ahead and recorded the John Dauenhauer and Mac Rebennack composition. Johnny sounding as if he’s been inspired by Ray Charles, brings the lyrics to life. It’s as if he’s lived them. On the flip side was Johnny’s accusing take on John Dauenhauer and Mac Rebennack’s Who’s Gonna Love You. When Joe Ruffino heard A Losing Battle, he decided this was the track that would break Johnny Adams nationally.
That proved to be the case. A Losing Battle entered the US R&B charts on 30th June 1962, and reached number twenty-seven. Somewhat belatedly, Johnny Adams was heard nationwide. For Ric, Johnny gave the label its first hit since October 1960. This must have been a satisfying day for Joe Ruffino. Having backed Johnny Adams, Ric been rewarded by a hit. However, for everyone at Ric, the happiness turned to sadness in August 1962.
Ever since Joe founded Ric, he had worked tirelessly. Eventually, all the years of long days and hard work caught up with Joe Ruffino in August 1962. He died suddenly of a heart attack. His family and the wider New Orleans’ music community were shocked.
With Joe gone, his two sons were left to run the Ric and Ron labels. They tried to follow in their father’s footsteps. That, however, proved impossible. Eventually, Joe’s brother-in-law Joe Assunto took over the running of Ric and Ron. By then, the Ron label was on its last legs. It released its final single in August 1962. Ric however, continued, for the time being.
Showdown was the last single Johnny released on the Ric label. Written by Mac Rebennack, Johnny gave the song a bluesy hue. The flip side was Tra-La-La, a Dolores Johnson and Joe Ruffino song. It was well received by Cashbox magazine. Billboard however, never bothered to review Showdown, despite Johnny’s recent chart success. So, it’s no surprise that Showdown failed to chart. Apart from in Louisiana and Texas, Showdown passed record buyers by. For Johnny it was a disappointing Ric swan-song. He would rather have ended his time on Ric with a hit.
After leaving Ric, Johnny signed to Joe Assunto’s new label, Watch Records. That was home for Johnny for the next couple of years. During that period, Johnny released three singles, I Believe I’ll Find Happiness, Some Day and Got To Get Back To You. These singles didn’t result in an upturn in Johnny’s fortunes. So, in 1964, Johnny returned to Ron, which had reopened its doors.
Lonely Drifter was Johnny’s first single for the newly resurrected Ron label. It was a Joe Ruffino song. So was the B-Side I Want To Do Everything For You, which was penned by Joe and Eddie Bo, using his Dolores Johnson alias. Both songs were credited as Joe Ruffino productions. However, Joe Ruffino’s part in these tracks has been disputed. Since then, mystery has surrounded who penned and produced these tracks?
Despite the mystery surrounding Lonely Drifter and I Want To Do Everything For You, both tracks find Johnny Adams in fine voice. He had matured as a singer since he left Ric, two years previously. Sadly, when Lonely Drifter was released as a single, it failed to chart. Johnny’s next single for Ron was his swan-song. There would be no comeback this time.
Coming Around The Mountain was a surprising choice for Johnny Adams’ next single. The arrangement to this traditional song was again credited to Joe Ruffino. Producing Coming Around The Mountain was Wardell Quezergue. On the B-side was a cover of Hank Williams’ Cold Cold Heart. It was arranged by Wardell Quezergue and produced by Joe Ruffino. However, the jazz-tinged take of Coming Around The Mountain wasn’t a commercial success. That marked the end of Johnny Adams’ time at Ron.
Over two spells, lasting five years, Johnny Adams had enjoyed highs and lows at Joe Ruffino’s Ric and Ron labels. The former gospel singer had released eleven singles. While most of them had proved popular in New Orleans and the South, Johnny only enjoyed one hit single nationwide.
Somewhat ironically, given Johnny was a Christian, his only single was A Losing Battle, a tale of adultery. It reached just number twenty-seven in the US R&B charts. That was as good as it got for Johnny Adams at Ric and Ron. However, it wasn’t the end of Johnny Adams’ career.
It was just beginning. After leaving Ron in 1964, Johnny’s career lasted another thirty-four years. Right through until his death in 1998, Johnny Adams was still making music. He spent the final fifteen years of his career at Rounder Records, where he released nine albums. This was somewhat fitting, given for a while, they owned the rights to the Ric and Ron back-catalogues. Now, however, Ace Records are reissuing the Ric and Ron back-catalogues.
Ace Records latest reissue from the Ric and Ron back-catalogues is I Won’t Cry-The Complete Ric and Ron Singles 1959-1964, which features the eleven singles Johnny Adams released on Ric and Ron. That’s not all. There’s the B-Sides, plus two previously unreleased demos, No Way Out For Me and Walking The Floor Over You. These twenty-four tracks showcase the early years of Johnny Adams’ career. Even then, it was obvious that the former gospel turned R&B singer was destined for greater things.
Sadly, Johnny Adams never reached the heights of his contemporaries, like Sam Cooke and Bobby Womack. However, Johnny Adams enjoyed a career that spanned forty years and five decades. During that period, Johnny Adams proved a versatile and talent performer, who was loved and respected in equal measures. While Johnny Adams never enjoyed fame and fortune, he enjoyed an enviable longevity, where he continued to reinvent himself. However, during the period that I Won’t Cry-The Complete Ric and Ron Singles 1959-1964 covers, Johnny Adams was one of the rising stars of the New Orleans R&B and soul scene. No wonder, given the quality of music on I Won’t Cry-The Complete Ric and Ron Singles 1959-1964.
JOHNNY ADAMS-I WON’T CRY-THE COMPLETE RIC AND RON SINGLES 1959-1964.
ARTHUR-DREAMS AND IMAGES.
ARTHUR-DREAMS AND IMAGES.
The story of Arthur Lee Harper is a familiar one. He was a talented singer-songwriter who looked as if he was destined for great things. Sadly, that proved not to be the case. Arthur only ever released one album, Dreams and Images which was released on Lee Hazelwood’s LHI Records 1968.
Dreams and Images which was recently rereleased by Light In The Attic Records, could’ve and should’ve been the first of many successful albums from Arthur. That wasn’t case. Arthur’s recording career was over before it could start. Things could’ve been very different though.
When Arthur was about to sign to LHI Records, Arthur got the opportunity to sign to the same company as The Beach Boys. This was a very tempting offer. However, that deal was only for a single. LHI Records were offering an album deal. That seemed a better offer to Arthur. Sadly, Arthur had backed the wrong horse. His recording career was over. For the rest of Arthur’s life, it was a case of what might have been?
Arthur Lee Harper was born in Melbourne, Florida. That’s where he spent his early years. Then just before his teenage years, Arthur’s parent’s marriage broke down. It was a tough time for Arthur. So, Arthur went to live with his grandmother. She decided to move to California.
The move to California was a fresh start for Arthur. He and his grandmother’s two sons settled into life in California. One of the main attractions for Arthur was Hollywood’s music scene. It was like a beacon, constantly trying to catch Arthur’s attention. Eventually, it succeeded.
When he was old enough, Arthur made the move to Los Angeles. Once there, Arthur witnessed the rock ’n’ roll lifestyle. Quickly, though, Arthur decided it wasn’t for him. He shied away from the drugs that fuelled Tinseltown. However, what interested and inspired Arthur was the music.
Arthur decided to make a living in L.A. as a singer-songwriter. That, he soon realised, wasn’t going to be easy. He was living in the Y.M.C.A. That’s where he met poets Mark Lindsey Buckingham and Stephen John Kalininch. They all had one thing in common, they dreamed of making it big in Tinseltown.
Before long, things were looking good for the three friends. Mark and Stephen were offered a deal with The Beach Boys’ Brother Records as songwriters. Not long after this, Arthur signed to Lee Hazelwood’s LHI Records.
Back then, it didn’t take much to get an audition at LHI Records. It was a case of ring the bell, and then audition. For the lucky few, including Arthur, it was a case of signing on the dotted line. Now, he was on his way to releasing his debut album.
During his time in L.A., Arthur had been writing songs. This included the ten tracks that would become Dreams and Images. Arthur laid down his vocal and played acoustic guitar at the sessions on the 21st and 22nd November 1967. After that, Arthur described how he envisaged, and “heard,” the arrangements. Only then, did producer Lee Hazelwood bring onboard his tried and trusted musical lieutenants.
This included arranger Don Randi and some of Lee’s favourite session musicians. He used them on many of his recordings, and knew what to expect from them. They added colour to Dreams and Images. Only then, was Dreams and Images ready to be released.
Dreams and Images was released on Lee Hazelwood’s LHI Records in 1968. Dreams and Images epitomised the the psychedelic folk sound that by 1967, was proving popular. Arthur seemed to be in the right place, with the right album. Surely, things couldn’t go wrong?
Especially with Lee Hazelwood’s LHI Records just having received several hundred thousand dollars from ABC Records. This was part of a distribution deal between the two labels. It gave ABC Records the right to distribute LHI Records’ releases. With LHI Records apparently cash rich, they’d go all out to promote Dreams and Images?
For some reason, that proved not to be the case. As is often the case when working with small, independent labels Dreams and Images wasn’t heavily promoted. Instead, it was a low key release. In one fell swoop, Arthur’s hope of a successful album were crushed.
Dreams and Images didn’t sell well. It had nothing to do with the music. Instead, it was down to the lack of promotion. Sadly, it’s an all too familiar story. Especially where independent labels are concerned. Sadly, forty-seven years after the release of Dreams and Images, that’s the case to this day.
Apart from selling a few thousand copies in Denver, Colorado, Dreams and Images passed most people by. It was a case of what might have been? How successful would’ve Dreams and Images been in it had been released on Elektra Records? Sadly, Arthur and ABC Records had backed the wrong horse.
Later in 1968, ABC Records dissolved their partnership with LHI Records. It had been an expensive lesson, one that cost ABC Records several hundred thousand dollars. The upside was it yielded three albums, including Arthur’s Dreams and Images, which I’ll tell you about.
Blue Museum opens Dreams and Images. Just a lone acoustic guitar is panned left. It sets the scene, adding a wistful backdrop. That suits Arthur’s slow, deliberate and reflective vocal. Quite rightly, it takes centre-stage. Soon, it becomes apparent that Arthur’s lyrics are beautiful, haunting and otherworldly. Especially with subtle strings adding to what’s already a wistful, haunting song tinged with beauty.
As Children Once Were You unfolds, it looks like the song is heading in the same direction. Arthur, accompanied by his acoustic guitar, delivers a vocal that’s tinged with sadness. Especially, when he sings: “but children once were you, once were you, the years slip quickly past.” With stabs of hurting horns, it’s as if Arthur is mourning his childhood.
The lyrics to Sunshine Soldier epitomise the mid-to-late sixties. Flower power was at its height. Lyrics like: “walking down the street is a sunshine soldier,” epitomise this era. So, do a child walks by and hands him a flower…brothers and sisters embrace each other.” In the lyrics, there’s a sense of hope, hope for the future, and that anything is possible. As tenderly, and hopefully, Arthur delivers the lyrics, a psychedelic arrangement unfolds. A Leslie organ unleashes its lysergic sound, medieval horns sound and Arthur plays his trusty acoustic guitar. For little over two minutes, you’re transported back to L.A. in ’67, courtesy of Sunshine Soldier, Arthur.
Just like the previous songs, Arthur’s guitar sets the scene on A Friend of Mine. It’s setting the scene for a vocal that’s tinged with emotion. Everything from anger, bitterness, frustration and hurt shines through. All the time lush strings sweep, adding a baroque backdrop. Occasional pizzicato strings and acoustic guitar are added. So, are occasional effects. Together, they play their part in a soul-baring slice of baroque folk, where Arthur has the last word, “girl you’ll never be a friend of mine.”
At first glance, Open Up the Door could be construed as song about opening the doors to perception. That’s not the case. Arthur wasn’t into drugs. Instead, he’s asking his girlfriend to open up her emotions, and let him into her life. Sonically, there’s a stylistic departure. Washes of a Leslie organ are deployed. So, are Arthur’s acoustic guitar and a harpsichord. They accompany Arthur’s deliberate, needy, and hopeful vocal.
On Dreams and Images, Arthur asks: “Blind man, blind man, blind as can be, ask me why my eyes can see, he touches his cape and puts a spell on me.” From there, Arthur sings of a parallel universe, where one side offers plenty and perfection. The other is reality. A woman is caught in between, and becomes: “a free spirit.” Dream like, full of imagery and more than a little lysergic, it’s an enchanting and captivating tale. Especially, with an arrangement that’s understated. Ethereal, fragile flutes, wistful strings and Arthur’s plucked guitar provide an accompaniment to Arthur’s thoughtful, deliberate vocal.
Slowly, Pandora opens her musical box. Within, are a bewitching combination of instruments. A plucked bass and a slow, deliberate, droning string are joined by sci-fi sounds and subdued horns. They’re the perfect backdrop for Arthur’s whispery vocal as Pandora: “gently dies, gently dies.”
Memories come flooding back to Arthur as Wintertime unfolds. Strings are plucked, quiver and sweep. Arthur, meanwhile, strums his guitar and lays bare his hurt on this tale of love lost. As the song unfolds, it’s more a tale of unrequited love. Once time has passed Arthur realises this; “I was wasting my time, love was making me blind.”
Not for the first time, Arthur on Living Circa 1920 reminds me of Al Stewart. Both were young, aspiring and promising folk singers in the late-sixties. While Al enjoyed a long and successful career, Arthur’s career was over before it began. That’s a great shame, given the quality of songs like Living Circa 1920. Arthur literally paints pictures with his lyrics, in what’s the poppiest of songs. Just an acoustic guitar and subtle, braying horn accompany Arthur on what’s a quite joyous track. Especially, with lyrics like: “the best things in life are free, living kind of casually.”
Valentine Gray closes Dreams and Images. It’s a homecoming song, where Arthur delivers a vocal that’s needy and hopeful. Accompanying him are his guitar and swathes of strings. Just like Artthur’s vocal, the strings sure to tug at your heartstrings on this beautiful ballad.
Dreams and Images, which was released in 1968, by Lee Hazelwood’s LKI Records, is yet another hidden gem that, could’ve and should’ve transformed Arthur’s career. Sadly, that wasn’t the case. Arthur backed the wrong horse.
Two record companies wanted to sign Arthur. The first was LHI Records and releasing an album. They offered Arthur the chance to release Dreams and Images. At the same time, Arthur had the opportunity to sign to the same label as The Beach Boys. However, they were offering a one-off single deal. Once they saw how the single went, the label would take it from there. To Arthur, who was still a young man, the prospect of an album seemed too good an offer to refuse. Especially, when LHI Records were cash rich.
Lee Hazelwood’s LHI Records had just received several hundred thousand dollars from ABC Records. This was part of a distribution deal between the two labels. It gave ABC Records the right to distribute LHI Records’ releases. Arthur must have though that the cash rich LHI Records would go all out to promote Dreams and Images. That wasn’t the case.
LHI Records were reticent to spent large sums of money on any of the three albums they released during 1967 and 1968. As is often the case when working with small, independent labels Dreams and Images wasn’t heavily promoted. Instead, it was a low key release. In one fell swoop, Arthur’s hope of a successful album were crushed.
Dreams and Images didn’t sell well. It had nothing to do with the music. Instead, it was down to the lack of promotion. Sadly, it’s an all too familiar story. Especially where independent labels are concerned. All too often they’re desperate to sign an artist, but unwilling to promote them properly. That appears to be the case with Arthur’s debut album Dreams and Images. Without the necessary promotion, Dreams and Images passed most record buyers by.
That’s apart from in Denver, Colorado, where Dreams and Images sold a few thousand copies. They were the lucky ones, and heard what’s without doubt a lost psychedelic folk album. Sadly, most people never heard Dreams and Images. The failure of Dreams and Images impacted upon Arthur’s recording career.
Later in 1968, ABC Records decided to dissolve their partnership with LHI Records. It had been an expensive lesson, one that cost ABC Records several hundred thousand dollars. The upside was it yielded three albums, including Arthur’s Dreams and Images, which was recently reissued by Light In The Attic. However, with the partnership dissolved, Arthur’s time at LHI Records was over. He never released another album for LHI Records.
Sadly, Dreams and Images was the only album Arthur recorded. Not long after leaving LHI Records Arthur turned his back on the music industry.
Arthur became a Christian, and took to writing religious songs. He worked as an engineer, and then as a special education teacher. However, Arthur still played and wrote music as a hobby. His shot at fame and fortune was long gone. Sadly, tragedy struck for Arthur in 2002.
On the 10th of January 2002, Arthur’s wife Lori tragically, died in a car crash. That night, Arthur died of a heart attack. Arthur Harper Lee, the man who could’ve and should’ve been a star was forever lost to music. However, Arthur left behind a quite beautiful, captivating, haunting and mesmeric musical legacy, Dreams and Images, a lost psychedelic folk classic.
ARTHUR-DREAMS AND IMAGES.
THE WOODBINE AND IVY BAND-SLEEP ON SLEEPING ON.
THE WOODBINE AND IVY BAND-SLEEP ON SLEEPING ON.
Four years after releasing their eponymous debut album in 2011. The Woodbine and Ivy Band return with their new album Sleep On Sleeping On. It was released on March 9th 2015, on Static Caravan Recordings, and sees The Woodbine and Ivy Band head in a different direction from their eponymous debut album.
Sleep On Sleeping On, which partly, was inspired by G.I. Gurdjieff’s theories on what he termed “waking sleep,” and sees The Woodbine and Ivy Band combine folk, psychedelia , prog rock, jazz and country rock. This is quite a departure from their eponymous debut album.
Released in 2011, The Woodbine and Ivy Band was essentially, an album of folk music from what was a Manchester supergroup. It featured some of the city’s finest musicians, including Jenny McCormick, James Raynard, Mike Doward, John Ellis, Gus Fairbairn, Rachael Gladwin, Chris Hillman, Peter Philipson and Sam Lench. Together, they played their part in the success of The Woodbine and Ivy Band.
It was released to critical acclaim in 2011. Critics were won over by The Woodbine and Ivy Band folk-tinged sound. The album was compared to Sandy Denny, Fairport Convention and Crazy Horse. Things were looking good for The Woodbine and Ivy Band. Surely it wouldn’t be long until they released their sophomore album?
With so many musicians involved in The Woodbine and Ivy Band, it’s not surprising that four long years passed before they released another album. Getting everyone together must have proved problematic. However, at last, the wait is over and Sleep On Sleeping On was released on 9th March 2015.
During the last four years, The Woodbine and Ivy Band seem to have reinvented themselves. While folk music still plays a part in Sleep On Sleeping On, it’s a much more eclectic album. Everything from psychedelia , prog rock, jazz and country rock can be heard on Sleep On Sleeping On’s ten tracks.
The ten tracks on Sleep On Sleeping On are best described as eclectic. There’s traditional folk songs like White Hare and Rebel Soldier, a song about the American Civil War. Cover versions include The Albion Band’s Rise Up Like the Sun and Lal and Mike Waterson’s ‘Bright Phoebu. Lal Waterson also cowrote Flight Of The Pelican with her son Oliver Knight. Minstrel and The King was penned by Gerald T. Moore and featured on Heron’s sophomore album. Pretty Fly Lullaby will be familiar to movie buffs, as it featured in the 1955 thriller Night Of The Hunter. Then on on the instrumental One Summer Day, The Woodbine and Ivy Band enjoy the opportunity to stretch their legs at the 80 Hertz Studios, in Manchester.
That’s where much of Sleep On Sleeping On was recorded by The Woodbine and Ivy Band’s extensive lineup. This includes the rhythm section of drummer and percussionist Karl Penney, Michael Doward on bass and double bass, Peter Philipson on acoustic and electric guitar and Chris Hillman on pedal steel and Rickenbacker 12 String guitar. They were joined by John Ellis on piano and Hammond organ, Raz Ullah on synths and Rachael Gladwin on harp. Horns come courtesy of saxophonist Gus Fairbairn and trumpeter Luke Das-Gupta. Adding vocals were Jenny McCormick and James Raynard who also played acoustic guitar. Additional musicians included David A. Jaycock on acoustic guitar and percussionist Ian Budgie Jones. Backing vocals came courtesy of Anna Zweck, Mike Doward and Sam Lench. Producing Sleep On Sleeping On was Peter Philipson. Once the ten tracks were recorded, Sleep On Sleeping On was released in March 2015. At last, The Woodbine and Ivy Band were back, with their long awaited sophomore album Sleep On Sleeping On.
Opening Sleep On Sleeping On is the title-track. It was partly inspired by G.I. Gurdjieff’s theories on what he referred to as “waking sleep.” Washes of shimmering synths give way to a wistful acoustic guitar and a broody bass. Soon, a pedal steel weeps, adding an atmospheric, ethereal hue. Fuzzy and lysergic it cocoons you. Even more so, when a melancholy trumpet plays. Dreamy backing vocals make a fleeting appearance on what’s a beautiful, melancholy and atmospheric track.
Arm A Nation is a song about the international arms trade. A weeping pedal steel is joined by washes of Hammond organ and an acoustic guitar. They set the scene for Jenny McCormick’s tender, thoughtful vocal. It’s yin to the arrangement’s yang. It now includes bursts of jagged, rocky guitars. They don’t overpower the arrangement, nor Jenny’s vocal. She delivers the lyrics with feeling and frustration. One of the most telling lines is: “you sure this has to be the way to arm a nation?” Later, the jam, when stabs of horns, the Hammond organ and bursts of machine gun guitars unite on this. They play their part in genre-melting track, where country, folk, rock and social comment are combined by The Woodbine and Ivy Band.
White Hare is a traditional 19th Century folk song, given a dramatic, rocky, makeover by The Woodbine and Ivy Band. Straight away, crunchy, grizzled rocky guitars grab your attention. Soon, they’re joined by the rhythm section. It’s almost grungey. Then it’s all change. When James’ vocal enters he’s joined by a piano, as the track takes on more of a folk rock sound. From there, the arrangement veers between the two grungey, to the folk rock sound. Later, stabs of horns and sci-fi sounds are added. So, are prog-rock keyboards. By then, The Woodbine and Ivy Band are picking and mixing musical genres and influences to reinvent this traditional 19th Century folk song. The result is folk, but not as we know it.
As Jackdaws unfolds, the unmistakable sound of Jackdaws can be heard. They were recorded early one morning, in a wood near Manchester. Again, they’re scene setters, giving way to a meandering, dreamy acoustic guitar and washes of ethereal synths. Together, they create a dreamy, ambient sound that washes over you, soothing even the weariest of souls.
Pretty Fly Lullaby featured in the 1955 thriller Night Of The Hunter. That’s not surprising. Straight away, the track takes on an atmospheric, cinematic sound. Synths are soon joined by a wistful piano. They’re then joined by Jenny’s wistful vocal and a harpsichord. She gets across the sadness in and sense of loss in the lyrics. Then when here vocal drops out, a piano, braying saxophone and harmonies combine to reinforce the tragedy of the situation. Just like Jenny’s vocal they play their part in a track that’s variously beautiful, and tinged with tragedy, loss and heartache.
Bells ring out as The Woodbine and Ivy Band set about reinventing Minstrel and a King, which was originally recorded by Heron. Horns sound, a piano plays and before long, they’re replaced by a dramatic swell. It quickly dissipates, leaving just James’ vocal. He’s accompanied by just a lone acoustic guitar. This works, allowing James’ vocal to take centre-stage. Later, and just at the right time, a Hammond organ, piano and bass join. By then, memories of Al Stewart in his prime come flooding back. There’s even a nod to Andrew Gold, as this folk rock track begins to show its delights. What follows is a nine minute epic, where The Woodbine and Ivy Band reinvent Minstrel and a King.
Flight of the Pelican has a much more understated, folk sound. Just a lone plucked guitar plays. It’s joined by washes of a weeping pedal steel. It adds to the sense of melancholy. That’s even before Jenny’s pensive, thoughtful vocal takes centre-stage. Later, thing get even better when a piano is added. It’s panned left, alongside the pedal steel. Later, it’s replaced by a fuzzy guitar, as briefly, Jenny’s vocal reverberates. Mostly though, it’s emotive, needy and melancholy as she brings new meaning into this Lal Waterson and Oliver Knight penned track.
From the opening bars, One Summer Day is a genre-melting instrumental. There’s elements of electronica, experimental, psychedelia and prog rock as The Woodbine and Ivy Band stretch their legs. With their rhythm section driving the arrangement along, psychedelic guitars and prog rock keyboards combine. The various sci-fi sound effects add an experimental hue. Bursts of joyous horns prove to the finishing touch as seamlessly, The Woodbine and Ivy Band combine rock, psychedelia and prog rock.
Old Man is a song about the ageing process, and a man trying hold off what he eventually realises is inevitable. It’s a thoughtful, understated ballad. Just acoustic guitars accompany James’ reflective vocal as he deals with, and eventually, comes to terms with growing old.
Rebel Soldier closes Sleep On Sleeping On. It’s a piano lead ballad, about the American Civil War. James takes charge of the lead vocal. As he brings the lyrics to life, washes of a pedal steel weep. It almost replicates the sense of loneliness, hopelessness and fear in James’ vocal. Later, braying horns add to the sense of melancholia, in this thoughtful, historical ballad.
After a gap of four long years, Manchester supergroup The Woodbine and Ivy Band returned with their new album, Sleep On Sleeping On. It was released on March 9th 2015, on Static Caravan Recordings, and saw The Woodbine and Ivy Band head in a very different direction from their eponymous debut album.
Sleep On Sleeping On, which partly, was inspired by G.I. Gurdjieff’s theories on what he termed “waking sleep,” is best described as an album of genre-melting music. The Woodbine and Ivy Band combine country, electronica, excperimental, folk, jazz psychedelia, prog rock and rock. While this is quite a departure from their eponymous debut album, Sleep On Sleep On will appeal to a much wider audience.
During the ten tracks on Sleep On Sleeping On, The Woodbine and Ivy Band show their versatility. Seamlessly, they switch between musical genres. Sometimes, they fuse several genres within the same song. Whether its traditional ballads, cover versions or new songs, The Woodbine and Ivy Band are at the top of their game. No wonder. The Woodbine and Ivy Band feature some of Manchester’s top musicians.
With more years than they care to remember behind them, The Woodbine and Ivy Band make music this good sound easy. Especially, their twin vocalists Jenny McCormick and James Raynard. Both have the ability to breath life, meaning and emotion into songs. Especially Jenny McCormick. She sounds as if she’s lived some of the lyrics. Jenny’s vocal is variously ethereal, tender, hopeful, needy and heartfelt. Jenny McCormick is one of The Woodbine and Ivy Band’s secret weapons on Sleep On Sleeping On. However, it’s almost unfair to refer to someone as the star of The Woodbine and Ivy Band. After all, everyone played their part.
Each of The Woodbine and Ivy Band’s extensive lineup played its part in the sound and success of Sleep On Sleeping On. They’re responsible for an album that’s well worth the four year wait. Having said that, let’s hope that The Woodbine and Ivy Band don’t take another four years to record the followup to Sleep On Sleeping On. After all, a band as good as The Woodbine and Ivy Band deserve to be heard by a much wider audience. Hopefully, the eclectic delights of Sleep On Sleeping On will be the album that introduces The Woodbine and Ivy Band ’s music to a much wider audience.
THE WOODBINE AND IVY BAND-SLEEP ON SLEEPING ON.
BEAM UP-INNERSTAND.
BEAM UP-INNERSTAND.
Dub was born in the sixties, and before long, its stripped down sound became one of reggae’s most popular sub-genres. Its founding fathers included King Tubby and Lee “Scratch” Perry. Then as the seventies dawned, a new generation of dub producers began to make a name for themselves.
This included Bunny Lee, Niney The Observer, Augustus Pablo and Sly and Robbie. Along with King Tubby and Lee “Scratch” Perry, they produced some of the most successful dub reggae. It went on to influence several generations of musicians.
From the seventies onwards, everyone from The Clash through to P.I.L., Primal Scream, Leftfield and Massive Attack have been influenced by dub. However, dub still continues to influence another generation of musicians, including Brian May.
Not that Brian May though. Apart from the legendary Queen guitarist, there’s another musician called Brian May. He’s the many of many musical outlets, including Beam Up, who recently released their debut album on BBE Music. Beam Up are determined to keep the spirit of dub alive.
To do this, Brian May has brought onboard a multinational group of vocalists. This includes Terrence Alfonso Bowry, a British-born, Canadian national, who previously, was a stalwart of Shanghai’s jazz and blues scene. That’s where Terrence gained a wealth of experience, including working alongside Wynton Marsalis. Famed for his ability to harmonise and improvise, Terrence was a welcome addition to Beam Up. So is Jornick Joelick.
For those unfamiliar with Jornick Joelick, he’s a French-Guyanan rastaman. He’s been blessed with a big, powerhouse of a vocal. It also has a an earthy, rootsy quality. This was just what Brian May was looking for on Innerstand. However, the final piece of the musical jigsaw was Katya Tasheva.
Berlin based Katya Tasheva, is a polyglot singer, who previously, has sung everything from drum and bass and pop, right through to world music. This includes working alongside RotFront, the Berlin based world music band. Katya Tasheva’s previous experience will stand her in good stead for what Brian May describes as a musical journey.
However, Innerstand is no ordinary musical journey. Brian May describes Beam Up as taking the listener on a musical journey, one that references his musical This includes includes the music of Jamaica. King Tubby is top of Brian May’s list of musical inspirations. He’s joined by The Skatalites and Glen Brown. Other inspirations are places that Brian has lived and worked.
This includes Australia, where Brian May spent twelve years working as a drive time DJ. Having emigrated from Britain in 1989, Brian settled in Melbourne. That’s where he spent the next twelve years DJ-ing on radio and clubs. Right through to 2001, Brian toured Australia and New Zealand DJ-ing. So, Australasia is a special place to him, one that has influenced his music. However, so have Japan and Berlin.
After leaving Australia, Brian headed to Osaka, Japan. Before long, he had immersed himself in the city’s reggae scene, and became a member of the band Bush Of Ghosts. As if that wasn’t enough, Brian was DJ-ing at underground parties across Japan. However, eventually, Brian decided it was time to move on.
From Osaka, Brian May headed to Berlin, where he spent a year. Then he decided to move on. He returned to Melbourne in 2006, and founded the city’s first Balkan music scene. However, Brian hadn’t turned his back on dubwise. He had a foot in two musical camps. That was the case right through until 2008, when Brian returned to Berlin.
Back in Berlin, Brian picked up where he left off in Melbourne. he was spinning the Balkan sound and dubwise in Berlin. Before long, he was DJ-ing across Europe. Soon, opportunities were began to unfold for Brian May.
Soon, Brian had released two remix albums. They saw Brian transform traditional Eastern European music, giving it a dance-floor friendly sound. After this, Brian began to establish a reputation as a producer. This includes producing generative sound installations for Australian painter John Aslanidis.
Brian and John met in 2011. Since then, their fusion of sound and art have been exhibited around the world. From New York and Berlin to Brian’s former home from home, Australia, the pair have exhibited their work. Still, somehow, Brian has found time to DJ and produce music, including Beam Up’s debut album Innerstand.
Aided and abetted by Terrence Alfonso Bowry, Jornick Joelick and Katya Tasheva, Brian May recorded the thirteen tracks that became Beam Up’s debut album Innerstand. It’s an album Brian describes that: “takes those dubwise qualities of rhythm, space and bass, to shape a series of tracks that could be tagged as a variety of genres.” The result is a multinational dub experience, with a contemporary 21st Century sound. Fittingly, Brian dedicates Beam Up’s dub experience, Innerstand, to one of dub’s founding fathers, the inimitable King Tubby.
Opening Beam Up is I Must Be Dreaming, a one of five tracks featuring Terrence Alfonso Bowry. It’s guaranteed to grab your attention. Pounding, dubby riddims and stabs of organ provide the backdrop to Terence’s joyous, sometimes hopeful vocal. Together, they create delicious track with a feel-good, summery vibe. Terence returns on Hanabi Dub, which sees a change in direction. The arrangement crackles, as firecrackers soar high into the night sky. A bounding bass, hissing hi-hats, thunderous drums and a myriad of sound effects combine. They’re later joined by hypnotic keyboards. However, at the heart of the arrangement is Terence’s needy, emotive vocal. Tinged with hurt and heartbreak, Terence lives the lyrics, bringing meaning and emotion to them.
Dive marks the debut of Katya Tasheva on Innerstand. From the get-go, Beam Up’s riddims threaten to damage your bass bins. They’re soon joined by percussion, stabs of a dusty Hammond organ and Katya Tasheva’s tender, heartfelt vocal. It’s quite understated compared to the arrangement. Stabs of horns are added. So are sci-fi sound effects and harmonies, Occasionally, Katya’s vocal becomes dubby. This isn’t overdone though. Instead, it’s used sparingly, resulting in Dive being one of Innerstand’s highlights.
Brian May set out to pay homage to King Tubby. Divers sees Beam Up keep the spirit of dub alive. With Beam Up’s rhythm section, percussion and bursts of keyboards, the dubbiest of all the tracks on Innerstand unfolds. It sounds as if it was made in Kingston, Jamaica during the seventies, not Berlin forty years later. Its hypnotic sound mesmerises and tantalises. Especially, when braying horns are added to the mix. Quite simply, it’s a dub-licious track.
Kick Off is neither as loud nor intense. It’s a much more understated, spacious track. There’s also more headroom. From the opening bars, you’re captivated as genres melt into one. Obviously, dub and reggae are omnipresent as the rhythm section, percussion and keyboards combine. However, there’s also an electronic influence. Later, things even get funky and soulful, as Beam Up don’t spare the hooks.
No Chains is the first of two tracks to feature Jornick Joelick. He delivers a soul-baring vocal, full of frustration, anger and emotion. Meanwhile, Beam Up combine their trademark riddims with stabs of blazing horns, percussion and a myriad of sci-fi sounds. It’s a potent and heady brew, one that sounds as if it was made in Jamaica in the mid to late seventies.
Mi Amor marks the return of Terrence Alfonso Bowry. Urgent riddims, are joined by stabs of keyboard. They add to the sense of urgency. Then when Terrence’s vocal enters, it’s heartfelt and hopeful. By then, the arrangement is best described as funky, 21st Century dub with an electronic twist. There’s a nod to drum and bass. This is dub, but not dub as we know it. Instead, it’s an innovative track where dub is reinvented for another generation of music lovers.
Fisherman is best described as a musical pot pourri. Straight away, the track takes on a cinematic sound. As fisherman paddle their boat, a storm brews. This is the signal for keyboards and percussion to combine. As a haunting, moody sound floats above the arrangement, dubby riddims and stabs of horns sound. Later, strings sweep in, as Beam Up showcase their unique, cinematic dub sound.
The cinematic sound continues on Travelling. A train sound, as Jornick Joelick heads off on a musical journey. He delivers an impassioned vocal. Accompanying his is a vintage sounding arrangement where elements of dub, soul and reggae combine. Washes of an uber soulful Hammond organ combine with the rhythm section, percussion and pizzicato strings. They provide a quite beautiful, laid back sounding arrangement for Jornick as he heads of Travelling.
Ghost Fight is the first of two tracks to feature Terrence Alfonso Bowry. From the get-go, it’s obvious Beam Up’s destination is planet dub. Meanwhile, Terrence’s vocal is a soulful plea. Then on Innocence, Beam Up drop the tempo. Terrence’s vocal is heartfelt and sometimes, wistful. Washes of keyboards and thunderous drums combine, creating a spacious arrangement. By then, Terrence’s vocal is similarly spacious. Lyrics hang in the air, as memories come flooding back to a melancholy Terrence on this soulful slide of dub.
Astronomy Dub closes Beam Up’s debut album Innerstand. Slowly, and gradually, the arrangement unfolds. It’s as if it’s reticent about sharing its secrets. While what follows is dub, it’s dub with a difference. Sometimes, it’s moody, other times it takes on an almost ambient sound. Brian May it seems is determined to reinvent dub, to ensure it stays relevant.
That’s been the case throughout Innerstand. Beam Up, lead by Brian May, isn’t content to make an album that replicates the traditional dub sound. No. He realises that to stay relevant, dub like any musical genre, has to constantly try and reinvent itself. So, on Innerstand Beam Up take a series of twists and turns on what’s essentially, a musical journey.
During this journey, Beam Up add everything from ambient and drum and bass, through electronica, funk, rock and soul. Some of these genres make only fleeting appearances. However, listen carefully, and they’ll shine through during Innerstand’s thirteen tracks.
Brian May, like many dub practitioners of yore, is a musical alchemist. The recording studio is where he makes magic happen. Staring with the stripped back dub sound, Brian dips into his musical palette. He borrows from various musical genres. What follows is a musical pick and mix, Innerstand which was recently released by BBE Music.
On some tracks, he’ll combine a soulful vocal to some dubby riddims. Other times, the result of his musical alchemy is what’s best described as cinematic dub. Then on other tracks, it looks like Brian is about to stay true to the original spirit of dub. It’s as if it’s something sacred, and he doesn’t dare change the recipe. However, it’s as if he can’t help himself. He can’t resist adding an ingredient from his musical palette. What follows is dub reinvented, dub for the 21st Century.
That’s why, for anyone who has even a passing interest in reggae or dub, then Beam Up’s debut album Innerstand should find its way into their record collection. However, Innerstand will also appeal anyone who enjoys good music. With its summer, feel-good vibe, Innerland will be the perfect soundtrack to the summer. No wonder. Innerstand is a truly dub delicious album from Beam Up.
BEAM UP-INNERSTAND.
LOS ANGELES SOUL-KENT-MODERN’S BLACK MUSIC LEGACY.
LOS ANGELES SOUL-KENT-MODERN’S BLACK MUSIC LEGACY.
During the fifties, the Los Angeles’ based, Modern and Kent labels were two of the most successful independent record labels. Their star was definitely in the ascendancy. Modern and Kent signed some of the most successful soul, blues and R&B artists of the fifties, including John Lee Hooker, B.B. King, Etta James, The Cadets and Richard Houston. A few years later, and the Modern and Kent labels were more than labels.
With the profits of their hit singles, the Bihari brothers, owners of the Modern and Kent labels, built a recording studio, pressing plant, distribution centre and offices. The Bihari brothers had come a long way in a relatively short space of time.
As the sixties dawned, music was changing. That would be the case throughout the sixties, and into the seventies. While some labels stood still, the Biharis were determined to released music that was relevant. So, between 1962 and 1972, the period Los Angeles Soul-Kent-Modern’s Black Music Legacy covers, the Modern and Kent labels released an eclectic selection of music. This includes country soul, funk, gospel, psychedelia, R&B, soul, Southern Soul and sweet soul. It seemed the Bihari brothers were covering all bases in their constant search for hits. That’s reflected in Los Angeles Soul-Kent-Modern’s Black Music Legacy’s track listing.
Los Angeles Soul-Kent-Modern’s Black Music Legacy, which was recently released by Kent Soul, an imprint of Ace Records, features twenty-four tracks. They’re an eclectic selection, including contributions from Johnny Adams, Johnny Copeland, The Intentions, Jimmy Bee, Earl Wright, Pat Hunt, The Windjammers, Tommy Youngblood, Jackie Shane, Millie Foster, Ruth Davis and Wally Cox. These tracks were recorded between 1962 and 1972. However, not all of the tracks were released during thus period. Indeed, twenty of the tracks were released between 1962 and 2000. The other four tracks from Los Angeles Soul-Kent-Modern’s Black Music Legacy have never been released before.
This includes Jeanette Jones’ I Want Action, which opens Los Angeles Soul-Kent-Modern’s Black Music Legacy. Recorded in October 1968, I Want Action was penned by Andy Badale and Albert Elias, and gave Ruby Winters a hit single. Sadly, Jeanette’s gospel tinged cover was never released, until now. It’s mixed by Alex Palao and is the perfect way to open Los Angeles Soul-Kent-Modern’s Black Music Legacy. Having whetted your appetite, it leaves you wanting more, much more.
Don’t let the name DiFosco fool you. They’re not a disco group. Far from it. Their contribution, You Saved Me From Destruction is a fusion of soul and psychedelia was released in 1971. It was penned by Frank Clark. He also arranged and co-produced this single with Ervin Clark. The lead singer is none other than Dee Erwin, who previously, had a hit single with Little Eva with Swinging On A Star. Billed as Di Fosco Erwin Jr, he plays his part in an innovative and impassioned slice of 21st Century, psychedelic soul.
Johnny Copeland was a veteran of the Houston blues and soul scene, releasing over forty singles during the period between 1958 and 1980. Sadly, I Was Born To Love You, which was recorded in 1970, never made it only any of Johnny’s singles. Instead, it lain unloved unloved in the Modern’s vaults until it featured on Kent’s 1995 compilation Serious Shades Of Soul. At last this uptempo dancer was heard by a wider audience. Ten years later, and another generation of music lovers can hear a vocal powerhouse from Johnny that oozes emotion and hope.
I Only Have Eyes For You is an oft-covered track. In 1970, Jimmy Bee covered this Al Dublin and Harry Warren penned track. It was produced by Clarence Brown, and arranged and conducted by Rene Hall. It’s another track mixed by Alec Palao. Originally made famous by The Flamingoes in 1959, Jimmy stays true to the original. Elements of blues, jazz, doo wop, R&B and soul combine, as Jimmy delivers a heartfelt, seductive vocal.
Originally, Earl Wright’s I Don’t Know was released on the Hue label. It was a small independent label. Later, I Don’t Know was picked up by the Virgo label, who had a pressing and distribution deal with Kent. Virgo hoped to bring this beautiful, but wistful fusion of blues and soul to a wider audience. Sadly, I Don’t Know was just a regional his. That’s despite Earl’s despairing vocal, tinged with hurt and heartbreak.
Before embarking upon a solo career, Felice Taylor and her sisters Norma and Darlene, recorded as The Sweets. They released Satisfy Me Baby on the Soultown label. By 1966, Felice had embarked upon a solo career. She released her only single, It May Be Winter Outside (But In My Heart It’s Spring) on Mustang Records. It reached number forty-two on the US Billboard 100. While Felice’s next two singles failed to chart, her third single, I Feel A Love Coming On reached number eleven in Britain. Sing Me A Love Song however, is one that got away. Penned by Richie Adams and Irwin Levine, it was recorded but never released. That’s until now. Sing Me A Love Song, where Felice sounds remarkably like Diana Ross, is bound to find favour within the Northern Soul scene.
In 1971, The Windjammers covered All That Shines Is Not Gold. It was penned by Wally Cox, and produced by Leo Kulka, under his George Benz alias. Originally, All That Shines Is Not Gold was meant to be released on Golden State Records. The record was pressed, but when the bill wasn’t paid by label owner Willie Hoskins. So, the record was pulled. Leo Kulka then signed The Windjammers and took them back into the studio. One of the songs they recorded was Poor Sad Child Pt. 1, which was released as a single. All That Shines Is Not Gold was relegated to the flip side. This was an opportunity lost, as All That Shines Is Not Gold features The Windjammers at their soulful best.
Many blues aficionados will know the name Tommy Youngblood. He forged a reputation as a blues guitarist, vocalist and songwriter. In 1969, Tommy released an album The Soul Of Tommy Youngblood. It was released on Kent, and featured one of Tommy’s compositions, Gone On Home.. Accompanied by stabs of horns and driving, stomping rhythm section, Tommy delivers a joyous and soulful vocal.
Jackie Shane was originally born in Nashville, the capital of country music. He then moved to Toronto, before releasing singles on labels in Washington, New York and Boston. By 1967, Jackie released a cover of the standard You Are My Sunshine on Modern. This familiar track is transformed. Elements of blues, gospel, R&B and soul unite, as Jackie releases a vocal powerhouse.
Millie Foster signed to Modern Records in 1967. Before this, she’d only released a trio of singles between 1962 and 1964. At Modern, Millie recorded a quartet of cuts. They’ve never been released before. That’s until now. Compiler Ady Croasdell struck gold when he discovered Millie’s version of Maxwell Davis’ Move A Little Closer. It’s sassy, sultry and seductive. Quite simply, it’s musical gold from one of soul’s best kept secrets, Millie Foster.
Robert Ramsey and James Day cowrote Take A Look In Your Mind. It was then recorded by Robert and was originally meant to be released as a single on Kent, in 1971. However, when the release date came nearer, Kent decided to flip the single over. Like It Stands became the single and the country soul of Take A Look In Your Mind become the B-Side. This was another case of opportunity lost. On its release, Like It Stands failed commercially, and Robert never released another single. However, Take A Look In Your Mind is a reminder of what Robert Ramsay is capable of.
Closing Los Angeles Soul-Kent-Modern’s Black Music Legacy is Maurine Williams and The Mount Olive 2nd B.C. Choir’s version of the Betty Gouche ballad Your Gonna Miss Your Chance. This was a gospel track was pressed by Modern for a Los Angeles church. Accompanied by just a lone piano, Maurine Williams, accompanied by the choir delivers a heartfelt, impassioned vocal that’s both beautiful and oozes emotion.
Choosing just twelve of the tracks on Los Angeles Soul-Kent-Modern’s Black Music Legacy, to tell you about, wasn’t easy. Quite simply, Los Angeles Soul-Kent-Modern’s Black Music Legacy is crammed full of quality music. Whether it’s blues, country soul, funk, gospel, psychedelia, R&B, soul, Southern Soul or sweet soul, each and every track has quality written all over it. That’s no exaggeration.
You can cast aside the remote control when listening to Los Angeles Soul-Kent-Modern’s Black Music Legacy, which was recently released by Kent Soul, an imprint of Ace Records. As compilations go, Los Angeles Soul-Kent-Modern’s Black Music Legacy is all killer and no filler. From the opening bars of Jeanette Jones’ I Want Action, which opens Los Angeles Soul-Kent-Modern’s Black Music Legacy, right through to the closing notes of Maurine Williams and The Mount Olive 2nd B.C. Choir’s version of the Betty Gouche ballad Your Gonna Miss Your Chance, not once are you tempted to reach for the remote control. That’s testimony to Ady Croasdell’s crate-digging skills.
Ady Croasdell must be one of the hardest working men in music. Hardly a month goes by, without Ady having compiled a compilation. If Ady’s not compiling compilations, he’s writing sleeve-notes. It seems Ady Croasdell lives and breathes music. That’s apparent on his latest compilation, Los Angeles Soul-Kent-Modern’s Black Music Legacy, which oozes quality. Los Angeles Soul-Kent-Modern’s Black Music Legacy is a welcome addition to the Kent Soul discography.
LOS ANGELES SOUL-KENT-MODERN’S BLACK MUSIC LEGACY.
ATA KAK-OBAA SIMA.
ATA KAK-OBAA SIMA.
Twenty-one years ago, back in 1994, Ata Kak originally released his debut album Obaa Sima. It was no ordinary album. Obaa Sima was released with the help of his college professor and Ata’s twin brother. His brother designed the artwork for the cassette, and Professor O.A. DeGraft Johnson, helped release Obaa Sima through the university’s publishing department. Eventually, the release date arrived, and fifty cassette copies of Obaa Sima were made and released.
Ata and his brother decided fifty copies of Obaa Sima was enough to be going on with. They were essentially testing the market in in Ghana and Canada, to see how DJs and record buyers would react to Ata’s lo-fi fusion of highlife, Twi-language rap, funk and disco. Delivered with the energy and enthusiasm heard on early Prince albums, surely Obaa Sima would capture the imagination and hearts of critics, DJs and music lovers?
Sadly, that wasn’t to be the case. DJs wanted paid to play Obaa Sima. With Ata unable to afford to promote Obaa Sima, he was between a rock and a hard place. So, Obaa Sima passed Canadian and Ghanian music lovers by. Only three of the fifty copies of Obaa Sima were sold. So, with a heavy heart, and his dreams in tatters Ata’s nascent music career was all but over.
Later, with Ata living in Toronto, he played some friends Obaa Sima. They loved his music. That must have proved ironic for Ata. After all, he’d poured his heart, hopes and dreams into Obaa Sima. It could’ve been the start of a career in music. Sadly, that wasn’t to be. Then in 2002, a copy of Obaa Sima fell into the hands of the owner and founder of a record company.
This was Brian Shimkovitz, founder Awesome Tapes From Africa. In 2002, he was travelling through Ghana, when he came across someone selling cassettes at the roadside. As a lover of African music, Brian bought a copy. However, he never got round to playing what just so happened to be, Obaa Sima. A few years passed, and eventually, Brian decided to listen to Obaa Sima. Straight away, Brian was blown away with Obaa Sima. So, much so, that Brian founded the Awesome Tapes From Africa blog.
Having founded the Awesome Tapes From Africa blog, Brian posted the songs from Obaa Sima on the Awesome Tapes From Africa blog. Soon, the floodgates opened. There were literally hundreds of thousands of downloads, YouTube views, music video homages and remixes. There was a problem though. Nobody knew where Ata Kak was.
For years, nobody knew of Ata Kak’s whereabouts. Brian asked his contacts within the music industry if they knew anything about Ata Kak. The answer was always the same, no. Ata Kak, even in the internet age, was a mysterious and enigmatic musician. Eventually, the search was over and Brian made contact with Ata Kak. This resulted in the recent reissue of Obaa Sima by Awesome Tapes From Africa on 2nd March 2015. At last, the story behind the much traveled Ata Kak can be told.
Ata Kak was born Yaw Atta-Owusu, on 29th September 1960, in Kumsai, Ghana. He attended Mfantisipim Senior High School. When Ata left school, his first job was managing the bar at the Kumsai Golf Club. Living at home with his father, and working at the golf club, this was Ata’s life for several years. However, in 1985, when Ata was twenty-five, he moved to Germany, to join his wife.
For the first nine months Ata spent in Germany, he took German lessons. Ata planned to go to university. However, his plans changed when Mary became pregnant. This resulted in a change in plan for Ata.
By the time Kevin, Ata and Mary’s first son was born, Ata was worked as a labourer and farmhand during the day. At night, Ata taught English. In his spare time, Ata listened to music.
His favourite genres were disco, soul, funk and R&B. Ata was soon immersing himself in the music of Stevie Wonder, Michael Jackson, The Staple Singer and K.C. and The Sunshine Band. Soon, Ata went from listening to music, to making music.
Moving to Germany had opened doors for Ata and his wife. He worked in Dortmund and Dusseldorf, made friends, and through these friends, got the opportunity to join a band.
The opportunity arose when Ata was standing in line in the Post Office. An acquaintance approached Ata, and asked if he could play the drums? Ata for some reason, decided to say yes. That’s despite having never played the drums before. Despite this, Ata joined the band, and within five weeks, he was playing proficiently. Not long after this, Ata was singing lead vocals, in the reggae cover’s band. This was the start of Ata’s musical career.
Throughout the rest of Ata’s stay in Germany, he played in bands. Then in 1989, Ata moved to Canada, and Ata settled in Toronto, and was asked if he’d like to join a highlife band?
Again, Ata agreed. However, there was a problem. Ata had never played highlife. He preferred reggae. Despite this, Ata became a member of Marijata, who played all over Canada and recorded three albums. By then, Ata had immersed himself in highlife, pop, soul, R&B and funk. This would stand Ata in good stead when in 1991, he embarked upon a solo career.
Having decided to embark upon a solo career, Ata realised his bandmates, couldn’t, or wouldn’t, be able to play the music he wanted to make. So, he had to play all the parts himself. To do this, Ata whose budget was restricted, set about buying some musical equipment. He bought a second hand computer and Atari Notator music software. He bought a new synth with built in drum sounds, a reel-to-reel tape recorder and a twelve channel mixing desk. Now Ata was ready to record his own music.
Writing songs, Ata found, came naturally. Recording them, however, took time. Without money to hire a recording studio, Ata’s Toronto apartment became a makeshift studio. Helping Ata to record his own music was his friend, Yanson Nyantakyi, who took on the role of assistant enegineer. Slowly, Ata laid down the various parts. He added raps and vocals. Ata even added backing vocals. Then he realised his friend Lucy Quansah was better suited. She complimented Ata perfectly. As the tracks that would become Obba Sima came together, Ata’s baby son Jeffrey watched on. Little did Jeffrey realise that by the time he’d grown up, Obba Sima would’ve become an internet sensation.
Once Obba Sima was completed, Ata wanted to release his lo-fi fusion of highlife, Twi-language rap, funk and disco. So, Ata sent Obba Sima to Ghana to be mastered. It was much cheaper to send his tapes from Canada to Ghana, than have the mastering done locally. This was also the case with having the tapes duplicated. Fifty tapes were duplicated in Ghana, and sent to Ata in Toronto. With Ata’s brother providing the artwork for the cassette, Obba Sima was ready for release in 1994.
Unfortunately, when Obba Sima was released in Canada and Ghana in 1994. Ata approached DJs, asking them if they would play Obba Sima. The DJs wanted paid to play Obaa Sima. Ata couldn’t afford to do so. Nor could he afford to promote Obaa Sima, he was between a rock and a hard place. So, Obaa Sima passed Canadian and Ghanian music lovers by. Only three of the fifty copies of Obaa Sima were sold. So, with a heavy heart, and his dreams in tatters Ata’s nascent music career was all but over. That’s until a copy fell into the hands of Brian Shimkovitz, founder Awesome Tapes From Africa.
In 2002, Brian Shimkovitz was travelling through Ghana, when he came across someone selling cassettes at the roadside. As a lover of African music, Brian bought a copy. A few years passed, and eventually, Brian decided to listen to Obaa Sima. However, a few years passed before Brian played Obaa Sima. When he did, Brian was blown away with the music on Obaa Sima. So, much so, that Brian founded the Awesome Tapes From Africa blog.
After founding the Awesome Tapes From Africa blog, Brian posted the songs from Obaa Sima on the Awesome Tapes From Africa blog. Soon, the floodgates opened, and Obaa Sima became an internet sensation. So, Brian set about tracing Ata.
This proved problematic. Nobody knew of Ata Kak’s whereabouts. Brian asked his contacts within the music industry if they knew anything about Ata Kak. The answer was always the same, no. Ata Kak, even in the internet age, was a mysterious and enigmatic musician. Eventually, though, the search was over and Brian made contact with Ata Kak. This resulted in the recent reissue of Obaa Sima which I’ll tell you about.
Opening Obaa Sima is the title-track. Thunderous, pounding, drums and washes of synths bathed in filters add hypnotic, dance-floor friendly backdrop. Then a roll of drums sets the scene for the vocal. It sits in the midst of an arrangement where elements of disco, funk, highlife, hip hop and soul combine. The occasional holler or whoop is added. Mostly, though it’s just a soulful, heartfelt vocal. Later, the vocal’s augmented by backing vocal. They’re the perfect addition to this irresistible, lo-fi, dance-floor friendly track.
The tempo drops on Moma Yendodo. Occasional bursts of pitched up backing vocals, thunderous drums and a bounding bass join Ata’s Twi-language rap. Just like the previous tracks, genres melt into one. Elements of hip hop, soul, funk and Twi-language rap become one. At breakneck speed, Ata delivers a strutting, swaggering rap. All the time, backing vocals accompany him, as he shows another side Ata Kak, musical chameleon and showman.
Straight away, Ata’s love of soul can be heard on Adagya. Stabs of warm synths and a scrabbled bass pay homage to eighties soul. Then it’s all change. The track takes on a lo-fi, electronic sound as Ata urgently, delivers a Twi-language rap. He certainly doesn’t lack confidence. Literally, he swaggers through the track, with the soulful stylings of backing vocalists for company.
Medofo is a track whose roots are in Afro-beat and funk. It’s the dusty sounding Hammond organ and funky rhythm section that leads to this comparison. Then it’s all change. Ata delivers another of trademark raps. However, stealing the show is the sweet, soulful sound of Lucy Quansah. She adds backing vocals, that sometimes, head in the direction of a rap. Later, when the vocals drop out, elements of eighties funk, soul and R&B combine. The arrangement is panned right to left. It’s irresistible sound is the perfect replacement for the vocals, on what’s one of Obaa Sima’s highlights.
Drums pound as Daa Nyinaa gets underway. Soon, a sprinkling of percussion, washes of synths and the bass combine. Again, a drum roll announces the arrival of Ata. It’s as if its saying: “here’s Ata.” He veers between a rap and a vocal. Behind him, the arrangement has a real lo-fi sound. What sounds like an accordion briefly, weeps. later, Lucy Quansah makes a welcome entrance. She’s the perfect foil for Ata. Together, they drive each other to greater heights. Ata becomes a man inspired, his vocal soulful and funky, complete with hollers, whoops and one of his trademark raps.
Yemmpa Aba has a lo-fi, sci-fi and electronic sounding arrangement. Synths, eighties electronic drums combine with an organ that sounds as if it’s come straight of a highlife album. Then there’s the bounding bass. They provide the backdrop for Ata’s as he delivers another vocal cum rap at breakneck speed. Lucy adds backing vocals, as Ata hits his stride. It’s as if he’s been inspired by James Brown and Melle Mel, on this blistering track.
Closing Obaa Sima Bome Nnwom, which straight away, has you hooked. Exploding into life, Ata gets into the groove on this instrumental. Pounding drums drive the arrangement along. They’re joined by a scrabbled bass, washes of relentless synths and the occasional sci-fi sound. Sometimes, the track takes on industrial sound. However, mostly, it’s mesmeric, hypnotic and akin to a call to dance. What a way to close Obaa Sima.
Twelve years after recording and releasing Obaa Sima, Ata Kak became an internet sensation. While the album he recorded in 1994, in his Toronto apartment went viral, Ata Kak never knew. Ata was also unaware that across the world, hundreds of thousands of people were downloading the songs on Obaa Sima. The floodgates had opened. Obaa Sima was an internet sensation.
Soon, Ata Kak’s album Obaa Sima was one of the most viewed items on You Tube. Before long, remixes and edits were being posted. Still, Ata was unaware of this. Nor was he going to become rich.
As is often the case, songs were downloaded illegally. People were making money out of remixing and editing the songs on Obaa Sima. They posted them on their You Tube channels, and soon, these remixes and edits went viral. Still, Ata Kak never knew about this.
Ata Kak was, by now, back in Ghana. He’d returned home in 2006, where he invested in a business that dug wells. Sadly, equipment failure lead to the company’s failure. This meant that Ata could no longer make music. The situation was akin to a Greek tragedy. While Ata struggled to make ends meet financially, reputations were built, and money made thanks to his album Obaa Sima.
Eventually, Brian Shimkovitz, founder of Awesome Tapes From Africa tracked Ata Kak down. The two men agreed to reissue Obaa Sima on 2nd March 2015. Somewhat belatedly, Ata Kak should make some money out of Obaa Sima. That should be the case.
Hopefully, everyone who downloaded either songs from Obaa Sima, or the entire album, will buy a copy. So, should anyone who made money out of remixes and edits. That’s only fair and just. In return, everyone who buys Obaa Sima will discover a true hidden gem of an album, that’s bound to appeal to many people.
There’s elements of everything from Afro-beat, disco, electronica, funk, highlife, hip hop, R&B, soul and Twi-language rap on Obaa Sima’s seven songs. During Obaa Sima, Ata Kak, aided and abetted by backing vocalist Lucy Quansah, created an album of dance-floor friendly, genre-melting music that quite simply, oozes quality, and is guaranteed to get any party started.
ATA KAK-OBAA SIMA.
DOM LA NENA-ELA.
DOM LA NENA-ELA.
Not many people are willing to devote their life to music. No. It takes a very special person to make the sacrifices that are needed to master an instrument. Most people are unwilling to make the commitment that’s required. This wasn’t the case for Dom La Nena. From the moment the Brazilian born chanteuse first discovered the cello, it was literally love at first sight. Since then, the Brazilian born cellist and vocalist’s life has revolved around music. That was the first step in a musical journey that lead to the release Dom La Nena’s debut album Ela. It’s just been rereleased in Japan on 25th February 2015, on the Six Degrees Records. This is perfect timing, because very soon, Dom La Nena will release her sophomore album Soyo, However, that’s till to come. Before that, I tell you about Ela, I’ll tell you about Dom La Nena’s life and career.
Dom La Nena was born in 1989, inPorto Alegre, Southern Brazil. Aged five, curiosity got the better of Dom. She discovered something she’d seen every day of her young life, the family piano. Curiosity became a voyage of discover. Her discovery of the piano lead to the cello. Straight away, Dom La Nena realized that the cello was her way of expressing herself. So, she decided to devote her life to music and specifically, the cello.
By the time Dom was eight, her family moved to France. Her father was studying for a doctorate. During this period, Dom musical education began. She received a classical training during the five years her family lived in France. Once her father’s doctorate was completed, the family returned to Brazil. In Dom’s case, this wasn’t for long.
Already, Dom was an admired of American cellist Christine Walevska, who in 1997, was living in Buenos Aries, Argentina. Dom wrote to Christine and not long after this, she moved to Buenos Aries. Her parents realized this was a once in a lifetime opportunity. Never again, would Dom get the chance to be a student of a legendary musician. So, Dom’s parents allowed her to move to Argentina.
Aged just thirteen, Dom moved to Buenos Aries. Dom spent five years studying with Christine Walevska and some of the country’s most influential classical musicians. It was during her time in Argentina that Dom adopted the name La Nena. This was affectionate name which means “the girl,” was bestowed on her by Christine and her grandparents, who Dom would visit in Uruguay. Little did they realize that it would stick. After five years, Dom, aged eighteen, had finished what was the another stage in her musical eduction. Next stop for her, was Paris, where her musical career would begin.
It was 2007 when Dom moved to Paris. Soon, she was working with some of the biggest names in French music. Dom accompanied Jeanne Moreau, Etienne Daho and Camille. Then in 2009, Dom worked with Anglo-French singer and actress Jane Birkin on her worldwide tour. It was during Jane Birkin’s tour that Dom decided she’d begin work on her debut album.
On her return from touring with Jane Birkin, Piers Faccini offered Dom the chance to use his home studio. The rural location was perfect. It was high in Cevennes Mountains in France. Isolated, and miles away from anywhere, it gave Dom the chance to concentrate purely on her music. Within a week, Dom had recorded all the cello, piano and vocal parts. Dom decided to send the songs to Piers. He’d not planned to work on the album. Then he heard the songs.
After one listen, Piers wanted to work with Dom. He threw himself into the project. They proved a potent partnership. Dom and Piers were like ying and yang. Soon, an understanding arose. Quickly, Piers knew what was needed to improve a song. They fed off each other, inspired each other. Eventually, thirteen songs were finished. These thirteen songs became Ela, Dom La Nena’s debut album, which I’ll tell you about.
Anjo Gabriel is the perfect track to open Ela. This is case from the opening bar to the closing notes. Atmospheric describes the introduction. When a creaky door gives way to an accordion you’re interest in piqued. They provides a wistful and understated backdrop to the pizzicato strings and piano. They accompany Dom’s fragile, ethereal vocal. Accompanied by a subtle sprinkling of percussion and harmonies, the song heads towards its beautiful, crescendo.
No Meu Pais has a minimalist, understated arrangement. Just piano and cello set the scene for Dom’s vocal. There’s a sadness in her vocal. She’s grownup without roots, traveling between Brazil, France, Argentina and Brazil, never putting roots down. She’s missed out on so much. It’s as if she’s realizing what she’s sacrificed for her first love, music. A poignant coming of age song, is it a case of no regrets?”
From the opening bars of O Vento, the tension builds. Quivering strings and meandering guitars accompany Dom’s vocal. It’s sung in Portuguese. There’s a sense of melancholia in her vocal. Tinged with sadness and regret, Dom’s vocal is a window into the soul of the weary adventurer.
There’s a vibrancy to Dom’s vocal on Batuque. Multi-tracked backing vocals accompany her. Just like her vocal, they’re ethereal and crystalline. The drums are the polar opposite. They’e bold and dramatic, while the percussion is subtle. Later, when they join with Eastern percussion and Dom’s scatted vocal, they prove a mesmeric combination.
Dom’s cello provides a wistful, heartbreaking backdrop to Dessa Vez, which sees Piers Faccini join Dom. When her vocal enters, it veers between hurt-filled and hopeful. Longing and loneliness are omnipresent. She wonders and hopes, but dare not think that this time she might find love. She’s been hurt before is scared of being hurt again. Piers assures her this time it’s different, this time, it could be for real.
Conto de Fadas, which translates as Fairytale, is one of the highlights of Ela. Just a piano, then cello accompany Dom’s vocal. It’s tender, emotive and soothing. Despite being sung in Portuguese, its inherent beauty will transcends any barrier,
Ela the title-track has a sense of suspense. That’s thanks to the cello. It provides a dramatic backdrop for Dom’s despondent vocal. Soon, it quicken, becoming breathy. It’s as if she’s overcome with sadness and sorrow at the situation she finds herself in.
Buenos Aries features another guest artist, Argentinian singer Thiago Pethit. The song is a celebration of the time Dom spent in Buenos Aries. There’s a classical influence to this piano lead song. Dom delivers a a tender, wistful and ethereal vocal. Then an accordion tugs at her heartstrings. It provides a reminder of her old life in Argentina. When it drops out, Thiago delivers an impassioned, pleading vocal. Later, as Thiago and Dom’s vocals are swept along by the accordion and harmonies, memories come flooding back. For Dom, they’re good and bad. Instead of a celebration, it proves to be a bittersweet journey.
Breathtakingly beautiful and heartbreaking describes Menina Dos Olhos Azuis. With just harmonies and later, a piano for company, Dom lays bare her feelings. What follows is an outpouring of emotion, with a cello solo proving the final straw.
Sambinha is a very different track. It’s a much more upbeat song, that’s like a call to dance. You can’t help but submit to this songs irresistible charms. An acoustic guitar and percussion join Dom’s lilting, sensual vocal. Cooing harmonies, handclaps and accordion combine to create a backdrop to Dom’s sultry vocal.
When I first heard Canção Boba it reminded me of another song. Having racked my brains and played the songs numerous times, I realized what it was, U2’s One Love. Although there’s similarities, it’s also very different. Just a pensive piano provides an understated backdrop for Dom’s vocal. Her vocal oozes emotion, sincerity and joy. Gradually, the arrangement builds and reveals its beauty and secrets. As bass and cello combine with harmonies, the song takes on an anthemic quality. Thankfully, Dom doesn’t resort to posturing, relying on the ethereal, crystalline beauty of her vocal to shine through.
Vocé sees Dom joined by Camille, a French singer who she’s previously worked with. Inspiration for this song came from a childhood game she played. Memories come flooding back. That was when she was carefree, and started her globetrotting life as a musician. As the song ends, Dom’s vocal has become melancholy, at what she lost and the sacrifices she made. Was it worth it?
Saudade closes Ela. That’s the perfect way to describe not just Dom’s vocal on this track, but much of the album. Melancholia or wistfulness is a way of describing it. It’s more than that. There’s a sense of longing, as if desperate to recapture something that’s long-gone. That’s apparent from her vocal, which is accompanied by the cello. It reflects the regret in Dom’s vocal. What caused the regret? Maybe it’s the childhood and youth Dom never got the chance to enjoy. After all, she was living away from home and devoting her life to music?
Thirteen songs and just thirty-six minutes long, Dom La Nena’s debut album Ela, is a beautiful, but melancholy album. It’s a poignant and powerful window into the world of Dom La Nena. The thirteen songs feature mostly understated, acoustic arrangements. This allows Dom’s vocal to take centre-stage. You’re spellbound by each of her vocals. She’s a natural storyteller, whose worldweary, wistful voice brings the lyrics to life. Despite being sung in Portuguese and Spanish, you can feel, share and empathize with her pain and anguish. Dom sounds a complex character, whose music is a reflection of her childhood.
First of all, Dom and her family moved from Brazil to Paris. Aged just eight, she left behind her friends and had to travel across the world. She had meet new friends and make a new life. Then there was the language barrier. This couldn’t have been easy. Then five years later, she moved from France back to Brazil. Then came the biggest decision of her life. Aged just thirteen, Dom left home and headed to Buenos Aries. Leaving behind friends and family, she followed her dream of becoming a professional musician. In doing this, she sacrificed so much, maybe too much? Some would say she sacrificed her childhood? Traveling to Argentina she spent five years there. From her songs, they weren’t always happy times. Bittersweet times they were. From Argentina, Dom headed back to France. Living a nomadic existence, she never puts roots down. That’s what makes No Meu Pais autobiographical.
Indeed, many of the songs on Ela which was rereleased in Japan on 25th February 2015, on the Six Degrees Records, are autobiographical. Featuring articulate, intelligent lyrics, Ela is an emotional roller coaster journey that many people can relate to. After all, many people have made sacrifices that later, they wonder whether were worthwhile? In Dom’s case, it’s a journey full of highs and lows. Sadly, it seems the emotional lows outnumber the highs. That’s why one song epitomizes Dom La Nena’s music. That song is Saudade. It’s a Brazilian word that describes a deep-rooted sense of loss or longing. To me, that describes much of Dom’s music. That’s also why Dom’s music is so moving, poignant and powerful.
As an outsider looking in, Ela was an opportunity for Dom La Nena to reflect on her unorthodox life so far. I wonder whether she thinks that the sacrifices she made were worthwhile? Listening to the songs on Ela, melancholia is almost a constant companion for Dom. So often, her voice sounds melancholy, wistful and distant. It’s as if the songs bring back memories, some she’d rather forget. Maybe, Ela will prove cathartic for Dom La Nena, and this outpouring of emotion and memories will help her to move on and enjoy the next chapters in what I’m sure will be a long and successful musical journey?
DOM LA NENA-ELA.
MODERNISTS-A DECADE OF RYHTHM AND SOUL DEDICATION.
MODERNISTS-A DECADE OF RYHTHM AND SOUL DEDICATION.
Since the birth of rock ’n’ roll, youth cults have come and gone. Some have proved to be nothing more than passing fads. Others however, have lasted longer. However, none of the youth cults of the past fifty years have enjoyed the same longevity as the modernists.
The modernists came to prominence in the late fifties. Their name came about because of their love of modern jazz. However, by the early sixties, the modernists had become mods.
Musically, mods had eclectic taste. Mods embraced American R&B and soul music. Especially labels like Stax and Tamla Motown. They also listened to ska and reggae. However, mods didn’t turn their back on British music. The mods enjoyed pop and rock music. Groups like The Rolling Stones, The Who, Small Faces and The Kinks were perceived as “mod” groups. However, music was only part of the mod movement.
Image was everything for mods. They carefully tried to cultivate an air of coolness. The suits they wore were often tailor made. Sometimes, their suits were made out of cashmere, with narrow lapels. They also sported button-down collar shirts, thin ties and wool or cashmere jumpers All this was de rigour for a mod around town. So were fishtail parkas, desert boots, Chelsea boots and bowling shoes. A few mods even took to wearing makeup. In sixties Britain, this didn’t go unnoticed. However, mods were unlike no other youth subculture. Mods even had their own mode of transport.
Lambretta or Vespa scooters were the mods’ choice of transport. They drove them around town, where they visited dance-halls, coffee bars, and cinemas. At cinemas, mods took to watching French and Italian films. This was all part of a sense of continental coolness they were attempting to cultivate. After all, image was everything to the mod. So was music.
Every time there’s been a mod revival in the last fifty years, at the heart of the revival has been music. Whether it was in the late-seventies or mid-nineties, music and fashion was at the heart of these mod revivals. The music being made during the mod revivals during the late-seventies and mid-nineties, was inspired by the music of the sixties. For mods of all vintage, this was a golden era for music.
So it’s no surprise that Ady Croasdell and Dean Rudland have compiled a new compilation celebrating this golden age. This is Modernists-A Decade Of Rhythm and Soul, which was recently released by Kent Soul, an imprint of Ace Records. It came about when Ady and Dean were compiling the most recent instalment in the Mod Jazz series. They spoke about compiling a compilation of rhythm and soul. The result is Modernists-A Decade Of Rhythm and Soul.
Modernists-A Decade Of Rhythm and Soul features twenty-four tracks. This includes contributions from Jeb Stuart, Lewis Clark, Clifford Curry, Mel Williams, Little Bob, The Hustlers, Lee Bernard, Timmy Wilson, Eddy Giles and Charles Hodges. Most of the tracks were released between 1963 and 1968. That’s apart from three previously unreleased tracks.
The first is Little Eva’s version of Dynamite. It was recorded in 1965 and was meant to be the reply to James Brown’s hit single Papa’s Got A Brand New Bag. By then, Little Eva was struggling to replicate the success of Locomotion. Bob Feldman, Jerry Goldstein and Richard Gottehrer, who penned and produced Dynamite, hoped it would replicate the success of Little Eva’s Locomotion. On its release on Amy, Dynamite failed commercially. Since then, this version of Dynamite has lain unreleased. Not any more. Now this sassy slice R&B an be heard by a wider audience. That’s also the case with Clarence Daniels and Obie Jessie’s Good Thing Going On.
From the opening bars, Clarence Daniels and Obie Jessie’s Good Thing Going On has a jazz-tinged sound. That’s not surprising. Bassist Clarence Daniels had been a fixture of the Los Angeles’ music scene since the forties. A veteran of countless sessions, Clarence had even backed The Platters. However, in the late fifties, he joined forces with vocalist Obie jessie, whose career began in the mid-fifties, when he began recording a string of singles for Modern. A few years later, Clarence and Obie recorded Good Thing Going On, where jazz meets R&B. It’s quite simply, one of Modernists-A Decade Of Rhythm and Soul highlights, and like Timmy Wilson’s Long Ways To Go, is a real find.
Timmy Wilson wrote Long Ways To Go, and recorded it on 27th November 1965, at Capital City Sound, in Columbus. It was meant to Timmy’s debut single on the 3J label. For whatever reason, the release was cancelled, and this blistering R&B track remains, a long lost, hidden gem. Long Ways To Go is just one of many hidden gems, delights awaiting discovery on Modernists-A Decade Of Rhythm and Soul.
Jeb Stuart’s Soul Jerk opens Modernists-A Decade Of Rhythm and Soul. It’s an uptempo track, that sounds as if writers Jeb Stuart, Charles Jones and Clarence Taylor were hoping it would start a dance craze. Released on King Records in 1967, Jeb vamps and hollers his way through Soul Jerk, a hook-laden dance track.
Robert Relf and Earl Nelson penned Harlem Shuffle in the early sixties. They released it as a single in 1963. For many, this is the definitive version of Harlem Shuffle. Penned by Earl Nelson. This didn’t stop Robert Moore covering Harlem Shuffle in 1968. Released on the Hollywood label, it’s one of the best covers of Harlem Shuffle. A year later, however, Bob and Earl rereleased their definitive version.
The In Crowd were a group of session musicians. They recorded Cat Dance, an instrumental that epitomises the sixties club sound. Penned and arranged by Milton Shorty Rogers, it was released on the Brent label in 1965.
Although Oliver Morgan’s Hold Your Dog is credited to Sax Kari, by all rights, Rufus Thomas should get a co-credit. It’s essentially a remake of Rufus’ 1963 hit single Walking The Dog. Released on GNP Crescendo in 1964, Hold Your Dog is essentially a homage to Rufus Thomas’ Walking Your Dog, and again, epitomises the early sixties soul, R&B sound.
Bob Calille had enjoyed a long and varied career before he wrote I Got Loaded. He played drums in Good Rockin’ Bob, and then formed his own dance band, The Lollipops. By 1965, Bob had dawned the alias Little Bob. That year, he released I Got Loaded, on La Louisianna. From the get-go, it’s obvious I Got Loaded oozes quality. Dance-floor friendly, and full of hooks, it’s a delicious R&B cut. So much so, that’s one of the highlights of Modernists-A Decade Of Rhythm and Soul.
That’s the case with John Fred and His Playboy Band’s 1959 single Shirley. This slice of Louisiana R&B is truly irresistible. Penned by Thomas Bryan and John Fred Gournier, Shirley was released on the Montel label in 1959. It’s akin to a call to dance that’s truly timeless.
Danny and The Velaires released Shaggy Dog in 1967. Penned by Daniel Matousek, Shaggy Dog was released on the Brent label. It’s another instrumental. As the arrangement unfolds, the grinding arrangement takes on a mesmeric sound. That’s until the Hammond organ, makes its entrance. It transforms the track. What follows is an irresistible instrumental. Especially, when washes of wailing harmonica are unleashed. They’re just the finishing touch, to another instrumental that epitomises the sixties modernist sound.
Leroy Harris’ Crow Baby was released on the Swan label in 1966. It was written by Leroy and Ellis Taylor, who produced Crow Baby. Accompanied by gospel tinged harmonies, Leroy unleashes a funky, soulful slice of R&B.
While singer-songwriter Eddy Giles, a native of Shreveport, Louisiana, only enjoyed a short recording career, it was a case of quality rather than quantity. A talented soul man, with the ability to bring a song to life, he demonstrates that on Tingling. Written by Jimmy Ray Johnson and Dick Martin, Tingling was released on Murco in 1968. It’s the perfect showcase for one of Southern Soul’s best kept secrets.
Closing Modernists-A Decade Of Rhythm and Soul, is Rick and Paul’s After Hours. This was the B-Side to Hen House, which was released as a single in 1967. After Hours is one of the best finds on the compilation. Written by Buddy Bruce, Buddy Feyne and Andy Parrish, it was produced by Scott Seely and Buddy Merrill. Rick and Paul drop the tempo as a smokey, late-night sound unfolds. Aided and abetted by handclaps and hollers, Rick and Paul close Modernists-A Decade Of Rhythm and Soul on a resounding high.
Modernists-A Decade Of Rhythm and Soul, which was recently released by Kent Soul, an imprint of Ace Records. is the first in what hopefully, will be a regular series of modernist rhythm and soul. Especially, if future volumes are as good as Modernists-A Decade Of Rhythm and Soul.
Modernists-A Decade Of Rhythm and Soul features twenty-four tracks. They’re an eclectic selection. B-Sides and hidden gems rub shoulders with rarities, singles and unreleased tracks. This includes contributions from Jeb Stuart, Lewis Clark, Clifford Curry, Mel Williams, Little Bob, The Hustlers, Lee Bernard, Timmy Wilson, Eddy Giles and Charles Hodges. Most of the tracks were released between 1959 and 1968. That’s apart from three previously unreleased tracks from Little Eva, Timmy Wilson and Clarence Daniels and Obie Wilson. These tracks, were, most likely, recorded between 1959 and 1968, which was the age of the modernists.
The modernists, or as they became, mods, are celebrated on Modernists-A Decade Of Rhythm and Soul. The twenty-six tracks, chosen by Ady Croasdell and Dean Rudland, will bring back memories of a musical golden age. Especially for the original mods.
Back in the early sixties, the mod about town, would dawn their cashmere suits, complete with narrow lapels. Completing the look were button-down collar shirts, thin ties and a wool or cashmere jumpers and Chelsea boots. Before climbing aboard their Vespa or Lambretta, the most fastidious of mods would dawn a fishtail park. This wasn’t so much a fashion statement, as a means of protecting their precious tailor made suit. Only then would the Modernist climb aboard, and head into town, where they’d enjoy a music just like that on Modernists-A Decade Of Rhythm and Soul. However, for many modernists, these days are long gone. Their days of dawning tailor made suits and fishtail parkas, then jumping onboard a Lambretta are long gone. So, Modernists-A Decade Of Rhythm and Soul allows them to relive the music of their youth, in the comfort of their own home.
MODERNISTS-A DECADE OF RYHTHM AND SOUL DEDICATION.
HUNG ON YOU-MORE FROM THE GERRY GOFFIN AND CAROLE KING SONGBOOK.
HUNG ON YOU-MORE FROM THE GERRY GOFFIN AND CAROLE KING SONGBOOK.
Two heads are better than one. So, the saying says. That’s certainly the case with songwriting. Some of the best, and most successful songs in the history of popular music have been written by songwriting teams. That’s been the case throughout the history of popular music.
Jerry Leiber and Mike Stoller provided the soundtrack to much of the fifties, with songs like Kansas City, Hound Dog and Jailhouse Rock, to name but a few. Then in 1957, another of the legendary songwriting partnerships was born, Burt Bacharach and Hal David.
Bacharach and David’s songwriting partnership would last sixteen years. Right through to 1973, Bacharach and David penned countless classics, including Raindrops Keep Fallin’ On My Head, Walk On By, The Look Of Love, (They Long to Be) Close to You and This Guy’s In Love With You. However, in 1960, another songwriting partnership made its debut, Barry Mann and Cynthia Weil.
Just like Leiber and Stoller and Bacharach and David, Barry Mann and Cynthia Weil would go on to become one of the most successful and influential songwriting partnership in the history of popular music. Classics aplenty flowed from the pen of Barry Mann and Cynthia Weil, including classics like Saturday Night At The Movies, You’ve Lost That Loving Feeling and We Gotta Get out of This Place. It seemed that Barry Mann and Cynthia Weil could do no wrong. The same can be said of Gerry Goffin and Carole King.
Nowadays, the Goffin and King songwriting partnership is one of the most celebrated. No wonder. They were a truly prolific partnership, who throughout the sixties and early seventies, enjoyed critical acclaim and commercial. So much so, that to pay homage to Gerry Goffin and Carole King’s songwriting partnership, it’s taken Ace Records eight years and four compilations.
The first compilation of Gerry Goffin and Carole King songs that Ace Records released, was Goffin and King: A Gerry Goffin and Carole King Song Collection 1961-1967, which was released on 8th October 2007. Two years later, Ace Records returned with the followup, Honey and Wine: Another Gerry Goffin and Carole King Song Collection on 30th March 2009. Then another three years passed, before Something Good From The Goffin and King Songbook was released on 26th March 2012. Another three years passed before Ace Records released Hung On You-More From The Gerry Goffin and Carole King Songbook, on 2nd March 2015.
Hung On You-More From The Gerry Goffin and Carole King Songbook is a twenty-six track compilation, compiled by Mick Patrick. It features an eclectic selection of tracks, with The Righteous Brothers and Dusty Springfield rubbing shoulders with Skeeter Davis, The Shirelles, Dion, Bobby Vee, The Drifters, Walter Jackson, Henry Alston, The Crystals and The Countrymen. With sixties girl and soul groups sitting side-by-side with country, pop, soul and R&B singers, Hung On You-More From The Gerry Goffin and Carole King Songbook looks like a captivating and eclectic collection. Is that the case?
Opening Hung On You-More From The Gerry Goffin and Carole King Songbook is The Righteous Brothers’ Hung On You. This is a track Gerry Goffin and Carole King cowrote with Phil Spector, who produced the track. It was released on his label Philles Records as the followup to You’ve Lost That Loving Feeling. When it was released as a single in 1965, Hung On You reached number forty-seven in the US Billboard 100 chart. Fifty years later, Hung On You is a heartfelt hidden gem from The Righteous Brothers.
In 1968, Dusty Springfield recorded her classic album, Dusty In Memphis in 1969, for Atlantic Records. She had already recorded a number of Goffin and King songs. Another four featured on Dusty In Memphis. It could’ve been five. However, That Old Sweet Roll (Hi-De-Ho), which was recorded during the Dusty In Memphis sessions didn’t make the cut though. Instead, it featured on the B-Side of Dusty’s 1969 single Willie & Laura Mae Jones. This was Dusty’s first single after the release of Dusty In Memphis. Thirty years later, in 1999, That Old Sweet Roll (Hi-De-Ho) was one of the bonus track on the 30th anniversary reissue of Dusty In Memphis. Sadly, by then, Dusty Springfield had just died. So, That Old Sweet Roll (Hi-De-Ho) was a reminder of Dusty, at her soulful best.
Mention Skeeter Davis to anyone interested in country music, and they’ll wax lyrical. Skeeter enjoyed over forty hit singles between the late-fifties and mid-seventies. This includes her 1964 single What Am I Gonna Do With You. On the flip side was Don’t Let Me Stand In Your Way. Penned by Goffin and King and produced by Chet Atkins, pop meets country Don’t Let Me Stand In Your Way. This became known as the countrypolitan sound. One of its finest exponents was Skeeter Davis.
It wasn’t just The Shirelles career, that was transformed by their million selling single, Will You Still Love Me Tomorrow. So were Goffin and King’s. They were offered an advance on their future royalties. This allowed Gerry Goffin to quit his daytime job as a lab technician. Now he could concentrate all his efforts on writing hits. Soon, this paid off, when he penned What A Sweet Thing This Was for The Shirelles. Produced by Luther Dixon, it reached number fifty-four. Although slightly disappointing, compared to Will You Still Love Me Tomorrow, nowadays, What A Sweet Thing This Was sounds ahead of its time.
When Dion released This Little Girl as a single in 1963, he had already enjoyed a number one single with Goffin and King’s Take Good Care Of My Baby in 1962. Two years later, in 1963, Dion released This Little Girl on Columbia. It only reached number twenty-one in the US Billboard 200 charts. This Little Girl also featured on Dion’s 1963 album Donna The Prima Donna. Hook-laden and truly irresistible, This Little Girl was one of Donna The Prima Donna’s highlights.
In 1988, The Drifters were inducted into the Rock ’N’ Roll Hall Of Fame. Formed in 1953, The Drifters went on to enjoy a long, and successful career. By 1962, The Drifters were one of the biggest R&B groups. That year, they released the Goffin and King penned When My Little Girl Is Smiling. Produced by Leiber and Stoller, it reached number twenty-eight in the US Billboard 200 charts and number thirty-one in Britain. However, Craig Douglas and Jimmy Justice also released When My Little Girl Is Smiling as a single in Britain during 1962. The best of the three versions, were The Drifters, who made it their own.
Walter Jackson signed to Columbia in 1962. At his first session, the former Velvetones’ singer recorded four tracks, including Anything Can Happen. It wasn’t released for another forty-four years, until 2006, when Ace Records rereleased Walter’s debut album It’s All Over. Anything Can Happen was one of the bonus track. This was a welcome addition, as Walter delivers a heartfelt, hopeful vocal where he mixes power and passion.
Theola Kilgore only ever released six singles during her career. She enjoyed minor hits with The Love Of My Man and This Is My Prayer. In 1966, Theola released her swan-song, the Goffin and King penned It’s Gonna Be Alright. Produced by Bill Silva and Chuck Silva it failed to chart, but is a reminder of one of soul music’s best kept and most soulful secrets.
After a sabbatical from the music industry, Henry Alston, a former member of The Hurricanes, embarked upon a solo career. His debut single was Hey Everybody, released in 1964. The flip side was the Goffin and King penned, So Many Lonely People. It features a soul-baring vocal from Henry. Sadly, when Hey Everybody failed to chart, Henry didn’t release another single. His recording career as a solo artist, proved short-lived.
The first of the Philly soul factories, Cameo Parkway, opened its doors in 1956. Before long, R&B and soul singles were rolling out its doors. They were penned, played and produced by a small group of songwriters, musicians and producers. For the next twenty-five years, they gave the music Philly its own unmistakable sound. The Orions’ Keep Your Hands Off My Baby is a forerunner of this. Written by Goffin and King, it’s one of the highlights of their 1963 album All The Hits By The Orlons.
The Crystals were one of the most successful of the sixties girl groups. Formed in Philly in 1960, their biggest hits were He’s A Rebel and Da Doo Ron Ron (When He Walked Me Home). However, in 1962, they released the most controversial single of their career, He Hit Me (And It Felt Like A Kiss. Produced by Phil Spector, and released on his Phillies Records, the lyrical content shocked Americans. So much so, that the single failed to chart, and the song was omitted from The Crystals’ next album, Twist Uptown. It featured No One Ever Tells Me, the B-Side to He Hit Me (And It Felt Like A Kiss. Penned by Goffin and King, it’s a wistful, haunting ballad from The Crystals.
My final choice from Hung On You-More From The Gerry Goffin and Carole King Songbook, is The American Breed’s Sometime In The Morning. It’s a track from Bend Me, Shape Me, The American Breed’s 1968 album. Released on Acta Records, Bend Me, Shape Me’s best know track was the title-track. When it was released as a single in 1968, it reached the top five in the US Billboard 200 charts. This was The American Breed’s biggest single. However, The American Breed bring new life and meaning into Sometime In The Morning, which was also covered by The Monkees. The two versions are quite different. Of the two versions, The American Breed’s is the best.
Hung On You-More From The Gerry Goffin and Carole King Songbook, which was recently released by Ace Records, is the fourth compilation of songs penned by Goffin and King. It’s a twenty-six track compilation, compiled by Mick Patrick. His selection is truly eclectic. The Righteous Brothers and Dusty Springfield rubbing shoulders with Skeeter Davis, The Shirelles, Dion, Bobby Vee, The Drifters, Walter Jackson, Henry Alston, The Crystals and The Countrymen. Sixties girl and soul groups sitting side-by-side with pop, soul and R&B singers. There’s even crooners, country and psychedelia. Quite simply, there’s something for everyone.There’s a reason for this.
Gerry Goffin and Carole King were versatile songwriters. They could write songs for a wide variety of artists and groups. Whether it was country, pop, R&B or soul, Gerry Goffin and Carole King could pen a track for an artist. Goffin and Kin g were just as happy writing for sixties girl groups like The Ronettes and The Crystals, as they were penning tracks for Dusty Springfield, The Righteous Brothers and Skeeter Davis. Often, these tracks were then covered by an eclectic selection of artists. That wasn’t the case with other songwriting partnerships.
During the sixties, other songwriting partnerships emerged. Right through to the seventies, other songwriting partnerships discovered their own songwriting style. It proved successful, so their style never evolved. Their songwriting style and sound was formulaic. Especially, in Detroit’s soul factory. Eventually, this style and sound fell out of fashion. Despite this, other songwriting partnerships never learnt from their mistakes and history continued to repeat itself. For Goffin and King, they continued to enjoy commercial success and critical acclaim.
As the seventies dawned, the Gerry Goffin and Carole King partnership was all but over. They had divorced in 1968, and since then, gradually, began to lose contact. Carole embarked upon a solo career, and released her Magnus Opus Tapestry in 1971. It sold twenty-five million copies and won four Grammy Awards. After this, Carole combined her solo and songwriting careers. Just like former husband Gerry, she worked alongside several songwriting partners. However, for ten years the Gerry Goffin and Carole King partnership were one of the most successful songwriting partnerships.
Over forty years later, many of the songs Gerry Goffin and Carole King penned are regarded as classics. They’re truly timeless, and continue to be covered by a new generation of artists. Meanwhile, the originals, including The Shirelles’ Will You Love Me Tomorrow and Aretha Franklin’s (You Make Me Feel Like) A Natural Woman are part of musical history. So, is the Gerry Goffin and Carole King songwriting partnership. No wonder. For nearly ten years, they could do no wrong. That’s why, Gerry Goffin and Carole King, just like Bacharach and David, Leiber and Stoller and Barry Mann and Cynthia Weil, are regarded as one of the most important songwriting partnerships in the history of popular music. One listen to Hung On You-More From The Gerry Goffin and Carole King Songbook, and you’ll soon realise why.
HUNG ON YOU-MORE FROM THE GERRY GOFFIN AND CAROLE KING SONGBOOK.
JOHN CARTER/BOBBY BRADFORD-SELF DETERMINATION MUSIC.
JOHN CARTER/BOBBY BRADFORD-SELF DETERMINATION MUSIC.
By 1970, when John Carter and Bobby Bradford released Self Determination Music, Bob Thiele’s Flying Dutchman Productions had established a reputation for releasing groundbreaking music. This had been the case since Bob left Impulse Records in 1969.
Impulse Records had been home for Bob Thiele since 1961. Over the next eight yearsDuring that time, Bob Thiele enjoyed the busiest period of his career. Bob, who was hardly away from the studio, produced over 150 albums in eight years. This included John Coltrane’s seminal album A Love Supreme. However, not all of Bob Thiele’s production’s were as successful. Innovative music didn’t always equate to commercially successful music.
Through working with some of the most innovative and creative musicians in the history of jazz, Bob must have realised that often, large record companies aren’t the best environment for innovative and creative musicians. Often, these musical mavericks didn’t thrive within such an orthodox environment. Their creativity is restricted, meaning they’re unable to experiment and innovate like they’d like.
Soon, Bob Thiele, would be able to create an environment where this would be possible. By 1969, Bob had been at Impulse for eight years. He’d been responsible for producing some of the most important jazz music of the sixties. However, there’s no sentiment in music. In the musical equivalent of a musical coup d’tat, Bob Thiele was ousted from his role at Impulse. This proved to the start of the next chapter in his career.
Leaving Impulse in 1969, Bob founded Flying Dutchman Productions. This would become home to everyone from Ornette Coleman, through Gil Scott Heron, Leon Thomas, Eddie “Cleanhead” Vinson, Louis Armstrong to Lonnie Liston Smith and His Cosmic Echoes. Within the right environment, Bob wanted to prove that innovative musicians could thrive, creating music that’s influential and forward-thinking. That describes the music on John Carter Carter and Bobby Bradford’s 1970 album, Self Determination Music perfectly.
Released in 1970, Self Determination Music was a collaboration between two musical innovators. This was their second collaboration. Their first was the John Carter and Bobby Bradford Quartet’s Flight For Four, which had been released on Flying Dutchman Productions, in 1969. The sessions had been challenging for producer, Bob Thiele. However, the end result made it all worthwhile. Flight For Four was the type of music he wanted to record, produce and release. Inventive, innovative and influential, Flight For Four was different to much of the music other labels were releasing. It would, he hoped, influence a generation of musicians. So, Bob commissioned a second album.
Whereas Flight For Four was credited to The John Carter and Bobby Bradford Quartet, Self Determination Music was credited to John Carter and Bobby Bradford. They put together a quintet which recorded the four songs on Self Determination Music, which was recently reissued by BGP Records, an imprint of Ace Records. Self Determination Music marked the next step in the career of two pioneering jazzmen.
Saxophonist John Carter was forty-one when he recorded Self Determination Music. He had been born in Fort Worth, Texas. Growing up, John attended I.M. Terrell High School, alongside Ornette Coleman and Charles Moffett. Originally, John played the saxophone. However, later, John began to spread his wings musically.
By the time John Carter headed to college, in 1945, he was already starting to play other instruments. Soon, he was becoming something of a multi-instrumentalist. Eventually, John could play clarinet, flute, plus alto, tenor and soprano saxophone. For a future music teacher, this was no bad thing.
In 1949, John graduated college, and began teaching. This allowed him to make a living, and also, to hone his skills. Deep down, maybe John hadn’t given up hope of making a living as a musician, like his old class mate Ornette Coleman. Eventually, it was Ornette Coleman that helped John get a break.
Ornette Coleman knew both John and Bobby Bradford. He felt they had much in common, professionally and musically. They had, he felt, similar hopes and aspirations. Both John and Bobby were teachers, who hoped to make a living as musicians. So, Ornette put them in touch.
When John met Bobby Bradford, he discovered he was a native of Cleveland, Mississippi. Bobby was thirty-six, five years John’s junior. He was born in 1934, and began playing the trumpet at an early age. By the age of fifteen, Bobby was playing in clubs around Dallas.
Despite his tender years, Bobby was rubbing shoulders with impressive company, including Ornette Coleman, James Clay and David Newman. This stood Bobby in good stead when he moved to Los Angeles in the early fifties.
Now living in Los Angeles, Bobby kept in touch with, and played alongside Ornette Coleman. Both shared a passion for free jazz, which was transforming jazz music. However, by the mid-fifties, Bobby’s career was interrupted. He was drafted.
With Bobby drafted, Don Cherry took his place in Ornette Coleman’s band. Then when Bobby was discharged from the Army, he picked up where he left off.
Bobby returned to Ornette Coleman’s band. Mostly, the lineup of Ornette Coleman’s band which featured Bobby played live. They did enter the recording studio. Sadly, these recordings were never heard. In 1962, a fire devastated the Atlantic Records’ vaults the master tapes were kept in. By then, Bobby had realised he wasn’t going to make a living as a musician.
So, like John Carter, Bobby turned to teaching. That’s how was making a living, when Ornette Coleman introduced John and Bobby.
With the two musicians turned teachers, having so much in common, they taught by day, and practised by night. Both men shared a love of free jazz, and were looking for like minded musicians.
Trying to form a band wasn’t easy. The problem was finding musicians who wanted to play free jazz. Some arrived with good intentions, but weren’t suited to free jazz. Eventually, though, the lineup took shape.
After trying out several bassists, Tom Williamson, a technical writer, by day, got the gig. Next to join was drummer Bruz Freeman, who was a stalwart of The West Coast scene. Previously, Bruz had been a member of the Hampton Hayes Quartet since the fifties. Bruz was the final piece of the jigsaw, who initially, called themselves The New Art Ensemble.
With the lineup in place, The New Art Ensemble practised together. However, given the band were part-time musicians, The New Art Ensemble only played a few gigs. When they did, they often played alongside Horace Tapscott and His Pan-African People. After one of these gigs at the Occidental College, The New Art Ensemble caught a break.
John William Hardy, a professor at Occidental College had founded a record label, Revelation, with one of his former students, Jonathan Harwich. They asked The New Art Ensemble if they wanted to record an album? The answer was a resounding yes.
John Carter penned five of the six tracks that became Seeking, The New Art Ensemble’s one and only album. This ambitious and pioneering album was released in January 1969. It was the perfect showcase for The New Art Ensemble, who were about to come to the attention of Bob Thiele.
Bob had just left Impulse, after eight years, and had just founded Flying Dutchman Productions. He was looking for musicians to accompany him on his debut album Head Start. Having come across The New Art Ensemble and Horace Tapscott, and been impressed with them, he realised he had found his backing band.
The New Art Ensemble and Horace Tapscott accompanied Bob Thiele on Head Start, which was released in 1969. Bob however, was impressed with The New Art Ensemble, so offered them a recording contract. However, he wasn’t impressed with their name. So, The New Art Ensemble became The John Carter and Bobby Bradford Quartet.
Flight For Four.
The John Carter and Bobby Bradford Quartet’s debut album would be Flight For Four. It featured five tracks. Four songs were penned by John, and one by Bobby. Some of the arrangements were extremely complicated. So much so, that when the recording session began, multiple takes were required. However, once the session were finished, The John Carter and Bobby Bradford Quartet and Bob Thiele were impressed by Flight For Four.
When Flight For Four was released in 1969, critics hailed it an album of ambitious and groundbreaking music. It was a timeless homage to The John Carter and Bobby Bradford Quartet’s collected love of free jazz. Despite the glowing reviews, Flight For Four wasn’t a huge seller. However, it sold well enough for Bob Thiele to commission a second album. Bob believed in The John Carter and Bobby Bradford Quartet, and was willing to back the free jazz pioneers.
Self Determination Music.
For their sophomore album, Self Determination Music, John Carter penned a trio of tracks, The Sunday Afternoon Jazz Blues Society, Loneliness and Encounter. Bobby Bradford contributed the other track on Self Determination Music, The Eye Of The Storm. These four tracks would become Self Determination Music, which saw The John Carter and Bobby Bradford Quartet, become a quintet.
For Self Determination Music, it was decided to add a second bassist. This presented a problem. No longer could they call themselves The John Carter and Bobby Bradford Quartet. So, Self Determination Music was billed as an album by John Carter/Bobby Bradford. It featured the debut of second bassist Henry Franklin.
Producer Bob Thiele too the quintet into the studio, where they recorded the four tracks. Drummer Bruz Freeman and bassists Tom Williamson and Henry Franklin provided the rhythm section. John Carter played reeds and Bobby Bradford trumpet. This new lineup worked their way through the four tracks, which became Self Determination Music, which was released in 1970.
Before its release in 1970, Self Determination Music was described as an ambitious and innovative album by critics. The quintet were perceived as pioneers, who were determined to push musical boundaries. They do this throughout Self Determination Music’s four tracks as free jazz moves in new and unexpected directions. However, how would record buyers react to Self Determination Music?
Sadly, when Self Determination Music was released, history repeated itself. Self Determination Music wasn’t a huge seller. Just like many of Flying Dutchman Productions’ releases, they found a discerning audience. However, still many jazz lovers still didn’t “get” free jazz. It seemed to go over their head. As a result, Self Determination Music hasn’t been rereleased since it was originally released back in 1970. So, BGP Records reissue of Self Determination Music, which I’ll tell you about, is a welcome reissue.
The Sunday Afternoon Jazz Blues Society opens Self Determination Music. A scrabbling bass, joins hissing hi-hats and blistering trumpet solo. Soon, what was an understated, spacious arrangement has been transformed. It’s a dramatic, musical roller coaster ride. At the heart of the arrangement is the trumpet, which plays a starring role. The rest of the quintet, however, aren’t reduced to playing supporting roles. No. They more than play their part in the sound and success of The Sunday Afternoon Jazz Blues Society. Especially, the sultry saxophone that joins aboard the roller coaster. Aided and abetted by the rhythm section, a mesmeric and inventive free jazz track takes shape, leaving you wanting more.
The Eye Of The Storm is a fifteen minute epic. Hesitantly, the two basses toy with the listener. They’re playing call and response, varying the tempo. It rises and falls, as if Tom and Henry are playing a game of cat and mouse. This continues when the horns enter. Accompanied by the rhythm section, which powers the arrangement along, horns sound. Sometimes, it’s as if they’re duelling, vying for supremacy. Mostly, though a glorious trumpet solo weaves its way across the arrangement. Not to be outdone, rumbling rolls of drums, the scrabbled bass and stabs of saxophone vie for your attention. Then the sultriest of saxophone solos takes centre-stage. It’s as if the gauntlet has been thrown down. Later, as the arrangement becomes much more understated, one things stays the same. Subtleties, surprises and nuances aplenty unfold, during this free jazz epic.
Loneliness opened side two of the original version of Self Determination Music. It’s nine minutes where beauty and melancholia are omnipresent. Understated, hesitant, wistful and beautiful describes the way percussion, subtle stabs of horns and a probing bass unite. Soon, the track takes on an orchestral sound. Still, though, the understated sound remains. Then as bass if plucked, a saxophone sounds. Its sultry, soul-searching sound is akin to an unburdening of hurt and heartbreak. Scrabbled strings, a muted, melancholy trumpet and string play. Drums are caressed, as if Bruz is afraid to overpower the beautiful, wistful arrangement. As Loneliness’ continues to unfold, its cinematic sound grows. By the end of the track, Loneliness, with its beautiful, wistful cinematic sound, is painting pictures of hurt, heartbreak and of course, Loneliness.
Closing Self Determination Music is Encounter. It’s a thirteen minute track. From the get-go, the quintet stretch their legs. Theres a sense of urgency in the rhythm section, who power the arrangement along. They provide the backdrop for the wailing, braying horns. Soon, though, as the tempo rises, it’s just the trumpet that remains. With the rhythm section injecting urgency, Bobby kicks loose. His scorching, searing horn cuts through the arrangement. Not to be outdone, John returns, playing gently and within himself. When he drops out, it’s just the frenzied rhythm section that accompanies Bobby. Later, John returns, still playing within himself. Even when Bobby bows it. The horns are constantly searching for an in, during the rhythms laid down by the powerhouse of a rhythm section. This becomes even more apparent when the horns drop out. They, like John and Bobby more than play their part in what’s an urgent, explosive, free jazz tour de force which closes Self Determination Music.
It was forty-five years ago, in 1970, that John Carter/Bobby Bradford released Self Determination Music. This was the second album they had released on Flying Dutchman Productions. Sadly, although it found an audience within the free jazz community, and among the more adventurous record buyers, mostly, Self Determination Music passed music lovers by. That’s not surprising. Very few record buyers understood free jazz.
Used to traditional, more mainstream jazz music, free jazz was another world to them. Bebop, hard hop and the West Coast jazz they could understand, but not free jazz. It went against jazz’s fundamentals. Free jazz was akin to jazz’s maverick genre. This was a step too far. As a result, many jazz lovers were missing out on many ambitious and innovative albums, including John Carter/Bobby Bradford’s Self Determination Music, which was recently reissued by BGP Records, an imprint of Ace Records.
Self Determination Music is yet another of the hidden gems that for far too long, has been hidden away in Flying Dutchman Productions’ vaults. Not any more. Forty-five years after its original release, music lover have another chance to rediscover a truly groundbreaking album, Self Determination Music which John Carter/Bobby Bradford released back in 1970. Self Determination Music, which is a truly beautiful, ambitious, dramatic and innovative album, which will challenge music lovers both musically and intellectually. If they give Self Determination Music a chance, they will be richly rewarded by John Carter/Bobby Bradford’s long forgotten, free jazz epic.
JOHN CARTER/BOBBY BRADFORD-SELF DETERMINATION MUSIC.
RICK WAKEMAN-THE MYTHS AND LEGENDS OF KING ARTHUR AND THE KNIGHTS OF THE ROUND TABLE.
RICK WAKEMAN-THE MYTHS AND LEGENDS OF KING ARTHUR AND THE KNIGHTS OF THE ROUND TABLE.
In January 1973, Rick Wakeman released his sophomore album The Six Wives Of Henry VIII. It was a groundbreaking album, one that would forever change prog rock. The Six Wives Of Henry VIII was the album that legitimised synths in prog rock. This was a game-changer.
Following the success of The Six Wives Of Henry VIII, synths became commonplace in prog rock. However, without Rick Wakeman and The Six Wives Of Henry VIII, maybe, the history of prog rock would’ve been very different? Two years later, and Rick Wakeman, prog rock pioneer’s life was turned upside down. However, before that, Rick Wakeman would enjoy further success with another concept album, Journey To The Centre Of The Earth.
Journey To The Centre Of The Earth.
Following the success of The Six Wives Of Henry VIII, Rick Wakeman began work on his third album, Journey To The Centre Of The Earth. This was another concept album. It was based on Jules Vernes’ science fiction novel Journey To The Centre Of The Earth, which was published in 1864. It inspired Rick to write and record another prog rock opus.
Journey To The Centre Of The Earth featured two lengthy tracks written by Rick Wakeman. The Journey/Recollection, which lasted twenty-one minutes, would fill side one of Journey To The Centre Of The Earth. Side two featured The Battle/The Forest, which lasted nearly nineteen minutes. However, these two tracks weren’t recorded in a studio.
No. Journey To The Centre Of The Earth was recorded at the Festival Hall, London. On 18th January 1974, Rick Wakeman, accompanied by the London Symphony Orchestra, the English Chamber Choir and a select group of musicians who Rick named The English Rock Ensemble. With such an ambitious project, Rick wasn’t taking chances. Two concerts were scheduled and both were recorded. The second concert would feature on the completed version of Journey To The Centre Of The Earth, which was released on 9th May 1974.
Before the release of Journey To The Centre Of The Earth, critics had their say. To say reviews were mixed is an understatement. Among the less favourable reviews, words like a “classical pastiche” “genuinely appalling” and “brutal synthesiser overkill” peppered reviews. For Rick this was hugely disappointing. It had been a hugely ambitious project, one which took a lot out of him. However, other critics, especially the rock critics, were much more open minded. They gave Journey To The Centre Of The Earth glowing reviews. Maybe, Rick’s hard work was about to pay off?
When Journey To The Centre Of The Earth was released on 9th May 1974, Rick Wakeman had the last laugh. Journey To The Centre Of The Earth reached number one in Britain and number three in the US Billboard 200 charts. This resulted in Journey To The Centre Of The Earth being certified gold in America. Rick Wakeman had been vindicated. However, his world was about to be turned upside down.
The Myths and Legends Of King Arthur and The Knights Of The Round Table.
Following the release of Journey To The Centre Of The Earth, Rick Wakeman was getting ready to begin work on his fourth album. Then disaster struck. Rick had the first of three minor heart attacks. He was taken to Wexham Park Hospital, near Slough, in Berkshire. That’s where Rick recuperated and began writing The Myths and Legends Of King Arthur and The Knights Of The Round Table, which was recently rereleased as a double album by Universal Music Group.
When Rick was admitted to the Wrexham Park Hospital, the prognosis wasn’t good. Far from it. The doctor advised Rick to stop playing and touring. If he retired, his health might improve. Rick wasn’t amenable to this suggestion. So, that night, he penned The Last Battle, the track which would eventually, close The Myths and Legends Of King Arthur and The Knights Of The Round Table. This was the start of Rick Wakeman’s recovery.
The suggestion that Rick Wakeman retired seemed to inspire him. So, whilst recovering from the heart attack, Rick wrote most of The Myths and Legends Of King Arthur and The Knights Of The Round Table at Wrexham Park Hospital. Before long, his health had improved and he was ready to record The Myths and Legends Of King Arthur and The Knights Of The Round Table.
Recording of The Myths and Legends Of King Arthur and The Knights Of The Round Table began at Morgan Studios, London, on 16th October 1974. Right through to the 10th January 1975, Rick and his band recorded the seven tracks that became The Myths and Legends Of King Arthur and The Knights Of The Round Table. Rick’s band included the rhythm section of drummer Barney James, bassist Roger Newell and Geoff Crampton on lead and acoustic guitar. They were joined by percussionist John Hodgson and The English Chamber Choir. Taking charge of the lead vocals were Gary Pickford-Hopkins and Geoff Crampton. Rick who produced The Myths and Legends Of King Arthur and The Knights Of The Round Table, played synths, keyboards and grand piano. Once recording was completed on 10th January 1975, The Myths and Legends Of King Arthur and The Knights Of The Round Table was released in April 1975.
Before that, the critics had to have their say about The Myths and Legends Of King Arthur and The Knights Of The Round Table. This time, generally, reviews were more favourable. Gone were the scathing, jaundiced reviews that preceded Journey To The Centre Of The Earth. Things were looking good for Rick Wakeman.
On the release of The Myths and Legends Of King Arthur and The Knights Of The Round Table, in April 1975, it reached number two in Britain and number twenty-one on the US Billboard 200 charts. This resulted in Rick’s third consecutive gold disc in America. The Myths and Legends Of King Arthur and The Knights Of The Round Table also was certified gold in Japan, Australia and Brazil. Things were indeed, looking up for Rick Wakeman. However, according to the musical rumour mill, there was a problem.
Rick had decided to tour The Myths and Legends Of King Arthur and The Knights Of The Round Table, to support the album. This included three nights at Wembley, which was billed as King Arthur On Ice. Although these nights sold out, rumours persisted that Rick Wakeman had taken a large financial hit. Some rumour mongers went as far as to suggest that Rick had been declared bankrupt. That was far from the truth.
Later, it became apparent that Rick never lost money on the tour that accompanied The Myths and Legends Of King Arthur and The Knights Of The Round Table. Indeed, the tour and album had been a profitable venture, selling over twelve million copies worldwide. Not bad for an album Rick Wakeman wrote in his hospital bed, and released forty years ago, when prog rock, like Arthur was King? Has The Myths and Legends Of King Arthur and The Knights Of The Round Table stood the test of time though?
Opening The Myths and Legends Of King Arthur and The Knights Of The Round Table is Arthur. From the spoken word introduction, the drama unfolds. Horns sound, drums roll and strings sweep. They add a dramatic, theatrical backdrop. Soon, a harpsichord plays, and then synths. They’re the polar opposite of the harpsichord. They work though. Especially, as horns sound, stabs of piano punctuate the arrangement, while the lushest of strings sweep. Only then, is it time for the vocal to enter. Everything has been leading up to this moment, when he tells the story of the “bravest knight”and his quest. From there, slowly, and dramatically, they provide the backdrop for his story. Eventually, as the choir sing, strings cascade, drums pound, a piano plays and Rick’s bank of synths are prevalent, as “his quest for the sword complete…Arthur is the king of all this land.” Dramatic and stirring, with a sense of theatre, Rick Wakeman brings to life the Arthur’s quest.
Lady Of The Lake is just a short track, lasting less than a minute. However, it features a heartfelt delivery from The English Chamber Choir. Unaccompanied, they sing: “I am the lady of the lake, come take my sword, wear it by your side.”
Seamlessly, Lady Of The Lake melts into Guinevere. Rick’s lone, wistful piano plays. It’s a scene setter. When it drops out, shimmer, almost sci-fi synths are sprinkled across the arrangement. They’re then joined by flourishes of piano. Although unlikely bedfellows, they’re like yin and yan, providing the perfect backdrop for a needy, hopeful vocal. Swathes of strings float above the arrangement, adding another contrast. So do bells that ring out, and harmonies from The English Chamber Choir. With flamboyant flourishes of Rick’s piano and his bubbling, squeaking, synths for company, the arrangement seamlessly comes together, taking on a joyous, celebratory sound. Adding the finishing touch to the now jaunty arrangement, are searing, blistering guitars and a masterclass from Rick on piano, on what’s a beautiful, dramatic marriage of prog rock and neo classical.
Straight away, Sir Lancelot and the Black Knight sounds like a soundtrack. String sweep and cascade urgently. Horns sound, and The English Chamber Choir interject urgently and dramatically. Then adding to the drama, are Rick’s synths and a powerhouse of a vocal. It’s a mixture of urgency, drama and emotion. Especially, with The English Chamber Choir answering its call. Drums pound, strings cascade and horns sound. Synths add to the drama, as music’s past, present and future unite. Together, they provide a timeless, cinematic sounding track.
The English Chamber Choir open Merlin The Magician. They sing unaccompanied, adding to the sense of theatre and drama. So, does the piano and drama. In their own wistful way, they help paint pictures. That’s also the case with the strings and the dreamy washes of synths. Their lysergic sound floats above the arrangement, before the rhythm section and percussion interject. They add urgency and drama, as they add a glorious rocky sound. Later, it’s time for some of Rick’s sci-fi synths. Along with flourishes of piano, they help drive this near nine minute epic along. Quite simply, it’s beautiful, captivating, dramatic, elegiacal, graceful and urgent.
Just like the previous track, The English Chamber Choir open Sir Galahad. It’s a case of closing your eyes and letting their collected voices wash over you. That’s also the case with Rick’s lone, melancholy piano and lush synths. Then he throws a curveballs. The arrangement literally explodes, heading in the direction of rock opera. With a powerful, emotive vocal at the heart of the arrangement, the rhythm section, synths and percussion frantically drive the arrangement along. Then midway through the track, a sense of calm is restored. Just the vocal and flourishes of piano combine. However, it’s apparent that the arrangement is about to explode back into life. When it does, it references rock, funk, prog rock and choral music. Seamlessly, this genre-melting track makes sense and is one of the highlights of The Myths and Legends Of King Arthur and The Knights Of The Round Table.
Closing The Myths and Legends Of King Arthur and The Knights Of The Round Table is The Last Battle. It’s another epic track, one that lasts nearly ten minutes. The arrangement is understated washes of synths, hissing hi-hats and bells subtly ringing out. As the arrangement makes a cooing sound, an impassioned vocal takes centre-stage. It’s accompanied by a bass, and soon, banks of synths, drums and percussion. They’re responsible for building the arrangement. So are The English Chamber Choir and horns that sound triumphantly. Later, strings cascade and the synths skip along, accompanied by a bounding bass. Percussion and bursts of piano interject, as Rick Wakeman and his multi-talented band have save the best until last. It’s a triumphant way to end any prog rock album, never mind a timeless genre classic, like The Myths and Legends Of King Arthur and The Knights Of The Round Table.
Forty years have passed since Rick Wakeman released The Myths and Legends Of King Arthur and The Knights Of The Round Table. It’s an album that’s stood the test of time. I’ll go much further than that. The Myths and Legends Of King Arthur and The Knights Of The Round Table is a stonewall, prog rock classic. However, it’s an album that very nearly, never was recorded.
Back in 1974, Rick Wakeman was recuperating from a minor heart attack. His doctor recommended that Rick retire. However, Rick was only twenty-five. That wasn’t going to happen. Music was his life. As if determined to prove the doctor wrong, that day, Rick began work on The Myths and Legends Of King Arthur and The Knights Of The Round Table, and penned The Last Battle, which closed this prog rock Magnus Opus. A year later, and The Myths and Legends Of King Arthur and The Knights Of The Round Table was released to critical acclaim and commercial success.
Eventually, The Myths and Legends Of King Arthur and The Knights Of The Round Table sold over twelve million copies worldwide, and was certified gold in four continents. Forty years later, and Universal Music Group have reissued The Myths and Legends Of King Arthur and The Knights Of The Round Table as a double album.
This is a very welcome reissue. On disc one is the remastered reissue, while disc two is a DVD, featuring the stereo and quadrophonic mixes. Accompanying the two discs, are the sleeve notes, which faithfully replicate the lyrics and artwork. It’s a lavish and lovingly reproduced booklet, one that many record company would do well to take inspiration from.
Nowadays, many record company rush out albums. Neither care, nor attention, is taken to the mastering or packaging. Instead, a mountain of third albums of Nu-Soul, hip hop and remixes that are released each month. This month’s releases, are next month’s landfill. That’s a great shame, as a generation of music lovers are being short changed. Sadly, they’re not lucky enough to have grownup in an era where all that mattered was the quality of the music.
Back in the seventies, when prog rock, like Arthur, was King, artists like Rick Wakeman were constantly striving for perfection. This started with the music. Once an album, including Rhe Myths and Legends Of King Arthur and The Knights Of The Round Table was completed, then the rest of the package was completed. Neither effort, nor expense was spared. That’s apparent on Universal Music Group’s recent reissue of The Myths and Legends Of King Arthur and The Knights Of The Round Table, which is a very welcome reissue.
For far too long, Rick Wakeman’s music has been unavailable. That’s a missed opportunity. After all, Rick Wakeman was a musical pioneer, who pushed musical boundaries. That’s the case on The Myths and Legends Of King Arthur and The Knights Of The Round Table. Over seven songs, Rick combines everything from choral and classical to folk and funk, right through to classic rock and prog rock. The music is variously beautiful, captivating, cinematic, elegiacal, ethereal and graceful, right through to dramatic, rousing, stirring and urgent. The music on this prog rock classic, where Rick Wakeman paints pictures, and in doing so, transports you back in time, to another place, where you discover The Myths and Legends Of King Arthur and The Knights Of The Round Table.
RICK WAKEMAN-THE MYTHS AND LEGENDS OF KING ARTHUR AND THE KNIGHTS OF THE ROUND TABLE.
MICHAEL CHAPMAN-WINDOW.
MICHAEL CHAPMAN-WINDOW.
Michael Chapman never set out to be a make a living as a musician and originally, he was a teacher. By day, Michael Chapman taught art and photography and music was something he did in his spare time. However, there was a sense of inevitability that one day soon, Michael Chapman would leave the classroom behind.
Although Michael Chapman was a part time musician, he travelled the length and breadth of England. He was a regular on the folk circuit and often, traveled from his home county of Yorkshire, as far afield as London and Cornwall. Maybe in the back of his mind, Michael Chapman was hoping to make a living from music? If that was the case, eventually, his persistence paid off in 1967.
For Michael, 1967 was the year zero. That was the year that Michael Chapman was “discovered.” By then, hel was already twenty-six. However, it was another two years before Michael Chapman released his debut album Rainmaker on Harvest.
Rainmaker.
Harvest Records, a subsidiary of Capitol Records, was home to Pink Floyd, Kevin Ayers, Third Ear Band and Deep Purple. Michael Chapman found himself in illustrious company. Here were some of the most progressive musicians of the late-sixties. Michael was well thought of. Executives at Harvest thought Michael had a big future. They brought in Gus Dudgeon to produce Rainmaker, Michael’s 1969 album.
On its release, Rainmaker was released to critical acclaim. A cut above mainstream British folk, Rainmaker showcased Michael Chapman’s skill as a songwriter, musician and singer. Sadly, the fusion of folk, blues and rock that was Rainmaker, wasn’t a commercial success. Harvest persisted with Michael Chapman, believing success wasn’t far away. So, a year later, in early 1970, Michael released his sophomore album, Fully Qualified Survivor.
Fully Qualified Survivor.
Fully Qualified Survivor, Michael Chapman’s sophomore album. Released in early 1970, Fully Qualified Survivor saw Michael focusing on strengthening his songwriting skills. He seemed to be a perfectionist when it came to songwriting. This paid off.
For Fully Qualified Survivor, which like his debut album, was produced by Gus Dudgeon, Michael Chapmanbrought a new lead guitarist onboard. This was Mick Ronson, who’d later, make his name as David Bowie’s guitarist. A combination of some of Michae Chapmanl’s best songs, Gus’ production work and a guitar masterclass resulted in critics hailing Fully Qualified Survivor as a mini-masterpiece. It struck a nerve with music fans, reaching number forty-five in the UK.
After the commercial success and critical acclaim Fully Qualified Survivor enjoyed, it looked like Michael Chapman was about to become one of the most successful artists of the early seventies. However, that wasn’t to be. Window, Michael Chapman’s third album, which was the most controversial album of his short career.
Window.
Over the last few years, Michael Chapman had been constantly touring. Taking time off to record an album was almost an inconvenience. Michael Chapman was a realist and knew that if he wasn’t touring, he wasn’t making money. That meant Michael Chapman couldn’t pay the three meters of his band, and obviously they weren’t going to be happy. After all, “man cannot live by bread alone.” Michael Chapman had realised this the hard way, and was faced with a problem.
Harvest Records wanting him to record his third album which would become Window. Michael Chapman was reluctant to do so, and eventually he decided to record the album quickly as possible. It would get his label off his back.
For some time, Harvest Records had been wanting Michael Chapman to record the followup to Fully Qualified Survivor. He wasn’t keen, and had managed to stall them. However, eventually, their patience ran out and faced with no alternative, Michael Chapman was told to record his third album.
Michael Chapmanhad already written the nine songs that became Window and all he needed was a studio. Harvest Records told him to book a studio. Michael Chapman chose Trident Studios, in London, which in 1971, was one of the most expensive studios in Britain. However, it was one of the best sounding rooms in London and full of the latest equipment. That’s why it was home to some of the top musicians, including Michael Chapman.
When recording began at Trident Studios, Michael Chapman’s usual band accompanied him. This included drummer and tambourinist Richie Dharma and bassist Rick Kemp who also played maracas. They were joined by a number of guest artists including lead guitarist Phil Greenberg. He adopted the alias P. Harold Fatt, so as not to attract the attention of the British immigration department. He was joined by violinist Johnny Van Derek and pianist Alex Atterson. Producing Window, was Gus Dudgeon, who was now, making a name for himself with Elton John.
When work began on Window, Gus Dudgeon decided to take a different approach with Michael Chapman. Gus Dudgeon seemed to allow him more freedom. After all, Window was Michael’s third album and he knew how things worked by now. The result was a much more eclectic album than Rainmaker or Fully Qualified Surveyor, Window.
As soon as Window was completed, Michael Chapman and his band got back on the road. He was keen to make some money as the time he ad spent in the studio meant no money was coming in. Deep down, Michael Chapmanhad his doubts about Window. Forever the realist he realised Window wasn’t going to make him rich and headed back out on tour, which didn’t please Michael’s wife. However, the rest of the band liked life on the road which was a form of escapism from the drudgery of daily life.
With Michael Chapman on tour, he wasn’t around to handle the fallout from the release of Window. When critics heard Window, Michael Chapman’s third album divided opinion. Compared to Rainmaker and Fully Qualified Survivor, Window critics didn’t perceive as Window as progression and some critics felt Michael Chapman’s music seemed to have stood still. Maybe Gus Dudgeon’s decision to give Michael more freedom had backfired? Either that, or his decision to record Window as quickly as possible had backfired on him? That seemed to be the case.
When Window was released in 1970, it failed to chart on its release in 1970. Record buyers turned their back on Window. So did Michael Chapman.
Following the release of Window, Michael Chapman disowned Window allegeding it comprised a series of unfinished demos, which Harvest released whilst he was on tour. Ironically, Window, the album Michael Chapmandisowned, has been have reevaluated by critics and it’s now seen as Michael’s most underrated album.
Opening Window is Lady On The Rocks/Song For September. A firmly strummed guitar is soon joined by the rhythm section. It’s propelled along by Rick Kemp’s pounding bass and dramatic rolls of drums. They set the scene for Michael’s despairing, hurt-filled vocal. He’s hurt at what he sees as his partner’s betrayal. Later, when the vocal drops out, the band showcase their combined talents. Especially, Phil Greenberg’s bristling, searing guitar licks and Rick’s strident bass. When Michael returns, he’s made his mind up that this is the end of the affair. There’s no going back and with harmonies for company, a despairing Michael shares his frustration and hurt. Then as the track reaches its crescendo, Michael throws another curveball as congas help drive the arrangement along to its dramatic ending.
Last Lady Song is another relationship song. This time, however, they’re ships that pass in the night. Michael’s guitar is panned right, and drives the arrangement along. Then when his band enter, things get funky. This shows another side to Michael Chapman. Against this backdrop, Michael delivers a hopeful, needy vocal, asking: “will you stay another day?” He knows that’s unlikely. They’re ships that pass in the night. As he realises this, Paul Greenberg delivers a show stealing solo. Aided and abetted by Michael’s tight, talented band they seamlessly combine elements of folk, folk, funk and rock, showing another side of Michael’s music.
The slow, melancholy and thoughtful Among The Trees, sees Michael return to his folk roots. As Michael delivers a lived-in vocal, he strums his trusty acoustic guitar. Along with Rick Kemp’s bass, they play leading roles in framing Michael’s reflective vocal. It’s accompanied by harmonies, as Michael remembers times gone by. They were it seems better times, and maybe, “the best of times.”
Urgently Michael’s fingers flit up and down the fretboard as An Old Man Remembers unfolds. Soon, he’s joined by the rhythm section. This signals the entrance of Michael’s vocal. Again he’s reflecting, this times on an old relationship. With harmonies for company, a melancholy Michael remembers days gone by, when he was young, carefree and in love.
A hesitant, crystalline acoustic guitar opens In The Valley and is a scene setter for Michael’s Dylan-esque vocal. Against this understated arrangement, his vocal enters. Again, there’s a sense of melancholy in the vocal. That’s apparent when he sings: “days pass so slowly In The Valley of my mind,” and how far is it down, why must a fall?” Accompanying his vocal, are chiming, crystalline guitars and washes of percussion that add to an almost ominous sounding arrangement. This reflects the darkness and despair in Michael’s vocal.
First Lady Song is less than a minute long. Michael’s worldweary vocal is accompanied by just his acoustic guitar, as he remembers a femme fatale from his past. However, before long, First Lady Song is over. With a flourish of guitar, Michael bids farewell, on what’s a tantalising taste of what might have been.
Just like many of the tracks on Window, Michael’s acoustic guitar opens Landships. It sets the scene for Michael’s Bowie-esque vocal. He’s accompanied by harmonies, as he accentuates, and highlights, words and phrases. Meanwhile, rolls of drums, acoustic guitars and percussion accompany Michael. They all add to the drama, as we hear another side to Michael Chapman. It’s very different to what’s gone before. No wonder, with elements of country, folk, pop and rock shining through.
Having previously been inspired by Bob Dylan and David Bowie, Led Zeppelin and inspire Michael on A Scholarly Man. That only becomes apparent later. As the song opens, it’s Michael’s guitar that sets the scene. Soon, Michael delivers a tormented vocal, while frantically strumming his guitar. It’s akin to a cry for help, from a man on the edge. Later, there’s an Eastern influence as the arrangement glistens and shimmers. Sometimes, his guitar playing is reminiscent of Jimmy Page. However, Michael’s vocal is unique and unmistakable, as he delivers a despairing vocal, as the lyrics come to life.
Closing She Came In Like The “6.15” And Made A Hole In The Wall. From the get-go, it has a looser sound. That’s not surprising. It’s just Michael and some of his musician friends enjoying a singalong. It sounds like a good night has been had by all one and all on what’s a unusual choice of track to close Window
Fifty years have passed since Michael Chapman released Window. Back in 1970, it was an album that divided the opinion of critics. Window was Marmite music, you either loved or loathed it. Michael Chapman fell into the latter category and disliked Window so much, that after its release, he disowned his third album. This was hugely controversial.
Record buyers were hardly inclined to buy an album the artist has disowned. However, that’s what Michael Chapman did which didn’t please executives at Harvest Records. The album failed commercially and it was a frustrating time for Michael Chapman and Harvest Records.
Looking back at Window, the album finds Michael Chapman flitting between musical genres. Country, folk, folk rock, funk, pop and rock can be heard on Window which was, without doubt, the most eclectic album of his three album career. That’s not surprising.
Producer Gus Dudgeon gave Michael much more freedom on Window. Michael repaid him with Window, an eclectic album, where we hear various sides of Michael Chapman. Sadly, neither the critics, nor his fans, who were won over by Window. However, forty-five years later, and critics have reappraised Window.
Nowadays, Window, is seen as one of the most underrated albums in Michael Chapman’s discography. It features Michael Chapman at his cerebral and reflective best, as he paints pictures of love, love lost and times gone by. That’s why Window is certainly one of Michael Chapman’s most eclectic albums, and showcases a talented singer, songwriter and storyteller on the most underrated album of his career, Window.
MICHAEL CHAPMAN-WINDOW.
DALINDEO-KALLIO.
DALINDEO-KALLIO.
It was back in 2003, that Dalindèo, the Finnish jazz-sextet were founded by composer and guitarist Valtteri Laurell Pöyhönen. Since then, Dalindèo have released a trio of albums. Dalindèo released their debut album Open Scenes in 2007. Then after a gap of three years, Dalindèo returned with Soundtrack For The Sound Eye. By then, Dalindèo’s star was in the ascendancy. However, their third album Kallio, which will be released by BBE Music on 9th March 2015, was a game-changer.
Another three years passed before Kalindèo returned with their third album, Kallio. Kallio was released in Finland, in 2013, on the Finnsh label Suomen Musiikki. Widespread critical acclaim accompanied Kallio’s release. Critics and cultural commentators hailed Kallio the best album of Kalindèo’s ten year career. Everything Kalindèo had been through in the past ten years had been leading towards Kallio. Only now were they album to release an album that would transform their career.
On its release in March 2013, Kallio reached number thirteen on the Finnish album charts. This made Kallio one of the highest ranking jazz albums in the history of Finnish music. For the next six weeks, Kallio were a fixture of the Finnish album charts, and before Finnish long, radio stations.
Local radio stations and national radio stations picked up on Kallio. After ten years of trying, Kalindèo’s music was being heard by a wider audience. Kalindèo’s homage to the Kallio district of Helsinki seemed to have touched a nerve with Finish music lovers. This lead to Kalindèo heading out on tour.
Following the success of Kallio, Dalindèo headed out on tour. Over the next few months, Dalindèo played at all of Finland’s biggest, and most important, jazz festivals. This included Pori Jazz, Tampere Jazz Happening, Helsinki-Festival, Flow-festival and Jazzkaar in Tallinn, the capital of nearby Estonia. At each of these festivals, Dalindèo won over audiences with their cinematic sound. Once the festival season was over, things were going to get even better for Dalindèo.
When the nomination for the 2013 Emma Awards, the Finnish equivalent of the Grammy Awards were published, Dalindèo’s name featured proudly. Kallio was one of the nominees for the Best Jazz Album of 2013. For Dalindèo this was a huge honour. However, things were to get even better. On the night of the Emma Awards, Dalindèo won their first Emma Award for the Best Jazz Album of 2013. For the six members of Dalindèo, it made the past ten years of struggling to make a breakthrough worthwhile.
The Dalindèo story started back in 2003. That’s when composer and guitarist, Valtteri Laurell Pöyhönen, decided to found Kalindèo, which he decided should feature some of Finland’s top jazz musicians. Eventually, Valtteri put together a sextet. Joining him in the rhythm section were drummer Jaska Lukkarinen and Pekka Lehti on double bass. They were augmented by the horns of saxophonist Pope Puolitaival and trumpeter Jose Mäenpää. Adding a percussive twist was percussionist Rasmus Pailos. They became Dalindèo.
Ever since they founded in 2003, Kalindèo have toured extensively. They’ve played over 150 concerts in Finland, and in twelve other European countries. This allowed Dalindèo to hone their skills, and gain a reputation as one of Finland’s top jazz groups. However, it took time.
Originally, Kalindèo’s music was a fusion of Brazilica and jazz. However, before long, Kalindèo’s music began to evolve into the post modern style they describe as cinematic jazz. Kalindèo have been pioneers of this style of music. They’ve drawn inspiration from everyone from Henry Mancini and Lalo Schifrin, to Duke Ellington and Dick Dale, right through to the films of Finnish cinematographer Aki Kaurismäki. This unique, and eclectic fusion of influences has inspired Kalindèo to make groundbreaking music for the 21st Century.
Two years after Valtteri Laurell Pöyhönen founded Kalindèo, they released their debut 12” single Poseidon in 2005. It was released on the Finnish label Ricky-Tick Records, which would become home for Kalindèo for the next five years.
A year after releasing their debut 12” single, Kalindèo returned with their sophomore single Go Ahead. Released in 2006, word was spreading about Kalindèo. They were already a familiar fixture in concert halls and festivals in Finland. So it made sense for Kalindèo to release their debut album, Open Scenes.
Open Scenes, Kalindèo’s debut album was released in 2007. It was well released to critical acclaim by critics. Superlatives weren’t spared. One critic went as far as to use the b word. “The trusty Finnish sextet goes once again about the business of brilliance” Another critic remarked that: “Young Scandinavia continues to offer welcome relief from the furrowed brows of much American jazz. This Finnish sextet are a case in point.” Suddenly, Kalindèo were hot property and people were taking notice of the Finnish sextet. However, still, Kalindèo were content to do things their way.
With Kalindèo’s star very much in the ascendancy, it seemed that Kalindèo were in no rush to release the followup to Open Scenes. 2008 passed, without Kalindèo releasing any new music. Then in 2009, Kalindèo released two singles, including The Vintage Voyage-EP and New Creation, which featured Bajka. For fans of Kalindèo, this would keep them happy until the release of their sophomore album in 2010.
Soundtrack For The Sound Eye was released by Kalindèo in 2010. It was their final release on Ricky-Tick Records. However, what a swan-song Soundtrack For The Sound Eye proved to be.
Soundtrack For The Sound Eye was released to the same critical acclaim as Open Scenes. Reviews heaped praise on Kalindèo’s latest offering. It was variously described as: “a party for your ears” and “essential.” One critic went as far as to say compare Dalindéo to a “Ferrari.” So, it’s no surprise that other record labels were getting ready to swoop.
By 2013, Dalindéo had been making music for ten years. They were almost veterans of the Finnish jazz scene. They constantly toured and were a familiar face not just in Finland, but a dozen other European countries. This had its advantages. Word was spreading about Dalindéo, who had been constantly honing their sound. By now, they were one of the biggest names in Finnish jazz. This was the perfect time to release Kallio.
Having signed to Finnsh label Suomen Musiikki, Dalindéo released the third album of their ten year career. This was Kallio. It was released in 2013 to widespread critical acclaim accompanied. Critics and cultural commentators hailed Kallio the best album of Kalindèo’s ten year career. One hailed Kallio a future classic. Others called it variously joyous and cinematic.
Released in March 2013, Kallio reached number thirteen on the Finnish album charts. This made Kallio one of the highest ranking jazz albums in the history of Finnish music. For the next six weeks, Kallio were a fixture of the Finnish album charts, and before Finnish long, radio stations. After this, Kallio embarked upon a tour of the major Finnish festivals. However, the highlight was Kallio winning an Emma Award for the Best Jazz Album of 2013. By then, Dalindéo had ambitions beyond Finland.
Kallio had been a huge success within Finland. However, the six members of Dalindéo wanted their music heard further afield. When they played live, their cinematic jazz sound was winning friends and influencing people. So, they needed a label that could release Kallio worldwide.
This is where BBE Music came in. They signed Dalindéo, and will release Kallio on the 9th of March 2015. At last, Dalindéo’s cinematic sound, which references everything from the soundtracks of Henry Mancini and Lalo Schifrin, to Duke Ellington and Dick Dale, right through to the surf guitar of Dick Dale. That’s not all. Another major influence are the films of Finnish cinematographer Aki Kaurismäki. Occasionally, there’s a nod to the edginess and tension of Quentin Tarentino’s movies. All this plays its part in the sound and success of Dalindéo’s third album, Kallio, which I’ll tell you about.
Opening Kallio is Ota Linja 8! (Take The Line 8!), which could well be part of the soundtrack for Quentin Tarentino’s next movie. Bursts of horns join the rhythm section and percussion. They provide a Latin tinged backdrop before Dale Dale influenced surf guitars take their bow. Later, there’s even a twist of cocktail jazz. It’s a heady and explosive brew. Especially, when Dalindéo are in full flow. Flourishes of piano, dramatic stabs of blazing horns join shimmering guitars, as the track reaches its crescendo. By then, you’ve been transported back to the early sixties by the glorious sound of Dalindéo’s cinematic sounding jazz.
The cinematic sound continues on Karhupuiston Kuningatar (Queen of Bear Park). Braying horns, percussion and the rhythm section propel the arrangement along. Drizzled atop the arrangement are washes of surf guitar. However, it’s the muted horns that captivate and paint pictures on this joyous, swinging track.
There’s a sense of anticipation as Pyöräily Hämeentiellä (Biking On Hämeentie) unfolds. With just a guitar playing, you wonder where the track is heading? Soon, growling horns enter. They’re accompanied by percussion, while the rhythm section drive the arrangement along. What follows is an arrangement the veers between dramatic, moody, atmospheric and irresistible. Later, haunting washes of surf guitars are added. They’re just the finishing touch to a genre-melting track that’s explosive, dramatic, moody, atmospheric and truly, irresistible.
For anyone whose a fan of surf music or jazz, Ilta Tokoinrannassa (Evening at Tokoi-Beach) will win their hearts over. Slow, sultry, cinematic and jazz tinged, it’s three minutes of musical magic from Dalindèo, that’s both beautiful and haunting.
Kurvi (Twist) sees Dalindèo raise the tempo, on another irresistible, dance-floor friendly track. If this is a Twist, it’s a Twist like no other. Braying horns, a pounding, hypnotic rhythm section and some peerless surf guitar has you hooked. It’s almost impossible to keep still. All you want to do is Twist, Dalindèo style.
Just like Kurvi (Twist) ,Jäähyväiset Hesarille (Farewell to Helsinki-Street) is fast and furious. That’s the case from the get-go. The rhythm section join punchy horns in driving the arrangement along. Briefly, washes of moody, atmospheric surf guitar transform the arrangement, producing a haunting sound. Just like a braying horn, it’s used sparingly and effectively. They add to the cinematic sound. Later, so do the Hammond organ, crystalline guitars and horns. By now, Dalindèo are in the groove and enjoying the opportunity to stretch their legs, as they bid Farewell to Helsinki-Street.
Piritori (Shuffle) is the perfect description of this marriage between the rhythm section and horns. The rhythm section provide the backdrop for growling, grizzled and later, sultry and muted horns. They soar above the shuffling arrangement. It’s variously, dramatic, moody and sometimes, haunting and atmospheric. That partly, is down the surf guitar. Later, having worked its magic, this seems to lift the rest of Dalindèo who become inspired, and produce another barnstorming performance.
Ammattilaiset (The Professionals), sounds as if it’s the theme to a sixties, or early seventies television series. Sonically, and stylistically, it could just as easily come from the vaults of KPM or Bosworth’s libraries. However, it doesn’t. This is another barnstorming performance from Dalindèo. Especially, when their rhythm and horn sections unite. They go toe-to-toe, and are at the heart of what can only be described as a breathtaking and blistering, performance, from Dalindèo, Finnish cinematic jazz pioneers.
Kallion Rytmi (Rhythm of Kallio) sees Dalindèo slow things down. A mid-tempo, choppy arrangement unfolds. This allowsDalindèo to showcase their unique brand of cinematic jazz, where elements of jazz, Latin, cocktail jazz and surf music combine. The result is a track that’s variously sultry, atmospheric, joyous and moody. One thing however, Dalindèo’s music always is is, captivating.
Just like Jäähyväiset Hesarille (Farewell To Helsinki-Street), there’s a sense of urgency from the opening bars of Pitkänsillan Parempi Puoli (Better Side Of The Long Bridge). That’s not all. From the get-go you’re hooked, and head off on a breathtaking journey. What follows is three minutes of urgent, irresistible music as Dalindèo take you to the Better Side Of The Long Bridge.
Pengerkadulla (On Terrace Street) closes Kallio, Dalindèo’s third album. It has a much more understated, jazzy sound. Percussion, including vibes, join the rhythm section and rasping horns. They ensure that the arrangement floats, and sweeps, elegantly along. Midway through the track, the solos come round. Valtteri Laurell Pöyhönen is first to enjoy his moment in the sun. After his performance, you think it won’t be bettered. However, it’s a case of anything you can do, I can do better. Then when Dalindèo unite, together they play their part in a quite beautiful, joyous track that’s bound to bring back memories of nights On Terrace Street.
Two years have passed since Dalindèo’s third album, Kallio, was released in Finland, by Suomen Musiikki. During that period, Dalindèo’s star has been in the ascendancy. They’ve enjoyed critical acclaim and commercial success. Dalindèo have also won their first Emma Award, Finland’s equivalent of Grammy Award. Kallio won award the Best Jazz Album of 2013. That was the finishing touch to what was the best year of Dalindèo’s ten year career. However, still, Dalindèo’s albums were yet to be heard by a wider audience.
So, Dalindèo signed to BBE Music and will release Kallio on 9th March 2013. Hopefully, the reissue of Kallio will have the desired effect, and see Dalindèo’s profile rise outside of Finland. Dalindèo deserve to enjoy widespread critical acclaim and commercial success.
Dalindèo are a hugely talented sextet. Their unique brand of cinematic jazz, is bound to win friends and influence people around the world. They’be been inspired by everyone from Henry Mancini and Lalo Schifrin, to Duke Ellington and Dick Dale. Then there’s the films of Finnish cinematographer Aki Kaurismäki and even, Quentin Tarintino. This unique, eclectic and disparate fusion of influences has inspired Kalindèo’s to make groundbreaking music.
The music on Kallio veers between atmospheric and cinematic, to beautiful, dramatic, irresistible, joyous, melancholy and moving. Other times its captivating, intense, moody and has a sense of urgency. Kallio, quite simply, is a musical roller coaster where Kalindèo toy with your emotions.
They do this for the twelve tracks on the original version of Kallio. However, on BBE Music’s reissue, there’s two bonus tracks. The first is The Devil Of Portham Street. Then there’s a remix of Rhythm Of Kallio, by none other than BBE Music stalwart, Mr. Bird. These two tracks are an added bonus, and make Kallio the perfect introduction to the cinematic jazz sound of Kalindèo.
Kalindèo are just the latest in a long line of hugely talented Scandinavian artists who are making groundbreaking music. Previously, many of these artists have come from Norway, which currently, has some of the most inventive and innovative musicians in Europe. This Nordic Wave has resulted in Norway becoming one of Europe’s musical cultural capitals. That looks like continuing for the some time. Some of the best, and most groundbreaking music of the last few years has come out of Norway. This includes everything from ambient and avant-garde, to jazz, fusion and rock. Norway it seems, is at the vanguard of musical revolution. Will this musical revolution sweep across Scandinavia?
Let’s hope that’s the case. Hopefully, in the coming months and years, a new generation of Finnish artists and groups will produce equally innovative and ambitious music. Maybe, Kalindèo, will be the first of many Finnish artists and groups to enjoy commercial success and critical acclaim? Especially, if they can produce music as groundbreaking and atmospheric as that on Kallio, Kalindèo’s forthcoming third album.
DALINDEO-KALLIO.
THE VELVET UNDERGROUND-THE VELVET UNDERGROUND.
THE VELVET UNDERGROUND-THE VELVET UNDERGROUND.
Following disagreements about The Velvet Underground’s future musical direction, John Cale left the group. This was almost inevitable. For some time, John Cale and Lou Reed views about The Velvet Underground’s future differed. John Cale wanted The Velvet Underground to continue to innovate and create experimental music like White Light/White Heat, The Velvet Underground’s second album. Lou Reed, however, didn’t agree.
Lou Reed believed that The Velvet Underground’s music should become more pop oriented. This he felt, would broaden their appeal. No longer would they be an art rock group whose music appealed to discerning music lovers. Eventually, Lou Reed won over the rest of The Velvet Underground. For John Cale this was hugely disappointing. So, he decided the only option was to leave The Velvet Underground.
Replacing John Cale in the The Velvet Underground was Doug Yule. He made his Velvet Underground debut on their 1969 eponymous album, which will be released on vinyl on 16th March 2015 as a double album by Universal Music. The Velvet Underground was the start of a new chapter in the band’s career.
This new chapter began in November 1968, at TTG Studios, Hollywood. That’s where ten songs penned by Lou Reed were recorded by the new lineup of The Velvet Underground.
Lou Reed played piano, lead and rhythm guitar and added lead vocals. Sterling Morrison played rhythm and lead guitar. Maureen Tucker added percussion and sang lead vocal on After Hours. New member, Doug Yule, played bass, organ and sang lead vocal on Candy Says. These ten songs became The Velvet Underground, which debuted the band’s new sound.
The songs on The Velvet Underground were a mixture of ballads and rock songs. This was very different from The Velvet Underground’s first two albums. Lou Reed influence is writ large all over The Velvet Underground. That’s despite the production of The Velvet Underground being credited to the band. However, the rest of The Velvet Underground were happy with the change of direction.
Of the three other members of The Velvet Underground, Lou Reed had been the most vocal when it came to the band’s future direction. He was determined not to record White Light/White Heat II. So it seems, were the rest of The Velvet Underground. Percussionist Maureen Tucker was also willing to sacrifice the group’s old sound. She wanted to be part of a successful rock band. Especially now that Velvet Underground were signed to MGM Records. For the new lineup of The Velvet Underground, The Velvet Underground was a new start in more than one way.
On the release of The Velvet Underground in March 1969, the album was hailed to the most accessible of their career. Critics remarked upon the quality of the lyrics and vocals. The Velvet Underground was described as melodic and tuneful. It seemed that The Velvet Underground’s new sound had won over the critics. That wasn’t the case.
Lester Bangs, who, in 1969, was writing for Rolling Stone magazine, felt The Velvet Underground wasn’t as good as White Light/White Heat. However, he did concede that the much more accessible sound of The Velvet Underground would win over new fans.
That proved not to be the case. When The Velvet Underground was released in March 1969, it failed to chart. Neither of the singles charted. What Goes On was the lead single. It failed to chart. Neither did Pale Blue Eyes, the follow-up. However, seventeen years later, in 1985, somewhat belatedly, The Velvet Underground reached number 197 in the US Billboard 200 charts. By then, The Velvet Underground had been hailed as one of the group’s finest moments. However, is that the case?
Opening The Velvet Underground is Candy Says. It’s a pensive ballad about Candy Darling, a transsexual actress who Andy Warhol ‘discovered.’ She would provide the inspiration to Lou Reed’s 1972 single Walk On The Wild Side. Doug delivers a tender, melancholy vocal. He tells the story of a tortured soul, who died in 1974, aged just twenty-seven. Accompanying him are subtle drums played by brushes, a probing bass and jangling guitars. They frame the vocal, allowing it to shine. The way he delivers lyrics like “I wish I could walk away from me,” it’s as if this resonates with Doug. He’s able to breath meaning and emotion into the lyrics.
What Goes On has a rockier sound. Lou’s vocal is grizzled, while the rhythm section and jangling guitars power the arrangement along. Lightning fast slap bass and guitars join forces with a Hammond organ, as Lou struts his way through the lyrics. Then when his vocal drops out, The Velvet Underground kick out the jams. Rock meets psychedelia as the two sides of the old Velvet Underground collide head on, before later, Lou returns. By then, the ghost of John Cale has made an appearance as The Velvet Underground’s past and present combines to create one of the highlights of The Velvet Underground.
Drums and percussion combine with chiming, searing guitars on Some Kinda Love. They provide a pounding, pulsating, hypnotic backdrop for Lou’s drawling vocal. It’s a taste of what was to come from Lou Reed after The Velvet Underground. Guitars are panned left to right. Full use is made of the full stereo spectrum. As a result, the guitars envelop Lou’s vocal. The mesmeric drums provide the heartbeat, as Lou swaggers and drawls his way through Some Kinda Love.
An understated rhythm section and tambourine combine on Pale Blue Eyes another ballad. They provide the backdrop for Lou’s fragile, thoughtful vocal. Again chiming, crystalline guitars envelop his vocal. The rhythm section sit in the middle of the mix, providing the heartbeat. Meanwhile, Lou delivers a vocal on what’s a beautiful devotional that was inspired by Shelley Albin, Lou’s first love.
Jesus, which closed side one of The Velvet Underground, has a thoughtful, understated sound. A spartan arrangement meanders into being. Just a guitar, bass and harmonies accompany Lou’s vocal. It veers between needy, desperate and hopeful as he sings: “Jesus help me find my proper place.” A driving, strident, confident guitar and a dark moody bass accompany Lou. So do harmonies. They sound similarly fragile, as if able to empathise with Lou’s plight.
Originally, Beginning To See The Light opened side two. It’s the perfect track to do so. It literally explodes into life, The Velvet Underground’s rhythm section and guitars driving the arrangement along. Lou takes his lead from them, and unleashes a swashbuckling vocal. Literally, it oozes confidence as he joyously half sings, half screams “I’m Beginning To See The Light.” The result is a hook laden anthem from The Velvet Underground that inspired thousands of other groups.
I’m Set Free sees the tempo drop, but the drama remains. It comes courtesy of a lone pounding drum. It sits in the middle of jangling guitars. Gradually, it grows in power, moving forward in the mix. In doing so, it matches Lou’s vocal every step of the way. Then when his vocal drops out, a shimmering guitar and pounding drum vie for your attention. They then join with harmonies and Lou’s hopeful, heartfelt vocal as the track reaches a crescendo.
Unlike many of the tracks on The Velvet Underground, That’s The Story Of My Life has an unmistakable sixties sound. However, it’s a sound that’s inspired two generations of bands. The jaunty arrangement skips along. Just the rhythm section and chiming guitars accompany Lou’s wistful, lived-in vocal. He’s come to terms with his life, and realised he can’t change anything. Despite the sixties sound, it’s a track that’s aged well and shows another side of The Velvet Underground.
The Murder Mystery is the only track on The Velvet Underground to feature the four band members. However, it’s a much more avant-garde track. This is more like the music John Cale would’ve created. This is down to the structure. During each verse, Lou and Sterling recite different verses of poetry simultaneously. One vocal is panned left, the other right. Then during the choruses, Maureen and Doug sing different lyrics and melodies simultaneously. They too, were panned either left of right. All this gives the track a much more experimental sound. Especially with the free jazz backdrop. It comes courtesy of rolls of drums, washes of Hammond organ and crystalline guitar. All this sounds like a homage to John Cale, The Velvet Underground’s former creative force.
Closing The Velvet Underground is After Hours. It’s an acoustic track and sounds like something from another era. Here, Maureen delivers the lead vocalist. She is accompanied by a strummed acoustic guitar that’s panned right. A bass is panned left, but is way too loud. It should sit further back in the mix. Even then, After Hours wouldn’t rise above average. It’s a far from an innovative track. The best way to describe After Hours is ironic, in a late-sixties hipster sort of way. This proves a disappointing way to close The Velvet Underground.
When The Velvet Underground was released in March 1969, it marked the end of an era. For their first two albums, The Velvet Underground were one of the most innovative groups of the sixties. Their pioneering fusion of art rock, avant-garde, experimental, psychedelia and rock would inspire several generation of musicians. However, neither 1967s The Velvet Underground and Nico, nor White Light/White Heat were commercial successfully. This lead to a split in The Velvet Underground.
John Cale wanted The Velvet Underground to continue to create cutting-edge music. Lou Reed and Maureen Tucker eyed commercial success. They wanted to be part of a successful band. Even if this meant changing direction musically.
Lou Reed and Maureen Tucker won out. John Cale, left The Velvet Underground with his principles intact. He wasn’t in favour of The Velvet Underground releasing pop oriented music. He was an innovator, someone who was constantly ahead of the musical curve. Pop music didn’t interest him. So he went his own way.
The rest of The Velvet Underground brought onboard Doug Yule as John’s replacement. This was the lineup that recorded The Velvet Underground, an album of ballads and rocky tracks. It was meant to transform The Velvet Underground’s fortunes. However, fate intervened.
On The Velvet Underground’s release, it failed to chart. Lou and Maureen’s dreams of being part of a successful rock band lay in tatters. They’d sacrificed being part of one of the most innovative bands in musical history. It was all for nothing. Riches and fame still eluded The Velvet Underground.
Since then, The Velvet Underground has found a wider audience. Nowadays, every self-respecting record collection contains The Velvet Underground’s albums. However, not every Velvet Underground album was created equally.
For the newcomer to The Velvet Underground, then 1969s The Velvet Underground is their most accessible album. It’s far from their best album. 1967s The Velvet Underground and Nico was The Velvet Underground’s finest hour. It features The Velvet Underground at their innovative and influential best. 1968s White Light/White Heat comes a close second. Again, it features The Velvet Underground pushing musical boundaries to their limits, on what was a truly groundbreaking album. So much so, that critics wondered what was coming next from The Velvet Underground?
They certainly didn’t expect The Velvet Underground, with its ballads and rock-oriented tracks. For many people, The Velvet Underground had sold out. They’d sacrificed their creative force at the altar of fame and fortune. That was disappointing. After all, The Velvet Underground could’ve continued to transform music for years to come. Instead, they released just two more albums, 1970s Loaded and 1973s Squeeze. However, forty-six years have passed since the release of The Velvet Underground.
The dust has well and truly settled, and on 16th March 2015 Universal Music will reissue The Velvet Underground on vinyl. This welcome release allows everyone to reevaluate The Velvet Underground. It’s a reminder of a pioneering group, as they evolved, and changed direction musically. Beautiful, and sometimes, wistful ballads, rub shoulders with rocky, anthems on The Velvet Underground. This makes The Velvet Underground’ the most accessible album from one of music’s most innovative bands. However, one can’t help wonder what type of album The Velvet Underground would’ve released if they hadn’t sacrificed their creative force at the altar of fame and fortune?
THE VELVET UNDERGROUND-THE VELVET UNDERGROUND.
DEKE LEONARD-ICEBERG.
DEKE LEONARD-ICEBERG.
Four years after founding Man in 1968, Deke Leonard was on a sabbatical from the Welsh rockers. Deke left Man for the first time in May 1972. This allowed Deke to do something he’d always wanted, record his debut solo album. Over the next twenty months, Deke with a few of his musical friends, including Martin Ace of Man, recorded Iceberg, Deke Leonard’s debut album.
Deke had picked the perfect time to take a sabbatical from Man. Although Man’s fourth studio album, Do You Like It Here Now, Are You Settling In?, which was released in November 1971, things weren’t going well for Man.
After appearing on German television, Man embarked upon their latest tour. This time, Man were heading off on a tour of Iceland, with Badfinger. However, it seemed Man were never off the road. Life for some members of Man, was becoming like one never-ending tour. Unsurprisingly, this lead to tensions within the band. Arguments became commonplace. Eventually, the tensions took their toll.
First to leave was Clive John in January 1971. He left to form Lowerth Pritchard and The Neutrons. Now a quartet, Man made their debut at a charity concert at the Roundhouse, in London.
Man’s reduced lineup made their debut at the Roundhousem where they supported Hawkwind and Brinsley Schwarz. Not long after the concert, a double album was released, entitled Greasy Truckers Party. Then on 8th April 1972, Man recorded another live album.
This was Live at the Padget Rooms, Penarth. Man decided that Live at the Padget Rooms, Penarth should be a limited edition, low budget album. So, only eight thousand copies were pressed. They sold within a week, resulting in Man reaching number one on the low budget album chart. However, Man it seemed, were riding a roller coaster, where commercial success, controversy and disaster were commonplace.
Following the success of Live at the Padget Rooms, Penarth, Man decided to start work on their next album. When they sat down to write the album, Man it seemed, had collective writer’s block. Making matters worse, Martin Ace left Man, form a new band The Flying Aces. This however, wasn’t the end of the departures.
Around this time, Man should’ve had a revolving door, fitted to recording studios. Members came and went. Next to go was Deke Leonard. Micky Jones and Terry Williams sacked Deke Leonard. Replacing Deke was Clive John, who brought Phil Ryan and and Will Youatt, who previously, had been Lowerth Pritchard and The Neutrons. With this latest lineup of Man, Deke Leonard found himself out in the cold. So, it seemed the perfect time to embark upon a solo career.
After his departure from Man, Deke Leonard was offered a recording contract by Andrew Lauder of United Artists. Initially, Deke was to record four tracks. However, soon, Deke was recording his debut album, Iceberg.
Work began on Iceberg in May 1972. Deke penned nine tracks and cowrote three other tracks, including Nothing Is Happening with Martin Ace, while Deke and Crosby Eischer wrote Crosby (Second Citizen Blues). The other track on Iceberg, The Ghost Of Musket Flat, was penned by Deke, Martin Ace, Mickey Jones, Terry Williams and Dave Phillips. These tracks became Iceberg.
When recording of Iceberg began, Deke was accompanied by some of his musical friends. This included another former member of Man, bassist Martin. They were joined in the rhythm section by drummers Beau Adams, Dave Charles, Tommy Riley and Terry Williams, bassists Paul Burton and guitarist Tommy Morley. Other musicians included Byron Berlin on fiddle, violinist Dave Phillips and rather cryptically, Ralph Down on electronics. Deke a true multi-instrumentalist, played guitar, harmonium, keyboards, mellotron, organ, piano, slide guitar and added vocals. Eventually, after twenty months and three co-producers, Iceberg was completed. Would it sink like the Titanic or launch Deke Leonard’s solo career?
Before its release, critics had their say on Deke Leonard’s debut solo album. Described as roots rock, critics were won over by most of Iceberg. However, the instrumentals and more experimental tracks veered towards filler. However, even despite these musical faux pax, Iceberg is regarded by some critics as Deke Leonard’s finest solo album, on its release in 1973.
On its release in 1973, Iceberg sold well. This was the first of two albums Deke released before returning to Man’s ranks, for another tour of duty. However, the album that launched Deke’s solo career was Iceberg.
Opening Iceberg is Razorblades and Rattlesnake, a track later covered by Quicksilver Messenger Service. Deke’s blazing, blistering guitar takes centre-stage, dramatically driving the arrangement along. The rhythm and urgent stabs of piano provide the backdrop for Deke’s virtuoso performance and later, accusing vocal. Playing an important part are the backwards drums played by Dave Charles. They add to the drama and urgency. When the vocal drops out, it’s time for another breathtaking solo.Deke’s fingers fly up and down the fretboard, producing what can only be described as musical magic.
I Just Can’t Win was released as a single before the release of Iceberg. So, it was never meant to feature on Iceberg. However, it was too good a track to omit. Here, Deke and his band roll back the years. What follows is a track whose roots are in rock ’n’ roll. From the moment the arrangement bursts into life, bassist Martin Ace and drummer Tommy Riley produce the heartbeat Deke delivers a vocal that’s filled with frustration and anger. To reinforce this frustration and anger, the arrangement stops, only to start again. Deke’s other addition are chiming, searing guitar licks he unleashes chiming. They’re the perfect addition to this irresistible radio friendly track.
Lisa marks a stylistic change from Deke Leonard. It’s a folk tinged ballad sung with feeling. Deke’s delivery is impassioned, but tinged with confusion. He can’t decide whether Lisa is for him, and if she is, will she change her ways. As Deke delivers the lyrics, fiddles, acoustic guitars and rolls of drums accompany him. The arrangement grows, and all the time, Deke paints pictures, with the lyrics, allowing the listener to hear another side of Deke Leonard.
Just a brief burst of a Spanish guitar opens Nothing Is Happening. With an acoustic guitar, rhythm section and harmonium for company Deke delivers a tender, thoughtful vocal. Accompanying him are the Rockfield Choir, which includes Martin Ace, formerly of Man. Soon, it’s all change and an electric guitar cuts through the arrangement, which veers between psychedelic and rocky. By then, Deke’s vocal is almost despairing, as he sings “Nothing Is Happening,” on what proves to be a captivating song of two parts.
After Deke and his band are counted in, Looking For A Man, which like Nothing Is Happening was co-produced by Tom Boyle. Unlike previous tracks, the rhythm section features two drummers. They’re put to gut use, driving the grinding, buzzing arrangement along. Atop the arrangement Deke unleashes some blistering licks, and adds a grizzled vocal. Together, they play their part in this blistering fusion of blues and rock.
Deke and his band are at their heaviest on A Hard Way To Live. It’s co-produced by Deke’s fellow Celt, Dave Edmunds. Bursts of guitars set the scene for the rhythm section and piano. Together, they provide a glorious rocky backdrop for Deke. As if inspired, Deke seems to draw inspiration from Robert Plant, as he and his band at his heaviest combine blues, boogie and heavy rock.
Hesitantly, Broken Ovation gets underway. Again, guitars are scene setters, chiming and wah-wah-ing. There’s then a nod to The Who, in the harmonies. For the next minutes, the track veers between rocky and experimental. A Man style jam unfolds. Then after ninety seconds, Deke’s vocal enter. It’s urgent and dramatic. So is the arrangement, which sees Deke and his band return to their heaviest. Later, when the vocal drops out, another Man style jam unfolds. Tinged with an experimental hue, it shows yet another side of the chameleon-like Deke Leonard.
Jesse sees another stylistic change from Deke Leonard and his band. It’s a dramatic piano lead ballad. Soon, an organ enters, giving the track an almost spiritual sound. Maybe that’s not surprising, given the Church’s importance in Wales in the seventies. By then, Deke’s vocal is filled with emotion as he despairingly sings: “Jesse get back home, there’s nothing here for you.” Later, as the rhythm section and the Rockfield Choir accompany a desperate and protective Deke he pleads “Jesse get back home, I’m begging on my knees.” This results in one of the most moving tracks on Iceberg.
Ten Thousand Takers sees Deke switch to slide guitar. He seems just as comfortable, unleashing washes of guitar on this shuffle. With just the rhythm section and harmonies for company, Deke’s guitar takes centre-stage. The only let down are the lyrics. While they’ve a cinematic quality, and it’s possible to imagine the “Ten Thousand Takers” circling like sharks, they’re without doubt, the weakest on Iceberg. That’s a great shame as Deke and his band produce a blistering performance. Maybe Ten Thousand Takers would’ve been better as an instrumental jam?
The Ghost Of Musket Jam is a genre-melting track. Elements of folk, folk-rock and prog rock are combined by Deke, Mickey Jones and The Manband. They quickly get into a groove and are responsible for a track that has a hypnotic, mesmeric quality.
Crosby (Second Class Citizen) is aptly titled. With a myriad of growls, beeps, squeaks and buzzes an experimental track with a sci-fi sound unfolds. If ever there was a case of an artist trying to be too clever, this is it. Describing Crosby (Second Class Citizen) as filler is being kind. It’s very much the second classic citizen of Iceberg, and is unlikely to endear itself to the listener.
717 551 closes Iceberg. It’s a welcome return to Deke’s more familiar rocky sound. Again, two drummers are deployed. This proves effective. The arrangement marches along to the beat of the Tommy Riley and Dave Charles’ drums. Meanwhile, Deke dawns the role of guitar hero and unleashes some blistering licks. For a minute this jam unfolds. Only then does Deke’s vocal enter. Still the arrangement marches along, with the rhythm section in the tightest of grooves. Martin Ace’s bass is joined by occasional rolls of drums. Then there’s Deke’s guitar masterclass. It’s one of his most impressive performances, and bookends Iceberg perfectly.
As debut albums go, Iceberg was well received by music critics. Their only criticism was that there were a couple of weak tracks. That’s still the case forty-two years later.
Ten Thousand Takers and and Crosby (Second Class Citizen) are the guilty parties. Neither track should’ve made it onto the album. The problem with Ten Thousand Takers was the lyrics. They’re without doubt, the weakest on Iceberg. That’s a great shame as Deke and his band produce a blistering performance. Maybe Ten Thousand Takers would’ve been better as an instrumental jam? Crosby (Second Class Citizen), an experimental, sci-fi sounding track is the low point of Iceberg. If ever there was a case of an artist trying to be too clever, this is it. Why Crosby (Second Class Citizen) made it onto Iceberg is puzzling. Quality control went awry there. Without these two tracks, Iceberg is a much better album.
Indeed, Iceberg would become a great album, rather than merely a good album. Ironically, on Estoric Recordings’ newly released version of Iceberg, six bonus tracks are added. It seems lessons haven’t been learnt. Sprawling albums don’t work.
Back in 1973, trying to release an album featuring twelve tracks was ambitious. Very few groups or artists were capable of this. The ones that were able to release such a sprawling album, were among rock royalty. They were able to write and record twelve songs where the quality is consistent. That doesn’t include Deke Leonard. After all, Iceberg was only his debut album. Maybe in the future that would the case. However, not in 1973.
If Iceberg had been released as a ten track album, minus Ten Thousand Takers and and Crosby (Second Class Citizen), it would’ve been a much better album. Iceberg might have received widespread critical acclaim and been a much bigger commercial success. Sadly, that wasn’t the case. Instead, Deke Leonard only released one further album for United Artists.
This was Kamikaze, which was released in 1974. Just like Iceberg, it was also recently released. However, a cheaper way to buy Iceberg and Kamikaze is to buy BGO Records two-on-one which was released in December 2008. After Kamikaze, Deke Leonard returned to Man, for another lengthy tour of duty. Deke for much of the next forty years, was a member of Man. He eventually left Man in 2004. During that period, Deke only released one album, 1981s Before Your Eyes. Then a year after leaving Man for the second time, Deke Leonard released his fourth and final album Freedom And Chains. However, Deke Leonard’s best album is 1973s Iceberg, which sadly, is two songs short of being a great album.
DEKE LEONARD-ICEBERG.
MAN-REANIMATED MEMORIES.
MAN-REANIMATED MEMORIES.
There aren’t many bands whose recording career spans six decades. That’s the case with Man. Founded in 1968, Man released their debut album Revelation, a year later in 1969. Since then, the Welsh rockers have enjoyed a long, prolific and sometimes, controversial career.
Since their 1969 debut, Man have released over twenty albums and more live albums than they care to remember. However, it’s not always been smooth sailing for Man.
Far from it. There had been controversy and changes in Man’s lineup. When touring Germany, Man were suspected of being terrorists and found themselves in a German jail. On a tour of Belgium, Man were jailed for drugs offences. Then there’s numerous changes in Man lineup.
In 1976, Man had were touring the US when Ryan Williams and John MacKenzie announced they were leaving the group. This was the beginning of the end. Arguments had been rife within the group. The atmosphere during the tour was terrible. This wasn’t conducive to making music. So, the rest of Man decided the band would split-up. There was a problem though.
Man had just signed to MCA Records and owed them three albums. Nobody wanted to record even one album. None of the members of Man wanted to contribute any songs. Cover versions were considered. However, Man this idea was soon forgotten about. Man’s attempts at cover versions floundered. It seemed that Man as a group were finished. So, Man agreed to release a live farewell album, All’s Well That Ends Well. It was recorded at the Roundhouse, London between 11th and 13th December 1976. Three days later, on 16th December 1976, Man announced they were splitting up.
After Man announced All’s Well That Ends Well was their finale, everyone thought that was the last we’d heard from Man. Especially, after all the arguments, backbiting and changes in lineup. That looked like being the case.
Then in 1983, Man announced they were reforming. Those in the know wondered how long the Man reunion would last?
The newly reformed Man headed into the studio and recorded Friday The 13th. This was their first album since 1976s The Welsh Connection. It was well received. Man’s loyal fans awaited a followup. They waited nine long years.
1992 saw Man released what was their tenth studio album, The Twang Dynasty. It had been recored back in 1983. However, Man fell out with producer Peter Kerr. He was also the promoter of the album. So The Twang Dynasty wasn’t released until November 1992.
Onlookers said that this could only happen to Man. They’d shot themselves in the foot again. Hopefully, this would the last time.
Two years later, in November 1994, Man entered the studio for the first time since 1983. Man had written nine tracks which would become Call Down The Moon. When Call Down The Moon was released in 1995, it was a disappointing album, spoiled by a few average tracks. For Man’s fans, Call Down The Moon hadn’t been worth the twelve years wait. However,at least Man were back in business. There was, at least, the opportunity for redemption.
In the past twenty years, Man have been making up for the twelve years they lost during the eighties and nineties. Two years after the release of Call Down The Moon in 1995, Man released To Live For To Die in 1997. After this, Man didn’t release another album until a new millennia dawned.
This was Endangered Species, which was released in 2000. After Endangered Species, six years passed before Man released another studio album. However, there seemed to be no shortage of live albums. Then in 2006, after six years away, Man released Diamonds and Coal. Another three years passed before Man released what was one of their most controversial albums, Kingdom Of Noise.
Released in 2009, Kingdom Of Noise divided the opinion of Man’s loyal fans. Many loathed Kingdom Of Noise, calling it the most disappointing albums in Man’s career. Some went as far to suggest that Man called it a day. Other Man devotees suggested people give Kingdom Of Noise a chance. They were in the minority. Man’s career seemed to at a crossroads. Maybe it was time for them to call it a day, allowing their long standing fans to remember Man’s glory days, when they were capable of releasing genre classics like Rhinos, Winos, And Lunatics?
That looked like the case. In the six years since Man released Kingdom Of Noise, the only music Man have released were two live albums in 2011, Live At The Marquee 13th May 1983 in 2011 and The Live Adventures Of Man. That however, was the last music Man released. Many of Man’s fans thought maybe, Man had decided to call time on their six decade career?
That proved not to be the case. Four years later, and Man returned on 23rd February 2015 with their latest studio album Reanimated Memories, which was released by Esoteric Antenna.
Over the last forty-seven years, the lineup of Man has changed many times. Since Kingdom Of Noise, Man’s lineup has featured Josh Ace, James Beck, Martin Ace, Rene Robrahn and Phil Ryan. Reanimated Memories is the second album they’ve recorded. However, Martin Ace is the veteran in Man’s current lineup. He made his recording debut on Maximum Darkness, which was released nearly forty years ago in September 1975. Martin plays an important role in Reanimated Memories.
For Reanimated Memories, Martin Ace penned four of the eleven tracks, including The Ballad Of Billy Lee, One More Ride On The Waltzers, Got No Monet In My Pocket and All The Birds. Josh Ace wrote No Solution, We Know, God Delusion and Events of Yesterday. Phil Ryan cowrote Ordinary Man and wrote In Time and Nothing Fails Like Success. These eleven tracks were recorded and mixed at The Cowshed, London during a fourteen day period in November 2014.
At The Cowshed, Martin Ace played bass and added vocals. Martin is joined in the rhythm section by drummer Rene Robrahn and guitarist James Beck and Josh Ace. Phil Ryan plays organ and piano. Adding pedal steel on three tracks, is veteran session musician B.J. Cole. Once Reanimated Memories was completed in November 2014, Man’s latest album was ready for release in late February 2015. Would Reanimated Memories see Man redeem themselves in the eye of their fans?
The Ballad of Billy Lee opens Reanimated Memories. A strummed guitars sets the scene. Before long, Man heads take the track in the direction of country rock. Guitars are key to this country sound. Especially the weeping pedal steel. The vocal is best described as faux country in style. Along with deliberate stabs of piano, he add an element of drama to this song about the American Civil War. Soon,the arrangement builds. It’s time for the rhythm section to earn their money. As the bass powers the arrangement along, flourishes of piano, weeping guitars and accompany Martin during this cinematic sounding, dramatic country track.
Blistering guitars, bursts of thunderous drums and washes of Hammond organ open No Solution. Straight away, you’re hooked by the uber rocky sound. Then when the vocal enters, it’s apparent that there’s been a change of vocal. It suits the track. It’s much softer, tinged with melancholy and despair. Meanwhile, the arrangement flows along, framing the vocal. The rest of Man take care not to overpower the vocal, or the wistful harmonies. When they drop out, it’s time for Man’s rhythm section and blistering guitars to stretch their legs. From there, the two sides of Man enjoy their moment in the sun, during this hook laden, rocker.
Straight away, In Time takes on a sci-fi sound. That’s just a curveball. Scrabbled guitars are joined by Man’s powerhouse of rhythm section. They’re augmented by prog-rock pianos. When the piano drops out, a deliberate, dramatic vocal enters. It’s joined by thundering drums, flourishes of piano and harmonies. By now, it’s obvious Man are trying recapture their seventies glory days with this classy slice of prog-rock. Especially, from the four minute mark. For the next three minutes, there’s a nod to Pink Floyd before Man drive what’s one of Reanimated Memories to its dramatic crescendo.
It doesn’t take long to realise that One More Ride On The Waltzers is another of Reanimated Memories’ highlights. From the opening bars, the track takes on a cinematic sound. Man’s rhythm section, searing guitars and a Hammond organ provide a backdrop for a wistful vocal, that paints pictures of first love and heartbreak. As memories come flooding back, Martin hopefully sings: “One More Ride On The Waltzers with you.” The result is an irresistible, radio friendly song with hooks to spare.
The introduction to Ordinary Man grabs your attention. Harmonies sing: “Ordinary Man, Ordinary Man.” This sets the scene for a shuffling arrangement, where the rhythm section, grinding guitars and bursts of piano provide the backdrop for an emotive vocal. It tells the story of an Ordinary Man, full of sadness, dreams and hopes, hopes for the future. Then when the vocal drops out, it’s time for Man to showboat. Stars of the show are the guitars and piano. Man seem to roll back the years. It’s a tantalising reminder of what Man in their prime were capable of.
Slowly, and dramatically the Jason Ace penned God Delusion unfolds. Drums, slowly and ominously, set the scene for strummed guitars, bass and piano. Jason’s vocal is slow, emotive and filled with frustration. He brings to life the lyrics, whose most telling line is: “people still die in the name of a spirit in the sky.” Frustration and anger fills his vocal. When it drops out, Man unleash a slow, moody, bluesy, jam. It’s proves to be the icing on the cake.
Washes of guitar add an atmospheric hue to Got No Money in My Pocket. Meanwhile, the rhythm section, chiming guitars and keyboards provide a slow, moody backdrop. This suits the despairing, needy vocal. When the vocal drops out, briefly, Man jam. Later, they get the opportunity to stretch their legs on a track where elements of blues, rock and country unite. While this is where Man shine, Got No Money in My Pocket fails to match the quality of other tracks. Indeed, it just manages to rise above filler.
Phil Ryan wrote Nothing Fails Like Success. Scorching, searing guitars and Man’s driving rhythm provide the backdrop for a gravelly vocal. It’s full of irony. Especially when delivering the lyrics: “Nothing Fails Like Success.” Accompanied by harmonies, Man tell the truth about the cost of fame. The lyrics are almost spat out. Especially: “No money some distress…lied about in the press…friends we lost.” Although these lyrics tell the story about the cost of fame, Man show no sign of calling it a day. Maybe for Man, a taste of fame was the most addictive drug of all?
Stabs of guitars and Man’s rhythm section set the scene on Events of Yesterday. Then Jason’s vocal enters. It’s wistful, full of hurt and longing. Bursts of guitar and piano join the Hammond organ in powering the arrangement along on this tale of love lost. At the bridge, momentum is lost when the vocal becomes too slow. However, Man manage to redeem themselves, fusing rocky licks and a driving rhythm section.
All the Birds, a ballad, that promises much, closes Reanimated Memories. Flourishes of elegiac piano and crystalline are joined by thunderous drums. Straight away, it’s obvious the drums are far too loud. The drums overpower the arrangement, including Martin’s pensive vocal. That’s a pity, as he’s saved one of his best until last. Along with the piano and guitars, washes of Hammond add an atmospheric sound. Later, when the vocal drops out, Man jam for one last time. As the vocal returns, thankfully, the drums don’t seem as loud. Along with the rest of Man they provide a melancholy backdrop for the vocal on this beautiful paean.
Forty-seven years after they formed in 1968, Man return with Reanimated Memories. It’s an eclectic offering from the Welsh rockers. There’s blues, country, country rock, prog rock and classic rock. Sometimes, Man show glimpses of their seventies heyday. That however, was a long time ago.
A lot has happened since then. This includes controversy and changes in Man’s lineup. When touring Germany, Man were suspected of being terrorists and found themselves in a German jail. Then on a tour of Belgium, Man were jailed for drugs offences. Since then, Man’s lineup has evolved. Martin Ace is the longest serving member of Man. He’s first appeared on Maximum Darkness,which was released nearly forty years ago in September 1975. However, like the rest of Man, Martin Ace wasn’t one of the founding members.
No. Man’s current lineup features Josh Ace, James Beck, Martin Ace, Rene Robrahn and Phil Ryan. Reanimated Memories is the second album they’ve recorded. They made their debut on Kingdom Of Noise, which for many of Man’s loyal fans, was a low point in their recording career. This latest lineup of Man owed their fans an album. Reanimated Memories also offered Man the chance to redeem themselves.
While Man haven’t completely redeemed themselves, Reanimated Memories is a much better album than Kingdom Of Noise. Reanimated Memories is just a few songs short of allowing Man redemption. The Ballad Of Billy Lee is spoiled by the faux country vocal. No Money In My Pocket is a disappointing track, that’s best described as filler. Mostly, though, Man have produce an eclectic album featuring some quality music.
This includes No Solution, a classy slice of prog rock, while One More Ride On The Waltzers is a radio friendly song with hooks to spare. God Delusion, which is full of social comment, features some of the best lyrics on Reanimated Memories. So does Nothing Fails Like Success. The wistful Events Of Yesterday and All the Birds, a beautiful ballad, proves a perfect way to close Reanimated Memories. Only the thunderous drums take the edge of All the Birds. However, apart from that, All The Birds is one of Reanimated Memories’ highlights, of which there are quite a few,
Reanimated Memories, Man’s latest albums, sees the Welsh rockers go some way to making amends for the disappointing Kingdom Of Noise. It’s a good album, but not a great one. Just like the last Man album I reviewed, Call Down the Moon, Reanimated Memories, it’s a couple of tracks short of being a great album. Sadly, it looks increasingly likely that never again, will Man reach the dizzying heights of their early seventies heyday. However, there’s more than a few fleeting glimpse of Man’s seventies heyday on Reanimated Memories, where Man go some way to make amends for Kingdom Of Noise.
MAN-REANIMATED MEMORIES.
dereksmusicblog
dereksmusicblog 