RICK WAKEMAN-THE SIX WIVES OF HENRY VIII.
RICK WAKEMAN-THE SIX WIVES OF HENRY VIII.
In early 1972, Yes were touring America to promote their fourth studio album Fragile. On a stopover in Richmond, Virginia, Rick Wakeman, who had joined Yes in August 1971, and made his debut on Fragile, was perusing the airport bookshop. Eventually, Rick bought four books, including Nancy Brysson Morrison’s The Private Life Of Henry VIII.
On the subsequent flight from Richmond to Chicago, Rick began reading Private Life Of Henry VIII. As he began reading about Anne Boleyn, Rick remembered a recording he had made in 1971. Since then, Rick had done nothing with that piece of music. After recording the music, Rick had been struggling to come up with lyrics to accompany it. This being the age of the concept album, what Rick was looking for, was a theme that could run through the recording. Not any more.
Suddenly, everything came together. The notes Rick made about Anne Boleyn on the flight to Chicago were just the start. Over the next few weeks and months, whether at home or on tour, Rick focused on each of Henry VII’s six wives. At his piano, he continued to make notes. Eventually, Rick’s notes became the thread that ran through his sophomore album, The Six Wives Of Henry VIII, which was recently reissued by Commercial Marketing as a double album.
For the reissue of The Six Wives Of Henry VIII, the album was remastered at Abbey Road studios. On disc one of this deluxe, remastered version of The Six Wives Of Henry VIII, are the original album and a trio of bonus tracks. This includes the first mix of Catherine Of Aragon, and single edits of Anne Boleyn The Day Thou Gavest Lord Hath Ended and Catherine Parr. Then on disc two, a DVD, there are Quadraphonic and stereo mixes of The Six Wives Of Henry VIII. There is also a live version of Catherine Howard, recorded in 1973, on BBC TV. By then, The Six Wives Of Henry VIII had been released, and had transformed Rick Wakeman’s solo career.
Prior to the release of The Six Wives Of Henry VIII in January 1973, Rick Wakeman had only released one solo album, 1971s Piano Vibrations. However, controversy surrounds Piano Vibrations. Rick doesn’t even consider Piano Vibrations as part of his discography. Rick’s involvement was minimal. He neither wrote, nor chose the material on Piano Vibrations. Eight of the ten tracks were cover versions of popular songs, and the two other tracks were cowritten by producer, John Schroeder. All Rick who was working as a session musician, had to do, was turn up and play piano. The result was what is best described as a cheesy sounding album, that failed to chart. This was the polar opposite to Rick’s sophomore album The Six Wives Of Henry VIII.
Having joined Yes in August 1971, Rick played on their fourth album, Fragile. It was released on 29th November 1972 in Britain, reaching number seven. This resulted in Fragile being certified silver. Across the Atlantic, Fragile was released on 4th January 1973, and reached number four in the US Billboard 200. Fragile was certified double platinum, and became the most successful album of Yes’ career. This would also be the case with Rick’s sophomore album, The Six Wives Of Henry VIII.
Recording of The Six Wives Of Henry VIII took place between February and October 1972. A&M Records gave Rick an advance of £4,000 to help with recording of The Six Wives Of Henry VIII. That wasn’t going to go far. Luckily, Rick was a multi-instrumentalist, who could rely upon members of Yes, and his former band The Strawbs.
On The Six Wives Of Henry VIII, Rick played Minimoog and ARP synths, Mellotron, Hammond organ, church organ, electric piano, grand piano and harpsichord. Accompanying Rick, who produced The Six Wives Of Henry VIII, were some of the top musicians of the early seventies.
Among Rick’s band were what can only described as prog rock royalty. This included Yes’ rhythm section of drummers Bill Bruford and Alan White, bassist Chris Squire and guitarist Steve Howe. They were joined by The Strawbs bassist Chris Cronk and Dave Cousins, who played electric banjo. These were just a few of the musicians who played on The Six Wives Of Henry VIII.
Other musicians who played a part in the making of The Six Wives Of Henry VIII were drummer Barry de Souza, bassists Dave Winter and Les Hurdle and guitarist Mike Egan. They were joined by percussionists Ray Cooper and Frank Ricotti and vocalists Laura Lee, Sylvia McNeill, Judy Powell, Barry St. John and Liza Strike. Once the six tracks were recorded, the cost of The Six Wives Of Henry VIII had risen to £25,000. A&M Records’ advance hadn’t come close to covering the cost of The Six Wives Of Henry VIII. Rick needed The Six Wives Of Henry VIII to be a huge success.
Prior to the release of The Six Wives Of Henry VIII, Rick was booked to appear on BBC TV’s The Old Grey Whistle Test, where he would play excerpts of The Six Wives Of Henry VIII. That should’ve given The Six Wives Of Henry VIII a huge boost. However, back then, there were only three television channels. On one of the other channels, ITV a documentary about Andy Warhol was scheduled to be released. The documentary was much anticipated, and as many as ten million viewers were expected to view it. Luckily, at the last minute, it was banned. With ten million people looking for something to watch, many turned to BBC 2, and The Old Grey Whistle Test. That night, excepts from Rick Wakeman’s sophomore album, The Six Wives Of Henry VIII were heard by a huge audience. This was just what he needed.
Reviews of The Six Wives Of Henry VIII hadn’t been good. Only Time magazine and Rolling Stone seemed to appreciate The Six Wives Of Henry VIII. They published glowing reviews. However, they were the only ones. Other critics weren’t won over by The Six Wives Of Henry VIII. Neither were many people at A&M Records. Behind the scenes, staff at A&M Records referred to The Six Wives Of Henry VIII as “unsellable.” They reckoned that an instrumental prog rock album was unlikely to sell well. So, only 12,500 copies of The Six Wives Of Henry VIII were pressed prior to release. How wrong executives at A&M Records were.
On the release of The Six Wives Of Henry VIII on 23rd January 1973, it topped the charts in four countries. The Six Wives Of Henry VIII reached number seven in Britain, and number thirty in the US Billboard 200 charts. This resulted in The Six Wives Of Henry VIII being certified gold in America. However, things would get even better for Rick Wakeman.
By July 1973, The Six Wives Of Henry VIII was certified platinum, having sold two million albums. Eventually, The Six Wives Of Henry VIII sold over fifteen million copies. As 1973 drew to a close, Time magazine named The Six Wives Of Henry VIII as the best album of 1973. Since then, it’s attained classic status. What was described as an “unsellable,” instrumental prog rock album is now regarded as one of the genre’s best examples. No wonder.
Over the six tracks on The Six Wives Of Henry VIII, Rick Wickman manages to do what is seemingly impossible, paint pictures with what are, six instrumental tracks. From Catherine Of Aragon right through to Catherine Parr, Rick’s music has an unmistakable cinematic quality. A case in point is Catherine Of Aragon.
In the space of three minutes and forty-six seconds, Rick manages breath life, meaning and emotion into the story of Henry VIII and Catherine’s marriage. To do this, he uses a wide palette of instruments. This includes piano, synths, a rhythm section and harmonies. They’re Rick’s musical palette, played by what were some of the most talented, and sought after musicians and backing vocalists of the early seventies. What follows is a heart wrenching portrayal of a doomed marriage, which promised much, but sadly, was sabotaged by obsession.
As Catherine Of Aragon unfolds, Henry VIII and Catherine’s marriage is young, and there’s a sense of hope and joy. Henry VIII hopes for a son and heir. As time passes, this becomes more unlikely. The one thing he longs for, he can’t have, a son. Despite his wife giving birth to a daughter, Henry VIII becomes melancholy and maudlin. This is reflected in the music. Soon, the melancholia leads to drama and sadness. The understated arrangement veers between wistful and ethereal. It translates what Henry VIII and Catherine must have been feeling. Later, as the music becomes dark and dramatic, Catherine is asked to leave the court, her eighteen year marriage at an end. In just under four minutes, you experience despair, drama, heartache, hope, joy, melancholy, pain and sadness. You find yourself empathising and sympathising, mostly, with Catherine. Her marriage had been ruined, ruined by her husband’s obsession for a son and heir. This heart wrenching, cinematic tale is just the start of what is, without doubt, an innovative, influential and ambitious concept album.
Over thirty-six minutes, Rick tells the story of The Six Wives Of Henry VIII. Inspired by Nancy Brysson Morrison’s book, The Private Life Of Henry VIII, Rick Wakeman takes prog rock in a new direction. To do that, he combines various musical genres and instruments.
Listen carefully to The Six Wives Of Henry VIII, and elements of classic rock combine with classical music, folk, jazz and prog-rock. Sometimes when you hear the synths, there is even a funk influence. Another musical influence is the music of the church.
Given the role it played in Henry VIII’s day, that is quite fitting. Two of the most obvious influences of the church can be heard on The Six Wives Of Henry VIII are on Jane Seymour and Anne Boleyn.
When Rick was struggling to find the right organ sound for Jane Seymour, he headed to St Giles-Without-Cripplegate church, in London. The engineers setup the recording equipment, and Rick played the church organ. It plays an important part in the track’s sound and success. Another influence of the church can be heard on Anne Boleyn ‘The Day Thou Gavest Lord Hath Ended. It features an excerpt from St. Clement, played to the tune of the hymn The Day Thou Gavest, Lord, is Ended. Rearranged by Rick, it was an important part of Anne Boleyn ‘The Day Thou Gavest Lord Hath Ended, which is best described as a genre melting track. It’s bold, dramatic, elegiac, energetic, ethereal, flamboyant and spiritual. These are just a few of the words that describe Anne Boleyn The Day Thou Gavest Lord Hath Ended, which like the rest of The Six Wives Of Henry VIII marked a first in prog rock.
Before The Six Wives Of Henry VIII, the synth had struggled to be taken seriously in prog rock. It was almost frowned upon. The synth, to some, was prog rock’s bastard child. That is, until they heard it played by Rick Wakeman. This proved an eye opener. Suddenly, the synth gained legitimacy within prog rock. Before long, most self-respecting prog rock group had a keyboardist, playing a bank of the latest synths. That wouldn’t have happened without Rick Wakeman, and The Six Wives Of Henry VIII.
That is why, forty-two years after the release of The Six Wives Of Henry VIII, it’s now considered a stonewall prog rock classic. Rick Wakeman is now perceived as a musical pioneer. After all, The Six Wives Of Henry VIII is also the prog rock album that legitimised synths in prog rock. Without Rick Wakeman and The Six Wives Of Henry VIII, maybe, things would have been very different? Certainly, prior to the release of The Six Wives Of Henry VIII very few people thought that it would prove such a landmark reviews.
Neither critics, nor many of the staff at A&M Records foresaw the commercial success of The Six Wives Of Henry VIII. Only Time and Rolling Stone recognising that The Six Wives Of Henry VIII was a future classic. Even they never thought that Rick Wakeman’s sophomore album would become one of his best selling albums. Eventually, however, that proved to be the case. Since its release in 1973, The Six Wives Of Henry VIII sold over fifteen million copies. Rick Wakeman, a true musical pioneer, had the last laugh, when what many considered prog rock’s ugly duckling, The Six Wives Of Henry VIII, turned into a swan.
RICK WAKEMAN-THE SIX WIVES OF HENRY VIII.
CIAO BELLA! ITALIAN GIRL SINGERS OF THE 60S.
CIAO BELLA! ITALIAN GIRL SINGERS OF THE 60S.
Ciao Bella! Italian Girl Singers Of The 60s, Ace International’s first compilation of 2015, is described as “groovy girl-pop.” That’s the perfect description of the latest compilation of girl-pop from Ace Records.
Previously, Ace Records have released compilations of American, French and Japanese girl-pop. Other record companies have released compilations British and German girl-pop. However, until very recently, Italian girl-pop has been overlooked. Not any more.
Ace International released Ciao Bella! Italian Girl Singers Of The 60s on 26th January 2015. It features twenty-four tracks from some of the biggest names in Italian girl-pop, including Caterina Caselli, Catherine Spaak, Isabella Iannetti, Mina, Ornella Vanoni, Rita Monico and Wilma Goich. Given Ciao Bella! Italian Girl Singers Of The 60s has such an all-star lineup, it’ll be tantalising prospect for connoisseurs of sixties girl-pop. You’ll realise why, when I tell you about the highlights of Ciao Bella! Italian Girl Singers Of The 60s.
What better way is there to open Ciao Bella! Italian Girl Singers Of The 60s, than with Brunetta E I Suoi Balubas’ Baluba Shake. It literally bursts into life. Having gotten your attention, it doesn’t let go. What follows is a storming, hook-laden dance track. It’s sure to have filled many a dance floor on its release in 1966, on the Rifi label. This was the first release by Brunetta E I Suoi Balubas. Previously, she had released singles as The Explosive Brunetta and Ciclone. However, her change of name resulted in a change of fortune for Brunetta E I Suoi Balubas.
One of the biggest and most successful names in Italian girl-pop was Mina. Her career started in the late fifties, and in 1959, she enjoyed her first number one. After this, there was no stopping Mina. She became one of Italian girl-pop’s most prolific artists. So, it’s only right that she features three times. The earliest of the three tracks is Più Di Te, where Mina covers the Tracy Dey-Bob Crewe classic. Released in 1965 on Ri-Fi, Più Di Te epitomises everything that’s good about girl pop. A year later, Mina released Se Telefonando in 1966, on Ri-Fi. This beautiful, heartfelt, wistful ballad shows another side of Mina. So does No, released on Ri-Fi in 1967. Here, Mina delivers a defiant vocal, accompanied by jangling, Byrdsian guitars on this folk rock track.
Just like Mina, Ornella Vanoni was one of the top Italian girl-pop singers. With Mina, she vied for the title of Queen of Italian girl-pop. However, Mina one out. Ornella Vanoni however, enjoyed an almost unrivalled longevity. Ornella is best know for ballads. That’s where she shines. Proof of this is Il Mio Posto Qual’e, released on Ariston in 1967. Against a lush backdrop that’s augmented by a sitar, Ornella delivers a soul-baring vocal. Then on L’Appuntamento, released in 1970, on Ariston, the tempo drops and Ornella delivers a thoughtful, melancholy vocal against an orchestrated arrangement. In doing so, she shows that when it came to balladry, Ornella Vanoni was one of the best.
When Isabella Iannetti’s first two singles failed to chart, she moved the Royal record label to Durium. This resulted in a change of fortune for Isabella Iannetti. She would go on to release twenty singles and an album for her new label. One of Isabella’s first releases for Durium was Quanti Ragazzi, released in 1964. Its jaunty arrangement is propelled along by strings, while pizzicato string and harmonies prove foil for Isabella’s show-stopping vocal. Four years later, in 1968, Isabella released Un Amore Inutile. Tinged with drama, the arrangement veers between understated to an almost grandiose orchestral sound. This frames Isabella’s powerful, emotive vocal perfectly, resulting in three minutes of drama.
Not many of the artists on Ciao Bella! Italian Girl Singers Of The 60s enjoyed the longevity that Rita Pavone has. Having won a talent show in 1962, Rira released her debut single later that year. This was the first over 100 singles Rita released. Then there’s the small matter of around twenty-five albums Rita released. Rita is without doubt, one of Italian pop’s biggest names. Her first contribution on Ciao Bella! Italian Girl Singers Of The 60s, is Cuore, released on RCA Italiana in 1963. Against an arrangement that veers between understated to dramatic, Rita delivers a vocal that’s akin to an outpouring of emotion. It’s truly captivating performance. That’s what executives at RCA though. Rita, they thought, looked like being a huge international star.
That’s why, in 1964, Rita headed to America, where in New York, she recorded a trio of English language albums. They were heavily promoted, with Rita appearing on the Ed Sullivan Show. Despite the extensive promotion, Rita enjoyed just one American single, Remember Me. Two years later, in 1966, Rita who was constantly recording, released Il Geghege on RCA Italiana. This irresistible, hook heavy single sees Rita let her hear down, as she delivers a barnstorming performance.
Catherine Spaak was born in Belgian and brought up in France. However, throughout her career as actress and singer, Catherine called Italy home. She released her debut single Perdono, in 1962. Two years later, in 1964, Catherine released her sophomore album Noi Siamo I Giovani, on the Ricordi label. It features Penso A Te, a melancholy ballad, delivered against a cinematic backdrop. With its pensive marching drums and wistful horns, it sounds like part of the soundtrack to a Spaghetti Western. No wonder. It’s composed by Ennio Morricone. However, the piece de resistance to Penso A Te, is Catherine’s vocal. Three years later, Catherine featured on another soundtrack.
This was La Notte È Fatta Per Rubare, directed by Giorgio Capitani. Catherine featured on the soundtrack and acted in the movie. One of her finest moments, was on the bossa-nova tinged La Notte È Fatta Per Rubare, where Catherine delivers a breathy, sultry vocal.
Ennio Morricone is one of the most prolific soundtrack composers. At the last count, he’s penned 500 soundtracks. One of these soundtracks was Thrilling (La Regola Del Gioco). It was released in 1964, on the ARC label, and featured the vocal prowess of Rita Monico. She features on the title track, which became Rita’s sophomore single. Straight away, it takes on a moody, cinematic sound. Then comes Rita’s vocal. It’s heartfelt, dramatic and powerful. She paints pictures with her voice. They unfold before your eyes, and the combination of Ennio Morricone and Rita Monico proves a potent one. Two years later, Rita and the Maestro renewed their partnership, with a very different single.
This time, Rita decided to cover Dressed In Black, a track made famous by American girl-group, The Shangri Las. It was released on ARC, in 1966, as Non E Mai Tardi. The track is transformed, becoming a slow burner. At the start, the arrangement is minimalist and understated. Gradually, though, the drama builds, and Rita’s vocal becomes an outpouring of emotion and grief. Accompanied by an dramatic orchestral arrangement, Dressed In Black takes on new meaning.
Wilma Goich is remembered by many connoisseurs of ye ye music, as being Italy’s finest exponent of the genre. She is said to have been blessed with the finest voice. So, it’s fitting that she features twice on Ciao Bella! Italian Girl Singers Of The 60s. Her earliest contribution is Un Bacio Sulle Dita, released in 1965 on the Ricordi label. Quickly, it becomes apparent why Wilma is perceived as the Queen if Italian ye ye. Three years later, in 1968, the Queen still hadn’t lost her crown when she released Finalmente as a single. Tucked away on the flip side was Come Un Anno Fa, a quite beautiful ballad, accompanied by a lush, orchestral arrangement.
My final choice from Ciao Bella! Italian Girl Singers Of The 60s is Patty Pravo’s Ragazzo Triste. It was released as Patty’s debut single in 1966, on ARC. Two years later, Ragazzo Triste featured on Patty’s eponymous debut album. By then, Patty Pravo was well on her way to becoming one of Italian music’s most popular artists. No wonder, with singles like Ragazzo Triste.
With each year that passes, girl-pop increases in popularity. That’s why Ace Records have released compilations of American, French and Japanese girl-pop. Other record companies have released compilations British and German girl-pop. However, until very recently, Italian girl-pop has been overlooked. Not any more. Ace International recently released Ciao Bella! Italian Girl Singers Of The 60s. It features twenty-four tracks from the great and good of Italian girl-pop.
This includes Caterina Caselli, Catherine Spaak, Isabella Iannetti, Ornella Vanoni, Rita Monico and Wilma Goich. That’s not forgetting Mina, the undisputed Queen of Italian girl-pop. Mina and the other artists on Ciao Bella! Italian Girl Singers Of The 60s deliver ballads, cinematic tracks and dance tracks. This eclectic selection of music is variously dramatic, joyous, melancholy, moody, uplifting and wistful. Loves songs sit side-by-side with tracks about love lost. Other tracks take on a celebratory sound. Often, the hooks haven’t been spared, and instantly, you’re won over by the music on Ciao Bella! Italian Girl Singers Of The 60s. It’s just the latest instalment in Ace International’s series of music celebrating girl-pop.
Previous volumes have concentrated on America, France and Japan. However, Ciao Bella! Italian Girl Singers Of The 60s which hopefully, is the first of many volumes of Italian girl-pop is a welcome addition to Ace International’s discography. The music epitomises the sixties, one of the most important, innovative and influential decades in history. During the sixties, a political, social, cultural and musical revolution swept Europe. No country was left untouched, including Italy.
Proof of this is Ciao Bella! Italian Girl Singers Of The 60s, which was recently released by Ace International, an imprint of Ace Records. This is a welcome release. Especially for anyone yet to discover the charms and delights of Italian girl-pop. For them, Ciao Bella! Italian Girl Singers Of The 60s is the perfect starting place. To misquote Woody Allen, the music on Ciao Bella! Italian Girl Singers Of The 60s features : “all you’ve ever wanted to know about Italian girl-pop music but were afraid to ask.”
CIAO BELLA! ITALIAN GIRL SINGERS OF THE 60S.
THE VALENTINOS-LOOKIN’ FOR A LOVE-THE COMPLETE SAR RECORDINGS.
THE VALENTINOS-LOOKIN’ FOR A LOVE-THE COMPLETE SAR RECORDINGS.
The story of The Valentinos began back in 1952, in Cleveland, Ohio. That’s when the Reverend Friendly Womack first heard his five sons sing. Before long, Friendly, Curtis, Bobby, Harry and Cecil had adopted the moniker The Womack Brothers. They then made their debut in their father’s church in the East 85th and Quincy district of Cleveland. A years later, in 1953, The Womack Brothers met a man who would help launch their career, Sam Cooke.
By 1953, Friendly Womack Jr, who sung bass, was twelve, while ten year old Curtis and Bobby aged nine, sang lead. Harry, who was only eight, was first tenor, and later, would play bass. Cecil who at aged six, was the youngest Womack Brother, sang baritone. He and the rest of the Womack Brothers modelled themselves on The Swan Silvertones, The Swanee Quintet and of course, The Soul Stirrers, who were lead by Sam Cooke. He was a huge influence on The Womack Brothers’ nascent career. So, Friendly Womack decided to take his sons to see Sam Cooke.
Straight away, Sam Cooke was impressed by The Womack Brothers. When he saw them wearing their uniform, he remarked that “you look like singers.” With the naivety of youth, one of The Womack Brothers replied “we are singers.” So, Sam Cooke told The Womack Brothers “if you can sing, you can open the program.” The other members of The Soul Stirrers weren’t pleased, arguing that there was no room for The Womack Brothers. Sam dug his heels in, saying if The Womack Brothers didn’t sing, neither did he. This worked. After an impromptu audition, Sam decided that The Womack Brothers were opening the show.
Later that day, The Womack Brothers opened for The Soul Stirrers at Cleveland’s Friendship Baptist Church. That night, The Womack Brothers won over the congregation. Sam Cooke was more than a little impressed, and would later, play a part in the rise and rise of The Womack Brothers.
Before that, The Womack Brothers made their recording debut in 1954. Their debut single was Buffalo Bill, which was released on the Cleveland based Pennant label. On its release in 1954, Buffalo Bill sunk without trace. This was an inauspicious start to The Womack Brothers’ twenty year recording career.
As the fifties drew to a close, no other record company had showed any interest in The Womack Brothers. So, they continued to tour, resulting in The Womack Brothers becoming one of gospel music’s best up-and-coming groups. Then fate intervened.
Roscoe Robinson, who sung second lead with The Blind Boys, was working with The Womack Brothers. He chauffeured them from concert to concert. One night, The Womack Brothers told Roscoe what they were looking to sign to a record label, but so far, were having no luck. That’s when Roscoe mentioned that Sam Cooke had just founded his own record label, SAR Records. He said would speak to Sam Cooke.
When Roscoe phoned Sam Cooke, he told his old school friend just how talented a group The Womack Brothers were. So, Sam Cooke agreed to meet The Womack Brothers in Detroit, where he The Soul Stirrers were appearing live, two weeks later.
Two weeks later, The Womack Brothers made their way to Detroit. When Sam heard The Womack Brothers he was immediately won over. Straight away, Sam signed The Womack Brothers to SAR Records, the label he founded with his business partner and ex-Pilgrim Traveller J.W. Alexander and Soul Stirrers’ founder S.R. Crain. Little did any of the three owners of SAR Records realise, that The Womack Brothers would become one of their most successful signings.
Between 1961 and 1964, The Womack Brothers, who became The Valentinos, were signed to SAR Records. During that period, they released ten singles. Each of these singles feature on Lookin’ For A Love-The Complete SAR Recordings, which was recently released by Ace Records. Lookin’ For A Love-The Complete SAR Recordings, which features twenty-three tracks, including four unreleased tracks, tells the story of The Womack Brothers shift from gospel music, to secular music with The Valentinos. This transformed The Womack Brothers’ career.
Originally, when The Womack Brothers signed to SAR Records, they were a gospel group. That’s what Sam Cooke signed The Womack Brothers as. Their SAR Records debut was Somebody’s Wrong, with Yield Not To Temptation on the B-Side. It was recorded in Chicago on 28th June 1961, and released in July 1961. On its release, Somebody’s Wrong failed to chart. Neither did The Womack Brothers’ sophomore single, Couldn’t Hear Nobody Pray, which featured Somewhere There’s A God on the flip side. With The Womack Brothers’ first two singles failing to chart, Sam Cooke realised something had to give.
The answer was staring him in the face. What The Womack Brothers had to do, was turn their back on gospel music. This wouldn’t please many people.
For the past ten years, The Womack Brothers’ name was synonymous with gospel. Crossing over was a big decision. The Womack Brothers were making a good living singing gospel. Through touring America, they had established a reputation as one of gospel’s biggest groups. This was all very well. However, chart success eluded The Womack Brothers. So the decision to cross over was made on 28th February 1962. It didn’t please the man who founded The Womack Brothers.
Friendly Womack, The Womack Brothers’ father, wasn’t happy with his son’s decision to turn their back on gospel. For the past ten years, he had encouraged and supported them. Now, less than a year after signing to SAR Records, his sons were turning their back on gospel music. However, this wasn’t the end of the bad news for Friendly Womack.
With The Womack Brothers’ name synonymous with gospel, it made sense for the group to rebrand, and change their name. So The Womack Brothers became The Valentinos. This marked a change in fortune for the Womack brothers.
On 28th February 1962, the day The Womack Brothers crossed over, and became The Valentinos, they entered the recording studio, and recorded two songs. This included their debut, secular single Lookin’ For A Love. It’s a stonewall classic, that would four months later, would launch The Valentinos’ solo career. On the flip side was the often overlooked Somewhere There’s A Girl, a beautiful heartfelt paean, full of longing. Just under four months later, Lookin’ For A Love was released as a single.
On the release of Lookin’ For A Love, in June 1962, it reached number seventy two in the US Billboard 100 and number eight in the US R&B charts. Lookin’ For A Love would become, without doubt, The Valentinos’ best known song. It would later, be rerecorded by Bobby Womack, and become one of his best known songs. That was still to come. Before that, The Valentinos looked like they were on their way to becoming one of the top soul groups of the early sixties.
It wasn’t until December 20th 1962, that The Valentinos entered the United Recording studio again. With engineer Bob Kidder, and Sam Cooke acting as producer, The Valentinos recorded Darling, Come Back Home, I’ll Make It Alright and Tired Of Livin’ In The Country. Two of these tracks became The Valentinos’ next single, while Tired Of Livin’ In The Country has lain unreleased for fifty-three years.
I’ll Make It Right was released as The Valentinos’ sophomore single in January 1963. On the B-Side was the tender, pleading ballad, Darling, Come Back Home. Both tracks were penned by Curtis Womack, who was flourishing as a songwriter. Bobby, meanwhile, was flourishing as a singer. He delivers a gravelly, vampish vocal on I’ll Make It Right, which stalled at just number ninety-seven in the US Billboard 100. For The Valentinos, this was something of a disappointment. This was the last that was heard of The Valentinos until July 1963.
July 1963 saw The Valentinos return to the recording studio. This time, they headed to Bell Sound Studio, New York. That’s where The Valentinos recorded three tracks. This included the Bobby Womack and Sam Cooke composition She’s So Good To Me, Baby, Lots Of Luck and the Bobby Womack penned Bitter Dreams. The Valentinos that one of these tracks would get their recording career back on track?
Away from the recording studio, The Valentinos were a successful live band. They were, at one point, earning $1,500 a week. The only rub was, that The Valentinos had to play five concerts a day. So a million selling single would prove more profitable. Sadly, that wasn’t to be.
The John Greek penned Baby, Lots Of Luck was released as a single in August or September 1963, with She’s So Good To Me on the B-Side. Despite being one The Valentinos’ finest and smoothest singles, it failed to chart. Neither did Bitter Dreams, The Valentino’s fifth single. It was the perfect showcase for a blistering vocal powerhouse from Bobby Womack. This was a tantalising taste of what Bobby was capable of. Sadly, very few people heard Bitter Dreams. Sam Cooke must have been having nightmares.
Another six months passed before The Valentinos returned to the recording studio. On March 24th 1964. That day, The Valentinos recorded five tracks. By then, Bobby Womack had become The Valentinos principal songwriter. He wrote I’ve Got Love For You and Don’t Go Away. Bobby cowrote It’s All Over Now with Shirley Womack. His other contribution was Rock In The Cradle Of Love, which he penned with Zelda Samuels. The other two tracks recorded that day, were Sam Cooke’s Sugar Dumpling and Tired Of Living In The Country, which featured Johnnie Morisette on deep bass vocal. Only two of these tracks were ever released by The Valentinos.
Two months after the recording sessions, It’s All Over Now was released as The Valentinos next single. On the flip side, was Tired Of Living In The Country. It’s All Over Now got The Valentinos’ career back on track. It reached number ninety-four on the US Billboard 100 charts, and number twenty-one in the US R&B charts. At last, it looked as if The Valentinos luck had changed.
For the followup to It’s All Over Now, The Valentinos didn’t release any of the other tracks recorded in March 1964. Instead, I’ve Got Love For You wasn’t released until Sam Cooke’s SAR Story was released in 1994. The other three tracks, Don’t Go Away, Rock In The Cradle Of Love and Sugar Dumpling make their debut on the recently released Ace Records’ compilation Lookin’ For A Love-The Complete SAR Recordings. To record the followup to It’s All Over Now, The Valentinos headed to RCA Studios, Hollywood, on 19th September 1964.
At RCA Studios, The Valentinos recorded Everybody Wants To Fall In Love, Put Me Down Easy, To Show My Love and Shakin’ This Way And That (Lassie). This would be The Valentinos’ final recording session for SAR Records. Things were about to take an unexpected twist.
Everybody Wants To Fall In Love proved to be the final single The Valentinos released on SAR Records. It failed to chart. Sadly, there was no followup and Put Me Down Easy, To Show My Love and Shakin’ This Way And That (Lassie) remained unreleased until the release of Lookin’ For A Love-The Complete SAR Recordings. That might have different, if not for the events of December 11th 1964.
That night, Sam Cooke died on 11th December 1964 aged just thirty-three. Police reports state that Sam Cooke booked into the Hacienda Motel, Los Angeles earlier on the 11th December 1964. Later, things went awry. Sam Cooke burst into the manager’s office-apartment in a rage, wearing nothing but one shoe and a sports jacket. A furious Sam Cooke, wanted to know where the woman who accompanied him into the Hacienda Motel was. Feeling threatened, Bertha Franklin, the motel manager, shot Sam Cooke through the hurt. When the L.A.P.D. arrived, Sam Cooke was found wearing just his sport’s jacket and a shoe. It was a surreal sight. Since then, Sam Cooke’s somewhat unsavoury death has been shrouded in controversy. Nobody knows for certain what happened. Was Sam in the wrong or wronged? Even today, nobody knows. Rumours and conjecture surround what happened at the Hacienda Motel, Los Angeles. Sadly, we’ll never know for sure the truth surrounding Sam Cooke’s death. His death impacted on The Valentinos’ career.
The death of Sam Cooke affected The Valentinos badly. He was their mentor, and the man who had guided their career for the past three years. For a few months, The Valentinos mourned their mentor. However, it wasn’t just The Valentinos that were affected by the death of Sam Cooke.
Following the death of Sam Cooke, SAR Records folded. Sam Cooke was its driving force. Without him, SAR Records collapsed. This left The Valentinos without a record label.
Nor for long. Having mourned the loss of Sam Cooke, The Valentinos signed to Chess Records in 1965, and in 1966, released two singles, Do It Right and Let’s Get Together. Neither single charted, and The Valentinos were dropped by Chess. However, by then, The Valentinos had been engulfed in scandal and become a quartet.
In March 1965, Bobby Womack turned twenty-one. He also announced he was about to be married. His bride-to-be was none other than Barbara Campbell, Sam Cooke’s twenty-nine year old widow. This didn’t go down well with the public and Sam Cooke’s fans. The Valentinos were engulfed in scandal.
When Bobby married Barbara, such was his admiration for Sam Cooke, that he even wore one of Sam’s suits. Later, Bobby said Barbara had asked him to do so. He also later claimed that at first, he only wanted to console Barbara, as he was scared she “may do something crazy.” However, within a few months, they were married. This came at a great cost to Bobby and The Valentinos.
Following his marriage to Barbara, Bobby left The Valentinos, and embarked upon a solo career. However, DJs boycotted Bobby’s singles and many record buyers turned their back on Bobby Womack. Briefly, he was a musical pariah. So much so, that the only work he could get, was as a session musician. However, the loss of Bobby also affected The Valentinos.
Listening back to Lookin’ For A Love-The Complete SAR Recordings, the loss of Bobby Womack affected The Valentinos badly. Bobby Womack played a huge part in The Valentinos sound. His unmistakable voice and harmonies from the rest of The Valentinos were like musical yin and yang. When Bobby combined power and passion, it was a joy to behold. So when Bobby left The Valentinos, it left a gaping hole, one that they would struggle to fill.
After Bobby left what many people believe was the classic lineup of The Valentinos, they had to audition for several labels before signing to Chess Records. Following two unsuccessful singles, The Valentinos were dropped by Chess Records. This lead to Cecil Womack leaving The Valentinos. Not long after this, The Valentinos disbanded.
With Bobby’s solo career struggling, and The Valentinos on hold, later in 1966, Bobby approached his brothers about getting the family band together. However, not long after this, Bobby’s star was in the ascendancy again and the idea was scrapped. He would work with his brothers again, but this time, they would add backing vocals on his solo albums. Never again, would the classic lineup of The Valentinos reunite.
That was a missed opportunity. The Valentinos could’ve and should’ve been one of soul’s biggest bands. The Valentinos released the best music of their career between 1961 and 1964, when they were a quintet. Songs like Lookin’ For A Love, I’ll Make It All Right, It’s All Over Now and Everybody Wants To Fall In Love is a reminder of just what The Valentinos were capable. Sadly, fate intervened and the rise of rise of The Valentinos came to a halt with Sam Cooke’s death. After that, the collapse of SAR Records and loss of Bobby and then Cecil Womack, sabotaged the rise of The Valentinos. Never again, would The Valentinos reach the heights they enjoyed at SAR Records. That three year period, which is documented on Lookin’ For A Love-The Complete SAR Recordings, finds The Valentinos at their very best, when their star was on the ascendancy.
THE VALENTINOS-LOOKIN’ FOR A LOVE-THE COMPLETE SAR RECORDINGS.
RHYTHM ’N’ BLUESIN’ BY THE BAYOU-MAD DOGS, SWEET DADDIES AND PRETTY BABIES.
RHYTHM ’N’ BLUESIN’ BY THE BAYOU-MAD DOGS, SWEET DADDIES AND PRETTY BABIES.
Not many compilation series survive to celebrate their tenth anniversary. Usually, a compilation series runs out of steam after four or five compilations. By then, the compiler has exhausted the supply of new music. However, as with every rule, there is an exception. In this case I give you Ian Saddler’s By The Bayou series.
It was back in August 2012, that Ian Saddler released what was the first in the By The Bayou series, Boppin’ By The Bayou. Critics welcomed this lovingly compiled retrospective of Louisiana’s musical past. Surely a followup would be released?
That proved to be the case. Boppin’ By The Bayou Again was released in January 2013. It picked up where Boppin’ By The Bayou left off. Then a month later, Rhythm ‘N’ Bluesin’ By The Bayou was released in February 2013. This wasn’t the last we would hear from Ian Saddler during 2013.
Three months passed, and the next instalment in the By The Bayou series was released. This was Bluesin’ By The Bayou. Then five months later, Boppin’ By The Bayou-More Dynamite was released in October 2013. This was the fifth instalment in the By The Bayou series. Despite this, there was no drop in quality. That’s not surprising. Louisiana is a musical hotbed, one that for far too long, has been overlooked by compilers. For Ian Saddler, compiler of the By The Bayou series, this was good news. There was plenty of music left for further volumes in the By The Bayou series.
As 2014 dawned, Rhythm ‘N’ Bluesin’ By The Bayou-Rompin’ and Stompin’ was released in January 2014. Another three further volumes in the By The Bayou series were released during 2014. In March 2014, Swamp Pop By The Bayou was released. Three months later, in July 2014, came Bluesin’ By The Bayou-Rough ‘N’ Tough. Then in September 2014 Boppin’ By The Bayou-Made In The Shade was released. Bluesin’ By The Bayou-Rough ‘N’ Tough was the ninth instalment in the By The Bayou series. 2015 would see the By The Bayou series celebrate its tenth anniversary.
We didn’t have long to wait before the tenth instalment in the By The Bayou series was released. On 26th January 2015, Rhythm ‘N’ Bluesin’ By The Bayou-Mad Dogs, Sweet Daddies and Pretty Babies was released. It sees Ian Saddler return to South Louisiana, where he discovered twenty-eight tracks. These are no ordinary tracks though.
The twenty-eight tracks on Rhythm ‘N’ Bluesin’ By The Bayou-Mad Dogs, Sweet Daddies and Pretty Babies come from the vaults of five of South Louisiana’s top producers. This includes tracks recorded at J.D. Miller’s Crowley studio and Eddie Shuler’s Goldband studio. Other tracks were released on, Floyd Soileau’s Rod label, Sam Montel’s Montel label and Golen Richard’s Richland imprint. Most of these tracks were discovered in the musical goldmine that’s the music store originally founded by J.D. Miller.
Indeed, twenty-two of the tracks on Rhythm ‘N’ Bluesin’ By The Bayou-Mad Dogs, Sweet Daddies and Pretty Babies were discovered in the music store founded by J.D. Miller. It’s situated in the same place, in North Parkerson Avenue, Crowley. Nowadays, the shop is run by J.D. Miller’s youngest sun, Mark. He runs what’s best described as a musical emporium. It has everything a musician, or music lover could want. Whether its guitars, picks, plugs or CDs, Mark Miller has it in his shop. That’s not forgetting a recording studio, complete with master tapes galore.
It’s at Mark Miller’s studio, where Mark, a record producer, sound engineer and bassist, transferred twenty-two of the tracks on Rhythm ‘N’ Bluesin’ By The Bayou-Mad Dogs, Sweet Daddies and Pretty Babies from the original master tapes. Eight of these tracks have never been released before. Other tracks on Rhythm ‘N’ Bluesin’ By The Bayou-Mad Dogs, Sweet Daddies and Pretty Babies are from veterans of the By The Bayou series.
Among the names on Rhythm ‘N’ Bluesin’ By The Bayou-Mad Dogs, Sweet Daddies and Pretty Babies are Lester Robertson, Leroy Washington, Mad Dog Sheffield, Carol Fran, Clifton Chenier, Katie Webster, Wonder Boy Travis, Guitar Gable, Clarence Garlow or Lazy Lester. New names include Eddie Williams, Frank Simien and Anna Mae Rogers. That’s why Rhythm ‘N’ Bluesin’ By The Bayou-Mad Dogs, Sweet Daddies and Pretty Babies is described as “rompin’, stompin’ music,” that’s bound to set “feet a-tappin’.” Let’s hope so, as it would be a fitting way for the By The Bayou series to celebrate its tenth anniversary.
What better way to open Rhythm ‘N’ Bluesin’ By The Bayou-Mad Dogs, Sweet Daddies and Pretty Babies than with Little Victor’s Papa Lou and Gran. It’s an explosive, wild eyed rocker. Penned by Victor Phillips, Little Victor and His Orchestra recorded Papa Lou and Gran. for J.D. Miller in 1954. Seven long years later, and Papa Lou and Gran was released on the Morgan City based, Richmond label in 1961. Sadly, commercial success eluded this bug eyed rocker, which is one of just a few tracks Little Victor recorded for J.D. Miller.
Katie Webster was part of Louisiana’s musical royalty. She was famed for her piano playing and vocal ability. So, it’s fitting she appears three times on Rhythm ‘N’ Bluesin’ By The Bayou-Mad Dogs, Sweet Daddies and Pretty Babies. Her first contribution is the sassy Hoo Wee, Sweet Daddy, which she recorded for J.D. Miller. It was then released in 1959, and is a tantalising taste of a musical legend. A year previously, in 1958, Katie Webster and Ashton Conroy collaborated on I Want You To Love Me. Here, Katie lays down her distinctive piano licks, and Ashton delivers a hopeful vocal on another J.D. Miller production, which was released on the Kry label. The third and final track featuring Katie Webster is Hey Mr. Love, where Katie duets with Bobby Jay on a track released in 1988, on the Flyright label. On Hey Mr. Love, Katie delivers a vocal powerhouse, that’s key to the song’s success.
Just like Katie Webster, Lester Robertson features three times. Each of these songs were written by Lester. Two of his contributions, Pretty Woman (Take It Home To Grandma) and Hoo Wee Pretty Baby have never been released before. Hoo Wee Pretty Baby is something of a hidden gem. It sounds as if it was recorded in the late fifties, when rock ’n’ was in its infancy. From the get-go, Lester grabs the song and makes it swing. Lester’s final contribution is Take It On Home To Grandma. He’s accompanied by The Upsetters on a hook-laden, swinging track released on the Motel label in 1958. Sadly, Lester didn’t enjoy the commercial success his music deserved, and went into religious exile.
Anna Mae Rogers is better known as the pianist in Clarence Garlow’s band. However, during a recording session at J.D. Miller’s studio in 1954, Anna delivered the vocal on I Called You Up Daddy. It was released on the Feature label in 1954, and showcases a talented vocalist and pianist, who could’ve and should’ve reached greater heights.
Mad Dog Sheffield features twice on Rhythm ‘N’ Bluesin’ By The Bayou-Mad Dogs, Sweet Daddies and Pretty Babies. On Mad Dog, a blistering, piano driven track, Mad Dog Sheffield howls and hollers, delivering his own unique vocal masterclass. Penned by Eddie Shuler and Mad Dog, Mad Dog was released as a single in 1956, on the Goldband label. It’s without doubt, one of the highlights of Rhythm ‘N’ Bluesin’ By The Bayou-Mad Dogs, Sweet Daddies and Pretty Babies. Thirty-one years later, in 1987, Mad Dog released I Got Fever (Wicked Fever) on the Flyright label. Even after all these years, Mad Dog was still a hugely talented vocalist. Sadly, in the intervening years, Mad Dog never got the breaks he deserved.
Two of the real finds on Rhythm ‘N’ Bluesin’ By The Bayou-Mad Dogs, Sweet Daddies and Pretty Babies come courtesy of Carol Fran. She learnt her trade singing in Lafayette nightclubs, before signing a contract with producer J.D. Miller. Knock Knock and One More Time are both tracks that were recorded, but never released. That’s a great shame, as Carol can breath life, meaning and emotion into a track.
With some of the artists on Rhythm ‘N’ Bluesin’ By The Bayou-Mad Dogs, Sweet Daddies and Pretty Babies, one track doesn’t do the artist justice. That’s the case with Leroy Washington. So, compiler Ian Saddler has included a trio of tracks from the Palermo born, singer, songwriter and guitarist. Sally Lou, which Leroy wrote, has never been released before, and makes a welcome debut on Rhythm ‘N’ Bluesin’ By The Bayou-Mad Dogs, Sweet Daddies and Pretty Babies. Baby Please Come Home, another track Leroy penned, was released in 1981, on Flyright. It features a needy, hopeful vocal. Then on Hello Baby, What You Know, Leroy unleashes some blistering guitar licks, before he and his band ensure the track swings. Released in 1985 on Flyright, Hello Baby, What You Know will have you longing to hear more from Leroy Washington.
Lionel Torrance was the saxophonist in Clifton Chernier’s band. That was a much prized position. After all, Clifton Chernier’s band featured some of the top musicians in Louisiana, including pianist Katie Webster. It was through playing in Clifton Chernier’s band that Lionel came to the attention of J.D. Miller. When J.D. Miller heard Lionel, he signed him on a recording contract. One of the five singles Lionel recorded for J.D. Miller was Rooty Tooty, which was released in 1962, on Zynn. During Rooty Tooty, Lionel unleashes his braying, blistering saxophone. It’s akin to a masterclass, from the Franklin born saxophonist.
Lazy Lester is a veteran of the By The Bayou series. He’s featured on previous volumes. However, his contribution on Rhythm ‘N’ Bluesin’ By The Bayou-Mad Dogs, Sweet Daddies and Pretty Babies is Tell Me Pretty Baby, which, until now, has never been released. Thankfully, Ian Saddler has rectified this. What follows is another of the compilation’s highlights from the Louisiana based harmonica player and vocalist, Lazy Lester.
Clifton Chenier contributes a slice of zydeco to Rhythm ‘N’ Bluesin’ By The Bayou-Mad Dogs, Sweet Daddies and Pretty Babies. This is Hey Ma Ma, where Clifton and his trusty accordion propel this roller coaster of an arrangement along. Hooks certainly haven’t been spared, on a track from the former Grammy Award winner and Blues Hall of Fame inductee.
My final choice from Rhythm ‘N’ Bluesin’ By The Bayou-Mad Dogs, Sweet Daddies and Pretty Babies is Charles Morris’ When It Rains It Pours. This is another of the unreleased tracks. Given the quality of the track, that’s quite incredible. Slow and moody, bluesy and soulful, Charles delivers a soul-baring vocal that oozes hurt and heartache. Quite simply, this is easily, one of my highlights of Rhythm ‘N’ Bluesin’ By The Bayou-Mad Dogs, Sweet Daddies and Pretty Babies.
The recently released Rhythm ‘N’ Bluesin’ By The Bayou-Mad Dogs, Sweet Daddies and Pretty Babies is the perfect way for the By The Bayou series to celebrate its tenth anniversary. Quite simply, Rhythm ‘N’ Bluesin’ By The Bayou-Mad Dogs, Sweet Daddies and Pretty Babies oozes quality. From the opening bars of Little Victor and His Orchestra’s Papa Lou and Gran, right through to the closing notes of Lester Robertson and The Upsetters’ Take It Home To Grandma, it’s quality all the way. That’s what we’ve come to expect from Ian Saddler’s By The Bayou compilation series.
Each of the nine previous compilations in the By The Bayou series, were lovingly compiled by Ian Saddler. That’s the case with Rhythm ‘N’ Bluesin’ By The Bayou-Mad Dogs, Sweet Daddies and Pretty Babies. Somehow, however, Ian Saddler has managed to compiled a compilation that’s managed to surpass everything that’s gone before. That takes some doing. After all, Ian has set his standards high on each of the nine previous instalments in the By The Bayou series. However, Rhythm ‘N’ Bluesin’ By The Bayou-Mad Dogs, Sweet Daddies and Pretty Babies is Ian Saddler’s finest hour.
No wonder. The twenty-eight tracks on Rhythm ‘N’ Bluesin’ By The Bayou-Mad Dogs, Sweet Daddies and Pretty Babies come from the vaults of South Louisiana music royalty. This includes tracks recorded at J.D. Miller’s Crowley studio, and Eddie Shuler’s Goldband studio. Other tracks were released on, Floyd Soileau’s Rod label, Sam Montel’s Montel label and Golen Richard’s Richland imprint. There’s contributions from By The Bayou veterans Lester Robertson, Leroy Washington, Mad Dog Sheffield, Carol Fran, Clifton Chenier, Katie Webster, Wonder Boy Travis, Guitar Gable, Clarence Garlow or Lazy Lester. New names include Eddie Williams, Frank Simien and Anna Mae Rogers. Each and every one of these artists play their part in the success of Rhythm ‘N’ Bluesin’ By The Bayou-Mad Dogs, Sweet Daddies and Pretty Babies. It the finest instalment in Ace Records’ By The Bayou series, so far.
Hopefully, further volumes of the By The Bayou series will follow. After all, in just three short years, Ian Saddler’s By The Bayou compilation series is one of Ace Records’ most popular compilation series. No wonder. The music on the By The Bayou series epitomises everything that’s good about the music of Louisiana. That’s the case in the tenth instalment of this hugely popular series, Rhythm ‘N’ Bluesin’ By The Bayou-Mad Dogs, Sweet Daddies and Pretty Babies. Just like Rhythm ‘N’ Bluesin’ By The Bayou-Mad Dogs, Sweet Daddies and Pretty Babies promises, its “rompin’, stompin’ music,” that’s bound to set “feet a-tappin’.”
RHYTHM ’N’ BLUESIN’ BY THE BAYOU-MAD DOGS, SWEET DADDIES AND PRETTY BABIES.
SAM DEES-IT’S OVER-70s SONGWRITER DEMOS AND MASTERS.
SAM DEES-IT’S OVER-70s SONGWRITER DEMOS AND MASTERS.
Sometimes, for whatever, reason, an artist doesn’t enjoy the commercial success and critical acclaim they deserve. Instead, their music is only enjoyed a discerning circle of music lovers. That’s the case with Sam Dees. He is, without doubt, one of soul music’s best kept secrets. Sam Dees could’ve, and should’ve, been one of the biggest names in music. Sadly, that’s not the case. Instead, Sam Dees is better known as a songwriter.
That’s why Sam Dees is described as: “a prolific songwriter and occasional performer.” That’s true. While Sam has written nearly four-hundred songs, he’s only released three albums. Sam’s debut album was 1975s The Show Must Go On. After a gap of fourteen years, Sam returned in 1989 with Secret Admirer which was released on his own label, Pen Pad Records. Another nine years passed, before Sam released 1998s Lovers Do. Since then, nothing has been heard of Sam Dees. As a result, it looks as if Sam Dees will never fulfil his potential. Things, however, looked very different in the early seventies.
Back in the early seventies, Sam Dees had just signed to Clintone Records. It would be home for Sam Dees for the next few years. Sam released one of his best known singles, Claim Jumping on Clintone Records. It’s one of nineteen tracks on It’s Over-70s Songwriter Demos and Masters, which was recently released by Kent Soul, an imprint of Ace Records.
It’s Over-70s Songwriter Demos and Masters is the most comprehensive retrospective of Sam Dees time at Clintone Records. There’s singles, demos and thirteen unreleased tracks. This includes two alternate takes of tracks from Sam Dees’ 1975 album, The Show Must Go On. Quite simply, It’s Over-70s Songwriter Demos and Masters is essential listening for anyone interested in Sam Dees music.
Sam Dees was born in Birmingham, Alabama, in December 1945. He was born into a large family. Sam stood out though. The reason for that was his voice. From an early age, it was obvious that Sam was a talented singer. When he was just nine, Sam was a veteran of talent contests. He’d won numerous talent shows, so decided to form his own group The Bossanovians. By the time Sam was ten, it became apparent Sam had a way with words.
Unlike most ten year olds, Sam was writing poetry and songs. Looking back, Sam Dees was something of a musical prodigy. So, it’s no surprise that he would make a career as a songwriter. Before that, he had dreams of becoming a singer.
Although Sam was a still teenager, he was already travelling from his Birmingham home to perform. This was the equivalent of Sam serving his musical apprenticeship. Then in 1968, Sam caught a break, He got the chance to record his debut single.
Given Sam was an aspiring soul singer, it sees strange that he made his recording debut in Nashville. I Need You Girl was released on SSS International. Sadly, it wasn’t a commercial success. Neither were Easier To Say Than Do nor It’s All Right (It’s All Right), which sam released on Lo Lo Records in 1969. Then as a new decade dawned, Sam’s luck changed.
Since 1968, Clarence Carter had been signed to Atlantic Records. He’d released a trio of albums, to varying degrees of success. His fourth album, Patches, was released in 1970. Produced by Rick Hall, and featuring some of Memphis’ top musicians and backing vocalists, including Chalmers, Rhodes, Chalmers, Patches featured songs from some top songwriters. This included Sam Dees. He wrote Changes, a heartbreakingly beautiful slice of Southern Soul. For Sam Dees, an up-and-coming singer and songwriter, writing a song for Clarence Carter was something of a coup. He was, after all, signed to Atlantic Records, one of the biggest soul labels. Little did Sam realise that in a few years, he’d be signed to Atlantic Records. Before that, Sam signed to another famous label, Chess Records.
1971 proved to be an important year for Sam Dees. He signed to Chess Records, releasing two singles, the Larry Weiss penned Maryanna and Can You Be A One Man Woman. Despite the quality of music, Sam wasn’t making that important commercial breakthrough. At least other artists were covering his songs.
Rozetta Johnson covered A Woman’s Way. It was the B-Side to her single Mine Was Real. Sam wrote both songs with his wife Lillian Dees. He co-produced the songs with Clinton Moon. Released on Clintone Records, it reached number ninety-four in the US Billboard 100 and thirty-nine in the US R&B Charts. This was the first hit single Sam had written. Despite this, Sam saw himself as a singer first, and then a songwriter.
Having written and produced his first hit single, Sam hadn’t given up hope of forging a successful career as a songwriter. After leaving Chess, Sam signed to Clintone Records as a solo artist in 1972.
By then, Sam was no stranger to Clintone Records. Using the alias Black Haze Express, he had released Won’t Nobody Listen as a single in 1971. A year later, Sam’s solo career began at Clintone Records.
Just like his time time at SSS International, Lo Lo Records and Chess Records, Sam Dees wasn’t exactly prolific at Clintone Records. Far from it. He only released one single on Clintone Records. This was Claim Jumping Man, which was released in 1972.
Claim Jumping Man is one of the nineteen tracks on the Kent Soul compilation, It’s Over-70s Songwriter Demos and Masters. It’s one of Sam’s finest hours. Penned by Sam and Bill Brandon, Claim Jumping Man is an outpouring of anger, frustration and emotion from Sam, as he delivers what’s akin to a vocal powerhouse. On the flip side, was I’m So Very Glad, which was wrongly credited to Phase IV. However, I’m So Very Glad enjoyed its moment in the sun three years later, when it featured on Sam’s classic album The Show Must Go On. So would two other tracks on The Show Must Go On, What’s It Gonna Be and So Tied Up.
The versions of What’s It Gonna Be and So Tied Up on It’s Over-70s Songwriter Demos and Masters are alternate versions. They’re quite different from the versions on The Show Must Go On. What’s It Gonna Be is shorter, and doesn’t have such a heavily orchestrated arrangement. However, it’s a heartachingly beautiful track, one that features a heartfelt, pleading vocal. Sam then drops the tempo on So Tied Up.
So Tied Up is Sam Dees at his best. It’s a tender ballad, where lush strings and backing vocal accompany Sam’s soul baring vocal. These backing vocals don’t feature on the version on The Show Goes On. However, they feature more heavily on the Atlantic single. This alternate version of what’s beautiful, heartfelt, ballad, shows another side to what’s one of the best tracks on Sam’s debut album. There’s more to It’s Over-70s Songwriter Demos and Masters than just two tracks.
This includes dance floor friendly tracks. It’s Over-70s Songwriter Demos and Masters is a proto disco track, where Sam delivers a gravely vamp. Total Love is a hook laden dancer, that could’ve filled dance floors forty years ago. So could A Case Of The Boogie, where Sam Dees does disco. After this, the tempo drops again.
The mid paced Today Is A New Day is best described as a slice of musical sunshine. Sam delivers the lead vocal, while what sounds like Fredrick Knight adds whispery backing vocals. This whets your appetite for Sam Dees doing what he does best, delivering ballads.
I Know Where You’re Coming From is one of thirteen unreleased tracks on It’s Over-70s Songwriter Demos and Masters. Originally, it was released as a single by Loleatta Holloway in 1975, on Aware Records. It also featured on Loleatta’s 1975 album Cry To Me. By then, Sam had recorded a version of I Know Where You’re Coming From. Sam takes the track in a very different direction from Loleatta, transforming it into a tender, thoughtful ballad. We’ve Got To Get It Together is another ballad. Keyboards add an element of drama, before Sam tenderly, tells the story of young love. Soon, his vocal grows in power, becoming emotive and needy, during a long lost hidden gem of a ballad.
Anything Is Fair In Love And War is another ballad, that was first released in 2000. Penned by Sam with Jesse Lewis, Sam breathes life, meaning and emotion into the lyrics, against an understated arrangement. This reinforces that when it comes to ballads, Sam Dees is one of the best. That’s obvious on Married, But I’m Still In Love With You, which was originally released in 2014, on the Kent LP Take One. Here, Sam’s trapped in a loveless marriage, unleashes a needy vocal. It’s akin to a heartfelt, confessional, where Sam sounds as if he’s lived the lyrics. You think the ballads can’t get any better. However, they do.
Slow and sultry describes Someone To Run To. Gimme A Little Action is similar to Someone To Run To. However, sultry becomes sensual as Sam delivers a needy, hopeful vocal. This isn’t the end of the ballads. Touch Me With Your Love features a lovestruck Sam, he delivers a needy, pleading vocal on a track that’s bristling with sexual energy. Not for the first time, do you think things can’t get any better. They do. It’s Over-70s Songwriter Demos and Masters, Nobody Wins, which closes It’s Over is an outpouring of emotion. Without doubt, one of Sam’s finest ballads, and leaves you wondering why Sam Dees wasn’t one of soul’s superstars?
That looked like being the case. Later in 1973, after his brief spell at Clintone Records, Sam Dees signed to Atlantic Records.
Later in in 1973, Sam release two singles for Atlantic, So Tied Up and I’m So Very Glad. Despite their undoubted quality, they weren’t the commercial success they deserved to be. At least a song Sam cowrote proved much more successful.
Stop This Merry-Go-Round was was a song Sam, Albert Gardner and Clinton Moon had written. Originally, Bill Brandon took the song to number thirty-three in the US R&B Charts. Now, John Edwards a future Detroit Spinner would record the track. His Johnny Taylor styled cover was released on Aware in 1973, reaching number forty-five in the US R&B Charts. Again, Sam was enjoying more success writing songs than singing them. He wasn’t for turning his back on his solo career,
Sam returned to his solo career in 1974. He released two singles, Worn Out Broken Heart and Come Back Strong. Neither were a commercial success, but Come Back Strong proved to be prophetic.
With the last couple of years proving unsuccessful for Sam Dees, 1975 was a big year for him. Sam was about to release his debut album The Show Must Go On. It featured ten tracks. Four were penned by Sam, including The Show Must Go On, Come Back Strong, What’s It Gonna Be and Good Guys. Sam cowrote Claim Jumpin’ and So Tied Up with William Brandon. He also cowrote Just Out Of Reach with James Lewis and Worn Out Broken Heart with Sandra Drayton. Child Of The Streets was a collaboration between Sam and David Cammon. The pair cowrote Troubled Child with Al Gardner. These ten tracks became The Show Must Go On, and were recorded at two studios in Birmingham, Alabama.
To record his debut album The Show Must Go On, Sam headed to home to Birmingham, Alabama. He recorded The Show Must Go On at two studios, New London Studios and Sound Of Birmingham. For the recording sessions, Sam drafted in a small, tight band. The rhythm section featured drummer Sherman “Fats” Carson. bassist David Camon and guitarist Glen Woods. Arrangers included Randy Richards, Ronnie Harris, Skip Lane and Sam. Aaron Varnell arranged the horns on Claim Jumpin.’ Sam played piano and produced The Show Must Go On, which was released in 1975.
Sadly, when The Show Must Go On was released, musical tastes had changed. Disco was now King. Soul albums weren’t selling well. The Show Must Go On wasn’t a commercial success. Neither were the singles The Show Must Go On, nor Fragile, Handle With Care. For Sam, this must have been a huge disappointment. Here he was signed to one of soul’s most prestigious labels, but at the wrong time. Belatedly, however, The Show Must Go On has come to be regarded as a Southern Soul classic, and was the last time we heard from Sam until 1989.
After a gap of fourteen years, Sam returned in 1989 with Secret Admirer which was released on his own label, Pen Pad Records. Another nine years passed, before Sam released 1998s Lovers Do. Since then, nothing has been hear of Sam Dees. As a result, it looks as if Sam Dees will the commercial success and critical acclaim he deserved.
This wasn’t down to a lack of talent. Far from it. Sam Dees is, without doubt, one of the most talented soul singers of his generation. Sadly, commercial success and critical acclaim eluded him. That’s why nowadays, Sam Dees is better known as a songwriter.
Realising he was never going to become one of soul’s superstars, Sam Dees decided to concentrate on writing songs. He’s enjoyed a long and successful career, writing songs for the great and good of soul music. That’s why nowadays, Sam Dees is described as: “a prolific songwriter and occasional performer.” However, back when Sam was signed to Clintone Records, he still had dreams of enjoying a career as a successful singer.
No wonder. Throughout It’s Over-70s Songwriter Demos and Masters, the nineteen songs literally ooze quality. It’s a case of all killer, no filler. Love songs sit comfortably side-by-side with dance tracks and songs full of social comment. Back in the early seventies, it Southern Soul had found its conscience. However, Sam Dees is at his best writing love songs.
That’s where Sam shines, especially on ballads. He breathes life, meaning and emotion into ballads like I Know Where You’re Coming From, Anything Is Fair In Love And War, Married, But I’m Still In Love With You, Someone To Run To, Gimme A Little Action and It’s Over-70s Songwriter Demos and Masters, Nobody Wins feature Sam Dees at his very best. During these tracks, the betrayal, hurt and loneliness come to life. So do the hope and joy. Sam sings the lyrics as if he’s lived, loved and survived the lyrics. Other times, he sounds as if he’s experienced the hope and joy that love brings. This makes the music on It’s Over-70s Songwriter Demos and Masters sound very personal. It also makes the music on It’s Over-70s Songwriter Demos and Masters absolutely captivating. That’s why, Sam Dees is, without doubt, one of soul music’s best kept secrets.
Sam Dees could’ve and should’ve been one of the biggest names in music. You’ll realise why, when you hear It’s Over-70s Songwriter Demos and Masters, which was recently released by Kent Soul, an imprint of Ace Records. It’s Over-70s Songwriter Demos and Masters is a welcome addition to Sam Dees’ discography, and is a tantalising taste of a man who, nowadays, is described as: “a prolific songwriter and occasional performer.” However, a better of description of Sam Dees is a man who could’ve and should’ve been King of seventies soul.
SAM DEES-IT’S OVER-70s SONGWRITER DEMOS AND MASTERS.
CERRONE-LOVE IN C MINOR.
CERRONE-LOVE IN C MINOR.
Recently, I wrote about Cerrone’s second album Cerrone’s Paradise, released in 1977. The album that inadvertently started Marc Cerrone’s solo career was Love In C Minor, released the year before, in 1976. After this, Marc Cerrone would go on to become one of the biggest selling artists of the disco era, selling over thirty million albums worldwide. This made Marc Cerrone one of the most successful European disco artists. Apart from being a hugely successful artist, Marc is an innovator. He realized the importance of the kick drum in modern dance music, and is credited with positioning the kick drum at the front of the mix. However, when Mark Cerrone recorded his debut album Love In C Minor, which was recently rereleased by Because Records, he never envisaged a long and successful solo career. Instead, this was Marc bowing out from music, but determined to do so with a bang, rather than a whimper.
Having left his previous group Kongas after the group decided to change direction musically, the now twenty-three old Marc Cerrone found himself married with a young family. Now was the time to heed the advice of his father, and get himself a “regular” job. Using a portion of his royalties from the sales of the Konga’s music, Marc bought a record shop Import Music. However, rather than settle for family life and working in his record shop, he wanted one last hurrah musically. This he said was farewell to music from Marc Cerrone. So, to make sure this was a memorable musical farewell, Marc enlisted the help of Alec R. Constandinos, a writer and producer. Together, the pair would ensure that Marc farewell was a Magnus Opus, fitting his premature farewell to music.
Marc had an idea for his farewell, an album that was a sensuous symphony of delicious disco music. Grandiose and lavish this album would be, tinged with funk and spread over two sides of the album. Initially, Alex was unsure, but quickly came round to Marc’s way of thinking. Now convinced in the project’s merits, the pair headed across the channel, destination the Trident Studios in London.
Once Marc and Alex arrived in London, they spent September and October of 1976, recording what would become Love In C Minor. With three tracks written, two by Marc and Alex, who’d also produce the album, they put together a band and backing singers. Joining Marc on the album, would be keyboard player Don Ray, with whom he’d colaborate on Marc’s second album Cerrone’s Paradise and Don’s Garden of Love. Among the other musicians were bassist Mo Foster, percussionist Tony Carr and guitarist Hughie Burns. The backing vocalists were Madeline Bell and Jackie Sullivan who both sang on Cerrone’s Paradise, plus Stephanie De Sykes, Joanne Williams and Jean Hawker. With John Watson’s brass section and the Pat Halling String Ensemble, Love In C Minor was indeed going to a lavish album, worthy of any farewell to the music industry. However, would Love In C Minor prove a successful farewell to music from Marc Cerrone?
Now that Love In C Minor was recorded, Marc tried to get a French record label interested in the album. Regardless of who he approached, no-one was interested. Instead, he decided to have five-thousand copies pressed, and sell them himself. Alex wasn’t convinced, trying to stop Marc from making what he thought was a huge mistake. Sadly, this lack of belief in Marc’s music caused a split in their relationship. Undeterred, Marc had the record pressed, with five-thousand copies of Love In C Minor pressed for his own Malligator Records label. Then fate would intervene when an error was made in shipping an order.
This shipping error resulted in copies of Love In C Minor finding their way across the Atlantic, finding there way to New York. Love In C Minor took the Big Apple’s discos by storm. Atlantic Records realizing the potential of the album, struck a deal to license it through their Cotillion Records subsidiary. Before Love In C Minor was released in America, Love In C Minor (Part 1) was released as a single reaching number thirty-six in the US Bilboard 100, while reaching number twenty-nine in the US R&B Charts. Meanwhile, the single reached number twenty-six in the UK. On the release of Love In C Minor, the album reached number 153 in the US Billboard 200, number fifty-five in the US R&B Charts and number two in the Disco Charts. Quickly, Love In C Minor had become a hugely popular album, resulting in Atlantic desperately trying to persuade Marc to tour the US to promote the album and tour. Marc was insistent that he’d finish his second album, which would become Cerrone’s Paradise. It seemed that Marc Cerrone’s farewell to music would’ve to be put on hold, after the success of Love In C Minor which I’ll now tell you about.
Opening Love In C Minor is Love In C Minor (Part 1) which was released as a single, a track that lead to the term Euro Disco being coined. It’s a sprawling, sensuous sixteen minute Magnus Opus, that took up one side of Love In C Minor. As the track opens, there’s badinage and double entendres from Marc’s backing vocalists, before pounding drums, lush cascading strings, percussion and the rhythm section combine with flourishes of keyboards. The tempo is 126 beats per minute, perfect for a disco track. While the strings swirl and sweep, horns rasp as the rhythm section drive the track along. By now, the sound is a combination of a dramatic arrangement and sensuality from the backing vocalists. They in turn change from sweet and innocent backing vocalists, before being are transformed into a hedonistic, sensuous and ultimately orgiastic chorus. Later, the funk influence makes its presence felt, when the rhythm section and percussion combine to create a pulsating, dramatic backdrop complete with wah-wah guitars. A musical contrast in provided by the lush strings, sultry sax solo and punchy keyboards from Marc. Subtle backing vocalists reenter, very different from their earlier erotic sound. By the end of the track, you realize not just how innovative a track this was, but how inluential it was, helping launch Euro Disco. Truly, this was a moment of genius from Marc Cerrone, a brave musical visionary of the disco era.
Black Is Black is the only track on Love In C Minor not written by Marc and Alex. Instead it co-written by Michelle Grainger, Steve Wadey and Tony Hayes. Here, the tempo increases, reaching 132 beats per minute. There’s more of a Euro Disco sound, when the track opens, with keyboards giving way to chiming guitars, rhythm section and lush strings. Listen carefully, and there’s even a hustle sound to the arrangement. Beautiful, understated, breathless backing vocalists enter, combining well with the swirling strings. Meanwhile the keyboards and pounding drums sit well together, helping give the track its Euro Disco sound. Adding an uplifting, joyful sound to the track are the cascading strings, blazing horns and backing vocalists. Combine this with some catchy lyrics sung by the backing vocalists, and classic American disco given a European twist by Marc Cerrone, and you’ve the recipe for a timeless sounding track, that over thirty years later still has a contemporary sound.
Closing Love In C Minor is Midnite Lady, the fastest of the trio of tracks on the album. Hissing hi-hats open the track, before the track takes on a moody, thoughtful sound. Accompanying Marc’s breathless, sensual vocal, is an arrangement that promises drama. This is signaled by the relentless, pounding beats, keyboards and percussion. They sprinkle funk throughout the arrangement, especially when the rhythm section and percussion combine, before being joined by blazing horns. Then when the lushest of strings and backing vocalists enter, there’s still a funky sound, which combines with the Euro Disco sound. Later, the track takes on a pulsating, dramatic sound, thanks to the drums, while strings and backing vocalists provide a contrast. It’s almost impossible not to get caught up in the track’s irresistible sound. Quickly, you’re drawn in and just as quickly, swept away by this Midnite Lady.
Listening to Love In C Minor you only begin to realize just how innovative and influential this album was. Marc Cerrone was brave, releasing an album that was unlike anything before. In doing so, he helped invent a new genre of music Euro Disco. The three tracks on Love In C Minor have a timeless quality like all good music. Unlike many similar albums, Love In C Minor’s release, the album retains a contemporary sound. Given that it’s now thirty-six years since Love In C Minor’s release, this is quite remarkable. It seems ironic that this was meant to be Marc Cerrone bowing out of music and bidding the music industry farewell. If it hadn’t been for a shipping error, then Marc Cerrone may have ended up behind the corner in his record shop Import Music. Thankfully, fate intervened, resulting in the start of a long and successful career, and over twenty further albums. However, the album that started his career was Love In C Minor, which was recently rereleased by Because Records.
Rather than released Love In C Minor separately on vinyl and CD, Because Records packaged both together. This is extremely good value for money. It’s the equivalent of buying the vinyl version, and getting the CD free. What’s more, Because Records have given Love In C Minor a much needed remaster. This has resulted in a far superior sound quality, than previous reissues. For disco lovers looking to either discover or rediscover the delights on Marc Cerrone’s innovative and influential debut album Love In C Minor, then Because Music’s recent reissue is the perfect opportunity to do so.
CERRONE-LOVE IN C MINOR.
ERIC CLAPTON-461 OCEAN BOULEVARD.
ERIC CLAPTON-461 OCEAN BOULEVARD.
By 1974, Eric Clapton had established a reputation as a survivor. He had managed to overcome heroin and alcohol addiction. His life had spiralled out of control after releasing his debut solo album, Eric Clapton in August 1970. It reached number seventeen in Britain and number thirteen in the US Billboard 200. To onlookers, it looked as if Eric Clapton was going to enjoy the commercial success he enjoyed with Cream, Blind Faith and Derek and The Dominoes. Surely, a glittering career was about to unfold? Things however, didn’t work out like that.
Nearly four years would pass before Eric Clapton released another album. Very little was heard of Eric Clapton during that period. He made brief appearances at the Concert For Bangladesh in August 1971. By then, Eric Clapton was deep in the throes of heroin and alcohol addiction. He was also infatuated with Pattie Boyd, who was then married to his friend George Harrison. However, despite Eric all but turning his back on music, George Harrison managed to convince Eric to play at the Concert For Bangladesh.
Eric’s appearance at the Concert For Bangladesh didn’t quite go to plan, when he passed out on-stage. After being revived, he managed to continue his performance. That was the last time Eric Clapton played live for nearly two years.
It wasn’t until January 1973 that Eric Clapton made a comeback. During that period, Eric struggled with his drug addiction. Things got so bad, that Eric even sold some of his treasured guitars. Then came the comeback, organised by Pete Townsend, The Who’s guitarist, organised the Rainbow Concert at London’s Rainbow Theatre. The Rainbow Concert was meant to help Eric beat his addiction to drugs and alcohol.
A year later, and Eric Clapton was no longer addicted to heroin. He had a new partner, Pattie Boyd, formerly the wife of George Harrison. The only downside was Eric started drinking heavily. However, for the first time for four years, Eric Clapton released an album, 461 Ocean Boulevard.
Having overcome his addiction to heroin, Eric was given a demo tape by his old friend, Carl Radde, who had been the bassist in Derek and The Dominoes. On the tape, were a set of songs played by Carl Radle, keyboardist Dick Sims and drummer Jamie Oldaker. They would form be the genesis for 461 Ocean Boulevard.
Now that Eric had decided to make a comeback, his manager Robert Stigwood decided to bring in producer Tom Dowd. Studio time was then booked at Criteria Sound Studios, Miami. At last, the man many music lovers called God,was ready tp return to the studios.
For 461 Ocean Boulevard, Eric recorded ten tracks at Criteria Sound Studios, Miami. Of the ten tracks that became 461 Ocean Boulevard, seven were cover versions. This included Bob Marley’s I Shot The Sheriff, and unsurprisingly, given Eric’s love of blues music, covers of Robert Johnson’s Steady Rollin’ Man and Elmore James’ I Can’t Hold Out. Other covers included Johnny Otis’ Willie and The Hand Jive, Charles Scott Boyer’s Please Be With Me and George Terry’s Mainline Florida. Eric wrote Give Me Strength, Let It Grow and cowrote Get Ready with Yvonne Elliman. The other track on 461 Ocean Boulevard was Motherless Child. It was rearranged by Eric and Carl Radle. These ten tracks would become 461 Ocean Boulevard.
At Criteria Sound Studios, recording of 461 Ocean Boulevard began in April 1974. The rhythm section included bassist Carl Radle, drummer Jamie Oldaker and George Terrry and Eric on guitar. They were joined by keyboardist Dick Sims and vocalist Yvonne Elliman. Augmenting this tight, talented, band were Al Jackson, Jr. who played drums on Give Me Strength, Albhy Galuten who played synths, piano and clavichord. Marc Levy played harmonica, and with Tom Bernfield, added backing vocals. After two months, the Tom Dowd produced 461 Ocean Boulevard was completed. Two months later, Eric Clapton’s comeback was complete.
On the release of 461 Ocean Boulevard, in July 1974, mostly the reviews were positive. Some reviewers remarked upon 461 Ocean Boulevard’s honesty. Others called the music groundbreaking. However, Eric couldn’t please all the people, all the time. A few reviewers accused Eric of hiding behind his band. They believed Eric’s playing had lost its sparkle. If that was the case, that wasn’t surprising. After all, Eric had been to hell and back during the last four years. However, mostly, 461 Ocean Boulevard won over the hearts and minds of critics and record buyers.
When 461 Ocean Boulevard was released in July 1974, it reached number fifteen in Britain and number twenty-one on the US Billboard 200 charts. This resulted in 461 Ocean Boulevard being certified gold in Britain and America. This however, wasn’t the end of the commercial success.
I Shot The Sheriff was released as the lead single from 461 Ocean Boulevard. It reached number nine in Britain and number one in the US Billboard 100 charts. Then when Willie and The Hand Jive was released as a single, it reached number twenty-six in the US Billboard 100 charts. Eric Clapton’s comeback was complete. 461 Ocean Boulevard marked the return of the comeback King, Eric Clapton.
Opening 461 Ocean Boulevard is Motherless Child, a blues standard, first recorded by Blind Lemon Jefferson in 1927. The song is autobiographical, as Blind Lemon Jefferson’s mother died when he was young. Here, Eric and Carl Radle arranged Motherless Child. Blistering guitars are unleashed, as music lovers get a taste of what they’ve been missing for four years. Soon, the rhythm section of Jamie Oldaker’s drums and Carl’s bass power the arrangement along. They’re joined by washes of Hammond organ and scorching guitars that accompany Eric’s vocal. It’s tender and thoughtful. Eric eschews power, and in doing so, brings meaning to the lyrics. Then when Eric’s drops out, he and the rest of his band join forces. Before long, they’re in full flight. It’s a joy to behold. When Eric’s vocal returns, it’s as if he’s been reenergised. He seems to be feeding off the rest of the band, in an attempt to reach the heights he’s previously scaled. In doing so, it’s obvious Eric’s comeback is well underway.
Give Me Strength is one of two tracks Eric wrote himself. A slide guitar, slow hypnotic drums and a Hammond organ set the scene for Eric’s vocal on what’s a very personal track. Recovering from heroin addiction, Eric is in a fragile state. The slightest thing could set him back. Almost pleading, he sings “Give Me Strength to carry on.” As he delivers these lyrics, the track takes on an almost spiritual quality and you empathise with Eric’s plight.
The Johnny Otis’ penned Willie And The Hand Jive, might seem a strange choice for Eric to cover. However, Eric was always a fan of blues and R&B. Johnny Otis’ name was synonymous with blues and R&B. Here, Willie And The Hand Jive is transformed, and becomes a slow, laid-back track. Guitars chime, before the bass rhythm section and washes of guitar combine with Eric’s vocal. Soon, he’s ensuring the song swings. Carl Radle’s bass and Dick Sim’s Hammond organ play important parts, as this oft covered track is given a makeover.
Get Ready was written by Eric with Yvonne Elliman, who also shares the lead vocal. Shakers set the scene for the rhythm section, a chugging Hammond organ and searing guitars. They provide a dramatic backdrop for Eric’s vocal. He’s had his heartbroken, and has his mind set on revenge. However, he’s not the only one. When Yvonne’s vocal enters, it’s far from a case of mea culpa. No. She’s also looking for revenge. Anger and frustration fill her vocal. later, when Eric and Yvonne deliver the lyrics, against a stripped down groove, this proves effective. Their hurt, anger and frustration shines through, on tale of love gone wrong. It seems hell hath no fury like a man or woman scorned.
I Shot The Sheriff is very different from previous tracks. It’s a cover of a Bob Marley track. It stays true to the original, with the arrangement taking on a reggae vibe. Eric, accompanied by Yvonne Elliman’s backing vocals delivers what’s akin to a confession. Behind him, a chugging, shuffling, rhythm section, washes of Hammond organ and a piano combine with rocky guitars. They provide the perfect backdrop for Eric’s vocal, where elements of reggae and rock combine. Stylistically, it’s as if he’s determined to stay true to the original. Especially with the addition of backing vocals and Hammond organ. They add the finishing touch to what was, the most successful version of I Shot The Sheriff, which some believe, surpasses the original.
Hesitantly, and slowly, Eric begins his cover of Elmore James’ I Can’t Hold Out. Just guitar licks and hissing hi-hats combine, before the bass and washes of Hammond organ accompany Eric’s needy, hopeful vocal. Despite his vocal being stronger than on previous tracks, there’s an intimacy to Eric’s vocal. I Can’t Hold Out seems made to measure for Eric Clapton. It brings out the best in him, and apart from I Shot The Sheriff, is the best cover on 461 Ocean Boulevard.
Against an understated backdrop, crystalline guitars and backing vocals accompany Eric on Please Be With Me. Again, his vocal is needy, but sometimes, becomes wistful. It’s both effective and beautiful. So, are the singalong backing vocals and the slide guitar Eric plays. They result in a beautiful needy, paean.
Eric delivers a tender vocal and gently, strums his guitar as Let It Grow unfolds. He plays dobro and sing sabout his new partner Pattie Boyd, and their love blossoming. Gradually, the drama and emotion builds. Singalong harmonies, the rhythm section, chiming guitars and washes of Hammond organ accompany Eric as he delivers what can only be described as a soul baring vocal.
For a blues lover like Eric Clapton, covering a track by Robert Johnson was a must. The problem was, which one? For 461 Ocean Boulevard, Eric chose Steady Rollin’ Man. Straight away, Eric is reborn. It’s as if he’s determined to pay a fitting homage to a blues great. He leads from the front, delivering some glorious bluesy licks. Even his vocal has a swagger. His band pickup on this. They lift their game, seamlessly combining blues and rock, to create one of 461 Ocean Boulevard’s highlights.
Mainline Florida closes 461 Ocean Boulevard. It’s as if Eric and his all-star band are determined to close 461 Ocean Boulevard on a high. Blistering, rocky guitars and a pounding, driving rhythm section join washes of Hammond organ. As the band roar out of the blocks, Eric sings call and response with his backing vocalists. His vocal isn’t as powerful, until later, when he vamps as his band kick out the jams. With gospel tinged harmonies and his band in full stride, this is a joy to behold and proves that Eric Clapton’s comeback was complete.
After four years away, where Eric Clapton had been to hell and back, he made his long awaited comeback with his sophomore album 461 Ocean Boulevard. Expectantly, critics and music lovers awaited the release of 461 Ocean Boulevard in July 1974. The big question was, had four years of constant hard living affected Eric Clapton?
Mostly, critics thought that musically, Eric Clapton was none the worse for what had been a tumultuous four year period of full on hard living. He was still a far better guitar player than most of the pretenders to his crown. Time and practice would see Eric return to where he had once been, before he became addicted to heroin. However, he was still able to unleash some blistering, spellbinding licks on 461 Ocean Boulevard. Apart from few critics, who accused Eric of hiding behind his fellow guitarists, it seemed Eric was still one of the top guitarists. Nor had his vocal prowess been affected.
Eric was still able to breath life and meaning into songs. Other times he could make them swing. Occasionally, he delivered a swaggering vocal. Sometimes, though, Eric’s vocal seemed weak. This however, worked in his favour. It meant you were captivated by his delivery. So, it seemed Eric Clapton had survived four years of addiction to tell the tale.
That proved to be the case. These years of turmoil also inspired Eric to write Give Me Strength, where he lays bare his soul for all to see. Then there was his paean Let It Grow, which seems directed at Eric’s new partner Pattie Boyd. These two tracks were part of what’s now considered a classic album, 461 Ocean Boulevard.
While 461 Ocean Boulevard was the first classic album from Eric Clapton as a solo artist, it wasn’t his last. After 461 Ocean Boulevard, commercial success and critical acclaim would accompany Eric Clapton for the next thirty years. Just about everything Eric Clapton released, turned to silver, gold or platinum. Eric Clapton became one of the most successful solo artists. Musically, it seemed he could do no wrong. However, things might have been very different if Eric Clapton hadn’t managed to get himself clean.
If Eric Clapton remained in the throes of heroin and alcohol addiction, the commercial success and critical acclaim he enjoyed might never have happened. Thankfully, it did. However, the album that relaunched Eric Clapton’s career, was his 1974 sophomore album, 461 Ocean Boulevard, where the man they once called God becomes the comeback King.
ERIC CLAPTON-461 OCEAN BOULEVARD.
TIM BUCKLEY-LORCA.
TIM BUCKLEY-LORCA.
2015 marks the fortieth anniversary of the death of one of the most talented, and innovative, vocalists of his generation, Tim Buckley. He died on June 29th 1975, aged just twenty-nine. That day, music lost a true visionary. Tim Buckley was, and always will be remembered as a musical chameleon, who believed his raison d’être was to constantly reinvent his music.
That’s why, the nine studio albums Tim released between 1966s Tim Buckley, and his 1974 swan-song, Look At The Fool, saw Tim Buckley constantly change direction. Over eight years and nine albums, Tim Buckley flitted between jazz, funk, psychedelia and avant-garde. Then on his three final albums, Tim even toyed with sex funk on 1972s Greetings from L.A., 1973s Sefronia and 1974s Look at the Fool. However, this alienated some of his fans and resulted in Tim’s music being banned by radio stations. This was just the latest in many twists and turns in the career of Tim Buckley.
Earlier in his career, during 1969, Tim decided to write and record trio of albums simultaneously. The first in this trio of albums was Blue Afternoon, released in November 1969. On Blue Afternoon, the first album Tim produced, he takes his folk rock sound as a starting point, and gives it a jazz tinged twist. After Blue Afternoon, came Lorca, released in May 1970.
Lorca, was without doubt, one of Tim’s most ambitious album. It was one of two avant-garde albums Tim released. On Lorca, Tim all but banishes his trademark folk rock sound, and pushes musical boundaries to their limits, and sometimes, way beyond. That’s what people had come to expect from the twenty-three year old singer songwriter. By 1970, Tim Buckley had packed a lot of living into just twenty-three years.
Tim Buckley was born on 14th February 1947, in Washington DC, and later, moved to Amsterdam, New York. His first exposure to music was listening to his mother’s progressive jazz records. Throughout his childhood, he was introduced to a wide range of music, from the blues of Bessie Smith and Billie Holiday, to the jazz sounds of Miles Davis, and the country music of Hank Williams and Johhny Cash.
At high school, he sang he was inspired by the Kingston Trio and formed a group influenced by their music. Towards the end of his school career, he started missing classes to focus more of his attention on music. He was fortunate that he would meet Larry Beckett who was later, to write lyrics for Tim, and Jim Fielder who played bass in two of the groups he joined. These two groups were The Bohemians, who played popular music, and The Harlequin 3 who were a folk group.
Another fortunate meeting for Tim Buckley occurred in 1965, when he met Mary Guibert, a year younger than Buckley. Guibert became pregnant not long after, and they married in October 1965, giving birth to Jeff Buckley, who later became a talented singer songwriter. Mary Guibert would inspire much of Tim Buckley’s music. The marriage allowed Tim Buckley to spend time away from home, where his father a much decorated, US Army veteran, had became unstable, and sometimes violent. The marriage was turbulent, and Buckley soon moved into his own apartment, and soon after he realised he could not cope with married life, and the couple saw each other only occasionally thereafter. They divorced a year later in 1966, a month prior to Mary gave birth to Jeff.
After Tim left high school in 1965, he headed to college. However, college and music were too much for Tim to cope with, and he left college after two weeks to concentrate on his musical career. He spent time playing the folk clubs in LA during 1965, and then played a number of coffee houses in Orange County. In February 1966, Tim Buckley’s big break came.
He had played a concert at a club in LA called It’s Boss, when he was spotted by Jimmy Carl Black, the drummer in The Mother’s of Invention. He recommended Tim Buckley to Herb Cohen the manager of The Mother’s of Invention. Herb Cohen liked what he saw, and arranged for Buckley to play a concert at the Nite Owl, in Greenwich Village, New York. It was while Tim Buckley was there, that he met guitarist, Lee Underwood, who went on to be Buckley’s guitarist, playing on his albums. At the same time, Herb Cohen became Buckley’s manager, and arranged for him to record a demo with six tracks on it. This demo was sent to Jac Holzman at Elektra Records. Cohen liked what he heard, and after seeing Tim Buckley live, he signed him to Elektra.
Tim Buckley.
Tim’s debut album was Tim Buckley, which Tim and Larry Beckett wrote whilst at high school. It was recorded during August 1966, at Sunset Sound, Los Angeles. Producing Tim Buckley were Jac Holzman, Paul A. Rothchild. Along with a small band of top session musicians, which included pianist Van Dyke Parks, the twelve tracks that became Tim Buckley were recorded. Tim Buckley was released later in 1966.
On its release in October 1966, Tim Buckley was well received by critics. They forecasted a bright future for Tim Buckley. The nineteen year old singer-songwriter looked like he was going places.
Goodbye and Hello.
Less than a year later, Tim Buckley returned with his sophomore album Goodbye and Hello. This would be the final album to feature lyrics penned by Larry Beckett. This was the end of an era in the Tim Buckley story. Producing Jac Holzman
Recording of Goodbye and Hello took place in in June 1967, in Los Angeles. Some of the same musicians who played on Tim Buckley returned. They played their part in what’s one of Tim Buckley’s finest albums, Goodbye and Hello.
Goodbye and Hello was released in August 1967, just two months after the recording sessions were completed. Released to critical acclaim, Goodbye and Hello is today, is regarded as one of Tim’s finest albums. After Goodbye and Hello, it was nearly two years before Tim released another album.
Happy Sad.
When Tim Buckley returned with Happy Sad in July 1969, this proved to be the start of Tim Buckley’s experimental period. There’s a departure from the binary form of Tim’s first two albums. The songs on Happy Sad were longer, jazz tinged and marked the debut of the vibraphone, which gave the tracks a much more laid back sound. However, the main difference was the way Tim used his vocal.
On Happy Sad, Tim transformed the way he used his voice. Just like Leon Thomas, Tim Buckley’s voice became another instrument. Combined with his wide vocal range, this would prove hugely effective throughout the remainder of Tim’s career.
Happy Sad was the first album where Tim Buckley wrote all of the tracks. Having stepped out of Larry Beckett’s shadow, Tim proved to be a talented songwriter, often, drawing upon personal experience for inspiration. This proves effective. One of the most personal songs was Dream Letter. It’s akin to an apology to his former wife, Mary Guibert, and their song Jeff Buckley. Strange Feelin’ was inspired by Tim new-found appreciation of Miles Davis. All Blues, a track from Miles Davis’ classic album, Kind Of Blue, inspired Strange Feelin’. These two tracks, plus the rest of Happy Sad, were recorded during December 1968 at Elektra Sound Recorders, Los Angeles.
Eight months later, Happy Sad was released in July 1969. This was the start of what was, without doubt, the most prolific period of Tim’s career. Happy Sad was released to the same critical acclaim as his two previous albums. The only difference was Happy Sad sold in greater numbers, reaching number eighty-one in the US Billboard 200. Many thought Tim Buckley was about to become Elektra’s latest rising star.
Blue Afternoon.
After the commercial success and critical acclaim, many critics thought that having found the winning formula, Tim would stick with it. That wasn’t to be. Tim was a musical chameleon, who constantly, changed direction. He seemed to enjoy reinventing his music. That’s what he did on Blue Afternoon.
As a starting point for Blue Afternoon, Tim Buckley took his trademark folk rock sound. However, he took this in the direction of jazz. Coupled with his newly discovered vocal dexterity, that he showcased on Happy Sad, Blue Afternoon was the start of an experimental period in Tim Buckley’s career.
The eight songs on Blue Afternoon were a mixture of new songs, and some songs that Tim intended to record on his three previous albums. These eight tracks, plus the five tracks on Lorca, Tim’s fifth album, and part of Starsailor were recorded at Whitney Studios, Glendale, during a four week spell in 1969.
By then, the lineup of Tim’s band was fairly settled. All he needed was a drummer for the recording of Blue Afternoon. Luckily, Jimmy Madison was able to fill the void. He played his part in what was the beginning of another chapter in the Tim Buckley story.
Having recorded Blue Afternoon, Elektra released the album in November 1969. Despite the change in style on Blue Afternoon, it was well received by critics. They admired Tim constant striving to reinvent his music. After all, too many artists remained within their comfort zone. Not Tim Buckley.
Lorca.
Although Lorca was recorded at the same time as Blue Afternoon, it’s a very different album. Lorca is best described as an album of avant-garde music. Tim turned his back on traditional musical structures. Gone was the binary form of his previous albums. It seemed the verse, chorus, verse, style was no longer for Tim. Replacing it, was a fusion of free jazz, folk, experimental, avant-garde style. Even Tim’s songwriting style change. His lyrics became more abstract and descriptive. This isn’t surprising. At the time, Tim was heavily influenced by poet Federico García Lorca. So much so, that Tim paid homage to the poet in the album title. However, this change of style didn’t please some of Tim’s closest allies.
Larry Beckett, Tim’s former songwriting partner, saw Lorca as Tim trying to alienate his fan-base. Lorca, he believed, was Tim trying to sabotage his burgeoning career. Lee Underwood, Tim’s guitarist, was, however, another disciple of Federico García Lorca. He welcomed the Tim’s change of style. However, critics and record buyers had the casting vote.
On its release in May 1970, critics hailed Lorca as an ambitious and innovative album. They realised that Lorca was very different from Blue Afternoon, but had come to expect each new Tim Buckley album to be very different from what’s gone before. When Lorca was released, it wasn’t as successful as previous Tim Buckley albums. It seemed that many record buyers didn’t understand Lorca, Tim’s fifth album. Since then, Lorca is an album that’s been overshadowed by some of Tim Buckley’s better known albums. That’s a great shame, as Lorca is a captivating, album from a musical chameleon.
Opening Lorca, is the title-track, Lorca. It’s a nine minute, genre defying epic. A myriad of beeps, shimmering strings and an urgently strummed guitar combine. They create a free jazz arrangement. Soon, a rocky guitar, Tim’s scatted, vampish vocal and swathes of strings unite. A dark, mesmeric guitar and keyboards join in. By then, Tim’s vocal veers between heartfelt and dramatic. Elements of folk, free jazz, classical and rock melt into one. When Tim’s vocal drops out, neo classical strings and Doors’ inspired keyboards play leading roles. They then become yin to Tim’s yang, playing their part in a track that’s variously melodic, mesmeric, dramatic and soul-baring.
Just like Lorca, Anonymous Proposition is another lengthy track, clocking in at nearly eight minutes. It’s very different though.Against an understated, jazz-tinged backdrop of standup bass and jazz guitar, Tim delivers a slow, deliberate and emotive backdrop. His delivery is impassioned, full of sadness and regret. He highlights words and phrases, lengthening them, as if desperate to draw your attention to them. The result is a beautiful, moving song, that’s akin to an outpouring of emotion.
As I Had A Talk With My Woman unfolds, Byrdsian guitars, and keyboards combine. They provide an understated backdrop for Tim’s heartfelt vocal. He combines power, clarity and emotion. Gone is the vocal gyrations of Lorca, where his vocal was transformed into an instrument. Here, Tim returns to his “old” style, that featured on his first three albums. In doing so, you’re able to concentrate more on the lyrics. They’re personal, and tell of Tim’s troubled relationship. As the song unfolds, toys with the lyrics. It’s as if he’s still coming to terms with the breakup of his relationship. Later, he resists the scatted, vampish style of Lorca. He does however, accentuate words or phrases. So does Lee Underwood’s guitar, as another beautiful, soul searching ballad concludes.
Hesitantly, chiming guitars play, before Tim’s vocal enters and Driftin’ slowly, shows its secrets. Tim’s vocal is tinged with sadness and regret. “I’ve been Driftin’ in bad dreams.” Memories come flooding back, as he realises what he’s lost. Meanwhile, a suitably understated arrangement provides the perfect backdrop. Just guitars, bass and congas accompany Tim’s vocal. It veers between needy and hopeful, as quivering,and soaring emotively and hopefully above the understated backdrop. Later, as Tim scats, his vocal becomes an outpouring of hurt, that’s akin to a confessional.
Closing Lorca is Nobody Walkin.’ Urgently, Tim’s guitar and congas drive the arrangement along. They’re joined by a bass and keyboards. Meanwhile, Tim is hollering and scatting. Soon, it’s all change, and Tim delivers a vocal that’s a mixture of power and emotion, where memories come flooding back. This time, Tim transforms his vocal into another instrument. Highlight words, phrases or even parts of words, this effectively changes their meaning. Behind him, his band play with a sense of urgency. This spurs Tim on. He unleashes his wide vocal range, combining elements of blues, folk, jazz and rock. What follows, is one of Tim’s most potent vocals. It helps lift the song to the next level, resulting in Lorca ending on a dramatic, emotive high.
On Lorca, the chameleon-like Tim Buckley began the next chapter in his career. For the past four years, Tim Buckley had constantly reinvented himself, changing his sound and style. He flitted between folk, jazz, funk and soul. Now, on Lorca, Tim Buckley’s music headed in the direction of an avant-garde, experimental, folk and free jazz. This was quite unlike his four previous albums. However, that was no bad thing.
If after the release of Happy Sad, Tim had stuck to the same formula, he would’ve been castigated by music critics. Standing still, was in the eyes of music critics and record buyers, was the equivalent of going backwards. This was something Tim Buckley could never have been accused of. He was a musical adventurer.
With each album, Tim Buckley’s music evolved. Lorca was Tim’s fifth album in four years. This was the start of the most prolific period of his career. Eleven months later, Starsailor, Tim’s second avant-garde album was released in November 197o. After this, Tim Buckley’s music headed in the direction of sex funk.
From Greetings From L.A., which was released in October 1972, was the first in a trio of sex funk albums from Tim Buckley. Sefronia followed in May 1973. Then nineteen months later, in November 1974, Tim released what would prove to be his final album, Look at the Fool. Just seven months later, on June 29th 1975, Tim Buckley died.
On June 28th 1975, Tim Buckley played what would prove to be his final concert in Dallas, Texas. The day after attending an end of tour party, Tim Buckley died of an heroin overdose.
For some time, Tim had managed to control his drug habit. However, in doing so, Tim’s tolerance level was no longer as high as it had been. So when Tim took a combination of heroin and alcohol at a party, he reacted badly. His friends took him home, where it’s thought Tim took more heroin. At some point, Tim collapsed on the floor. When his wife Judy found him on the floor, she put Tim to bed. Later, when she went to see how Tim was, Judy found Tim blue and unresponsive. Tim Buckley was dead, aged just twenty-nine. He left behind a rich musical legacy.
Although Hello and Goodbye and Happy Sad are regarded as Tim Buckley’s finest albums, an oft overlooked album is Lorca. Many people shy away from Lorca, when they hear it’s an avant-garde album. However, it’s much more than that. Everything from blues, experimental, folk, free jazz and rock shine through on Lorca. That’s why Lorca is a truly captivating album of music that’s veers between understated to dramatic, right through to beautiful, emotive and melodic.
TIM BUCKLEY-LORCA.
CHRISTIAN WALLUMROD-PIANOKAMMER.
CHRISTIAN WALLUMROD-PIANOKAMMER.
Christian Wallumrød’s recording career began nearly twenty years ago, in 1996, when the Christian Wallumrød Trio released their debut album Birch. Released to widespread critical acclaim, Birch launched the career of Christian Wallumrød. Since then, Christian Wallumrød star has been in the ascendancy.
To the onlooker, it seems Christian Wallumrød has done everything in music. He’s worked with the great and good of Norwegian music on a variety of groundbreaking projects, and formed the Christian Wallumrød Trio, who have released five albums. Their last album, Outstairs, released in 2013, won a Spellemannspris, a Norwegian Grammy. However, there’s one thing Christian Wallumrød has still to do, release a solo album.
That will be rectified on 9th February 2015, when Christian Wallumrød releases his debut solo album Pianokammer on Hubro Music. As we’ve come to expect from Christian Wallumrød, Pianokammer features groundbreaking, innovative music. That’s what Christian Wallumrød has been creating since his 1996 debut album Birch.
Following the release of Birch, Christian Wallumrød became one of the rising stars of Norwegian music. Suddenly, he was hot property. His services as a collaborator were in demand.
Christian’s first collaboration was with Elin Rosseland and Johannes Eick on the 1997 album Fra Himmelen. This was just the first of many successful projects Christian has worked with.
After Fra Himmelen, Christian has worked with Norwegian music royalty. Christian was worked with everyone from Arve Henriksen, Jan Bang, Erik Honoré, Sidsel Endresen, Helge Sten and Ingar Zach. However, these collaborations have to fit around Christian’s work with the Christian Wallumrød Trio.
Seven years after the Christian Wallumrød Trio launched Christian’s career, he was back with a new band. His new band was the Christian Wallumrød Ensemble, who since 2003, have released a quintet of critically acclaimed and commercially successful albums.
The Christian Wallumrød Ensemble’s debut album was Sofienberg Variations, released in 2003. Just like the Christian Wallumrød Trio’s debut album, Birch, Sofienberg Variations was released to critical acclaim. Over the next ten years, four further albums followed.
Two years after the release of Sofienberg Variations was released, came A Year From Easter followed in 2005. It further reinforced Christian’s reputation as one of the Norwegian music’s most talented and innovative musicians. So did the Christian Wallumrød Trio’s third album, The Zoo Is Far. Released in 2007, The Zoo Is Far was another album of groundbreaking, genre melting music.
With every release, it seemed, the Christian Wallumrød Trio’s constantly evolving lineup were able to seamlessly combine everything from baroque, folk, gospel, jazz and contemporary music. The result was music that won over critics, cultural commentators and music lovers. That was the case on Fabula Suite Lugano, which was released in 2009. It was released to widespread critical acclaim. Fabula Suite Lugano was hailed as the Christian Wallumrød Trio’s finest albums, and nominated for the 2010 Nordic Council Music Prize. Christian Wallumrød’s star was still in the ascendancy. However, four years later, the Christian Wallumrød Trio released Outstairs, their musical Magnus Opus.
After a four year gap, where Christian bad been busy collaborating with other artists, the Christian Wallumrød Trio returned with their fifth album, Outstairs. Here, was the album the Christian Wallumrød Trio had been working towards. Everything that had gone before, had been leading towards Outstairs. In a sense, Outstairs was ten years in the making. So, it’s no surprise that on its release, critics hailed Outstairs the Christian Wallumrød Trio’s finest hour. Following this critical acclaim, Outstairs won Spellemannspris, a Norwegian Grammy. Christian Wallumrød was now, one of the biggest names in Norwegian music. However, there was one thing he still hadn’t done, release a solo album.
Following the success of Outstairs, now was the time for Christian Wallumrød to release his debut album, Pianokammer, which will be released on Hubro Music on 9th February 2015. Pianokammer, as befits a musical innovator like Christian Wallumrød, is an album full of twists and turns, and subtleties and surprises. That’s why, Pianokammer is without doubt, such a captivating album from Christian Wallumrød.
For Pianokammer, Christian Wallumrød wrote six tracks, which he played himself on three different grand pianos. This included Christian’s personal grand piano. The six tracks were recorded between December 2013 and April 2014. During the recording sessions, Christian experimented with different recording techniques, overdubs, natural resonance and editing. The result is music that veers between dynamic to intriguing, inspiring musical journeys to irresistible, insouciant, melodic tracks. Other times, the music intimate to innovative. Always, Pianokammer is captivating and compelling. You’ll realise that, as I take you on the musical journey that’s Christian Wallumrød’s debut album Pianokammer.
Fahrkunst opens Christian Wallumrød’s debut album, Pianokammer. Straight away, a crackly, analogue sound can be heard. It’s soon overshadowed by a dark, dramatic, ominous waves of sound. They’re akin to tremors of sound. In the distance, as what sounds like rain falls. It’s not, but given the moody, cinematic sound that’s unfolding, you can’t help but paint pictures. Scenes and scenarios unfold as you listen intently. You wonder, is that the sound of birds squawking in the distance? Christian Wallumrød’s avant-garde soundscape is proving captivating. He sculpts the soundscape, taking the edge of it. It’s still moody and broody, but becomes almost futuristic, in what could easily be a post apocalyptic soundscape.
Hoksang is the polar opposite of the previous track. It’s as if a new day has done, and to quote the Chairman of The Board, “spring has sprung.” There’s a sense of hope, as a beautiful, insouciant, melodic track begins to share its secrets and subtleties. Deftly, and sometimes boldly, Christian’s fingers flit across the keyboard, as the arrangement meanders along. Almost seamlessly, the music veers between thoughtful to hopeful, to needy and soul-searching. Sometimes, there’s an element of drama and frustration, in Christian’s playing. By then, he’s playing boldly, almost pounding the piano. It’s as if this is a form of Primal Scream Therapy. This adds an element of drama and emotion. Never though, does this overshadow the track’s ethereal beauty.
An urgent stab of the piano is accompanied by what can only be described as a dark, ominous wash of sound. From the opening bars, it’s obvious Second Fahrkunst is a close relation of Fahrkunst. They’re also both ambitious, innovative soundscapes, where Christian dawns the role of musical sculptor. He uses tape echo, to ensure the soundscape quivers and trembles. Then Christian subtly strums at the strings of the piano. Later, he scrabbles the piano strings, adding another layer to this intriguing, imaginative soundscape.
From the get-go, it’s obvious that Boyd 1970 is dramatic and melodic. It’s a track with its roots in both gospel and jazz. That’s fitting, given Christian’s musical roots are in the church. Unaccompanied, he plays what’s the most orthodox track on Pianokammer so far. Boyd 1970 is an irresistible, joyous, spiritual, that’s sure to gladden and touch the heart of everyone who hears it.
The introduction to School of Ecofisk resonates, taking on a dubby, spacious sounds. Notes hang in the air, leaving a pleasant, pleasing memory. Then all of a sudden, darkness descends. School of Ecofisk heads in a different direction, as Christian toys with the listener. He takes the track in the direction of avant-garde, experimental and free jazz, on what’s without doubt, the most ambitious, innovative track on Pianokammer.
Closing Pianokammer, Christian Wallumrød’s long awaited debut album is Lassome, a near nine-minute epic in two parts. It has a dark, mesmeric and jaunty introduction. Christian finds a groove, and explores it. Having found an in, he heads on a magical musical mystery tour. Elements of blues and jazz shine through, before his fingers fly up and down the keyboard. By then the music veers between dark and dramatic to dreamy, intriguing, irresistible and even hypnotic. Gradually, you’re mesmerised by Lassome’s beauty and hook laden sound. Then after just over five minutes, Christian Wallumrød throws a curveball. A wall of sci-fi sound descends, replacing Lassome’s beauty. It’s as if Christian is being transported to some distant galaxy. As this happens, he tames this wash of sound. Producing a Hendrix-esque performance, Christian tames the tiger, making it part of this epic track, which closes Pianokammer.
That’s the story of Christian Wallumrød’s eagerly awaited debut album, Pianokammer. As Sam Cooke once sang, “it’s been a long time coming.” However, it’s been well worth the nineteen year wait.
Although it’s difficult to believe, it was nineteen years ago, in 1996, when the Christian Wallumrød Trio released their debut album, Birch. Since then, Christian Wallumrød has divided his time between his work with the Christian Wallumrød Ensemble, and collaborations with the great and good of Norwegian music. During this period, critical acclaim, commercial success and plaudits have come Christian Wallumrød’s way. So has the most prestigious award in Norwegian music.
Two years ago, in 2013, when the Christian Wallumrød Trio released their last album, Outstairs, released in 2013, won a Spellemannspris, Norwegian Grammy. This was richly deserved. For three decades, Christian Wallumrød has been one of the most innovative, inventive and influential artists in Norwegian music. However, there was still one thing Christian Wallumrød had to do, release a solo album.
Less than two years later, Christian Wallumrød returned with Pianokammer, his debut solo album. It was as if winning the Spellemannspris, inspired Christian to release his long awaited debut album, Pianokammer. It’s an album that epitomises everything that’s good about Christian Wallumrød’s music.
Pianokammer, which will be released on Hubro Music on 9th February 2015, is what we’ve come to expect from a musical innovator like Christian Wallumrød. It’s an album full of twists and turns, and subtleties and surprises. That’s the case from the opening bars of Fahrkunst, right through the closing notes of Lassome, which closes Pianokammer.
Quite simply, Pianokammer is a spellbinding album, of innovative, groundbreaking and genre defying music. Christian combines ambient, avant-garde, blues, experimental, free jazz and jazz. The result is a captivating collection of six songs, that are variously ambitious, bold, dark, dramatic, ethereal, haunting, hopeful, irresistible, joyous, ominous and uplifting. That’s why, Pianokammer is, without doubt, such an ambitious and captivating album from musical innovator and adventurer, Christian Wallumrød.
CHRISTIAN WALLUMROD-PIANOKAMMER.
JOHN MARTYN-GRACE AND DANGER.
JOHN MARTYN-GRACE AND DANGER.
In November 1977, John Martyn released what’s was undoubtably one the finest albums of his career, One World. It was an atmospheric, experimental and genre-defying album. Everything from folk, jazz, reggae and rock melted together over eight tracks. Released to overwhelming critical acclaim, One World was hailed a classic album. This was the second classic album of John Martyn’s ten year recording career.
The first came four years earlier, in February 1973, when John released Solid Air. Released to widespread critical acclaim, Solid Air critics realised, was without doubt, the finest album of John Martyn’s career. It was also the album that saw the Glasgow born troubadour make a commercial breakthrough. This should’ve been the start of the rise and rise of John Martyn.
For his eighth album, Sunday’s Child which was released in January 1975, John reigned in his experimental sound. However, Sunday’s Child was a much more eclectic album, with John flitting between country, folk and rock. The result was an eclectic and critically acclaimed album. However, controversy wasn’t far away for John.
In 1975 Island Records refused to release Martyn’s live album, Live At Leeds. So, John resorted to selling signed copies by mail from his home. After the release of Live At Leeds in 1977, John headed to Jamaica on holiday.
What started out as a holiday, ended up with John collaborating with reggae producer Lee “Scratch” Perry. One World is seen by some people as the first ever trip hop album. As a resuly, John Martyn is perceived as the father of trip hop and One World a John Martyn classic. After One World, John didn’t release an album for three years. There was a reason for this.
By the end of the seventies, John’s marriage had broken down. This led to John pressing “the self destruct button” as he described it. John became addicted to alcohol and drugs. He later said this was a very dark period in his life. Grace and Danger, which was released in October 1980, was the album that came out of this period, and the start of a turbulent time for John Martyn, both personally and professionally.
Grace and Danger was an autobiographical album, that described what he was going through at that time. John’s marriage had broken down and divorce proceedings were underway. This makes the music on Grace and Danger very personal. It’s akin to a snapshot to the pain, hurt and regret John was experiencing. This shines through on Grace and Danger.
Eight of the nine tracks that became Grace and Danger, were written by John. They describe what he was going through emotionally. The only track not penned by John was Johnny Too Bad, which was written by Slickers. These nine tracks were recorded by a tight, but talented band.
For Grace and Danger, John played guitars and added vocals. His friend Phil Collins, played drums and sung backing vocals. Tommy Eyre played synths and keyboards, while John Giblin played bass. These three musicians and producer Martin Levan were responsible for a soul baring album from John Martyn’s, Grace and Danger.
Once Grace and Danger was completed, John delivered the album to Chris Blackwell at island Records. When Chris Blackwell realised just how personal an album Grace and Danger was, held the album’s release back a year. Partly, this was because of his friendship with both John and Beverley Martyn. However, Chris also felt that Grace and Danger was “too depressing and didn’t want it released.” This angered John Martyn.
When John heard what Chris Blackwell thought of Grace and Danger, he wasn’t happy. He responded to Chris Blackwell saying: “please get it out! I don’t give a damn how sad it makes you feel-it’s what I’m about: direct communication of emotion.’” Eventually, a year later, Grace and Danger was released.
By then, the relationship between John and Island Records was damaged beyond repair. Grace and Danger was released in October 1980. Contrary to Chris Blackwell’s expectations, Grace and Danger was well received by critics. They realised just how personal an album Grace and Danger was, and empathised with what John had gone through. He had just suffered the breakup of a relationship, and was hurting badly. This however, wasn’t the last relationship that broke down during this period.
After the release of Grace and Danger, John’s relationship with Island Records deteriorated. John submitted another album to Island Records, The Apprentice. Island Records rejected The Apprentice. However, John had the last laugh. The Apprentice was eventually released in 1990, it was hailed as John’s comeback album. By then, it was nine years since John Martyn parted company with Island Records.
A year after the release of Grace and Danger, John left Island Records. This was the end of a fourteen year relationship. During this period, John had released eight albums for Island Records. His Island Records’ swan-song, was Grace and Danger, one of his most underrated and personal albums.
Opening Grace and Danger, is Some People Are Crazy. Just a broody bass, shimmering synths and bold keyboards combine with drums and crystalline guitars. They provide the backdrop for John’s vocal. It’s more a confessional that a vocal. There’s an honesty in his vocal. Belatedly, John’s come the conclusion that people either loved or loathed the hell raising John Martyn of the late seventies. He sings “some people are crazy about him, some people can’t stand his face.” He’s even chased the woman he loves away. This hurts. As if in desperation, John delivers the lyric “yes this loving kind of business, might be the best find you ever had.” Whether John believes this, though, is another matter? His parting line in this confessional is“some people are crazy, some people are just like me.”
Searing guitars and the rhythm section drive the rocky arrangement to Grace and Danger along. John’s vocal has a melancholy quality, as he realises what he’s lost. Against a backdrop of chiming, blistering guitars, keyboards and the rhythm section, John’s vocal is akin to an outpouring of pain. Reflecting, he sings: “I never knew the road that carried me along.” It’s obvious he had no idea where it would lead. It lead to him losing the woman he loved. Despite his being broken, he wishes Beverley well. He’s loved, lost and wishes her “sweet grace, no danger.”
Lookin’ On has a jazz tinged arrangement. A bass plays, guitars chime and stabs of keyboards are joined by drums played tenderly. As the drama builds, a tormented John paints a picture. It’s easy to visualise John returning from a night out, to Beverley who quite rightly, is less than happy. John comes “stealing in, with an innocent grin, to leave you staring, at the empty ceiling, feeling nothing, lookin’ on, I’m just lookin’ on.” At that moment, John wonders what’s gone wrong with his marriage? Previously, this type of behaviour would’ve elicited a laugh. Not any more. Things have gone to far. That’s reflected in the urgent jazz tinged arrangement. It accompanies John’s despairing vocal, on this tale of love gone wrong.
While Johnny Too Bad wasn’t written by John, it sums up the situation he finds himself in. Just like John, Johnny Too Bad has a penchant for hard living. “With your running, and shooting,looting and tooting, you’re too bad, cos one of these days, you’re going to make your woman cry,” these lyrics could’ve been written about John. It’s as if he realises this, and delivers a gravelly, vampish vocal. Again, he makes the lyrics sound like a confessional. Accompanying him are the rhythm section and guitars. One of the guitars is played through John’s trusty echoplex. Then later, John dawns the role of guitar hero, unleashing washes of a blistering, crystalline solo. It’s the perfect foil for John as he vamps his way through the rest of what could be an autobiographical song.
Sweet Little Mystery marks a change in direction on Grace and Danger. It’s the first of a series of ballads. Against a backdrop of twinkling keyboards, synths strings and the rhythm section John tenderly delivers a beautiful, heartfelt ballad about a relationship that’s all but over. Accopanied by backing vocals, John lays bare his soul. His vocal is full of sadness, hurt and melancholy as he sings: “it’s not the letters you just don’t write, it’s not the crying in the dead of the night.” Instead, “it’s that sweet little mystery that’s in your heart, it’s just that sweet little mystery that makes me cry.” These lyrics show just how talented a lyricist John was. He wrote about what he’d experienced, including the breakup of his marriage. It was the inspiration for such a beautiful, poignant tale of love lost.
Deliberately, chords are played on the shimmering keyboards as Hurt In Your Heart unfolds. They’re joined by weeping guitars. They reflect the heartbreak in John’s weary vocal. It’s akin to a cathartic outpouring of hurt and regret, regret at the way he behaved, and how it caused his marriage to end. However, although his marriage is over, John hope that “when that hurt in your heart has gone, I’ll still be your friend, right to the end of our river, and further still.”
Baby, Please Come Home is another beautiful, soul baring ballad. Against a backdrop of an understated rhythm section, glistening keyboards and a sometime, scorching guitar, John delivers a needy, hopeful vocal. Full of regret, he wants to make things right, and almost begging and pleading, sings “Baby, Please Come Home.”
Save Some (For Me) sees John change direction. It’s a mid-tempo track with a punchy, spacious introduction. Drums and synths combine, before John’s tender vocal enters. He leaves space between the lyrics. This adds to the urgency of the arrangement. Soon, John, accompanied by backing vocals from Phil Collins, combines power, emotion and urgency. Behind him, sci-fi synths, shimmering keyboards and the rhythm section combine. They play a supporting role in another emotional roller coaster.
Our Love closes closes Grace And Danger, John Martyn’s Island Records’ swan-song. Phil Collins’ drums set the scene for the rhythm section, keyboards and John’s needy, hurt filled vocal. Memories come flooding back, back to a time when their love was young. Things were good, the future looked bright. “Our love, once was you and me against this world, made a man from a boy and made a woman from a little girl.” Not any more. Now I find I have to beg before you call my name, please call my name, please call my name, and baby take a look, take a good look, baby, baby take a look in your heart.” As John delivers these lyrics he wells up, regrets omnipresent at the hurt he caused, and the love he lost.
While Grace and Danger was well received upon its release, it wasn’t the commercial success that John Martyn classics like Solid Air or One World. This had nothing to do with the music. Partly, it was to do with the type of music that was popular in 1980. By then, John Martyn’s music was the polar opposite of the post punk, hip hop, electronica and new romantic music that filled the charts. Then there was the fact that Chris Blackwell didn’t like Grace and Danger.
Chris Blackwell found the music on Grace and Danger “too personal” and “depressing.” As a result, Island Records didn’t seem to cover themselves in glory when it came to promoting Grace and Danger. This was a huge mistake. After all, here was an album that spoke to many people. Grace and Danger was the story of many a failed relationship and marriage. For many, who had loved and lost, Grace and Danger spoke to them. It said everything that they wished they could. Thirty-five years later, that’s still the case.
Many suffering the heartbreak of a marriage breakup, have found solace in Grace and Danger. John speaks for, and too them on Grace and Danger. He’s been where they’ve been, and experienced the hurt, heartbreak and regret. Each song brings back a memory, often, a memory of better times. Especially Our Love, which closes Grace and Danger.
John is at his most eloquent, writing “Our love, once was you and me against this world, made a man from a boy and made a woman from a little girl.” Not any more. “Now I find I have to beg before you call my name, please call my name, please call my name, and baby take a look, take a good look, baby, baby take a look in your heart.” Not only does this prove the perfect way to close Grace and Danger, but sums up succinctly, the thin line between love and hate. That’s one of nine reasons why Grace and Danger is a forgotten classic in John Martyn’s back catalogue.
Quite simply, Grace and Danger is best described as the most personal album John Martyn ever released. It’ tells the story of one of the worst periods in his life, where the newly heartbroken John Martyn lays bare his soul for all to see and hear. What would’ve been fascinating, is if Beverley had replied to Grace and Danger. We could’ve heard her side to the story. Sadly, that never happened, and despite Beverley making a recent comeback, is unlikely to ever happen. As a result, Grace and Danger, one of John Martyn’s most underrated albums, remains one of the most soul-baring and cathartic breakup albums ever released.
JOHN MARTYN-GRACE AND DANGER.
THE PHANTOM BAND-FEARS TRENDING.
THE PHANTOM BAND-FEARS TRENDING.
For fans of The Phantom Band, it’s either a case of feast of famine. Having released their debut album Checkmate Savage in January 2009, The Phantom Band returned in October 2010 with their sophomore album The Wants. After that, nothing was heard from The Phantom Band for four long years.
During that period, the six members of The Phantom Band were working on solo albums or side projects. Then in June 2014, The Phantom Band were back with their long-awaited third album Strange Friend. After nearly four years, the Glasgow based sextet were back. However, the cynical amongst the music cognoscenti wondered who long it would be before The Phantom Band returned with album four? Many people thought years. Very few however, thought seven months.
That’s how long has passed between the release of Strange Friend, and The Phantom Band’s fourth album Fears Trending. It was released on 26th January 2015, on Glasgow’s premier label Chemikal Underground, thirteen years after The Phantom Band’s career began back in 2002.
In the early days of The Phantom Band’s career, the band’s name constantly seemed to change. So much so, that it took four years before The Phantom Band settled on a permanent name. That was the case with The Phantom Band.
Formed in 2002, The Phantom Band changed names numerous times. The Phantom Band were variously called NRA, Les Crazy Boyz, Los Crayzee Boyz, Tower of Girls and Wooden Trees. Then in 2005, they adopted the name Robert Redford. That didn’t go down well.
The band were asked to change their name. They also had to remove all references to it from their online presence. As a result, Robert Redford’s only release, The Mummy and Daddy Dance, has become something of a collector’s item. Following their controversial dalliance with Hollywood, the band reformed, under the name Robert Louis Stevenson.
Their new moniker didn’t last long. Having played a series of concerts in Glasgow and Edinburgh, Robert Louis Stevenson released a limited edition cassette. Only 150 cassettes were sold and they too, have become a collector’s edition. After that, Robert Louis Stevenson changed name again. After four years together, The Phantom Band were born in 2006.
The Phantom Band was a how the band’s fans affectionately referred to the band’s activities, or some would say lack of activity. A year later, The Phantom Band released their debut single Throwing Bones on the London label Trial and Error Recordings. Released to critical acclaim, Throwing Bones resulted in Glasgow’s premier label, Chemikal Underground signing The Phantom Band.
Since then, Chemikal Underground has been home to The Phantom Band. They’ve released a trio of albums since signing to Chemikal Underground. Their debut album was 2009s Checkmate Savage. The Wants followed in 2010. After that, nothing has been heard of The Phantom Band. That’s until June 2014, when The Phantom Band released their third album, Strange Friend, on Chemikal Underground. It was released five years after The Phantom Band’s debut album Checkmate Savage.
Before heading into the studio to record their debut, The Phantom Band headed out on the road. They played some of the biggest festivals during the summer of 2007. Then in early 2008, The Phantom Band headed into the studio.
Checkmate Savage, The Phantom Band’s debut album was recorded at Chem 19 Studios in Blantyre, Lanarkshire. Recording began in early 2008, with former Delgado Paul Savage producing Checkmate Savage. The lineup of The Phantom Band on Checkmate Savage included a rhythm section of drummer Damien Tonner, bassist Gerry Hart and guitarists Duncan Marquiss, Greg Sinclair and Rick Anthony, the lead vocalist. Andy Wake played keyboards. Together, they recorded nine tracks which became Checkmate Savage. They were then mixed at Franz Ferdinand’s studio in Govan, Glasgow. Once recording of Checkmate Savage was completed, it was released in January 2009.
On its release in January 2009, Checkmate Savage received widespread critical acclaim. Critics realised this was no ordinary debut. Instead, it was an ambitious and cerebral release. The Phantom Band examined a various themes on Checkmate Savage. This included over-population and dwindling natural resources. Checkmate Savage were a band with a social conscience. They also looked like being Scotland’s next big band.
Following the commercial success and critical acclaim of Checkmate Savage, The Phantom Band headed out on a series of UK and European tour. Across Britain and Europe, The Phantom Band played to sell-out shows. One of the most memorable gigs was T In The Park, where the Glasgow based The Phantom Band were hailed conquering heroes. There were also barnstorming appearances at London Calling in Amsterdam, the Storasfestivalen near Trondheim and Sound City in Liverpool. Then as 2009 drew to a close, The Phantom Band played at the prestigious Transmusicales festival in Rennes. 2009 had been a huge year for The Phantom Band. Now they had to begin work on their sophomore album, which became The Wants.
Sophomore albums are notoriously difficult. Often, a band write some of their best material before they’re signed. They’re young, hungry for success and dedicate themselves to getting a record deal. They spend inordinate amounts of time writing their songs. Then when they sign to a record label and enjoy a successful debut album, things change. No longer have they the same time to write an album. Instead, they’re writing on the road, as they tour their debut album. As a result, often, the quality of music suffers. For The Phantom Band, the recording of their sophomore album The Wants, wasn’t easy.
When The Phantom Band entered Chem 19, to record The Wants, the album wasn’t written. So, much of The Wants was written in the studio. The other problem was time was tight. They couldn’t take their time recording The Wants.This caused problems within The Phantom Band. However, with Paul Savage producing The Wants, the album was recorded within the timeframe. However, after The Wants was recorded, The Phantom Band lost its drummer.
Having recorded The Wants, drummer Damien Tonner left The Phantom Band. Considering The Phantom Band were about to tour The Wants, this presented the band with a problem. A new drummer would’ve have learn all their songs and then head out on the longest and most gruelling tour of their career. Before that, The Wants was released in October 2010.
Despite all the problems the band had encountered, The Wants was released to the same critical acclaim as their debut album Checkmate Savage. The Phantom Band had overcome the problem of the difficult second album. Now they headed out on tour, with a new drummer Greg Sinclair.
Greg Sinclair was brought in to fill the void left by the departure of Damien Tonner. It couldn’t have been easy. The Phantom Band had been together since 2002. Despite this, Greg settled in to his new role.
On the day The Wants was released, The Phantom Band played the CMJ festival in New York. After that, they hooked up with another Scottish band, Frightened Rabbit. The Phantom Band supported them as they played Boston, Philadelphia, Washington, New York and Chicago. Having won over American audiences, The Phantom Band headed home.
There was no time for rest. It was a case of saying hello to friends and family and heading out on a brief tour of Britain. After that, The Phantom Band spent two months touring Europe. It was one of the most gruelling schedules they’d embarked upon. Having started in March 2011, the tour finished just in time for the festival season to begin. There was no rest for The Phantom Band. They played at festivals like Latitude in Suffold, Walk the Line in Den Haag and The Camden Crawl in London. Then to crown this summer of festivals, The Phantom Band played T in the Park in their native Scotland. By now, they were well on their way to becoming one of Scotland’s best bands. However, since then all has been quiet on The Phantom Band front.
Away from The Phantom Band, the six members of the band have various side-projects to keep them occupied. Rick Redbeard enjoys a successful solo career. He released his debut solo album, No Selfish Heart in 2013, on Chemikal Underground. Iain Stewart is a member of Bronto Skylift, an experimental rock band. Duncan Marquiss, Andy Wake and Greg Sinclair sometimes, perform as Omnivore Demon. They’re best described as an improvisational group. All these various side-projects are what has been keeping the members of The Phantom Band busy. However, recently, they headed back into the studio to record their third album Strange Friend.
For Strange Friend, The Phantom Band wrote nine tracks. These tracks marked the recording debut of The Phantom Band’s new lineup. The lineup of The Phantom Band on Checkmate Savage included a rhythm section of drummer Iain Stewart, bassist Gerry Hart and guitarists Duncan Marquiss, Greg Sinclair and Rick Anthony, the lead vocalist. Andy Wake played keyboards. It wasn’t just the band’s lineup that had changed.
For the first time in their career, Paul Savage didn’t produce The Phantom Band. Instead, Strange Friend was produced by The Phantom Band with Derek O’Neill. He also engineered Strange Friend with Paul Savage. Strange Friend was mastered by Kenny MacLeod. It was then released in June 2014.
It was a case of all hail the returning heroes when Strange Friend was released in June 2014. Critics hailed the album as a triumph for the Glasgow-based sextet. Critical acclaim and plaudits came the way of The Phantom Band, on the release of Strange Friend. It’s been a long time coming, but well worth the wait. So, hopefully, will Fears Treading, The Phantom Band’s fourth album.
There’s a reason for that. The seven tracks on Fears Treading were recorded at the same recording sessions as Strange Friend. These sessions took place at Chem 19 studios, Blantyre, which previously, has been a musical home from home for The Phantom Band.
That’s where all The Phantom Band’s albums were recorded. At the sessions that took place during 2014, nine tracks were chosen and became Strange Friend. This left seven tracks. The temptation for many bands is to release a sprawling, epic album. However, often that doesn’t work. After eight or nine tracks, the listener’s attention wanders. So, it made sense to keep the other seven tracks in reserve. They became Fears Trending.
At the recording sessions at Chem 19, The Phantom Band recorded the seven tracks they’d written. These tracks marked the recording debut of The Phantom Band’s new lineup. The lineup of The Phantom Band on Checkmate Savage included a rhythm section of drummer Iain Stewart, bassist Gerry Hart and guitarists Duncan Marquiss, Greg Sinclair and Rick Anthony, the lead vocalist. Andy Wake played keyboards. This was the start of a new era in the history of The Phantom Band.
That new era began in June 2014, when Strange Friend was released to critical acclaim. Seven months later, Fears Trending was released to similar critical acclaim on 26th January 2015. This should further enhanced the reputation of The Phantom Band as one Scotland’s biggest bands. Is that the case though?
Tender Castle opens Fears Trending. Dark, moody, broody buzzy synths set the scene, before the rhythm section explodes into action. They’re joined by scorching guitars and banks of shimmering synths. In the midst of the arrangement is Alasdair Robert’s dreamy, lysergic vocal. He’s accompanied by close harmonies, while the rhythm section, synths and keyboards drive the arrangement along. They play their part in a melodic, dramatic fusion of art rock, electronica, post rock and indie rock.
Local Zero sees the tempo drop as retro sounding synths and the rhythm section accompany Rick’s vocal. It veers between hopeful and joyous, through thoughtful and wistful. As memories coming flooding back, Rick experiences a gambit of emotion. All the time, the rhythm section and searing, blistering guitars combine. They take the track in a much more traditional, rocky sound, as emotively Rick delivers the cinematic lyrics. The result is a love song Phantom Band style.
A wash of glimmer, shimmer synths sweep as play Denise Hopper unfolds. Soon, a crystalline guitars that sounds as if it should feature in a Spaghetti Western plays. By then, Rick’s vocal is a cathartic outpouring of equal parts emotion and drama. It’s joined by buzzing, fuzzy synths, chiming guitars and the rhythm section. They provide the backdrop for Rick’s despairing vocal, on this cinematic post rock opus.
Deliberate guitars drive the staccato arrangement to Dark Tape along. Meanwhile, punchy harmonies soar above the arrangement and rolls of drums add an element of drama. Taking centre-stage is Rick’s vocal. It’s a mixture of emotion, drama and pain. The pain runs deep. Desperation and loneliness fill his vocal. He makes the lyrics come to life. So much so, it’s as if he’s experienced what’s he’s singing about. The rest of The Phantom Band pickup on this, and lift their game even higher, and compliment Rick’s vocal. Later, they even add soothing, calming harmonies, as if trying to heal his pain and hurt.
Briefly, Spectrelegs has a somewhat eerie, futuristic, sci-fi sound. That’s until the arrangement bursts into life. It’s as if The Phantom Band were just toying with you, before kicking out the jams. In full flight, they’re an old school rock band, albeit one with a twist. Their rhythm section and machine gun guitars furiously drive the arrangement along. Meanwhile, Rick happily adopts the role of moody rock ’n’ front man. There’s a twist though. Bursts of sci-fi synths punctuate the arrangement. Then all of a sudden, the arrangement almost grinds to a halt. It takes on a dreamy, lysergic, post rock sounds. That’s until drum rolls and machine gun guitars join the futuristic sounds, and the arrangement reaches a captivating, genre-melting crescendo.
A subtle sprinkling of shakers are joined by stabs of a gothic organ as gradually, The Kingfisher unfolds. Cinematic guitars, that sound as if they belong on a Wim Wenders soundtrack, resonate, as they’re panned right. Meanwhile, drums match the organ step for step. Just like Rick’s slow, broody, soul-searching vocal, they add to the drama. Rick’s vocal is yin to the arrangement’s yang. Together they combine to create a dramatic epic, whose roots are in seventies rock.
Olden Golden closes Fears Trending. It has an understated introduction, with just a guitar and banjo accompanying Rick’s pensive vocal. As remembers the past, an ominous drum beat dominates the arrangement. Rick’s vocal is sombre, and as it soars filled with sadness. Later, as Rick’s emotive vocal soars above the arrangement, washes of keyboards, guitars and the thunderous, ominous drum combine to close the melancholy, heart wrenching Olden Golden.
Although Fears Trending was recorded at the same time as The Phantom Band’s third album, Strange Friends, they’re two very different albums. Duncan Marquiss, The Phantom Band’s guitarist seems to agree. He commented that “maybe it’s the evil twin of Strange Friend?” That’s maybe taking things a bit far. The two albums, wordsmiths amongst you will realise, are certainly related. Fears Trending is an anagram of Strange Friend. Apart from that, they’re two very different albums.
The songs on Fears Treading are longer, darker and filled with drama. Some of the songs have a much more experimental sound. Bursts of futuristic, sci-fi, shimmering synths augment the fusion of art rock, folk rock, indie rock, post rock and psychedelia on Fears Treading. It’s an eclectic and ambitious combination of influences. However, it’s a combination that works.
Fears Trending is a captivating combination of musical genres and influences, where The Phantom Band, and guest artist Alistair Roberts, continued to push musical boundaries. That’s been the story of The Phantom Band’s career.
Since they released their debut album, Checkmate Savage, in January 2009, The Phantom Band have released a two further albums, 2010s Strange Friends and 2014s Strange Friend. Now seven months after the release of Strange Friend, The Phantom Band released their fourth album Fears Trending, on 26th January 2015, on Chemikal Underground. Fears Trending is perfect foil for Strange Friend. Listening to Strange Friend and then Fears Trending, is akin to seeing two sides of The Phantom Band.
Although Strange Friend and Fears Trending are very different albums, they’re both are captivating and groundbreaking albums from one of Scotland’s top bands, The Phantom Band, who for thirteen years, have been pushing musical boundaries to their boundaries, and sometimes, beyond.
THE PHANTOM BAND-FEARS TRENDING.
BELLE AND SEBASTIAN-GIRLS IN PEACETIME WANT TO DANCE.
BELLE AND SEBASTIAN-GIRLS IN PEACETIME WANT TO DANCE.
Over four years have passed since Belle and Sebastian released their eighth studio album, Belle and Sebastian Write About Love. Since then, Belle and Sebastian’s only release was The Third Eye Centre, a nineteen track retrospective released in August 2013. It featured rarities, remixes, B-Sides, non-album tracks and tracks from E.P.s. Eighteen months after the release of The Third Eye Centre, Belle and Sebastian return with their long awaited ninth album, Girls In Peacetime Want To Dance, which marks a series of firsts.
Girls In Peacetime Want To Dance, which was released on 19th January 2015, is the first Belle and Sebastian album to be released worldwide on Matador Records. It’s also the first Belle and Sebastian album to be produced by Ben H. Allen III. The third and final first, is that Girls In Peacetime Want To Dance is the first Belle and Sebastian album to be recorded in Atlanta, Georgia. Belle and Sebastian it seems, are refusing to stand still on Girls In Peacetime Want To Dance, as their twentieth anniversary draws nearer.
It was back in 1996, at Stow College, in Glasgow that Belle and Sebastian were formed. The band was formed by two students, Stuart Murdoch and Stuart David, and was named after Cecile Aubry’s 1965 book Belle et Sebastien. Since then, many members have joined and left the group, one of the most influential being, Isobel Campbell, who joined in 1996 and left the group in 2002, singing vocals and playing cello. Other members include Chris Geddes and Sarah Martin.
Whilst at college, in 1996, Belle and Sebastian recorded some demo tracks with the college’s music professor Alan Rankin. Yes. That Alan Rankin, formerly the keyboardist and guitarist in The Associates alongside the late Billy Mackenzie. The demos came to the notice of the college’s business studies department, who each year, released a single on the college’s record label. Belle and Sebastian, by then, had recorded a number of songs, enough to fill an album. Having been so impressed by Belle and Sebastian’s music, that year, the label decided to release an album, called Tigermilk.
Tiigermilk, which was produced by Alan Rankin. It was recorded in just three days. Just one-thousand copies vinyl were pressed. Tigermilk was well received and the album sold out quickly. The original copies of Tigermilk are prized possessions of Belle and Sebastian fans. Following the success of Tigermilk, Belle and Sebastian decided to make a career out of music.
Stuart Murdoch and Stuart David decided that Belle and Sebastian would become a full-time band. Soon, further members joined the band. Isobel Campbell joined on vocals and cello, Stevie Jackson on guitar and vocals, Richard Coburn on drums and Chris Geddes on keyboards.
After Tigermilk’s success, the group signed to Jeepster Records in August 1996, they released their sophomore album If You’re Feeling Sinister. Produced by Tony Doogan, it was released in November 1996. Many people believe that this is their finest album. American magazine Spin, liked the album so much, that they put it at number seventy-six in their top one-hundred albums released in the twenty year period between 1985-2005. Rolling Stone magazine put the album in its list of essential albums of the 1990s.
After the release of If You’re Feeling Sinister, the group released series of E.P.s during 1997. The E.P.s were Dog On Wheels, Lazy Line Painter Jane and 3, 6, 9 Seconds of Light. Dog On Wheels featured four songs that were recorded before the formation of Belle and Sebastian. It reached number fifty-nine in the UK charts. Lazy Line Painter reached number forty-one in the UK charts, and 3, 6, 9 Seconds of Light became the group’s first top forty single, reaching number thirty-two in the UK charts. That was the start of the rise and rise of Belle and Sebastian.
September 1998, saw Belle and Sebastian release their third album The Boy With The Arab Strap. It reached number twelve in the UK charts. Unlike previous Belle and Sebastian albums, Stuart Murdoch doesn’t feature on vocals. Instead, they’re shared amongst Isobel Campbell, Stevie Jackson and Stuart David. The album received mixed views from the music press. Long time supporter of Belle and Sebastian, Rolling Stone and The Village Voice praised The Boy With The Arab Strap, while others weren’t as impressed. However, since its release, many people, myself included, believe The Boy With The Arab Strap to be Belle and Sebastian’s finest hour. Despite the success of The Boy With The Arab Strap, Belle and Sebastian changed direction musically.
Two years after the release of The Boy With The Arab Strap, Belle and Sebastian released Fold Your Hands Child, You Walk Like A Present. Released in June 2000, the album was produced by Tony Doogan. It’s best described as chamber pop. Fold Your Hands Child, You Walk Like A Present has a much more laid-back, mellow sound. The tempo is slower, while vocals are shared amongst band members. Then there’s the strings. They’re used more extensively. Sadly, this was the last album to feature founder member Stuart David. For their next album, Belle and Sebastian would try their hand at writing a film score.
Although Storytelling was both Belle and Sebastian’s fifth album, it was their first film score. Released in June 2002, only six minutes of the thirty-five minutes of music recorded by Belle and Sebastian made it into Todd Solondz’s movie. It sounds as if the experience was somewhat frustrating for the band. They had problems communicating with Todd Solondz. Worse was to come. Belle and Sebastian were about to lose one of their most important members… Isobel Campbel
Having released and toured Storytelling, Isobel Campbell left Belle and Sebastian. She decided to pursue a solo career. Many critics wondered what effect this would’ve on Belle and Sebastian? They came back, but briefly, were different band
Much of the summer of 2003 saw Belle and Sebastian recording their sixth album. Losing Isobel Campbell wasn’t the only change in the life and times of Belle and Sebastian. No.They’d left Jeepster and signed to Rough Trade. Tony Doogan was replaced as producer. His replacement was Trevor Horn. His credentials seemed somewhat questionable.
Previously, ex-Buggle Trevor Horn had he’d been an award winning producer and songwriter. Recently, he’d been working with Charlotte Church and Lee Ann Rimes. Considering Belle and Sebastian were one of the hottest indie bands, they seemed strange and awkward bedfellows. It seemed Trevor Horn had been brought in to polish of the band’s rough edges. Rough Trade, a supposed indie label, were polishing away part of the group’s charms. Many onlookers were horrified, afraid of the direction Trevor Horn would take Belle and Sebastian.
In some ways, these fears were justified. Gone was the folksie, melancholy, chamber pop of their roots. Dear Catastrophe Waitress was the polar opposite of previous albums. Replacing it, was the slick, poppy charms of the Trevor Horn produced Dear Catastrophe Waitress. On its released in October 2003, it was nominated for an Ivor Novello award. Critics gave Dear Catastrophe Waitress favorable reviews. On both sides of the Atlantic, Dear Catastrophe Waitress appealed to critics. Despite the positive reviews Dear Catastrophe Waitress received, thankfully, Belle and Sebastian and Trevor Horn never renewed their aquaintance when they released their next album, three years later.
Between the release of Dear Catastrophe Waitress and 2006s The Life Pursuit, Belle and Sebastian kept busy. In 2005, they released a twenty-five track compilation entitled Push Barman To Open Old Wounds. Featuring a series of E.P.s Belle and Sebastian had released, critics adored the album. Hailed as vintage Belle and Sebastian, they were crowned the best indie band. Very different from Dear Catastrophe Waitress, Push Barman To Open Old Wounds was the Belle and Sebastian their fans knew and loved. Push Barman To Open Old Wounds wasn’t Belle and Sebastian’s only release during 2005.
No. Belle and Sebastian released their first live album, If You’re Feeling Sinister: Live At The Barbican. Released in December 2005, this allowed Belle and Sebastian to revisit their 1996 album If You’re Feeling Sinister and rectify what the band believed to be the mistakes of the original album. That night in September 2005, Belle and Sebastian took the Barbican by storm, playing an encore lasting over an hour. This encore would prove to be somewhat prophetic.
When Belle and Sebastian released The Life Pursuit in February 2006, it proved to be their most successful album. The Life Pursuit was produced by Tony Hoffer, who previously, produced Air, Turin and Beck. He was a much better fit than Trevor Horn. On its release, The Life Pursuit reached number eight in the UK and number sixty-five in the US Billboard 200. Funny Little Frog gave Belle and Sebastian the biggest hit single of their ten year career. Despite that, it would be four years until Belle and Sebastian released their next studio album.
Following the release of The Life Pursuit, Belle and Sebastian headed out on tour. They were now well versed in the album, tour, album, tour routine. To ensure their fans didn’t forget them, Belle and Sebastian released The BBC Sessions in November 2008. A double-album, the first disc featured many songs that featured Isobel Campbell. These songs had never been heard before. So for fans of Belle and Sebastian this was a real must have. As for the second disc, it features Belle and Sebastian live in Belfast, which sees the group cover Thin Lizzy’s The Boys Are Back In Town. While The BBC Sessions kept Belle and Sebastian’s fans occupied, the group recorded their most successful album to date.
October 2010, saw Belle and Sebastian released their eighth studio album. Entitled Belle and Sebastian Write About Love, it was the second Belle and Sebastian album produced by Tony Hoffer. Recorded in Los Angeles, rather than Glasgow this surprised some people. Tony’s decision to take Belle and Sebastian out their comfort zone worked. He was proving to be the perfect foil for Belle and Sebastian’s foibles. Featuring contributions from Norah Jones, Sarah Martin and Carey Mulligan, Belle and Sebastian and friends struck musical gold.
Reaching number eight in the UK, Belle and Sebastian Write About Love reached number fifteen in the US Billboard 200. Critically acclaimed and a hot worldwide, this was a long way from recording Tigermilk in three days as part of a college project. Belle and Sebastian were indie Queens and Kings. Despite this, the continued to things their way.
While many bands would’ve headed straight back into the studio and had a followup to Belle and Sebastian Write About Love release A.S.A.P, this isn’t the Belle and Sebastian way. No. Not only do Belle and Sebastian do things their way, but they care about their fans. So, whilst taking their time recording a followup to Belle and Sebastian Write About Love, they’ve released a nineteen track retrospective, The Third Eye Centre.
This nineteen track retrospective, The Third Eye Centre, features rarities, remixes, B-SIdes, non-album tracks and tracks from E.P.s. The music spans Belle and Sebastian’s career. There’s tracks from albums produced by Tony Doogan, Trevor Horn and Tony Hoffer. Bonus tracks sit side by side with remixes, while B-Sides and charity singles. In some ways, The Third Eye Centre allows the listener to hear another side to Belle and Sebastian. The Third Eye Centre was the perfect amuse bouche until Belle and Sebastian released their ninth studio album.
Work began on Belle and Sebastian’s ninth album back in 2014. By then, the members of Belle and Sebastian had written twelve tracks. These tracks would become Girls In Peacetime Want To Dance, which somewhat surprisingly, was produced by Ben H. Allen III.
This was a strange, and somewhat controversial decision. Many people thought Tony Hoffer, who produced Belle and Sebastian’s previous album, Belle and Sebastian Write About Love would return.Belle and Sebastian Write About Love was the second Belle and Sebastian album produced by Tony Hoffer. The first was The Life Pursuit. Tony seemed to bring out the best Belle and Sebastian. However, this being Belle and Sebastian, it’s always a case of expect the unexpected. After all, previously, Belle and Sebastian hired Trevor Horn, who gave their music a slick, polished sheen. So maybe, bring in Ben H. Allen III to produce Girls In Peacetime Want To Dance would work?
Some sceptics had their doubts. After all, Ben H. Allen III’s C.V. showed that previously, he had produced Animal Collective and Washed Out. This was very different to Belle and Sebastian. However, maybe, Belle and Sebastian and Ben H. Allen III would prove a potent partnership.
For their ninth studio album, Girls In Peacetime Want To Dance, Belle and Sebastian penned twelve tracks. Much of the recording took place in Atlanta, Georgia. That’s where Belle and Sebastian recorded nine tracks. They were produced by Ben H. Allen III, who mixed seven of the tracks with Jason Kingsland. Additional recording took place at other studios. This included adding strings at Human Win studios, in Minneapolis, Minnesota and recording three tracks in the familiar surroundings of Glasgow’s Castle Of Doom Studios.
The other three tracks on Girls In Peacetime Want To Dance, The Everlasting Muse, Born To Act and Perfect Couples were recorded at Castle Of Doom Studios, in Glasgow. These three tracks, plus A Politician’s Silence and Nobody’s Empire were mixed by veteran Scottish producer, Tony Doogan, who previously, has produced four Belle and Sebastian albums. Once Girls In Peacetime Want To Dance was completed, it was released on 19th January 2015.
Prior to the release of Girls In Peacetime Want To Dance, The Party Line was chosen as the lead single on 29th October 2014. It was a taste of what to expect from the Ben H. Allen III produced Belle and Sebastian. Then on 19th January 2015, Girls In Peacetime Want To Dance was released. Mostly, the reviews were favourable. Critics noted that Belle and Sebastian were still, among the most talented modern day songwriters. However, their music had been given a makeover.
Girls In Peacetime Want To Dance is akin to a call to dance. Thanks to Ben H. Allen III, much of Girls In Peacetime Want To Dance has a faux disco beat. This is Belle and Sebastian as you’ve never heard them. It’s not just Girls In Peacetime Want To Dance, but Belle and Sebastian too. Just like Belle and Sebastian have always done, several times before, they’ve reinvented themselves on Girls In Peacetime Want To Dance.
Opening Girls In Peacetime Want To Dance is Nobody’s Empire, one of the four songs mixed by Tony Googan. His mix is perfectly balanced, Chiming guitars are panned left, a bass probes its way through the mix and the incessant 4/4 beat sets the scene for Stuart’s wistful vocal. As Stuart delivers cerebral, thoughtful lyrics he’s accompanied by a piano, washes of synths and later, cooing, ethereal harmonies and percussion. Later, horns sound, as other members of Belle and Sebastian add backing vocals. They add to what’s an anthemic, dance-floor friendly track full of social comment and hooks aplenty.
A scatted vocal pensive piano and firmly strummed guitar opens Allie. Soon, the rocky arrangement bursts into life. Stuart’s vocal is mixture of frustration, anger and pity, at “Allie…you want to hurt yourself.” He sees Allie as selfish, and either unable, or unwilling to see the bigger picture. This includes war, crime and cutbacks. Throughout the song, Stuart’ frustration, is omnipresent, as he delivers a heartfelt plea. As he does this, urgently, the rhythm section and guitars drive the arrangement along. This is the perfect foil for Stuart, as Belle and Sebastian return to what’s nearer their traditional, trademark sound, while reminding the listener that they’re songsmiths par excellent.
The introduction to The Party Line is bathed in filters. below the filters is a pulsating, dance-floor friendly arrangement. It comes courtesy of synths, drums and percussion. Stuart’s vocal is a sultry vamp. It’s augmented, and complimented, by backing vocalists. They add to what’s a polished slice of dance-floor friendly electro pop. This is Belle and Sebastian like you’ve never heard them before. For some people, this will come as a shock. The only similarity is Belle and Sebastian’s insightful observations on life. They’re omnipresent throughout Girls In Peacetime Want To Dance.
As drums pound, an orchestral arrangement quivers on The Cat With The Cream. Soon, Stuart’s despairing vocal sets the scene. You’re soon empathising with Cathy’s loneliness and fear. Later, her imagination runs riot. Scenes unfold before her eyes. The “freak parade” unfolds. Before her eyes, a parade of corrupt politicians and a country’s grubby history unfolds. Then she’s praying, “praying for the light.” Having done so, she waits for a “sign…her instructions.” Cathy hopes that she’s “destined for greatness, I want to be Queen.” Longingly, she wills herself back to a time and place when “in days of old when knights were bold, it was settled by the King.” Sadly, that’ll never happen, and still, Cathy sits lonely and fearful. Poignant, and tinged with sadness and beauty, Belle and Sebastian are still master craftsmen when it comes to songwriting.
Enter Sylvia Plath has in its roots of eighties Euro Disco. Against this pulsating dance beat, one thing stays the same. That’s Stuart’s vocal. It’s tinged with emotion as he delivers lyrics that are typically cerebral and cinematic. Again, he paints pictures. Meanwhile, Sarah’s sultry female vocal flits in and out, as the arrangement grows in power and tempo. It powers along, with Belle and Sebastian seemingly enjoying the journey.
The Everlasting Muse has a much more understated, atypical Belle and Sebastian sound. That’s partly, down to Tony Doogan, who mixed the track. His mix doesn’t seem as loud as the tracks mixed by Ben H. Allen III. This suits the track. Just a standup bass and drums set the scene for Stuart’s hopeful vocal. Soon, a Fender Rhodes panned left shimmers, while clunky percussive sound is panned right. That’s the sign for the tempo to quicken and Stuart’s vocal to veer between hopeful, needy and occasionally, joyful. Soft, ethereal harmonies and a soaring trumpet add the finishing touch to what’s a captivating, hopeful paean.
Tony Doogan also mixed Perfect Couples, which again, seems to have more space than the tracks mixed by Ben H. Allen III. Afrobeat seems to have influenced introduction the introduction. Perucssion plays, before washes synths bubble and whoosh. They’re joined by rocky guitars pounding drums and Stevie Jackson’s vocal. He seems to relish his starring role in this dance track. His chameleon like vocal veers between deliberate, to dramatic and even, briefly, a croon, as tongue firmly in cheek, he mocks his “Perfect Couples.” By then, his vocal is bather in filters and accompanied by harmonies. Add in scorching, searing guitars and advice and the result is one of the highlights of Girls In Peacetime Want To Dance.
Ever Had A Little Faith? is a return to Belle and Sebastian’s traditional sound. Just acoustic guitars accompany Stuart’s pensive vocal. Soon, drums and an accordion add to the wistful, but beautiful sound as Stuart asks “Ever Had A Little Faith?”
Play For Today sees the musical adventure that’s Girls In Peacetime Want To Dance continue. There’s yet another change in direction, as Play For Today has its roots in Euro Pop and Euro Disco. Against a pulsating backdrop of drums and washes synths the arrangement bounds along. Atop the arrangement sits the vocal. They come courtesy of Stuart and Dee Dee Penny. Their vocals sit well together. Mind you, so would Stuart and Sarah Martin. Having said that, Stuart and Dee Dee combine angst, drama and emotion on this seven minute epic.
Sarah Martin makes a welcome return on The Book Of You. Her tender vocal sits above an arrangement that’s variously clunky, industrial, dark and dance-floor friendly. As the arrangement buzzes, guitars, drums, harmonies and sci-fi synths accompany Sarah. The coup de tat is a blistering guitar solo. It’s panned at thirty degrees right and although slightly muted, takes the track the next level.
Closing Girls In Peacetime Want To Dance is Today (This Army’s For Peace). It’s a thoughtful, wistful track with an understated arrangement. The rhythm section, chiming guitars and occasional swathes of lush strings join Stuart on what’s a beautiful, hopeful way to close Girls In Peacetime Want To Dance, Belle and Sebastian’s ninth album.
Girls In Peacetime Want To Dance is unlike any of Belle and Sebastian’s previous eight albums. Producer Ben H. Allen III took Belle and Sebastian way out of their comfort zone. On several tracks, Ben H. Allen III added a pulsating faux disco beat. The nearest to Girls In Peacetime Want To Dance Belle and Sebastian have come, is the Trevor Horn produced Dear Catastrophe Waitress. With its slick, polished, poppy sheen, Dear Catastrophe Waitress was the polar opposite of what we’ve come to expect from Belle and Sebastian.
Belle and Sebastian have their own unique sound. It took shape on the quartet of albums produced by Tony Doogan. From 1996s If You’re Feeling Sinister, through 1998s The Boy With The Arab Strap, Fold Your Hands Child, 2000s You Walk Like a Peasant and 2002s Storytelling, Belle and Sebastian’s trademark sound gradually take shape. Then came the Trevor Horn Dear Catastrophe Waitress. That was a one-off. Tony Hoffer then produced 2006s Belle and Sebastian Write About Love and 2010s The Life Pursuit. However, Tony Hoffer didn’t return for Girls In Peacetime Want To Dance. Instead, Ben H. Allen III took his place on what’s a quite different album from Belle and Sebastian.
Before the release of Girls In Peacetime Want To Dance, it was hard to imagine Belle and Sebastian ever making a dance album. However, with Belle and Sebastian, never rule anything out. They’re a contrarian band, always determined to do things their way. This includes making a dance album.
On Belle and Sebastian’s “dance album,” Girls In Peacetime Want To Dance, there are some tracks with a pulsating 4/4 dance beat. Other tracks are less “in your face.” They’ve a more indie dance sound. By that, I mean that they’re more tracks that you can dance to. Some tracks, however, feature the more traditional Belle and Sebastian sound. They’re a reminder of who Belle and Sebastian really are. One thing remains the same throughout Girls In Peacetime Want To Dance, the lyrics.
As usual, Girls In Peacetime Want To Dance showcases the literary talents of Belle and Sebastian. They’re wordsmiths extraordinaire. Each song features lyrics that are cerebral, eloquent, emotive, joyous, melancholy and poignant. Beauty is feature of many of the lyrics. However, others are full of pathos and sadness, and relentlessly tug at your heartstrings. Especially when delivered by Stuart Murdoch, Sarah Martin and Stevie Jackson. Even when accompanied by Ben H. Allen III’s pulsating faux disco beat.
With Ben H. Allen III’s help, Belle and Sebastian, not for the first time, reinvented themselves again. Some would have as believe that Girls In Peacetime Want To Dance it seems, is the musical equivalent of a midlife crisis. That’s far from the truth. Girls In Peacetime Want To Dance was an ambitious album where Belle and Sebastian were taken out of their comfort zone. However, they’ve made their dance album, it’s now time to move on.
By that, I mean change direction again. Belle and Sebastian find themselves in a similar situation after Dear Catastrophe Waitress. Belle and Sebastian couldn’t release Dear Catastrophe Waitress II. They had to move on. This is the case once again. For their tenth album, Belle and Sebastian shouldn’t release Girls In Peacetime Want To Dance II. No. It’s time to return to what many people regard as the classic Belle and Sebastian sound, where elements of chamber pop, folk, lo-fi and indie pop combine. That’s what Belle and Sebastian’s fans want. Especially for their tenth album, and twentieth anniversary.
Next year, 2016, Belle and Sebastian celebrate their twentieth anniversary. Hopefully, this celebration will involve the release of their tenth album. An added bonus would be the return of Tony Doogan as producer. Tony played an important part in the rise and rise of Belle and Sebastian, producing four albums between 1996 and 2002.
Next year, will make fourteen years since the chameleon-like Belle and Sebastian and Tony Doogan last worked together. Both parties are older and wiser, so it would be a tantalising prospect to see what they would come up with? Who knows, it could either be a return to the classic Belle and Sebastian sound, or a dance album like Girls In Peacetime Want To Dance?
BELLE AND SEBASTIAN-GIRLS IN PEACETIME WANT TO DANCE.
ROXY MUSIC-FLESH AND BLOOD.
ROXY MUSIC-FLESH AND BLOOD.
By June 1980, when Roxy Music released their seventh and penultimate album, Flesh and Blood, they were reduced to a trio. Only Bryan Ferry, Phil Manzanera and Andy McKay remained. Phil Thompson had by now, left the band, and original members. Brian Eno and Graham Simpson had long left the band. Since then, many members had joined, and left Roxy Music. For Flesh and Blood, the lineup of Roxy Music changed again.
For Flesh and Blood, a number of session musicians were enlisted to help record what would be Roxy Music’s penultimate album. This would include Paul Carrack, who played piano and organ and Andy Newmark, who formerly, was Sly and the Family Stone’s drummer. He was joined in the rhythm section by some of the most experienced session plays. This included drummer Allan Schwartzberg, bassists Alan Spenner Neil Jason and Jason Tibbs and guitarist Neil Hubbard. They were joined by percussionist Simon Phillips when the recording sessions began at London’s Basing Street Studios and Gallery Studios. That’s where Roxy Music recorded the ten tracks that became Flesh and Blood.
For Flesh and Blood, Bryan Ferry penned Oh Yeah, Same Old Scene, Flesh and Blood, My Only Love and Yeah, Yeah, Yeah. Bryan Ferry and Phil Manzanera cowrote Over You, No Strange Delight and Running Wild. The other two tracks were covers of Wilson Pickett’s In The Midnight Hour and The Byrds’ Eight Miles High. Once these tracks were recorded, Flesh and Blood was released on 23rd May 1980.
When Flesh and Blood was released, the reviews were mixed. The songs were described as a mixed bag. Some critics went as far as to suggest that Roxy Music were running out of ideas. For what had been one of the most pioneering groups of the seventies, this must have stung. However, Roxy Music had the last laugh.
On Flesh and Blood’s release, it reached number one in the UK album charts, spending a week there in June 1980, and other three weeks in August. So successful was Flesh and Blood, that it was certified platinum in October 1980. In the US, the album reached number thirty-five in the US Billboard 200. Four singles were released from the album. The first was Over You in May 1980, which reached number five in the UK singles charts. Three further singles followed, Oh Yeah, Same Old Scene and a cover version of Wilson Pickett’s In the Midnight Hour. That wasn’t the only cover version on the album. Eight Miles High, a cover version of The Byrds’ track was also included on the album. Sadly, after Flesh and Blood, which I’ll tell you about, Roxy Music would only release one further album, Avalon in May 1982.
Opening Flesh and Blood is the cover of Wilson Pickett’s In the Midnight Hour. Previously, Brian Ferry had spoken of his love of soul music, and here he pays homage to one of soul music’s great singers. Straight away, there’s a difference between the original and Roxy Music’s version. As the track slowly begins, instruments reverberate and the song’s counted in. After that things totally change, the rhythm section, saxophones and synths accompanies Bryan’s vocal. His voice is perfect for the songs, strong and clear, his phrasing careful. Behind him, the arrangement is slower than the original, and quite busy. Partly this is caused by the wall of sound that accompanies the band. It slightly distracts you from the band. It’spresent throughout the track, accompanying the main part of the arrangement. Regardless of this, it’s a cover version with a twist, where Bryan Ferry’s soulful vocal pays homage to a soul legend.
Oh Yeah was the first single taken from Flesh and Blood. It’s a song recalling memories of a summer in love, and drenched in sadness when remembering a relationship that has since ended. A piano opens the track, and plays a big part throughout the track. The tempo is slow, drums and guitars join in. Percussion plays, then Bryan Ferry sings. Sadness is apparent in his voice. Around him, a slow, full and sometimes, dramatic arrangement emerges. His voice soars, strongly, as the arrangement grows, combination of bass, drums, guitars and strings surround him. To me, both the arrangement, and the vocal are the reason for the success of the track. It’s a combination of an emotional vocal and dramatic and sympathetic arrangement.
Same Old Scene is very different from the previous track. It has a quicker tempo, and brighter sound. Percussion and drums combine with guitars as the song bursts into life, the arrangement quickly filling out. From there on it’s a full and powerful arrangement the rhythm section, guitar, keyboards and saxophone accompanying Bryan Ferry’s pessimistic vocal. During the song he sings about an old relationship that haunts him. This makes him to realize that nothing lasts forever and that he should to return to dating, what he calls the “same old scene.” Alan Spenner’s bass playing during the track is brilliant, fast, tinged in funk, as it helps drives the song along. Likewise, Andy MacKay’s saxophone drenches both Bryan’s vocal and the arrangement in a beautiful, lush, dramatic sound. Key to the song’s success are then vocal, arrangement and lyrics. Here, the lyrics have a pathos, in them and a strong narrative, painting a picture for the listener.
Flesh and Blood, sounds totally different to any of the preceding tracks. It has more in common with some of Roxy Music’s earlier music. A bass plays in the distance, gradually getting louder. It throbs slowly. Quickly, drums, guitar and synths join in. However, it’s the bass that’s most prominent, played really well. By now the arrangement is full, synths sweeping as Bryan sings above the band. His voice is stronger and louder, as if he’s trying to make himself heard over the fuller arrangement. It’s an unusual track. Gone are smoother arrangements of Oh Yeah and Same Old Scene. Replacing it, is a rockier sound, with just a little funk courtesy of the bass, as Roxy Music’s past and present collide head on.
After the change in sound on Flesh and Blood, the style changes again with My Only Love. It has more in common with Oh Yeah and Same Old Scene, and begins with keyboards playing slowly, providing an almost moody, thoughtful, even dramatic sound. Then, the bass and percussion play before Bryan sings, they too, seem to be building up a moody and dramatic sound. When he does sing, his vocal is has a thoughtful, pensive sound as he sings about being in love and the one he loves. Behind him, a piano and the rhythm section play a large part in the arrangement, the bass especially. Like on other tracks, strings and saxophone are used to good effect. Later in the track, Bryan’s vocal quickens, it soars high and he prolongs some of the notes. After that, a guitar solo plays and by now, a great arrangement is unfolding. It continues throughout the remainder of this dramatic, soulful track
Over You is a return to the smoother sound of Oh Yeah and Same Old Scene. The rhythm section and keyboards are joined by handclaps. Bryan’s vocal is quicker, higher, slight strained, as if almost overcome with emotion. Here the arrangement has a similar sound to many tracks released at this time, it’s the drum, bass and keyboard sound that does it. There’s an electronic sound and feel present. This doesn’t mean the track sounds dated. Quite the opposite, it’s far better than many from this time. Later in the track, the arrangement really grows, and towards the end, lovely piano and saxophone solos play, add the finishing touches to one of Flesh and Blood’s highlights.
The second cover version on the album is Eight Miles High, a cover of a song originally made famous by The Byrds psychedelic rock classic. Back in 1966, the song was banned from the radio because it was allegedly about drug taking. Here, Roxy Music give the track a makeover, adding a new twist to an old song. It works well, with Bryan’s vocal perfectly suited to the track. Likewise a funky bass sound is a good addition, as are the drums, which have an electronic sound. During the song a guitar reverberates, and Bryan’s voice soars and quivers, full of character. What I especially like about the song is Brian Ferry’s delivery of the lyrics. He brings the song to life. Also, the addition of the pulsating, funky bass is a masterstroke.
A dark broody electronic sound greets the listener as Rain, Rain, Rain begins. Drums then pound, keyboards play and Bryan gives a slow, pensive sounding vocal. Around him, the arrangement grows. Keyboards, guitars and rhythm section combine. Strange, atmospheric sounds enter the mix, as Bryan sings. Still, his vocal sounds thoughtful. Again, there’s an electronic sound on this track, again courtesy of drums and keyboards. In some ways, there’s almost a reggae sound in the rhythm emerging. Like other tracks, the bass playing helps drive the track along. However, the success of the track is down to more than one person, everyone contributes to what is a slow and atmospheric song.
After a hesitant, almost false start, No Strange Delight begins with pounding repetitive drums, joined by that funky sounding bass. As Bryan sings, keyboards play. His voice isn’t as high but has a richness, he leaves space in the vocal. Behind him the rhythm section drive the song along. They’re a constant, joined by guitar, keyboards and an oboe. This isn’t the usual type of instrument you’d expect on a rock album, but this is Roxy Music, expect the unexpected. As the song progresses, the arrangement builds and builds. Near the end, the sound reaches an almost chaotic climax, but thankfully, the band rescue the track just in time.
Flesh and Blood closes with Running Wild a much slower song. Just a piano accompanies Bryan. The song is perfectly suited to his voice. His vocal is slow and thoughtful, the arrangement much more subtle than on other tracks. It just meanders along beautifully. Drums set the tempo, and everyone follows their lead. What really makes the track is the addition of a piano, Andy MacKay’s saxophone Paul Carrack’s organ playing. They all play their part in creating a lovely, lush backdrop for Bryan’s vocal. Then, when the guitar solos at the end the track, it’s the perfect way to close both the track and Flesh and Blood. It seems Roxy Music kept one of the best songs until the end of the album.
Released in May 23rd 1980, Flesh and Blood was Roxy Music’s penultimate album. By then, Roxy Music had been released to a trio. Only Bryan Ferry, Phil Manzanera and Andy McKay remained. Bryan was the main songwriter. He wrote five tracks and cowrote three more. However, on Flesh and Blood’s release, it wasn’t to the same critical acclaim as previous albums. Instead, Flesh and Blood was perceived as a mixed bag. Some critics wondered aloud whether Roxy Music had run out of ideas. That was taking things too far.
While Flesh and Blood may not be remembered as one of Roxy Music’s classic albums, it certainly one of their most accessible. Just like Avalon, Flesh and Blood are two of their more accessible albums. This is perfect for someone wanting an introduction to Roxy Music. In the case of Flesh and Blood, many of the songs will be familiar to the newcomer to Roxy Music. After all, four singles were released from Flesh and Blood, which like many Roxy Music albums, will be released on SACD, by EMI, on 28th January 2015. Flesh and Blood was the penultimate chapter in the Roxy Music story.
Two years after the release of Flesh and Blood, Avalon released their swan-song, Avalon in May 1982. Avalon, Roxy Music’s eighth album, saw their music complete its move towards the smooth, A.O.R. sound they toyed with on Flesh and Blood. This was very different from the early days of Roxy Music.
Between 1972s Roxy Music, through 1973s For Your Pleasure and Stranded, 1974s Country Life to 1975s Siren, Roxy Music could do no wrong. They were one of the most groundbreaking groups of the early, to mid seventies. That’s no surprise, given Roxy Music featured musical pioneers like Brian Eno, Bryan Ferry, Andy Mackay and Phil Manzanera. They were responsible for the rise and rise of Roxy Music. For a ten year period, Roxy Music were one of the most successful British groups.
From 1972s Roxy Music, right through to 1982s Avalon, Roxy Music received six gold discs in Britain and two platinum discs. Ironically, Roxy Music’s most successful albums were Flesh and Blood and Avalon, which were certified platinum. Over the Atlantic, Avalon sold over a million copies, and was certified platinum. Rather than Roxy Music’s more innovative side, it seemed that the record buying public on both sides of the Atlantic, preferred the much more accessible sound of Roxy Music on Flesh and Blood and Avalon.
ROXY MUSIC-FLESH AND BLOOD.
DIRE STRAITS-DIRE STRAITS.
DIRE STRAITS-DIRE STRAITS.
In 1977, punk was at the peak of its popularity. For the last year, bands were being formed all over Britain. Suddenly, it seemed, everyone was a musician. That was all very well. However, there was a problem.
Many of these bands weren’t very good. The problem was, many of this new breed of musicians could neither sing, nor play their instrument. This wasn’t meant to matter. The DIY ethos of punk meant anyone who wanted to become a musician, could be. René Descartes, the founding father of philosophy, it seemed, was right when he said, “I think, therefore I am.” That, however, wasn’t the case.
The truth lay in Hans Christian Andersen’s The Emperor’s New Clothes. It summed up punk perfectly. Playing the swindlers in The Emperor’s New Clothes, were punk groups and their managers. Dawning the role of the Emperor were critics and cultural commentators. They genuinely believed that this wall of discordant sound was the future of music. What made this worse, was while these critics and cultural commentators wrote puff stories praising punk, they wrote disparaging reviews of perfectly good albums. There was a reason for this.
These albums were by punk’s “supposed” enemies. The enemies of punk were many. This included the prog-rock and rock. They were perceived as the musical establishment, and therefore, enemies of punk. It was a case of them and us. The battle-lines, it seemed, were drawn, and a battle for music’s future was about to take place. However, one of the winners were formed in 1977. They were everything that punk wasn’t, and would become one of the biggest groups of the seventies, eighties and nineties, Dire Straits.
The Dire Straits’ story began in 1977, when Mark Knopfler left his job as a journalist with the Yorkshire Post, to pursue a career in music. Next stop for Mark, was London, where he moved into his brother David’s flat.
David’s flatmate was another future member of Dire Straits, bassist John Ilsley. With the three future bandmates sharing a flat, Mark got a job teaching at Loughton College. At night, the college lecturer dawned the role of musician.
By then, Mark had formed what would become Dire Straits. He was the lead vocalist and guitarist. His brother David became rhythm guitarist and John Ilsley played bass. The final piece in the Dire Straits jigsaw, was drummer Pick Withers. With the band’s lineup in place, all they needed was a name.
Having been christened Dire Straits by a flatmate of Pick Withers or Mark Knopfler, the newly christened band started playing alongside Brewer’s Droop and Cafe Racers on the London pub circuit. This would stand them in good stead, for the tortuous tours Dire Straits would soon undertake. In the early days, the music they played an eclectic mixture of musical genres. Everything from blues, folk, jazz, rock and roots music influenced Dire Straits’ early sound. Their music was stripped down, understated and totally at odds with punk. However, within a year, Dire Straits would have the last laugh.
After establishing a reputation on the London pub circuit, Dire Straits by decided the time was right to record a demo tape. They chose five songs, including four written by Mark Knopfer, Dire Straits’ principal songwriter. He penned Sultans of Swing, Water of Love, Down to the Waterline and Wild West End, which would feature on Dire Straits’ 1978 eponymous debut album. The other track on the demo, was a David Knopfler composition Sacred Loving. These five tracks were recorded and taken to Charlie Gillett.
Charlie Gillett was a well known Radio London DJ, whose show Honky Tonk was something of a musical institution in London. Dire Straits took their demo tape to Charlie, who straight away, started playing Sultans Of Swing. This resulted in two month later, Dire Straits signing to Phonograph Records.
Recording of what became Dire Straits took place at Basing Street Studios, London, between 13th February 1978 and 5th March 1978. That’s where the nine Mark Knopfler penned songs were recorded. Mark Knofler played lead guitar and sang lead vocals. David Knofler played rhythm guitar, while drummer Pick Withers and John Ilsley provided Dire Straits’ rhythm section. Producing what became Dire Straits, was Muff Winwood. Once Dire Straits was completed, it was released seven months later on 7th July 1978.
Before the release of Dire Straits, Dire Straits set off on a fifty-five date tour. It began on 6th June 1978 at the Lafayette Club, Wolverhampton, and ended on 18th November 1978 at the College of Education in Hitchin. After that, Dire Straits embarked upon a European tour. By then, Dire Straits had released their eponymous debut album,
On the release of Dire Straits, on 7th July 1978, the album was well received by critics. That’s despite Dire Straits being the polar opposite of the post punk music that filled the charts. Critics enjoyed Mark Knopfler’s autobiographical lyrics, where humour, bitterness and irony shawn through. Having struck a chord with critics, Dire Straits proved popular with record buyers. It took some time though.
It wasn’t until Sultans Of Swing was released as a single in the spring of 1979, that Dire Straits made a commercial breakthrough. Sultans Of Swing became a staple of American radio. It reached number four in the US Billboard 100 and number eight in Britain. Water Of Love was then released as a single in some countries. By then, Dire Straits was a hugely popular album.
In America, Dire Straits reached number two in the US Billboard 200 and number five in Britain. Across the world, Dire Straits was a huge success. From Australia to France, Germany, New Zealand, Norway and Sweden, reached the top ten in the album charts. Dire Straits was a glittering success.
By February 1979, Dire Straits was certified silver in Britain. Eventually, it was certified gold in November 1979 and double platinum in February 1986. Over the Atlantic, Dire Straits was certified gold in America in February 1979 and double platinum in January 1987. Elsewhere, Dire Straits was certified platinum in Australia, France Germany and New Zealand. By 1979, Dire Straits had sold over six million copies worldwide. Dire Straits had the last laugh. Quietly, this unfashionable quartet had taken the world by storm. Meanwhile, punk was but a distant memory. The former punk heroes were back to the mundane reality of everyday life. Their fifteen minutes of fames was all but over. For Dire Straits, a musical adventure was about to unfold, starting with their eponymous debut album.
Down To The Waterline opens Dire Straits. It has an almost, eerie, moody, introduction. A foghorn sounds and sets the scene for the crystalline sound of Mark Knopler’s guitar playing slowly. Then all of a sudden, the rest of Dire Straits join forces, and the arrangement bursts into life. As the rhythm section provide the heartbeat, Mark paints pictures with his autobiographical lyrics. He remembers distant teenage assignations, walking along the quayside with his girlfriend. Meanwhile, he unleashes dazzling, chiming licks. They flit in and out of the arrangement, giving the listener a tantalising taste of what’s still to come from Dire Straits.
Water Of Love has a much more understated, laid-back sound. Mark’s slide guitar takes pride of place in the in the country tinged, shuffling arrangement. It’s reminiscent of Ry Cooder, early seventies albums. Meanwhile, Mark’s wistful vocal describes the breakup of his marriage. Hurt, heartbreak and regret are omnipresent. That’s apparent from the lyric “once I had a woman I could call my own, once I had a woman now she is gone.” Mark delivers it wistfully, longing for what he had, and has lost.
Setting Me Up sees the tempo and temperature rise. Mark’s relationship has gone wrong. He’s not pleased, as he sings “you’re setting me up to put me down, you’re making me up to be your clown”. As Mark bitterly describes a relationship gone wrong, he delivers some blistering, scorching licks. David his brother proves a perfect foil. As guitarists, they’re like yin and yang. Pick and John play their part too, driving the arrangement along, before this country-tinged tale of romantic woe reaches a crescendo.
The tempo drops and Six Blade Knife takes on a melancholy, but laid-back sound. It comes courtesy of Dire Straits’ rhythm section and a sprinkling of chiming guitars. Soon, Mark’s worldweary, lived-in vocal enters. He longs for one thing, freedom. “I’d like to be free of it now-I don’t know no more.” Everyone he realises a slave to something: “a needle a wife or something you can’t see.” His longing for freedom shines through as he delivers the lyrics deliberately and emotively. However, deep down, Mark knows this is just a dream.
Crystalline guitars and the rhythm section join forces on Southbound Again. They provide a jaunty backdrop for Mark’s gravelly vocal. His vocal is tinged with frustration and melancholy, as he sings “southbound again got no money, I’ve got no place to go.” The way Mark delivers the lyrics, he’s been there and experienced the despair and hardship. This however, was before the rise and rise of Dire Straits.
Sultans Of Swing is a song full of imagery and contrasts. Inspiration for the song came from Mark seeing a jazz band play in an empty bar. The musicians were scruffy, but at the end of the set, announce that they’re the Sultans Of Swing. After seeing this scenario unfold, Mark went home and wrote the song. The lyrics fell into place and tell the story of the Sultans Of Swing. Straight away, the crystalline guitar sits above the rhythm section, which powers the arrangement along. Mark and his guitar play starring roles, as he tells the story of the Sultans Of Swing, who forever, will remain contenders. Of all the songs on Dire Straits, the cinematic delight of Sultans Of Swing is the best.
In the Gallery tells the story of Harry, a coal miner, who at nights, becomes a sculptor. Despite his undoubted talent, he’s “ignored by all the trendy boys in London and in Leeds.” This is just one, of many stories of people with Britain’s long lamented industrial heartland, were hugely talented, but were victims of circumstances, and never fulfilled their potential. That’s why, when Mark delivers the lyrics, frustration, and sometimes, anger fills his voice. His guitar chimes and glistens, while the rhythm section provide the perfect backdrop for this tale of talent scorned.
Wild West End has a much more pared back, understated, country-tinged sound. Here, Dire Straits have been influenced by Americana, country and roots music on what’s akin to another short story. Mark’s literary background shines through. His lyrics paint pictures. So much so, that it’s possible to imagine the scenes unfold before your eyes. One minute, he’s im walking down Shaftesbury Avenue, the next getting on the number nineteen bus and falling in love with the conductress-“she was a honey, pink toenails and hands dirty with money.” The result, is a kitchen sink drama, Mark Knopfler style.
Lions brings Dire Straits to a melancholy close. There’s a particular English quality to Lions. Maybe it’s the mention of “Evensong” and “flags on poles.” They’re a remnant of what England once was. However, the characters in Lions are just as relevant today, as always. Some are damaged, damaged by the ravages of alcohol, others living in hope for a “stranger in the night.” Slowly, and wistfully, Dire Straits tell these stories. Mark’s weeping guitar, and a slow, thoughtful rhythm section provide the backdrop for his weary vocal. His cerebral, perceptive lyrics are akin to social commentary set to music.
Back in 1978, when Dire Straits released their eponymous debut album, it was a welcome distraction from the remnants of punk. Punk was on its last legs. It had become a parody of what was essentially a musical paradox. What had once been hailed a musical revolution, descended into commerciality and violence. Novelty punk songs were released, and concerts descended into chaotic scenes of violence. At least Dire Straits offered a welcome alternative and distraction.
After two years of music from bands who could barely play their instruments, the release of Dire Straits in July 1978 came as a welcome release. Here were a band of talented musicians, lead by a musical wordsmith. That describes Mark Knopfler perfectly.
Mark Knopfler came from a literary background. A former journalist, who was working as a teacher when he formed Dire Straits, words were Mark’s stock in trade. He was observer of daily life, who eavesdropped on the comings and goings of ordinary people. Almost seamlessly, he translated their lives into song. Their lives come to life. You empathise and sympathise with their stories. Other times, especially during the tales of love and love lost, you share their pain and hurt. It seems real. Especially when delivered by Mark’s lived-in, worldweary vocal. Mark has the uncanny ability of being able to bring this pain and hurt to life. Partly, that’s because Mark has lived the lyrics. He’s experienced the pain and hurt. However, there’s more to Dire Straits than Mark Knopfler’s lyrics and vocals.
Apart from having the ability to write and deliver cerebral and perceptive lyrics, Mark Knopfler was one of the most talented guitarists of his generation. Mark’s guitar complimented and augmented his poignant lyrics. Aided and abetted by his brother David’s guitar, bassist John Ilsley and drummer Pick Withers, Dire Straits were a hugely talented quartet. They would dominate British music for the next seventeen years.
Right through until 1995, Dire Straits were one of the biggest British bands. Each of their six studio albums and two live album were certified gold, platinum or multi-platinum worldwide. However, Dire Straits’ most successful album was 1985s Brothers In Arms. It was certified platinum nine time over in America alone. Right through until Dire Straits split-up in 1995, they could do no wrong. For three decades this proudly unfashionable quartet ruled the musical roost. The album that started this uninterrupted run of commercial success and critical acclaim was Dire Straits, an album of autobiographical and cinematic music, from the pen of musical wordsmith Mark Knopler.
DIRE STRAITS-DIRE STRAITS.
BRIAN ENO-HERE COME THE WARM JETS.
BRIAN ENO-HERE COME THE WARM JETS.
For Brian Eno, 1973 was the year the second chapter in his career began. Brian had just left Roxy Music after touring their sophomore album, For Your Pleasure. By the end of the tour, Brian had realised the life of a rock star wasn’t for him. He found the life of a rock star tedious. The constant touring, and spending half his life either on stage, or in an anonymous hotel room, wasn’t for Brian Eno. Then there were the disagreements with Roxy Music’s flamboyant frontman, Bryan Ferry. All this meant that Brian’s time with Roxy Music was at an end. This however, was a huge decision.
Leaving Roxy Music was a brave and controversial decision for Brian Eno. Roxy Music were one of the most successful British bands of the early seventies. However, Brian Eno’s creativity was being stifled. He felt that he had much more to offer music. Having toured For Your Pleasure, a frustrated and restless Brian Eno left Roxy Music, and embarked on a solo career.
Having left Roxy Music, straight away, Brian Eno began work on his debut album Here Come The Warm Jets. It’s best described as a fusion of art rock, avant garde, experimental and glam rock. Here Come The Warm Jets was an innovative album from Brian Eno.
Freed from the shackles of Roxy Music, Brian Eno wrote six songs for what became Here Come The Warm Jets. He also cowrote four other tracks. He penned Needles in the Camel’s Eye and Cindy Tells Me with ex-Roxy music colleague, Phil Manzanera. Brian and King Crimson founder Robert Fripp cowrote Blank Frank. The other track on Here Come The Warm Jets, was Some Of Them Are Old. It was a collaboration between Brian, Paul Thompson, Busta Jones and Nick Judd. These ten tracks became Here Come The Warm Jets, which was recorded over twelve days in September 1973, at Majestic Studios, London.
When recording of Here Come The Warm Jets began at Majestic Studios, London, Brian was accompanied by the great and good of British rock. Over twelve days in September 1973 at Majestic Studios, London, Brian, and sixteen guest musicians recorded the ten tracks that became Here Come The Warm Jets.
Joining Brian Eno for recording of Here Come The Warm Jets, were some of biggest names in music and some of the top session players. This included guitarists Robert Fripp of King Crimson, Roxy Music’s Phil Manzanera, Chris Spedding and Paul Rudolph. Lloyd Watson, who had opened for Roxy Music and King Crimson played slide guitar. Bassists included John Wetton of King Crimson and Family, Chris Thomas, Busta Jones and Bill MacCormick. Keyboardists included Roxy Music’s Andy MacKay, Nick Judd and Nick Kool and the Koolaids. Percussion came courtesy of Simon King, Marty Simon and Paul Thompson, who was then the Roxy Music drummer. Sweetfeed added the all important backing vocals on On Some Faraway Beach and Blank Frank. Brian produced Here Come The Warm Jets, added vocals and played guitar, synths and keyboards. Once Here Come The Warm Jets was completed later in September 1973, Brian Eno was ready to release his debut album.
On its release in January 1974, Here Come The Warm Jets was mostly well received, by critics. Reviews ranged from favourable to positive. There were some contrarian critics, namely Rolling Stone. However, since then, Here Come The Warm Jets has been reappraised by a new generation of critics. They realised that Here Come The Warm Jets was an ambitious, innovative album. As a result, Here Come The Warm Jets is now regarded as a classic album, one that shows what Brian Eno, freed from the restraints of Roxy Music was capable of. However, the record buying public didn’t seem to “get” Here Come The Warm Jets.
When Here Come The Warm Jets was released in January 1974, it only reached number twenty-six in the UK and number 151 in the US Billboard 200. This must have been a disappointment for Brian, who previously, had been part of one of the most successful British bands of the early seventies. Belatedly, however, Here Come The Warm Jets record buyers recognised the quality of music on Brian’s debut album. Here Come The Warm Jets, Brian Eno’s debut album was the album he had been longing to make.
Needle In The Camel’s Eye opens Here Come The Warm Jets. It’s a guitar driven, explosion of energy. From the get-go, a wall of joyous, melodic and hook laden music assails you. As guitars drive the arrangement along, drums pound urgently. The guitars are panned left and right. They surround and assail you. Meanwhile, Brian delivers the vocal with energy and enthusiasm. Later, as his vocal drops out, a sixties influenced guitar solo takes centre-stage. It toys with the listener, before Brian and his all-star band kick loose during the rest of this anthemic track.
Listening to The Paw Paw Negro Blowtorch, it’s obvious that this track influenced David Byrne’s Talking Heads. This is the case from the moment Brian’s delivers a vampish, flamboyant vocal. He’s accompanied by chiming, funky and searing guitars, the rhythm section and harmonies. Later, a myriad of futuristic, sci-fi sounds and a piano adds to what’s an ambitious and innovative track that spawned a thousand imitators.
Urgent and dramatic describes the ominous, slightly sci-fi introduction to Baby’s On Fire. Again, Brian’s vocal is vampish. It’s as if each track is a short story, and he’s playing a starring role. As a result, he adapts his vocal to suit each song’s lyrics. Keyboards, the rhythm section and sci-fi sounds join a searing, bristling, scorching guitar solo from Robert Fripp. He steals the show, wielding his guitar like a musical wizard. This adds a healthy dose of drama to what, thanks to Robert’s guitar, and earlier, Brian’s vocal, is an epic track.
Cindy Tells Me has a vintage sound, one that brings back memories of a musical era. Think late fifties, early sixties. However, this being Brian Eno, he gives the music of the past a makeover. Stabs of piano and cooing harmonies join Brian’s vocal. It veers between wistful to ironic. Sometimes, seems to mock, even pity those he’s singing about. Above his vocal, washes of guitar are akin to musical vapour trails. They’re joined by angelic, ethereal harmonies. They prove to be the finishing touch to what’s a fusion of music’s past, present and future.
Driving Me Backwards has an almost Bowie-esque sound. However, it’s taken further than before. Brian’s impassioned, soul-baring vocal is accompanied by a piano which is bathed in effects. Meanwhile, guitars reverberate, a bass buzzes and drama abounds. The result is a track that’s moody, broody and given that it paints pictures in your mind’s eye, cinematic.
Just a lone piano and ethereal harmonies combine on On Some Faraway Beach. In the distance drums and keyboards and a searing guitar plays. As the arrangement grows, they almost overpower the piano. Almost but never quite. Instead, and like Brian’s tender vocal they compliment what’s already beautiful, dramatic arrangement.
Blank Frank is very different from the previous track. They’re polar opposites. Raw power and nihilistic describes Blank Frank. Brian delivers a snarled vocal tinged with irony and anger. Meanwhile his band play loosely and with aggression. They almost attack their instruments. Guitars growl, while keyboards and drums are pounded. Soon, the track becomes a captivating jam. However, the aggression and anger of Blank Frank might well have played a part in inspiring punk two years later.
As drums and a piano play, you wonder where what direction Brian will take Dead Finks Don’t Talk. Against a backdrop of drums and piano, Brian sounds like a preacher delivering an ironic, spoken word vocal. It soon changes, becomes a tender, thoughtful vocal. He’s accompanied by howling backing vocals. Then when they drop out, a blistering guitar solo is unleashed. It’s replaced by handclaps and Brian’s chameleon like vocal. It veers between tender, thoughtful, comedic and ironic on what’s best described as a mixture of music, theatre and comedy.
Straight away, Some Of Them Are Old has wistful, melancholy sound. Just an organ and deliberate harmonies accompanies Brian on what’s a beautiful, wistful and lysergic track.
Here Come The Warm Jets closes with the title-track. Guitars bathed in effects, accompany the driving rhythm section and keyboards. Later, they’re joined by harmonies. They’re responsible for a driving, everyman, anthem.
Just ten months after leaving Roxy Music, Brian Eno released Here Come The Warm Jets, his much anticipated debut album in January 1974. Here Come The Warm Jets was well received upon its release. Reviews ranged from favourable to critically acclaimed. Despite that, Here Come The Warm Jets only reached number twenty-six in the UK and number 151 in the US Billboard 200. This must have been a disappointment for Brian, who previously, had been part of one of the most successful British bands of the early seventies. Belatedly, however, Here Come The Warm Jets record buyers recognised the quality of music on Brian’s debut album.
Nowadays, Here Come The Warm Jets, which is best described as a fusion of art rock, avant garde, experimental and glam rock is considered one of Brian Eno’s finest albums. Belatedly, this genre defying album is considered a classic. No wonder. Here, was a bold, ambitious, innovative album. This was the album Brian Eno had been longing to make. However, as a member of Roxy Music this wasn’t possible.
No. Here Come The Warm Jets was a step too far from the music Roxy Music released. They couldn’t risk releasing an album like Here Come The Warm Jets, so early in their career. That would risk everything Roxy Music had worked towards. So, the only alternative for Brian was to leave Roxy Music, the group he co-founded. Roxy Music had just made that all important commercial breakthrough, and were the critic’s darlings. That was a lot to sacrifice. Brian Eno however, was willing to make that sacrifice. It paid off.
Between 1974 and 1983, Brian Eno could do no wrong. He was one of the most innovative musicians of his generations. This run of critically acclaimed albums continued with his sophomore album Taking Tiger Mountain (By Strategy), which was released in November 1974. While Taking Tiger Mountain (By Strategy) wasn’t a commercial success, critical acclaim accompanied its release. That was the case from 1975s Another Green World and Discreet Music, to 1977s Before and After Science and 1978s Music For Films, which is another classic album. After that, Brian embarked upon a string of innovative albums. This includes 1982s Ambient 4: On Land, 1983s Apollo: Atmospheres and Soundtracks and then 1983s More Music For Films. This was one of the most fruitful periods of Brian Eno’s career.
Ten years after leaving Roxy Music, Brian Eno wasn’t just enjoying a solo career. He collaborated with a wide range of artists and had reinvented himself as a successful producer. His decision to leave Roxy Music had paid off.
While Brian Eno didn’t enjoy the same commercial success as a solo artist, as he would’ve with Roxy Music, Brian Eno’s self respect was in tact. For the last ten years, Brian Eno had been making music he believed in. Much of this music was groundbreaking, innovative and influential. This includes Brian Eno’s debut solo Here Come The Warm Jets, where freed from the shackles of Roxy Music, Brian Eno embarked upon a career as a musical pioneer.
BRIAN ENO-HERE COME THE WARM JETS.
KING CRIMSON-LARK’S TONGUES IN ASPIC.
KING CRIMSON-LARK’S TONGUES IN ASPIC.
It was in October 1969, that King Crimson burst onto the scene with their debut album In The Court Of The Crimson King. A true prog rock classic, In The Court Of The Crimson King was was released to critical acclaim and commercial success on both sides of the Atlantic. In The Court Of Crimson King reached number five in the UK, and was certified gold in America, when it reached number twenty-eight. Following the success of In The Court Of The Crimson King in America, King Crimson headed on their first American tour.
On their return home from their American tour, Ian McDonald and Michael Giles left King Crimson. This was the first of numerous lineup changes in the history of King Crimson.
The next member of the band to exit stage left was Greg Lake. He was approached by Keith Emerson to join what became Emerson, Lake and Palmer. Having lost three members of the band, Robert Fripp was left as the only member of King Crimson. This presented a problem, King Crimson had an album to record.
So former members, Peter and Michael Giles returned to play bass and drums, while Keith Tippett played piano. Robert played keyboards and guitars, while session musicians augmented the band’s lineup. Without a lead singer, an unknown singer Elton John was in the running to become King Crimson’s lead singer. However, instead, Robert Fripp sang the lead vocals. This proved a winning formula.
On its release in May 1970, In The Wake Of Poseidon reached number four in the UK and number thirty-one in America. In The Wake Of Poseidon would prove to be King Crimson’s most successful album, during a five year period where King Crimson were one of the most successful prog rock bands.
From In The Court Of Crimson right through to Panegyric, King Crimson were one of the most successful prog-rock bands. Quite simply, King Crimson were prog-rock royalty. For five years, King Crimson could do no wrong. This five year period was a golden period in King Crimson’s long and illustrious career. During this period, King Crimson were a prolific band.
Following the success of In The Wake Of Poseidon, King Crimson released their third album seven months later on 3rd December 1971. Again, King Crimson’s lineup seemed to be constantly evolving.
Jazz pianist Keith Trippett and flautist and saxophonist Mel Collins returned. They were joined by drummer Andy McCulloch and Yes’ frontman Jon Anderson. Lizard, which was produced by Robert Fripp and Peter Sinfield at Command Studios, London.
Lizard was a much more jazz oriented album. Despite its undoubtable quality, Lizard stalled at a disappointing number twenty-six in the UK and number 113 in the US Billboard 200. Equally disappointing was that this lineup of King Crimson never got the opportunity to tour. Having released two albums in seven months, it was another year before King Crimson released their fourth album, Islands.
Islands marked the end of era for several reason. The first was that Islands was the last album to feature Peter Sinfield’s lyrics. This was the last album to feature what was King Crimson’s trademark fusion of progressive, symphonic sound. Again there were changes in lineup. Boz Burrell played bass and sang lead vocals, while Ian Wallace played drums and percussion. On the release of Islands, the album divided opinion.
Some critics felt that Islands didn’t match the quality of King Crimson’s three previous albums. Despite this, Islands, which was released in December 1971, reached number thirty in the UK and number seventy-six in the US Billboard 200. Then there was the controversy surrounding Ladies Of The Road. King Crimson found themselves in the midst of a controversy where they were accused of misogyny. For King Crimson this wasn’t the best way to end an era.
For their fifth album, Larks’ Tongues In Aspic, the album marked the debut of the third lineup of King Crimson. Joining Robert Fripp were bassist John Wetton, ex-Yes drummer Bill Bruford, percussionist Jamie Muir and David Cross, who played violin, viola, Mellotron, electric piano and flute. This new lineup saw the band head in a new direction.
King Crimson incorporated different instruments, including percussion and African mbira. They moved away from their jazz sound, to a fusion of prog rock and experimental music on what became Larks’ Tongues In Aspic.
Larks’ Tongues in Aspic featured just six tracks. Robert Fripp, King Crimson’s founder member, wrote Larks’ Tongues in Aspic, Part Two and cowrote the other five tracks. David Cross, Robert Fripp, Bill Bruford and Jamie Muir cowrote Larks’ Tongues In Aspic, Part One and The Talking Drum. Robert Fripp, John Wetton and Richard Palmer James wrote Book Of Saturday and Easy Money. The trio of Robert, John and Richard collaborated with David Cross on Exiles. These six tracks became Larks’ Tongues In Aspic, which was recorded at Command Studio, London.
At Command Studio, the five members of King Crimson began recording and producing Larks’ Tongues In Aspic in January 1973. King Crimson spent January and February 1973 recording the six tracks that became Larks’ Tongues in Aspic. One Larks’ Tongues In Aspic was completed, it was released on 23rd March 1973.
On the release of Larks’ Tongues In Aspic, on 23rd March 1973, it received the same critical acclaim as previous albums. Critics called Larks’ Tongues In Aspic innovative and inventive. The music was experimental and jazz tinged. Comparisons were made to Yes’ Close To The Edge. However, Larks’ Tongues In Aspic stole the show. Some critics referred to Larks’ Tongues In Aspic as the most important prog-rock album of 1973. Given the opposition, this was quite an accolade.
Despite the critical acclaim and accolades that surrounded the release of Larks’ Tongues in Aspic, it only reached number twenty in Britain. While this was an improvement on 1970s Lizards and 1971s Island, Larks’ Tongues In Aspic failed to scale the heights of 1969s In the Court of the Crimson King or 1970s In the Wake of Poseidon. This was also the case in America. In America, Larks’ Tongues In Aspic reached just number sixty-one in the US Billboard 200. However, since its release in 1973, Larks’ Tongues In Aspic has been regarded as a prog-rock classic.
Larks’ Tongues in Aspic opens with the centre-piece of the album, Larks’ Tongues in Aspic, Part One. It’s a fourteen minute instrumental epic. Jamie Muir contributes a lengthy, understated percussive introduction. Everything from chimes, bells, a thumb piano, mbiras, a musical saw, shakers and rattles feature. Gradually, though, the arrangement changes. Soon, urgent, sweeping, strings take centre-stage. Then the percussion is soon joined by a taste of a blistering, guitar driven driven section. It then exposed into life. Robert Fripp’s searing, scorching guitar is at the heart of everything that’s good about the arrangement. Not to be outdone, Bill Bruford powers around his drum kit and John Wetton unleashes a funky bass. By then, King Crimson are in full flight. It’s a joy to behold. Later, the arrangement does a volte face, becoming wistful and minimalist. Just a lone violin plays, its melancholy sound taking centre-stage, until later, it’s joined by a distant, cinematic backdrop. That’s the signal for King Crimson to unite, as this epic track reaches a captivating crescendo.
Book of Saturday is very different from the previous track. The arrangement is much more understated and spacious. Just a crystalline guitar and probing bass joins John’s pensive vocal, as memories come flooding back. Soon, wistful strings sweep in, adding to the sense of melancholy as John scats. Later, heartfelt harmonies add to the ethereal beauty of Book of Saturday.
Disturbing, droning, eerie, futuristic, sci-fi sounds assail you as Exiles unfolds. Soon, the arrangement bubbles and drama builds. it’s not unlike a journey to a lost planet. Just like Larks’ Tongues in Aspic, Part One, there’s a nod to Pink Floyd. That becomes more apparent as the arrangement becomes melodic, and the myriad of disparate sounds dissipate. A wistful violin and a probing bass joining John’s pensive vocal. Before long, melodic becomes dramatic. From there, they two unite. Melancholy strings, chiming guitars and the rhythm section join with John’s heartfelt, pensive vocal. He delivers the lyrics with emotion, bringing meaning to the lyrics, on what would become a a staple of many a King Crimson concert.
Slow, dramatic and moody, describes the arrangement to Easy Money as it marches along to the beat of Bill’s drums. It’s augmented by soaring harmonies, gongs and then, when the arrangement is stripped bare, a chiming guitar. However, it’s John’s vocal that sits amidst the dramatic, broody arrangement. It pulsates and creeps along. Stabs of keyboards, cinematic strings, sound effects unite with Robert’s scorching, rocky guitar masterclass. It’s one of Robert’s finest solos. Add to that, John’s vocal and cerebral lyrics, and it’s one of Larks’ Tongues in Aspic’s highlights.
The Talking Drum is another instrumental. Understated, atmospheric and somewhat eerie describes the arrangement. Its minimalist sound toys with you. Then slowly, it builds. Drums play in the distance, then a bass is plucked, adding to the atmospheric backdrop. Soon, a fuzzy guitar and violins join. Still, the arrangement is understated. Gradually, it grows in power. Eventually, King Crimson kick loose. By then, elements of jazz, rock and world music are uniting. Combining disparate instruments and influences, they create an innovative, genre-straddling track.
Larks’ Tongues In Aspic, Part Two closes Larks’ Tongues In Aspic. Straight away, the track has a heavier sound. It’s as if King Crimson’s driving rhythm section and searing guitars are heading in the direction of heavy metal. That’s until the track takes on a classical sound. Later, the two combine. Whistles sound, drums pound and Robert’s scorching, riffing guitar plays a leading role. King Crimson it seems, are determined to close Larks’ Tongues In Aspic on a high, and succeed in doing so, with another instrumental epic.
When King Crimson released Larks’ Tongues In Aspic in 1973, they were in the midst of a five year period where King Crimson could do no wrong. Between In The Court Of Crimson right through to Panegyric, King Crimson were one of the most successful prog-rock bands. They released seven albums. During that period, commercial success and critical acclaim were constant companions of King Crimson. As a result, King Crimson became part of prog-rock royalty.
For five years, King Crimson could do no wrong. Larks’ Tongues In Aspic was the fifth album King Crimson had released since 1969. That’s quite an achievement, considering King Crimson’s ever changing lineup. This, however, didn’t affect the quality of music.
There’s a reason for this. Robert Fripp had the uncanny knack of bringing in the right musicians. They always seemed to compliment the other members of King Crimson. This was the case on Larks’ Tongues In Aspic, King Crimson’s fifth album.
Larks’ Tongues In Aspic marked the debut of the third lineup of King Crimson. Joining Robert Fripp were bassist John Wetton, ex-Yes drummer Bill Bruford, percussionist Jamie Muir and David Cross, who played violin, viola, Mellotron, electric piano and flute. This new lineup took King Crimson in a new direction.
On Larks’ Tongues In Aspic, King Crimson incorporated different instruments, including percussion and African mbira. They moved away from their jazz sound, to a fusion of prog rock and experimental music. There was even a nod to heavy metal on a couple of tracks. This made Larks’ Tongues In Aspic another captivating and critically acclaimed album, from one of prog-rock’s leading lights.
Indeed, Larks’ Tongues In Aspic is a genre classic. It’s one of the finest prog-rock albums released during the seventies. Seamlessly, the new lineup of picked up where the previous lineup of King Crimson left off on Islands. In doing so, the new lineup of King Crimson were responsible for one of the group’s finest hours.
Of the seven albums King Crimson release during their golden period, Larks’ Tongues In Aspic was a stonewall classic. Starting with the fourteen minute, instrumental epic Larks’ Tongues In Aspic, Part One and continuing through favourites like Book of Saturday, Exiles and Easy Money, King Crimson bring their A-Game to Larks’ Tongues In Aspic. Not once do they disappoint. The two other instrumentals, The Talking Drum and Larks’ Tongues In Aspic, Part Two allow King Crimson to showcase their considerable talents. It’s a joy to behold as what’s akin to a supergroup stretch their legs, taking the listener in unexpected directions. However, Larks’ Tongues In Aspic is a compelling and breathtaking journey, with King Crimson at the top of their game during their golden period.
Following Larks’ Tongues In Aspic, King Crimson released just two more albums during this golden period. They were 1973s Starless and Bible Black and 1974s Red. Neither of these albums replicated the critical acclaim and commercial success of Larks’ Tongues In Aspic. No. Larks’ Tongues In Aspic was a landmark album, and is one of the finest albums King Crimson released during their five year golden period. During that period, musical pioneers King Crimson, could do no wrong. Proof if any was needed, is King Crimson’s fifth album Larks’ Tongues In Aspic.
KING CRIMSON-LARK’S TONGUES IN ASPIC.
TANGERINE DREAM-RUBYCON.
TANGERINE DREAM-RUBYCON.
Tangerine Dream are, without doubt, the original musical chameleons. Since forming in 1967, Tangerine Dream’s music has been constantly evolving. As a result, they can never be accused of standing still. Far from it.
During the last six decades, Tangerine Dream have flitted between musical genres as they recorded over 125 studio albums. Like musical butterflies, Tangerine Dream have toyed with psychedelia, Krautrock, the Berlin School, progressive rock, ambient, avant-garde, experimental, new age and electronica. Then as the age of electronic music unfolded, Tangerine Dream embraced drum and bass and progressive house. Still, Tangerine Dream remained relevant. That’s despite Tangerine Dream’s lineup being somewhat fluid.
When Edgar Froese founded Tangerine Dream in 1967, he was briefly joined by drummer Klaus Schulze. However, before long, Klaus left Tangerine Dream. This was a brief taste of the future.
Little did Edgar realise, that over the next forty-eight years, that another twenty-four musicians would play a part in the Tangerine Dream story. Some, however, like Klaus Schulze, would only play a walk-on part in Tangerine Dream’s story. Others, including Christopher Franke and Peter Baumann played a starring role in the rise and rise of Tangerine Dream.
Christopher Franke and Peter Baumann were part of the what is regarded as the classic lineup of Tangerine Dream. The first to join Tangerine Dream was Christopher Franke.
He joined in time to record Alpha Centauri, Tangerine Dream’s sophomore album. It was recorded in early 1971, and the spacey, atmospheric soundscape was released to critical acclaim in March 1971. Alpha Centauri was the second album in what became known as Tangerine Dream’s “Pink Years.”
Electronic Meditation.
The “Pink Years” had began a year earlier when Tangerine Dream released their debut album Electronic Meditation in June 1970. However, Electronic Meditation was recorded a year earlier in 1969.
Recording of Electronic Meditation took place in in a disused factory in Berlin, using just a two-track Revox tape recorder. The lineup of Tangerine Dream included Tangerine Dream’s founder member Edgar Froese, Klaus Schulze and Conrad Schnitzle. They were joined by session musicians Jimmy Jackson and Thomas Keyserling. During October 1969, Tangerine Dream started as they meant to go on. This meant recording a genre defying album.
On Electronic Meditation, Tangerine Dream recorded what critics hailed as a genre defying album. They combined free jazz, rock, avant-garde and electronic music. These genres melted into one. The result was Electronic Meditation, an album that was well received by critics. This was the start of the “Pink Years.”
Alpha Centauri.
The followup to Electronic Meditation was Alpha Centauri. This was the album that saw Christopher Franke make his Tangerine Dream debut. He played his part in a truly groundbreaking album, Alpha Centauri.
Recording of Alpha Centauri too place in early 1971. Then in March 1971, Alpha Centauri, which is best described as a spacey, atmospheric soundscape was released to critical acclaim. It’s a timeless album, one that it’s hard to believe was recorded forty-four years ago. It has stood the ravages of time, and is a tantalising taste of what was still to come from one of music’s most innovative groups.
Zeit.
Having released the first two albums in the “Pink Years,” Tangerine Dream recorded their third album in 1972. That’s when Peter Baumann joined Tangerine Dream in 1972. He was part of the lineup of Tangerine Dream that recorded Zeit, which was a landmark album.
Zeit was the first Tangerine Dream to feature what became known as the group’s classic lineup. They recorded some of Tangerine Dream’s best music. That’s quite a statement, given how prolific Tangerine Dream were. They would record over sixty-five studio albums and a further sixty soundtracks. Then there’s countless live albums. Each album shows Tangerine Dream’s music evolving.
That was the case with Zeit. The music was slower, and much more atmospheric. It was also way innovative, and way ahead of its time. Indeed, on Zeit, Tangerine Dream pioneered the drone music that’s seen as cutting edge in 2015. Tangerine Dream always were ahead of the musical curve. So much so, that Zeit is now regarded as a timeless, Krautrock classic. This wouldn’t be Tangerine Dream’s only classic album.
Atem,
Following Zeit, the musical changelings continued to change direction. Atem, which marked the end of Tangerine Dream’s “Pink Years,” was a much more eclectic album. It veered between the slow, atmospheric tracks of previous albums, right through to much more experimental, aggressive tracks.
On Atem, Tangerine Dream made effective use of a Mellotron, experimental vocals and a myriad of percussion. This resulted in the album that saw Tangerine Dream make a commercial breakthrough in Britain.
Phaedra.
While Atem saw Tangerine Dream make a commercial breakthrough in Britain, Phaedra was a game-changer of an album. Phaedra was the first Tangerine Dream album to feature their sequencer driven sound. It was also the album that launched the Berlin School sound.
As recording of Phaedra took place during December 1973, Tangerine Dream decided to improvise on what would become the title-track. However, before long, problems started to arise. As the temperature rose in the studio, oscillators started to detune. This resulted in a marked change in the sound. This happy accident played an important part in Phaedra’s sound. Other tracks, including Movements Of A Visionary, showcased the nascent technology. This included a Moog synth. It played its part on what critics called one of the most important electronic albums in musical history.
On the release of Phaedra, on 20th February 1974, critics called the album a classic. It also struck a nerve with record buyers. Phaedra reached number fifteen in Britain and was certified gold. After five albums Tangerine Dream had struck gold. It looked like they were on their way to becoming part of rock royalty.
Rubycon.
Having made the all important breakthrough, Tangerine Dream were determined to prove that Phaedra wasn’t a one off. So, they began work on their sixth album Rubycon.
Rubycon saw Tangerine Dream pickup where they left of on Phaedra. This meant moving their Berlin School sequencer based sound forwards on Rubycon. As founders of the Berlin School, Tangerine Dream felt a responsibility to progress the sound.
Standing still wasn’t in Tangerine Dream’s nature. It never had been. That had been the case since Tangerine Dream released their 1970 debut album Electronic Meditation. Since then, Tangerine Dream had been musical changelings, moving between musical genres. Having left their “Pink Years” behind them after Atem, Phaedra saw Tangerine Dream founding the Berlin School. With this in mind, Tangerine Dream began work on Rubycon.
Rubycon was very different from previous Tangerine Dream albums. It consisted of just two lengthy tracks. Each lasted just over seventeen minutes. This meant each track filled one side of Rubycon. The two tracks, Rubycon (Part One) and Rubycon (Part Two), were written by Edgar Froese, Christopher Franke and Peter Baumann. They recorded Rubycon at Richard Branson’s The Manor Studio, in Shipton-on-Cherwell.
At The Manor Studio, the three members of Tangerine Dream began recording and producing what became Rubycon. Edgar Froese played mellotron, guitar, a VCS 3 synth and gong. Christopher Franke played a similarly eclectic collection of instruments. This included a double Moog synth, organ, prepared piano, Synthi A and gong. Peter Baumann played an organ, Synthi A, Fender Rhodes, piano and ARP 2600. With this eclectic selection of instruments at their disposal, the result was another critically acclaimed album from Tangerine Dream.
On Rubycon’s release, critics hailed it another innovative album from Tangerine Dream. Record buyers agrede. Rubycon reached number fourteen in the UK. Despite this, Rubycon didn’t sell as well as Phaedra. However, Rubycon was still commercially successful and critically acclaimed.
Rubycon (Part One) opens Rubycon. The arrangement has an eerie, haunting cinematic sound. It’s slow and spacious. Washes of synths shimmer, gentle stabs of keyboards add a sense of urgency and drama. Soon, the arrangement is beginning to sound like the soundtrack to a lost horror film. Then all of a sudden, it’s akin to an awakening, as the arrangement becomes ethereal and elegiac. As the arrangement coos, shimmers and glistens, it then takes on a futuristic, sci-fi sound. Before long, Tangerine Dream have transformed the arrangement. It stretches its legs, lazily unfolding, and allowing you a glimpse of its hidden depths. Later, it becomes dark and ominous, as it drives and pulsates along. By now, there’s a Krautrock influence. Still, however, the music has a dark, atmospheric and cinematic sound. Later, arrangement drives along. Gone is pulsating sound, but the drama remains. It’s as if Tangerine Dream are providing the soundtrack to a long forgotten film.
Washes of synths assail you as Rubycon (Part Two) unfolds. They come towards you, assailing and surrounding you. It’s as if the end is neigh. Their ominous sound is like a battalion of otherworldly creatures droning above you, just waiting to spring some unpleasant surprise. Then the music changes. It becomes ethereal and elegiac. What sounds like a choir angels sweeps down, trying soothe your fears. Before long, the music takes on an almost spiritual quality. Soon, it’s all change again. The arrangement pulsates and pumps along. What follows makes Tangerine Dream sound like the rightful Godfathers of modern electronic music. This is techno, long before the term was coined. Later, Rubycon (Part Two) in a different direction. It sounds like a cinematic soundscape, where the listener supplies the scenes to music. From there, the music on this seventeen minute epic veers between evocative and atmospheric, to moody and broody, right through to ethereal and elegant to dark and dramatic. As Rubycon (Part Two) and therefore, Rubycon draws to a close, you long to hear more from of the same from Tangerine Dream. Rubycon has been a tantalising taste of what Tangerine Dream are capable of.
Eight years after Tangerine Dream had been founded by Edgar Froese in 1967, they were one of the most innovative groups of the seventies. Rubycon was their sixth album, and is a genre-defying album featuring two epic soundscapes lasting seventeen minutes each. They see Tangerine Dream, the original musical butterflies, toying with disparate musical genres on the two soundscapes. Everything from psychedelia, Krautrock, Berlin School, progressive rock, ambient, avant-garde, experimental, new age and electronica can be heard on Rubycon, a truly captivating, innovative and timeless album. That’s not all.
Listening again to Rubycon, it’s quite unlike most of the studio albums released during 1974. Instead, Rubycon sounds like a soundtrack album, something Tangerine Dream would become famous for. They released over sixty soundtrack albums. Along with live albums, that was one of their specialities. Rubycon, Tangerine Dream’s sixth album, is a reminder of that.
Rubycon has that cinematic quality, that a good soundtrack album has. No wonder. It has everything a good soundtrack album needs. The music is variously atmospheric, eerie, evocative, haunting and spacious. Slowly, the arrangement shimmers and glistens, before becoming ethereal and elegiac. Other times, the music is dark, dramatic and ominous, before heading in the direction of a futuristic, sci-fi sound. Constantly, Tangerine Dream, musical adventurers extraordinaire, dare the listener to second guess them. It’s not worth trying. Instead, sit back, and enjoy the music. Let it was over you, and immerse yourself in its beauty and drama. Listen to, and enjoy, Rubycon’s subtleties and nuances, as slowly, and gradually they begin to unfold. However, it’s impossible to discover all of Rubycon’s delights in one listen.
No. It takes time, and several listens to discover the many delights of Rubycon, an epic, genre classic. Rubycon was, without doubt, one of Tangerine Dream’s best albums. It’s a classic of the Berlin School, and essential listening for anyone interested in either electronic music, Krautrock or prog-rock. These three genres shine through on Rubycon. So do ambient, avant-garde, free jazz, psychedelia and rock. All these genres play their part in one Tangerine Dream’s finest hours, Rubycon, which is the perfect introduction to one of the most progressive, influential and innovative bands of the past fifty years, Tangerine Dream.
TANGERINE DREAM-RUBYCON.
COCTEAU TWINS-BLUE BELL KNOLL.
COCTEAU TWINS-BLUE BELL KNOLL.
By 1988, the Cocteau Twins’ star was in the ascendancy. They were officially, one of music’s rising stars. So it’s no surprise that major labels were starting to take an interest in the Cocteau Twins.
That wasn’t surprising. The Cocteau Twins had already served their musical apprenticeship. They had already released four solo albums and nine E.P.s since forming in 1980. Critical acclaim accompanied each released. This included the Cocteau Twins’ collaboration with Harold Budd on The Moon and The Melodies, released in 1986. The Moon and The Melodies further reinforced the Cocteau Twins’ credentials as the hottest indie band of the eighties.
Since releasing their debut album Garlands in 1982, the Cocteau Twins had been indie darlings. Garlands reached number four in the UK indie charts and was certified silver. For the Cocteau Twins, this the perfect start to their career.
The followup to Garlands, 1983s Head Over Heels reached number one in the UK indie charts and number fifty-one on the main UK charts. Just like Garlands, Head Over Heels was certified silver. It seemed the Cocteau Twins could do no wrong.
Treasure, released in 1984 then reached number two in the UK indie charts and number twenty-nine on the main UK charts. Two became three when Treasure was certified silver. With each release, the Cocteau Twins’ popularity was growing.
This continued with Victorialand in 1985. It reached number one in the UK indie charts and number ten on the main UK charts. By then, major labels were beginning to show an interest in the Grangemouth trio of Liz Fraser, Robin Guthrie and Simon Raymone. So were other artists.
Among them were Harold Budd, the American avant-garde composer and poet. He collaborated with the Cocteau Twins on The Moon and The Melodies, which reached number one in the UK indie charts and number forty-six on the main UK charts. This high profile, critically acclaimed collaboration increased the Cocteau Twins’ profile.
Before long, major labels were showing an interest in the Cocteau Twins. Eventually, a deal was struck where Capitol Records would license the Cocteau Twins’ releases from 4AD in the US. This suited everyone, as the Cocteau Twins had still to make a breakthrough in the lucrative American market. With the marketing muscle of Capitol Records behind the Cocteau Twins, maybe, just maybe, their fifth album Blue Bell Knoll, would chart in America?
For the recording of Blue Bell Knoll, recording took place at September Sound, Twickenham, London. That’s where the Cocteau Twins recorded the ten tracks on Blue Bell Knoll. Each of these tracks were penned by the three members of the Cocteau Twins. They played their part in ten atmospheric, ethereal and cinematic soundscapes full of imagery.
At September Sound, the three members of the Cocteau Twins got to work. They picked up where they left off on Treasure, the Cocteau Twins’ previous album. Liz Fraser added her inimitable vocals, Robin Guthrie played guitar and Simon Raymonde added bass. Once the ten tracks were completed, Blue Bell Knoll was released on 19th September 1988.
When Blue Bell Knoll was released on 19th September 1988, it was to almost overwhelming critical acclaim. Blue Bell Knoll, was perceived as the Cocteau Twins’ finest album. Despite that, the usual contrarian critics had their knives out for Blue Bell Knoll. That was to be expected, as these critics enjoyed the controversy that came with such contrarianism. However, what mattered was sales.
Blue Bell Knoll reached number fifteen on the main UK charts and number one on the UK indie charts. This was the Cocteau Twins third number one indie album. However, things however, got even better for the Cocteau Twins. On its release in America, Blue Bell Knoll reached number 109 on the US Billboard 200 charts. The combination of Capitol Records’ marketing muscle and the Cocteau Twins’ considerable talent, the Grangemouth trio were well about to reach new heights of commercial success and critical acclaim. This started with Blue Bell Knoll.
Opening Blue Bell Knoll, is the title-track. What sounds like flourishes of harpsichord are joined by Liz’s inimitable, ethereal vocal. She delivers the vocal in what’s akin to a secret language. It is, however, heartachingly beautiful. Especially, with a subtle bass, drum and harpsichord for company. They take care never to overpower Liz’s vocal. Only when her vocal drops out, does a wall of music assail you. This includes a fuzzy and later, searing guitar. They play their part in a post punk soundscape that’s variously beautiful, dramatic and ethereal.
The drama continues on Athol-Brose. It comes courtesy of Liz’s impassioned vocal. It’s multi tracked and accompanied by a plodding drum, bass and chiming guitars. They add an element of urgency, as Liz unleashes a heartfelt, soul-baring that’s akin to a cathartic unburdening.
Deliberately Carolyn’s Fingers Robin runs his fingers down his guitar. It shimmers and glistens, before a wash of sound encircles Liz’s deliberate, soaring vocal. Soon, her vocal grows in power, as ethereal harmonies are panned right. Behind her, the arrangement is melodic and dreamy, the perfect foil to the ethereal quality of Liz’s vocal.
Slowly, the dreamy arrangement for For Phoebe Still a Baby unfolds. Before long, it envelops, and cocoons you. What follows is an innovative soundscape. The Cocteau Twins pioneered this type of music on their previous album, Victorialand. Again, Liz’s fragile, tender vocal is key to the song’s success. It has an almost vulnerable sound. Especially when it combines with her dreamy harmonies, resulting in an innovative, but timeless soundscape.
Driven guitars chime, and are drenched in reverb on The Itchy Glowbo Blow. They join drums and Liz’s cooing, floaty vocal. Together, they play their part in an elegiac, lysergic soundscape.
Cico Buff has a floaty minimalist, cinematic sound. A drum machine plays thoughtfully, and guitars chime and shimmer. They set the scene for Liz’s melancholy, tender dreamy vocal. This is easily one of her best vocals. It cascades above the arrangement, which is akin to a journey on a musical merry-go-round.
Suckling The Mender takes the cinematic sound of the previous track further. This could easily have been part of the soundtrack to a lost Wim Wenders’ movie. Indeed, if a followup to Paris Texas had been made, this would’ve been perfect. The soundscape is simplicity itself. Drums pitter patter, guitars shimmer and glisten. The final piece in the musical jigsaw is Liz’s cooing, ethereal vocal.
From the get-go, Spooning Good Singing Gum has the Cocteau Twins’ name written all over it. They combine a minimalist mixture of trembling guitars and crispy drums with Liz’s vocal. It veers between an understated, ethereal, cooing sound to powerful, impassioned and dramatic. The result is a potent, and heady brew that paints pictures and takes you places, places you’ve never been before.
As A Kissed Out Red Floatboat begins, it’s mostly business is usual. The only difference are a few sci-fi sounds that soar above the arrangement. Then when Liz’s vocal enters, her delivery is much more tradition. She’s not improvising as much. That comes later. By then she’s flitting been a traditional and her trademark style. It’s a captivating combination. Especially with the other Cocteau Twins creating a dreamy, otherworldly backdrop.
Ella Megalast Burls Forever closes Blue Bell Knoll. It has the perfect sound to close any album, especially one as good as Blue Bell Knoll. From the opening bars, Robin and Simon provide a dramatic backdrop for Liz’s vocal. It’s equally dramatic, and heartfelt. As she delivers the lyrics, it’s with equal parts emotion, hope and sincerity. This proves a beautiful conclusion to Blue Bell Knoll, the first in a golden quartet of albums from the Cocteau Twins.
For the Cocteau Twins, Blue Bell Knoll was a landmark album. It was the start of an eleven year period where they could do wrong. From Bell Knoll, through 1990s Heaven Or Las Vegas, 1993s Four-Calendar Cafe and their final album, Milk Or Kisses, released in 1997 the Cocteau Twins enjoyed commercial success and critical acclaim. Their final three albums all reached the top twenty in the UK. The most successful of these three albums was Heaven Or Las Vegas, which was certified silver in the UK. That’s not surprising, as it’s one of the Cocteau Twins’ best album. Meanwhile, the Cocteau Twins were belatedly, enjoying commercial success in America. Heaven Or Las Vegas, Four-Calendar Cafe and Milk Or Kisses all reached the top hundred in the US Billboard 200 charts. No longer were the Cocteau Twins just an indie band.
No. The Cocteau Twins were now enjoying mainstream success. It had been a longtime coming. It had taken eight years before the Cocteau Twins made their breakthrough in America with Blue Bell Knoll. Now, however, all the years of trying had paid off. For Liz, Fraser, Robin Guthrie and Simon Raymone, Blue Bell Knoll was a game-changer.
Of the five studio album the Cocteau Twins had recorded, Blue Bell Knoll was their finest hour. It featured ten tracks lasting thirty-five minutes. The music on Blue Bell Knoll was variously beautiful, cinematic, dramatic, dreamy, elegiac, ethereal, lysergic and otherworldly. During Blue Bell Knoll, the Cocteau Twins music washes over you, cocooning, enveloping and sometimes, assailing you. Its otherworldly sound is akin to a journey to a lost world. On this journey, you float along, a spectator on this forgotten kingdom and its hidden secrets. Providing the backdrop are the Cocteau Twins, who provide music that’s innovative, timeless and unique.
Try as the pretenders may, no one can replicate the dream pop sound of the Cocteau Twins. They showcased this sound on Victorialand, and then perfected it on Blue Bell Knoll. Crucial to this sound was Liz Fraser’s beautiful, ethereal vocal. The Cocteau Twins’ First Lady played a huge part in the rise and rise of the Cocteau Twins. However, the Cocteau Twins weren’t a one woman band.
Far from it. Robin Guthrie and Simon Raymone provided the backdrop for Liz’s vocal on their seven studio albums. They were yin to Liz’s yang for seventeen years. Sadly, in 1997, the Cocteau Twins split-up. However, the Cocteau Twins left behind a rich, innovative and truly timeless musical legacy, including Blue Bell Knoll, which transformed the career of the Cocteau Twins.
COCTEAU TWINS-BLUE BELL KNOLL.
TARAF DE HAÏDOUKS-OF LOVERS, GAMBLERS AND PARACHUTE SKIRTS.
TARAF DE HAÏDOUKS-OF LOVERS, GAMBLERS AND PARACHUTE SKIRTS.
Twenty-five years ago, Taraf de Haïdouks made their debut. Little did anyone realise that this was the start of musical journey that would see Taraf de Haïdouks crowned “the best Gypsy band in the world.” That’s quite an accolade. However, anyone that’s seen Taraf de Haïdouks live, will agree with this.
Live, Taraf de Haïdouks seamlessly flit between heartfelt ballads to love songs, through old school dance tunes and Turkish tinged instrumentals. It’s a potent mix of musical genres. This mix of musical genres also features on Of Lovers, Gamblers and Parachute Skirts, Taraf de Haïdouks’ latest album, which will be released on Crammed Discs, on 26th January 2015.
Of Lovers, Gambers and Parachute Skirts sees Taraf de Haïdouks celebrate their twenty-fifth anniversary. Fittingly, Taraf de Haïdouks revisit the music that’s influenced them. They also revisit their back-catalogue. However, what should be a celebration, is tinged with sadness.
Sadly, Of Lovers, Gambers and Parachute Skirts features a very different lineup of Taraf de Haïdouks. Four of the original members of Taraf de Haïdouks have passed away. The loss of Ion Manole, Neculae Neacsu, Cacurica and Ilie Iorga was a huge blow to Taraf de Haïdouks. That could’ve derailed many groups. Not Taraf de Haïdouks. They continue to tour relentlessly, and record albums.
Their latest album, Of Lovers, Gamblers and Parachute Skirts is Taraf de Haïdouks’ sixth solo album. To celebrate twenty-five years together, Taraf de Haïdouks have enlisted three old friends The first is vocalist Tsagoi, the son of the legendary, late Neacsu. He’s joined by Gheorghe Manole, who is following in the footsteps of his father, the late, great Ion Manole. The final guest artist is Viorica Rudareasa, who sang Taraf de Haïdouks’ iconic song Dumbala Dumb. Along with Taraf de Haïdouks, they play their part in a celebration of the music of “the best Gypsy band in the world.” Their story began back in 1990.
Taraf de Haïdouks roots are in Clejani, in Romania. That’s where they were formed twenty-five years ago, in 1990. Previously, the members of Taraf de Haïdouks had been playing at baptisms, weddings, funerals and harvests. However, during the next twenty-five years, Taraf de Haïdouks’ music was constantly changing.
The first change was when accordions found their way into the traditional bands, like Taraf de Haïdouks. This was a first. Previously, just violins and cymbalums featured. However, Taraf de Haïdouks embraced this change, and would continue to do so for the next twenty-five years.
Then the urban cabaret style started to feature heavily. Soon, Turkish melodies and rhythms influenced Taraf de Haïdouks. Later, the harmonies and structures became more complex. This suited Taraf de Haïdouks. They enjoyed the opportunity to showcase their talent. It was during this period, that instrumental music became more popular. However, Taraf de Haïdouks didn’t just jump onboard a passing bandwagon. No. They mixed the old and the new. That’s why Taraf de Haïdouks have been together twenty-five years and released eleven albums.
Having formed in 1990, Taraf de Haïdouks released their debut album in 1990. This was Musique Des Tziganes De Roumanie, which was released on Cramworld. Musique Des Tziganes De Roumanie caught the attention not just just of critics, cultural commentators and record buyers, but a film director.
Not long after releasing Musique Des Tziganes De Roumanie, Taraf de Haïdouks became stars of the sliver screen. They appeared in Tony Gatlif’s influential Latcho Drom film. This brought Taraf de Haïdouks to the attention of a much wider audience. Since then, Taraf de Haïdouks have rubbed shoulders with fashion designers and film stars. They’ve worked with fashion designer Yohji Yamamotos on Paris and Tokyo shows, and appeared alongside Johnny Depp and Christina Ricci in Sally Potter’s The Man Who Cried. Despite this, Taraf de Haïdouks live quietly in the village of Clejani, in the Valachian countryside. That’s apart from when they’re making music.
Making music is what Taraf de Haïdouks seem to do most of the time. Having released their debut album in 1991, Taraf de Haïdouks released their sophomore album in 1994. This was Honourable Brigands, Magic Horses And Evil Eye (Musique Des Tsiganes De Roumanie – Volume 2). After its release on Cramworld, Taraf de Haïdouks’ star continued to be in the ascendancy.
It seemed that word was continuing to spread about Taraf de Haïdouks. Norwegian rock star Åge Aleksandersen asked Taraf de Haïdouks to collaborate on his 1997 album, Fredløs | Dylan På Norsk. This allowed a wider audience to hear Taraf de Haïdouks’ music.
So, when they released Dumbala Dumba in 1998, it was to a much wider audience. What also helped in the rise and rise of Taraf de Haïdouks, was that they toured relentlessly. It seemed that Taraf de Haïdouks were constantly on tour. However, they still found time to record their next album.
During 2001, Taraf de Haïdouks worked on three albums. This included their fourth solo album, Band Of Gypsies. Taraf de Haïdouks also collaborated with Outlaws Of Yore on two albums Outlaws Of Yore II / Les “Haïdouks” D’Autrefois I and Outlaws Of Yore II / Les “Haïdouks” D’Autrefois II. It seemed that Taraf de Haïdouks were getting a taste of life in the recording studio. Sadly, that wasn’t the case.
Four years passed before Taraf de Haïdouks released another album. The Continuing Adventures Of Taraf De Haïdouks was released in 2005. Critical acclaim accompanied The Continuing Adventures Of Taraf De Haïdouks, which was the first of a quartet of albums Taraf de Haïdouks released for Crammed Discs.
Two years after the release of The Continuing Adventures Of Taraf De Haïdouks, came Maškaradă. This was Taraf De Haïdouks’ fifth solo album. Maškaradă was released to critical acclaim. Indeed, so good was Maškaradă that Taraf de Haïdouks were crowned “the best Gypsy band in the world.” That’s quite an accolade. So, most people thought Taraf De Haïdouks would be in a hurry to record their next studio album.
Wrong. Four years passed before Taraf De Haïdouks with Band Of Gypsies 2. No. It was the fourth collaboration of Taraf De Haïdouks’ career. However, what a collaboration Band Of Gypsies 2 was. Taraf De Haïdouks couldn’t have picked a better collaborator. Macedonia based, Koçani Orkestar, are without doubt, one of the best, and most innovative Balkan brass bands. They were yin to Taraf De Haïdouks’ yang on Band Of Gypsies 2. That’s why Band Of Gypsies 2 was one of the best collaborations of Taraf De Haïdouks’ career. However, Taraf De Haïdouks’ fans longed for another solo album. Surely, it wouldn’t be much longer?
Another four years passed before Taraf De Haïdouks announced that Of Lovers, Gamblers and Parachute Skirts would be released on Crammed Discs, on 26th January 2015. This will be a fitting tribute to not just Taraf De Haïdouk’s twenty-five year career, and Ion Manole, Neculae Neacsu, Cacurica and Ilie Iorga who sadly, have passed away. They all played their part in the rise and rise of Taraf De Haïdouks. Of Lovers, Gamblers and Parachute Skirts is a celebration of a twenty-five year musical journey, and those who played a part and made it possible. This includes the latest lineup of Taraf De Haïdouks.
Taraf De Haïdouks’ lineup of on features flautist Gheorghe Falcaru, violinists Anghel Gheorghe “Caliu,” Robert Gheorghe, Constantin Lautaru “Costica” and Paul Giuclea “Pasala. They’re joined by accordionist Marin Manole and “Marius” Marin P. Manole. Filip Simeonov plays clarinet and Ion Tanase “Ionica” plays cymbalum. Constantin Lautaru “Costica and Marin P. Manole also add lead vocals on two tracks each. With a little help from their friends, Taraf De Haïdouks recorded Lovers, Gamblers and Parachute Skirts.
On Lovers, Gamblers and Parachute Skirts, Taraf De Haïdouks fuse musical genres and influences over fourteen disparate tracks. Seamlessly, Taraf De Haïdouks flit between heartfelt ballads to love songs, through old school dance tunes and Turkish tinged instrumentals. It’s a potent mix of musical genres that’s a reminder of why Taraf De Haïdouks are called “the best Gypsy band in the world.”
That’s apparent from the opening bars of Balalau From Bucharest. Propelled along by gypsy violins, a bass and accordions, musical influences old and new combine. They’re joined by Viorica Rudareasa’s vocal. It’s the perfect addition this irresistible and joyous musical celebration. It’s the perfect way to begin celebrating twenty-five years of Taraf De Haïdouks.
There’s no let up on Moldavian Shepherds’ Dance. Again the bass, and scratchy, gypsy violins drive the arrangement along. This is the first of the instrumentals and is a tantalising taste of another side of Taraf De Haïdouks, one that’s akin to a call to dance.
Very different from the previous tracks is Cold Snowball. It features a soul-searching vocal from Constantin Lautaru “Costica. Accompanied by a wistful, dramatic arrangement, Taraf De Haïdouks’ relentlessly toys with your heartstrings.
The Fields Are Blooming follows in the footsteps of Moldavian Shepherds’ Dance. It’s best described as an explosion of joy, where Taraf De Haïdouks give thanks for a plentiful harvest.
As the tempo drops, Clejani Love Song is akin to an outpouring of emotion. As the violins, accordion and bass play, a heartachingly beautiful vocal from Marin P. Manole tugs at your heartstrings. It’s captivating, beautiful, needy and hopeful.
Manele Pomak sees Taraf De Haïdouks. Sharp stabs of violins and accordion give the track an almost cinematic sound. Then a clarinet adds a Turkish influence. By then, Taraf De Haïdouks are painting pictures with their music. You imagine Manele Pomak as the soundtrack to a thriller set in downtown Istanbul.
Bursting into life, The High Balcony In Ciolpan grabs your attention. Then the tempo slows, and the violins and accordion play deliberately. They provide the backdrop for a vocal bathed in emotion. Sadness and melancholy are ever-present, as memories come flooding back. The result is a poignant and moving track.
Where Do You Come From, Dear Lady? sees Taraf De Haïdouks up the tempo. As the bass drives the arrangement urgently along, violins sweep and accordions play. As the dramatic, urgent arrangement unfolds, a tender, thoughtful and questioning female vocal enters. She’s determined to discover Where Do You Come From, Dear Lady? before the track reaches its dramatic crescendo.
Slow, deliberate and minimalist describes the introduction to No Snow, No Rain. So does eerie, atmospheric and cinematic. Mostly, that’s down to the scratchy violin that takes centre-stage. Its accompanied by a subtle bass and accordion. For a minute, it provides a cinematic backdrop. Then its replaced a male vocal. His vocal is emotive and impassioned. He delivers each word with feeling, while an understated arrangement compliments what’s akin to a vocal masterclass.
Urgently and joyously, I’ll Tell You How It Is In The Other World bursts into life. Violins, bass and accordions urgently drive the celebratory arrangement along. They’re joined by Constantin Lautaru “Costica’s deliberate, thoughtful vocal. Meanwhile, the rest of Taraf De Haïdouks play thoughtfully. When the vocal drops out, they’re allowed to stretch their legs. After this, Constantin and the rest of Taraf De Haïdouks play with urgency, emotion and drama.
Dance Suite a la clejani is another of the instrumentals on Of Lovers, Gamblers and Parachute Skirts. As the bass provides the heartbeat and accordions interject. Taking centre-stage is Gheorghe Falcaru’s flute, and later, Filip Simeonov’s clarinet. Scratchy gypsy violins take charge, and with the rest of Taraf De Haïdouks drive the arrangement to a dramatic high.
Mother, My Little Mama is a heartfelt ballad with a difference. While the vocal is slow and deliberate, the arrangement races along. Propelling it along, are accordions, violins and the ever-present bass. After the vocal drops out, the rest of Taraf De Haïdouks enjoy the opportunity to showboat. It’s as if the beauty and emotion of the vocal has driven them to greater heights. What follows is proof that Taraf de Haïdouks are “the best Gypsy band in the world.”
Abruptly, and deliberately, violins set the scene for the vocal on I’ve Got A Parachute Skirt. Again, it’s an outpouring of emotion. The vocal takes centre-stage, while the urgent, dramatic, violins, bass and accordions play a supporting role. That’s until the vocal drops out. Mostly, though, it’s the vocal that plays a starring role on I’ve Got A Parachute Skirt.
Marius’ Lament closes Of Lovers, Gamblers and Parachute Skirts. Straight away, wistful violins join with accordions in a heart wrenching, but beautiful, melancholy, lament.
There aren’t many groups that get to celebrate their twenty-fifth anniversary. This year, however, Taraf de Haïdouks celebrate twenty-five years making music. They’ve come a long way in the past twenty-five years.
In the early days, Taraf de Haïdouks played weddings, festival and baptisms. That was just a starting point. Soon, Taraf de Haïdouks’ star was in the ascendancy. They became stars of the silver screen and rubbed shoulders with fashion designer Yohji Yamamotos and film stars Johnny Depp and Christina Ricci. Despite this, Taraf de Haïdouks stayed true to their roots. They never left in the village of Clejani, in the Valachian countryside. That’s apart from when they’re making music.
Over the past twenty-five years, Taraf de Haïdouks have spent a great deal of time making music. They’ve collaborated on five albums and recorded six studio albums. Taraf de Haïdouks’ latest album is Of Lovers, Gamblers and Parachute Skirts, which will be released on Crammed Discs, on 26th January 2015. Of Lovers, Gamblers and Parachute Skirts features Taraf de Haïdouks doing what they do best.
That’s seamlessly flitting between heartfelt ballads to love songs, through old school dance tunes and Turkish tinged instrumentals on Of Lovers, Gamblers and Parachute Skirts. It’s a captivating, potent and powerful mix of musical genres. Over the fourteen tracks on Of Lovers, Gamblers and Parachute Skirts, Taraf de Haïdouks take you on a musical and emotional journey. The music veers between beautiful, cinematic and dramatic, to heartfelt and irresistible and urgent. Relentlessly, Taraf de Haïdouks toy with your emotions on Of Lovers, Gamblers and Parachute Skirts. That’s why, by the time Of Lovers, Gamblers and Parachute Skirts draws to a close that your realise Taraf de Haïdouk are still “the best Gypsy band in the world.”
TARAF DE HAÏDOUKS-OF LOVERS, GAMBLERS AND PARACHUTE SKIRTS.
THE O’JAYS SHIP AHOY.
THE O’JAYS SHIP AHOY.
In August 1972, when The O’Jays’ released Back Stabbers, little did they realize how important an album it would become. Back Stabbers was certified gold, and fourteen years after The O’Jays were formed, were on their way to becoming one of the most critically acclaimed and commercially successful groups in the history of Philly Soul. Between 1972s Back Stabbers and 1979s Identify Yourself, The O’Jays released eight studio albums. Three were certified gold and five platinum.
Back Stabbers helped launch Gamble and Huff and their newly founded label, Philadelphia International Records as one of soul music’s premier labels. In the process, it established Gamble and Huff’s reputation as one of the most innovative, influential and pioneering production and songwriting teams. Indeed, The O’Jays followup to Back Stabbers, Ship Ahoy, released in October 1973, cemented Gamble and Huff’s reputation not just innovators and pioneers, but with a social conscience.
Ship Ahoy featured songs about slavery, racism, greed and pollution. Side-by-side on Ship Ahoy, sat love songs and songs with a social conscience. While The O’Jays may have sung sweetly about love, but they weren’t afraid to become the conscience of a nation, using their music to shame those who they thought were bringing their country to its knees, by their actions. Through the medium of music, politicians, corporate America and race, were all subjects that they dealt with in the music on Ship Ahoy, which will be rereleased on vinyl by Music On Vinyl on 26th January 2015. Before I tell you about some of the most powerful, potent and moving songs The O’Jays recorded, I’ll tell you about the background to Ship Ahoy.
By 1973, Philadelphia International Records had established its reputation as a pioneering label, who’d released critically acclaimed and commercially successful albums. During 1972, Philadelphia International Records had released Billy Paul’s 360 Degrees of Billy Paul, Harold Melvin and The Blue Notes’ I Miss You and The O’Jays’ Back Stabbers. Further success had come Philadelphia International Records’ way with Harold Melvin and The Blue Notes’ Black and Blue M.F.S.B’s sophomore album Love Is The Message and The Three Degrees’ eponymous album The Three Degrees. Gamble and Huff and Philadelphia International Records were on a roll by the time The O’Jays released Ship Ahoy.
Ship Ahoy featured four tracks penned by Gamble and Huff. They wrote Put Your Hands Together, Ship Ahoy and Now That We Found Love, while they cowrote the seven minute epic For The Love Of Money With Anthony Jackson. Kenny Gamble cowrote The Air That I Breathe and Don’t Call Me Brother with Bunny Sigler, who also contributed You Got Your Hooks Into Me. The songwriting team of Gene McFadden, John Whitehead and Victor Castarphen cowrote People Who Keep Tellin’ Me, which closes Ship Ahoy. Recording of Ship Ahoy took place at the familiar surroundings of Joe Tarsia’s Sigma Sound Studios.
At Philly’s Sigma Sound Studios, Gamble and Huff were joined by the classic lineup of M.F.S.B, Philadelphia International Records’ legendary house-band. This included the Baker, Harris, Young rhythm section, plus bassist Anthony Jackson and guitarist Bobby “Electronic” Eli. They were joined by organist Lenny Pakula, percussionist Larry Washington, vibes virtuoso Vince Montana Jr and violinist Don Renaldo, who was part of the trademark string and horn sound that featured on many Philadelphia International Records’ recordings. Arrangers who worked on Ship Ahoy included Norman Harris, Dennis Williams, Lenny Pakula and Bobby Martin. Producing Ship Ahoy at Sigma Sound Studios were Gamble and Huff. Once Ship Ahoy was recorded, it was released in October 1973. Would Ship Ahoy match the success of 1972s Back Stabbers?
On the release of Ship Ahoy in October 1973, it surpassed the success of Back Stabbers, reaching number eleven in the US Billboard 200 and number one in the US R&B Charts, resulting in The O’Jays first platinum disc. Put Your Hands Together was the lead single, released in November 1973. It reached number ten in the US Billboard 100 and number two in the US R&B Charts. For The Love Of Money was released in March 1974, reaching number nine in the US Billboard 100 and number three in the US R&B Charts. In the UK, three singles were released, Put Your Hands in November 1973, For The Love Of Money in March 1974 and Now That We Found Love in August 1974. Unbelievably, they all failed to chart. However, Ship Ahoy had surpassed the success of Back Stabbers, and in the process, transformed The O’Jays’ career. Why was that? That’s what I’ll tell you, when I tell you about the music on Ship Ahoy.
Put Your Hands Together opens Ship Ahoy. It’s a paean to cooperation and optimism in the face of hard times. Forty years later, The O’Jays message is just as relevant. When the track reveals its secrets, the sound is dramatic, moody and funky. The Baker, Harris, Young the rhythm section, guitars and keyboards combine drive the arrangement along. Having set the scene, Eddie Levert’s growling, vampish vocal enters. It soars passionately and emotively. Urgent harmonies sweep, sweetly and soulfully in. Meanwhile, strings dance and growl, while Earl Young’s drums and stabs of keyboards and percussion add to the drama. A funky bass and wah-wah guitar accompany The O’Jays, as they spread their message of optimism, in the face of adversity. Emotive and impassioned, filled hope and optimism The O’Jays, helped no end by M.F.S.B. create an uptempo, hook-laden track with a social message.
The title track, Ship Ahoy deals with a shameful subject, slavery. It tells the story African people being taken captive, transported on a ship as part of the slave trade. Originally, Gamble and Huff had hoped the track would be part of the soundtrack for the film Shaft In Africa, but this never happened. Complete with the sound of crashing waves and whips cracking this powerful track unfolds. They’re joined by keyboards, a slow plodding bass and a guitar, before deliberate strings enter. When Eddie’s emotive vocal enters, The O’Jays sing tight harmonies. Their voices are tinged in anger, as the drama builds and grows. Stirring, dramatic and pounding drums join strings that sweep in loud and grand. Blazing horns add to the drama and emotion. Later, guitars soar, screaming and screeching, as if empathising with the pain suffered. It’s impossible not to be moved by the lyrics, and their delivery. Like Norman Harris’ arrangement, they bring the lyrics to life. Such is the power of the music, that by the end, you feel moved, angry and upset. To be able to achieve these emotions through the power of soul music, is testament to the talent of The O’Jays and Gamble and Huff.
The Air That I Breathe has a slightly Latin sound and feel. Norman Harris’ chiming guitar, percussion, piano and rasping horns uniting. The Baker, Harris, Young rhythm section provide the heartbeat, as this anthemic, hooky song with a message unfolds. When Eddie’s vocal enters, it’s laden with emotion. Almost with disbelief he powerfully rages at the pollution around him. Still there’s a joyous sound, as M.F.S.B. and The O’Jays kick loose. His vocal soars heavenwards, his vocal tinged anger and resentment. As if spurred on, the harmonies are tighter, sweeter and more soulful. M.F.S.B. are similarly spurred on. Braying horns, Baker, Harris, Young, percussion and piano provide the backdrop for Eddie’s moving, emotive and soulful masterclass. Like Put Your Hands Together, their message is one of optimism, hoping things will improve. By the end of the track, you can only salute The O’Jays for managing to get their message across in such a deeply soulful and melodic way.
Bunny Sigler and Kenny Gamble cowrote You Got the Hooks In Me, which Bobby Martin arranged. A piano slowly and subtly plays, before Eddie’s vocal enters. It’s accompanied by Earl Young’s drums and short sharp bursts of organ. The tempo is slow, the playing subtle. Soon, the arrangement reveals is soulful secrets. Eddie’s heartfelt, heartbroken vocal soars, and soothing, soulful harmonies sweep in. They’re enveloped by melancholy horns, lush strings and Lenny Pakula’s Hammond organ. By now, The O’Jays are at their soulful best, delivering a track that’s heartbreakingly sad, where Eddie lays bare his soul, hurt and heartbreak to hear.
For the Love Of Money is another protest song, this time against materialism, that was and is, contributing to the world’s problems. During the track, Anthony Jackson contributes one of the most famous bass lines in popular music. It was played through a phaser, then bathed in echo. Since then, it’s been sampled by many hip hop artists. Originally, the track was written around the bass line. Straight away, that bass line pounds, weaving its way across the arrangement. It’s fast and funky, surrounded by crisp crashing cymbals, pounding drums, angry horns and harmonies. They yell “money” over and over. When Eddie’s vocal enters, it’s strong, angry and filled with frustration. His ire is directed at people’s “Love Of Money. Bobby Martin’s arrangement mixes elements of soul and funk masterfully. A combination of searing, soaring guitars solos, loud, angry, drums, percussion and grizzled horns accompany a vocal that’s angry, frustrated and impassioned. Like other tracks on Ship Ahoy, the lyrics, are still relevant today. Oh and that bass line sounds just as good, forty years on.
Now That We’ve Found Love is a beautiful, heartfelt love song, arranged by Norman Harris. This is what many people think of when The O’Jays are mentioned, beautiful love songs. They aren’t aware of their socially aware protest songs. Keyboards, percussion and the Baker, Harris, Young rhythm section unite, before tight, tender harmonies enter. Eddie’s vocal takes centre-stage, with a heartfelt delivery of the lyrics, which preach forgiveness. His vocal is swathed in lush strings and rasping horns. Like other tracks, the arrangement veers between lush and dramatic, as The O’Jays deliver another beautiful, heartfelt and impassioned love song. Indeed, it’s one of the most beautiful love songs The O’Jays ever recorded.
Don’t Call Me Brother is a protest song, and finds The O’Jays at their angriest and fieriest. A jazz-tinged backdrop, complete with Norman Harris’ chiming, jazz guitar, wistful horns and the lushest of strings cascades along. Dramatic bursts of Earl Young’s drums signal The O’Jays to unleash their anger. They do this is style that’s part Philly Soul, part doo wop. Close, impassioned and angry harmonies sing about the false claims of racial harmony from people who would just as soon stab you in the back. Eddie’s angry vocal rails against the hypocrisy and lies of politicians and leaders. Bobby Martin’s arrangement, like the anger and frustration, builds up, reaching a dramatic musical crescendo. Thunderous drums, blazing horns, strings and guitars unite. Then as if spent, returns to a much more gentle and melodic sound. For nearly nine minutes, The O’Jays vent their anger and frustration, passionately and peerlessly. By the end of the track, it’s impossible to not be touched and moved by their powerful, deeply moving message, where doo-wop, Philly Soul, jazz and gospel unite.
People Keep Tellin’ Me closes Ship Ahoy is People Keep Tellin’ Me. It’s an upbeat and uplifting track, arranged by Norman Harris. Strings sweep and swirl, horns rasp and growl and Baker, Harris, Young provide the track’s heartbeat. Harmonies sweep in soaring soulfully and joyously. Even the, you sense something special is unfolding. Washes of Hammond organ and Vince Montana Jr’s vibes join forces, before Eddie’s heartfelt, impassioned vocal enters. He and the other O’Jays drive each other to greater heights. M.F.S.B. are enjoying the opportunity to kick loose. Something very special has unfolded. Joyous and emotive describes this irresistible slice of Philly Soul. It features The O’Jays and M.F.S.B. at their very best, as they bookend Ship Ahoy perfectly. As the song closes, you can’t help but Put Your Hands Together for The O’Jays, as they close Ship Ahoy in a way that’s not just sweet and soulful, but uplifting, melodic and memorable.
Following up an album as critically acclaimed and commercially successful as Back Stabbers, wasn’t going to be easy for The O’Jays. However, they were no ordinary group. Even by their second album for Philadelphia International Records, The O’Jays had earned a reputation as one of Philly Soul’s great groups. By 1973, The O’Jays were seasoned performers, the group having been formed in 1957. Over the previous fifteen years, they’d refined their sound. A combination of Eddie Levert’s lead vocal and sweet, tight vocal harmonies becoming huge polished and deeply soulful. It was as if all these years of experience were coming to fruition on Back Stabbers and then Ship Ahoy. While Back Stabbers was critically acclaimed and commercially successful, Ship Ahoy surpassed its success.
During the eight tracks on Ship Ahoy, The O’Jays mixed beautiful love songs with songs filled with social comment. Ship Ahoy featured songs about slavery, racism, greed, materialism and pollution. Social comment and protest songs stood side by side, and the emotion, anger and frustration wells up in The O’Jays’ voices. They were also preaching a message of optimism and togetherness on Ship Ahoy. Many of the songs on Ship Ahoy, their messages are just as relevant forty years after the album’s release in 2013. Still people are seduced by materialism, greedy for money and willing to do anything to gain even more. Sadly, racial discrimination, like many other forms of discrimination is prevalent, and the backstabbers mentioned in Don’t Call Me Brother, are still around, still causing trouble, when they claim to be a force for good and harmony. Ship Ahoy features The O’Jays sing emotionally and passionately. Just below the surface, tension, frustration and anger is palpable, at the various problems that faced society. Then when The O’Jays sing the love songs on Ship Ahoy, we hear the side of their music most people are aware of. Their delivery of these gorgeous love songs feature the peerless combination of Eddie Levert’s vocal, laden with emotion and passion and tight, sweet and soulful harmonies. These two sides of The O’Jays’ music come to the fore on Ship Ahoy.
Forty years after the release of The O’Jays sophomore album for Philadelphia International Records, the music Ship Ahoy is just as relevant in 2013, as it was in 1973. To celebrate the fortieth anniversary of one of The O’Jays’ classic albums Ship Ahoy,which will be rereleased on vinyl by Music On Vinyl on 26th January 2015. Ship Ahoy is a stonewall Philly Soul classic, where songs filled with social comment sit side-by-side with beautiful love songs. Indeed, the platinum certified Ship Ahoy is one of the best albums ever released, and is one of several classic albums The O’Jays released between 1972 and 1979.
THE O’JAYS-SHIP AHOY.
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