MOTORPSYCHO-DEMON BOX.
MOTORPSYCHO-DEMON BOX.
Not many groups enjoy the longevity that Motorpsycho have. This year, Motorpsycho,who are one of Norway’s most successful bands, celebrate their twenty-fifth anniversary. They’ve come a long way since were formed in Trondheim back in 1989.
Originally, Motorpsycho were alternative metal band. However, before long, Motorpsycho’s music evolved. They began to fuse grunge with heavy metal and indie rock. Having found their own sound, it was time for Motorpsycho to release their debut album
Motorpsycho’s debut album was Lobotomizer. It was released in 1991, to widespread critical acclaim. Suddenly, great things were forecast for Motorpsycho. The future looked bright for Motorpsycho.
A year later, things looked very different. In August 1992, Motorpsycho released their single 3 Songs For Rut. However, it didn’t received the same critical acclaim as Lobotomizer. That’s despite Motorpsycho adding sonic scientist Helge “Deathprod” Sten to their lineup. Deathprod’s sonic noise experiments moved Motorpsycho’s music in a different direction. So as 1992 drew to a close, Motorpsycho knew that 1993 was going to be a pivotal year in their career.
The problem was, Motorpsycho’s contract was almost at an end. They only “owed” their record company one more album. It was a case of win or bust. Motorpsycho were up against it. This brought out the best in Motorpsycho.
In December 1992, Motorpsycho headed to Bragga Studios, where they recorded one of the most ambitious Norwegian albums of the nineties. This was Demon Box, a seventeen track double album. It was released in 1993 and proved to be a career defining album. Demon Box was received to the same critical acclaim as Lobotomizer. Motorpsycho were hailed as one of the most innovative and progressive Norwegian groups. This proved to be the case.
After Demon Box, Motorpsycho became a musical institution. They’ve released over twenty-albums. That’s no mean feat. After all how many bands average an album a year? Not many. What makes this all the more remarkable, is that Motorpsycho have established a reputation as group who constantly reinvent themselves, and their music. However, Motorpsycho’s career might have been cut short had they not released Demon Box in 1993.
Given Demon Box has played such an important part in the rise and rise of Motorpsycho, it’s fitting that Rune Grammofon have just reissued Demon Box as a five CD box set. The first two discs, Demon Box Volume 1 and 2, feature 1993s landmark Demon Box album. The A and B side feature on disc one, while sides C and D feature on disc two. Disc three is entitled Demon Box Volume 3, features the Mountain E.P. and Another Ugly E.P. The fourth disc, Demon Box Volume 4, is entitled The Ones That Got Away-Rarities, Outtakes and Live Recordings. The fifth disc, Demon Box Volume 5, is a DVD, which features Motorpsycho live in concert at the Vera club, on 19th September 1993. Just like the previous Demon Box’s four discs, Demon Box Volume 5 is a snapshot of Motorpsycho evolving and maturing as a band. You’ll realise that, when I tell you about Demon Box.
Lobotomizer.
Back in December 1992, Motorpsycho’s career was at a crossroads. Their debut album Lobotomizer was released to widespread critical acclaim. Great things were forecast for the Trondheim based group.
A year later, in 1992, Motorpsycho released their single 3 Songs For Rut. It didn’t receive the same reception as Lobotomizer. Gone was the critical acclaim. For Motorpsycho, self doubt entered the equation. Everything had been going so well.
They’d been together since 1989. That’s when vocalist and bassist Bent Sæther, guitarist Hans Magnus “Snah” Ryan and drummer Kjell Runar “Killer” Jenssen formed Motorpsycho. They named the group after watching a triple bill of Russ Meyer films. A year later in Motorpsycho recorded their debut album.
Recording of six of the tracks on Lobotomizer took place in December 1990 at the Warehouse, Oslo. The two other tracks, Eternity and Lobotomizer recorded at Studentradioen, March 1991. The album was released to critical acclaim later in 1991. Motorpsycho were hailed as the future of Norwegian music.
Motorpsycho approached 1992 with a spring in their step. Sadly, things didn’t go to plan. Their single 3 Songs For Rut. It didn’t receive the same reception as Lobotomizer. Neither did Motorpsycho’s mini-album Soothe. It featured new drummer Håkon Gebhardt, who had replaced original Kjell Runar “Killer” Jenssen. Considering this was Håkon Gebhardt’s Motorpsycho debut, it was a disappointing time. However, with the addition of another new member, Motorpsycho’s career got back on track.
Sonic scientist Helge “Deathprod” Sten became the latest addition to Motorpsycho’s lineup. Deathprod’s sonic noise experiments moved Motorpsycho’s music in a different direction as they pondered their next move. This would be an ambitious double album Demon Box.
Demon Box Volume One-Sides A and B.
Motorpsycho had only one role of the dice left. Their contract with Voices Of Wonder was almost up. They owed the record company one more album. In such a situation, most groups would’ve tried to replicate Lobotomizer. Not Motorpsycho. Instead, they moved their music in a new direction creating an ambitious, innovative double album, Demon Box.
Recording of Demon Box took place in December 1992. On a number of tracks, Motorpsycho brought in a few musical friends. Their job was augmenting Motorpsycho’s sound. This eclectic selection of instruments included a sitar, violin, mellotron, ARP, synth bass, percussion, audio virus and organ. Motorpsycho it seemed, were in the process of crafting a very different, and innovative album, one that saw their music progress in new directions.
After mastering took place in January 1993, Demon Box was released later in 1993. Motorpsycho hit the jackpot. Demon Box received plaudits from critics and cultural commentators. They couldn’t praise Demon Box highly enough. It seemed Motorpsycho’s brave, ambitious plan had worked. By reinventing their music, critical acclaim came Motorpsycho’s way. Their sophomore album, Demon Box, was a career defining album.
The first thing that strikes you about the sixteen tracks on Demon Box, Motorpsycho’s 1993 double album, is its sheer eclecticism. Motorpsycho draw inspiration from a wide variety of sources. Everything from avant-garde, electronica, folk, free jazz, grunge, heavy metal, indie rock, jazz, Krautrock, psychedelia and rock shine through on Demon Box. Often, there’s only the merest of glimpses of these influences. However, they’re there, and make Demon Box a captivating, innovative and progressive album that launched the career of Motorpsycho. That’s the case from the get-go.
The folk-tinged Waiting For The One opens Demon Box. It’s a captivating and beautiful mixture of Celtic and folk music. There’s more than a nod to Canadian folk-rock legend Neil Young. Motorpsycho admit to this. This acoustic version of Waiting For The One opens Demon Box, and has you anticipating the rest of the album.
Nothing To Say has a much more rocky sound. Slow and moody, elements of classic rock, grunge and heavy metal. This continues on Feedtime, where Motorpsycho unleash their machine gun guitars, thunderous rhythm section and a vocal powerhouse from Bent. The power trio kick out the jams, and with a little help from their friends, move Demon Box in the direction of hardcore and post-grunge. This continues on Gutwrench, five minutes of feedback, power, anger and frustration. Trondheim’s angry young men unleash a dark, dramatic, opus. Then they change tack, and become a different band.
While Sunchild sees Motorpsycho continue in a similar vein, the music is much more melodic. There’s also a sixties, lysergic twist, as the track heads in the direction of psychedelia. Mountain also a has a sixties psychedelic sound. That’s still to come on this eleven minute magical mystery tour. Before that, influences and genres interweave. Blues, classic rock, heavy metal, jazz, psychedelia and rock melt into one as Motorpsycho showcase their considerable skills.
Tuesday Morning features a very different side of Motorpsyho. It’s understated, melodic, trippy, futuristic and experimental. Partly, that’s down to sonic scientist Helge “Deathprod” Sten, who helps transform Motorpsycho into Norway’s answer to early Pink Floyd. All Is Loneliness closes Volume 1 of Demon Box. It sees the understated sound continue. It’s another acoustic, folk-tinged track, where guitars drive the arrangement along and a despairing vocal soar above the arrangement. Pain and hurt shines through on this cry for help, as it reaches a dramatic crescendo.
Volume 2-Sides C and D.
Just like Volume 1, Volume 2 of Demon Box opens with another acoustic track Come On In. It has a late-sixties, early-seventies singer-songwriter sound. There’s even a Laurel Canyon influence on a beautiful, needy ballad. After that, we climb back aboard the magical mystery tour.
Dark, eerie and gothic describes Step Inside Again. It’s akin to a homage to Led Zeppelin and Alistair Crowley. Haunting, disturbing and compelling, Motorpsycho continue to throw curveballs a plenty. This continues on a Demon Box, a seventeen minute epic. Again, it’s a journey through musical genres. From understated and experimental, Motorpsycho take Demon Box in the direction of classic rock and heavy metal. Later, the track takes on a futuristic, cinematic sound. It’s as if Motorpsycho had been asked to rewrite the score to Flash Gordon. Drama descends before the track returns to its fusion of classic rock, hardcore heavy metal. Babylon is another hard rocking track. There’s shades of Black Sabbath as Motorpsycho power their way through three minutes of heavy metal and post grunge. After a couple of hard rocking tracks, it’s time for a change.
This comes courtesy of and Mr. Who. It has a lo-fi, experimental, folk tinged, innovative sound. After this intermission, Motorpsycho launch into the melodic, hook heavy, rocky track Junior. It’s an anthemic tale of love lost. By now, Demon Box is like Forest Gump’s box of chocolates, you never know what you’re gonna get.
That’s apparent on Plan #1. From an lysergic, futuristic introduction Plan #1 takes on a rocky hue. This is Motorpsycho doing what they do best, innovating. They go on to create their unique brand of heavy rock. Gradually, Plan #1 reveals its futuristic, dramatic sound and many secrets. Sheer Profoundity sees a continuation of Motorpsycho’s hard rocking sound. Here, Bent’s vocal is not unlike Primal Scream Therapy. As he unleashes a howling, despairing vocal, machine gun guitars and the rhythm section drive the arrangement to its rocky crescendo. Closing Volume 2 of Demon Box is The One Who Went Away, a another melodic tale of love gone wrong. It’s accompanied by a swaggering arrangement. When the two are combined, this is one of Motorpsycho’s most melodic and anthemic tracks. This ensures the Demon Box album closes on a high. That, however, isn’t the end of the Demon Box box set.
Volume 3-Mountain E.P. and Another Ugly E.P.
It wasn’t just the Demon Box that Motorpsycho released during 1993. No. They released two E.P.s, the Mountain E.P. and Another Ugly E.P.
The Mountain E.P. was released first. It’s a five track E.P., which showcases Motorpsycho’s eclectic and pioneering sound. Mountain, the title-track opens the E.P, and finds Motorpsycho at their hard rocking best.
From there, Flesh Harrower is a fusion of heavy metal, hardcore and post grunge. The House At Poneill Corners has a dark, broody, rocky sound. There’s a real seventies sound, as elements of classic rock and prog rock shine through. Viscount GriSnah is very different from the previous tracks. It has a much more understated, experimental and avant-garde sound, as Motorpsycho become sonic explorers. Sister Confused closes the Mountain E.P. Again, Motorpsycho become musical chameleons, as they deliver a quite beautiful acoustic ballad.
Later in 1993, Motorpsycho released their Another Ugly E.P. It featured five tracks recorded in the studio and a live version of Home Of The Brave.
Another Ugly Tune opens the Another Ugly E.P. It’s a melodic, hook heavy fusion of indie rock and classic rock. Whatching You sees Motorpsycho return to their trademark fusion of heavy metal, hardcore and post grunge. Again, hooks haven’t been spared, as blazing guitars, feedback and a thundering rhythm section accompany Hans’ blistering vocal. After this, the Another Ugly E.P. takes a few twists and turns.
She Used To Be A Twin has a much more laid back sound. Elements of country-rock and Southern Rock combine with searing guitars another of Another Ugly E.P.’s highlights. Following She Used To Be A Twin, pay homage to two of their musical inspirations.
Summertime Is Here is a cover of Uncle Larry’s 1972 hit single. It references Sgt. Peppers Lonely Hearts Club Band and Steve Harley’s Come Up and See Me. There’s even a nod to the Beach Boys and Queen on a track where Motorpsycho are at their innovative and creative best. Closing Another Ugly E.P. is Motorhead Mama, Motorpsycho’s homage to Lemmy and Co.
Volume 4-The Ones That Got Away-Rarities, Outtakes and Live Recordings
The fourth and final CD in Demon Box, the the five disc box set, is Volume 4-The Ones That Got Away-Rarities, Outtakes and Live Recordings. This will really appeal to anyone who has followed Motorpsycho’s career closely. The sixteen tracks see Motorpsycho evolving and maturing as a band.
This is apparent on unreleased tracks like Cherry Red, The Sift and You Gave It All Away, one of my favourite tracks on Volume 4. These tracks were recorded during 1992. In the case of You Gave It All Away, another version featured on Demon Box in 1993. There’s also early versions of Demon Box, Come On In and Sheer Profoundity from Demon Box. They would later become favourites of Motorpsycho and their fans.
Some of these tracks reappear later in Volume 4. Live versions of Sheer Profoundity and Demon Box sit side by side with a cover of the Grateful Dead track Manson’s Children. These are just three tracks of the four live tracks on Volume 4-The Ones That Got Away-Rarities, Outtakes and Live Recordings, which will appeal to both veterans of, and newcomers to, Motorpsycho’s music.
Volume 5-Vera 19 September 1993.
After a tantalising taste of Motorpsycho live on Volume 4, Volume 5 is a DVD of the band live. This was recorded at the Vera club in Gronigen, on 19th September 1993. It was filmed on just one camera. However, this warts and all performance captures the sound and spirit of Motorpsycho. They’re at their hard rocking best, and is a reminder of Motorpsycho four years into their twenty-five year career. After this, Motorpsycho would recored over twenty albums, and became one of Norway’s most successful bands.
Earlier this year, Motorpsycho released Behind The Sun, the latest in a long line of critically acclaimed albums. Behind The Sun shows how Motorpsycho have evolved and matured as a band. It was released twenty-one years after Motorpsycho released Demon Box. It’s a tantalising taste of what Motorpsycho would become.
Demon Box, Motorpsycho’s 1993 sophomore album, proved to be a career defining album for Motorpsycho. It was released to the same critical acclaim as their 1991 debut album Lobotomizer. On Demon Box, Motorpsycho create their own unique brand of genre-melting music. Everything from avant-garde, blues, classic rock, electronica, experimental, folk, free jazz, heavy metal, jazz, post grunge, psychedelia and rock are combined. However, for much of Demon Box, Motorpsycho are at their hard rocking best. They seem to be inspired by Black Sabbath, Led Zeppelin and Motorhead. That’s not all. Pink Floyd, Neil Young, Queen, The Beatles, Grateful Dead and Beach Boys all seem to have influenced Motorpsycho. This myriad of musical genres and influences resulted in a career defining album. After Demon Box, there was no stopping Motorpsycho.
Since the release of Demon Box in 1993, Motorpsycho have established a reputation as one of Norway’s most successful bands. Now Motorpsycho are Norwegian rock royalty. They’re a musical institution not just in Norway, but across Europe and much further afield. However, this was because Motorpsycho had the courage of their convictions.
That meant releasing a seventeen track, genre-melting double album, Demon Box. That took courage. If this gamble had backfired, Motorpsycho’s career could’ve been cut short. Thankfully, that wasn’t the case. Motorpsycho survived to tell the tale and thrive. Over twenty albums later, and Demon Box, which has just been released a five disc box set by Rune Grammofon. It was the album that launched the career of Motorpsycho. Demon Box, was an ambitious, innovative, genre-melting album; one that proved to be a career defining album for Motorpsycho; who went on to enjoy a twenty-five year career where commercial success and critical acclaim have been ever-present.
MOTORPSYCHO-DEMON BOX.
SPEAK EASY THE RPM RECORDS STORY VOLUME 2 1954-1957.
SPEAK EASY THE RPM RECORDS STORY VOLUME 2 1954-1957.
RPM Records was founded by Hollywood based, musical entrepreneur, Jules Bihari, in 1949. This was the second subsidiary of Modern Records, which Jules had founded with his brothers Saul, Joe and Lester in 1944. A year later, Modern Records enjoyed its first hit single.
This came courtesy of Hadda Brooke, who Modern Music billed as the Queen Of The Boogie. Hadda provided Modern Music with their first commercially successful single, Swinging The Boogie. Released in 1945, this paved the way for the commercial success that followed. Three years later, in 1948, Modern Music changed its name to Modern Records. By then, Modern Records had become one of the most successful independent labels.
By 1948, Modern Records were releasing so many singles that it was becoming difficult to get all their records played on radio. Radio stations were wary of playing too many records by the same label. They were scared they’d be accused of accepting payola. For labels like Modern Records, this presented a problem. So they had to work out a way round the problem.
Their way of doing this, was to setup a subsidiary company. Often this subsidiary company only released one type of music, like blues or R&B. Modern Records’ first subsidiary company was Colonial. It was founded in 1948. A year later, Modern Records founded their second imprint RPM Records.
Founded in 1949, RPM Records would release its first releases in 1950. Part of RPM Records’ success, was a talent scout called Sam Phillips. He brought RPM Records blues legends B.B. King, Howlin’ Wolf and Lightnin’ Hopkins. Sam also brought Rosco Gordon. He was part of RPM Records until 1952, when he fell out with the Biharis. After that, Sam Phillips founded his own label Sun Records. However, in 1950, RPM Records was just about to release its first singles.
RPM Records’ first releases included Austin McCoy’s cover of Jack Holmes Happy Payday. This was the start of the rise and rise of RPM Records, which back in August 2014, was documented on Ace Records’ No More Doggin’-The RPM Records Story Volume 1 1950-53. Four months later, and Ace Records have just released the followup, Speak Easy The RPM Records Story Volume 2 1954-1957.
Speak Easy The RPM Records Story Volume 2 1954-1957 is a two CD set, featuring a massive fifty-four tracks. This includes blues, R&B and rockabilly. There’s contributions from B.B. King, Johnny “Guitar” Watson, Joe Houston, Donna Hightower, Little “George” Smith, The Jacks and Don Cole. Twenty-six of the fifty-five tracks have never been released before. They make their debut on Speak Easy The RPM Records Story Volume 2 1954-1957, which I’ll tell pick some of the highlights of.
My first choice from Speak Easy The RPM Records Story Volume 2 1954-1957 is the track that opens disc one, is from the first major group to sign to RPM Records, The Meadowlarks. They contribute two tracks. Real Pretty Mamma is the first. The version included isn’t the original version. Instead, it’s Take 3 of a single, they recorded at a session on 5th December 1953. Real Pretty Mama was released as a single in 1954. So was Pass The Gin, which was recorded at the same session. Both tracks feature tenor Don Julian on lead vocals. He played an important part in The Meadowlarks’ twenty year recording career.
Pianist Connie Mack Booker’s Love Me Pretty Baby was also recorded during December 1953. However, the sessions took place in Houston, where he recorded two takes of Love Me Pretty Baby. The version included is Take 1, which features some blistering, bluesy guitar licks. This inspires Connie, who unleashes a vocal powerhouse, on what proved to be his musical swans-song.
B.B. King features eight times on Speak Easy The RPM Records Story Volume 2 1954-1957. Back then, he was billed as B.B. ‘Blues Boy’ King and His Orchestra. Most of the tracks are alternate takes. This includes his 1954 single You Upset Me Baby, which reached number one. Its B-Side You Upset Me Baby, then reached number eight. Three years later, B. B. King released I Wonder in 1957. The version on Speak Easy The RPM Records Story Volume 2 1954-1957 is the original version. It shows how B.B. King had matured as a musician in three short years. There’s also an unreleased alternate take of the B.B. King classic Every Day I Have The Blues, plus unreleased takes of Sweet Little Angel and Bim Bam. These tracks show B.B. King evolving and maturing as musician. Listening to these tracks, it no surprise that B.B. King went on to enjoy a long and illustrious career.
In December 1954, Buddy Milton and The Twilighters released the William Curry penned O O Wah as a single. This was their second single for RPM Records. Quite simply, this hidden gem is an irresistible reminder of another musical age, where elements of jazz, doo wop and R&B combine seamlessly.
Just like B.B. King, Johnny “Guitar” Watson cut his musical teeth at RPM Records. His RPM debut was Hot Little Mama, which was released in 1955. It’s delicious, driving slice of R&B. That’s apparent from the alternate take of Hot Little Mama on Speak Easy The RPM Records Story Volume 2 1954-1957. The followup to Hot Little Mama, Too Tired is also included. Again, it’s an alternate take, which features Johnny’s trademark guitar licks. There’s also alternate takes of Johnny’s first hit single Those Lonely, Lonely Nights. It was released in 1956. Six years later, RPM released Ruben. This alternate take was first released in 1962. A stomping fusion of blues and R&B, it’s a welcome addition. So is the alternate take of She Moves Me, which features a future guitar great honing his sound.
Arthur Lee Maye and The Crowns’s Truly was a released as a single in 1955. It’s a heartfelt doo wop track. Sadly, just like Arthur Lee Maye and The Crowns’ other singles, they failed commercially. Partly, that’s down to Arthur enjoying a parallel career as a baseball player. Without his “other career,” it’s thought Arthur Lee could’ve been destined for greatness.
Before signing to RPM, Little George’ Smith played harmonica in Muddy Waters’ band. After he left Muddy’s employ, Little George’ Smith signed to RPM. His RPM debut his 1955 single Blues In The Dark. It features a harmonica masterclass from the man crowned the “Harmonica King.” No wonder. He’s one of the best harmonica players of the fifties. That’s apparent on the followup to Blues In The Dark, Oopin’ Doopin’ Doopin.’ On this alternate take of Oopin’ Doopin’ Doopin,’ Little George’ Smith switches between harmonica and lead vocal, showing just why he was crowned the “Harmonica King.” A year later, George released Cross-Eyed Suzzie Lee and then Down In New Orleans as singles. They further enhanced the Harmonica King’s reputation as a rising star.
Not only did Donna Hightower enjoy a solo career at RPM, but she sang backing vocals for a number of artists. She was RPM Records’ leading lady. That’s until Etta James signed to RPM Records. After that, Donna’s career stalled when the Biharis concentrated their efforts on Etta James. That’s despite Donna being a talented singer. Three of her tracks feature on Speak Easy The RPM Records Story Volume 2 1954-1957. Dog Gone It was a single Donna Hightower recorded with Maxwell Davis and His Orchestra. It was released in 1955. Hands Off was released as a single later in 1955. An alternate take of He’s My Baby is Donna’s other contribution. It’s a reminder of RPM Records’ original first lady.
Eddy Lang delivers what can only be described as a soul-baring vocal on I’m All Alone. It was released as a single in 1956. Later that year, Eddy released You Got To Crawl Before You Walk as a single. It’s a much more uptempo slice of R&B. Two things remains the same though, the quality and Eddy’s still unlucky in love.
The Jacks’ had a dual career. They recorded for Modern as The Cadets, and for RPM Records as The Jacks. Mostly, The Cadets’ music was ballads. This was very different from the music The Jacks released. Much of it was uptempo tracks, like their 1956 single Sugar Baby. It’s irresistible and hook laden. That’s no surprise. Bass singer Will “Dub” Jones would later join The Coasters. Later in 1956, The Jacks released the heart wrenching ballad Why Don’t You Write Me? It features a vocal masterclass from lead singer Aaron Collins, whose sisters were The Teen Queens.
Rosie and Betty Collins were The Teen Queens. Their harmonies made can be heard on their debut single, Eddie My Love. It have them a hit single, reaching number fourteen in the US Billboard 200 and number two in the US R&B charts. Billy Boy was The Teen Queens’ sophomore single. The version included on Speak Easy The RPM Records Story Volume 2 1954-1957 is an alternate take. That’s the case with Rock Everybody, The Teen Queens’ third single. It sees their music head in a different direction. Sadly, Rock Everybody wasn’t a commercial success. That was the end of The Teen Queens’ commercial success. Their most memorable moments were Eddie My Love and Billy Boy.
The futuristic sounding Pat Cupp and The Flying Saucers are my final choice from Speak Easy The RPM Records Story Volume 2 1954-1957. They were discovered by Jules Bihari in Shreveport, Louisiana. He was so impressed with what he heard, that he sent signed them straight away to record some of Pat’s songs. This included Pat Cupp and The Flying Saucers’ debut single Do Me No Wrong. It was released as a single in 1956. The followup was Long Gone Daddy. Sadly, neither were the commercial success Joe expected. As a result, RPM Pat Cupp never became the rival to Elvis that Jules Bihari envisaged.
Although I’ve only mentioned thirty of the fifty-four tracks on Speak Easy The RPM Records Story Volume 2 1954-1957, there’s many more musical delights awaiting discovery. Singles and hidden gems rub shoulders on Speak Easy The RPM Records Story Volume 2 1954-1957’s two discs. This includes tracks from Don Cole, The Jewels, Richard Berry, Vido Musso and Preacher Stephens and His Orchestra. They’re just a few of the artists that were signed to RPM Records between 1954 and 1957. During that period, RPM Records was one of the most successful independent labels of that era. That’s no surprise.
Jules Bihari was able to find talented artists. He also surrounded himself with talent spotters. Some of them already had successful track records. They became Joe’s ears and had an enviable track record, signing a young B.B. King and Johnny “Guitar” Watson. Both artists would go on to enjoy long and successful careers. However, there’s much more to RPM Records than two artists.
That’s apparent when you listen to Speak Easy The RPM Records Story Volume 2 1954-1957, which was recently released by Ace Records. Just like the first volume in the series, No More Doggin’-The RPM Records Story Volume 1 1950-53, it documents the rise and rise of RPM Records, Jules Bihari’s “second” label.
SPEAK EASY THE RPM RECORDS STORY VOLUME 2 1954-1957.
POWDER-KA POW! AN EXPLOSIVE COLLECTION 1967-1968.
POWDER-KA POW! AN EXPLOSIVE COLLECTION 1967-1968.
Usually, American music influences the rest of the world. That’s definitely been the case with British music. Where American music headed, British music tended to follow. In 1964, however, American music was influenced by British music.
The British Invasion of 1964, had a huge affect on American music. By 1964, somewhat belatedly, America “got” The Beatles and Rolling Stones. They were the first of the British groups who would influence American music. For the rest of the sixties, The Who, Cream, The Yardbirds and Led Zeppelin became flavour of the month in America. Many American musicians became Anglophiles. They listened to, and modelled their sound on British music. This included Rich and Tom Martin.
The Martin brothers started of listening to groups like The Beatles and Rolling Stones. Gradually, though, they started to dig deeper. They discovered the music of The Who, The Small Faces and The Zombies. This music influenced the music of their bands Powder and The Art Collection. Their music is celebrated on Powder-Ka Pow! An Explosive Collection 1967-1968, which was recently released by Big Beat Records, an imprint of Ace Records. Rich and Tom Martin’s story began in Ohio.
Tom Martin was born in Ohio, in 1945. Three years later, Rich Martin was born. Growing up, the Martin family moved to San Francisco. That’s where Rich discovered the music of Duanne Eddy. Soon, he was learning to play the guitar. By the time Rich was in Hillsdale High School, he was playing with The Impressions, a R&B group. Not long after this, Tom joined on rhythm guitar. The Impressions became The New Impressions, a surf band. This was the Martin brothers’ first involvement in music.
Soon, music would become the most important thing in Rich and Tom Martin’s life. They practised hard, honing their sound. This paid off, when The New Impressions gained their first residency at Big Al’s Gas House. However, by then, The New Impressions’ sound was evolving. It had been influenced by the British Invasion. Soon, The New Impressions became the Newcastle Five.
As the Newcastle Five were born, drummer Bill Schoppe, who was previously a member of The Bedouins, joined. Despite the new sound, the Newcastle Five kept their residency at Big Al’s Gas House. They combined a British Invasion sound with surf and R&B. Around this time, Lydia Pense joined as lead vocalist.
Lydia featured on the Newcastle Five’s audition for Fantasy Records. This took place in November 1965. By early 1966, Lydia had left the Newcastle Five. After that, the group’s lineup changed a number of times. So did their sound.
The Newcastle Five took to covering obscure British Invasion songs. They also took to wearing Carnaby Street clothes. It seemed that the Newcastle Five were dedicated followers of fashion. However, they didn’t seem to be taking the band seriously. Then in the autumn of 1966, Ray Columbus, a New Zealander, entered the Newcastle Five’s world.
Ray Columbus had enjoyed a successful career in Australasia. He’d enjoyed international hits with She’s A Mod and ‘Till We Kissed. However, Ray wanted to embark upon a solo career. His American wife thought that San Francisco would be a good place for his solo career to begin. The only problem was, Ray needed a backing band. That’s where the Newcastle Five came in.
Ray Arbulich arranged for the Newcastle Five to meet Ray Columbus. After discussions with Ray, and his manager Ken Roed, the Newcastle Five became Ray’s backing band. He named his new backing band The Art Collection.
The Art Collection, Ray decided, would open for him, then become his backing band. However, Ray thought it was a good idea for The Art Collection to dress up like Henry VIII. This didn’t go down well with The Art Collection. Neither did Ray’s suggestion that The Art Collection take snuff onstage. Despite these teething troubles, Ray proved to be the consummate professional, with The Art Collection learning a lot from him. This included about recording.
It was 7th January 1967, that Ray Columbus and The Art Collection entered the recording studio to record She’s A Mod and Kick Me. Of the two tracks, Kick Me was chosen as the single. Not long after the recording session, Steve Chriest left The Art Collection.
Steve was replaced by Steve Murdoch, who previously, had been a member of the Lord Jim Quintet. He made his debut at The Art Collection’s latest residency at the Donavon Reef club. The residency began on 13th January 1967, and lasted right through to early March, when Ray Columbus and The Art Collection backed The Turtles on the 3rd and 4th March 1967. However, during the residency further recording sessions took place.
It was during these sessions, that Ray Columbus and The Art Collection recorded Snap, Crackle and Pop and Kick Me (I Think I’m Dreaming), which both feature on Powder-Ka Pow! An Explosive Collection 1967-1968. These are just a couple of the tracks recorded at the session. The band had high hopes for Snap, Crackle and Pop. They felt it had a commercial sound, and had the potential to give Ray Columbus and The Art Collection their breakthrough single. During these sessions, The Art Collection took the opportunity to record some tracks.
The Art Collection had a new vocalist. Scott Arbulich, who played a part in introducing Ray Columbus and The Art Collection, made his debut at these sessions. Among the tracks recorded, were Morning, She’s My Girl, I’m a Boy and You’re a Girl and Oh So Sad About Us. These four tracks are among the seven tracks from The Art Collection on Powder-Ka Pow! An Explosive Collection 1967-1968. After the recording sessions and opening for The Turtles, The Art Collection opened for another British Invasion band.
Eric Burdon and The Animals played in the San Francisco Civic Centre on 21st March 1967. The Art Collection were booked as opening act. Midway through their set, they were told Eric Burdon and The Animals wanted to start their set. This meant The Art Collection’s set was curtailed. So was Ray Columbus and The Art Collection time together.
After playing together through part of 1967, Ray Columbus and The Art Collection went their own way. Eventually, Ray returned to New Zealand, enjoying a long and successful career. Meanwhile, The Art Collection continued as a quartet.
After a failed audition for Charlie Green, one of Sonny and Cher’s managers, Sonny Bono heard The Art Collection. He asked them to accompany them on a tour. The Art Collection agreed and looked forward to playing with such experienced musicians. However, after two shows, there was a problem.
After playing their first two shows opening for Sonny and Cher, Steve Murdoch and Steve Arbulich left The Art Collection. One of the problems was Scott Murdoch’s singing style. Danny Phay, formerly of the Chocolate Watchband became vocalist. Tom Martin moved to bass and Bill Schoppe returned as drummer. This wasn’t the end of the changes. The Art Collection became Powder.
The newly named Powder found the tour a learning experience. By the time the tour hit the East Coast, Powder were flourishing. Playing with such experienced musicians, and working with arranger Harold Baptiste inspired Powder. They’d grown and evolved as a band. So much so, that Powder were asked to audition for Mercury Records. However, instead Powder signed to Sonny and Cher’s management team. This proved not to be Powder’s best decision.
Having signed to Sonny and Cher’s management team, Harvey Gresky of the William Morris Agency, was given the job of looking after Powder. He decided they should enter the recording studios.
So Powder entered Gold Star studios on 6th October 1968. The venture was funded by Sonny, Joe and Harvey for Progress Productions. Dennis Pregnolato acted as producer, when Powder cut what’s best described as British Invasion influenced power-pop.
Thirteen of these tracks feature on Powder-Ka Pow! An Explosive Collection 1967-1968. Among the sessions highlights were Magical Jack, Grimbley Leitch, What the People Said and I Try. Flowers, Hate To See Her Go and the wistful Too Many Miles are a reminder of Powder’s potential. However, when the sessions were finished, Sonny Bono pitched the potential album to the wrong man.
Sonny choose to take Powder’s recording to Atlantic Records’ Ahmet Erteugen. However, he was better known for jazz, R&B and soul. Only later, would Atlantic Records become a rock label. Powder, however, were more a power-pop group. So, it’s no wonder Ahmet Erteugen didn’t show any interest in Powder. That however, wasn’t the only reason though.
Partly, Rich Martin believes, that’s because of the quality of sound. Powder were unfamiliar with the studio and its equipment. As a result, the recordings Powder believe, came out sounding like a demo. However, the thirteen tracks on Powder-Ka Pow! An Explosive Collection 1967-1968, are hook heavy, melodic power pop. Powder certainly weren’t lacking potential. Who knows what might have happened had Powder signed to Mercury Records, rather than Progress Productions. Maybe then, Powder’s progress might not have stalled.
Following the disappointment of the recording sessions, Sonny and Cher’s management team decided to concentrate on Chastity, a film starring Cher. Powder were meant to contribute some of the music. However, in early 1969, drummer Bill Schoppe quit Powder. He had decided to wander down the spiritual path that was proving popular in San Francisco. That proved to the beginning of the end for Powder.
Rich and Tom Martin decided to follow the sun. They headed for California, where they contemplated their future. On their return, the Martin brothers changed tack. When they returned, their music was much more thoughtful and understated. Eventually, they signed to Imperial Records and released She’s Got Love in 1969. She’s Got Love became a pop-psych classic, reaching number sixty-nine in the US Billboard 100. However, Rich and Tom’s new direction proved the end of Powder.
It had been a roller coaster ride of missed opportunities and what ifs? This had been the case since the days of The Art Collection, right through to the latter days of Powder. What if the partnership of Ray Columbus and The Art Collection had recorded more material? Would they have enjoyed that elusive hit single? Similarly, if after Ray went his own way, The Art Collection had taken a less laid back approach to their career, they might have made that long awaited breakthrough. They certainly weren’t lacking in talent. That’s apparent from the nine tracks from The Art Collection on Powder-Ka Pow! An Explosive Collection 1967-1968. These tracks show a band on the verge of a breakthrough. Sadly, it never came. That proved to be the case with Powder.
Just like The Art Collection, Powder didn’t lack talent. Far from it. Anyone who listens to the thirteen tracks from Powder on Powder-Ka Pow! An Explosive Collection 1967-1968, which was recently released by Big Beat, an imprint of Ace Records, will realise that. What hindered the potential rise and rise of Powder, was poor decision making.
Powder’s biggest mistake was turning down Mercury Records to sign for Sonny and Cher’s management team. That must have seemed like an opportunity of a lifetime. It proved not to be the case. The Progress Productions sessions are proof of this. Powder were sent into the studio without an experienced producer. Instead, Sonny and Cher’s road manager took charge. The sessions would’ve benefited from a producer. They could’ve transformed the sessions. After all, the Progress Productions’ sessions showcases a talented band. All that was needed was someone to guide them through the maze that is a debut album. Having said that, the tracks from Powder and The Art Collection on Powder on Powder-Ka Pow! An Explosive Collection 1967-1968, show that they could’ve and should’ve been contenders.
Both groups Powder and The Art Collection were capable of creating melodic, hook heavy, power pop. Lead by the Martin Brother, Powder and The Art Collection were inspired by the British Invasion. Groups like The Small Faces, The Who and The Zombies influenced Powder and The Art Collection. That’s apparent on Powder-Ka Pow! An Explosive Collection 1967-1968, which is a reminder of Powder and The Art Collective, two musical contenders who should’ve enjoyed more commercial success than they did.
POWDER-KA POW! AN EXPLOSIVE COLLECTION 1967-1968.
BOMBAY DISCO VOLUME 2.
BOMBAY DISCO VOLUME 2.
1979 was a landmark year in the history of disco. Suddenly, after being the musical flavour of the month for several years, disco sucked. In the space of a year, disco went from hero to zero. Disco’s downfall started on Christmas Eve 1978,
That’s when Steve Dahl was fired by Chicago radio station WDAI. It had previously been a rock station, but switched to disco. Steve wasn’t out of work long. He was hired by WLUP, a rival station. WLUP played rock, which suited Steve Dahl. He’d an inkling that disco wasn’t long for this world.
Steve wasn’t a fan of disco, and took to mocking disco on-air. Openly, he mocked WDAI’s “disco DAI.” It became “disco die” to to Steve. Soon, Steve had created the Insane Coho Lips, his very own anti-disco army. Along with cohost Gary Meier, they coined the now infamous slogan “Disco Sucks.” The backlash had begun.
From there, the Disco Sucks movement gathered momentum. Events were held all over America. This came to a head at Disco Demolition Derby, which was Steve Dahl’s latest anti-disco event. Each one was becoming bigger, rowdier and attracting even more publicity. Disco Demolition Derby, which was held at Comiskey Park, Chicago on 12th July 1979 surpassed everything that went before. WFUL were sponsoring a Chicago White Sox game at Comiskey Park. if fans brought with them a disco record, they’d get in for ninety-eight cents. These records would be blown up by Steve Dahl. An estimated crowd between 20-50,000 people attended. Quickly the event descended into chaos. Vinyl was thrown from the stands like frisbees. Then when Steve blew up the vinyl, fans stormed the pitch and rioted. Things got so bad, that the riot police were called. After the Disco Demolition Derby, disco nearly died.
Following Disco Derby Night, disco’s popularity plunged. Disco artists were dropped by major labels, disco labels folded and very few disco albums were released. Disco was on the critical list, and suffered a near death experience. It took a long time to recover. After disco’s demise, dance music changed.
No longer were record labels willing to throw money at dance music. Budgets were suddenly much smaller. Gone were the lavish productions of the disco orchestras of the seventies. This was epitomised by The Salsoul Orchestra and John Davis and The Monster Orchestra. Strings and horns were now a luxury. Music would have to go back to basics. Not in India, which was just discovering disco.
Somewhat belatedly, in 1979, India discovered disco. Bappi Lahiri had been caught up in the disco boom. However, it was the disco-lite diet of the Bee Gees, Abba and the dreaded Boney M that Bappi was weaned on. Some of this, would go onto influence him as a composer.
Bappi was a musical prodigy, who was born into a musical family. He grew up to become a songwriter, musician and musical director. Indeed, Bappi was the youngest musical director in India. He was a teenager when he started writing scores for Bengali films. His first success came with Chalte Chalte in 1975, when he was only twenty-two. Four years later, in 1979, Bappi got his big break.
By 1979, Bappi was twenty-six. He was already prolific composer, with a successful track record. That’s why the producer of Surakksha Gunmaster G9 approached Bappi. He told Bappi: “I want you to give me music like in Saturday Night Fever.” That’s what Bappi delivered. Bombay Disco had just been born.
Bombay Disco provided the soundtrack to just about ever Indian movie released during that period. Literally, Bombay disco provided the backdrop to dramas, historical epics, curry westerns and horror films. What had become known as Bombay Disco was disco, but given a unique, flamboyant twist. This meant disco that was funky, soulful and lavish, tinged with sitars, tablas and grandiose orchestras. Sometimes, the music was better than the film. Eventually, Bombay Disco became popular outside of India.
Crate diggers, DJs and record collectors discovered Bombay Disco. Before long, the music became not just popular, but collectable amongst discerning music loves. However, still, Bombay Disco, was regarded as one of music’s best kept secrets. Then in March 2014, Bombay Disco-Disco-Disco Hits From Hindi Films 1979-1985 was released by Cultures Of Soul Records. It featured thirteen slices of the finest Bombay Soul. Released to widespread critical acclaim, it’s no surprise that nine months later comes the followup, Bombay Disco Volume 2.
For Bombay Disco Volume 2, Brother Cleve has hit the crates again. He’s dug deeper than he’s ever dug before. Brother Cleve has dug deep into his record collection in search of forgotten classics and hidden gems. Eventually, Brother Cleve settled on a dozen Bombay Disco delights. This includes contributions from Sadhana Sargam, Ash Bhosle, Hridaynath Mangeshkar, Asha Bhosle and the Godfather of Bombay Disco, Bappi Lahiri. These are just a few of the artists on Bombay Disco Volume 2, which I’ll tell you about.
Opening Bombay Disco Volume 2 is Sadhana Sargam’s Saat Samundar Paar. It featured on the soundtrack to Vishwatma, which was released in 1992. By then, music was changing in India. The “traditional” Bombay Disco sound was evolving. There’s an eighties electro influence admits the fusion of funk, pop and soul. Sometimes, the track sounds like a homage to the Pet Shop Boys, as the Bombay Disco era closes.
Asha Bhosle’s Pass Aao Na was released back in 1982. It’s a track from the Sumbandh soundtrack which the the Godfather of Bombay Disco, Bappi Lahiri cowrote. The arrangement in much more understated, with hissing hi-hats reminiscent of a seventies Blaxploitation movie. After that, the track becomes dramatic, funky, soulful and sultry.
The drama continues on Aaya Sanam Aaya Deewana Tera. It comes courtesy of TeraKishore Kumar and Chorus. Released in 1982, composer Rahul Dev Burnam fuses Eastern, Indian and Western influences. To that, he adds a healthy dose of sound effects and sci-fi sounds. When all this is combined, the result is a cinematic track that’s variously dramatic, ethereal and orchestral.
Taqdeer Ka Badshah was the title-track to the 1982 soundtrack. It marks the return of the man who gave birth to Bombay Disco, Bappi Lahiri. Here, Bappi Lahiri and Chorus are responsible for a captivating eleven minute epic. It’s full of twists and turns. From an understated string laden arrangement, the track always threatens to explode into life. Having relentlessly teased and taunted the listener, this powder keg of an arrangement is unleashed, and explodes into life.
Five years after penning their first soundtrack, the Raamlaxaman partnership returned with the soundtrack to Tumhaare Bina. By 1982, Raam had died and had been replaced by Vijay Patil. Still, however, the Raamlaxaman name survived. Sweety Seventeen is a track from Behroze Chatterjee and Chorus, that featured on the Tumhaare Bina soundtrack. Jazzy, dance-floor friendly and with a nod to Abba’s Mamma Mia, Sweety Seventeen is a hidden, obscure Bombay Disco gem.
Disco, electro, funk and soul melt into one on Disco Music (Aka Are Dil Se Dil Mile). It’s a track by R D Burman, Chorus. R D Burman delivers what can only be described as a vocal powerhouse. His growling vocal sits atop a jazz-tinged vocal and is accompanied by braying horns. Then after two minutes, it’s all over. All you’re left with is the memory of this irresistible slice of Bombay Disco.
Just like the previous track, Hotel Mein Bottle, from the 1984 Pepi Petka Sawal Hai soundtrack, has a pulsating rhythm. It’s at the heart of the sound and success of this track from Sharda. Atop the arrangement, sits a wonderfully over the top vocal which is a homage to alcohol. Proof of this are lyrics like “come on have a drink, what is your spirit, Martini, Campari, Hennessey, Vodka, Champagne, Rum Sherry, Cognac.”
As Dance Music unfolds, Hridaynath Mangeshkar is responsible for an arrangement that wouldn’t sound out of place on a seventies Blaxploitation movie. Soon, it’s given a Bombay Disco twist. It’s disco, but not as we know it. Choppy drums, bubbling synths and percussion are added to the instrumental version of Idbar Aa Aa Bhi Ja. It was a huge hit single on its release in 1980. This instrumental is a genre-melting track, where Eastern, Indian and Western influences to create a dramatic, cinematic slice of Dance Music.
From the get go, Sharon Prabhakar, Parvati Khan and Ursula’s bursts joyously and melodically into life. Hooks certainly haven’t been spared. It’s taken from the soundtrack to Shart, which was released back in 1985. The pounding rhythm section, including an uber funky bass, drives the arrangement along. Searing guitar, stabs of horns and a Hammond organ join urgent harmonies from a trio of disco divas in creating one of the highlights of Bombay Disco Volume 2.
Asha Bhosle’s Jab Chaye was released back in 1980. It’s a track from the soundtrack Lootmaar. As the track unfolds, elements of classic disco and Bombay disco melt into one. Swathes of trademark strings dance sit above the rhythm section and bursts of scorching guitar. They provide the backdrop for Asha Bhosle’s diva-esque vocal, as she struts her way through the track.
Dramatic. That’s the only word that describes the introduction to Kumar Sanu, Jolly Mukherjee and Chorus’ Main Jaadugar. It sounds like the introduction to a Hollywood blockbuster. Instead, it’s from the Jaadugar soundtrack, which was released in 1989. After the dramatic introduction, neither the drama nor quality drops. Jolly Mukherjee and Chorus’ Bollywood soundtrack that’s up to Hollywood standards.
It’s fitting that a track from The Godfather of Bombay Disco, Bappi Lahiri, closes Bombay Disco Volume 2. He’s the man who founded the genre in 1979. Seven years later, in 1986, Bappi’s music was constantly evolving. He was determined not to produce formulaic music. Dance Music sees Bappi take advantage of the latest technology. Synths and drum machines are at the heart of the arrangement. So are stabs of horns, la-la-la harmonies and later, funky chiming guitars. They drive this two minute track to its glorious, dramatic crescendo.
Often, followups fail to live up to the first in a series. There’s often a good reason for this. The compiler has used their best tracks first time round. Not Brother Cleve, the compiler of Bombay Disco Volume 2. Somehow, Bombay Disco Volume 2 manages to surpass the quality of Bombay Disco-Disco-Disco Hits From Hindi Films 1979-1985. It was released back in March 2014. Nine months later, and Bombay Disco Volume 2 has been released by Cultures Of Soul Records. Quite simply, Bombay Disco Volume 2 oozes quality.
Bombay Disco Volume 2 is twelve tracks of hidden gems and long, forgotten Bombay Disco classics. Many of these tracks will be new to even the most dedicated and discerning fan of Bombay Disco. Compiler Brother Cleve has turned his back on the predictable and obvious tracks. That’s not for him. There’s a multitude of hidden gems awaiting discovery. It’s all just a matter of knowing where to dig, and having the patience and persistence. Brother Cleve has plenty patience and persistence. After all, many of the tracks on Bombay Disco Volume 2 have been long forgotten.
They were part of the soundtrack to dramas, historical epics, curry westerns and horror films. What had become known as Bombay Disco was disco, but given a unique, flamboyant twist. This meant disco that was funky, soulful and lavish. Songs were tinged with sitars, tablas and grandiose orchestras. Sometimes, the music was better than the film. Eventually, Bombay Disco became popular outside of India.
Eventually, crate diggers, DJs and record collectors somewhat belatedly, discovered Bombay Disco. Before long, the music became not just popular, but collectable amongst discerning music loves. However, still, Bombay Disco, was regarded as one of music’s best kept secrets. Not any more.
That’s thanks to labels like Cultures Of Soul Records and the two Bombay Disco compilation they’ve released during 2014. Thanks to Cultures Of Soul records, Bombay Disco is no longer one of music’s best kept secrets. Far from it. Bombay Disco-Disco-Disco Hits From Hindi Films 1979-1985 and Bombay Disco Volume 2 are the perfect introduction to what was previously, one of music’s best kept secrets.
BOMBAY DISCO VOLUME 2.
BONNIE DOBSON SINGS SHE’S LIKE A SWALLOW AND OTHER FOLK SONGS.
BONNIE DOBSON SINGS SHE’S LIKE A SWALLOW AND OTHER FOLK SONGS.
Bonnie Dobson’s career began during the early sixties folk boom. She had one of the most distinctive voices of the folk era. Clear and powerful, Bonnie’s distinctive voice breathed life, meaning and emotion into folk songs old and new. This included songs penned by Bonnie.
Amongst the best known songs Bonnie wrote are I’m Your Woman and Morning Dew, a folk rock standard. However, Morning Dew isn’t just a favourite of folk singers. No. It’s been covered by some of the biggest names in music. Everyone from Einstürzende Neubauten, Fred Neil, the Grateful Dead, Nazareth, the Jeff Beck Group, Robert Plant and The 31st of February have covered Morning Dew. It featured on Bonnie 1962 breakthrough, sophomore album Bonnie Dobson At Folk City. By then, Bonnie was well on her way to becoming one of the leading lights of the folk era. However, what looked like being a long and successful career was cut short.
As the seventies dawned, Bonnie withdrew from music. She moved to England in 1969, and retired from music. Bonnie decided to return to university, where she studied politics, philosophy and history. Academic life seemed to suit Bonnie.
Once she finished her degree, Bonnie ended up at working at the Philosophy Department of the University of London’s Birbeck College. That was home to Bonnie for the rest of her working life. By the time she retired, Bonnie was head of administration.
Now retired, Bonnie is busier than ever. She has just released her first new album for forty-five years. So, what better time for Ace Records to release Bonnie Dobson Sings Like A Swallow and Other Folk Songs. It was recently released by Big Beat, an imprint of Ace Records. Bonnie Dobson Sings Like A Swallow and Other Folk Songs is a celebration of Bonnie’s time at Prestige Records, when she was musical pioneer, who rubbed shoulders with Bob Dylan. Bonnie’s story begins in Toronto, Canada, in 1940.
It was on November 13th 1940, that Bonnie Dobson was born. Bonnie family would influence her future career. Her father was a trade unionist and Bonnie’s elder sister was a fan of folk music. By eleven, so was Bonnie.
Her first introduction to live folk music, was seeing Pete Seeger at summer camps in Ontario and Quebec. This was during the McCarthy era. Pete Seeger had been blacklisted after refusing to testify at the House Committee on Un-American Activities. He couldn’t work within America. So he headed to Canada, and soon became a popular draw. This included at summer camps. That’s where Bonnie first heard Pete Seeger.
Having attended the summer camps for a couple of years, eventually, Bonnie met Pete Seeger. This was a huge moment in her life. Pete Seeger was an important influence not just musically, but politically. Bonnie who was just thirteen, hooked. So was her sister.
Soon, Bonnie’s sister formed a folk group with her friends. They called their nascent group The Travellers. They were influenced by The Weavers and Pete Seeger, whose music was extremely political. For the daughter of a trade unionist, this struck a nerve.
Although Bonnie’s was only thirteen, she was already politically aware. Growing up, she was aware of the injustice that surrounded her. The union songs her father sung and Pete Seeger’s songs spoke to Bonnie, and for her. Soon, she would playing the folk songs she had heard other people sing.
Whilst still in high school, Bonnie was already singing in folk clubs. She accompanied herself on guitar. Then on Fridays, Bonnie would sing a folk song in school assembly. After graduating high school, Bonnie headed to university.
The University of Toronto was Bonnie destination. Despite being so politically aware, Bonnie enrolled on an English literature course. The course didn’t work out. Bonnie was deeply unhappy. Luckily, salvation came in the form of an invite to play at a folk club in Denver, Colorado.
So, in May 1960, Bonnie made her way to the Exodus Folk Club, in Denver, Colorado. This gig resulted in Bonne being offered the opportunity to support Sonny Terry and Brownie McGhee. For a relative newcomer to the folk scene, this was the opportunity of a lifetime. However, things were about to get even better for Bonnie.
It wasn’t just a case of supporting Sonny Terry and Brownie McGhee. Bonnie got the opportunity to work with blues greats Lightnin’ Hopkins, Mississippi John Hurt, Reverend Gary Davis and Big Joe Williams. For Bonnie, this was the opportunity of a lifetime. She criss-crossed America playing two shows a day, supporting some of the biggest names in folk and blues music.
Eventually, Bonnie reached what many people regarded as America’s folk capital, New York. Greenwich Village was the centre of New York’s folk scene. That is where Woody Guthrie, Pete Seeger, blues legend Leadbelly and more recently, Bob Dylan had played. The most important venue was the Folklore Centre. So, Bonnie made her way to the Folklore Centre.
At the Folklore Centre, Bonnie met the owner Izzy Young. He had booked some of the biggest names in music. Bob Dylan, Simon and Garfunkel, Emmylou Harris, Sonny Terry and Brownie McGhee had all played at the Folklore Centre. Izzy, having met Bonnie, booked her to play. However, Bonnie met some friends and missed the gig. Despite this, Bonnie would later make her Folklore Centre debut, following in the footsteps of many a musical great. She also followed in the footsteps of many a musical legend by signing to Prestige Records.
After playing a concert at Philadelphia’s Folk Song Society, Kenny Goldstein recommended Bonnie Dobson to Prestige Records. This was a huge honour. Prestige Records had been home to John Coltrane, Miles Davis, Thelonius Monk, Eric Dolphy and Sonny Rollins. These were big shoes to fill, but Bonnie Dobson relished the challenge.
Like so many albums recorded during this period, Bonnie Dobson headed to Rudy Van Gelder’s Engelwood Cliffs’ studio. Rudy’s studio was state-of-the art. He was determined to constantly improve his facilities. No expense was spared, in an attempt to capture the sound as accurately as possible. With Kenny Goldstein acting as producer, Bonnie Dobson headed Rudy Van Gelder’s Engelwood Cliffs’ studio.
Recording of what became Bonnie Dobson-She’s Like A Swallow took just four hours. During that period, fourteen songs were recorded. They were songs that Bonnie had chosen. This was unusual. Often, artists had no say in the material they recorded. Bonnie, however, chose what she wanted to record.
For her debut album, Bonnie Dobson-She’s Like A Swallow, Bonnie chose traditional folk songs. They are an eclectic selection of songs. Many of the songs are either Canadian, or French-Canadian in origin.
This includes The Cruel War Is Raging and the beautiful, love lament She’s Like A Swallow. Envoyons De L’Avant, is a paddling song that was a favourite of French-Canadian lumbermen. Frankie Slide, tells of a disaster in town of Frank, in British Columbia. Monsieur Le Cure is another French Canadian song. It tells the story of a girl who falls in love with the village priest. The Jam At Gerry’s Rock is a Canadian version, of a song that was popular in American lumbering country. Then The Road To Grandmere tells the story of Art Samuels’ trip to Grandmere, in the Quebec Province. Canada, however, wasn’t the only source of songs for Bonnie’s debut album, Bonnie Dobson-She’s Like A Swallow. So was America.
Across The Blue Mountains’ is a traditional American folk song. Mistress Bond is a Jewish-American folk song. Very different, is The First Time. This is a song that Bonnie heard Peggy Seeger sing at the Colorado Folk Festival, in Denver. She added this to her repertoire, gave it a makeover. However, it was Roberta Flack who found fame and fortune with The First Time in 1972. The Old Maid’s Lament is a song Peggy heard in California. Again, she decided to add it to her repertoire, and sings the the lyrics with a mixture of joy and defiance. From America, Bonnie crossed the Atlantic for three songs on Bonnie Dobson-She’s Like A Swallow are Britain.
Britain has a rich musical heritage. Especially when t comes to folk music. The Prickle Holly Bush is English folk song. It’s derived from The Maid Freed From The Gallow. Paisley poet Robert Tannahill is responsible for Will Ye Go Laddie Go. He penned The Braes O Balquhither. It evolved into Will Ye Go Laddie Go. Here, Bonnie changes Laddie to Lassie and breathes beauty and emotion into what is, my favourite song on Bonnie Dobson-She’s Like A Swallow. Another of my favourites is The Silkie Of Sule Skerry. Its roots can be traced to the Hebrides and Shetland Islands, where the silkies, or “seal people” are said to originate. Just like Will Ye Go Laddie Go, The Silkie Of Sule Skerry proves the perfect showcase for Bonnie Dobson’s voice.
That is the case throughout Bonnie Dobson-She’s Like A Swallow. Bonnie breathes life, meaning, emotion and sometimes, beauty into the fourteen traditional folk songs. Her voice veers between heartfelt to heartbroken, right through melancholy and wistful. She shares the hurt, hope, sadness and suffering she’s singing about. It’s as if Bonnie takes the lyrics personally. This results in what can only be described as a series of soul-baring songs. They became Bonnie Dobson-She’s Like A Swallow, and introduced Bonnie Dobson to music lovers worldwide.
While Bonnie Dobson-She’s Like A Swallow was well received, it wasn’t a huge commercial success. It was enough to set tongues wagging. Discerning folk fans knew that a new name was about to stake announce its arrival. That proved to be the case.
In 1962, a year after the release of Bonnie Dobson-She’s Like A Swallow, Bonnie released Bonnie Dobson At Folk City. This was Bonnie Dobson’s breakthrough album. It featured one of Bonnie’s best known songs, Morning Dew, which was recorded by some of the biggest names in music. By then, Bonnie would have retired.
Bonnie’s career continued right up until 1969. She released Bonnie Dobson Sings A Merry-Go-Round Of Children’s Songs in 1962, Bonnie left Prestige Records. She released albums on Mercury, RCA and Victor. However, by 1969, aged just twenty-nine, Bonnie Dobson announced she was retiring from music.
As the sixties drew to a close, Bonnie retired from music. She moved to England in 1969, and retired from music. Bonnie, who had dropped out of an a course at the University of Toronto, decided to return to university. She studied politics, philosophy and history. Academic life seemed to suit Bonnie.
After she finished her degree, Bonnie ended up working at the Philosophy Department of the University of London’s Birbeck College. That was home to Bonnie for the rest of her working life. By the time she retired, Bonnie was head of administration.
Now aged seventy-three, and happily retired, Bonnie is busier than ever. She has just released her first new album for forty-five years. So, what better time for Ace Records to release Bonnie Dobson Sings Like A Swallow and Other Folk Songs. It was recently released by Big Beat, an imprint of Ace Records. Bonnie Dobson Sings Like A Swallow and Other Folk Songs is a reissue of Bonnie’s Prestige Records’ debut album, where a musical trailblazer announced her arrival on the folk scene.
BONNIE DOBSON SINGS SHE’S LIKE A SWALLOW AND OTHER FOLK SONGS.
TRAMPLORD-FROM BUDDY HOLLY TO PETULANT SOUNDS.
TRAMPLORD-FROM BUDDY HOLLY TO PETULANT SOUNDS.
It was back in 2010, that the enigmatic, London based, Tramplord released their debut album Buddy Holly. Critics were won over by Tramplord’s unique fusion of jangling indie pop, psychedelia and Brit Pop. No wonder. The music on Buddy Holly was anthemic, joyous and melancholy. It was also melodic and hook laden. This was why some commentators went as far as to say that Tramplord were the future of indie pop. That was a big statement. It’s also one that’s been made many times before. However, back in 2010, many critics thought’s Tramplord’s star was in the ascendancy. What the critics didn’t realise, was that Tramplord were a band that do things their way. That’s down top Bin Raisbeck,Tramplord’s frontman and philosopher in chief.
Tramplord’s frontman and songwriter, Bin Raisbeck was born in a northern town. That northern town was Aberdeen, in the North of Scotland. Growing up, Bai survived on a steady diet of music. Some would say Bin obsessed about music.
Not knowing the theme to a seventies schools television program always annoyed Bin. He heard it when during the seventies, when was just four. Fast forward to 2007, and belatedly, was searching a website specialising in television themes. Lo and behold, Bin discovered that the song that had long haunted him, was called My World, a track by Allan Parker. By then, Bin had gone from music lover, to musician.
Music Bin realised, was his raison d’être. Making music was what he was born to do. By 2007, that’s what Bin was doing. Like many Scots before him, Bin made his way to London. Fitzrovia, became Bin’s home away from home. That’s Tramplord’s frontman and philosopher in chief’s worldview and lyrics evolved. However, there was a problem though. When Bin became part of the music industry, he was disillusioned by what he discovered.
Bin has always believed that music is an art-form. That, he discovered, is no longer the case. No longer is music about disappointment, dreams, escapism, fears, hopes, life and love. Nowadays, however, the reality, Bin discovered is very different. Music is manufactured by made for television pop stars. Tramplord are the polar opposite of these modern, manufactured bands.
Tramplord, like the bands that influence them, do things their way, or not at all. This is refreshing in an age when music seems to lack the charismatic characters of yesteryear. Bin Raisbeck, the man behind Tramplord, seems set to rectify this. That’s been the case since Buddy Holly was released to critical acclaim.
Most groups, having been tipped as the future of indie pop, would’ve headed straight back into the studio to record another album. Not Tramplord. They were in no hurry to record their sophomore album. Their enigmatic frontman Bin Raisbeck waited four years before releasing Petulant Sounds. This was a risky move that could’ve backfired on Tramplord.
A gap of four years between albums can result in people forgetting about a band. That could’ve been the case with Tramplord. Ironically, this decision proved a minor masterstroke.
For what became Petulant Sounds, Bin was joined by a few of his musical friends. Tim Whelan and Hami Mantu of Transglobal Underground) joined Jim Dale of Goldheart Assembly) and Adam Blake of Cornershop. Together, they recorded fifteen tracks where Tramplord pay homage to pop’s glorious past.
Among the artists that influenced Tramplord are the Alabama 3, Aztec Camera, Beach Boys, Big Star, Blondie, Cornershop, Fountains of Wayne, Orange Juice and T-Rex. There’s more than a nod to the classic pop of the Beach Boys on Petulant Sounds. Witness tracks like Coodbye Stations, Surfin’ USX, Help Me Find Her, Barbarian and Fin Fin Fin. Lyrically, the cerebral, cynicism of The Smiths sometimes shines through. This eclectic selection of influences played their part in Tramplord’s critically acclaimed, sophomore album, Petulant Sounds.
When Petulant Sounds was released in September 2014, critics fell in love with the album’s dreamy, wistful, nostalgic sound. Petulant Sounds was a marriage of musical genres. Elements of classic pop, indie pop, Brit pop, new wave, psychedelia and rock. The music was variously cerebral, cynical, melancholy, melodic, hook-laden, joyous, serene, uplifting and wistful. Tales of disappointment, hardship, love and love lost sit side-by-side on Petulant Sounds, which soon, became flavour of the month among tastemakers.
Critics, cultural commentators and DJs picked up on Tramplord’s sophomore album Petulant Sounds. Goodbye Stations was picked up by some of the biggest radio stations in Britain. This included BBC 6 Music and XFM. They were spreading the word about Tramplord. Gradually, Tramplord were gaining a larger fan-base. However, Tramplord want more people to hear their music. So, they’ve decided to play the modern music industry at their own game.
This means giving Goodbye Stations, one of Petulant Sounds’ best tracks, away as a free download via Soundcloud. Goodbye Stations is best described as a joyous slice of perfect pop. It’s a reminder of what music used to sound like. Dreamy, hook-laden and irresistible, Goodbye Stations is the perfect introduction to Tramplord, and their enigmatic frontman and philosopher-in-chief Bin Raisbeck.
He may always be the outsider looking in on the modern music industry, but who cares, when he’s capable of creating hook-laden, genre-melting music like that on Tramplord’s sophomore album Petulant Sounds.
TRAMPLORD-FROM BUDDY HOLLY TO PETULANT SOUNDS.
HOUSTON PERSON-HOUSTON PERSON 75 AND GET OUT’A MY WAY.
HOUSTON PERSON-HOUSTON PERSON 75 AND GET OUT’A MY WAY.
Growing up, Houston Person played the piano. Later, Houston switched to tenor saxophone. However, Houston Person never dreamt of being a musician. That wasn’t how he saw his future. Instead, Houston joined the US Army.
During his tour of duty, Houston was stationed in West Germany. That was when Houston joined the US Army service band. That’s where the soulful sound of Houston’s tenor saxophone made its debut. However, this was no ordinary service band.
The US Army service band that Houston Person joined, featured some future jazz greats. Its lineup featured Don Ellis, Cedar Walton and Eddie Harris, who Houston would later work with. For Don, Cedar, Eddie and Houston, this was part of their musical education. They would return home better musicians. Their time in the service band helped hone their sound, and prepared them for life as a professional musicians. In Houston’s case, his professional debut was on hold.
Before turning professional, Houston, who was born in Florence, South Carolina, on 10th November 1934, decided to complete his eduction. He returned to the Hartt School, at the University of Hartford, Connecticut. Only once Person had completed his studies, did he turn professional.
Over twenty years later, Houston Person released his thirteenth album Houston Person ’75 on Westbound Records. It was followed by Get Out’a My Life. Both Houston Person ’75 and Get Out’a My Way feature on Ace Records recently released two-on-one release. They’re the perfect introduction the perfect introduction to the soulful sound of Houston Person’s tenor saxophone. His career began in Boston, which Houston called home.
Boston was where Houston made his home. That’s where he worked with a series of R&B groups. He started playing small gigs and eventually, was spotted by Hammond organist Johnny “Hammond” Smith in 1963. For an up-and-coming musician, this was the breakthrough he had been looking for. Houston was with Johnny “Hammond” Smith for four years. During that period, Houston Person had signed to Prestige Records.
In the sixties, Prestige Records was one of jazz music’s most prestigious labels. It rubbed shoulders with Atlantic Records, Blue Note Records and Impulse. So, signing for a label of the stature of Prestige Records was a sign that Houston was a musician going places. His soulful tenor saxophone was winning friends and influencing people.
By 1966, Houston Person was ready to release his Prestige Records debut, Underground Soul! This was the first of twelve albums Houston released on Prestige Records between 1966 and 1973.
Underground Soul!
When Houston released his first album,1966s Underground Soul!, it received mixed reviews. Critics couldn’t seem to make their mind up about the album. Underground Soul! struggled to find an audience. Prestige Records put this down to being Houston’s debut album. Surely this was just teething problems for Houston Person?
Chocomotive.
Just a year later, in 1967, Houston released his sophomore album Chocomotive. This time, there was no doubt about the quality of music on Chocomotive. It was to released to overwhelming critical acclaim. However, sales were disappointing. This proved to be the case with Trust In Me.
Trust In Me.
Houston’s sophomore album Trust In Me was released later in 1967. A memorable album of soul-jazz, with diversions into blues and funk, Trust In Me critics, and everyone at Prestige Records, felt deserved to fare better. History would repeat itself a year later.
Blue Odyssey.
In 1968, Houston released his fourth album Blue Odyssey. It was hailed the finest album of Houston Person’s career. Despite this, Blue Odyssey Trust In Me struggled to find an audience. For Houston and Prestige Records, this was a worrying time.
The appointment of Bob Porter as the new A&R man at Prestige Records solved the problem. He realised that for Houston’s first four albums, Prestige Records had struggled to find a sound for Houston. Bob who had an intimate knowledge of the club scene, realised Houston needed to take his live sound into the studio. Surrounding Houston with some of the best session musicians, his career took off.
Soul Dance!
Houston’s first album of the Bob Porter era was Soul Dance! Released in 1969, Soul Dance! was hailed as Houston Person at his finest as he combines ballads, blues and soul jazz. Good as Soul Dance! was, Houston trumped it with Goodness!
Goodness!
Goodness! was released in 1970, and had a much more commercial sound. This didn’t please jazz purists though. However, Goodness! was a commercial success. That’s what Houston and Prestige Records wanted.
Truth!
Commercial success and critical acclaim continued with Truth! Released in 1970, it featured guitarist Billy Butler and Sonny Phillips on Hammond organ. The result was a fusion of jazz and R&B. This went down well with critics and record buyers. Bob Porter had transformed Houston Person’s sound and career.
Person to Person!
Person to Person! was Houston’s eighth album. It saw Houston’s sound continue to evolve. There was a move away from the soul-jazz sound. Replacing it, was a much more soulful sound. It came courtesy of an all-star band.
Bob Porter never shied away from bringing in the best musicians to accompany Houston. For Person to Person!, he brought in drummer Idris Muhammad, bassist Jimmy Lewis,guitarist Grant Green and Hammond organist Sonny Phillips. They played their part in the further reinvention of Houston Person.
On the release of Person to Person! in 1970, the album divided the opinion of critics. Some were surprised at the change in sound. However, Houston realised the importance of never standing still. This became even more apparent on his 1971 album Houston Express.
Houston Express.
By 1971, funk was flavour of the month. Jazz was no longer as popular as it once had been. So, on Houston Express, Houston Person and a band that included drummer Bernard “Pretty” Purdie and guitarist Billy Butler, fused musical genres.
Houston Express was essentially an album of funk, jazz and R&B. It was quite different to Houston’s previous albums. However, Houston and Bob Porter realised the importance of moving forward musically. They realised that if a musician stands still, they risked becoming irrelevant. There was no chance of this happening to Houston.
When critics heard Houston Express, they hailed it one of Houston’s finest albums. The constant reinvention of Houston Person was working. He was still commercially successful in an era when jazz’s popularity was plummeting. That took some doing. However, Houston managed to do this. Would his success last though?
Broken Windows, Empty Hallways.
Although Houston has just signed to Prestige Records in 1966, by 1972 he was already releasing his tenth album, Broken Windows, Empty Hallways. It was Houston’s usual mixture of cover versions and tracks penned by Houston. However, there was one important change in the winning formula. Producer Bob Porter had been replaced by Ozzie Cadena.
With Ozzie Cadena acting as producer, Houston began recording Broken Windows, Empty Hallways. He was joined by some of the leading jazz musicians, and…a tap dancer. This included flautist Hubert Laws, pianist Cedar Walton and guitarist Joe Beck. Probably the most surreal appearance was tap dancer Bunny Briggs. She made a guest appearance on a cover Jerry Jeff Walker’s Mr. Bojangles. Other cover versions included John Lennon’s Imagine and Randy Newman’s I Think It’s Going To Rain Today. They became Broken Windows, Empty Hallways.
Critics remarked that although Broken Windows, Empty Hallways was still jazz, it was much lighter than his earlier albums. It was as if Houston moving towards easy listening. Maybe, this was down to the change of producer. After all, Bob Porter had been replaced by Ozzie Cadena. This move towards a much more easy listening sound was maybe part of Ozzie’s vision.
This didn’t make automatically make Broken Windows, Empty Hallways a bad album. No. It was just another example of Houston Person’s music evolving. Maybe, however, Broken Windows, Empty Hallways was ahead of its time?
Nowadays, however, Broken Windows, Empty Hallways would be seen as a forerunner to smooth jazz. For some critics and record buyers, this was disappointing. Especially after the funky Houston Express. Would this be a turning point in Houston’s time at Prestige Records?
Sweet Buns and Barbeque.
After Broken Windows, Empty Hallways Houston returned with Sweet Buns and Barbeque. Unlike previous albums, Sweet Buns and Barbeque comprised only cover versions. There were no Houston Person originals on Sweet Buns & Barbeque. However, still, Prestige Records brought in some of the best musicians.
Pianist Richard Tee joined drummer Bernard “Pretty” Purdie, bassist Ron Carter and guitarist Joe Beck. Along with what seemed like a cast of thousands, they recorded the six songs that became Sweet Buns and Barbeque. It was released in 1973.
On Sweet Buns and Barbeque’s release in 1973, reviews ranged from mixed to favourable. However, Sweet Buns and Barbecue wasn’t as well received as the albums produced by Bob Porter.
It seemed the breakup of the Bob Porter and Houston Person partnership had affected Houston’s music. No longer was the music as groundbreaking. That, however, may not have been Houston’s fault. Maybe, Prestige Records were looking for music that was commercial? Sadly, we’ll never know. What we do know, is that Houston Person’s time at Prestige Records was almost at an end.
The Real Thing.
The Real Thing proved to be Houston Person’s Prestige Records’ swan-song. It was a double album of cover versions. Songs by Stevie Wonder, The Spinners and The Ohio Players that feature on The Real Thing, which features the great and good of jazz.
Just like previous albums, Houston brought onboard guitarist Grant Green, drummers Hank Brown and Idris Muhammad and Hammond organists Sonny Phillips and Brother Jack McDuff. They were joined by vocalist Etta James, who added the vocal on Don’t Go To Strangers. This was one of twelve tracks on The Real Thing, which proved to be Houston Person’s Prestige Records’ finale.
On its release in 1973, The Real Thing, Houston Person’s twelfth album wasn’t a commercial success. It was however, well received by critics. Blues, jazz and R&B sat side-by-side. However, sales were what mattered, and The Real Thing proved to be the end of Houston Person’s time at Prestige Records. It would be two more years before Houston released another album.
Houston Person ’75.
Two years after releasing The Real Thing, Houston Person was signed to Detroit based Westbound Records. Music had changed since Houston had last released an album. Now disco was flavour of the month. So was a much slicker, polished sound. Fusion was still popular, but disco was where it was at. With this in mind, Houston and Bernard Mendelson set about producing Houston Person ’75.
For Houston Person ’75, ten songs were chosen. What It Is, Mayola, Gold In My Ear, Funky Sunday Afternoon came from the pen of Belda Baine and Louis Crane. They also cowrote 500 Gin Rummy with Jimmy Scott and A Touch Of Bad Stuff with Jimmy Roach. Other covers included David Crawford and Charles Mann’s I Like To Live The Love and Stevie Wonder’s All In Love Is Fair. They became Houston Person ’75.
The ten tracks on Houston Person ’75, were recorded by some of Detroit’s best session players. These session players had featured on many of Westbound Records’ releases. This included The Fantastic Four and The Detroit Emeralds. They could now say they had accompanied Houston Person.
On Houston Person ’75’s release in 1975, the album was well received by critics. Sadly, however, Houston Person ’75 didn’t sell well. Music lovers missed a hidden gem of an album.
Houston Person ’75 is best described as journey through musical genres. During the ten tracks, Houston Person and his band take diversions via jazz, funk and R&B. The ten tracks are the perfect showcase for Houston Person’s tenor saxophone. That’s the case from the opening bars of I Like To Live The Love, which opens Houston Person ’75. From there, Houston veers between playing tenderly or powerful. It’s like a master craftsman at work. Standout performances come on the cover of Junior Walker and The Allstars’ Shotgun. Then Gold In My Hear takes on a slow, sultry sound. Smooth, soulful and funky describes 500 Gin Rummy. Funky Sunday Afternoon takes on a moody, bluesy sound. There’s a nod to B.B. King. Closing Houston Person ’75 is He’ll Fight My Battles. It features a guest appearance from Etta James. This proves a potent partnership, and the perfect way to end Houston Person ’75.
Very few people heard Houston Person ’75. When it was released in 1975, it passed most people by. The sales were nothing like Houston’s Bob Porter produced albums. That’s despite being an album of slick, polished music. Blues, funk, jazz, R&B and soul can all be heart on Houston Person ’75. It’s the perfect showcase for Houston Person. It shows how versatile the Boston based tenor saxophonist is capable of. Houston Person ’75 also shows how Houston never stood still. Constantly, he tried to reinvent his music. That was the case on his fourteenth album, Get Out’a My Way.
Get Out’a My Way.
After the commercial failure of Houston Person ’75, it was a case of back to the drawing board. The result was Get Out’a My Way, another album of cover versions. A total of eight tracks were chosen for Get Out’a My Way.
For Get Out’a My Way, Westbound staff writer Jimmy Roach supplied Disco Sax and Ain’t Nothin’ But A Funky Song. Ann Roach penned Soul Samba and Forever In Love. Belda Baine and Louis Crane contributed How Vicious and cowrote Spread It with Jimmy Roach. Other covers included My Way and The Isley Brothers’ For The Love Of You. These songs became Get Outta My Way.
When recording of Get Out’a My Way began, the production partnership of Houston and Bernard Mendelson picked up where they left off on Houston Person ’75. The backing band was The Westbound Gang, with Honey adding backing vocals. The result was another album of slick, polished music Get Out’a My Way.
Just like Houston Person ’75, Get Out’a My Way, which was released in 1976, was a slick, polished album. It was obvious that a great deal of attention had been paid to the production. It’s best described as a big, bold production. This was very much of its time. After all, 1976 was smack bang in the middle of the disco era. However, would Get Out’a My Way’s slick production prove successful?
Upon the release of Get Out’a My Way, the album sold reasonably well. Still, sales were nothing like Houston’s Bob Porter produced albums. Despite this, Get Out’a My Way was well received by critics. They enjoyed the slick, polished, contemporary sound. It was combined with elements of Houston’s musical past. That was down to the mix of music.
Again, Get Out’a My Way was a combination of musical genres. Disco, funk, Latin, R&B and soul can be heard on Get Out’a My Way. Disco Sax, which opens Get Out’a My Way, was the perfect showcase for a Houston Person masterclass. It’s best described as uber sultry. Soul Samba is a fusion of musical genres. Jazz, Latin and smooth soul rub shoulders on his dance-floor friendly track. Funky and soulful describes Ain’t Nothin’ But A Funky Song. At the start, it sounds like it’s from a long lost Blaxploitation track. After that, it’s all change as jazz meets smooth soul. That isn’t the end of this smooth, soulful sound.
It continues on a cover of May Way. It’s given a smooth, soulful and sensual makeover. The same can be said of The Isley Brothers For The Love Of You. Quite simply, it’s a beautiful, remake of this song. Ann Roach’s Forever In Love continues in a similar vein. After this, things change.
Houston remembering that the maxim, too much of a good thing, changes tack. Spread It has a funkier sound, with Houston and his band kicking loose. This funky sound continues on How Viscous. It sees Houston unleash one of his finest solos. His playing inspires the band. Just like Houston, they’re determined to close Get Out’a My Way on a funky high.
Get Out’a My Way is very much a return to form from Houston Person. He combines everything from disco, funk, jazz, Latin, R&B and the smoothest soul. Starting off with the Disco Sax and Soul Samba, Houston drops the tempo and delivers a quartet of smooth soulful, jazz. My Way and The Isley Brothers’ For The Love Of You are given a makeover. They take on new life and meaning. Then Houston showcases his versatility on Spread It and How Viscous. This closes Get Out’a My Way on a funky high. Just like Houston Person ’75, Get Out’a My Way is the perfect introduction to the soulful sound of Houston Person.
He may not have been one of the most high profile jazz musicians. However, he was hugely talented and versatile. Seamlessly, Houston flits between musical genres, showcasing his versatility. This is no surprise.
Throughout his career, Houston was constantly reinvention his sound. He realised that if he stood still, he risked becoming irrelevant. There was no way he was going to let that happen, so with each album, Houston’s sound continue to evolve. By 1975, when he released Houston Person ’75, he’d released twelve albums. Each album was different. This was testament to Houston’s determination to innovate. Houston continued to innovate on both Houston Person ’75 and Get Out’a My Way, which were recently reissued by Ace Records, on one CD.
For the newcomer to Houston Person, then Houston Person ’75 and Get Out’a My Way are the perfect introduction to a musical veteran. Now aged eighty, Houston Person continues to tour and showcase his eclectic and innovative back-catalogue. This includes Houston Person ’75 and Get Out’a My Way, the two albums Houston Person released for Detroit’s Westbound Records.
HOUSTON PERSON-HOUSTON PERSON 75 AND GET OUT’A MY WAY.
BO KIRKLAND AND RUTH DAVIS-YOU’RE GONNA GET NEXT TO ME-THE COMPLETE CLARIDGE RECORDINGS.
BO KIRKLAND AND RUTH DAVIS-YOU’RE GONNA GET NEXT TO ME-THE COMPLETE CLARIDGE RECORDINGS.
By 1976, disco was providing the soundtrack to dance-floors worldwide. Originally, however, disco was an American phenomenon. Gradually, though, the rest of the world succumbed to the disco sound. Around the world, dancers danced to the pulsating disco beat. However, disco’s popularity came at a cost.
The rise and rise of disco meant soul’s star was no longer in the ascendancy. Far from it. Soul music was no longer as popular as it had been. Even successful soul singers like Al Green and Bobby Womack career suffered. Indeed, things got so bad for Bobby Womack during the disco era, that he was dropped by his record company. Other artists tried to make the most of the disco era.
While some artists were wary of embracing disco fully, it was a case of needs must. If they didn’t climb onboard the disco bandwagon, then their career could be over. They couldn’t take that risk. So, they climbed onboard the disco bandwagon and released a string of disco singles. Some artists were reluctant disco stars. Others however, embraced disco fully. It gave them the opportunity to rejuvenate their careers. In other cases, disco launched the career of many an aspiring artist. A case in point is Ruth Davis, who in 1975, was signed to Claridge Records.
In 1975, Ruth Jean Davis was already signed to Claridge Records, but had yet to release a record for the label. Ruth however, was no newcomer to music.
Before signing to Claridge been in various girl groups, including The Sequins, who released the Northern Soul classics A Case Of Love and He’s A Flirt. Later, Ruth become a member of The Ikettes, whose lineup seemed to be in a constant state of flux. Although good for Ruth’s C.V, it wasn’t a successful time for The Ikettes. Sadly, neither was Ruth’s debut solo single.
It was in 1971, that Ruth released her debut solo single I Need Money. This Jimmy Lewis composition, which was released on Kent, but failed commercially. For Ruth, this was a huge disappointment. Ruth returned to singing in local clubs, until she signed to Claridge Records. That’s where she met Bo Kirkland. They would release an album Bo and Ruth on Claridge in 1976. Bo and Ruth features on You’re Gonna Get Next To Me-The Complete Claridge Recordings, which was released on Kent Soul, a subsidiary of Ace Records recently.
Mike “Bo” Kirkland had been involved in music since 1965, when he was nineteen. His family moved from his hometown of Yazoo, Mississippi when he was ten. It was a case of needs must. Bo’s brother had been the subject of a racially motivated attack. So, the family headed to California. Not long after that, the Kirkland family formed a gospel group.
This was Bo’s introduction to music. Soon, he was a member of his school choir. As he grew up, music dominated Bo’s life. Especially, since Sam Cooke crossed over. That was a turning point in Bo’s life. He started listening to jazz, R&B and soul. Music became Bo’s life. So much so, that he turned down an offer to play for the New York Yankees. By then, he’d formed Mike and The Censations.
By the time Mike and The Censations released their debut single Victim Of Circumstances, they were no longer a family group. Bo and Bob, who wrote Victim Of Circumstances, brought onboard Armand Postell. The new lineup of Mike and The Censations’ debut single was well received. It was played on local radio. This resulted in Mike and The Censations being signed to Highland Records.
Mike and The Censations released four more singles on Highland Records. However, commercial success eluded Mike and The Censations. Although they were popular locally, they never enjoyed widespread commercial success. As a result, Mike and The Censations released their final single for Highland Records in 1969 and signed to Decca subsidiary Uni.
Despite Uni being part of a much larger label, Decca, Mike and The Censations continued to be a successful local group. They released four more singles on Uni’s Revue imprint. None of the singles were more than local hits. This wasn’t what Decca needed. They needed Mike and The Censations to make a breakthrough nationwide. So, when Mike and The Censations deal expired in 1970, it wasn’t renewed. That’s when Bo and Bob decided to form their own label.
Bo and Bob were determined to make a living out of music. So, they decided to form their own label. Originally, it was called Yazoo, after Bo and Bob’s hometown. There was a problem though. Yazoo was the name of a reissue label. After a rethink, Bo and Bob decided to call their new label Bryan Records. It would release Mike James Kirkland’s two solo albums.
In 1971, when Bo released his debut solo single Together, on Bryan Records, he was still calling himself Mike James Kirkland. Bo Kirkland would come later. Before that, Mike James Kirkland had two albums and there more singles to release.
A year later, in 1972, he released his debut album Hang On In There, on Bryan Records. That year, Bo released two singles, Where Is The Soul Of Man and Love Is (Nothing But A Feeling). Just like his debut album, they weren’t a commercial success. Neither was the 1973 single Love Insurance. It was a case of what might have been.
Both of Mike James Kirkland’s albums and his single could’ve enjoyed commercial success and critical acclaim. The problem was, they were released on a small label, without the budget to promote his music. That’s why between 1971 and 1975, Mike James Kirkland was one of music’s best kept secrets. Maybe the disco boom would result in a change in his luck?
In 1975, the Kirklands caught a break. They had come to the attention of music veteran Frank Slay, who ran the Claridge label. He founded the label and in the sixties, but put the business on hold until 1974. Now, Frank was looking for new artists. That’s where Mike came in.
Frank decided that Mike James Kirkland wasn’t the right name. So, Frank and Mike put their heads together, and came up with the name Bo. That’s the name that featured on Bo’s Claridge debut, Grandfather Clock, which was penned by the Kirkland brothers with Frank Slay.
Grandfather Clock was released in September 1975. It sold well on the West Coast. So much so, that it reached number eighty in the US R&B charts. While this was a good start to Bo’s career at Claridge, Ruth Davis’ career looked as if it had stalled.
The problem was, finding the right song. Frank wanted Ruth to cover Freddie Hart’s Easy Loving. This, however, was a country song. Ruth wasn’t sure. Eventually, Frank persuaded Ruth to record the track. When Ruth heard the finished track, she knew it wasn’t right. So, Frank decided that Ruth should record Easy Loving as a duet with Bo Kirkland.
This was a masterstroke. Frank was known to have the Midas touch. It was said his ears never failed him. That was the case here. Easy Loving reached number thirty-eight on the US R&B chart, where it spent eighteen weeks. Six of these weeks came after the single was flipped over, and We Got The Recipe caught the attention of DJs and record buyers. Bo and Ruth, as they were billed, Frank decided, seemed like a successful pairing.
Frank decided that Bo and Ruth should put their solo careers on hold, and record a solo album. This wasn’t going to be difficult. They had already recorded Easy Loving and We Got The Recipe. Bo’s version of Grandfather Clock and Sure Got A Thing For You were included. All that was needed were six more songs.
For Bo and Ruth, the Kirkland brothers cowrote nine tracks. They cowrote I Feel Love In This Room Tonight and Can You Feel It with Charles Gentry and Hense Powell. The Kirkland brothers penned Train Of Desire, Sure Got A Thing For You and Stay Out Of My Kitchen with Hense. The trio also cowrote We Got The Recipe and You’re Gonna Get Next to Me with Ruth Davis. Charles Gentry, Mike and Bo cowrote You’re Gonna Get Next to Me and To Make You Love Me. Frank Slay only cowrote one track, Grandfather Clock which he penned with the Kirkland brothers. Easy Loving was the only cover version on Ruth and Bo, which was released in 1976.
With six new songs written, recording of Bo and Ruth got underway. Hense Powell was drafted in as arranger, while Bo produced Bo and Ruth. Once the six new songs were recorded, it was released in America in 1976 and Britain in 1977.
The lead single for Bo and Ruth was the album opener, I Feel Love In This Room Tonight. It was a ballad, with a funky twist. Given disco was at the height of its success, I Feel Love In This Room Tonight was a strange choice for lead single. As a result, I Feel Love In This Room Tonight stalled at number seventy-seven on the US R&B charts. The followup single was You’re Gonna Get Next To Me.
Straight away, Bo and Ruth realised they had struck disco gold. DJs worldwide were spinning You’re Gonna Get Next To Me. The single narrowly missed out on the US Billboard 100. It did reach number sixty-six n the US R&B charts. Considering its popularity with DJs and dancers, this must have been a disappointment. Then You’re Gonna Get Next To Me was released in Britain.
Across the Atlantic, You’re Gonna Get Next To Me surpassed the success the single had in America. It reached number twelve in Britain. Since then, You’re Gonna Get Next To Me is remembered as a club classic, and favourite of DJs and dancers. Despite the success of the singles taken from Bo and Ruth, the album was a different matter.
Bo and Ruth wasn’t a commercial success, and failed to chart. This wasn’t a reflection on the music. No. It’s a reflection on disco. Disco was very much a singles oriented genre. Successful disco artists didn’t necessary make successful albums. Obviously, artists like Gloria Gaynor and to some extent, The Salsoul Orchestra are the exception. Mostly, though, disco was about singles, Bo and Ruth, was an example of this.
I Feel Love In This Room Tonight opens Bo and Ruth, and You’re Gonna Get Next To Me-The Complete Claridge Recordings. It sees Bo and Ruth head to the soulful side of disco. The rhythm section, piano and swirling strings set the scene for Ruth’s heartfelt and hopeful vocal on this ballad. Horns bray and blaze, punctuating the arrangement. Then when Bo’s vocal enters, it’s equally heartfelt and needy. Bo and Ruth became yin and yang. Meanwhile, lush strings sweep and swirl, horns sound and the rhythm section create a sultry heartbeat. Later, a lovestruck Bo and Ruth vamp their way through what’s a soulful slice of dance-floor friendly music.
Strings dance and the rhythm section add a funky backdrop on To Make You Love Me. There’s even a Latin twist to the arrangement. As a slap bass punctuates the arrangement, Bo unleashes a soul-baring vocal. It’s a mixture of power and passion. So is Ruth’s vocal. She matches Bo every step of the way. Meanwhile, the band combine elements of disco, funk and Latin. This proves the perfect backdrop to the soulful strains of Bo and Ruth.
Train Of Desire is another ballad. Swathes of the lushest strings cascade, horns bray and flamboyant flourishes of harpsichord sit atop the rhythm section and washes of Hammond organ. They create a slow, dramatic backdrop for Bo and Ruth’s slow, soulful, sultry and needy vocals. When they drop out horns growl and strings sweep. They then sweep Bo and Ruth away as they climb onboard the Train Of Desire.
You’re Gonna Get Next to Me was the sophomore single from Bo and Ruth. This was their biggest single. It’s now regarded as a club classic. Bo and Ruth’s vocals are swept in atop a bassy arrangement. They’re the perfect foil for each other. As Bo vamps, Ruth dawns the role of disco diva. It’s a role that suits her. Especially, when accompanied by an arrangement that’s classic disco. As the rhythm section and chiming guitars combine to create a funky, dance-floor friendly backdrop keyboards join blazing horns and disco strings. Later, when Bo get’s the chance to play a starring role, he relishes the opportunity. He plays a part in a track that’s funky, soulful and dance-floor friendly.
As We Got the Recipe unfolds, strings dance and horns blaze. Just like the previous track, there’s plenty of low end courtesy of the rhythm section. Bo and Ruth are swept along by swathes of lush strings. They quiver and shiver, while horns bray and growl, sometimes adding a wistful sound. Always though, We Got The Recipe is a hook-laden dance track.
Easy Loving was Bo and Ruth debut single. The track is reinvented and suits being delivered as a duet. Partly, that’s because Bo and Ruth’s vocals sit well together. Their vocals are tender, heartfelt and hopeful. The vocals are part of the story. There’s the slow, romantic arrangement. This means slow, sweeping strings adn bursts of rasping horns. They’re joined by the funky guitars and a rhythm section that creates a slow, sultry heartbeat. When all this is combined, the result is a quite beautiful track.
Sure Got A Thing For You is one of two tracks from Bo Kirkland on Bo and Ruth. It’s a mid-tempo ballad that’s funky and soulful. Against a pulsating rhythm section, keyboards, braying horns and soaring, soulful harmonies Bo delivers a vocal heartfelt and needy. There’s even a nod to Stevie Wonder, as Bo showcases his considerable talent on the funky, soulful Sure Got A Thing For You.
Deliberate piano chords are picked out, a guitar chimes and a Hammond organ wails. Horns bray and strings sweep as Can You Feel It begins to reveal its secrets and beauty. The scene is set for Bo and Ruth’s needy, sultry and seductive vocals. Behind them, instruments are dropped in at the right time. A sultry saxophone sets the scene for the return of Bo and Ruth’s vocals. It grows in power and passion. Needy and hopeful, it’s one of Bo and Ruth’s finest hours.
Grandfather Clock is the other Bo Kirkland single. As a clock chimes, vibes replicate a clock and the rhythm section get funky. Just like other tracks, there’s no shortage of low end. The bass powers the arrangement along. It’s aided and abetted by stabs of growling horns. Accompanied by harmonies, Bo struts his way through the track, delivering an assured vocal on this funky, soulful track.
Stay Out Of My Kitchen closed Bo and Ruth, but not You’re Gonna Get Next To Me-The Complete Claridge Recordings. It’s an uptempo dance track, where elements of disco, funk and soul unite. Bursts of grizzled horns join the pounding, pulsating and funky rhythm section. They’re joined by washes of Hammond organ, harmonies and Bo’s swaggering vocal. When Ruth enters, she delivers a strutting diva-esque vocal. It’s as if she’s been inspired by Bo. The result is a joyous, slice of good time music.
That’s not the end of Kent Soul’s recently released Bo and Ruth compilation You’re Gonna Get Next To Me-The Complete Claridge Recordings. No. There’s six other tracks.
Four feature Bo and Ruth. The first is Bo and Ruth’s strings drenched, soulful cover of Thomas Jans’ Loving Arms. This is the only cover version. The three other tracks were either written or co-written by Bo.
Bo seemed to write a lot of ballads. This includes That’s the Way The Wind Blows. It was penned by Sky Keegan and Bo. Slow, tender and full of melancholia and beauty, describes That’s the Way The Wind Blows. That’s A Bet is another soulful dramatic ballad. It features a needy, hopeful vocal from Bo. It’s accompanied by swathes of strings and bursts of blazing horns. The final track from Bo and Ruth is Stay By My Side, a hook-laden dance track. That track is the last we hear from Bo and Ruth.
The two other tracks on You’re Gonna Get Next To Me-The Complete Claridge Recordings, come courtesy of Ruth Davis. Heartbreaker is a truly irresistible dance track. Lost In A Love Zone also sees Ruth embrace the role of disco diva. She delivers a sassy, strutting vocal. This shows a very different side to Ruth Davis. This is far removed from the balladry on Bo and Ruth, You’re Gonna Get Next To Me-The Complete Claridge Recordings.
For much of Bo and Ruth, balladry was the order of the day. There were a few dance-floor friendly tracks. However, mostly, Bo and Ruth delivered a series of heartfelt ballads.
These ballads proved uber soulful. That’s not all. Bo and Ruth’s vocals on the ballads were beautiful, heartfelt, hopeful melancholy, needy, tender and wistful. Easy Loving, Bo and Ruth’s debut single, showed what they were capable of. It gave them a minor hit single. Frank Slay, the owner of the Claridge label, decided Bo and Ruth to record their debut album. However, there was a problem. Disco was ruled the musical roost.
Pounding, pulsating dance tracks were flavour or the month in 1976. Granted, Bo and Ruth made a few concessions to disco on their debut album. This resulted in another minor hit single, and club classic, You’re Gonna Get Next to Me. Sadly, this was the end of Bo and Ruth’s success.
When Bo and Ruth was released, it failed commercially. It failed to chart. Soul was no longer as popular as it had been. As for disco, it was mostly a singles genre. Very few classic disco albums were ever released. Indeed, many disco artists concentrated on singles, rather than albums. Bo and Ruth however, wasn’t really a disco album.
Bo and Ruth was essentially a soul album. There were a a few dance tracks. The problem was, soul albums weren’t selling well. Far from it. They were, to some extent, yesterday’s sound. Disco was perceived as the future. Ironically, that proved not to be the case. Two years after the release of Bo and Ruth, disco’s popularity plunged.
Disco went from hero to zero in less of a year. Suddenly, disco sucked. Disco’s downfall started on Christmas Eve 1978, That’s when Steve Dahl was fired by Chicago radio station WDAI. It had previously been a rock station, but switched to disco. Steve wasn’t out of work long. He was hired by WLUP, a rival station. WLUP played rock, which suited Steve Dahl. He’d an inkling that disco wasn’t long for this world.
Steve wasn’t a fan of disco, and took to mocking disco on-air. Openly, he mocked WDAI’s “disco DAI.” It became “disco die” to to Steve. Soon, Steve had created the Insane Coho Lips, his very own anti-disco army. Along with cohost Gary Meier, they coined the now infamous slogan “Disco Sucks.” The backlash had begun.
From there, the Disco Sucks movement gathered momentum. Events were held all over America. This came to a head at Disco Demolition Derby, which was Steve Dahl’s latest anti-disco event. Each one was becoming bigger, rowdier and attracting even more publicity. Disco Demolition Derby, which was held at Comiskey Park, Chicago on 12th July 1979 surpassed everything that went before. WFUL were sponsoring a Chicago White Sox game at Comiskey Park. if fans brought with them a disco record, they’d get in for ninety-eight cents. These records would be blown up by Steve Dahl. An estimated crowd between 20-50,000 people attended. Quickly the event descended into chaos. Vinyl was thrown from the stands like frisbees. Then when Steve blew up the vinyl, fans stormed the pitch and rioted. Things got so bad, that the riot police were called. After the Disco Demolition Derby, disco nearly died.
Following Disco Derby Night, disco’s popularity plunged. Disco artists were dropped by major labels, disco labels folded and very few disco albums were released. Disco was on the critical list, and suffered a near death experience.
Only after the disco boom was over, did people start discovering soul albums they may have missed during the disco era. Many a hidden gem was discovered. This included Bo and Ruth, which was part of You’re Gonna Get Next To Me-The Complete Claridge Recordings, which was recently released by Kent Soul, a subsidiary of Ace Records. You’re Gonna Get Next To Me-The Complete Claridge Recordings, shows that there’s much more to Bo and Ruth, than their dance-floor classic You’re Gonna Get Next to Me.
BO KIRKLAND AND RUTH DAVIS-YOU’RE GONNA GET NEXT TO ME-THE COMPLETE CLARIDGE RECORDINGS.
FUNKADELIC-MAGGOT BRAIN.
FUNKADELIC-MAGGOT BRAIN.
Rumour has it, that when Funkadelic recorded their career defining album, Maggot Brain, they were on one long acid trip. Members of Funkadelic had dropped some Yellow Sunshine Acid before producer George Clinton pressed the record button. Ironically, Maggot Brain which was recently reissued on vinyl by Ace Records, was Funkadelic’s finest hour. Sadly, never again, would Funkadelic reach the same heights. Maggot Brain had come at a huge cost.
After the recording of Maggot Brain, Tawl Ross, Eddie Hazel, Billy Nelson, and Tiki Fulwood left Funkadelic. Maggot Brain became the last Funkadelic album to feature the original group. That’s not surprising.
Funkadelic had a voracious appetite for the rock ’n’ roll lifestyle. Although they were a funk band, Funkadelic liked to live life hard. Part of their lifestyle was drugs. However, their lifestyle caught up with Funkadelic. Their lineup was torn apart by drugs.
Drummer Tiki Fulwood was the first to leave Funkadelic. After that, the floodgates opened. Tawl Ross, Eddie Hazel and Billy Nelson departed. Within a year, only Bernie Worrell was left. He was the last man standing. Maggot Brain may have been their finest hour, but it came at a huge price.
The original members of Funkadelic never got to share the commercial success of the group’s two most successful albums, 1978s One Nation Under A Groove or 1979s Uncle Groove Wants You. One Nation Under A Groove sold a million copies and was certified platinum, while Uncle Groove Wants You was certified gold. By then, Funkadelic’s lineup was constantly changing. It seemed they had a revolving door policy, as far as members were concerned. This was very different to the Funkadelic’s early days.
Funkadelic’s origins can be traced back to 1964. That’s when George Clinton hired musicians Frankie Boyce, Richard Boyce and Langston Booth to back his doo wop group The Parliaments. Two years later, Frankie, Richard and Langston decided to join the US Army. This left George Clinton looking for three new musicians.
George recruited bassist Billy Bass Nelson and guitarist Eddie Hazel in 1967. Later, he added guitarist Tawl Ross and drummer Tiki Fulwood. This was the lineup of The Parliaments that headed to Detroit.
Now living in Detroit, The Parliaments found themselves in a dispute with Revilot, a record company. They owned the rights to The Parliaments. So, George’s group needed a new name. That’s when Billy Bass Nelson came up with the name Funkadelic. It stuck. Soon, in 1968, Funkadelic signed to Westbound Records.
Having signed to Westbound Records, Funkadelic’s music began to evolve. Doo woo was yesterday’s sound. The newly named Funkadelic needed a new, and much more contemporary sound. Psychedelia, rock, soul and funk were the musical flavours of the month. So were Jimi Hendrix and Sly Stone. So, it made sense for Funkadelic to fuse these musical genres and influences.
This is what Funkadelic did. However, Funkadelic were no ordinary band. This was, after all, the era of the civil rights movement. Just like many other bands, the civil rights movement inspired Funkadelic. Their lyrics were full of social and political comment. Funkadelic’s music would prove to be a heady brew, when the band released their eponymous debut album.
Funkadelic.
Before Funkadelic entered the recording studio for the first time, they’d spent two years honing their sound. They were a much more tighter band, than when they became Funkadelic. This was apparent when they released their eponymous debut album.
When Funkadelic released their eponymous debut album, on 11th May 1970, it was well received by critics. Rolling Stone magazine gave the album a positive review. Other critics followed suit. Some critics remarked upon Funkadelic’s rhythm section. The rhythm section, they said, were at the heart of everything that was good on Funkadelic. This included the lengthy jams, where Funkadelic took the opportunity to stretch their legs. George Clinton’s new band, had made a strong impression
When Funkadelic was released on 11th May 1970, it reached number 126 in the US Billboard 200 and number eight in the US R&B charts. For a debut album, by a relatively new group, the future looked bright for psychedelic, funkateers, Funkadelic.
Free Your Mind… and Your Ass Will Follow.
Just two months after the release of Funkadelic, George Clinton and Co. returned with Free Your Mind… and Your Ass Will Follow. It was unlike any album ever released.
After all, no band had tried to record an album while tripping on acid. That’s until Funkadelic tried. George Clinton had a brainwave. He wondered if Funkadelic could record an album whilst tripping on acid. The result was Free Your Mind… and Your Ass Will Follow, Funkadelic’s sophomore album.
On Free Your Mind… and Your Ass Will Follow’s release, in July 1970, the album was mired in controversy. This was down to the title-track. It was a ten minute epic, where, amidst a feedback drenched backdrop,
Funkadelic managed to offend Christians everywhere. Funkadelic’s subversive attitude towards the sacred, and specifically, The Lord’s Prayer and the 23rd Psalm, meant Funkadelic were unlikely to sell many albums in America’s bible belt. They’d make up for this elsewhere.
Following the positive reception of Funkadelic’s eponymous debut album, Free Your Mind… and Your Ass Will Follow received mixed reviews. It seemed Funkadelic couldn’t please all the critics, all the time. Record buyers however, were won over by Free Your Mind… and Your Ass Will Follow. It reached number ninety-two in the US Billboard 200 and number eleven in the US R&B charts. This made Free Your Mind… and Your Ass Will Follow Funkadelic’s most successful album. The followup, Maggot Brain, would be both Funkadelic’s finest hour, and the end of an era.
Maggot Brain.
Recording of Maggot Brain, Funkadelic’s third album took place during 1970 and 1971. This was the last album from the original lineup of Funkadelic. Partly, this was down to Funkadelic’s voracious appetite for drugs, and specifically, acid. What would become a classic album, cost not just Funkadelic, but the individual members dearly. Things were very different when work on Maggot Brain began.
For Maggot Brain, seven songs were penned. George Clinton cowrote six of them. The exception was Back In Your Minds, a Fuzzy Haskins song. Of the six songs George cowrote, he penned Can You Get to That with Ernie Harris and Maggot Brain with Eddie Hazel. They also penned Super Stupid with Billy Bass Nelson and Tawl Ross. George and Billy then wrote Hit It and Quit It with Garry Shider. You and Your Folks, Me and My Folks was written by George, Judie Jones and Bernie Worrell. Super Stupid was written by Billy, Eddie, Tawl Ross and George. He also cowrote Wars of Armageddon with Tawl, Bernie and Tiki Fulwood. These seven songs became Maggot Brain.
Maggot Brain was recorded during 1970 and 1971. The lineup of Funkadelic featured a rhythm section of lead guitarist Eddie Hazel, bassist Billy Bass Nelson, rhythm guitarist Tawl Ross and drummer Tiki Fulwood. They were joined by Bernie Worrell on keyboards and backing vocalists Hot Buttered Soul. Funkadelic, unlike many groups didn’t have a designated lead vocalist. It changed from song to song on Maggot Brain, which was released on 12th July 1971.
On its release, on 12th July 1971, Maggot Brain was well received by critics. Most critics gave Maggot Brain glowing reviews. The occasional critic wasn’t won over by Funkadelic’s genre-melting music. However, mostly, critics realised Funkadelic had released the finest album of their career. This wasn’t reflected in sales.
Music buyers weren’t convinced by Funkadelic’s dark, moody worldview. Maggot Brain stalled at 108 in the US Billboard 200 and number fourteen in the US R&B charts. For George Clinton this was a huge disappointment. Worse was to come.
After the release of Maggot Brain, Tawl Ross, Eddie Hazel, Billy Nelson, and Tiki Fulwood left Funkadelic. Maggot Brain became the last Funkadelic album to feature the original group. Maggot Brain was Funkadelic’s finest hour, and is now perceived as a classic album. You’ll realise why, when I tell you about Maggot Brain.
Maggot Brain opens with the title-track. It’s a ten minute epic. A crackling sound gives way to a dark, moody spoken word introduction. It gives way to understated, sometimes dubby arrangement. At the centre of the arrangement is Eddie Hazel’s legendary guitar solo. Soon, it’s assailing you. Producer George Clinton pans the guitar right and left. All the time, the arrangement meanders along. The longer the track progresses, the better Eddie’s blistering, screaming, rocky guitar solo gets. Later, it’s drenched in feedback, as elements of psychedelia and rock unite. After that, Eddie’s guitar playing becomes understated, triply and dubby as Eddie Hazel master craftsman, delivers a stunning solo on what’s the equivalent of Funkadelic’s A Love Supreme.
Can You Get to That has a much more traditional rocky sound. This is very different to Funkadelic’s trademark sound. Gone is the groove oriented sound. It’s replaced by a joyous fusion of rock and gospel harmonies. Garry Shider and Ray Davis share the lead vocals. They’re accompanied by what seems like a joyous choir. Together, they deliver lyrics that seem to partly, have been inspired by Dr. Martin Luther King’s I Have A Dream Speech. The result is a melodic, joyous song full of social comment.
A guitar plays its way into a groove on Hit It and Quit It. Soon, the rest of the rhythm section explode into life. They’re joined by Bernie Worrell’s powerhouse of a vocal. He also plays an organ, which adds a dramatic, almost gothic sound. Adding the finishing touches are frenzied, urgent harmonies. While everyone more than plays their part in the song’s sound and success, Bernie plays a starring role. Later, so does guitar virtuoso Eddie Hazel, as he delivers another guitar masterclass.
Dubby and funky describes the introduction to You and Your Folks, Me and My Folks. Soon, it becomes a dramatic, emotive plea for unity. Here, Funkadelic Funkadelic use their music as a platform for social comment. It’s a plea for unity among the poor. If this isn’t achieved then never, ever will equality be achieved. It’s a soulful, funky anthem, where Funkadelic’s trademark sound shines through.
Super Stupid sees Eddie Hazel take charge of the lead vocals. Here, Funkadelic combine musical genres and influences. Funk, psychedelia, rock and soul combines with Sly and The Family Stone and Jimi Hendrix. The song is about a drug addict, nickname Maggot Brain, who buys the wrong drug. It’s a truly turbocharged track. At the heart of the driving, dramatic rocky track are Funkadelic’s rhythm section. Eddie however, plays a starring role, unleashing some of his finest, blistering guitar licks.
Back in Our Minds is another song about unity. It’s story about two friends who are reunited after falling out. George and Tawl Ross take charge of the lead vocal, on what sounds like a raucous, slice of good time music. Gone is the tightness of the previous track. It sounds as if Funkadelic are in a ‘relaxed’ state of mind. Sunshine soul, meets jazz, and a loose, funky sound.A myriad of avant-garde sounds are thrown into the mix. Later, McKinley Jackson adds bursts of trombone and a piano adds to the singalong nature of the song.
Closing Maggot Brain is Wars of Armageddon. It’s very different from previous tracks. Wars of Armageddon is an innovative and futuristic fusion of left-field music, sound effects and surreal lyrics. That’s not surprising, given Maggot Brain was recorded while Funkadelic were tripping on acid. Here, Funkadelic seemed to have opened the doors to perception to its fullest. They’re determined to end the album on a high. Bernie Worrell on Hammond organ and guitarist Eddie Hazel play starring roles. Meanwhile, the rhythm section create a groove laden backdrop. Above them, sound effects and snatches of dialogue flit in and out, as the original lineup of Funkadelic take their bow, producing a post apocalyptic vision of the Wars of Armageddon.
By the time Maggot Brain was released, the original lineup of Funkadelic were no more. Recording of their Magnus Opus, Maggot Brain, had taken its toll. The reason for this, were the sessions were drug fuelled. Funkadelic’s drug de jour was acid, which can have devastating effect. That was the case after Maggot Brain was completed.
Following the recording of Maggot Brain, Tawl Ross, Eddie Hazel, Billy Nelson, and Tiki Fulwood all left Funkadelic. Maggot Brain became the last Funkadelic album to feature the original and classic lineup of the group. That’s not surprising.
Funkadelic had a voracious appetite for the rock ’n’ roll lifestyle. They liked to live life hard. Part of their lifestyle was drugs. However, their lifestyle caught up with Funkadelic. Their lineup was torn apart by drugs.
Drummer Tiki Fulwood was the first to leave Funkadelic. After that, the floodgates opened. Tawl Ross, Eddie Hazel and Billy Nelson departed. Within a year, only Bernie Worrell was left. He was the last man standing. Maggot Brain may have been their finest hour, but it came at a huge price.
When Maggot Brain was released, it was to mostly critical acclaim. Critics hailed the album Funkadelic’s finest hour. That’s still the case. Maggot Brain was, many critics, myself included, believe Funkadelic never bettered. They may have released more successful albums, but Maggot Brain which was recently reissued on vinyl by Ace Records, was a career defining album for Funkadelic.
Maggot Brain was an innovative, genre-melting album. It saw Funkadelic pushed musical boundaries to their limit. Funk, jazz, psychedelia, rock, soul and social comment all melt into one on Maggot Brain, Funkadelic’s acid fuelled Magnus Opus, where they throw open the doors of perception.
FUNKADELIC-MAGGOT BRAIN.
SARAH VAUGHAN-A TIME IN MY LIFE.
SARAH VAUGHAN-A TIME IN MY LIFE.
By 1971, when Sarah Vaughan released A Time In My Life on Mainstream Records, she had established a reputation as one of jazz’s premier vocalists. She had come a long way since winning the Amateur Night at Harlem’s Apollo Theatre, in 1942. Back then, Sarah was just eighteen. The prize might only have been ten dollars. However, more importantly, Sarah Vaughan was spotted and offered a place in Earl Hines’ band. This was the start of the rise and rise of Sarah Vaughan.
Working with Earl Hines’ band was like a musical education for Sarah Vaughan. She rubbed shoulders with some of the biggest names in jazz. This included Charlie Parker, Dizzy Gillespie and Billy Eckstine, who would become one of Sarah’s closest friends. However, by 1944, Sarah’s time with Earl Hines’ band was at an end. Sarah decided to embark upon a solo career.
After leaving Earl Hines’ band, Sarah signed with Continental Records. One of her first releases, was a version of Night In Tunisia, a Dizzy Gillespie classic. These early releases helped launch Sarah’s solo career. They also brought Sarah to the attention of George Treadwell.
He was originally a trumpeter. However, George soon became Sarah’s manager, and then, her husband. George helped mould Sarah, helping improve her presentation and stagecraft. Not long after this, she covered Tenderly. This was a game-changer. Soon, Columbia were taking an interest in Sarah Vaughan. However, there was a problem.
Sarah was already signed to the Musicraft label. Somehow, Sarah managed to escape from her contract and signed for Columbia. This was home to her for the next five years. Most of the music Sarah recorded, is best described as pop. Jazz it seemed, had lost one of its potential great female vocalists.
Her only jazz session came in 1950, when she accompanied a band that featured Miles Davis. Mostly, Sarah was recording pop. However, this didn’t satisfy Sarah. So, she had a clause written into her contract that allowed her to enjoy a parallel career as a jazz singer. Sarah released jazz albums on the Emarcy imprint. For Sarah, this was the best of both worlds. However, as the forties came to a close, Sarah’s life was changing.
While everything was going well in Sarah’s professional life, her marriage to George Treadwell came to an end. Once her divorce came through, she married Clyde Atkins. He had never been involved in music. However, Sarah appointed Clyde as her manager.
One of the first deals Clyde did, was with Maurice Levy’s Roulette Records. They signed Sarah Vaughan. For Sarah, her rookie manager had done well. Roulette had some of the best arrangers in music. This resulted in Sarah recording some critically acclaimed albums. It wasn’t just jazz Sarah enjoyed success with, but pop too. It looked as if Sarah’s time at Roulette was one of the most successful periods in her career. That wasn’t the case.
Sadly, when Sarah’s deal with Roulette ended in 1963, she discovered she had a large unpaid tax bill. Worse was to come. Roulette hadn’t paid Sarah her royalties. For Sarah, this was a disaster. The only small crumb of comfort came, when she was resigned to Mercury by Quincy Jones.
For the next four years, Sarah released several albums for Mercury. These albums saw Sarah try different styles of music. The albums were either hit or miss affairs. Sarah, however, never recaptured the same heights as her early career. So, in 1967, Sarah left Mercury.
For the next four years, Sarah Vaughan didn’t have a recording career. Then Sarah met Bob Shad, the owner of Mainstream Records. They’d first met in the fifties. While Sarah was down on her luck, Bob was flushed with success.
The sixties had been kind to Bob Shad. He made a lot of money in the sixties working in rock music. Now he decided to reinvest some of his money in his first musical love, jazz. He’d signed artists like Blue Mitchell and Hadly Caliman to Mainstream. Now he wanted to sign Sarah Vaughan. This would be a coup for Mainstream.
Sarah, who had been without a recording contract for four years, agreed. She signed to Mainstream in 1971. Before long, she was working on her Mainstream debut A Time Of My Life, which was reissued by Boplicity, an imprint of Ace Records. A Time Of My Life was an album of ten cover versions, given a unique twist by Sarah Vaughan.
This ten tracks on A Time Of My Life, included John Lennon’s Imagine, Bob Dylan’s If Not For You, John Sebastian’s Magical Connection and Marvin Gaye, and James Nyx’s Inner City Blues (Make Me Wanna Holler). Brian Auger penned Tomorrow City and cowrote On Thinking It Over and Trouble with Jim Mullen. Other tracks included a cover of Carly Simon and Jacob Brackman That’s The Way I’ve Always Heard It, and Helen and Kay Lewis’ Universal Prisoner. The other track on A Time Of My Life was Sweet Gingerbread Man which Michael Legrand cowrote with Marilyn and Richard Bergman. These ten tracks became A Time Of My Life, which was recorded in 1971.
When recording of A Time Of My Life began in 1971, the rhythm section included drummer Earl Palmer, bassist Bob Magnusson and guitarists Albert Vescovo and Joe Pass. They were joined by pianist Willy Mays and percussionists Alan Estes and Jimmy Cobb. The horn section featured trombonists George Bohanon and Benny Powell, trumpeters Buddy Childers, Gene Coe and Al Aaron and saxophonists Jackie Kelso, Bill Green and Jerome Richardson. Bill Shad produced and Ernie Wilkins arranged A Time Of My Life, which was Sarah Vaughan’s 1971 comeback album.
On the release of A Time Of My Life, it wasn’t a commercial success. Lightning struck twice for Sarah Vaughan. The same thing had happened at Mercury. However, this wasn’t her fault. No. The problem was jazz no longer as popular. Music had changed beyond recognition, and jazz was perceived by some as a relic of music’s past. That’s, you’ll realise wasn’t the case, when I tell you about A Time Of My Life.
A cover of John Lennon’s Imagine opens A Time Of My Life. The arrangement is understated and wistful. Muted horns, a chiming guitar and the rhythm section combine with percussion. They provide the backdrop for Sarah’s heartfelt, hopeful. As the bass powers the arrangement along, Sarah combines power, hope and passion, delivers the lyrics as if she means every word.
A wistful flute flutters above the arrangement to On Thinking It Over. It meanders along, just an electric piano, vibes, rhythm section and eventually, blazing horns accompanying Sarah. Her vocal veers between tender and thoughtful, to a vocal powerhouse. Her band mirror Sarah’s every move. They veer between understated to dramatic. Meanwhile, Sarah’s vocal is wistful, emotive and tinged with regret. Memories come flooding back, as Sarah ponders her hopes and aspirations.
Marvin Gaye’s Inner City Blues (Make Me Wanna Holler) is given a makeover. Horns rasp, while the rhythm section lay down a groove. Atop the arrangement Sarah scats, before breathing life and meaning into lyrics that ooze social comment. Keyboards join the rhythm section and blazing horns. They create a dramatic, funky and jazz-tinged backdrop for Sarah, as a Marvin Gaye classic takes on new meaning.
Just a bass, then keyboards and pounding drums set the scene for Sarah on Sweet Gingerbread Man. Again, Sarah reinvents the song. She literally grabs the song, and breathes new life into it. Accompanied by a mostly understated arrangement, Sarah delivers a vocal that swings. Horns occasionally add bursts of drama. They’re the perfect foil to Sarah’s vocal, as she rolls back the years.
Horns bray and blaze, fluttering above the arrangement to Magical Connection. They’re joined by an electric piano and understated rhythm section. Sarah’s vocal is suitably understated. Soon, it grows in power. Quickly, it becomes apparent that this song is perfect for Sarah. So good is her phrasing and delivery, that its as if Magical Connection was written especially for Sarah.
Dark, moody horns open That’s The Way I’ve Always Heard It. Then when Sarah’s vocal enters, it’s full of sadness and hurt. Memories come flooding back, of a sad and troubled childhood. Gradually, the arrangement unfolds. A chiming guitar, the rhythm section and bursts of horns accompany Sarah, as her sadness turns to hope, hope for the future. Her vocal becomes hopeful, then sometimes needy, on this beautiful, emotive, roller coaster.
Tomorrow City has a much more contemporary sound. It features a confused, troubled Sarah. The rhythm section and keyboards set the scene for Sarah. She’s confused and worried. “All my values are collapsing.” Everything she believed in has been turned upside down. Stabs of horns and washes of keyboard accompany her. Meanwhile, the rhythm section provide the heartbeat. Sarah’s vocal is a mixture of power, confusion and disbelief. Later, when it drops out, the best guitar solo on A Time In My Life is laid down. When it gives way, Sarah returns her vocal powerful, emotive and soulful.
Universal Prisoner sees the tempo drop, and a sultry horn float above the arrangement. When it drops out, keyboards, percussion and the rhythm section accompany Sarah. Her vocal is tender and thoughtful, gradually growing in power. As the power increases, horns blaze and drums pound, matching Sarah every step of the way. This seems to inspire Sarah. She unleashes one of her finest vocals, with the lyrics taking on new meaning.
Trouble is another track reinvented by Sarah. It’s given a jazzy makeover, and in Sarah’s hands, swings. She’s aided and abetted by her all-star band. While the rhythm section drive the arrangement along, horns growl, bray and blaze. They’re joined by a jazzy guitar, percussion and piano. They provide the perfect accompaniment to Sarah, as she ensure her version of Trouble swings, and then some.
If Not For You was penned by Bob Dylan and closes A Time In My Life. It’s an oft-covered track. This makes covering If Not For You a challenge. Especially since Bob Dylan recorded the original. Sarah decides to stay true to the original, but give it a jazzy twist. This means bursts of growling horns, stabs of piano and a jaunty rhythm section. This results in a captivating, jazzy take on a Bob Dylan classic.
After four years without a record contract, Sarah Vaughan made her comeback with A Time In My Life. Accompanied by some of the most talented jazz musicians of the early seventies, Sarah rolls back the years on ten cover versions. Tracks by John Lennon, Marvin Gaye, Bob Dylan, Bryan Auger and Carly Simon are given a makeover. They either head in the direction of pop or jazz, the two genres Sarah Vaughan made her name singing. These ten tracks took on new life and meaning. Some are reinvented, others given a twist. Sadly, despite its undoubtable quality, A Time In My Life passed record buyers by.
A Time In My Life was the wrong album at the wrong time. Jazz music, including Sarah’s brand of vocal jazz, was no longer as popular. Rock music was now King. For many music lovers, jazz was yesterday’s music. As a result, some jazz musicians were turning to fusion. That wasn’t possible for Sarah. She was a jazz vocalist.
Even singing pop wasn’t going to prove profitable for Sarah Vaughan. So, in 1971, when A Time In My Life was released by Mainstream Records, it sunk without trace. Since then, A Time In My Life has been one of the hidden gems in Sarah Vaughan’s back-catalogue. Not any more.
A Time In My Life was reissued by Boplicity, a subsidiary of Ace Records, on 1st December 2014. This is the first time A Time In My Life has been reissued since its release in 1971. Belatedly, music lovers will have the opportunity to discover, or rediscover, the delights of Sarah Vaughan’s lost album, A Time In My Life.
SARAH VAUGHAN-A TIME IN MY LIFE.
PRESTON LOVE’S OHAMA-BAR B-Q.
PRESTON LOVE’S OHAMA-BAR B-Q.
Preston Love was already forty-eight by the time he decided to climb onboard the funk bandwagon. He’d had a long and varied career. This began back in the swing era, when Preston was an assured balladeer and alto saxophonist. He played in Nat Towles, Lloyd Hunter, Snub Mosley, Lucky Millinder and Fats Waller’s bands. However, in 1945, the twenty-four year old Ohama born saxophonist caught the biggest break of his nascent career, when he joined the Count Basie Orchestra.
For the next two years, Preston was a member of the Count Basie Orchestra. He even played on Open The Door Richard, which proved to be Count Basie’s only number one record. Preston’s time with the Count Basie Orchestra proved to be the perfect schooling for the bandleader in waiting.
By the time Preston left the Count Basie Orchestra, he realised the swing era was well and truly over. So, he formed his own band. His new band would play R&B. They recorded for a number of labels, including Federal. However, Preston’s band also accompanied a number of high profile vocalists.
Lena Horne, Wynonie Harris and Billie Holliday were just three of the vocalists Preston’s band accompanied. His band were the go-to band for many vocalists. Preston, however, wasn’t content with being a bandleader. He wanted to own and run his own label.
So in 1952, Preston and his friend, songwriter Otis René formed Spin Records. It was home not just to Preston Love, but a number of other artists. Sadly, the vagaries of running a record label proved problematic, and Spin Records was a short-lived venture. Undeterred, Preston continued making music.
After the demise of Spin Records, Preston was busier than ever. By the late fifties, with R&B very much in the ascendancy, Preston’s services were highly sought after. This continued right into the sixties, when Preston met Johnny Otis.
Johnny Otis played an important part in the Preston Love story. The two men met in the early sixties. They became firm friends, and enjoyed a friendship that lasted a lifetime. Preston also became part of the Johnny Otis band. Later, Preston worked with Johnny Otis’ son Shuggie Otis. This was still to come. Before that, Preston was about to enjoy one of the most productive decades of his career.
The sixties were very much a golden era in Preston Love’s career. As the decade began, California based Preston worked with Ray Charles and Aretha Franklin. Then as the sixties progressed, Preston moved to Detroit.
In Detroit, Preston became part of Motown’s house-band. Eventually, Preston became bandleader, working with The Temptations, The Four Tops, Gladys Knight and The Pips, Tammi Tarell and Marvin Gaye. For several years, Preston was a familiar face at Motown’s headquarters. However, it wasn’t just soul acts Preston worked with during the sixties.
Later in the sixties, Preston worked with an eclectic collection of artists, including T-Bone Walker, Ruth Brown, Nichelle Nichols, Janis Joplin and the innovative and inimitable Frank Zappa on his Freak Out album. It seemed Preston had hardly stopped working during the sixties. So much so, that he hadn’t had time to release an album. That would change in 1970.
In 1969, Preston Love recorded his debut album, Preston Love’s Ohama-Bar-B-Q, which was reissued on vinyl by Ace Records. Preston Love’s Ohama-Bar-B-Q saw Johhny Otis and his fourteen year old son Shuggie, collaborate with Preston.
For Preston Love’s Ohama-Bar-B-Q, Johnny and Shuggie cowrote six tracks, Chicken Gumbo, Cool Ade, Ohama-Bar-B-Q, Hoe Cakes and Sorghum, Shuggie’s Chittlin’ Blues and Pot Likker. They also cowrote Chilli Mac and Neck Bones with Maxwell Davis. Preston cowrote Cream Dream with Johnny and Jackie Kelso. These nine tracks became Preston Love’s Ohama-Bar-B-Q.
When recording of Preston Love’s Ohama-Bar-B-Q began, Preston had put together a small band. What they lacked in numbers, they more than made up with talent. Preston played flute and alto saxophone, while Clifford Solomon played tenor saxophone. Johnny Otis played vibes and piano, and Shuggie Otis played guitar and bass. Once Preston Love’s Ohama-Bar-B-Q was completed, it was released in 1970.
On its release in 1970, on the small Los Angeles’ based, Hudson label, Preston Love’s Ohama-Bar-B-Q wasn’t a commercial success. This wasn’t down to the music. Releasing Preston Love’s Ohama-Bar-B-Q on a small label, with a limited budget meant the album was almost destined to fail. However, since then, Preston Love’s Ohama-Bar-B-Q has become a cult album. Word spread about Preston Love’s Ohama-Bar-B-Q. Fans of funk and R&B sought out copies of an album collectors spoke about in reverential tones. Quickly, original copies of the album became a collectors item. Nowadays, mint copies of Preston Love’s Ohama-Bar-B-Q can fetch over $150. For those who don’t have as deep pockets, Ace Records’ reissue of Preston Love’s Ohama-Bar-B-Q, which I’ll tell you about, costs a fraction of the price.
Chicken Gumbo opens Preston Love’s Ohama-Bar-B-Q. Searing, blistering guitar licks sit atop the rhythm section, as they drive the uber funky arrangement along. They’re joined by braying, blazing horns. When they drop out, the rhythm section and a guitar masterclass from Shuggie Otis take centre-stage. Then when the band unite, the arrangement moves up a gear. It’s as if Shuggie msucial coup d’état has inspired the funkateers. Playing as if their lives depended upon it, it’s a blistering way to start Preston Love’s Ohama-Bar-B-Q.
Panning is used on Chili Mac. The bass is panned right to left, while percussion and growling horns. Later, vibes and Preston ’s flute add to the moody, dramatic, cinematic sound. It’s reminiscent of the Blaxploitation movies soundtracks that would feature heavily during the seventies. That’s why the best way to describe Chili Mac is an innovative, proto Blaxpolitation track.
The arrangement to Cream Dream bubbles away. This bubbling sound is panned right. Meanwhile, the rest of the arrangement features just a melancholy combination of sultry saxophone, fluttering flute, vibes and understated drums. Again, they’re responsible for a broody, wistful cinematic sound, one that has a late-night, smokey sound.
Neck Bones sees Preston Love and friends mix jazz, funk and R&B seamlessly. Shuggie Otis unleashes flamboyant, confident, guitar licks. He’s accompanied by a piano that’s panned left and grizzled, jazz-tinged horns. Meanwhile, Shuggie Otis is unleashing another guitar masterclass. It’s hard to believe he was just fourteen, when he played on Preston Love’s Ohama-Bar-B-Q. He plays like a veteran, and plays in important part in the sound and success of Neck Bones.
Cool Ade sees the tempo drop, then things get more than a little funky. The rhythm section provide a funky backdrop, and Shuggie unleashes some funky guitar licks. A bass is panned left, and the guitar panned right. They’re just scene setters. This leaves the rest of the arrangement available for first, Johnny and Preston’s good natured vamp, then blazing, blistering horns. The horns are at the heart of everything that’s good about Cool Ade, with Preston’s saxophone playing a starring role.
Dramatic and funky describes Ohama-Bar-B-Q. It literally bursts into life. A driving, pounding, rhythm section, piano and a searing, chiming, blistering wah-wah guitar combine. They’re joined by a saxophone. It makes a fleeting appearance, before the piano picks up the slack. Everyone gets their opportunity to shine. When Shuggie’s turn comes, he produces a breathtaking performance. This raises the stakes, and the rest of Preston’s band ensure Ohama-Bar-B-Q is a musical tour de force.
Hot Cakes And Sorghum is a slow, bluesy track. The arrangemenmt shuffles along, with the rhythm section, piano, crystalline guitar and braying horns combining. They lock into a groove, playing as one. Preston’s grizzled horns rasps, while Shuggie lays down some licks. Meanwhile, the rest of the band, create a bluesy backdrop. Above the arrangement, sits the growling, grizzled saxophone. Preston puts to good use three decades experience, on a track where he’s got the blues.
Not many fourteen year old guitarists have a song name after them. However, there’s only one Shuggie Otis. Shuggie’s Chitlin Blues is another slow blues. He unleashes some searing, bluesy, licks, before the rhythm section create a slow, broody, bluesy backdrop. They’re joined by heartachingly beautiful horns. Along with Shuggie’s guitar masterclass, the horns play their part in a late-night sound that’s a mixture of melancholia, heartbreak and regret.
Pot Likker closes Preston Love’s Ohama-Bar-B-Q. Again, it has a dramatic, cinematic sound. It could easy be part of an early Blaxplitation soundtrack. The rhythm section and Shuggie’s chiming, crystalline guitar drive the arrangement along. They’re joined by scorching, blazing horns. Some of the time, Shuggie goes toe-to-toe with the horns. They drive the other to greater heights, as Preston Love’s Ohama-Bar-B-Q reaches a dramatic, cinematic and uber funky high.
Preston Love was forty-eight, when he released his debut album, Preston Love’s Ohama-Bar-B-Q in 1970, which was released on vinyl, on 1st December 2014 by Ace Recors. His career had already spanned four decades. It began in the forties, in the big band era. Since then, Preston watched as music evolved.
By 1969, when he recorded Preston Love’s Ohama-Bar-B-Q, funk was flavour of the month. So he put together a small, talented band. This included his friend Johnny Otis and fourteen year old Shuggie Otis. He was a musical prodigy, who could’ve and should’ve become one of the most successful musicians of his generation. Sadly, that wasn’t the case. However, back on Preston Love’s Ohama-Bar-B-Q, Shuggie made his recording debut. He oozed skill and confiednece, unleashing funky and bluesy licks. Shuggie’s licks were a huge part in the success of Preston Love’s Ohama-Bar-B-Q. Especially when combined with Preston and the rest of his uber talented band. They were resposnible for an album that should’ve been a huge comemrcial success.
Sadly, that wasn’t the case. Preston Love’s Ohama-Bar-B-Q passed critics and music lovers by. It was the age old story. Preston Love’s Ohama-Bar-B-Q was released on a small, independt label, Hudson. They didn’t have the werewithal to promote Preston Love’s Ohama-Bar-B-Q properly. As a result, Preston Love’s Ohama-Bar-B-Q became another of music’s best kept secrets.
Eventually, discerning music lovers discovered the delights of Preston Love’s Ohama-Bar-B-Q. It became a cult album. Gradually, word spread about Preston Love’s Ohama-Bar-B-Q. Original copies of Preston Love’s Ohama-Bar-B-Q started changing hands for ever increasing sums of money. Then as the internet age began, word spread like wildfire. Part of Preston Love’s Ohama-Bar-B-Q’s U.S.P. was Shuggie Otis’ guitar playing. So, it’s no surprise that Preston Love’s Ohama-Bar-B-Q was reissued. Since then, Preston Love’s Ohama-Bar-B-Q has become a minor classic.
No wonder. Preston Love’s Ohama-Bar-B-Q features a small, talented band at the peak of their powers. Over the nine tracks on Preston Love’s Ohama-Bar-B-Q, they combine blues, funk, jazz and R&B. It’s a case of all killer, no filler. Sadly, Preston Love didn’t release another album until the next millenia.
In 2001, Preston released his sophomore album Ohama Blues. Two years, later, in 2003, Preston released his eponympous album Preston Love. A year later, in 2004, Preston Love died aged just eighty-two. The veteran alto saxophonist, bandleader and songwriter had enjoyed a career that lasted seven decades. During that period, Preston only released three albums. Preston Love’s finest moment was the minor class Preston Love’s Ohama-Bar-B-Q, which introduced the world to guitar virtuoso Shuggie Otis.
PRESTON LOVE’S OHAMA-BAR B-Q.
BLUE MITCHELL-BLUE MITCHELL.
BLUE MITCHELL-BLUE MITCHELL.
Despite a recording career that spanned twenty-nine years, and over twenty albums, Florida born trumpeter, Blue Mitchell, never enjoyed the same critical acclaim that many of his contemporaries enjoyed. Blue wasn’t perceived as a groundbreaking musician. However, he enjoyed a successful career, touring widely and releasing a string of successful albums.
His debut album was The Big 6, which was released on Riverside in 1958. This was the first of seven albums Blue released on Riverside. By the time he released The Big 6, Blue was already twenty-eight.
Richard Allen Mitchell was born on March 13th 1930, in Miami, Florida. He first started playing the trumpet in high school back in Miami, Florida. That’s where he first acquired the nickname “Blue.” It stuck throughout his career, which began in 1950.
Blue was twenty when he first started working on the Southern chitlin circuit. He was hired by Paul Williams, who enjoyed a hit with The Hucklebuck. As a result, Paul Williams’ band was a popular band. They were booked all over America. So, Blue spent time criss-crossing America with Paul Williams’ band. However, in 1952, Blue headed to New York.
Now living in New York, Blue started working with Lou Donaldson. He played on one of Lou’s Blue Note sessions. Another member of the band that day, was Horace Sliver. Their paths would cross again. Before that, Blue joined Earl Bostic’s band.
For three years, Blue was a member of Earl Bostic’s band. It toured throughout America. For Blue, this was more profitable than session work. It also allowed Blue to hone his sound. However, after three years on the road with Earl Bostic’s band, Blue headed back to Florida.
That’s where Blue remained until Cannonball and Nat Adderley came calling. They wanted Blue to return to New York. Blue decided to head for the Big Apple. It proved to be a good decision. After working on a Nat Adderley session for Riverside, Blue was offered a recording contract by Riverside.
Blue’s Riverside debut was The Big 6. It was released in 1958. He released six further albums between 1959 and 1962. Out Of The Blue released in 1959, is now perceived as one of Blue’s finest albums. It wasn’t the only album Blue released in 1959. He also released Blue Soul. Then as the sixties dawned, Blue release another of his greatest albums.
As a new decade dawned, Blue released Blue’s Mood in 1960. It’s remembered as one the finest album Blue released on Riverside. Gradually, it seemed, Blue was establishing a reputation as a talented and popular artist.
The followup to Blue’s Mood was Smooth As Wind, which was released in 1961. Then in 1962, Blue released his two final albums on Riverside, A Sure Thing and The Cup Bearers. After this, Blue signed to one of jazz’s premier labels, Blue Note Records.
Having signed to Blue Note Records, Blue recorded Step Lightly in 1963. However, it wasn’t released until 1980. 1964s The Thing To Do became Blue’s Blue Note debut. It was followed 1965s Down With It. 1966 proved to be a busy year for Blue.
During 1966, Blue released two albums on Blue Note, Bring It On Home To Me and Boss Horn. A year later, he released Heads Up! in 1967. After Heads Up, Blue Note decided now was the time for Blue to change direction.
He hooked Blue up with producer Monk Higgins. They hoped that with Monk Higgins producing Blue’s next couple of albums, maybe, Blue would enjoy a crossover hit. Monk produced 1968s Collision In Black and 1969s Bantu Village. Neither however, came close to giving Blue a crossover hit. As a result, after Bantu Village, Blue was dropped by Blue Note Records. It would be two more years before he released another album.
After leaving Blue Note Records, Blue joined the Ray Charles Orchestra. He also worked on sessions by Lou Donaldson, Grant Green, Dexter Gordon, Horace Silver and Bobby Hutcherson. During this period, Blue rethought his future. He realised that jazz was changing. It had to evolve to stay relevant. If jazz didn’t change, it risked becoming irrelevant. So when Bob Shad signed Blue to Mainstream Records, his sound changed slightly.
For Blue Mitchell, Blue’s 1971 eponymous debut album, Blue penned five of the six tracks. This included Soul Village, Blues For Thelma, Queen Bey and Mi Hermano. The other track was a cover of Benny Golson and Sergio Mihanovich. These six tracks were recorded by Blue’s quintet and produced by Bob Shad.
When recording of Blue Mitchell began in 1971, Blue’s band included a rhythm section of drummer Doug Sides and bassist Larry Gales. They were joined by pianist Walter Bishop Jr, tenor saxophonist Jimmy Forest and Blue on trumpet. Once Blue Mitchell was recorded, it was released later in 1971.
On its release in 1971, Blue Mitchell passed critics and record buyers by. In retrospect, that’s not a surprise. Jazz was no longer as popular. Funk, fusion and Latin music were much more popular. As a result, many jazz musicians were struggling to make a living. Blue certainly didn’t get rich releasing Blue Mitchell, which I’ll tell you about.
Soul Village opens Blue Mitchell. Just Walter Bishop Jr’s electric piano and cymbals play. Soon, drums enter, providing the heartbeat. They’re joined by tenor saxophonist Jimmy Forest and Blue on trumpet. Stabs of braying horns unite, soaring above the arrangement. Meanwhile, the electric piano is pulled back in the arrangement. The drums are much more prominent. They’re up front with the horns. Then come the solos Blue and then Jimmy unleash braying, blazing solos. They’re best described as soulful. Later, and somewhat belatedly, Walter is allowed to showcase his skills. After the solos, Blue and his band unite, before the track reaches a dramatic crescendo.
Just a strident piano and rhythm section join drive the arrangement to Blues For Thelma along. They’re then joined by the horns. They play as one, while Larry Gales’ bass propels the arrangement along. It’s accompanied by rolls and fills of drums. Atop the arrangement, Blue unleashes a blistering solo. This seems to inspire his band. Picking up the pace, they match Blue every step of the way. Playing with a freedom and flamboyance, Blue’s band produce a breathtaking performance. Everyone plays their part. That’s apparent when the solos come round, as a seven minute hard bop Magnus Opus takes shape.
Straight away, Queen Bey has you hooked. It’s Caribbean sound very different from previous tracks. The arrangement is propelled along by a mesmeric piano and the rhythm section of bassist Larry Gales and drummer Doug Sides. They’re joined by braying horns. They veer between powerful to understated. As the arrangement swings along, its much looser, freer sound proving truly irresistible. Dance-floor friendly, it’s joyous and irresistible musical tour de force from Blue Mitchell and friends.
Originally, Are You Real was recorded by The Jazz Messengers for their 1958 album Moanin.’ Here, Blue gives the track a bossa nova makeover. This really suits the track. It literally floats along, with Blue leaving space in the arrangement. The horns are much more restrained than on previous tracks. It’s as if Blue and Jimmy are playing within themselves. They leave space, allowing the music to breath. Meanwhile, the shuffling rhythm section and piano provide a backdrop for the horns. Gradually, Blue begins to play with more power. Effortlessly, he unleashes what’s without doubt, one of his best solos. It seems to inspire the rest of the band when the solos come round. Are You Real becomes a game of daring do, with each member of the quintet trying to outdo the other. As a result they all play their part in the reinvention of a familiar track.
Mi Hermano closes Blue Mitchell. Just like the previous track, it has a Latin influence. Here, Walter Bishop Jr. returns to the electric piano. He’s joined by rolls of drums and a dark, moody bass. It adds to the drama, as they set the scene for the horns. Blue and Jimmy make their entrance, adding stabs of horns. They leave space for Walter’s piano and Doug’s drums. With Larry’s bass, they drive the arrangement along. The electric piano suits the track, adding a different texture and more contemporary, innovative sound. Later, when the solos come round, the horns have a sharper, clearer sound, ringing true as they soar above the arrangement. Meanwhile, the track veers between jazz, Latin and fusion, taking on a sound that’s variously dreamy, dramatic, wistful and innovative, before it reaching its finale.
For Blue Mitchell, signing to Bob Shad’s Mainstream Records was a new start. He’d been two years without a recording contract. This allowed him to rethink his future. He knew that if he recorded another album of straight-ahead jazz, it would sink without trace. After all, jazz was no longer as popular. The fifties and sixties had been jazz’s glory days. Now jazz was changing. Only those will to innovate would survive.
Some artists, including Miles Davis, took this as a challenge. He took to fusing jazz and rock, during his electric period. Sun Ra, meanwhile, took free jazz in previously unexplored direction. Both of these musicians were known as innovators. Blue Mitchell, however, wasn’t regarded as an innovator. However, on Blue Mitchell, which will be reissued by Boplicity, an imprint of Ace Records, on 1st December 2014, Blue decided to change direction.
He had to. His career was at stake. It was becoming increasingly difficult to make a living playing jazz. So, Blue incorporated bossa nova, Caribbean, hard bop, jazz and Latin music on Blue Mitchell’s five tracks. The result was a genre-melting album where Blue tried to defy his critics.
Critics had always accused Blue of not being an innovative musician. This accusation stung. He released some critically acclaimed albums, and enjoyed a successful career. Only now, was it becoming hard to make a living as a jazz musician. So, it was a case of needs must. Blue decided to try and innovate on Blue Mitchell. He remade The Jazz Messengers’ Are You Real, giving it a bossa nova makeover. This was part of the most eclectic album of his thirteen year recording career. Despite this, Blue Mitchell wasn’t a commercial success.
This wasn’t down to the music on Blue Mitchell. The problem was jazz was out of fashion. For musicians like Blue Mitchell, it was a case of adapt or die. Following Blue Mitchell, Blue joined John Mayall’s American touring band. After this, his music began to change. It was influenced by rock and R&B. Albums like 1972s Blues Blues and 1973s Graffiti Blues saw Blue Mitchell change direction, in an attempt to reach a wider audience. Sadly, this didn’t work. That, however, was the least of Blue’s worries.
In 1977, Blue was diagnosed with bone cancer. For the next eighteen months, Blue embarked upon life saving treatment. Sadly, Blue Mitchell died on 21st May 1979. He was only forty-nine. That day, jazz lost its most talented sons. Blue Mitchell left behind a rich musical legacy, including his eclectic 1971 eponymous album, Blue Mitchell.
BLUE MITCHELL-BLUE MITCHELL.
HADLEY CALIMAN-HADLEY CALIMAN.
HADLEY CALIMAN-HADLEY CALIMAN.
Although Hadley Caliman had worked as a sideman for Dexter Gordon and Art Farmer, he didn’t release his eponymous debut album until he was thirty-nine. This wasn’t down to a lack of talent. Far from it. Hadley Caliman was one of the most talented tenor saxophonists and flautists of his generation. Instead, it was because Hadley became addicted to heroin. Just like so many jazz musicians before him, Hadley succumbed to temptation. As a result, Hadley didn’t release his eponymous, debut album, Hadley Caliman until 1971. It was released on Mainstream Records, and will be rereleased on on Boplicity, an subsidiary of Ace Records on 1st December 2014. It’s a reminder of one of jazz’s most underrated reeds-man. His story began back in 1932.
It was in 1932, in Idabel, Oklahoma, that Hadley Caliman was born. He attended music lessons from an early age and grew up playing tenor saxophone and flute. At the Jefferson High School, Hadley studied alongside trumpeter Art Farmer and saxophonist Dexter Gordon. Just like Art and Dexter, Hadley knew he would’ve to leave Idabel to make a living as a jazz musician. So he headed to Los Angeles.
Having moved to Los Angeles, Hadley’s career began. He became part of Art Farmer and then Dexter Gordon’s band. By the time Hadley was part of Dexter’s band, he’d established a reputation as one of the jazz’s best up-and-coming musicians. However, all wasn’t well in Hadley’s life.
Just like so many jazz musicians before him, including Hadley’s former employer Dexter Gordon, Hadley Caliman discovered drugs, and specifically heroin. Having succumbed to temptation, heroin dug its claws into Hadley. Soon, he was addicted. This impacted badly upon Hadley’s career.
Hadley’s love-hate affair with drugs worsened. He realised he was slowly destroying his nascent career. Despite this, Hadley couldn’t help himself. Eventually, he found himself in throes of addition. Things got so bad, that Hadley ended up in jail. This meant that Hadley’s career was on hold. However, Hadley caught a break, when he entered rehab.
After several spells in jail, Hadley found himself in the Synanon Treatment Centre. It was literally make or break. Somehow, Hadley had to break the circle of addiction. Digging deep, deeper than he’d dug before, Hadley managed to get himself clean. This paid off.
As the second half of the sixties took shape, Hadley found himself working with Bobby Bryant’s band and The Gerald Wilson Big Band. Much as he enjoyed being a sideman, Hadley wanted to embark upon a solo career. So, in 1969, Hadley headed to San Francisco and formed his own band.
San Francisco proved to be the perfect place for Hadley to make music. The city’s eclectic music rubbed off on Hadley, and helped Hadley’s music to develop and evolve. Not long after this, Hadley signed to Bob Shad’s Mainstream Records.
Now signed to Mainstream Records, Hadley Caliman began work on his debut album. He penned four of the six tracks. This included Cigar Eddie, Comencio, Little One and Kicking On The Inside. Pianist Larry Vuckovich contributed Blues For L.L. and Longing. These six tracks became Hadley’s eponymous debut album Hadley Caliman.
When recording of Hadley Caliman began, Hadley had put together a tight, talented quintet. Hadley played tenor saxophone and flute and Larry Vuckovich piano. The rhythm section featured drummer Clarence Becton, bassist Bill Douglas and guitarist John White Jr. Once Hadley Caliman was recorded, it was released in 1971.
By 1971, jazz was no longer the musical flavour of the month. Funk and fusion had replaced jazz in the popularity stakes. For Hadley, this was disappointing. His debut album Hadley Caliman was released in 1971, and seemed to pass people by. After waiting so long, and overcoming so much, this must have been a huge disappointment for Hadley Caliman, whose eponymous debut album, I’ll tell you about.
Cigar Eddie opens Hadley Caliman. From the get-go, the bass drives the arrangement along. Soon, chiming guitars, mesmeric drums and percussionist enter. They’ve set the scene for Eddie’s sultry saxophone. It floats above the arrangement. Soulful and summery describes the sound. Gradually, though, the arrangement becomes more complicated. Subtleties and nuances are revealed. Especially during the solos. Guitarist John White Jr’s solo stands out. John’s like a master craftsman. So is Hadley. His solo is one of the finest. His playing veers between powerful to subtle and understated. Along with the rest of his band, he creates a track that soulful, summery and full of nuances.
Bill Douglas’ pensive, probing bass then Clarence Becton’s understated drums join with Larry Vuckovich piano as Comencio unfolds. Straight away, the rhythm section are playing a crucial role. Then when Hadley’s tenor saxophone enters, it’s powerful and joyous. All the time, the bass is powering the arrangement along. It’s joined by drums and hissing hi-hats. They’re at the heart of everything that’s good. This inspires Hadley. He unleashes a raging, growling saxophone solo. Then its time for the solos. Hadley allows everyone the opportunity to shine. They grandstand, before joining together and playing with power, passion and seemingly, unbridled joy.
A roll of drums signals the entrance of a Hadley’s slow, sultry and beautiful saxophone. It literally glides across the arrangement. Accompanying it, are flamboyant flourishes of piano and the rhythm section. When Hadley’s saxophone drops out, Larry Vuckovich’s piano picks up where Hadley left off. Then when Hadley returns, his playing is slightly more restrained. His rasping saxophone quivers and growls, its beauty omnipresent and captivating.
Blues For L.L sees Hadley and his band draw inspiration from John Coltrane’s early sixties modal jazz. H-hits hiss and shimmer, before what can only be described as stabs and sheets of saxophone are unleashed. A Fender Rhodes adds texture, while Afro-influenced drums provide a pulsating backdrop. Hadley plays with power and freedom, creating an experimental, avant-garde sound. Ironically, this isn’t new. To some extent, it had been done before by ‘Trane. However, here, though, Hadley was picking up ‘Trane’s baton and taking the music in a new and even more innovative direction.
Hadley wrote Kicking On The Inside for his three year old daughter. Deliberate stabs of piano and subtle cymbals prove to be scene-setters. They’re joined joined by stabs of saxophone. They join forces with the piano and gradually, begin to swing. Meanwhile, Bill Douglas’ bass helps drive the arrangement along. It’s joined by Larry Vuckovich’s piano. Atop the arrangement, sits Hadley’s growling, raging saxophone. He plays with controlled power and passion. Later, he allows his band to showcase their skills. First up is Bill Douglas’ bass. It’s accompanied by percussion and cymbals. Then a slow, melancholy piano adds a late-night sound. Gradually, the tempo increases, adding a sense of urgency and drama. When Hadley’s saxophone enters, it adds a mixture of melancholia and longing, before the drums power the arrangement along. What follows is literally like a swirling wall of sound, on what’s one of the most intriguing and innovative tracks on Hadley Caliman.
Longing closes Hadley Caliman. It has an otherworldly, experimental sound. Partly, that’s down to Hadley’s quivering flute and bells. After a pregnant pause, drums and piano increase the tempo and the arrangement flows along. As the piano and drums provide the mainstay of the arrangement, the flute shimmers, quivers and soars above the arrangement. Gradually, the drama and power increases. Partly, this is down to the rhythm section, pounded piano and Hadley’s flute. It takes centre-stage. That’s until the solos come round. Larry Vuckovich’s piano then steals the show and bassist Bill Douglas, more than plays his part. As for Hadley, he proves that he’s as equally comfortable on flute as he is on saxophone.
Belatedly, Hadley Caliman released his eponymous debut album in 1971. Hadley Caliman was released on Bill Shad’s Mainstream label. Thirty-three years later, and Hadley Caliman will be reissued by Boplicity, an imprint of Ace Records on 1st December 2014. It was the album that Hadley should’ve released ten years earlier. Sadly, however, Hadley, like many jazz musicians before him, had succumbed to temptation.
Just like so many jazz musicians before him, Hadley Caliman discovered drugs. Hadley’s drug of choice was heroin. Having succumbed to temptation, heroin dug its claws into Hadley. Soon, he was addicted. Like so many addicts, Hadley spent years trying to replicate his first high. Little did he realise, that nothing comes close to the first high. His addiction impacted badly upon his career.
Hadley’s love-hate affair with drugs worsened. Slowly he was destroying his nascent career. Despite this, Hadley couldn’t help himself. An addict can’t. Before long, Hadleyfound himself in throes of addition. Things got so bad, that Hadley ended up in jail. This meant that Hadley’s career was on hold. However, when he got out of prison Hadley caught a break.
The break came when Hadley entered rehab. He managed to get himself clean. This wasn’t easy. However, he managed to stay clean and get his career back on track.
By 1971, he was ready to release his debut album Hadley Caliman. A six track album, it’s the perfect showcase for Hadley. On five tracks, he showcases his skills as a tenor saxophonist. He plays with power and passion. Other times his playing is joyous, dramatic, restrained and full of melancholia. Then on Longing, which closes Hadley Caliman, Hadley plays flute. He’s just as comfortable playing flute as he is tenor saxophone. Accompanied by a tight, talented band, the man they called Little Dex had belatedly, fulfilled his potential. There was a but though.
Sadly, Hadley Caliman’s debut album wasn’t a commercial success. Hadley Caliman is best described as an album of straight ahead jazz, albeit with health hints of spiritual jazz. That was out fashion in 1971. This wasn’t what music buyers were interested in. Funk and fusion were the flavour of the month. So, it’s no surprise that Hadley Caliman literally sunk without trace. That’s a great shame, as Hadley Caliman is the perfect introduction to one of jazz’s best kept secrets.
HADLEY CALIMAN-HADLEY CALIMAN.
FOLLOW ME DOWN-VANGUARD’S LOST PSYCHEDELIC ERA 1966-70.
FOLLOW ME DOWN-VANGUARD’S LOST PSYCHEDELIC ERA 1966-70.
Mention Vanguard Records, and most people will think of their blues and folk releases. Very few people will think of Vanguard Records as a psychedelic label. However, between 1966 and 1970, A&R men Sam Charters and Maynard Solomon Sam Charters decided that Vanguard Records should climb onboard the psychedelic bandwagon.
This being Vanguard Records, Sam Charters and Maynard Solomon ensured that the psychedelia being released was innovative and groundbreaking. It was far removed from much of the psychedelia being released during this period. Vanguard Records released psychedelia that was guaranteed to open the doors of perception. That was down to Sam Charters and Maynard Solomon A&R skills.
They spent time seeking out the most innovative musicians of the psychedelic age. This meant criss-crossing America. Up and down the East Coast, from New York to Philly Sam and Maynard travelled. They even headed down to Detroit, before heading to the West Coast. From Los Angeles, right through to San Francisco, Sam and Maynard spent time searching for psychedelia’s next big thing. Their patience and persistence paid off.
In 1967, they signed Country Joe and The Fish, who released their debut album Electric Music For The Mind and Body in 1967. Country Joe and The Fish were Vanguard Records’ highest profile and most successful psychedelic signing. However, there’s much more to Vanguard Records’ psychedelic era than Country Joe and The Fish.
This includes The Third Power, Erik Heller, The 31st Of February, Circus Maximus, The Vagrants, The Serpent Power, The Family Of Apostolic and Far Cry. These are just a few of the artists on Follow Me Down-Vanguard’s Lost Psychedelic Era 1966-70, which was recently released by Ace Records. It’s an eighteen track treasure trove, which features forgotten hidden gems from Vanguard Records psychedelic era. You’ll realise that, when I pick some of the highlights of Follow Me Down-Vanguard’s Lost Psychedelic Era 1966-70.
Follow Me Down-Vanguard’s Lost Psychedelic Era 1966-70 opens with The Third Power’s Getting Together. This is one of two tracks from the Detroit trio. The other is Persecution. The Third Power honed their sound in Detroit clubs and eventually, were crowned psychedelia’s heaviest band. By 1970, The Third Power had signed to Vanguard Records. Later in 1970, they released their only album, Believe. It showcased The Third Power’s unique fusion of heavy rock and psychedelia. Aggressive and lysergic, this is epitomised by Getting Together and Persecution, two of Believe’s highlights.
Just like The Third Power, Erik Heller only released one album, 1968s Look Where I Am. It was written by Erik and produced by Samuel Charters. You Said/But I’ve Got My Way is very different from much of Look Where I Am. It’s a six minute epic, where screeching, searing guitar riff. It emulates the paranoia that Erik’s singing about. Dramatic, disturbing and decidedly trippy, it’s a hidden psychedelic gem from the Vanguard vaults.
Listening, a Boston based band, feature twice on Follow Me Down-Vanguard’s Lost Psychedelic Era 1966-70. They’re Stoned Is and See You Again. These tracks are taken from Listening’s 1968 eponymous album. It was recorded and mixed at Vanguard’s 23rd Street Studio, in New York. When the album was recorded, Listening managed to complete each song in one take. That’s not surprising. They’re a tight, talented band, capable of creating groundbreaking, mind-bending, psychedelia. Stoned Is, was penned by Gilbert Moses and Michael Tschudin, It’s a haunting, triply and timeless track. See You Again has a heavier, rockier sound. There’s even a nod to Jimi Hendrix, courtesy of Peter Malick’s guitar, as blues, psychedelia and rock combine seamlessly.
In 1968, Jeff Monn, the lead singer of The Third Bardo, a New York based band, signed to Vanguard Records as a solo artist. Later in 1968, Jeff released Reality, his debut solo album. It was produced by Maynard Solomon and featured I Can Understand Your Problem, a dramatic, soul-baring ballad. This is one of Jeff’s best vocals on Reality. It’s helped by Maynard Solomon’s production, which adds to the drama and emotion of Jeff’s vocal. Sadly, Reality wasn’t a commercial success. It was the only album Jeff released under his own name. In 1968, Jeff adopted the alias Chris Moon. Still commercial success eluded the former The Third Bardo frontman.
Originally, when Sam Charters signed Circus Maximus, they were called Lost Sea Dreamers. They were, however, forced to change their name. Their original name Vanguard Records thought, was too obvious a reference to drugs. So Lost Sea Dreamers became Circus Maximus. They released two albums between 1967 and 1968. Travelin’ Around opens their 1967 eponymous debut album. It was penned by Robert Bruno and was produced by Dan Eliot. From the opening bars of Travelin’ Around you’re hooked. Melodic, full of hooks and searing guitar licks, it’s a four minutes fusion of frantic power pop, rock and psychedelia.
When you look at the cover to Notes From The Underground’s 1968 debut eponymous album, they look like a good-time band. Nothing you’d think would faze them. Their raison d’être, it would appear, was to make music, and enjoy the cultural revolution. That’s what it sounds like the San Francisco based band were doing on Where I’m At and Why Did You Put Me On, two tracks from Notes From The Underground. They fuse jazz, jug, psychedelia and rock on the two tracks. There’s more than a nod to the Grateful Dead on both tracks. Sadly, Notes From The Underground didn’t enjoy the same longevity, and they only released one album. Mind you, what an album it was.
Former beat poet David Meltzer embraced the psychedelic era, forming The Serpent Power, a quintet. Sam Charters came across The Serpent Powers whilst on the road with Country Joe and The Fish. One night in Berkeley, he heard David Meltzer. Always on the look out for the next Country Joe and The Fish, Sam signed the psychedelic folk group. They weren’t Sam’s most successful signing. However, they recorded one album, The Serpent Powers in 1967. It features the thirteen minute genre-defying epic The Endless Tunnel, which is without doubt, The Serpent Powers’ finest hour.
The Hi-Five could’ve, and should’ve, been one of the biggest bands to come out of the Greenwich Village scene. However, success always seemed to elude them. Time and time again, they came tantalisingly close. This included being signed by Chas Chandler, who managed The Animals. Later, The Hi-Five cut demos for RCA and Columbia. However, neither RCA nor Columbia signed The Hi-Five. Instead, they signed to Vanguard and recorded Did You Have To Rub It In? It was never released. Instead, You’ll Never Know What’s In My Heart was released as a single. The Mamas and Papas inspired Did You Have To Rub It In? remained unreleased until 2011. It’s another hidden gem, which makes you wonder how different The Hi-Five’s career might have been if id You Have To Rub It In? had been released as a single.
My final choice from Follow Me Down-Vanguard’s Lost Psychedelic Era 1966-70, is The Frost Big Time Spender. It’s the second track from The Frost. Their first was Take My Hand a track from their 1969 sophomore album Frost Music. Big Time Spender is a glorious slice of psychedelic rock. It’s much heavier than most of the tracks on Vanguard’s Lost Psychedelic Era 1966-70. That’s down to to The Frost’s rhythm section and a vocal powerhouse from lead singer Dick Wagner. Despite their obvious talents, The Frost never enjoyed the success their talent deserved. As a result, Dick ended up working with David Bowie, Lou Reed and Alice Cooper.
The story of The Frost typifies that of many of the artists on Vanguard’s Lost Psychedelic Era 1966-70. They could’ve and should’ve enjoyed critical acclaim and commercial success. Sadly, for whatever reason, groups like The Third Power, Listening, The Hi-Five and The Frost never reached the heights their undoubted talent deserved. Instead, these groups have been forgotten about. Not any more.
Recently, Ace Records released Vanguard’s Lost Psychedelic Era 1966-70, which features eighteen hidden gems from the treasure trove that’s Vanguard Records’ vaults. These eighteen tracks are just a tantalising taste of the psychedelic delights within Vanguard Records’ vaults. This includes albums from The Third Power, Erik Heller, The 31st Of February, Circus Maximus, The Vagrants, The Serpent Power, The Family Of Apostolic and Far Cry. They’re just a few of the artists who were signed to Vanguard Records during the psychedelic era.
This means that there’s more than enough for a followup to Follow Me Down-Vanguard’s Lost Psychedelic Era 1966-70. After all, the eighteen tracks ooze quality. It’s one of the very few cases where a compilation is all filler, and no killer. Indeed, so good are some of the tracks on Follow Me Down-Vanguard’s Lost Psychedelic Era 1966-70, that it would be good to see a comprehensive reissue of Vanguard’s psychedelic delights. Then we’ll be able to discover some of the most innovative and groundbreaking psychedelia released during the psychedelic era. Just like the psychedelia on Follow Me Down-Vanguard’s Lost Psychedelic Era 1966-70, it’ll be guaranteed to open the doors of perception.
FOLLOW ME DOWN-VANGUARD’S LOST PSYCHEDELIC ERA 1966-70.
PINK FLOYD-THE ENDLESS RIVER.
PINK FLOYD-THE ENDLESS RIVER.
Twenty years ago, there was no such thing as Twitter or Facebook. The term social media hadn’t even been coined. In fact, the internet and the technological age were in their infancy.
Compact discs were only a decade old. Debate raged about their merits and sound quality. Vinyl we were told, had had its day. We were told vinyl was a relic of the past. That proved not to be the case, with 2014 seeing record sales of vinyl. However, since 1994, the way music has been made has changed.
Recording studios, once the only way to record an album. Not any more. Now, bands bands don’t necessary need rerecording studios. Instead, all that’s needed is laptop containing a Digital Audio Workstation and some VSTs. Add to this, an audio interface and any aspiring band can record an album. They can then release their album without involving a record company.
Nowadays bands will have built up a loyal fan-base through the internet. This will probably have involved giving away music, which in 1994, would’ve given record company executive sleepless nights. However, in 2014, giving away music is one way bands build a loyal fan-base. Then when they release their album, they’ve a ready made audience ready to download their album or parts of it.
Music lovers no longer have to buy a whole album. They can cherry pick which tracks they want. So if they want just a few tracks that’s fine. Again, back in 1994, this would’ve given record company executives sleepless night. Not now. Now bands and record companies are happy for music lovers to download the tracks they like. These tracks can be downloaded as MP3, MP4 or wav files, which again, weren’t around back in 1994. Neither were the devices they’re played upon.
Over the last twenty years, the way we listen to music has changed. Back in 1994, music was listened to on hi-fi systems. If you wanted music on the move, the only option was the Sony Walkman. It however, was only capable of playing tapes that held a maximum of ninety minutes music. Nowadays, iPods, iPads, laptops and tablets and mobile phones can store hundreds and often thousands of hours of music. This was unthinkable back in 1994. Back then, life, and music was very different.
The Division Bell.
That was the world, that Pink Floyd released their fourteenth album, The Division Bell on 28th March 1994. This was the second album by the David Gilmour led Pink Floyd. The first was A Momentary Lapse of Reason, which was released in September 1987. That was two years after Roger Waters left Pink Floyd amidst bitterness and acrimony. Nine years after Roger Waters’ exit, Pink Floyd were a very different band.
Time proved to be a great healer. Pink Floyd were a much happier band. They were reduced to a trio, consisting of David Gilmour, Rick Wright and Nick Mason. This was the lineup that recorded The Division Bell.
The Division Bell consisted of eleven tracks penned by David Gilmour and Rick Wright. They were recorded at various studios, including Britannia Row Studios, and Astoria, a houseboat owned by David Gilmour that had been transformed into a recording studio. That’s where The Division Bell took shape. It was then released in March 1994.
When critics heard The Division Bell, they gave Pink Floyd’s first album for seven years, mixed reviews from critics. Despite the mixed reviews, The Division Bell reached number one in Britain and America. Soon, The Division Bell reached number one in Australia, Austria, Chile, Holland, New Zealand, Norway Sweden and Switzerland. It seemed Pink Floyd still had the Midas touch.
Across the world, The Division Bell sold well. Gold and platinum discs came Pink Floyd’s way. The Division Bell was certified gold in Finland, Italy, Japan, Poland and Sweden. In Germany, The Division Bell was certified gold three times over. Then in Argentina, Australia, Austria, Brazil and Spain, The Division Bell was certified platinum. The Division Bell was certified double platinum in Britain, France and Germany. Meanwhile, three million copies of The Division Bell were sold in America, resulting in the album being certified triple platinum. However, in Canada and New Zealand, The Division Bell was certified quadruple platinum. Overall, The Division Bell sold over 6.5 million copies. However, Pink Floyd weren’t in any hurry to release the followup to The Division Bell.
The Endless River.
Just over twenty years have passed since Pink Floyd released The Division Bell. Then totally out of the blue, an announcement was made on social media that Pink Floyd would release their fifteenth and final studio album The Endless River on Parlophone Records, on 10th November 2014. Joy was mixed with sorrow when Pink Floyd fans heard the news. Many, however, weren’t surprised.
Rick Wright, keyboardist and founding member had passed away on 15th September 2008. He was a crucial part of Pink Floyd’s sound and cowrote The Division Bell. A Pink Floyd album without Rick Wright wouldn’t work. However, Rick appears posthumously. This ensures that Pink Floyd’s swan-song is a fitting finale to one rock music’s greatest ever bands. The story begins back in 2012/
That’s when work began on The Endless River. Members of Pink Floyd began listening to music they’d recorded during the recording sessions for The Division Bell. These recording sessions took place back in 1993 and 1994. The sessions were recorded at various studios, including Britannia Row Studios, and Astoria, David Gilmour’s houseboat, that he transformed into a recording studio.
At these sessions, between five and six hours of music. Some of the music found its way onto The Division Bell. However, since the release of The Division Bell in 1994, Pink Floyd had never revisited the remainder of the music. It was a case of they always meant to get round to it. Eventually, in 2012, David Gilmour and Nick Mason decided to revisit the remainder of the music from The Division Bell sessions.
When David and Nick began, they had between five and six hours of music to sift through, and possibly, transform into an album. This was an uphill struggle. The two remaining members of Pink Floyd realised that they needed some help. So they brought Pink Floyd engineer Andy Jackson.
With Andy onboard, David, Nick and Andy spent twenty hours listening to the tapes. They featured the three members of Pink Floyd jamming, during The Division Bell sessions in 1993 and 1994. Once they heard what music they had, it was a case of sorting through it.
They wanted to sort through the music, so that at the end, they had music that they could either edit, rerecord or work on. Some of the music would be used as a starting point. New parts could then be added, resulting in the first 21st Century Pink Floyd album. Some music could be edited together, using different parts that they never envisaged putting together. The way to do this, would be by using music software, that wasn’t around back in 1994. Music technology, Pink Floyd realised, had come a long way in twenty years. They were going to use this to their advantage.
Choosing which music to include and exclude proved the hardest part of the project. After all, there were six hours of music on the DAT tapes. Eventually, David, Nick and Andy Jackson whittled down the six hours music. It was then edited by Andy Jackson. This album of ambient music was given the tentative title, The Big Spliff. However, Pink Floyd decided not to release The Big Spliff. That, however, wasn’t the end of the project. Some of the project was used for The Endless River.
Still, David and Nick wanted to release a new Pink Floyd album. Unbeknown to most people, David, Nick and Rick had spoken about a recording a new album prior to his death in 2008. They’d entered the recording studio, and had twenty hours of jamming recorded. David and Nick wondered if this could form the basis for a new Pink Floyd album?
So, they called Phil Manzanera, former Roxy Music lead guitarist, and now an established and successful producer. Intrigued at the prospect of being part of a new Pink Floyd album, Phil made his way to the studio.
Phil Manzanera and Pink Floyd have known each other since the seventies. Recently, Phil co-produced and played on David’s solo album On An Island. So, he knew how David worked. However, he had to hear the tapes before committing himself to the project.
Phil along with Andy Jackson and engineer Damon Iddins, listened to every minute of the twenty hours of recordings. Only then, could Phil make an informed decision about the music’s potential. However, having heard the tapes, felt that there was the potential for Pink Floyd’s first album of the new millennia. Now the hard work began.
Over the next six weeks, Phil spent his time writing four fourteen minute pieces. He passed these to David Gilmour. He then sent them to producer Youth, who added bass and guitar. After that, The Endless River began to take shape.
Back in November 2013, and unbeknown to Pink Floyd fans, David Gilmour organised the next recording session. He brought onboard drummer Nick Mason, bassist Guy Pratt, Phil Manzanera, Youth and Andy Jackson. They were joined by saxophonist Gilad Atzmon and backing vocalist Durga McBroom. She recorded the lead vocal on Louder Than Words, a song penned by Polly Gilmour, David’s wife. Gradually, The Endless River seemed to be nearing completion.
All that was left was some overdubbing. This was mostly drum and guitars. However, one addition to The Endless River was a relic of Pink Floyd’s past. This was an outtake from a 1969 rehearsal, featuring Rick Wright. A little piece of Pink Floyd’s history appeared on The Endless River, a four part album, co-produced by David, Phil, Andy Jackson and Youth.
The Endless River is made up of four “pieces”. On the vinyl edition, this works really well, as each side of the double album consists of a “piece.” The compact disc version, however, features the four “pieces” on one disc. For some people, this will be much more convenient. There’s no need to leave the sofa. Instead, you can sit back, relax and allow the eighteen track on Pink Floyd new album The Endless River, to wash over you. You bathe in their beauty of Pink Floyd’s swan-song, which was released on 10th November 2014.
When The Endless River was released, reviews were mixed. The Endless River was Marmite music, critics either liked or loathed it. One critic, who doesn’t deserve the oxygen of publicity, gave the album a one star review. For Pink Floyd, a one star review was a first. However, this typified the way certain bands are treated by music critics.
Ever since the onslaught of punk, many critics have perceived groups like Pink Floyd as relics of the past. They’ve never received a fair hearing. A review in some publications, is the equivalent of facing a kangaroo court. This was what The Endless River had been tried by. Music fans would have the final say.
Despite the mixed reviews, Pink Floyd’s loyal legions of fans bought The Endless River in huge quantities. Seventeen days after the release of The Endless River, and the album has reached number one in nineteen countries. The Endless River has also reached number three in the US Billboard 200 charts. That’s not all. In another six countries, The Endless River has reached the top ten. This has resulted in seven gold discs and three platinum discs for The Endless River. That’s after just seventeen days on sale. Who knows how many copies of The Endless River will eventually be sold. Not bad for album that many Napoleonic critics panned. Little did these Napoleonic music critics realise, that Pink Floyd were coming full circle on The Endless River.
Pink Floyd’s fifteenth and final album, The Endless River, sees Pink Floyd and friend pay homage to the group’s illustrious musical past. They revisit ambient, psychedelia and rock on the The Endless River’s four pieces. There’s even a detour via post-rock, a genre which Pink Floyd helped pioneer. The result is a captivating, ethereal and hauntingly beautiful album. Literally, you’re swept along in the wake of The Endless River’s beauty.
That’s the case from the opening bars of Things Left Unsaid which opens Part 1 of The Endless River. Right through to the closing notes of Louder Than Words, that closes The Endless River, Pink Floyd revisit their musical past. They draw inspiration from fourteen previous albums. Obvious influences include The Division Bell, Dark Side Of The Moon, A Momentary Lapse Of Reason, Wish Your Were Here and one of Pink Floyd’s most underrated albums, More. These influences shine through on The Endless River.
Despite being away for twenty years, Pink Floyd’s first album of the 21st Century, sees them bow out on a high. The Endless River is a musical journey full of twists and turns. Gradually, The Endless River reveals its secrets. It’s not just secrets The Endless River reveals, but subtleties and nuances. They shine through on The Endless River’s eighteen eclectic tracks.
The Endless River’s eclecticism reveals itself from the get-go. Things Left Unsaid, which opens Part 1 is an understated, ethereal soundscape. Slow, moody and bluesy describes It’s What We Do, which briefly references The Dark Side Of The Moon. It has Pink Floyd’s name written large all over it. Ebb And Flow is another understated and elegiac post rock track. It meanders along, gradually revealing its secrets, and closing Part 1.
Sum opens Part 2, which consists of four tracks. It’s dramatic and cinematic, while Unsung veers between understated to rocky and restrained. As musical journeys go, The Endless River is a captivating album. Especially tracks like Anisina, which closes Part 2. It’s a slow burner, which starts off understated, before reaching a glorious rocky crescendo. It’s another track that could only have been made by Pink Floyd.
That’s the perfect description of the wistful, dreamy and ethereal The Lost Art Of Conversation, which opens Part 3 of The Endless River. Although less than two minutes long, this fusion of ambient and modern classical music is hauntingly beautiful. Seamlessly, it gives way On Noodle Street, a short fusion of ambient, jazz and rock. Washes of synths provide the backdrop for Rick’s keyboards and David’s guitars. After Noodle Street, the dreamy, fuzzy, shimmering Night Light envelops you. It veers between ambient and post rock, and is a mini-masterpiece. From there Part 3 of The Endless River changes course.
Allons-y (1) sees Pink Floyd up the tempo, and unleash swathes of rocky guitars. Although they threaten to kick loose, they never do. Instead, they showcase their musicianship, as they roll back the years. Autumn ’68 has a somewhat gothic sound. It features a long forgotten Rick Wright organ rehearsal. Atop it, sits brief bursts of David’s guitar. It’s a reminder of Pink Floyd before drug casualties, fall-outs, and death changed the group forevermore. Following Autumn ’68, Allons-y (2) picks up whereAllons-y (1) left off. Again, it’s a reminder of Pink Floyd’s illustrious musical heritage. So too, is Talkin’ Hawkin, which features a sample of Stephen Hawking. It plays a part in another rock-tinged musical soundscape, that closes Part 3 of The Endless River.
The fourth and final part of The Endless River, Pink Floyd’s swan-song, features four parts. Calling has an experimental, sometime avant-garde, post-rock sound. Dark, gothic sci-fi sounds are reminiscent of Pink Floyd’s past. They also play their part in an intriguing, cinematic soundscape. Eyes To Pearls also has a cinematic sound. Here, it’s as if Pink Floyd are penning the soundtrack to a 21st Century Spaghetti Western. Surfacing shimmers, quivers and glimmers, before briefly, heading in the direction of Pink Floyd circa Wish You Were Here. It then becomes another post rock soundscape, where Pink Floyd showcase their considerable talents. Louder Than Words closes The Endless River. This is the only track with a vocal. The lyrics were written by David Gilmour’s wife Polly. Durga McBroom and David share lead vocal duties on what’s best described as a mini anthem. Given its thoughtful, wistful sound and obvious beauty, this proves the perfect way to close not just The Endless River, but Pink Floyd’s forty-seven year recording career.
During Pink Floyd’s forty-seven year recording career, often, commercial success and critical acclaim have been ever-present. In the case of The Endless River, and its predecessor, The Division Bell, critics gave both albums mixed reviews. That was very much the case with The Endless River.
Very few critics were won over by The Endless River. There’s a reason for that. Critics were looking for Pink Floyd to create an album of innovative music fit for the 21st Century. The critics felt short changed, when they heard The Endless River. They felt that The Endless River was Pink Floyd revisiting their past. That’s correct. The Endless River was an album of relics from Pink Floyd’s glorious past. What better way to end a forty-seven year recording career?
Listening back to The Endless River, Pink Floyd’s musical past is written large all over the album. Five decades music shines though on The Endless River. There’s hints of 1967s The Piper at the Gates of Dawn, 1969s More, 1973s Dark Side Of The Moon, 1975s Wish You Were Here, 1987s A Momentary Lapse of Reason and 1994s The Division Bell. All these albums have influenced the sound and direction of The Endless River.
On The Endless River, everything from ambient, avant garde, blues rock, experimental, post rock, psychedelia and rock can be heard. These musical genres and influences shine through during the The Endless River’s four parts and eighteen tracks. They play their part in a genre-melting album, where Pink Floyd draw inspiration from their musical past, for their swan-song. For many of the “hip young gunslingers” who call themselves music critics, this wasn’t the music of 2014.
To the “hip young gunslingers”, Pink Floyd were relics of music’s past. The Endless River, they said, was proof that Pink Floyd had failed to keep up with the changing face of music. However, what they failed to see, was that The Endless River was both an innovative album and an celebration of a recording career that stretched forty-seven years.
While The Endless River saw Pink Floyd revisit their musical past, they incorporated ambient and post-rock on their swan-song. Pink Floyd also utilised the latest musical technology on what’s akin to a musical tapestry. Music from Pink Floyd’s past was edited into music recorded in 2013. This allowed Rick Wright, the ghost of Pink Floyd to play an active role on The Endless River, an album full of twists and turns aplenty.
As The Endless River slowly revealed its secrets and subtleties, musical genres sat side-by-side. The result was music that’s captivating, cinematic, dramatic, ethereal, haunting, intriguing, melancholy and wistful. One thing The Endless River never is, is predictable. You never know where Pink Floyd are heading, as they take you on a musical journey down The Endless River. They’re your tour guide on what’s much more than a homage to Pink Floyd’s past.
Innovative, ambient soundscapes and post-rock tracks feature on The Endless River. So do a number of tracks where Pink Floyd revisit elements of their illustrious back-catalogue. This makes you want to revisit More or Dark Side Of The Moon. As you do so, you’re reminded that Pink Floyd, in their heyday, were one of the most innovative, progressive groups. That will always be the case. That’s the case right up to Pink Floyd’s unexpected swan-song The Endless River.
After twenty years away, Pink Floyd made a welcome return on 10th November 2014. Reduced to a duo, after the loss of their keyboardist Rick Wright in 2008, Pink Floyd take their fans down on a trip down The Endless River. Memories of a forty-seven year and fifteen album career come flooding back. By the end of The Endless River, only then do you realise that this is the last we’ll hear from one of the most successful, innovative and progressive bands in musical history. This leaves me wondering when will we see their likes again?
PINK FLOYD-THE ENDLESS RIVER.
THE VELVET UNDERGROUND-THE VELVET UNDERGROUND.
THE VELVET UNDERGROUND-THE VELVET UNDERGROUND.
Following disagreements about The Velvet Underground’s future musical direction, John Cale left the group. This was almost inevitable. For some time, John Cale and Lou Reed views about The Velvet Underground’s future differed. John Cale wanted The Velvet Underground to continue to innovate and create experimental music like White Light/White Heat, The Velvet Underground’s second album. Lou Reed, however, didn’t agree.
Lou Reed believed that The Velvet Underground’s music should become more pop oriented. This he felt, would broaden their appeal. No longer would they be an art rock group whose music appealed to discerning music lovers. Eventually, Lou Reed won over the rest of The Velvet Underground. For John Cale this was hugely disappointing. So, he decided the only option was to leave The Velvet Underground.
Replacing John Cale in the The Velvet Underground was Doug Yule. He made his Velvet Underground debut on their 1969 eponymous album, which has recently been released as a double album by Universal Music. The Velvet Underground was the start of a new chapter in the band’s career.
This new chapter began in November 1968, at TTG Studios, Hollywood. That’s where ten songs penned by Lou Reed were recorded by the new lineup of The Velvet Underground.
Lou Reed played piano, lead and rhythm guitar and added lead vocals. Sterling Morrison played rhythm and lead guitar. Maureen Tucker added percussion and sang lead vocal on After Hours. New member, Doug Yule, played bass, organ and sang lead vocal on Candy Says. These ten songs became The Velvet Underground, which debuted the band’s new sound.
The songs on The Velvet Underground were a mixture of ballads and rock songs. This was very different from The Velvet Underground’s first two albums. Lou Reed influence is writ large all over The Velvet Underground. That’s despite the production of The Velvet Underground being credited to the band. However, the rest of The Velvet Underground were happy with the change of direction.
Of the three other members of The Velvet Underground, Lou Reed had been the most vocal when it came to the band’s future direction. He was determined not to record White Light/White Heat II. So it seems, were the rest of The Velvet Underground. Percussionist Maureen Tucker was also willing to sacrifice the group’s old sound. She wanted to be part of a successful rock band. Especially now that Velvet Underground were signed to MGM Records. For the new lineup of The Velvet Underground, The Velvet Underground was a new start in more than one way.
On the release of The Velvet Underground in March 1969, the album was hailed to the most accessible of their career. Critics remarked upon the quality of the lyrics and vocals. The Velvet Underground was described as melodic and tuneful. It seemed that The Velvet Underground’s new sound had won over the critics. That wasn’t the case.
Lester Bangs, who, in 1969, was writing for Rolling Stone magazine, felt The Velvet Underground wasn’t as good as White Light/White Heat. However, he did concede that the much more accessible sound of The Velvet Underground would win over new fans.
That proved not to be the case. When The Velvet Underground was released in March 1969, it failed to chart. Neither of the singles charted. What Goes On was the lead single. It failed to chart. Neither did Pale Blue Eyes, the follow-up. However, seventeen years later, in 1985, somewhat belatedly, The Velvet Underground reached number 197 in the US Billboard 200 charts. By then, The Velvet Underground had been hailed as one of the group’s finest moments. However, is that the case?
Opening The Velvet Underground is Candy Says. It’s a pensive ballad about Candy Darling, a transsexual actress who Andy Warhol ‘discovered.’ She would provide the inspiration to Lou Reed’s 1972 single Walk On The Wild Side. Doug delivers a tender, melancholy vocal. He tells the story of a tortured soul, who died in 1974, aged just twenty-seven. Accompanying him are subtle drums played by brushes, a probing bass and jangling guitars. They frame the vocal, allowing it to shine. The way he delivers lyrics like “I wish I could walk away from me,” it’s as if this resonates with Doug. He’s able to breath meaning and emotion into the lyrics.
What Goes On has a rockier sound. Lou’s vocal is grizzled, while the rhythm section and jangling guitars power the arrangement along. Lightning fast slap bass and guitars join forces with a Hammond organ, as Lou struts his way through the lyrics. Then when his vocal drops out, The Velvet Underground kick out the jams. Rock meets psychedelia as the two sides of the old Velvet Underground collide head on, before later, Lou returns. By then, the ghost of John Cale has made an appearance as The Velvet Underground’s past and present combines to create one of the highlights of The Velvet Underground.
Drums and percussion combine with chiming, searing guitars on Some Kinda Love. They provide a pounding, pulsating, hypnotic backdrop for Lou’s drawling vocal. It’s a taste of what was to come from Lou Reed after The Velvet Underground. Guitars are panned left to right. Full use is made of the full stereo spectrum. As a result, the guitars envelop Lou’s vocal. The mesmeric drums provide the heartbeat, as Lou swaggers and drawls his way through Some Kinda Love.
An understated rhythm section and tambourine combine on Pale Blue Eyes another ballad. They provide the backdrop for Lou’s fragile, thoughtful vocal. Again chiming, crystalline guitars envelop his vocal. The rhythm section sit in the middle of the mix, providing the heartbeat. Meanwhile, Lou delivers a vocal on what’s a beautiful devotional that was inspired by Shelley Albin, Lou’s first love.
Jesus, which closed side one of The Velvet Underground, has a thoughtful, understated sound. A spartan arrangement meanders into being. Just a guitar, bass and harmonies accompany Lou’s vocal. It veers between needy, desperate and hopeful as he sings: “Jesus help me find my proper place.” A driving, strident, confident guitar and a dark moody bass accompany Lou. So do harmonies. They sound similarly fragile, as if able to empathise with Lou’s plight.
Originally, Beginning To See The Light opened side two. It’s the perfect track to do so. It literally explodes into life, The Velvet Underground’s rhythm section and guitars driving the arrangement along. Lou takes his lead from them, and unleashes a swashbuckling vocal. Literally, it oozes confidence as he joyously half sings, half screams “I’m Beginning To See The Light.” The result is a hook laden anthem from The Velvet Underground that inspired thousands of other groups.
I’m Set Free sees the tempo drop, but the drama remains. It comes courtesy of a lone pounding drum. It sits in the middle of jangling guitars. Gradually, it grows in power, moving forward in the mix. In doing so, it matches Lou’s vocal every step of the way. Then when his vocal drops out, a shimmering guitar and pounding drum vie for your attention. They then join with harmonies and Lou’s hopeful, heartfelt vocal as the track reaches a crescendo.
Unlike many of the tracks on The Velvet Underground, That’s The Story Of My Life has an unmistakable sixties sound. However, it’s a sound that’s inspired two generations of bands. The jaunty arrangement skips along. Just the rhythm section and chiming guitars accompany Lou’s wistful, lived-in vocal. He’s come to terms with his life, and realised he can’t change anything. Despite the sixties sound, it’s a track that’s aged well and shows another side of The Velvet Underground.
The Murder Mystery is the only track on The Velvet Underground to feature the four band members. However, it’s a much more avant-garde track. This is more like the music John Cale would’ve created. This is down to the structure. During each verse, Lou and Sterling recite different verses of poetry simultaneously. One vocal is panned left, the other right. Then during the choruses, Maureen and Doug sing different lyrics and melodies simultaneously. They too, were panned either left of right. All this gives the track a much more experimental sound. Especially with the free jazz backdrop. It comes courtesy of rolls of drums, washes of Hammond organ and crystalline guitar. All this sounds like a homage to John Cale, The Velvet Underground’s former creative force.
Closing The Velvet Underground is After Hours. It’s an acoustic track and sounds like something from another era. Here, Maureen delivers the lead vocalist. She is accompanied by a strummed acoustic guitar that’s panned right. A bass is panned left, but is way too loud. It should sit further back in the mix. Even then, After Hours wouldn’t rise above average. It’s a far from an innovative track. The best way to describe After Hours is ironic, in a late-sixties hipster sort of way. This proves a disappointing way to close The Velvet Underground.
However, for anyone whose bought the Deluxe Edition of The Velvet Underground, which was recently released by Universal Music, then there’s still disc two to come. It features tracks recorded Live At The Matrix on November 26th and 27th 1969. There’s some stonewall Velvet Underground classics to enjoy.
This proves the case from the get-go, with I’m Waiting For The Man opening the set. It’s a track from The Velvet Underground and Nico. So is Heroin, which is another of The Velvet Underground’s finest moments. They’re the only tracks from their debut that featured on the live set. There’s no Venus In Furs, Femme Fatale, All Tomorrow’s Parties or There She Goes Again. It seemed that these two nights in November 1969, The Velvet Underground were at their contrarian best.
That’s the case throughout the album. They turn their back many on old favourites. Not all the time, The Velvet Underground sometimes throw the dog a bone. Their version of the title-track from their sophomore album White Light/White Heat is one of the highlights of the twelve tracks. Unsurprisingly, mostly, the new lineup of The Velvet Underground showcase their eponymous third album.
They showcase versions of What Goes, Some Kind Of Love and Beginning To See The light from The Velvet Underground. They’re among The Velvet Underground’s highlights. However, there’s still more to come from The Velvet Underground Mk. II.
There’s unreleased versions of Over You and Pale Blue. The versions of Lisa Says, Rock and Roll and Sweet Jane all featured on the 1969 live album,The Velvet Underground Live. They showcase The Velvet Underground as they embark upon a new chapter in their career. It began with their third album The Velvet Underground.
When The Velvet Underground was released in March 1969, it marked the end of an era. For their first two albums, The Velvet Underground were one of the most innovative groups of the sixties. Their pioneering fusion of art rock, avant-garde, experimental, psychedelia and rock would inspire several generation of musicians. However, neither 1967s The Velvet Underground and Nico, nor White Light/White Heat were commercial successfully. This lead to a split in The Velvet Underground.
John Cale wanted The Velvet Underground to continue to create cutting-edge music. Lou Reed and Maureen Tucker eyed commercial success. They wanted to be part of a successful band. Even if this meant changing direction musically.
Lou Reed and Maureen Tucker won out. John Cale, left The Velvet Underground with his principles intact. He wasn’t in favour of The Velvet Underground releasing pop oriented music. He was an innovator, someone who was constantly ahead of the musical curve. Pop music didn’t interest him. So he went his own way.
The rest of The Velvet Underground brought onboard Doug Yule as John’s replacement. This was the lineup that recorded The Velvet Underground, an album of ballads and rocky tracks. It was meant to transform The Velvet Underground’s fortunes. However, fate intervened.
On The Velvet Underground’s release, it failed to chart. Lou and Maureen’s dreams of being part of a successful rock band lay in tatters. They’d sacrificed being part of one of the most innovative bands in musical history. It was all for nothing. Riches and fame still eluded The Velvet Underground.
Since then, The Velvet Underground has found a wider audience. Nowadays, every self-respecting record collection contains The Velvet Underground’s albums. However, not every Velvet Underground album was created equally.
For the newcomer to The Velvet Underground, then 1969s The Velvet Underground is their most accessible album. It’s far from their best album. 1967s The Velvet Underground and Nico was The Velvet Underground’s finest hour. It features The Velvet Underground at their innovative and influential best. 1968s White Light/White Heat comes a close second. Again, it features The Velvet Underground pushing musical boundaries to their limits, on what was a truly groundbreaking album. So much so, that critics wondered what was coming next from The Velvet Underground?
They certainly didn’t expect The Velvet Underground, with its ballads and rock-oriented tracks. For many people, The Velvet Underground had sold out. They’d sacrificed their creative force at the altar of fame and fortune. That was disappointing. After all, The Velvet Underground could’ve continued to transform music for years to come. Instead, they released just two more albums, 1970s Loaded and 1973s Squeeze. However, forty-five years have passed since the release of The Velvet Underground.
The dust has well and truly settled, and Universal Music’s 45th Anniversary edition allows everyone to reevaluate The Velvet Underground. It’s a reminder of a pioneering group, as they evolved, and changed direction musically. Beautiful, and sometimes, wistful ballads, rub shoulders with rocky, anthems on The Velvet Underground. This makes The Velvet Underground’ the most accessible album from one of music’s most innovative bands. However, one can’t help wonder what type of album The Velvet Underground would’ve released if they hadn’t sacrificed their creative force at the altar of fame and fortune?
THE VELVET UNDERGROUND-THE VELVET UNDERGROUND.
NEIL YOUNG-A LETTER HOME AND STORYTONE.
NEIL YOUNG-A LETTER HOME AND STORYTONE.
Having left Buffalo Springfield in 1968, Neil Young decided now was the time to embark upon a solo career. So, Neil put together an all-star band to record his eponymous debut album.
It featured guitarist Ry Cooder, pianist Jack Nitzche and backing vocalist Merry Clayton. They recorded Neil Young between August and October 1969. Once Neil Young was recorded, it was released in November 1968. This was meant to be the album that launched Neil Young’s solo career. However, Neil Young was an inauspicious debut album.
When the original version of Neil Young was released, Neil wasn’t happy with the mix. There was a reason for this. Neil Young was the first album to use the Haeco-CSG encoding system. It was meant to make stereo records compatible with mono record players. Things however, didn’t go to plan. There was a side effect of the new system. The sound quality suffered.
In the case of Neil Young, his vocal was buried deep in the mix, giving the album a muddy sound. For Neil, this was not the way he envisaged his solo career beginning. Eventually, Neil bit the bullet, and decided the only solution was to remix the album.
After remixing Neil Young in the summer of ‘69, the album was rereleased later that year. Still Neil Young failed to chart. However, it was a hint of what was to come from one of music’s greatest singer-songwriters.
Since 1968s Neil Young, the Canadian maverick singer-songwriter has released another thirty-four studio albums. These albums show the many sides of Neil Young. This includes everything from blues rock, country, folk, folk rock, grunge, new wave, psychedelia, rock and rockabilly. Neil Young is the original musical chameleon. He’s never content to stand still. No. A musician who stands still, in Neil’s world, risks becoming irrelevant. That’s never going to happen. So he’s constantly changing direction and throwing musical curveballs. That’s been the case during 2014.
A Letter Home.
Neil Young has released two albums during 2014. His first album of 2014, was A Letter Home, which was released in April. It saw Neil cover twelve classic songs from Bert Jansch, Bob Dylan, Tim Hardin, Willie Nelson, Bruce Springsteen and Willie Nelson. These cover versions were perfect for Neil. His lived-in vocal could bring new meaning to them. However, Neil Young decided to throw another curveball on A Letter Home.
The curveball was the way A Letter Home was recorded. Rather than use a traditional recording studio, Neil decided to record A Letter Home in a refurbished 1947 Voice-O-Graph vinyl recording booth at Jack White’s Third Man Records recording studio in Nashville. Relying upon obsolete electro-mechanical technology was somewhat restrictive. Neil couldn’t bring onboard Crazy Horse. No. It was just Neil and his trusty acoustic guitar. When this slimmed down, lo-fi recording was released, opinion was divided.
This wasn’t the first time a Neil Young album polarised opinion. 1974s On The Beach Landing On Water, 1981s Re-actor, 1982s Trans and 1986s Landing On Water divided opinion. History repeated itself with A Letter Home.
There was no middle ground, critics either loved or loathed A Letter Home. It was either the act of a maverick genius, or a vanity project. Opinion was divided. So, record buyers had the casting vote.
When A Letter Home was released, it reached number thirteen in the US Billboard 200 and seventeen in Britain. Record sales were one thing though. What did people think of A Letter Home?
It was only after people had heard A Letter Home that they cast their vote. Record buyers, including even the most loyal Neil Young fans were similarly divided. Some were disappointed at what could’ve been a captivating project. Others felt the lo-fi sound suited the twelve songs, and they took on new meaning.
This was the case with Bert Jansch’s Needle of Death, Gordon Lightfoot’s Early Morning Rain and If You Could Read My Mind. They were tailor made for Neil’s voice. Later, Willie Nelson’s On The Road Again is given a lo-fi, old school, country makeover. A compelling take of Bruce Springsteen’s My Hometown caught the attention of some record buyers. Others, myself included, felt A Letter Home was a self-indulgent, vanity project where record buyers had been short changed. Neil Young owed record buyers an album.
Storytone.
Less than seven months later, Neil Young returns with his thirty-fifth album Storytone, which was recently released on Reprise Records. Just like A Letter Home, and countless other albums, Neil Young wanted to try something new.
For Storytone, Neil penned ten new songs. When it came to recording of Storytone, this wasn’t going to be another lo-fi album. Far from it. Instead, Neil decided to record an album that was the polar opposite of A Letter Home.
When the recording of Storytone began in April 2014, Neil and co-producer Niko Bolas, a.k.a. The Volume Dealers, had hired what seemed like a cast of thousands. There was a big band and a ninety-two piece orchestra. That’s not all. On some tracks, a choir was drafted in to record one of Neil Young’s most lavish albums. It was recorded at Capitol Studios, Sony Scoring Stage and East West Studios in Hollywood. Once Storytone was recorded, it was scheduled for release early in November 2014. Could Storytone unite critics and music lovers?
On its release, Storytone continued to divide critics. Some were won over by what was perceived as a combination of Harvest and This Notes For You, another Volume Dealers production. Other critics felt Storytone was a somewhat chaotic and messy album. Yet again, music lovers had the casting vote.
November 4th 2014, was D-Day. That’s when Storytone was released. It reached number thirty-three in the US Billboard and number twenty in Britain. On the face of it, record buyers had been won over by the maverick Mr. Young’s latest offering, Storytone. However, is that the case?
Plastic Flowers opens Storytone. It’s the first of the tracks where Neil is accompanied by an orchestra. Swathes of the lushest strings, muted horns and flourishes of harp give way to a piano, and Neil’s fragile vocal. Hurt and sadness fills his voice as memories come flooding back. Meanwhile, swells of strings sweep, adding an element of drama. Later, the strings replace Neil’s vocal, adding to the drama, emotion and beauty of this opus.
Dramatic sweeping strings and woodwind set the scene for Neil on Who’s Gonna Stand Up? It’s a stirring track filled with social comment. Neil Young becomes evangelic about the environment, turning his guns on fracking and fossil fuel. This is admirable and well meaning. Sadly, the lyrics are far from vintage Neil Young. Proof of this is “end fossil fuel, draw the line, before we build another pipeline.” Later, he sings “damn the dams, save the rivers, starve the takers and feed the givers.” These lyrics disappoint. However, not the arrangement. It makes up for Neil lyrical failings. Dramatic flourishes strings, woodwind and a choir accompany Neil’s deliberate, earnest and evangelical vocal, before reaching a dramatic, thoughtful crescendo.
I Want To Drive My Car sees the big band make their debut. Neil’s band play their way into the track. They’re loose and gradually, find their feet. Blistering guitar licks accompany Neil’s thoughtful vocal. Then, all of sudden, the big band kick loose. Braying, blazing horns kick loose. They’re joined by a Hammond organ and later, a bluesy harmonica. All the time, the bass marches the arrangement along. Meanwhile scorching guitars accompany Neil’s grizzly, lived-in vocal, on what’s the highlight of Storytone so far.
Glimmer has a wistful, dreamy arrangement. That’s down to the strings and woodwind. They play slowly, leaving space within the arrangement. Strings float above the arrangement. Before long, you forget this is a Neil Young album. That’s until his tender, melancholy vocal enters. Again, memories come flooding back. He thinks of better days, when he first met the woman he loved. Back then, their love was young. Now things are changing. “New love, brings back everything to you, all the feelings in your heart are reawakened.” As Neil delivers these lyrics, it’s as if they resonate and ring true. Especially when accompanied by a swathes of lush strings. All this makes Glimmer a truly beautiful ballad, which features a wistful heartfelt vocal from Neil Young.
Say Hello To Chicago bursts into life. With the return of the big band, it’s like a return to another musical era. Bursts of grizzled horns, rolls of drums and washes of Hammond organ join a piano and upright bass in creating a swinging arrangement. They set the scene for Neil’s vocal. As if inspired, he delivers a vocal that swings. It sits atop this glorious jazzy backdrop, that brings back memories of another musical era.
Tumbleweed has an understated, wistful sound. Just the subtlest strings and woodwind join with a flourishes of harpsichord in creating a meandering, spacious backdrop. They’re joined by a pensive, reflective Neil Young. Tenderly, he delivers his vocal. Shimmering strings or woodwind respond to his call. All the time, flourishes of harpsichord add to the ethereal beauty of a song where Neil Young’s at his tenderest and most thoughtful.
A bluesy harmonica opens Like You Used To Do, which again, is reminiscent of This Notes For You. As the bass, drums and piano create the backdrop for Neil’s weary vocal, horns bray and blaze. Then when his vocal drops out, he unleashes a bluesy harmonica. It’s the perfect replacement for Neil’s vocal, on this bluesy, jazz-tinged track.
I’m Glad I Found You is another of the tracks where a full orchestra accompanies Neil. Strings sweep, as if determined to tug at your heartstrings. In the midst of the mix, horns bray and a piano plays. When the arrangement becomes understated, this is the signal for Neil’s needy, hopeful vocal to enter. He throws himself into the song, bringing out the lyric’s beauty. Neil breathes meaning and sincerity into his lyrics. They’re some of the finest on Storytone, and far removed from the disappointing Who’s Gonna Stand Up?
Straight away, When I Watch You Sleeping has a country tinged sound. Just a lone harmonica plays. It’s soon joined by a picked guitar and weeping pedal steel. They join Neil’s vocal. He can’t believe he’s found love and happiness. Tenderly, he gives thanks. Meanwhile, swathes of strings sweep above. This orchestral backdrop and the country-tinged sound may be opposites, but opposites attract. Not just that, but the compliment each other perfectly on another beautiful ballad.
All Those Dreams closes Storytone. Keyboards, guitar and the rhythm section join a tambourine in providing the backdrop for Neil’s vocal. So does the orchestra. Strings are to the fore. They’re occasionally jaunty, dancing above the rest arrangement, which is reminiscent of Harvest or Harvest Moon. Just like these two albums, the lyrics to All Those Dreams ooze quality. They’re vintage Neil Young. They’ve a poetic and cinematic quality. So much so, that when you close your eyes, Neil’s lyrics paint pictures that unfold before your eyes. That however, isn’t the end of Storytone.
Not if you’ve bought the Deluxe Version of Storytone. Neil Young includes another version of Storytone. This time, it’s an acoustic version. It’s very different from the original version. There’s neither an orchestra, nor a big band. Instead, it’s a much more stripped down sound. Sometimes, it’s just Neil and either his piano or guitar. This works, apart from Who’s Gonna Stand Up?, which becomes dirge like. That wasn’t Neil’s finest hour. Mostly, though the songs on Storytone work well with this stripped down approach. You tend to focus more on the lyrics, rather than the lavish arrangements. Having said that, the original version of Storytone is a joy to behold.
The songs on Storytone come alive with these lavish arrangements. Lush strings, woodwind and horns add to the emotion and potency of the songs. They take on new meaning. Much of that, is down to the strings. They’re perfect for adding emotion and drama to a song. On Storytone, Neil’s decision to work with the orchestra and big band was a masterstroke.
In the case of the tracks with the big band, this is reminiscent of This Notes For You. It was produced by The Volume Dealers, and is one of the most underrated albums in the Neil Young discography. For anyone who enjoys the tracks with the big band, then This Notes For You is well worth investigating. It shows yet another side to Neil Young, the original musical chameleon.
Over the past forty-six years, Neil Young has released thirty-five studio albums. He’s always determined to reinvent himself musically. He’s released albums of Americana, blues rock, country, folk, folk rock, grunge, new wave, psychedelia, rock and rockabilly. There’s n0 finding a winning formula, and then sticking with it. That’s not Neil’s style. The closest he came was during his dalliance with grunge. However, after that, Neil spread his wings and headed in a different direction. That’s what Neil has continued to do, and did in 2014.
During 2014, Neil Young released two albums. A Letter Home was one of the most disappointing Neil Young albums of recent years. It comes across as a self-indulgent. vanity project, from a musician who should’ve known better. That’s why A Letter Home is definitely not the starting place for a newcomer to Neil Young. Storytone is completely different.
Storytone marks a return to form from Neil Young. The original musical chameleon draws inspiration from previous albums like Harvest, Harvest Moon and This Notes For You. This is quite an eclectic source of inspiration. So it’s no surprise that Neil veers between melancholy and wistful, to soul-baring and soul-searching, right through to flat out hard rocking. It’s a glorious combination. Ballads and rockers rub shoulders on Storytone, where not for the first time, Neil Young becomes the comeback King.
ROBERT PLANT-LULLABY AND…THE CEASELESS ROAR.
ROBERT PLANT-LULLABY AND…THE CEASELESS ROAR.
For many musicians who were once part of one of the most successful bands in musical history, the day that band breaks up is one of the worst days in their life. That day, can mark the end of their career. Try as they may, they never reach the same heights as a solo artist. Musical history is littered with examples of artists who never reached the same giddy heights. This includes former members of The Beatles, Rolling Stones, Pink Floyd and Led Zeppelin. However, this doesn’t include Robert Plant.
Since the break of Led Zeppelin in 1980, Robert Plant has forged a career as a solo artist. His debut albums released was 1982s Pictures At Eleven. It was certified silver in Britain and platinum in America. This was the start of the commercial success and critical acclaim that’s come Robert Plant’s way.
After Pictures At Eleven, Robert Plant has released a further eight albums between 1983s The Principle of Moments and 2010s Band Of Joy. These eight albums have resulted in silver, gold and platinum discs coming Robert’s way. In Britain, Robert has received two silver and two gold discs. However, stateside, Robert Plant, just like Led Zeppelin, before him, took America by storm.
For Robert Plant, he’s always enjoyed more commercial success in America. It’s like Robert’s spiritual home. In America, 1985s Shaken ‘n’ Stirred, 1990s Manic Nirvana and 1995s Fate of Nations were certified gold and 1983s The Principle of Moments was certified platinum. However, Robert’s most successful album in America was 1988s Now and Zen. It sold over three million copies and was was certified triple platinum in America. For Robert Plant, this proved yet again, that there was life after Led Zeppelin.
However, four years have passed since Robert Plant last released a solo album. That was 2010s Band Of Joy. This was Robert’s third consecutive album not to receive a glittering prize in the land of the free. Robert, however, hadn’t lost his Midas touch.
No. He’d collaborated with Alison Krauss on her 2007 album Raising Sand. This was Robert’s first appearance since he released Mighty ReArranger in 2005. It was certified silver in Britain. However, Raising Sand was certified platinum in America, Britain and Canada. Robert Plant was back, and he what’s more, he hadn’t lost his Midas touch. Now seven years after Raising Sun, Robert Plant returns with his tenth solo album, Lullaby and…The Ceaseless Roar, which was recently released on Nonesuch Records. Lullaby and…The Ceaseless Roar is Robert’s first album since 2010. Hopefully, he’ll still have the Midas touch.
Lullaby and…The Ceaseless Roar might be Robert Plant’s tenth solo album, but it’s his first with his backing band The Sensational Space Shifters. Their lineup includes Justin Adam, Liam “Skin” Tyson, John Baggott, Billy Fuller, Dave Smith and Gambian griot player Juldeh Camara. They played an important part in the writing of Lullaby and…The Ceaseless Roar.
There are eleven tracks on Lullaby and…The Ceaseless Roar. Each of the tracks are collaborations between Robert and members of The Sensational Space Shifters. They arranged the traditional song Little Maggie and cowrote ten new songs.
Robert and members of The Sensational Space Shifters penned Pocketful of Golden, Embrace Another Fall and Arbaden (Maggie’s Babby). Rainbow, Stolen Kiss and Up On the Hollow Hill (Understanding Arthur) were written by Robert with Justin Adams, John Baggott, Billy Fuller and Liam “Skin” Tyson. They cowrote Turn It Up, Somebody There and House Of Love with Dave Smith. The other track, Poor Howard, was penned by Robert with Justin Adams, John Baggott, Billy Fuller, Juldeh Camara and Liam “Skin” Tyson. These songs were recorded at various studios.
Recording of Lullaby and…The Ceaseless Roar took place at three studios. They’re the Helium Studios, Wiltshire, Real World Studios, Bath and Contino Rooms, London. That’s where the eleven songs that became Lullaby and…The Ceaseless Roar, Robert Plant’s tenth album was recorded.
At these studios, The Sensational Shape Shifters took Robert’s music in a a variety of directions. Partly, this was down to the eclectic selection of instruments they used. Justin Adams played bendirs, djembe, guitars and tehardant. Liam “Skin” Tyson played banjo and guitar, Dave Smith drums and Juldeh Camara kologo and ritti. John Baggott played keyboards, moog bass, piano, tabal and loops. Billy Fuller palyed bass, omnichord, upright bass and took charge of drum programming. Adding backing vocals were Nicola Powell on Poor Howard and Julie Murphy on Embrace Another Fall. Robert Plant delivered his trademark lead vocals and produced Lullaby and…The Ceaseless Roar, which was released recently.
When the Robert Plant produced Lullaby and…The Ceaseless Roar was released, it was to widespread critical acclaim. After four years away, Robert Plant was crowned the crowned the comeback King on Lullaby and…The Ceaseless Roar. I’ll tell you why, when I tell you about Lullaby and…The Ceaseless Roar.
Opening Lullaby and…The Ceaseless Roar is a new version of the traditional song, Little Maggie. It’s rearranged by Robert and The Sensational Space Shifters. Just a banjo, buzzing bass, pounding drums and percussion create the backdrop for Robert’s tender, impassioned vocal. Behind him, the pulsating arrangement is a fusion of musical genres. Blues, country, folk, electronica and world music melt into. Later, the track takes a Celtic twist, as flutes enter. That’s the signal for Robert’s vocal and the arrangement to grow in power. After that, the arrangement reaches a glorious, genre-melting high.
Thunderous drums pound on Rainbow. Deliberate driving guitars and the bass join. They’re the perfect backdrop for Robert’s vocal. It’s heartfelt and restrained. Meanwhile, the arrangement oozes drama. You wonder when Robert and The Sensational Space Shifters are going to kick loose? This never happens. Instead, understated, cooing harmonies and then crystalline guitars accompany Robert, as he rolls back the years.
Pocketful of Golden is another track where musical genres and influences melt into one. Elements of electronica, folk, rock and world music can be heard. Robert’s vocal is understated and melancholy. He’s thoughtful, as guitars are unleashed. They join drums and washes of synths in creating a captivating post rock backdrop for Robert’s vocal. He doesn’t just sing the lyrics, he sounds as if he’s lived them, as he breathes life, meaning and emotion into the lyrics.
Washes of wistful synths open Embrace Another Fall. They’re joined by a picked guitar and bursts of thunderous drums. Then when Robert’s vocal enters, it’s a mixture of drama, hope and passion. His soul has been awakened, rescued from its slumbers by his lover. Behind him, bursts of searing guitars, swells of synths and pounding, pulsating drums combine. Then it’s all change. Blistering, screeching guitars are unleashed. It’s akin to Led Zeppelin in their pomp. All too soon, it’s all over. However, replacing it is the ethereal beauty of Julie Murphy’s vocal. It’s carried atop a wistful meandering arrangement where drama and beauty sit side-by-side.
Turn It Up has a crackly, bluesy backdrop. A riff is repeated while Robert’s vocal is restrained and lived-in vocal. He name checks blues legend Charlie Patton, all the time, threatening to cut loose. In doesn’t happen. Instead, searing, blistering guitars kick loose. They’re part of an rocky arrangement that’s a mixture of drama and space. Robert’s vampish vocal and a searing, blistering guitar riff play leading roles on a track full of social comment about 21st Century America.
A Stolen Kiss is very different to previous tracks. It’s an understated ballad. Just a hesitant piano, bass and Robert’s melancholy vocal combine. Hurt and longing fill his voice, as he “watches the days slip away.” A guitar weeps and is part of a subtle, but atmospheric arrangement. Along with Robert’s soul searching vocal, it’s without doubt, one of the highlights of Lullaby and…The Ceaseless Roar.
Somebody There sounds as if it’s paying homage to Robert’s glorious rocky past. Swathes of jangling, blistering guitars and pounding, mesmeric drums set the scene for Robert. When his vocal enters, the rest of the band take care not to overpower Robert’s vocal. They play around his vocal, adding a folk rock backdrop. All the time, they allow Robert’s thoughtful, pensive vocal to take centre-stage. Robert fondly remember times gone by, and delivers a stirring vocal against The Sensational Space Shifters’ folk rock backdrop.
Swells of synths open House of Love, before a searing guitar signals the rest of the rhythm section to kick loose. The drums are bold and loud. This sets the tone for the rest of the rhythm section. Scorching, blistering guitars are unleashed while the bass underpins the arrangement. Robert’s vocal is understated and compelling. Again, he rolls back the years. His lived-in, all-knowing vocal is perfect for the lyrics. They come to life. Then when his vocal drops out, The Sensational Space Shifters showcase their considerable talents. Later, Robert’s whispery vocal rejoins and proves yin to The Sensational Space Shifters’ yang.
Mysterious and atmospheric describes the introduction to Up on the Hollow Hill (Understanding Arthur). Guitars weep, reverberating into the distance. Then the rhythm section march the arrangement along. Searing, grinding guitars provide the accompaniment to Robert’s breathy, dramatic vocal. It adds to the mysterious, atmospheric sound of this classy rocky soundscape.
Arbaden (Maggie’s Babby) closes Lullaby and…The Ceaseless Roar. Synths add a moody, sci-fi sound. Then Robert scats and bubbling synths signal the introduction of the rocky rhythm section. They don’t mess about. No. They cut loose, and provide a driving arrangement. It’s a mesmeric fusion of blues, rock and haunting electronica.
After four years away, Robert Plant recently returned with his tenth solo album Lullaby and…The Ceaseless Roar. It was released on Nonesuch Records, an imprint of Warner Bros. Lullaby and…The Ceaseless Roar was released to widespread critical acclaim. He was accompanied by his backing band The Sensational Space Shifters. They played their part in a genre-melting album.
Everything from Americana, blues, country, electronica, folk, folk-rock, rock and world music can be heard on Lullaby and…The Ceaseless Roar. It’s a truly eclectic album that oozes quality from the opening bars of Little Maggie, right through to the closing notes of Arbaden (Maggie’s Babby). It’s a truly captivating album, one where Robert Plant pays homage to his musical past.
On Lullaby and…The Ceaseless Roar, Robert Plant relives his former glories. There’s a nod to Robert’s musical past, in the shape of blues, folk rock and rock. This is reminiscent of Led Zeppelin, as their music evolved. However, Robert combines other genres with rock. This includes electronica. Sometimes, washes of synths provide the backdrop to blistering guitars. It seems that, despite have just turned sixty-six, Robert Plant isn’t resting on his laurels.
He could easily do this. If Robert was to remake an album of seventies rock, it would find an audience. However, that wouldn’t be a challenge. So Robert has surrounded himself with a band of young, talented and innovative musicians
With their eclectic selection of instruments and an innovative way of working, Robert Plant, aided and abetted by The Sensational Space Shifters, played their part in a return to form from Robert Plant. Thirty-two years after the release of his debut solo album Pictures At Eleven, Robert Plant proves he’s still got the Midas touch on the genre-melting Lullaby and…The Ceaseless Roar, where the former Led Zeppelin frontman becomes a musical shapeshifter.
ROBERT PLANT-LULLABY AND…THE CEASELESS ROAR.
FIELD REPORT-MARIGOLDEN.
FIELD REPORT-MARIGOLDEN.
It was back in 2012, that Field Report, released their eponymous debut album. Two years later, and singer-songwriter Chris Porterfield and his band return with their sophomore album, Marigolden, which was recently released by Partisan Records. However, much has happened to Field Report in the intervening two years.
Since the release of Field Report’s debut album back in 2012, the Milwaukee-based band have been busy. They’ve been touring relentlessly across America. From tiny venues, right through to amphitheatres, audiences have been won over by Field Report. So have some of the biggest names in music.
This included two of Counting Crows and Aimee Mann. When they heard Field Report, they asked them to support them on their recent tours. For Field Report, this was a dream come true. They were huge fans of Counting Crows and Aimee Mann. However, it wasn’t just Counting Crows and Aimee Mann who were won over by Field Report.
Suddenly artists Field Report had previously looked up to, were championing their music. Artists like Mark Eitzel and Richard Thompson were championing their music. Then all of a sudden, the Blind Boys Of Alabama decided to cover one of Field Report’s songs. Everything in Field Report’s world seemed to be going so well. Then fate intervened.
Having recorded Field Report as a sextet, the group lost three members during 2013. The constant touring, and growing tensions within the band took their toll. This could’ve proved fatal for some groups. However, not Field Report. They regrouped and returned stronger.
So much so, that in December 2013, Field Report were ready to record their sophomore album Marigolden. So, singer-songwriter Chris Porterfield and the rest of Field Report, Chris headed to snowy Ontaria. That’s where Field Report recorded Marigolden, which was produced by Robbie Lackritz.
Recording of Marigolden took place at the Unicorn Ranch, Ontario. That’s where the slimmed down lineup of Field Report recorded the ten songs penned by Chris Porterfield. Chris also played guitar, piano, synths and added lead vocals. Shane Leonard played drums, guitar, banjo, Gourd banjo, violin, percussion, electronics and vocals. Ben Lester played pedal steel, synths, piano, percussion, electronics and guitar. Tamara Lindeman adds vocals and Travis Whitty plays bass, synths and adds vocals. Once Marigolden was recorded, in snowy Ontario, the album was delivered to Partisan Records.
They scheduled the release of Marigolden for November 2014. That’s two years since Field Report first burst onto the scene with their eponymous debut album. Has Marigolden been worth the two year wait? That’s what I’ll tell you.
Decision Day opens Marigolden. It has an understated arrangement. Just a slow, deliberate, acoustic guitar and pulsating percussion accompany Chris’ worldweary vocal. At last, the snow is melting and finally, he can see the world outside. Gradually, he sees the world outside taking shape. Boredom gives way to hope and maybe, happiness on Decision Day.
Home (Leave the Lights On) was the lead single from Marigolden. It’s a homecoming song, where Chris returns from a long, gruelling tour to his family. He sings: “but leave the lights on, cause it might be nighttime when I get there, but I’m on my way.” There’s a nod to The Travelling Wilburys on this track. That’s down to the vocal, rhythm section, acoustic guitar and weeping pedal steel. The only slight disappointment is the sometimes synthetic sounding drums and the use of a synth. Mostly though, this is a really catchy track, with a strong narrative and a feel good sound.
A wash of weeping guitar opens Pale Rider, setting the scene for Chris’ vocal, where he reconsiders sobriety. He delivers a soul searching vocal, where you’re privy to hear his deepest fears. He’s scared that he’s going to climb on the back of the “pale horse outside my door.” He knows where that leads. Birthdays forgotten, weekends lost and broken relationships. As Chris delivers his vocal, a minimalist arrangement envelops it. Just backing vocalists, weeping pedal steel and acoustic guitars accompany Chris, on what’s a heartfelt, soul-baring opus.
Just a muted, meandering and thoughtful guitar opens Cups and Cups. It’s the accompaniment for Chris’ tender, wistful vocal. Still the arrangement is understated. Drums, scrabbling percussion and muted guitars help drive the arrangement along. However, what grabs your attention is Chris’ vocal. It’s whispery and pensive, as memories come flooding back. Meanwhile, synthetic drums crack and stabs of piano, adding an element of drama. They’re the perfect accompaniment to Chris’ vocal on this eighties influenced soundscape.
On Ambrosia, a maudlin Chris, sings about the stark reality of his love-hate relationship with a bottle. His voice sounds as if it has been scarred by one too many drinks. It’s rough, ragged and hued by a lifetime of carousing. His lifelong, love-hate relationship with a bottle has made Chris maudlin. He reflect on his past, the people he knew, and what became of him. Accompanied by a piano on what sounds like a Neil Young inspired ballad, he ponders the future, wondering what it holds for him? Will he always want to drown himself in a bottle, or somehow, will he resist the temptation to do so?
Wings has a much more experimental sound. Slowly, the arrangement reveals its secrets. Just slow, deliberate keyboards and sci-fi sounds accompany Chris’ husky, drawl. He snaps his fingers, as if encouraging the rest of the band. Instruments are dropped in just at the right time. This includes a guitar, piano, percussion and a grandiose swell of synth strings. They set the scene for Chris. He’s desperate, out of luck and money. As the strings reach a crescendo, the arrangement shows not just its secrets, but another side and sound of Field Report.
Marigolden sees a return to a much more traditional sound. It’s best described as alt-country. Just a picked acoustic guitar and percussion accompanies Chris’ vocal. It veers between heartfelt, emotive and melancholy. Later, sweet harmonies accompany Chris’ what’s a tale of love lost and maybe, love found.
Meandering, dramatic, flourishes of piano open Michelle. It’s the only accompaniment to Chris’ vocal. It sometimes, reminds me of Jackson Browne in his seventies heyday. Just like Jackson, Chris is a talented singer-songwriter, who has the ability to paint pictures with his lyrics. The main difference is the arrangements. Chris’ arrangements are much more minimalist. Here, a weeping pedal steel, hypnotic drums, wistful acoustic guitar and piano create an understated backdrop. This however, allows Chris’ vocal to take centre-stage. His lyrics veer between dark and hopeful. It’s as if Chris’ inner pessimist and optimist are in conflict. Hence, lyrics like “I will drive us of the cliff to the ravine” and “now it’s leaking love in my captain’s car.” These lyrics showcase a hugely talented singer-songwriter, with a thousand stories to tell.
Washes of synths and lumbering drums set the scene for Chris’ vocal on Summons. He’s happy, that his tour is nearly over. He’ll be able to see his wife and family. Guitars weep and longing fills Chris’ vocal as he sings: “I’ll be coming home.” As tiredness and desperation threaten to overcome him, he looks forward to “coming home.”
The tracks that bookend an album have to standout. An artist wants to draw the listener in, keep their attention and leave them wanting more. That’s the case with Enchantment, which closes Marigolden. It’s just an acoustic guitar that accompanies Chris’ vocal. Guilt and sadness fill his voice. He cashed in a 30-day chip for a kiss. Now he’s racked with guilt. Guitars weep, synths sweep and harmonies coo. All the time, Chris tries to come to terms with his actions. He can’t though. Deep down, he knows he’s hurt his wife, who he misses, and loves, more than anything. Guilt, hurt, and regret all play their part in a heartbreaking song that leaves you wanting to hear much more from Field Report.
For many groups, their second album is the hardest of their career. There’s been many reasons put forward why that’s the case. Often a group that’s young and hungry, will have already written their debut album before they sign to a label. They’ve spent years writing and honing that album. Sometimes, the album is already recorded. All that’s left is for the record company to release it. They cover themselves by saying that the album is a demo. Then lo and behold, it’s a critical and commercial success. The band are then asked to write another album while touring their debut. This proves problematic. So when the sophomore album disappoints, in years to come, it’s often referred to as the “difficult second album.” Thankfully, that’s not the case with Field Report’s sophomore album Marigolden. It could’ve been though.
Since the release of Field Report’s debut album back in 2012, the Milwaukee-based band have been busy. They’ve been touring relentlessly across America. From tiny venues, right through to amphitheatres, audiences have been won over by Field Report. They’ve also backed the Counting Crows and Aimee Mann. For Field Report, this was a dream come true. They were huge fans of Counting Crows and Aimee Mann. Everything in Field Report’s world seem going so well. Then fate intervened.
Having recorded Field Report as a sextet, the group lost three members during 2013. The constant touring, and growing tensions within the band took their toll. This could’ve proved fatal for some groups. However, not Field Report. They regrouped and returned stronger.
That’s apparent when you listen to Marogolden. It’s a highly personal album that was penned by singer-songwriter Chris Porterfield. He writes about his loneliness on long, gruelling tours and his battle with alcohol. Listening to Marogolden, Chris appears to be a man whose constantly struggling darkness and demons. Out of his darkness comes music that’s poetic and personal.
During Marogolden’s ten track, Chris lays bare his soul. There’s no machismo involved. This isn’t an album that celebrates the rock ’n’ roll lifestyle. Far from it. Chris seems to shun and fight it. He doesn’t want to embrace the debauchery of a rock ’n’ roll tour. No. He’s a family man, who just so happens to be a musician. This can’t be easy. After all, temptation is around every corner. Chris realises this and instead, Marogolden is a warts and all album.
Chris isn’t afraid to share his problems on Marogolden. This could help others, especially those who face the same love-hate affair with the bottom of a bottle. The same goes for loneliness.
Just like many people, when Chris tours, he’s far from home. Many people will be able to relate to the loneliness of Summons. Hopefully, they’ll be able to resist cashing in their chips like Chris does in Enchantment, which closes Field Report’s sophomore album Marigolden.
Featuring ten tracks, Marigolden sees Field Report combine alt-country, folk, electronica, indie rock and rock over tracks. Field Report sound as if they’ve been influenced and inspired by Neil Young, Jackson Browne, The Jayhawks, Wilco and Gram Parsons. The result is Marigolden, an album of music that’s highly personal. It’s also variously beautiful, dramatic, emotive and full of darkness, hope, hurt and sadness. Marigolden, Field Report’s sophomore album sees them mature as a band.
Over the last two years, Field Report have grown and evolved as a band, since the release of their eponymous debut album. Marigolden, which was recently released by Partisan Records, has been well worth the two year wait. It’s a coming of age from the Milwaukee-based Field Report, who continue to win friends and influence people on their highly personal, soul baring, sophomore album Marigolden.
FIELD REPORT-MARIGOLDEN.
MEGA JAWNS-LITTLE LADY.
MEGA JAWNS-LITTLE LADY.
Nowadays, there aren’t many bands that manage to record an album in a week. Instead, some bands take years to record an album. Partly, that’s down to the way albums are recorded.
Forty years ago, the only way to record an album, was in a recording studio. That cost money. So, the only bands able to record an album, were those signed to a record company. Nowadays, that’s not the case.
In the last twenty years, the way in which albums are recorded has changed beyond recognition. No longer, do bands need recording studios. Instead, all that’s needed is laptop containing a Digital Audio Workstation and some VSTs. Add to this, an audio interface and any aspiring band can record their debut album. That’s exactly what the Mega Jawns did early this year.
The Mega Jawns were founded on 10th March 2014. That’s when two veteran producers met in a basement in West Philly. That’s where Philly keyboard player, vocalist and producer Will Brock and UK producer and DJ Will Sumsuch. Having shaken hands on the 10th March 2014, seven days later Mega Jawns’ debut album Ten Letters From Home was completed. Six months later, Ten Letters From Home was released by BBE Records on 22nd September 2014. Now, two months later, Mega Jawns have released Little Lady as a single. It’s the latest chapter in the story of two veteran producers.
Sometimes, artists or producers can struggle for years before they make a breakthrough. Then when they meet a new collaborator, their fortunes change. That wasn’t quite the way it was for the two Wills, Will Brock and Will Sumsuch. They were both enjoying relatively successful careers. However, they were approaching the stage in their musical careers when they were referred to as veterans. This was the case with the two Wills.
Philly keyboardist, vocalist and producer Will Brock has been a stalwart of the international jazz and soul scene for more years than he can care to remember. He’s spent what seems like a lifetime touring and performing. Will hasn’t just criss-crossed America, but the world. In doing so, Will has toured and played with everyone from The Stylistics, Miles Jaye and Marion Meadows. However, it’s not just touring that Will Brock enjoys.
When he’s at home, Will enjoys working in the studio. He’s a pianist and producer. Previously, Will has released singles on King Street Records. He’s also recorded with Stephanie Cooke and King Britt. Will is also one as one half of production duo Soul Dhamma. The other Will, Will number two, has an equally impressive CV.
Will Sumsuch is a UK based producer and DJ. He’s a mainstay of the European deep house scene. That’s been the case for over ten years. With his DJ case packed with the deepest house, Will has played all over Europe. One night it’ll be Barcelona, the next Helsinki. The life of a globe-trotting DJ is best described as have passport, will travel. When he’s not DJ-ing, Will’s a respected producer.
Just like most successful DJs, Will is also a producer. His music is popular among the DJ-ing community. Look into the DJ case of Ben Watt, Osunlade, Justin Martin and Jody Wisternoff, and they’ll have tracks by Will Sumsuch amongst their secret weapons. Will’s cerebral style of electronic music is winning over DJs and dancers. It was whist Will Sumsuchwas making one of his singles Simpatico, that he first met Will Brock.
That was back in 2013. The two Wills first collaborated on Will Sumsuch’s 2013 single Simpatico. Will released Simpatico on his own label Colour and Pitch. Quickly, Simpatico found a following within the DJ-ing fraternity. One of the first people to pick up on Simpatico was house vocalist Robert Owens. That was just the start. Soon, others got behind Simpatico. For the two Wills, this was the start of a fruitful collaboration.
Fast forward to 10th March 2014. That’s when the two Wills first met. Having shook hands, they started work. They joked about making an album within a week. However, they both thought that maybe, they’d manage to record a couple of tracks. After all, recording an album in a week was a step too far? Surely?
It wasn’t. Ten Letters From Home is proof of that. It’s a meeting of two musical minds. On Ten Letters From Home, Will Brock adds a Philly Soul influence. Meanwhile, Will Sumsuch adds an understated European electronica influence to Ten Letters From Home. The Mega Jawns debut album Ten Letters From Home, was an intriguing fusion of ideas, influences and genres. One of Ten Letters From Home’s highlights, was Little Lady, which was recently released on BBE Music as a single.
Unlike the “old days,” when a single had just an A and B side, nowadays, a single can contain anything up to eight tracks. The Mega Jawns’ new single features just three tracks. There’s the original version of Little Lady, which closed their debut album Ten Letters From Home. From the get-go, the arrangement to Little Lady gets funky. Bass, guitar and keyboards join forces with drums as Will delivers another powerhouse of a vocal. He’s augmented by harmonies. They add the finishing touch to this joyous, uplifting slice of Nu Philly Soul. There’s also the Eat More Cake remix which gives the single a delicious dance-floor friendly remix. The other version is the instrumental version. Again, this version will appeal to DJs who’ve discovered the sound and delights of Mega Jawns, who have taken advantage of the new way of recording.
Music has changed almost beyond recognition in the past twenty years. Nowadays, a generation of artists regard recording studios as a relic of the past. DAWs, drum machines and synths the way to make music. It’s a much cheaper and easier way to make music. The advent of technology accessible for a new generation of producers. This includes the Mega Jawns.
Nowadays, producers like Will Brock and Will Sumsuch can meet and collaborate over the internet. Using DAWs packed full of VSTs and samples, the Mega Jawns can collaborate across the Atlantic. All they need is a high speed broadband connection. Many producers collaborate like this. However, that’s not how Mega Jawns recorded Little Lady, their new single from their debut album Ten Letters From Home. Little Lady which was recently released by BBE Music was the result of transatlantic collaboration.
Will Sumsuch jumped on a plane and flew the redeye to Philly. That’s where he met Will Brock. They met on 10th March 2014 and joked about making an album in a week. That might have seemed like a pipe dream. It wasn’t. The Mega Jawns managed to record their debut album Ten Letters From Home in seven days.
The Mega Jawns wrote, recorded and mixed Ten Letters From Home within seven days. That’s good going nowadays. No longer do artists record quickly. Instead, they spend years trying to complete an album. That Ten Letters From Home was recorded within seven days. Many modern producers should learn from the Mega Jawns.
Too many producers don’t attach a monitory value to the time they spent within their home studio. They forget the maxim that time is money. For every hour, day and week they spent auditioning claps and kick drums, it’s costing them money. So if an artist spends a year on an album, there’s no way they’re really making money. Their royalties won’t come close to covering costs. The Mega Jawns didn’t make this mistake.
They worked quickly and they worked well. Pooling their resources, the Mega Jawns wrote, recorded, produced and mixed the ten tracks on Ten Letters From Home. One of its highlights was Little Lady. It was a case of the Mega Jawns keeping the best to last.
Little Lady is soulful, sultry, dance-floor friendly and full of hooks. Musical genres and influences literally melt into one. Nu Soul meets elements of jazz, jazzy house and soulful house. There’s even a nod to Philly’s soulful past. For anyone yet to discover the delights of the Mega Jawns, then Little Lady is the place to start. After that, you’re bound to want to discover the delights of the Mega Jawns’ debut album Ten Letters From Home.
MEGA JAWNS-LITTLE LADY
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