DAVE MASON-IT’S LIKE YOU NEVER LEFT.
DAVE MASON-IT’S LIKE YOU NEVER LEFT.
There aren’t many musicians who’ve played with everyone from Jimi Hendrix, Fleetwood Mac, Eric Clapton, David Crosby, George Harrison, Joe Walsh, Graham Nash and Paul McCartney. Dave Mason did. He played on numerous classic albums. This includes Jimi Hendrix’s Electric Ladyland, the Rolling Stones’ Beggar’s Banquet and George Harrison’s All Things Must Pass. Dave also cofounded pioneering British rock band Traffic. After leaving Traffic in 1969, Dave embarked upon a successful solo career.
His debut album was 1970s Alone Together. Three years later, in 1973, Dave released It’s Like You Never Left. It featured a glittering all-star cast and was one the best albums of Dave’s solo career. It’s Like You Never Left has just been rereleased by BGO Records, and showcases the talents of one of the legends of British music, David Mason.
Dave Mason cofounded Traffic in April 1967. Looking back, it’s like a British supergroup. The originally lineup featured Dave, Steve Winwood, Jim Capaldi and Chris Wood. This was the lineup that released Traffic’s first three albums, which were released between 1967 and 1969.
Traffic’s debut was Mr. Fantasy. It was released eight months after Traffic were founded. Mr. Fantasy was released in December 1967. It reached number eight in the UK. Over the Atlantic, Mr. Fantasy was released as Heaven Is in Your Mind and reached number eighty-eight in the US Billboard 200 charts. The two singles that were released from Mr. Fantasy and Heaven Is in Your Mind were Paper Sun and Hole In My. Paper Sun reached number five in the UK and number ninety-four in the US Billboard 100. Hole In My Show gave Traffic the biggest hit of their career, when it reached number two in the UK. Considering this was Traffic’s debut album, they’d come a long way in a short time.
After the release of Mr. Fantasy, Traffic looked like joining the rock’s major league. They started out as a psychedelic rock band, influenced by The Beatles, but gradually, decided to diversify musically. Just like so many late-sixties bands, Traffic were keen to explore sonic possibilities. This didn’t go down well with all the members. Indeed, all wasn’t well within Traffic.
Following the release of Mr. Fantasy, Dave quit Traffic. The reason given was “artistic differences.” For Traffic this was a huge blow. Dave wasn’t lost to music. He produced Family’s debut album Music In A Doll’s House. However, midway through the recording of their sophomore album Traffic, Dave rejoined Traffic. He put his artistic differences aside and Traffic was released in October 1968.
On its release, Traffic was the album the broke Traffic in America. It reached number seventeen in the US Billboard 200 and number nine in the UK. That was as good as things got for Traffic featuring Dave Mason.
Just seven months after the release of Traffic, Last Exit was released in May 1969. It was essentially a selection of unreleased tracks. Although the album cover featured the four members of Traffic, Dave didn’t play on most of the songs. He wrote Just For You, and cowrote Shanghai Noodle Factor and Something’s Got a Hold of My Toe. Dave played guitar on Just for You and Something’s Got a Hold of My Toe. He also delivered the lead vocal on Just for You. Last Exit wasn’t a commercial success in the UK. It failed to chart. Across the Atlantic, Last Exit reached number nineteen in the US Billboard 200. Last Exit proved to be aptly named, as it was Dave’s Traffic swan-song.
After Last Exit, Dave embarked upon his solo career. He was also busy playing on albums by the biggest names in music. In 1968, Dave played on Jimi Hendrix’s Electric Ladyland and the Rolling Stones’ Beggar’s Banquet. Then in 1970, as Dave’s solo career began, he played on George Harrison’s All Things Must Pass. Dave also toured with Delaney and Bonnie and Friends. This was an all-star band featuring Eric Clapton, George Harrison, Greg and Daune Allman, Leon Russell, Rita Coolidge, King Curtis and Bobby Whitlock. Somehow, Dave also managed to find the time to record his debut album Along Together.
Alone Together saw Dave joined by the great and good of music. Many of the artists who toured with Delaney and Bonnie and Friends joined Dave. This included Eric Clapton, Leon Russell and Rita Coolidge. Jim Capaldi of Traffic, and legendary American session drummer Jim Keltner joined Dave. With such an illustrious cast of guest musicians, it’s no surprise that Alone Together was critically acclaimed and commercially successful. It reached number twenty-two in the US Billboard 200. Dave’s solo career had picked up where he left off with Traffic.
After the commercial success of his debut solo album, Dave released a collaboration with Cass Ellitot. Dave had been introduced to Mama Cass by a mutual friend. Mama Cass, like Dave was pursuing a solo career. She’d released two solo albums. However, both she and Dave put their solo career on hold and released an album together. Both of them missed being part of a group and collaborating with others. So they began work on Dave Mason and Cass Elliot.
Although Dave and Mama Cass were given equal billing, on Dave Mason and Cass Elliot, Dave wrote five songs and cowrote two other tracks. This included Something to Make You Happy, which Dave and Mama Cass cowrote. When recording began, it was more like a Dave Mason solo album. He sang all the lead vocals. Mama Cass was left singing backing vocals. However, Dave Mason and Cass Elliot sold well.
Released in March 1971, Dave Mason and Cass Elliot reached number forty-nine in the US Billboard 200 charts. No wonder. It was very much of its time, tapping in to the West Coast sound. Country rock with a bluesy hue, it proved more popular in America than in the UK. That was the case with Dave’s solo career, which was on hold.
Dave was signed to Blue Thumb Records. However, in 1972, just as he was about to record his sophomore album Headkeeper, Dave entered into a dispute with Blue Thumb Records. Given he was Blue Thumb Records’ most successful artist, he wanted an improved contract. A standoff ensued. However, Blue Thumb Records realised that Dave needed to release another album. So, they released Headkeeper.
Headkeeper was a mixture of tracks recorded in Sunset Sound Studios, Hollywood and live at the Troubadour in Los Angeles. Released in 1972, Headkeeper reached number fifty-one in the US Billboard 200 charts. It proved to be Dave’s final album for Blue Thumb Records. After this, he signed to Columbia.
Dave’s major label debut was It’s Like You Never Left. It’s a collection of ten tracks. Nine were written by Dave. He cowrote Side Tracked with Rick Jaegar, Mark Jordan and Lonnie Turner, who were part of Dave’s all-star backing band.
Recording of It’s Like You Never Left took place at the Record Plant and Sunset Sound in LA, plus CBS Studios in San Francisco. Dave’s band included some top musicians. The rhythm section included drummers Jim Keltner and Rick Jaegar, bassists Chuck Rainey, Carl Radle, Charles Fletcher, Greg Reeves and Lonnie Turner, while George Harrison played guitar. They were joined by pianist and organist Mark Jordan, Stevie Wonder on harmonica, Rocky on congas and Mark Cecil on Moog. A horn section and backing vocalists were brought onboard. Among the backing vocalists were Kathleen Saroyan, Clydie King, Julie Tillman, Maxine Willard and John Batdorf. Dave played guitar and Moog bass synth on what was, his third solo album, It’s Like You Never Left.
On its release in 1973, It’s Like You Never Left was Dave’s first new solo album since 1970. This was a long time not to release a new album. His previous album Headkeeper, was compiled and released by Blue Thumb Records. At that time, Blue Thumb Records and Dave were locked in a during a lengthy and bitter legal dispute. That was the past. It’s Like You Never Left was the future. It was released to widespread critical acclaim and eached number fifty in the US Billboard 200 charts. With a little from his friends, Dave’s comeback album was a success. You’ll realise why when I tell you about It’s Like You Never Left.
Baby… Please opens It’s Like You Never Left. Guitars are strummed while drums provide the heartbeat. Soon, a blistering guitar solo is unleashed. That’s the signal for the band to kick loose. Rick Jaeger’s drums and Chuck Rainey’s bass dive the arrangement along at breakneck speed. Dave unleashes a needy, soul-baring vocal. Soulful harmonies sweep in. They’re the perfect foil for the desperation and heartbreak in Dave’s vocal as the West Coast sound and RM Rock combines seamlessly.
Every Woman marks a change in sound. There’s a much more understated sound. That’s because the band unplug. Just gently strummed guitars accompany Dave and Graham Nash’s tender, heartfelt vocals. There’s a nod to C.S.N.Y. on this beautiful paean.
If You’ve Got Love has an early seventies West Coast sound. Crystalline guitars set the scene for Dave’s vocal. It’s a mixture of tenderness and sincerity, as his all-star band drive the arrangement along. Just like Baby… Please, the bass is prominent in the mix. This time, Carl Radle plays bass. He matches Jim Keltner every step of the way. Along with the Hammond organ and chiming guitars, they provide the perfect backdrop for Dave. Later, Dave’s vocal becomes joyous. It grows in power and confidence he sings call and response. Soaring, sweeping gospel tinged harmonies answer his call. By then, this hook-laden track has taken on a joyous, celebratory sound.
Maybe sees another change in sound. It’s just guitars and bass that accompany Dave’s hopeful, heartfelt vocal. Later, there’s a sense of urgency in his vocal as he tries to rescue his failing relationship.
Head Keeper sees Dave and his kick loose from the get-go. The arrangement gallops along. Searing, scorching and quivering rocky guitars are unleashed. Meanwhile, the rhythm section drive the arrangement along. Dave’s vocal is a powerful and urgent. This suits the lyrics, about the all-seeing “seeker.” Adding the finishing touches are harmonies and some blistering guitar licks. They add to the drama and theatre of this track.
A lone piano opens Misty Morning Stranger. It’s joined by stabs of horns and rocky guitars. Then when Dave’s vocal enters, again, it’s a mixture of power and urgency. Soon, it settles down and becomes soulful. Behind him, his band veer between dramatic and understated. When it becomes understated, this allows Dave’s vocal to take centre-stage. After that, his vocal is carried along by the band. Tempo changes, stabs of horns, hypnotic piano chords and a barnstorming crystalline guitar solo play their part in what’s one of the highlights of It’s Like You Never Left.
Silent Partner marks another change of direction musically. Dave seems to draw inspiration from a variety of sources. Folk, rock and even Caribbean music seem to have influenced Dave. Urgently, he strums his guitar, before launching into the lyrics. His vocal is urgent, but soulful as he sings about the “Silent Partner whose taken hold.” Later Dave sings:“when you can’t see past your nose?” Succinctly, Dave articulates how a drug addict feels. All that matters is their next fix. It’s a powerful track.
Side Tracked has a lovely laid-back sound. A crystalline guitar solo takes centre-stage, while the rhythm section and keyboards combine. They jam for just over three minutes, showcasing their combined talents. Stealing the show is Dave’s guitar playing. It’s his best on It’s Like You Never Left. This results in a beautiful mellow, instrumental.
As the rhythm section open The Lonely One, Stevie Wonder tenderly plays harmonica. This sets the scene for Dave’s wistful vocal. Flourishes of piano and brief bursts of harmonica accompany him. So do washes of Hammond organ and sweeping harmonies. All the time, the rhythm section provide the heartbeat. When all this is combined, it’s the perfect backdrop for a heartbroken Dave. His pain and hurt seems real. It’s as if he’s lived, loved and survived to tell the tale.
Closing It’s Like You Never Left is the title-track. It’s a rocky track, where the band kick loose from the opening bars. A pounding rhythm section, scorching guitars and dramatic harmonies provide the backdrop for Dave’s soul-searching vocal. Again, it’s a song about the break up of a relationship. Just like the relationship, the song is a roller-coaster ride. Sudden changes in tempo, injections of dramatic harmonies and blistering guitar solos are used. Somehow, it work…just. However, by the end of the track you’re spent, exhausted and exhilarated, by the constant twists and turns of this roller coaster of a track.
Three years after the release of his debut album Alone Together, Dave Mason returned with It’s Like You Never Left. It featured ten tracks where Dave is accompanied by an all-star cast. The result was an eclectic album, where we hear the many sides of Dave Mason.
During It’s Like You Never Left, Dave takes detours via blues, country, folk, rock, soul and the West Coast sound. One minute Dave’s delivering a tender, understated track like Every Woman, the next he’s kicking loose on the joyous and celebratory If You’ve Got Love. Then there’s the title-track. It’s a roller-coaster ride, full of sudden changes. Somehow, Dave who produced It’s Like You Never Left manages to make the track work. Whether he’s kicking loose or dropping the tempo and delivering a soul-baring relationship song, Dave Mason is always captivating. Part of the reason for this, is his lyrics.
Dave’s songs tell stories. Many of his songs are about relationships. There’s tales of love, love lost and loneliness. Many of the songs sound personal. It’s as if they’re a window into Dave’s soul. Then on Silent Partner, Dave tackles the subject or drug addiction, and specifically, cocaine addiction. It was, after all, the rock star’s drug of choice during the seventies. Just like the rest of the songs on It’s Like You Never Left, Silent Partner tells a story. Dave Mason, you see, is a born storyteller. His songs have a cinematic quality. Pictures and scenarios unfold and take shape before your eyes, during Dave Mason’s comeback album It’s Like You Never Left.
After a gap of three years, Dave Mason returned with It’s Like You Never Left which has just been rereleased by BGO Records. It’s Like You Never Left was a welcome return to form from Dave Mason. He’d been away far too long. The dispute with Blue Thumb Records didn’t help. Now signed to Columbia, Dave Mason had returned with It’s Like You Never Left. This was an album that came close to rivalling Dave’s debut Alone Together. However, Alone Together remains the highlight of Dave Mason’s solo career. Coming a very close second is It’s Like You Never Left, which showcases the multitalented Dave Mason.
DAVE MASON-IT’S LIKE YOU NEVER LEFT.
DONNIE AND JOE EMERSON-STILL DREAMIN’ WILD: THE LOST RECORDINGS 1979-81.
DONNIE AND JOE EMERSON-STILL DREAMIN’ WILD: THE LOST RECORDINGS 1979-81.
Back in 1979, Donnie and Joe Emerson’s parents spent $100,000 buying equipment for their two son’s home studio. That wasn’t enough. Donnie and Joe weren’t going to settle for second best. Not when it came to the equipment for their nascent studio. The synths, drum machines and eight-track recorders available were good, but not good enough for Donnie and Joe. They had their limitations. So, their parents mortgaged the 1,600 acre family farm in Fruitland, Washington. All this was so Donnie and Joe could follow their dreams. With the best musical equipment money could buy in their studio, Donnie and Joe Emerson recorded their debut album, Dreamin’ Wild.
Donnie and Joe headed into their home studio and recorded eight tracks. Once the eight tracks were recorded, the album became Dreamin’ Wild. This was almost ironic. After all, the Emerson brothers had been living the dream. In doing so, they’d spent a fortune, their parent’s fortune. The Emerson’s had spent $100,000 and mortgaged their future. Dreamin’ Wild had to sell well. It had to be a huge hit.
Rather than try and interest record companies in Dreamin’ Wild, the Emerson family decided to release the album privately. This wasn’t unusual. All across America, private pressings were being released. They varied in quality. Many were little more than vanity releases. Not Dreamin’ Wild.
It showcased two talented singers, songwriters and musicians. Dreamin’ Wild wasn’t just a case of wealthy parents indulging their son’s musical fantasies. No. Far from it. Donnie and Joe’s fusion of soft rock, funk and soul had potential. The Emerson brothers could’ve enjoyed a successful career. Especially, if they’d signed to a major label. They would’ve guided Donnie and Joe’s career. That would’ve made sense. So would bring in an experienced management team to guide Donnie and Joe’s career. Sadly, that didn’t happen.
Instead, Dreamin’ Wild was released on the Enterprise and Co. label. Its only release were Donnie and Joe’s 1977 single Take It, and two years later, Dreamin’ Wild in 1979. Neither sold well. In the case of Dreamin’ Wild it sunk without trace. The Emerson family’s gamble hadn’t paid off.
They’d bet the bank on their talented sons. Not only were they $100,000 lighter, but there was a mortgage on their 1,600 acre farm. Dreamin’ Wild must be the most expensive private pressing ever. Worse was to come.
Following the commercial failure of Dreamin’ Wild, Joe decided to concentrate on the family farm. Donnie and Joe continued to write and record songs. Over the next two and a half years, they wrote and recorded seventy songs. Not only were the Emerson brothers prolific, but the quality was consistent. What differed was style. They recorded everything from FM rock, power pop, and new wave. Sadly, these songs were never released…until recently
On 16th June 2014, Light In The Attic Records released Still Dreamin’ Wild-The Lost Recordings 1979-81. It features twelve of the seventy tracks Donnie and Joe Emerson recorded following the release of Dreamin’ Wild. The story behind the release of Still Dreamin’ Wild-The Lost Recordings 1979-81, began when a record collector bought a copy Dreamin’ Wild.
Just like any self-respecting record collector, Jack Fleischer is always on the look out for hidden gems and rarities. One day, in a Spokane thrift shop he came across a copy of Dreamin’ Wild. It was the album cover that caught Jack’s attention. Donnie and Joe sport matching bouffant hairstyles and white jumpsuits. The album cover epitomises the late-seventies. Paying $5, Jack took his newly acquired copy of Dreamin’ Wild home. Jack was so impressed at what he heard, that he blogged about Dreamin’ Wild. That’s where Ariel Pink, a cult musician read about Dreamin’ Wild.
Having read about Dreamin’ Wild, Ariel Pink recorded his version of one of Baby. It’s without doubt, one of the highlights of Dreamin’ Wild. Ariel’s cover of Baby came to the attention of Light In The Attic Records. They released Ariel’s version with Donnie and Joe’s orignal on the B-Side. Then later in 2012, Light In The Attic Records rereleased Dreamin’ Wild.
Thirty-three years after the original release of Dreamin’ Wild, Light In The Attic Records reissued Donnie and Joe Emerson’s debut album. It was released to widespread critical acclaim. Belatedly, Dreamin’ Wild had found an audience who appreciated it beauty and delights. However, there was more to Donnie and Joe Emerson’s music than Dreamin’ Wild.
All these years later, Donnie still had the tapes of the other seventy songs he and Joe recorded, in their home studio. They proved to be a veritable treasure trove.
Following the success of Dreamin’ Wild, Donnie and Joe mentioned the tapes. The guys at Light In The Attic Records decided to have a listen. They were astounded to find just over seventy track. Given the amount of tracks, Donnie and Joe could’ve been forgiven if the quality varied. It didn’t. Instead, the quality was consistent throughout the tapes. This presented a problem. How do you manage whittle down seventy tracks to twelve?
Eventually, Light In The Attic Records settled on twelve tracks from the original seventy. They became Still Dreamin’ Wild-The Lost Recordings 1979-81, the long-awaited followup to 1979s Dreamin’ Wild. Thirty-five years later, Donnie and Joe Emerson are back, with Still Dreamin’ Wild-The Lost Recordings 1979-81, which I’ll tell you about.
Overture opens Still Dreamin’ Wild-The Lost Recordings 1979-81. It’s a thirty-two second amuse bouche. Just buzzing, pulsating synths and an ethereal piano combine. They tantalise your musical tastebuds as you await the rest of the menu.
This starts with Don’t Fight. It bursts into life. The rhythm section, complete with eighties drums, drive the arrangement along. They provide the backdrop for Donnie’s urgent, emotive vocal. It’s a song about a teenager struggling to find his identity. Donnie sings about being yourself. He also adds ethereal, cooing vocals. Later, as the drama increases, Donnie’s vocal becomes an urgent vamp, during this slick slice of hooky pop perfection.
Ride The Tide has a much more understated sound. The song tells the story of Donnie being introduced to a beautiful, famous woman in L.A. To Donnie, this was “like a dream.” His disbelief shines through in he lyrics. Again, Donnie plays all the instruments. This includes a 12-string acoustic guitar, drums and polymoog synth. Drums provide the heartbeat and the polymoog glistens. Brief bursts of acoustic guitar accompany Donnie’s tender, needy and heartfelt vocal. All this results in another beautiful, urgent example of pop perfection.
One True Love sees Donnie drop them tempo. Donnie wrote the song in 1981, at the family farm. It was how he imagined the city to be like, His vocal is wistful, as the arrangement starts off understated, and grows in power. The rhythm section and acoustic guitar provide the mainstay of the arrangement. That’s until the Fender Rhodes and rocky guitar enters. They play a hugely important role, carrying Donnie’s vocal as FM rock and power pop combines seamlessly to create one of the highlights of Still Dreamin’ Wild-The Lost Recordings 1979-81.
A lone crystalline guitars soars above the arrangement to Somethin’s Comin’ Down. Straight away, Donnie combines the West Coast sound with the songwriting skills of Paisley’s very own, Gerry Rafferty. It’s a beautifully crafted song. Everything falls into place at the right time. Whether it’s the crystalline guitar, Fender Rhodes or wistful piano, Donnie drops it in at the right time. His vocal is tender, needy and emotive. He adds baking vocals, dropping them in at the right time. The result is a gorgeous, seductive paean from the Donnie Emerson.
Everybody Knows It was recorded in the late-seventies, before the release of the Dreamin’ Wild album. In fact it was just the second song the Emerson brothers recorded. Given their lack of experience, it eschews their lack of experience. The poymoog synth and rhythm section drive the arrangement along. Donnie’s vocal is joyous. It plays an important part in this anthemic fusion of pop, rock and synth pop.
Stabs of synths and thunderous drums open Big Money, one of two track Joe wrote and played on. They provide the backdrop to Donnie’s vocal on this track about Reaganomics. Delivered with a mixture of anger and frustration, Donnie’s vocal is accompanied by a hypnotic, robotic arrangement. This is very different from what’s gone before and what comes next.
Ooh Baby Yeah sees the Emerson turn their back on politics, and concentrate on providing a proliferation of poppy hooks. Searing guitars, pounding guitars and stabs of piano grab your attention. Having set the scene for Donnie’s cooing vocal, Donnie and Joe draw inspiration from The Beach Boys and Dire Straits. Accompanying his vocal are sweet harmonies, rocky guitars and stabs of piano. Hooks certainly aren’t rationed, in what’s a delicious hook-laden fusion of pop and rock.
Never before, has a song been written about a guitar amplifier. That’s until Donnie wrote Stand by Love. His performance seems inspired by Rick Springfield. Gone are the synths. Instead, the rhythm section kick loose. They’re joined by Donnie’s 12-string acoustic guitar. He delivers a powerful, vampish vocal on this driving rock track. It has an anthemic, everyman sound, that’s infectiously catchy.
Girl with the Rainbow Seeds sees a return of the synth. Joe plays drums on what’s best described as a fusion synth pop and psychedelia. The psychedelic influence comes courtesy of the Beatles’ inspired lyrics. They’ve a late sixties influence. Donnie, like a musical pied piper, spreads the message about the Girl with the Rainbow Seeds.
Since You Been with Me has a robotic sound. That’s down to the polymoog synth and organ drum machine. Providing a soulful contrast is Donnie’s melancholy, thoughtful vocal. His vocal is reminiscent of Hall and Oates. As for the arrangement, despite its robotic sound, it’s still funky. However, stealing the show is Donnie’s wistful vocal.
Don’t Disguise The Way You Feel closes Still Dreamin’ Wild-The Lost Recordings 1979-81. It’s the longest track on the album. At over seven minutes long, it’s like a lost teenage symphony. Swathes of synthetic strings sweep, producing a wistful, heartbreaking sound. This is perfect for Donnie’s grief stricken vocal. He’s recovering from the loss of a friend and is questioning everything. His vocal is an outpouring of hurt and grief. Drums add a lo-fi backdrop and Donnie strums his guitar, as he searches desperately for answers. A hugely powerful and moving track, that’s a poignant reminder of the Emerson brother’s musical potential.
Sadly, the Emerson brothers never fulfilled their potential. They only ever released one album, Dreamin’ Wild. Released as a private pressing, Dreamin’ Wild sunk without trace. Nothing was ever heard of the album. That’s until record collector Jack Fleischer came across a copy of Dreamin’ Wild in a Spokane thrift shop. Paying his $5, Jack took his newly acquired copy of Dreamin’ Wild home. He was so impressed at what he heard, that he blogged about Dreamin’ Wild. That’s where Ariel Pink, a cult musician read about Dreamin’ Wild.
Having read about Dreamin’ Wild, Ariel Pink recorded his version of one of Baby. Light In The Attic Records heard Ariel’s version of Baby, and most importantly, heard Dreamin’ Wild. They reissued Dreamin’ Wild in 2014. Then on 16th June 2014, Light In The Attic Records released Still Dreamin’ Wild-The Lost Recordings 1979-81. It features twelve of the seventy songs Donnie and Joe Emerson recorded between 1979 and 1981. They’re an eclectic selection.
Everything from FM Rock, pop, power pop, psychedelia, rock and synth pop on Still Dreamin’ Wild-The Lost Recordings 1979-81. On these twelve tracks, Donnie is the senior partner. He features on all the tracks. Joe appears just twice. Following the commercial failure of Dreamin’ Wild, Joe decided to concentrate on the family farm. Donnie never gave up his musical dream.
Throughout his life, music has beee a constant. He never made the commercial breakthrough he’d hope of. However, he had the opportunity to follow his dreams. His parents made sure of that. They spent $100,000 buying equipment for their two son’s home studio. That wasn’t enough. Donnie and Joe weren’t going to settle for second best. Not when it came to the equipment for their nascent studio. The synths, drum machines and eight-track recorders available were good, but not good enough for Donnie and Joe. They had their limitations. So, their parents mortgaged the 1,600 acre family farm in Fruitland, Washington. All this was so Donnie and Joe could follow their dreams. Sadly, this gamble didn’t pay off.
This wasn’t because Donnie and Joe lacked talent. Far from it. Instead, it was a case of making a series of bad decisions. The first was spending a small fortune on a home studio for two teenage boys. That was indulging two boy’s dreams. In doing so, the Emerson family risked everything. Their second mistake was not trying to get a record company interested in Dreamin’ Wild. Maybe then, Dreamin’ Wild would’ve become a commercial success. By releasing Dreamin’ Wild on their own label, the Emerson family weren’t able to promote the album sufficiently. So, it’s no surprise that Dreamin’ Wild sunk without trace. After that, Joe Emerson gave up on his dream. Thirty-five years later, Joe and Donnie are back.
Still Dreamin’ Wild-The Lost Recordings 1979-81 showcases the Emerson brother’s undoubted talent. The twelve tracks on Still Dreamin’ Wild-The Lost Recordings 1979-81 show what they were capable of. Who knows what heights Donnie and Joe Emerson would’ve reached if things had been different? Maybe then, the twelve tracks on Still Dreamin’ Wild-The Lost Recordings 1979-81 wouldn’t have lain unloved and unreleased for thirty-five years. Not any more.
Light In The Attic Records have done Donnie and Joe Emerson’s music justice. Still Dreamin’ Wild-The Lost Recordings 1979-81 is a luxurious and lovingly compiled compilation that showcases two talented brothers Donnie and Joe Emerson, who could’ve and should’ve, enjoyed commercial success and critical acclaim thirty-five years ago.
DONNIE AND JOE EMERSON-STILL DREAMIN’ WILD: THE LOST RECORDINGS 1979-81.
KASAI ALLSTARS-BEWARE THE FETISH.
KASAI ALLSTARS-BEWARE THE FETISH.
Nearly six years ago, in December 2008, the Kasai Allstars released their critically acclaimed debut album In The 7th Moon, The Chief Turned Into A Swimming Fish and Ate The Head Of His Enemy By Magic. On its release, critics were won over by the Kasai Allstars’ music. They hadn’t heard music like this before. Here was music that was totally unique. It was also irresistible, joyous, otherworldly, trance-inducing, mythical and mystical. So, critics and music lovers eagerly awaited the Kasai Allstars’ sophomore album.
Since the release of 7th Moon, The Chief Turned Into A Swimming Fish and Ate The Head Of His Enemy By Magic very little has been heard of the Kasai Allstars. They made an appearance on 2011s Congotronics v Rockers. This was a collaboration between ten Congolese and indie musicians. The result was a glorious cultural collaboration. It was a brief reminder of what the Kasai Allstars were capable of. Surely, their sophomore album wasn’t far away?
Three years later, the Kasai Allstars are ready to release their sophomore album, Beware The Fetish on Crammed Discs. It’s a double album featuring twelve-tracks of the Kasai Allstars trademark sound. The twelve tracks last over 100 minutes. They showcase the Congolese collective’s genre-melting sound. Just like their debut album, Beware The Fetish is music that you must immerse yourself in. If you do, you’ll discover music that’s irresistible, joyous, otherworldly, trance-inducing, mythical and mystical. That’s down to the fifteen members of the Kasai Allstars.
The Kasai Allstars are a collective of fifteen Congolese musicians, based in Congo’s capital Kinshasa Originally, they were members of five bands based in the Kasai region. They come from very different backgrounds. Five different ethnic backgrounds are represented in the Kasai Allstars. Different cultures, languages and musical traditions play their part in the success story that’s the Kasai Allstars. Essentially, the Kasai Allstars are a cross-cultural collaboration. They’re an example to the people of Congo, as they’re able to live side-by-side happily and peacefully. In doing so, they create their unique brand of irresistible music. It’s influenced by traditional Congolese music.
Just like their debut album, the Kasai Allstars draw inspiration from festive and ritual music. It used to be played in the bush. However, it was eventually banned. The music was perceived by the establishment as scandalous. This was because of some of the erotic dances and the paeanistic trance rituals that accompanied the music. In the establishment’s eyes, this was perceived as sacrilegious, sometimes, even satanic. So, the music is hugely controversial. It’s also irresistible and joyous.
Beware The Fetish sees the Kasai Allstars continue to push musical boundaries. This time, their music is even more eclectic than on In The 7th Moon, The Chief Turned Into A Swimming Fish and Ate The Head Of His Enemy By Magic. There’s a reason for this. They’re joined by a several guest artists. Among the vocalists are Kabongo, Muambuyi, Tshimanga, Mi Amor, Tandjolo, Grand Prêtre, and the late, lamented Mbuyamba Nyunyi. Each of these vocalists breath life, meaning and emotion into lyrics about social problems, sorcery and traditional Congolese wisdom. They help the Kasai Allstars seamlessly combine musical genres and influences. The same goes for instruments.
African and Western instruments play their part in shaping the sound of Beware The Fetish. This plays their part in the Kasai Allstars’ unique sound. Traditional instruments include xylophones, percussion, likembes, plus slit and buzz drums. They join electric guitars and unmistakable sound of distorted thumb pianos. The Kasai Allstars eschew traditional means of amplification. Instead, they do things their way. This works wonderfully, and plays a huge part in the Kasai Allstars’ sound on Beware The Fetish, the Kasai Allstars’ long-awaited sophomore album. A double album featuring twelve tracks lasting nearly 100 minutes, Beware The Fetish is a return to form from the Kasai Allstars. You’ll realise that when I tell you about Beware The Fetish.
Disc One.
Opening disc one of Beware The Fetish is The Chief’s Enthronement / Oyaye. Crystalline guitars set the scene for a myriad of percussive delights, handclaps and drums. Bursts of a joyous vocal emerge from the arrangement. They’re then sung in a call and response style. Meanwhile, a rhythm is beat on a drum. Sound flit in and out the arrangement. They tease and tantalise you. Some make only a fleeting appearance. Others like the thunderous drum, chiming guitars and percussion are omnipresent. The same can be said of the vocals. Later, the track becomes hypnotic and mesmeric. Then it returns to its celebratory, joyous sound.
Jangling guitars open Yangye, The Evil Leopard and the arrangement bursts into life. It’s akin to a call do dance. As the guitars flits across the arrangement, percussion, drums and vocals enter. Again, the vocal is sung in a call and response style. Soon, the music becomes hypnotic. Trance-inducing describes the music perfectly. So does urgent and frenetic. Layers of music assail you. It assaults your senses, and its mystical properties has you utterly spellbound.
Understated describes the introduction to Salute To Kalombo. Drums, percussion, likembes and thumb pianos are deployed. They provide the backdrop to the vocal. It’s impassioned, heartfelt and soulful. At the start, it’s sung in a call and response style. Then it takes centre-stage. That’s where it belongs. It’s a cathartic outpouring of emotion. It grows in power and passion. So does the arrangement. The rest of the Kasai Allstars chant, holler and provide a thunderous, dramatic backdrop. However, taking centre-stage during this epic is an impassioned, heartfelt vocal.
Buzzing guitars flit across the arrangement to Down And Out. They’re accompanied by a myriad or percussion and hypnotic drums. It’s a compelling combination. Elements of Afro-beat, traditional Congolese music, funk, jazz and rock melts into one. Then there’s the vocal. It’s a delivered with power and passion. Soul-baring describes the vocal. Again, it’s sung in a call and response style. Meanwhile, the pulsating arrangement meanders along. Crucial to its sound are the jazz-tinged guitars and subtle percussion. Stealing the show is the vocal. Literally, it oozes emotion as the Kasai Allstars provide a pulsating backdrop.
Crystalline, jangling guitars ring out as He Who Makes Bush Fires For Others reveals its secrets. Bursts of joyful, celebratory vocals emerge from the arrangement. Drums and bass pound, while guitars chime. Then there’s the percussive delights of the Kasai Allstars. That’s one of their secret weapons. They play a part in the track’s mesmeric sound. However, just like other tracks, the vocal is at the heart of the track’s success. It’s delivered with emotion. Then punchy, urgent harmonies interject. They proceed to drive each other to greater heights, as the Kasai Allstars deliver a vocal masterclass.
As They Walked Into The Forest On A Sunday, They Encountered Apes Dressed As Humans closes disc one. Frantic percussion, drums, xylophones and likembes combine. They create the an understated backdrop for the vocal. It’s delivered tenderly, but with sincerity and emotion. Harmonies interject, responding to the call. Later, the tempo increases. There’s a sense of urgency. The vocal becomes a frantic vamp. Hollers and scream escape from the arrangement, which grows in power and drama. It seems that the Kasai Allstars have decided to kick loose. Things get a little funky. They fuse jazz, Afro-beat and traditional Congolese music, ensuring that disc one ends on a glorious high. This leaves you wanting more. So, here comes disc two.
Disc Two.
Thus Spoke The Ancestors opens disc two of Beware The Fetish. It has a traditional Congolese sound. It sounds like a song of praise. The Kasai Allstars sing unaccompanied. It’s really powerful and works well. You’re captivated as they give thanks. Midway through the track, things change…totally. It’s as if they’ve done a u-turn and the track explodes. Genres melt into one. Everything from funk, R&B, blues, Afro-beat, jazz and rock melts into one. Jangling piano, thundering drums and percussion join searing guitars. A powerhouse of a vocal encourages the Kasai Allstars to kick loose. They do, and they revel in it, resulting in a glorious, innovative and genre-melting track where the Kasai Allstars show another side to their music.
Chiming guitars are panned left on Beware The Fetish. Percussion and drums join as the arrangement unfolds. After the previous track, it’s a case of expect the unexpected. The vocal is delivered quickly. It’s delivered with power and passion. Waves of harmonies, jangling guitars, drums and percussion accompany it. Before long, you’re spellbound. The music veers between dramatic, haunting and mesmeric. It worms its way into your soul. It’s also a hypnotic call to dance which you can’t help but submit to.
Meandering and mesmeric describes the arrangement to A Good Husband. So does understated. This isn’t the Kasai Allstars in full flow. No. They’re holding back. Just a fusion of percussion, likembes, slit and buzz drums create the backdrop for the emotive, heartfelt vocal. The harmonies are soulful and emotive, as they soar above the arrangement. They’re joyous and deserve their moment in the sun. They take centre-stage. Then the arrangement grows in power and drama. It’s time for the Allstars to kick loose. Harmonies become a chant and a mass of thundering drums and percussion combine and the Kasai Allstars become an unstoppable force. It’s a joy to be hold the Kasai Allstars in full flow.
Searing machine gun guitars are unleashed, joining percussion on In Praise Of Homeboys. They set the scene for the chanted vocal. It’s joyous, soulful and provides a contrast to the raw power of the arrangement. Before long, the chanted vocal becomes a vamp. It veers between a chant and vamp, as the arrangement takes on a dramatic, hypnotic sound. It’s irresistible and shows yet another side to the Kasai Allstars, as they spread their wings musically.
The Dead Don’t Dance is a near thirteen minute epic. Glorious crystalline, chiming guitars set the scene. They’re joined by percussion, xylophones, percussion, likembes and drums. They create a big, bold, booming arrangement. The vocal is sung in a call and response style. When the Kasai Allstars harmonise, they’re at their very best. The arrangement is pretty good too. Searing guitars, a buzzing bass, drums and the percussion. It’s a potent and powerful combination. Perfect for the soulful delights of the Kasai Allstars.
As They Walked Into The Forest On A Sunday, They Encountered Apes Dressed As Humans unfolds, the arrangement assails and surrounds you. Layers of music assault your senses. Quickly, it becomes hypnotic and trance-inducting. Very different is the vocal. It’s impassioned and emotive. Delivered soulfully, harmonies sweep in. Then it’s all change. The vocal grows in power, becoming a vamp. Similarly, the arrangement become frantic and dramatic. Thundering drums, a myriad of percussion and bursts of vocal escape from the dramatic, pulsating arrangement. The Kasai Allstars have kicked loose, before reaching a dramatic crescendo.
The Ploughman (Le Laboureur) closes Beware The Fetish. Slowly and moodily, a blues-tinged guitar solo takes centre-stage. It accompanied by whoops and hollers. However, the Kasai Allstars are only toying with you. Having teased you, they unleash a rocky arrangement. They’ve saved the best until last. The same can be said of the vocal. It’s rousing and raucous, sung in a call and response style. Blistering, driving guitars, thundering drums and crashing cymbals are at the heart of the arrangement. Elements of rock, psychedelia and Afro-beat combine as the Kasai Allstar showboat their way through nine minutes of anthemic, everyman music.
After six years away, the Kasai Allstars are back. They certainly don’t do things by halves. Beware The Fetish is a double album, featuring twelve songs, lasting over 100 minutes. The best way to describe this music is genre-melting. As a starting point, the Kasai Allstars take traditional Congolese music, specifically festive and ritual music. This is a controversial starting point. It used to be played in the bush. However, it was eventually banned. The music was perceived by the establishment as scandalous. This was because of some of the erotic dances and the paeanistic trance rituals that accompanied the music. In the establishment’s eyes, this was perceived as sacrilegious, sometimes, even satanic. So, the music is hugely controversial. Despite this, the Kasai Allstars use this as a starting point for their unique and irresistible music.
To that, they add everything from Afro-beat, funk, gospel, jazz, psychedelia, rock and soul. Over twelve tracks, these musical influences seamlessly, melt into one. This is what we’ve come to expect from the Kasai Allstars.
For those unfamiliar with the Kasai Allstars’ music, it’s like nothing you’ve ever heard before. Here is music that’s totally unique. It’s dramatic, irresistible, joyous, mythical and mystical, otherworldly, spiritual and trance-inducing. I’d also call Beware The Fetish a glorious cultural collaboration. There’s a reason for this.
Within the Kasai Allstars are five different ethnic groups. In other walks of Congolese life, this could be an explosive combination. Not here. They’re able to live side-by-side happily and peacefully. Music you see, brings the fifteen members of the Kasai Allstars together. Their shared love of music means they’re able to put aside cultural and political differences. In doing so, they create their unique brand of irresistible, joyous and trance-inducing music.
Beware The Fetish is their second album. It will be released by Crammed Discs on 23rd June 2014. On Beware The Fetish, the Kasai Allstars spread their wings. It’s a much more eclectic album. They draw inspiration from a variety of influences and genres. So much so, that you never know what to expect next. Sometimes, the Kasai Allstars perform several u-turns during the same song. As a result, Beware The Fetish is always captivating.
Throughout the twelve tracks on Beware The Fetish, you’re spellbound. That’s thecae from the opening bars of The Chief’s Enthronement/Oyaye. Right through to the closing notes of The Ploughman (Le Laboureur), you immerse yourself in the delights of Beware The Fetish. Surprises, subtleties and nuances are never far away. Neither is irresistible, joyous, hypnotic and hook-laden music. Whether its songs with a social conscience, or tracks to dance to, Beware The Fetish is truly irresistible. Innovative and groundbreaking, Beware The Fetish is a genre-melting album where the Kasai Allstars come of age musically. Especially, when they kick loose. That’s a joy to behold. The Kasai Allstars in full flight on Beware The Fetish, is something everyone should experience once in their life.
KASAI ALLSTARS-BEWARE THE FETISH.
MICHAEL CHAPMAN-PLAYING GUITAR THE EASY WAY.
MICHAEL CHAPMAN-PLAYING GUITAR THE EASY WAY.
Nine years after releasing his debut album Rainmaker, on Harvest Records, Michael Chapman released Playing Guitar The Easy Way which has just been released on CD for the first time by Light In The Attic Records. This is no ordinary reissue. Far from it. It’s a no expense spared reissue. Light In The Attic have faithfully recreated the sleeve-notes. They’ve also taken Michael Chapman’s own tapes and remastered them at 24bit/96kHz. All this results in what’s best described as a luxurious and lovingly compiled reissue of Playing Guitar The Easy Way. It was very different album from the ten albums Michael had released.
Many people looking at Playing Guitar The Easy Way might mistake it for an album about how to play the guitar. It’s not. Playing Guitar The Easy Way was tenth album, but it had some secrets within its sleeve-notes.
The idea behind Playing Guitar The Easy Way was to make life easier for aspiring guitar players. So, in the sleeve-notes, Michael includes a series of practical tips. Michael makes it clear that this isn’t an instruction book. No. It’s just a series of handy hints that will make life easier for experienced guitar players. Each song has its own handy hint. They’re all explained concisely. No matter whether you’ve been playing six weeks or six years, there’s something that will help you. That’s not all.
For hardcore Michael Chapman fans, there’s even a list of tunings for many of Michael’s songs. So, say you’d like to cover Goodbye To Monday Night, the tuning is DADGBE. If Wrecked Again is one of your favourite Michael Chapman song, then the tuning is also DADGBE. However, what makes the release of Playing Guitar The Easy Way so special is it’s the first time this famous album has been released on CD. Released originally in 1978, a lot had happened to Michael Chapman.
Before releasing his 1969 debut album Rainmaker, on Harvest Records, Michael Chapman taught art and photography. Music was something he did in his spare time. Despite being a part time musician, Michael was a regular on the folk circuit. He traveled from his home county of Yorkshire down to London and Cornwall. It wasn’t until 1967, that Michael Chapman was “discovered.” Two years later, he released his debut album. This was the first of four albums Michael Chapman released on Harvest.
Rainmaker.
Harvest Records, a subsidiary of Capitol Records, was home to Pink Floyd, Kevin Ayers, Third Ear Band and Deep Purple. Michael Chapman found himself in illustrious company. Here were some of the most progressive musicians of the late-sixties. Michael was well thought of. Executives at Harvest thought Michael had a big future. They brought in Gus Dudgeon to produce Rainmaker, Michael’s 1969 album. On its release, Rainmaker was released to critical acclaim. A cut above mainstream British folk, Rainmaker showcased Michael’s skill as a songwriter, musician and singer. Sadly, the fusion of folk, blues and rock that was Rainmaker, wasn’t a commercial success. Neither was Michael’s sophomore album Solo Guitar.
Solo Guitar.
Solo Guitar was released later in 1969. Unlike Rainmaker, Solo Guitar was released on Standard Music Library. It featured nine tracks written by Michael. Released in 1969, it failed commercially. However, back at Harvest, they persisted with Michael Chapman, believing success wasn’t far away.
Fully Qualified Survivor.
Fully Qualified Survivor was Michael’s third album. Released in early 1970, Fully Qualified Survivor saw Michael focusing on strengthening his songwriting skills. He seemed to be a perfectionist. That’s no bad thing and paid off. For Fully Qualified Survivor, which like his debut album, was produced by Gus Dudgeon, Michael brought a new lead guitarist onboard. This was Mick Ronson, who’d later, make his name as David Bowie’s guitarist. A combination of some of Michael’s best songs, Gus’ production work and a guitar masterclass resulted in critics hailing Fully Qualified Survivor as a mini-masterpiece. It struck a nerve with music fans, reaching number forty-five in the UK. After the commercial success and critical acclaim Fully Qualified Survivor enjoyed, it looked like Michael Chapman was about to become one of the most successful artists of the early seventies.
Window.
That wasn’t to be. For his third album Window, producer Gus Dudgeon seemed to allow Michael more freedom. Window lyrically, was a much more eclectic album. Featuring nine songs written by Michael, Gus Dudgeon produced Window. Critically, Window divided opinion. Compared to Rainmaker and Fully Qualified Survivor, Window critics didn’t perceive as Window as progression. Neither did music fans. Window failed to chart on its release in 1970. Michael Chapman would argue that that’s no surprise.
After the release of Window, Michael disowned Window. He alleged it comprised a series of unfinished demos, which Harvest released whilst Michael was on tour. Ironically, Window, the album Michael disowned, has been have reevaluated by critics. Now it’s seen as Michael’s most underrated album. Back in 1971, after Window, Michael Chapman’s career at a crossroads. He had to get his career back on track. Would that be the case with his next album, Wrecked Again.
Wrecked Again.
Wrecked Again, which features eleven songs written by Michael Chapman, saw a change in style. Often described as Michael’s “Memphis” album, the best way to describe Wrecked Again is eclectic. Everything from folk, blues, rock, country and jazz can be found within Wrecked Again, which was recorded at Rockfield Studios.
Producing Wrecked Again was Gus Dudgeon, who produced Michael’s three previous albums. Michael’s band included a rhythm section of bassist and cello bassist Rick Kemp, drummer Pique Withers and guitarist Ray Martinez. They were joined by accordionist Jack Emblow, while horns and strings were over-dubbed by Paul Buckmaster. Another addition was backing vocals which played an important part in Wrecked Again, an album that could make or break Michael Chapman’s career at Harvest Records.
When Wrecked Again was released early in 1971, it failed to chart. Despite its eclectic, all encompassing sound, music fans weren’t won over by Wrecked Again. At least critics were. They recognized Wrecked Again as a return to form from the Leeds’ born troubadour. Sadly, Harvest decided Wrecked Again would be Michael Chapman’s final album for Harvest.
Millstone Grit
After leaving Harvest, Michael signed to Decca. This became his home for the next few years. He released Millstone Grit in 1973. It was much more eclectic than some of the albums Michael had previously released. A year later, Michael returned with one of his finest albums, the hugely underrated Deal Gone Down.
Deal Gone Down.
Deal Gone Down was released in 1974. This was the followup to Millstone Grit. Critics hailed Deal Gone Down one of Michael’s finest albums. Michael Chapman was back. However, it would be another two years before Michael released another studio album.
Pleasures Of The Streets.
1975 saw Michael release his first live album, Pleasures Of The Streets. It was recorded during Michael’s tour of Europe. Pleasures Of The Streets was a tantalising taste of what Michael Chapman live sounded like. Live albums were growing in popularity during the mid-seventies. So the release of Pleasures Of The Streets saw Michael dip his toe into what was an expanding market. Maybe this would help rejuvenate Michael’s career. After all, his last album to chart was 1970s Fully Qualified Survivor.
Savage Amusement.
Savage Amusement was released in 1976. This was Michael’s first studio album since 1974s Deal Gone Down. Released in 1976 on Decca, it failed to chart despite its undoubted quality. 1977s The Man Who Hated Mornings was Michael’s last album for Decca. He finished on a high. This was Michael at his mellowest. The Man Who Hated Mornings was one of the best albums Michael had released. It showed that he was capable of moments of genius. Despite this, commercial success eluded him. Worse was come, Michael and Decca parted company.
Playing Guitar The Easy Way.
Having left Decca, Michael signed to Criminal Records. His first release on Criminal Records that Michael was Playing Guitar The Easy Way. It featured twelve tracks. Eleven were written by Michael. The exception was Rockport Sunday, which was penned by Tom Rush. They were recorded by Michael at Virgin Studios.
At Virgin Studios, London, recording of Playing Guitar The Easy Way got underway. Micael played a selection of classic guitars, including a Fylde, Martin D.16, Fender Stratocaster and Gibson 175. Whether it’s six string or 12 string guitars, they’re putty in his hands. Then there’s Michael’s secret weapons. Among them are a FOXX fuzz box, MXR phase shifter, H.H. tape delay, Korg synthesiser pedal and wah way pedal. During the sessions, Keith Herd was the engineer. Michael produced Playing Guitar The Easy Way, which I’ll tell you about.
Normal Norman opens Playing Guitar The Easy Way. Just like all the tracks on the album, it begins with an open tuning. Before long, Michael is unleashing waves of bluesy guitar. Seamlessly, his hands flit up and down the fretboard. His playing seem to have matured since his 1969 debut Rainmaker. That’s apparent on Normal Norman, which showcases one of British music’s best kept secrets.
The bluesy sound continues on Revival Time. There’s similarities with the previous track. Again, it’s a reminder that Michael Chapman is one of British music’s most underrated guitarists. It doesn’t take long to realise this. Here, Michael uses the phase shifter. He makes good use of it, as the two guitars embark upon a spellbinding duel.
Muted and mellow describe Suite Mellow Dee. So does joyous. It’s two minutes of beautiful, meandering, music. Michael plays both acoustic and slide guitar. They’re a perfect foil for each other. Then towards the end of the track, the slide guitar drops out, the lone acoustic guitar takes centre-stage on this mellow, laid-back track.
English Musick is the only track to feature an electric guitar. He deploys his fuzz box. He unleashes stabs of dramatic rocky licks. Meanwhile, Michael’s plays his trusty acoustic guitar. His playing is quick, intricate and folk-tinged. His hands fly up and down the fretboard, as we hear two sides to Michael Chapman.
After the usual open tuning, Pipe Dreams unfolds. Again, it has a mellow, country blues’ sound. That’s thanks to brief bursts of slide guitar and his trusty acoustic guitar. They’re like yin and yang. Before long, Michael is upping the ante. At breakneck speed, his hands fly up and down the fretboard. He never misses note. Layers of music melt into one as Michael Chapman becomes a magical one man band.
Deliberate strums of guitar prove to be a curveball on High Wide and Handsome. Before long, Michael returns to his familiar country blues sound. Then he plays some slide guitar. It’s no exaggeration to say that this is a glorious sound. Michael is one the best exponents of the slide guitar. It sounds as if Michael was weaned on Mississippi Fred McDowell and Blind Willie Johnson, and is paying homage to their memory.
Straight away, Michael deploys his box of tricks on A Scholarly Man. He uses it to transform the sound. That’s only briefly. After that his guitar rings out. At breakneck speed, Michael gives a guitar masterclass. He digs deep, drawing upon all the music that’s influenced him. What follows is best described joyous and dramatic. It’s also one of the highlights of Playing Guitar the Easy Way.
Sometimes in the Night has a melancholy, wistful sound. Having said that, there’s an ethereal beauty in the music. It’s simplicity itself. Essentially, it’s one man and his guitars, albeit, aided and abetted by his effect boxes. He uses them sparingly. At first it’s just Michael on his acoustic guitar, Before long, he’s playing a double. Subtly, he uses effects to shape the sound. His fingers fly up and down the fretboard, twisting, shaping and honing the sound. Almost effortlessly, he creates a track that’s melancholy, wistful and has an ethereal beauty.
Listening to Loop the Loop, it’s reminiscent of legendary country and western singer, songwriter and guitarist Merle Travers. Just like Merle, Michael plays a Gibson. Not always. He’s a variety of guitars to call upon. Michael makes his guitar sing. Seamlessly and peerlessly, Michael combines elements of blues, country and western and folk.
Rockport Sunday sees Michael’s guitar ring out joyously. He’s a guitarist’s guitarists. Technically, he’s up there with the best British guitarists of his generation. There’s plenty of them, including Peter Green, John Mayall, Mick Taylor, Jeff Beck, Eric Clapton, Ron Wood and Keith Richards. Although they enjoyed much more commercial success and critical acclaim than Michael, he can hold his head high. A hugely talented, versatile and technically proficient guitarist, the joyous Rockport Sunday demonstrates what Michael Chapman is capable of.
Envious Eyes allows Michael to show different sides to his music. One minute, the music is understated and thoughtful, the next it takes on a country hue. That’s because Michael deploys his wah-wah pedal. He plays two different guitars. They sound very different. At one point, the second guitar is replying to the first guitar’s call. It wah-wahs across the arrangement, as we hear yet another side to Michael Chapman’s music.
Steel Bonnets closes Playing Guitar the Easy Way. Michael strums the guitar and deploys the phaser. This makes the music shimmer and quiver. It reverberates into the distance. Effects aren’t overused. Instead, they’re used sparingly. This add to what’s a beautiful, mellow and melancholy track.
Michael Chapman’s eleventh album, Playing Guitar the Easy Way, was very different to his previous albums. Playing Guitar the Easy Way was an album made up entirely of instrumentals. This proves the perfect showcase for Michael Chapman. After all, he’s without doubt, one of the best guitarists of his generations.
That’s apparent from the first time you hear Playing Guitar the Easy Way. You’re spellbound by Michael’s playing. His hands fly up and down the fretboards. He draws inspirations from blues, country and western, country blues, folk and rock. Michael’s just as happy playing acoustic guitar as he is unleashing some slide guitar. In his hands, a guitar comes alive. Michael has the ability to make a guitar come to life. It sings. The music he creates veers between bluesy, hopeful, joyous, melancholy, thoughtful, uplifting and wistful. Other times, it’s beautiful and ethereal. Despite the undoubted quality of Michael Chapman’s music, he’s still one of British music’s best kept secrets.
Only Michael Chapman’s 1970 album Fully Qualified Survivor charted. Even then, it stalled at number forty-five in the UK. For the rest of Michael’s career, it’s a case of what might have been? Commercial success and critical acclaim managed to elude Michael. That was the case with 1978s Playing Guitar the Easy Way. Since then, it’s never been released again. Recently, however, Playing Guitar the Easy Way made its debut on CD.
Michael Chapman released Playing Guitar The Easy Way which has just been released on CD for the first time by Light In The Attic Records. This is no ordinary reissue. Far from it. It’s a no expense spared reissue. Light In The Attic have faithfully recreated the sleeve-notes. They’ve also taken Michael Chapman’s own tapes and remastered them at 24bit/96kHz. All this results in what’s best described as a luxurious and lovingly compiled reissue of Playing Guitar The Easy Way.
Many people looking at Playing Guitar The Easy Way might mistake it for an album about how to play the guitar. It’s not. The idea behind Playing Guitar The Easy Way was to make life easier for aspiring guitar players. So, in the sleeve-notes, Michael includes a series of practical tips. Michael makes it clear that this isn’t an instruction book. No. It’s just a series of handy hints that will make life easier for both experienced and inexperienced guitar players. Each song has its own handy hint. They’re all explained concisely. No matter whether you’ve been playing six weeks or six years, there’s something that will help you. However, all that is just an added bonus. The main event is the music on Michael Chapman’s eleventh studio Playing Guitar The Easy Way.
MICHAEL CHAPMAN-PLAYING GUITAR THE EASY WAY.
MIDNIGHT RIDER-A TRIBUTE TO THE ALLMAN BROTHERS.
MIDNIGHT RIDER-A TRIBUTE TO THE ALLMAN BROTHERS.
Earlier this year, Cleopatra Records released what was one of the best compilations of 2014, so far, A Psych Tribute To The Doors. The latest instalment in the “Tribute To” series is The Allman Brothers, one of the founding fathers of Southern Rock.
Midnight Rider-A Tribute To The Allman Brothers was released on Cleopatra Records on 16th June 2014. It features twelve tracks. Eleven of the tracks were taken from The Allman Brothers’ discography. The other track was taken from a Greg Allman album. These tracks were recorded by an all-star cast.
Among the luminaries to feature on Midnight Rider-A Tribute To The Allman Brothers are Pat Travers, Leon Russell, Molly Hatchett, The Artimus Pyle Band, Steve Morse, Tinsley Ellis, Eric Gales and Eli Cook. This shows just how highly regarded The Allman Brothers are among their fellow musicians.
This isn’t surprising. Look at The Allman Brothers recording career. It began in 1969 with their eponymous debut album. It failed to chart. So did The Allman Brothers’ sophomore album, Idlewild South, which was released in 1970. Commercial success and critical acclaim wasn’t far away though.
1971 saw The Allman Brothers released Live At Filmore East. It reached number thirteen in the US Billboard 200 charts and was certified platinum. So was 1972s Eat A Peach, which reached number four in the US Billboard 200 charts. 1973s Brothers and Sisters gave The Allman Brothers their only number one album and their third, and final platinum album. After this The Allman Brothers never enjoyed the same commercial success.
After a gap of two years, Win, Lose Or Draw was released. It reached number five in the US Billboard 200 charts. This gave The Allman Brothers their first gold album. There was problems within the band. They weren’t getting on, like they had in the past. It was affecting the music, Win, Lose Or Draw didn’t match the quality of previous albums. The tension within the band was affecting the quality of music. When this started to happen, it was time for The Allman Brothers called it a day…albeit for a few years.
1979 saw The Allman Brothers return with their seventh studio album, Enlightened Rogues. It featured new guitarist Dan Toler and bassist David Goldflies. They played their part in an album that reached number five in the US Billboard 200 charts. It was also certified gold. This was The Allman Brothers’ penultimate gold disc. They’d not enjoy the same commercial success for another fifteen years.
Reach For The Sky was released in 1980, and reached number twenty-seven in the US Billboard 200 charts. 1981s Brothers Of The Road saw another change in lineup. Dummer Jai Johanny Johanson didn’t feature on the album. It’s the only Allman Brothers’ album he doesn’t feature on. It reached just number fifty-three in the US Billboard 200 charts. At least it featured The Allman Brothers last top forty hit, Straight From The Heart. However, this was The Allman Brothers’ last album for nine years.
The nineties saw The Allman Brothers make a return. Their nineties debut was 1990s Seven Turns, which reached number fifty-three in the US Billboard 200 charts. 1991s Shades Of Two Worlds was The Allman Brothers’ least successful studio album, stalling at number eighty-five in the US Billboard 200 charts. Things however, were about improved for The Allman Brothers.
In 1994, The Allman Brother released Where It All Begins. It reached number forty-five in the US Billboard 200 charts, and was certified gold. This wasThe Allman Brothers last album to be certified gold. After this, it would be another nine years before The Allman Brother released another studio album.
2003 saw The Allman Brothers release their twelfth studio album, Hittin’ the Note. It reached number thirty-seven. This was the highest chart position of any Allman Brothers’ album since 1980s Reach for the Sky. This seemed a fitting finale to The Allman Brothers’ thirty-four years recording career. During that period, they released twelve studio albums
These twelve studio albums released by The Allman Brothers, feature a plethora of possible material for artists looking to record a tribute to The Allman Brothers. However, eventually, eleven Allman Brothers and one Greg Allman album were chosen for Midnight Rider-A Tribute To The Allman Brothers, which I’ll tell you about.
Opening Midnight Rider-A Tribute To The Allman Brothers, is Pat Travers’ cover of Midnight Rider. This is a track from The Allman Brothers’ 1970 sophomore album Idlewild South. Canadian rocker, Pat Travers, delivers what’s best described as a vocal powerhouse, as he turns the track into an anthem.
Ramblin’ Man is regarded as the Southern Rock national anthem. It’s an Allman Brothers’ classic. The Oak Ridge Boys are given the job of covering this track. This is an inspired choice. They don’t try and reinvent the wheel. Instead, they deliver a fitting, country-tinged homage to one of the founding fathers of Southern Rock.
Molly Hatchet are were founded back in 1975. Since then, they’ve been playing Southern Rock. Their first three albums were their most successful. 1978s Molly Hatchet and 1980s Beatin’ The Odds were certified platinum. 1979s Flirtin’ With Disaster was their Magnus Opus. It was certified triple-platinum. These three albums ooze quality. So does Molly Hatchet’s cover of Melissa, a track from The Allman Brothers’ 1972 classic album, Eat A Peach. Its ethereal beauty makes this one of the highlights of Midnight Rider-A Tribute To The Allman Brothers.
The Allman Brothers covered Blind Willie McTell’s Blue Sky on 1972s Eat The Peach. For newcomers to The Allman Brothers’ music, Eat The Peach is the perfect starting place. On Midnight Rider-A Tribute To The Allman Brothers, The Artimus Pyle Band cover Blue Sky. It’s a fusion of Southern Rock, country and blues. Wistful and beautiful it’s a track that’ll have you digging into The Artimus Pyle Band’s back-catalogue.
Jimmy Hall and Steve Morse join forces to cover Whipping Post. It featured on The Allman Brothers 1969 eponymous debut album. Here, the track is reinvented. This cover is best describe as a fusion of drama, frustration, anger and sadness. New life and meaning is breathed into a familiar track.
Roy Rogers, John Wesley and Jim Eshelman collaborate to cover Jessica. It’s a track for the 1973 album Brothers and Sisters. It also featured on the 1976 live album Wipe The Windows, Check The Oil, Dollar Gas. Jessica is a stonewall Southern Rock classic. Again, Roy, John and Jim don’t try and reinvent the track. Instead, they replicate this classic track, which epitomises everything that’s good about Southern Rock.
Robben Ford and Martin Gerschwitz cover One Way Out on Midnight Rider-A Tribute To The Allman Brothers. It’s a case of playing to their strengths. They unleash some spellbinding, scorching guitar licks during another glorious example of Southern Rock at its very best.
One of the most beautiful songs on Midnight Rider-A Tribute To The Allman Brothers is Soulshine. This is down to the duet between Debbie Davies and Melvin Seals. They’re the perfect foil for each other. Their vocals are emotive, heartfelt and needy. Accompanying them is an arrangement is a fusion of Southern Rock, country and blues. The result is a quite beautiful and emotive track.
Statesboro Blues was a staple of many an Allman Brothers’ concert. It’s also featured on many of the live albums The Allman Brothers released. Here, Eli Cook covers Statesboro Blues. From the get-go, he combines blues and rock. Crucial to the song’s success and his kerosene soaked vocal and scorching guitars. The result is a blistering, blues-rock cover of an Allman Brothers’ staple.
Memory Of Elizabeth Reed featured on Idlewild South, The Allman Brothers’ 1970 sophomore album. Eric Gales covers Memory Of Elizabeth Reed. He combines a mellow, laid-back sound with elements of drama. There’s even a nod to vintage Santana. Later, it’s all change as Eric delivers what can only be described as a guitar masterclass. All you can do is sit back and enjoy the maestro showboating.
Commander Cody and Sonny Landreth collaborate on Southbound, a track from The Allman Brothers’ 1973 album Brothers And Sisters. It’s given a blistering blues-rock makeover. With Commander Cody taking charge of the vocal, while Sonny Landreth unleashes some spellbinding guitar licks. He’s a master of the slide-guitar, who released his debut album Blues Attack in 1981. Since then, he’s been honing his trademark sound, which proves the perfect backdrop for Commander Cody’s worldweary vocal.
I’m No Angel closes Midnight Rider-A Tribute To The Allman Brothers. It’s a collaboration between Leon Russell, Reese Wynans and Ronnie Earl. This isn’t an Allman Brothers’ track. No. It was released by Greg Allman as a single in 1987. With Leon delivering a grizzled vocal, Reese on keyboards and Ronnie on guitar play their part in a freewheeling slice of Southern Rock. This proves the perfect finale to Midnight Rider-A Tribute To The Allman Brothers.
The tribute album isn’t a new concept. Far from it. There’s been plenty of them released over the years. Previously, they’ve differed in quality. Previously, I’ve described them as the good, bad and downright ugly. No wonder. Many are thrown together, cash-ins. Often, they’re by labels that should’ve known better. These thrown-together compilations have since become stains on the record company’s discographies. Other labels take more care over tribute albums. This includes Cleopatra Records.
Cleopatra Records released Midnight Rider-A Tribute To The Allman Brothers on 16th June 2014. It features twelve tracks. They’re all filler no killer. No wonder. Midnight Rider-A Tribute To The Allman Brothers features an all-star cast. There’s contributions from Pat Travers, Leon Russell, Molly Hatchett, The Artimus Pyle Band, Steve Morse, Tinsley Ellis, Eric Gales and Eli Cook. The result is a fitting followup to A Psych Tribute To The Doors, which Cleopatra Records released earlier in 2014. Both albums have one thing in common, their quality.
In the case of Midnight Rider-A Tribute To The Allman Brothers, it’s a fitting tribute to one of the founding fathers of Southern Rock. Over twelve tracks, an all-star cast combines Southern Rock with elements of blues, country and rock. it’s a glorious musical melange, that anyone who loves either Southern Rock or the music of the seventies will enjoy. Midnight Rider-A Tribute To The Allman Brothers is also a reminder of one of the most successful groups of the early-seventies.
Often, when people talk about the music of the early-seventies, they overlook The Allman Brothers. As a result, they’re one of the most underrated groups of the seventies. They don’t receive the plaudits of their contemporaries. They enjoyed commercial success and critical acclaim. However, like many groups, they brought about their own downfall. Tension within the group saw them split-up in 1975. They didn’t release another studio album until 1979. Although they enjoyed some commercial success after that, they never enjoyed the same commercial success. Their time had passed. However, forever, The Allman Brothers will be remembered as one of the founding fathers of Southern Rock. So, The Allman Brothers definitely deserve the great and good of music to pay tribute to them.
As tribute albums go, Midnight Rider-A Tribute To The Allman Brothers is just like A Psych Tribute To The Doors. It’s without doubt, one of the best tribute album money can buy. Midnight Rider-A Tribute To The Allman Brothers is a perfect reminder of one of the founding fathers of Southern Rock. The Allman Brothers were also one of the most successful groups in the history of Southern Rock. That’s why the calibre of artists have come together to pay homage to The Allman Brothers. They’ve done The Allman Brothers proud, on Midnight Rider-A Tribute To The Allman Brothers, which is a glorious reminder of the undisputed Kings of Southern Rock.
MIDNIGHT RIDER-A TRIBUTE TO THE ALLMAN BROTHERS.
MOEBIUS-STORY-LEIDECKER-SNOWGHOST PIECES.
MOEBIUS-STORY-LEIDECKER-SNOWGHOST PIECES.
One of the most eagerly awaked recent releases is Snowghost Pieces, a collaboration between Dieter Moebius of Cluster and Americans Tim Story and Jon Leidecker. This might seem like an unlikely collaboration, given how different the three musician’s pasts are. That’s not the case though. Each of the musicians have one thing in common. They’re all innovative musicians whose raison d’être is to create groundbreaking music. That’s apparent on Snowghost Pieces, which was released on the Bureau label, on 16th June 2014.
Dieter Moebius is the most experienced of the three musicians responsible for Snowghost Pieces. He’s one of the grand old men of German electronic and ambient music.He was one of the founders of Cluster, in 1971. Since then, they released their eponymous debut in 1971, Cluster have released eight studio albums. They’ve also been involved in a trio of collaborations, including two with another of the founding fathers of electronic music, Brian Eno. However, there’s more to Cluster than electronic and ambient music.
Cluster were like a musical chameleon. Their style was constantly changing. It was as if they were determined never to stand still. From ambient, avant garde and experimental music, Cluster’s music headed towards Krautrock and progressive rock. So, it’s no surprise that Cluster are regarded as one of Germany’s most innovative and influential musicians. Influential is the word that describes Tim Story and Jon Leidecker.
Tim Story was born in Philadelphia, in 1957. He went on to enjoy a career as a musician and producer. In a city famous for soul music, Tim Story became famous for the electronic and acoustic music he was producing, In the beginning, this was in Tim’s home studio. The music he was making in the early days, was ambient music.
Between 1981 and 1987, Tum Story was forging a career as one of the America’s foremost ambient musicians. He released his debut album Threads in 1981. It showcased his unique style of ambient music. His sophomore album was 1982s In Another Country. Untitled followed in 1984, with 1985s Three Feet From the Moon and Wheat and Rust in 1987.
Wheat and Rust was the first album Tim released on a label. It was released on the Windham label. This started Tim’s long and productive relationship with Windham. He’s contributed to many of the label’s innovative compilations. Since 1987, Tim has released another eighteen albums. With each album, Tim’s reputation grows. Just like Dieter Moebius, Tim Story is perceived as an innovator, who pushes musical boundaries to their limits, and sometimes, beyond. This could be said of Jon Leidecker.
Jon Leidecker is a San Francisco based musician. He has been producing music since 1987, often using the alias Wobbly. As Wobbly, Jon has released a quartet of albums. His music is best described as avant garde or experimental. During his twenty-seven year career, Jon has released several albums and collaborated with Thomas Dimuzio, Kevin Blechdom, Tim Perkis, People Like Us, Matmos and The Weatherman of Negativland. Away from his solo career and collaborations, Jon is a member of the Chopping Channel and Sagan. With all this experience, Jon Leidecker was the perfect partner for Dieter Moebius and Tim Story.
As Moebius-Story-Leidecker, they composed eleven track. These eleven tracks were recorded by Dieter, Tim and Jon. They became Snowghost Pieces, which I’ll tell you about.
Flathead opens Moebius-Story-Leidecker’s Snowghost Pieces. Immediately, Flathead showcases Moebius-Story-Leidecker’s ability to create innovative music, A pounding bass, quivering and squelchy, dubby synths join forces. That’s before the music becomes futuristic and ethereal. Later, it veers between jagged, lysergic, experimental and almost discordant a. Sci-fi sounds are unleashed as a myriad of sound assail you. Before long, an intriguing and innovative 21st Century soundscape has unfolded.
Literally, Treadmill is what you think you’re stepping on. Straight away, it takes on an almost robotic sound. It’s as if Moebius-Story-Leidecker are commenting on the tediousness of modern life. We’re all stuck on a treadmill, we can’t get off. Then deliberate stabs of piano take the arrangement in a different direction. Still, in the background, a robotic sound can be heard. That’s until bells chime. They’ve a slightly eerie sound. Maybe that’s because of the futuristic and robotic sounds in the background. They make this an unsettling, intriguing and eerie listen, where with every listen you hear something new.
Haunting and cinematic describes the introduction to Cut Back. The arrangement is understated, but dramatic. It unfolds in waves. Synths and flourishes of piano combine. Dieter, Tim and Jon seem determined to take the listener on a hair raising journey. Again, it’s unsettling. The arrangement sounds like the theme to some futuristic thriller. Best described as cinematic, dark and eerie, a fusion of ambient, avant garde, electronic and experimental create a haunting masterpiece.
The drama and cinematic sound continues on Fracture Fuss. It’s real edge of the seat music. Sci-fi sounds come courtesy of banks of synths and keyboards. Together, they create a dramatic, moody and futuristic soundscape. Quite simply, this is a soundtrack-in-waiting.
Understated, broody and dark describes Yaak. The arrangement is minimalist. Darkness and drama comes courtesy of synths. Brief bursts of ethereal beauty emerge from the arrangement. Mostly, it’s darkness and drama though. It surrounds you. Sounds emerge from the slow, mesmeric and edgy arrangement. They assail you, make you think and paint picture’s in your mind’s eye. That’s why the best word to describe this track is cinematic.
Slow, deliberate stabs of piano prove to be a curveball as Olara unfolds. What looks like being a minimalist soundscape changes. Soon, swathes of synths and percussion create a frantic, futuristic and hypnotic backdrop. It sounds like the dance of the Jedi Masters . Wave upon wave of sounds emerge. They assail you. Then gradually, they dissipate and disappear, leaving nothing but memories.
Minimalist and futuristic describes Cliff Doze. Synths drone and hesitantly, the arrangement unfolds. It takes on sci-fi sound, and glides along, somewhat hesitantly. Beeps and squeaks emerge from the arrangement, which sometimes, takes on a robotic, machinelike sound. The music is strangely serene and ethereal, as well as being moderne, minimalist and futuristic. It’s also totally captivating.
Straight away, Whelmed briefly reminds me of The Blue Nile’s Automobile Noise. It has a similar robotic sound. Some of the same instruments and sounds are deployed. However, before long, it’s all change. Here, the music veers between dramatic and discordant, to robotic and futuristic. Waves of music unfolds. They’re gradually unleashed. Some are dark and dramatic, others understated and ethereal. Sometimes, you’re overwhelmed by Whelmed’s eclectic, ethereal, innovative sound.
Pinozeek reminds me of early ambient music, given a 21st Century makeover. Bells chime while a myriad of eerie, experimental sounds emerge from the arrangement. They’re the perfect foil for each other, like a musical yin and yang.
Vex is a near eleven minute epic. What sounds like a combination of morse code and a radio being tuned sets the scene for another broody, moody soundscape. Drums, bass and synths combine with percussion and piano. Occasionally, bursts of ethereal beauty shine though. So bursts of static. Even eerie strings are thrown into the mix. It’s a pot pourri of influences and sounds. Despite this, it all works well, and results in an atmospheric soundscape from Moebius-Story-Leidecker.
Closing Snowghost Pieces is Defenestrate. Straight away, we hear two sides of Moebius-Story-Leidecker’s music. The first is understated and mellow. This doesn’t last. After that, the music is big, bold, dark and eerie. Synths, pianos, beeps and squeaks combine to create a dark, dramatic and futuristic final from three true musical innovators.
Snowghost Places is, without doubt, one of the most innovative electronic albums of 2014. No wonder. Between them, Moebius-Story-Leidecke have over one-hundred years experience. They’ve released over forty groundbreaking albums between them. So, it’s no surprise that Snowghost Places is an album of groundbreaking music?
I’m certainly not surprised. Knowing the reputation of the three musicians involved, I knew that Snowghost Places would be captivating and compelling collaboration. The three musicians involved all have their own ideas about music. They’ve spent a life time creating music. Not just any old music. No.
This is music that’s challenging and cerebral. It’s music to make you think, and music that sometimes, will take you out of your comfort area. Especially when you hear the futuristic soundscapes. They’re innovative and have a dramatic, cinematic sound. Moebius-Story-Leidecke paint pictures with your music. All you need to do is open your mind and absorb this groundbreaking, cinematic music. Let your imagination run riot and you’ll hear this music’s full potential. Turn up the volume and let Snowghost Places assail and surround you. Experience and absorb what is without doubt one of the best electronic albums of 2014, Snowghost Places which was released on the Bureau label, on 16th June 2014. It’s a genre melting album, Magnus Opus that anyone who enjoys electronic music must own.
Everything from ambient, avant garde, electronica and experimental music combine to create Snowghost Places. It’s an album that’s guaranteed to change your mood and make you think. Captivating and compelling, it’s moody, broody, dramatic, pensive and thoughtful. Snowghost Places is also melancholy, ethereal and beautiful. These are just a few of the words to describe Snowghost Places. It’s an album that variously, washes over you, embraces you, and forces you to think, as it paints pictures in your mind’s eye. Snowghost Places is best described as the soundtrack to a film that’s yet to be made. Instead, for the time being, you supply the pictures to Snowghost Places.
MOEBIUS-STORY-LEIDECKER-SNOWGHOST PIECES.
MUSIC CITY VOCAL GROUPS-GREASY LOVE SONGS OF TEENAGE ROMANCE, REGRET, HOPE AND DESPAIR.
MUSIC CITY VOCAL GROUPS-GREASY LOVE SONGS OF TEENAGE ROMANCE, REGRET, HOPE AND DESPAIR.
Described as containing “fifty slices of tear-stained wax,” Music City Vocal Groups-Greasy Love Songs Of Teenage Romance, Regret, Hope and Despair is Ace Records latest retrospective of Ray Dobard’s Music City label. Its origins can be traced back to 1950. That’s when Ray formed a record shop, Berkeley’s Music City in Adeline Street, San Francisco. Not long after that, Ray founded his first record label Delcro Records. This was Ray’s latest business.
Born in New Orleans, on 31st August 1920, Ray Dobard was born into a working class family. Ray was a born entrepreneur. This became apparent when he moved to Berkeley, California, with his wife Jeanne. His first business venture was a construction company. Soon, Ray was buying up properties. Before long he had a vast property portfolio. However, like all good entrepreneurs, Ray realised the importance of having a diverse portfolio.
So in 1950, Ray decided to open a record shop, Berkeley’s Music City in Adeline Street, San Francisco. Not long after that, Ray founded his first record label Delcro Records. Three years later, with his latest business expanding his record store, now called Music City Record Store moved to new premises.
Music City Record Store’s new premises were at 1815 Alcatraz Avenue. Behind the shop, there was an empty space. Ray decided to build a small studio. This meant he could record artists, release their music on his own label and sell them in Music City Record Store. That was the plan. However, things didn’t get off to a good start.
In the early days, Ray recorded everything from jazz, jump blues and gospel in his studio. There was a problem though. The records he recorded and released weren’t selling. Then his luck changed when and R&B quartet called The Stars entered Music City Record Store to record a song midway through 1954.
The song The Stars wanted to record was Annie Pulled A Hum Bug. It was the answer to The Midnighters’ Annie singles. Annie Pulled A Hum-Bug was a song The Stars wrote. They wrote all their own material. Melvin Dennis was the lead singer and drummer. He was one of three soldiers from Camp Stoneman army base, thirty miles away in Pittsburgh. Artis Johnson was he other member of The Stars. He was just sixteen and in still in high school. Despite their different backgrounds, The Stars gelled musically. Immediately, Ray like The Stars and decided to take a chance on them. There was one thing he didn’t like, their name.
Ray decided that The Stars should change their name They became The Midnights. There was a problem though. The Midnights could be confused with The Midnighters. So, Ray signed an indemnity, stating that The Stars “were not to be confused with The Midnighters.” Having covered himself legally, he released Annie Pulled A Hum-Bug.
On its release, Annie Pulled A Hum-Bug was a commercial success. Ray’s luck had changed. Following the success of Annie Pulled A Hum-Bug, Ray decided to release further vocal group singles. However, this wouldn’t include The Midnights. The Camp Stoneman army base closed. Its personnel were sent to other bases. As a result, The Midnights only released one more single, Cheating On Me, which features on Music City Vocal Groups-Greasy Love Songs Of Teenage Romance, Regret, Hope and Despair. It’s a song that oozes emotion and hurt. So does No Other Way Round, a lost song from The Midnights. This is one of thirty-seven previously unreleased tracks on Music City Vocal Groups-Greasy Love Songs Of Teenage Romance, Regret, Hope and Despair.
There’s a total of fifty tracks spread over two discs on Music City Vocal Groups-Greasy Love Songs Of Teenage Romance, Regret, Hope and Despair. Of the fifty tracks, thirty-seven have never been released before. Some including The Midnights’ No Other Way Round were feared lost They were only discovered recently. Some of the tracks are real hidden gems. Indeed, Music City Vocal Groups-Greasy Love Songs Of Teenage Romance, Regret, Hope and Despair released by Ace Records is best described as a mixture of classics, old friends, hidden gems and rarities. You’ll realise that when I tell you about some of the highlights of Music City Vocal Groups-Greasy Love Songs Of Teenage Romance, Regret, Hope and Despair.
DISC ONE.
Disc one of Music City Vocal Groups-Greasy Love Songs Of Teenage Romance, Regret, Hope and Despair features a total or twenty-five tracks. There’s contributions from The Pagans, The Midnights, The Holidays, The Gaylarks, The Gayteens, The Dialtones, The Five Crystels and The Holidays. Some of the groups feature twice, or in the case of The Gaylarks, three times. This is no bad thing, given the quality of music. It epitomises everything that’s good about doo wop. So much so, that picking the highlights of Music City Vocal Groups-Greasy Love Songs Of Teenage Romance, Regret, Hope and Despair isn’t going to be easy. However, here goes.
The Pagans’ Lucille opens Music City Vocal Groups-Greasy Love Songs Of Teenage Romance, Regret, Hope and Despair. It’s never been released before. That seems strange. It literally oozes quality. Written by Clyde McPhatter, straight away, you realise something special is unfolding. A soul-baring lead vocal and slow, emotive harmonies prove a beautiful, and emotive combination.
Morrine was released by The 5 Campbells as a single in 1956. The 5 Campbells were still students at the McClymonds High School, In West Oakland, when they recorded Morrine. They were a short lived group. Their only single was Morrine, which featured a needy, soulful vocal. It was a tantalising taste of what they were capable of.
The Holidays were just students at Oakland High School when they recorded for Music City Records. Their first contribution is Angel In My Heart, which was recorded in 1958. So was Station (L-O-V-E). Neither have been released before. That’s not because of the quality. Both tracks could’ve been released as a single. Especially, Angel In My Heart. With a dramatic arrangement and punchy harmonies, this proves the perfect backdrop for a hopeful vocal.
Only The Gaylarks feature three times on disc one. The released Lil Dream Girl as a single in 1955. Two years later, they released My Greatest Sin. It features one of the best leads vocals. It’s best described an outpouring of emotion. The Gaylarks other contribution was a collaboration with The John Heartsman Band. Church On The Hill was written by James Moore, and released a single in 1957. It features a tender, wistful vocal, with cooing harmonies
Alan Richardson takes charge of the lead vocal on The Five Crystels’ Heaven’s Own Choir. This song will be familiar to many people. It was released as a single in 1958, with Path Of Broken Hearts on the B-Side. This version hasn’t been heard before. The reason for this is, is that it’s an alternate version of the vocal. So good is this version, that it’s almost as good as the original.
Robert Rose wrote The 5 Lyrics 1956 single I’m Travelling Light. Ray Dobard received the single through the post. When he listened to the song, decided to release it. It features an understated arrangement. That allows Robert Rose’s lead vocal and harmonies to shine. They take centre-stage, where they quite rightly. No wonder, given a vocal where hurt and heartbreak are ever-present.
I’m Coming Over To You was recorded by The Girls in 1957. Sadly, it was never released. Instead, it lay in the vaults of Music City Records. That’s until it was rediscovered for this compilation by Jim Dawson. For that we should be grateful. Of all the unreleased tracks on disc one, this is one of the best.
There are two acpappellas on disc one. This includes The Marcels’ version of So Hard To Please and The Idols’ version of Forever And A Day. Of the two tracks, The Idols’ version of Forever And A Day stands out. They go back to their roots, singing unaccompanied and showcase their vocal prowess.
My final choice from disc one of Music City Vocal Groups-Greasy Love Songs Of Teenage Romance, Regret, Hope and Despair, is The Chantels All The Days Of My Life. Recorded in 1958, it was never released. That’s despite All The Days Of My Life featuring the quality you’d expect from The Chantels.
DISC TWO.
Disc two of Music City Vocal Groups-Greasy Love Songs Of Teenage Romance, Regret, Hope and Despair picks up where disc one left off. It’s quality doo wop all the way. There’s contributions from The Klixs, The Derbys, The Treniers and The Marcels. Some groups on disc one make a reappearance. This includes The Five Crystels, The Holidays and The Marcels. Some groups feature twice, including Bob and Jessie, The Crescendos, The Derbys, The Five Crystels, The Klixs and The Marcels. Again. familiar faces, hidden gems and rarities sit side-by-side. So, picking the highlights of disc two of Music City Vocal Groups-Greasy Love Songs Of Teenage Romance, Regret, Hope and Despair won’t be easy.
Bob and Jessie open disc two of Music City Vocal Groups-Greasy Love Songs Of Teenage Romance, Regret, Hope and Despair with Church On The Hill (Take 1) and Church On The Hill (Take 2). Take 1 has never been released before, while Take 2 featured on a compilation released in 2011. So good are both versions that’s it’s almost impossible to say which is best. Personally, I prefer the unreleased version. It literally bristles with emotion.
Just like Bob and Jessie, the Italics feature twice. Their first contributions is the beautiful There’s A Girl. Recorded in 1962, it was never released. It makes its debut here. So does I Feel So Blue, which was also recorded in 1962. There are similarities with There’s A Girl. Both feature understated, lo-fi arrangements and heartbroken vocals.
The Klixs contribute Elaine and Our Love Is Here To Stay. Their first contributions is an alternate version of Elaine. It features a heartfelt, needy vocal. Despite the song’s undoubted quality, it’s never been released before. Just like Elaine, Our Love Is Here To Stay has never been released before. Recorded in 1957, it’s a cover of a song written by George and Ira Gershwin. Here, The Kliks reinvent a familiar song, and breath new life into it.
Having featured on disc one, The Five Crystels make a welcome return on disc two. They contribut Path Of Broken Hearts and Ten Commandments Of Love. Path Of Broken Hearts is the best of the two tracks. It was released as a single in 1958. Accompanied by rasping horns and harmonies, Alan Richardson delivers another vocal masterclass.
The Derbys recorded Lonely One and Happy Birthday Baby in 1962. Neither track was released as single. Lonely One seems to draw inspiration from The Drifters. It features a soulful, heartfelt vocal. The result is a classy soulful, slice of doo wop that’s a real find. Happy Birthday Baby shows another side of The Derbys. It’s an a cappella cover of a song that gave The Tune Weavers a hit single in 1957.
Another group making a welcome return on disc two are The Marcels. So Hard To Please is their first contribution. Released in 1958, it’s never been released. It features a vocal that’s full of frustration and sadness. So much so, that you feel for the lead vocalist’s plight. Wait For Me is an a cappella recorded in 1956. Again. it’s never been released before is something of a find.
The Crescendos feature twice on disc two. Both tracks, Last Date and Teenage Prayer, are full of teenage angst. Last Date was recorded in 1960, but was never released. Despite that, it’s one of the highlights of the unreleased tracks. Literally, Last Date oozes angst and heartbreak. The same can be said of Teenage Prayer, which was released as a single in 1961. Written by Bernie Lowe and Bickley Reichner, it’s a single that captures another musical era.
Sixty years ago, The Rovers released Why-Ohh as a single in 1954. This was one of the earliest singles Ray Dobard released. Sadly, commercial success eluded this tale of betrayal and heartbreak. Salute To Johnny Ace is The Rovers’ other contribution. A sombre affair, it features the same quality as Why-Ohh.
Desiree is my final choice from disc two of Music City Vocal Groups-Greasy Love Songs Of Teenage Romance, Regret, Hope and Despair. It was recorded in 1963, but never released. Sadly, the artist is unknown. That’s a pity, as it’s a beautiful slice of doo wop.
Classics, familiar faces, hidden gems and rarities feature on Music City Vocal Groups-Greasy Love Songs Of Teenage Romance, Regret, Hope and Despair. There’s a total of fifty tracks. Thirty-seven of them have never been released before. Many of them ooze quality, and they’re a welcome addition to Music City Vocal Groups-Greasy Love Songs Of Teenage Romance, Regret, Hope and Despair. Often, these tracks were recorded, but never released as a single. In many cases, this is a missed opportunity.
Many of the unreleased tracks could’ve and should’ve been released as a single. For whatever reason, that never happened. That must have been a huge disappointment to the artists involved. Belatedly, these songs are enjoying their moment in the sun. Over forty years after they were recorded, they’re getting the opportunity to be heard by a wider audience. I for one welcome this. There’s many a hidden gem on Music City Vocal Groups-Greasy Love Songs Of Teenage Romance, Regret, Hope and Despair. Among the hidden gems are alternate versions of singles and a cappellas. Then there’s the singles.
Many of the singles will be familiar to fans of doo wop. Especially, anyone familiar with Ray Dobard’s legendary Music City label. Music City was one of the finest doo wop labels. They were responsible for some of doo wop’s finest hours. Incredibly, Ray Dobard who founded such a successful label, hand’t a musical background. Instead, he was an entrepreneur, who had built several successful businesses. Despite the amount of success Ray Dobard’s other companies enjoyed, they’ll not be remembered as fondly as his Music City, one of doo wop’s greatest labels.
That’s why when Ace Records release a compilation of music released by Ray Dobard’s Music City label, it’s always to critical acclaim. That’s the case with Music City Vocal Groups-Greasy Love Songs Of Teenage Romance, Regret, Hope and Despair. It’s a lovingly compiled compilation which will be of interest to anyone who enjoys doo wop or the music of Music City. Music City Vocal Groups-Greasy Love Songs Of Teenage Romance, Regret, Hope and Despair is also the perfect introduction to Ray Dobard’s legendary Music City label.
MUSIC CITY VOCAL GROUPS-GREASY LOVE SONGS OF TEENAGE ROMANCE, REGRET, HOPE AND DESPAIR.
JARIBU AFROBEAT ARKESTRA-JARIBU.
JARIBU AFROBEAT ARKESTRA-JARIBU.
Over the last few years, the JariBu Afrobeat Arkestra have established a reputation as one of the most exciting live bands in Japan. That’s been the case since the JariBu Afrobeat Arkestra released their debut album Afro Sound System in 2009. Released to critical acclaim, Afro Sound System won over DJs and music fans. So popular was Afro Sound System that it quickly sold out. After that, the JariBu Afrobeat Arkestra were invited to play at one of the most prestigious festivals in Japan, the 2009 Fuji Rock Festival.
Anyone whose at attended The Fuji Rock Festival will know, that this is no ordinary festival. No. It’s Japan’s biggest and most prestigious festival. For the JariBu Afrobeat Arkestra, this was the perfect showcase for their music. When the JariBu Afrobeat Arkestra they weren’t overawed. Far from it. Instead, the JariBu Afrobeat Arkestra stole the show. They won over the audience with their unique brand of Neo Afrobeat.
Inspired by the music of the legendary Fela Kuti, the JariBu Afrobeat Arkestra fuse Afrobeat with funk, soul and rock. They showcased this on Afro Sound System. However, following the release of Afro Sound System, the JariBu Afrobeat Arkestra started looking for a way to move their music forward. There was no way that the JariBu Afrobeat Arkestra were going to stand still when they began recording their sophomore album, Mediacracy.
Before the JariBu Afrobeat Arkestra released their sophomore album Mediacracy, they released a single in 2010. This was Legend of Yoruba Part 1 and 2. It was released as limited edition of 300, in late 2010, on Soul Garden Records. Then two years later, in 2012, the JariBu Afrobeat Arkestra released their final single on Soul Garden Records, Deeper. After Deeper, the JariBu Afrobeat Arkestra signed to German label Tramp Records.
Three years after the released of their debut album Afro Sound System, the JariBu Afrobeat Arkestra were ready to release their sophomore album. It had been recorded over the past couple of years. During that period, the JariBu Afrobeat Arkestra had been honing their sound. They were one of the most exciting bands in Japan. This translated onto their sophomore album Mediacracy, which was released on Tramp Records.
Before the release of Mediacracy, the JariBu Afrobeat Arkestra released the single Tricky Liars on Tramp Records. It was a tantalising taste of the JariBu Afrobeat Arkestra’s new sound. Tricky Liars whet the appetite of music lovers.
When Mediacracy was released, it marked a coming of age for the JariBu Afrobeat Arkestra. Three years had passed since the release of Afro Sound System. It had been worth the wait. Mediacracy, the JariBu Afrobeat Arkestra was released to widespread critical acclaim. The JariBu Afrobeat Arkestra’s brand of Neo Afrobeat had won friends and influenced people. Hopefully, it wouldn’t be another three years until the JariBu Afrobeat Arkestra released their third album.
It wasn’t. Instead, two years passed. JariBu was released on 16th June 2014, on Tramp Records. At last, the JariBu Afrobeat Arkestra were back. However, would JariBu be a fitting followup to Mediacracy?
For JariBu, ten tracks were written. Yuichiro Kubo wrote Devil Parts 1 and 2, One By One, Yellow Joint and Dancers In The Darkness. He also cowrote Wild Pansy with Mi-Chang, who wrote Unrevealed Truth. Va-O penned KEW, TETTA wrote Afro Rodeo and Yuji Okumura contributed Witness and Bomb. These ten tracks became JariBu.
When recording of JariBu began, the JariBu Afrobeat Arkestra were joined by some guest artists. The JariBu Afrobeat Arkestra’s lineup included Mi-Chang, who played woodblock, cowbell, cho and xequere. MAKI played flute and cho, while Va-O played tenor saxophone and cho. Keyboard maestro Masamichi Ishikawa played Hammond organ, piano, clavinet, piano, Wurlitzer, Fender Rhodes. MC Yuji Okumura played congas, TETTA guitar, and Tetsuya Kawabata drums and percussion. Yuichiro Kubo played bass and percussion. Guest artists included baritone saxophonist Toraza Udagawa, trumpeter Masami Hokama and Al Sato on cho. Once the ten tracks were recorded, they became JariBu, which I’ll tell you about.
Jaribu opens with Devil (Parts 1and 2). A lone bass sets the scene for the rest of the rhythm section. They explode into action. Seamlessly, Afrobeat and funk melts into one. Meanwhile, jazz-tinged keyboards provide a contrast. It’s a glorious combination. Things get even better when a flute is dropped in. This takes the track in the direction of early seventies Blaxploitation. Then when growling, grizzled horns are unleashed, an authentic slice of Afrobeat unfolds. All the time, the rhythm section and a myriad of percussion propel the arrangement along. Later, the JariBu Afrobeat Arkestra jam before kicking loose. Together, they fuse Afrobeat, jazz, and funk, before the track reaches its dramatic crescendo. This whets your appetite for what’s still to come.
Straight away, the unmistakable sound of the Hammond organ combines with the rhythm section and braying horns on One By One. They fuse funk and Afrobeat with scorching, blistering rocky guitars. A baritone saxophone punctuates the arrangement, while waves of Hammond organ fill in the gaps left by the guitar. The Hammond organ and guitar drive each other to greater heights. Each tries to steal the show. They’re also the perfect foil for each other. Later, a sultry, jazzy,saxophone is added. It looks like producing a show-stealing performance as it combines power, passion and control. Then when the guitar returns, it rises to challenge, and delivers a show stealing performance. That’s despite the rest of the JariBu Afrobeat Arkestra raising their game during the solos. Quite simply, it’s a spellbinding performance from the JariBu Afrobeat Arkestra.
A lone buzzing bass opens KEW. It’s a slow, mellow track. The rhythm section are joined by grizzled horns and a Fender Rhodes. They drop the tempo and create a laid-back, jazz-tinged track. It meanders along, taking on a seventies sound. A guitar is panned hard left and unleashes a captivating solo. Intricate and unobtrusive describes it. Equally captivating is the flute solo. It quivers, shivers and shimmers above the arrangement with growling horns for company. The result is a quite beautiful, laid-back track.
Wild Pansy is a track that gradually reveals its secrets. A cowbell beats out the rhythm while a probing bass sets the scene for the rest of the rhythm section. Before long, they joined forces with Ggowling horns and percussion to create a mesmeric track. Partly, that’s because of the rhythm section. The bass drives the arrangement along. It’s helped along by a myriad of percussive delights. Later, stabs of piano and a dramatic, braying horn are added. By now, an irresistible and joyous track has revealed its secrets and the JariBu Afrobeat Arkestra in full flow is a joy to behold.
As Afro Rodeo begins, a crystalline guitar is panned. It surrounds you. Meanwhile, percussion provides the heartbeat. Swathes of Hammond organ and blazing horns join the rhythm section and the JariBu Afrobeat Arkestra kick loose. They sweep you along in their midst, as they fuse Afrobeat, funk and jazz. Briefly, punchy and braying horns take the track in the direction of free jazz. Later, the horns join a Hammond organ, percussion, a pounding, funky rhythm section and joyous harmonies. What a combination. Together, they create a track that’s variously dramatic, anthemic and always, has a joyous feel-good sound. It’s bound to become a festival favourite.
Drums provide a hypnotic and mesmeric heartbeat to Witness. Before long, an impassioned vocal enters. The lyrics are delivered with power and passion. Then chiming guitars, keyboards and the funky rhythm section combine with percussion. The guitars remind me of many a James Brown track, while the keyboards have a sixties cinematic sound. Later, the scorching horns sound as if they come from an old Afrobeat album. They’re delivered with power, the notes soaring above the arrangement. There it stays. It’s a showboating performance. This spurs the rest of the JariBu Afrobeat Arkestra on. They drive each other to greater heights. That’s the case on this mesmeric, hypnotic, fusion of Afrobeat, funk and jazz.
Dramatic and cinematic describes Unrevealed Truth. It sounds not unlike an old Blaxploitation track. It’s the urgent piano and stabs of grizzled horns that leads to this comparison. Things soon start to change. Elegant flourishes of jazzy piano and percussion are added. The comparison ends when tender, soulful harmonies are added. After that, the arrangement veers between jazzy, floaty, funky, dramatic and urgent. Braying horns are added as things get funky, before we take a detour via jazz as musical genres melt into one. Everything from Afrobeat, funk, jazz, jazz-funk and soul combine to create one of JariBu’s highlight.
Drums and bursts of mellow, jazz-tinged, Fender Rhodes join a pounding bass on Yellow Joint. Soon, punchy horns make their dramatic presence felt. Then a blistering, rocky guitar solo follows. It’s as if the spirit of Jimi Hendrix has been tapped into. Mesmeric and blistering it’s the best guitar licks on JariBu. When it’s the turn of the flute to take centre-stage, it creates a laid-back, summery vibe. All the time, the bass glues the rhythm section together. Along with the horns it adds a dramatic backdrop, while bursts of percussion and Fender Rhodes pad out the arrangement, before the track reaches a dramatic ending.
Not for the first time, the bass opens Dancers In The Darkness. It’s joined by chiming guitars, braying horns and percussion. The arrangement is slow, understated and meanders along. Funky and jazz-tinged, it allows the JariBu Afrobeat Arkestra to showcase their considerable talents. We hear a very different, quite understated and laid-back sound during this seven minute track.
Closing JariBu is Bomb, where Afrobeat is given a makeover. The tough, distinctive sound of the clavinet joins rolls of drums as the JariBu Afrobeat Arkestra kick loose. There’s no holding them back. Stabs of blazing horns, a shimmering flute and driving rhythm section join percussion in propelling the arrangement. Punctuating the arrangement are occasional shouts of “boom.” Later, a powerful vocal is unleashed. It’s sung in a call and response style. All the time, a frenetic JariBu Afrobeat Arkestra seem determined to close JariBu on a high. They don’t disappoint. No way. Bomb is an explosive track guaranteed to fill any dance-floor.
That’s the story of JariBu, the JariBu Afrobeat Arkestra’s third album. Released on 16th June 2014, on Tramp Records, JariBu is the best album of the JariBu Afrobeat Arkestra’s three album career. They seem to improve with each album they release.
They’ve come a long way since they released their debut album Afro Sound System in 2009. It was released to critical acclaim. Critics realised that here was a band with potentially, a big future ahead of them. Their sophomore album was going to be hugely important. Sophomore albums always are.
Mediacracy was released in 2012. Three long years had passed since the JariBu Afrobeat Arkestra released of their debut album, Afro Sound System. Only then, were the JariBu Afrobeat Arkestra ready to release their sophomore album, Mediacracy. It had been recorded over the past couple of years. During that period, the JariBu Afrobeat Arkestra had been honing their sound. Now they were one of the most exciting bands in Japan. This translated onto their sophomore album Mediacracy, which proved to be a coming of age for the JariBu Afrobeat Arkestra.
Rather than rush their sophomore album Mediacracy, the JariBu Afrobeat Arkestra took time to get it right. Sophomore albums are notoriously tricky. Many bands struggle with sophomore albums. The problem is, usually, their debut album is released before they sign to a label. Then, after a successful debut album, a sophomore album is often written quickly, when the band is touring their previous album. This wasn’t the case with the JariBu Afrobeat Arkestra. Their patience was rewarded when Mediacracy was released to widespread critical acclaim. So, having learnt this important lesson, the JariBu Afrobeat Arkestra didn’t rush out their third album JariBu.
No. Two years passed before the JariBu Afrobeat Arkestra released JariBu. Again, their patience has been rewarded. JariBu is a game-changer. A delicious fusion of Afrobeat, free jazz, funk, jazz, jazz-funk, rock and soul, JariBu is without doubt, the best album the JariBu Afrobeat Arkestra have released. It surpasses the quality of their two previous album. The JariBu Afrobeat Arkestra have matured as a band musically. As a result, JariBu is a much more eclectic album.
The best way to describe JariBu is a melting pot of musical genres and influences. Mostly, the tracks are the JariBu Afrobeat Arkestra’s unique brand of Neo Afrobeat. However, sometimes, the JariBu Afrobeat Arkestra take diversions via Afrobeat, free jazz, funk, jazz, jazz-funk, rock and soul. This keeps things interesting. You’re never sure which direction the music is heading? Sometimes, songs explode joyously into life, becoming irresistible and hook-laden. Other times, the music is veers between dramatic and urgent, to hypnotic and mesmeric, to beautiful and joyous, right through to laid-back and mellow. Always, the music on JariBu is captivating and compelling. No wonder. This is the multitalented JariBu Afrobeat Arkestra critically acclaimed third album JariBu we’re talking about.
JARIBU AFROBEAT ARKESTRA-JARIBU.
PHILADELPHIA INTERNATIONAL-THE COLLECTION 20 ORIGINAL ALBUMS.
PHILADELPHIA INTERNATIONAL-THE COLLECTION 20 ORIGINAL ALBUMS.
On February 13th 2014, Sony Music announced that it had acquired the worldwide rights to Philadelphia International Records’ post 1975 back-catalogue. At last, one label, Sony Music now had control of the rights to the entire Philadelphia International Records’ back-catalogue. This was progress. Maybe now, a proper reissue program of Philadelphia International Records’ back-catalogue could get underway.
This would be an improvement from what has gone before. Previously, Philadelphia International Records’ back-catalogue fell into the wrong hands. It seemed that anyone with money, could license Philadelphia International Records’ back-catalogue. There seemed to be no checks into the background of the labels. What followed wasn’t pretty.
Cheap and nastily reissues of the back-catalogue made their way onto the shelves of record shops. Sometimes, the Philadelphia International Records’ back-catalogue was reduced to budget label product. Twofers were released. Often, three albums were squeezed onto two discs. This meant there were no sleeve-notes and the bare minimum of details about the albums. A low point was reached when what came across what I can only describe as reissue that was a needle drop. It was obvious rather than the master tapes being sourced, a vinyl copy was used. Not a very good copy at that. What had been one of the most influential soul labels between 1972 and 1975, was reduced to this. How the mighty had fallen. Then came the news back in February 2014. This were looking better for Philadelphia International Records’ post 1975 bak-catalogue.
At the time, I thought that maybe, at last, a comprehensive reissue of Philadelphia International Records’ back-catalogue would get underway. Like many people, I hoped for lavish and lovingly compiled box sets, remasters of classic albums and rereleases of some of albums that have never before released on CD before. Sony Music it seemed were thinking along the same lines.
Immediately, Sony Music announced they would be releasing a box set featuring twenty albums. They also announced a series of greatest hits. This was just the tip of the iceberg. What was about to follow was the most comprehensive reissue of Philadelphia International Records’ back-catalogue. The release that interested most people, was what would become Philadelphia International-The Collection 20 Original Albums.
Tantalisingly, there was no mention of what albums would feature in Philadelphia International-The Collection 20 Original Albums. Speculation was rife. Everyone had their wish-list of classics and hard to find albums. Ideally, Philadelphia International-The Collection 20 Original Albums would be a mixture of the familiar and hidden gems. When word got out about the contents of Philadelphia International-The Collection 20 Original Albums, that wasn’t what we were getting.
What I, and many people didn’t want, was a box set that was predictable. To some extent, that’s what we got. Obviously, Philadelphia International-The Collection 20 Original Albums had to feature artists who played an important part in the label’s history.
Between 1972 and 1975, the artists included in Philadelphia International-The Collection 20 Original Albums are Harold Melvin and The Blue Notes, The O’Jays, Billy Paul, The Three Degrees and M.F.S.B. Post-1975 successful and landmark albums were included by Lou Rawls, The Jacksons and Teddy Pendergrass. What frustrated some people, was that there were two albums from Harold Melvin and The Blue Notes, The O’Jays and Teddy Pendergrass. This meant there was less opportunity for hidden gems and rarities.
The rest of the artists that feature in Philadelphia International-The Collection 20 Original Albums didn’t enjoy the same commercial success and critical acclaim as Harold Melvin and The Blue Notes and The O’Jays enjoyed. However, there were welcome additions included The Intruders, the innovative Dexter Wansel and the underrated McFadden and Whitehead. Surprising choices were Edwin Birdsong, Bunny Sigler, Jean Carn, The Jones Girls and Patti LaBelle. They divided opinion among the Philadelphia International faithful. Personally, I wouldn’t have included any of these albums. Edwin Birdsong, Bunny Sigler, Jean Carn and Patti LaBelle only had walk-on parts in the Philadelphia International story and I could’ve lived without these albums. You’ll realise that, when I tell you about story of the Philadelphia International-The Collection 20 Original Albums.
It’s a story that begins in 1971. This was just a year after Gamble and Huff had founded Philadelphia International Records. The new label’s first release was Billy Paul’s Going East. It reached number 197 in the US Billboard 200 and number forty-two in the US R&B charts. This wasn’t bad for a new artist on a newly founded label. However, a year later, Philadelphia International Records’ were transformed.
August 1972 saw the release of two landmark albums on Philadelphia International Records. Harold Melvin and The Blue Notes released their eponymous album. It was originally entitled I Miss You. However, after the success of If You Don’t Know Me By Now, the second single released from the album, Philadelphia International Records decided to repackage the album, giving it a new cover and title, Harold Melvin and The Blue Notes. The now entitled Harold Melvin and The Blue Notes, reached number fifty-three in the US Billboard 200 and four in the US R&B Charts. This wasn’t the only album Philadelphia International Records released in August to become a huge success.
The O’Jays released Back Stabbers in August 1972. Their success began when they release Back Stabbers as a single Not only did it reach number three in the US Billboard 100 and number three in the US R&B but was certified gold. So was the anthemic Love Train, which gave The O’Jays a dual number one single. Even better, The O’Jays debut album Back Stabbers reached number ten in the US Billboard 200 and number three in the US R&B Charts. Within less than a year, the album was certified gold. For The O’Jays and Gamble and Huff, it seemed they could do no wrong.
Billy Paul, the man who released Philadelphia International Records’ debut album released 360 Degrees Of Billy Paul in November 1972. Before 360 Degrees of Billy Paul was released, a single was chosen from the album. One track stood out, Me and Mrs Jones. It was released in October 1972, and made its way up the charts. Ironically, before it hit number one in the US Billboard 100, the single blocking its way was The O’Jays’ Backstabbers, another Philadelphia International Records’ single. Soon, Billy Paul had a a dual number one single, in both the US Billboard 100 and US R&B Charts. Suddenly, Me and Mrs Jones was a worldwide hit and everyone knew who Billy Paul was. Spurred on by the success of Me and Mrs Jones, 360 Degrees of Billy Paul was released in November 1972, reaching reached number one in the US R&B Charts and number seventeen in the US Billboard 200. Sadly, Billy Paul never scaled these heights again. Philadelphia International Records did.
Matching the success of 1972 wasn’t going to be easy for Gamble and Huff. One of their first releases of 1973 was The Intruders Save The Children. They’d played a big part in Gamble and Huff’s past. When Gamble and Huff were considered leaving the Cameo Parkway label to form their own label, it was the Intruders that Gamble and Huff chose to risk their money and futures on. In 1966, the Intruders released two singles, (We’ll Be) United and Devil WIth An Angel’s Smile. They gave The Intruders two minor hit singles. This was the Intruders’ first hit singles since forming in 1961 and started them on a musical journey with Gamble and Huff. Seven years later, Save The Children reached number 133 in the US Billboard 200 and number twelve in the US R&B Charts. The Intruders were making steady, but not spectacular process. That wasn’t the case with The Three Degrees.
Under the guidance of Gamble and Huff, their fortunes were transformed. They released what was their third album, but first for Philadelphia International Records in 1973. On its release, it reached number twenty-eight in the US Billboard 200 and thirty-three in the US R&B Charts. In the UK the album fared even better, reaching number twelve. Four singles were released from the album, with the Gamble and Huff penned When Will I See You Again being the most successful, reaching number two in the US Billboard 100 and number four in the US R&B Charts. Back then, The Three Degrees were on a roll. So were The O’Jays.
Following the success of Back Stabbers, The O’Jays headed back into the studio. What followed was one of the most powerful albums of their career. Full of social comment and slick hooks, Ship Ahoy was released in October 1973. It surpassed the success of Back Stabbers, reaching number eleven in the US Billboard 200 and number one in the US R&B Charts, resulting in The O’Jays first platinum disc. Put Your Hands Together was the lead single, released in November 1973. It reached number ten in the US Billboard 100 and number two in the US R&B Charts. For The Love Of Money was released in March 1974, reaching number nine in the US Billboard 100 and number three in the US R&B Charts. The O’Jays were now, without doubt, Philadelphia International’s most successful bands. Providing the backdrop to their success was M.F.S.B, Philadelphia International Records’ legendary house band.
M.F.S.B. were more than a house band. They were arrangers, producers and songwriters. Without the original lineup of M.F.S.B, Philadelphia International Records wouldn’t have enjoyed the same success. In December 1973, they released their sophomore album Love Is The Message was the most successful album of their career, reaching number four in the US Billboard 200 and number one in the US R&B charts. This was helped by the success of the single T.S.O.P. (The Sound Of Philadelphia). Featuring The Three Degrees’ vocals, it gave M.F.S.B. a dual number one. This was the perfect showcase for the multitalented M.F.S.B. They would also accompany Bunny Sigler Philadelphia International Records’ nearly man.
Bunny Sigler enjoyed more success as a songwriter than singer. Deep down, he felt unfulfilled writing songs. So, he convinced Gamble and Huff to sign him as an artist. Keep Smilin’ was his third album, but only his second for Philadelphia International. Released in 1973, it failed to chart. The two singles Keep Smilin’ and a cover of Love Train gave Bunny minor hits in the US R&B charts. Despite the failure of Keep Smilin’ it’s regarded as one of Bunny’s best albums. The same can be said of Harold Melvin and The Blue Notes’ Wake Up Everybody.
Released in November 1975, Wake Up Everybody was landmark album for Harold Melvin and The Blue Notes. It was the last to feature Teddy Pendergrass on lead vocal. This was their fourth and final album for Philadelphia International, and provided the group with their most successful ever album. On its release, it reached number nine in the US Billboard 100, and gave the group their second number one R&B album. The title-track was a released as a single, reaching number twelve in the US Billboard 100 and number one in the US R&B chars. After Wake Up Everybody, Harold Melvin and The Blue Notes’ left Philadelphia International Records’ and Teddy Pendergrass signed a recording contract as a solo artist. He released his solo debut in 1977. Before that, times were changing at Philadelphia International Records.
As 1975 drew to a close, Gamble and Huff were locked in a dispute with Philadelphia International Records’ legendary house band M.F.S.B. over money. When this dispute couldn’t be resolved, members of M.F.S.B. remembering the proverb “the workman is worthy of his hire” quit Philadelphia International Records and headed to New York where they became The Salsoul Orchestra. They transformed Salsoul into the greatest label in disco’s history. These musicians had played on all of Philadelphia International Records’ successful albums. This was a huge loss. Gamble and Huff lost more than they realised.
M.F.S.B. were more than a house band. They were arrangers, producers and songwriters. Without the original lineup of M.F.S.B, Philadelphia International Records wouldn’t have enjoyed the same success. Good as the musicians that featured on M.F.S.B. Mk II were, they weren’t as good as Vince Montana Jr, Baker, Harris Young, Larry Washington and Bobby “Electronic” Eli. Philadelphia International Records still enjoyed commercial success, but was never the same label. It missed out on the disco boom, which the original lineup of M.F.S.B. were enjoying commercial success and critical acclaim with. However, Gamble and Huff enjoyed commercial success with Lou Rawls.
Gamble and Huff had worked with Lou Rawls before. Since then, his career had stalled. Lou’s career needed rejuvenated. So, everyone at Philadelphia International Records got to work. During parts of 1975 and 1976, Lou Rawls spent time in the famous Sigma Sound Studios in Philadelphia, recording All Things In Time. It was time well spent. When All Things In Time was released in June 1976, the album was a huge success, reaching number seven in the US Billboard 200 and number one in the US R&B Charts. The album was certified gold. That wasn’t the end of the success. You’ll Never Find Another Love Like Mine was released as a single, reaching number two in the US Billboard 100, and number one in the US R&B Charts and US Dance Charts. This was the biggest single of Lou’s career. Since then, it’s become a classic track. So has The Jacksons’ Enjoy Yourself.
It featured on The Jacksons’ 1976 eponymous album. The Jacksons was their first album to be released on their new label CBS. This was a joint venture between Epic and Philadelphia International Records. The joint venture meant that The Jacksons would be produced by Gamble and Huff. After four months recording between June and October 1976, The Jacksons was released in November 1976. Before the release of The Jacksons, Enjoy Yourself was the first single released from the album at the end of October 1976. It reached number six in the US Billboard 100 and number two in the US R&B Charts, Then The Jacksons was released in November 1976, reaching number thirty-six in the US Billboard 200 and number six in the US R&B Charts. It was the first gold disc of The Jacksons’ career, despite having previously sold over ten-million albums whilst signed to Motown. For Gamble and Huff, along with everyone at Philadelphia International, including Dexter Wansell, this was a triumph.
Especially Dexter Wansell. After all the changes at Philadelphia International, he was playing a bigger role. He was writing, arranging and producing. Then there was his solo career. He’d released his debut album Life On Mars in 1976. It was an innovative album, which utilised synths fully. A quite different album from what Philadelphia International usually released, it still reached number forty-four in the US R&B charts. The title-track with its futuristic, dance-floor friendly sound gave Dexter a minor hit. Just like the rest of the album, it was ahead of its time. That wasn’t the case with Teddy Pendergrass.
Teddy released his eponymous solo album in June 1977. It was produced by Gamble and Huff and Gene Mc Fadden and John Whitehead. Bobby Martin and Jack Faith arranged Teddy Pendergrass. On it’s release, it reached number seventeen in the US Billboard 200 and number five in the US R&B Charts. This resulted in a platinum disc for Teddy. Two singles were released from Teddy Pendergrass. They were the vampish I Don’t Love You Anymore and the classic The Whole Town’s Laughing At Me. Both gave Teddy hit singles and vindicated his decision to embark upon what was a hugely successful solo career. The same couldn’t be said of Jean Carn.
If Bunny Sigler was the nearly man of Philadelphia International, Jean Carn was the nearly woman. She released a quartet of albums on Philadelphia International, but widespread commercial success eluded her. Her debut was Jean Carn. Released in 1977. Produced by Gamble and Huff, Jean Carn reached just number twenty-four in the US R&B Charts. Despite her silky smooth, soulful vocal, success always seemed to elude Jean. That wasn’t the case with Low Rawls.
Having rejuvenated his career with 1976s All Things In Time, Lou’s career was enjoying something of an Indian Summer. He’d released Unmistakably Lou in 1977. Then in 1978, he enjoyed further success with When You Heard Lou You’ve Heard It All. Released in 1978, it reached number forty-one in the US Billboard 200 and number thirteen in the US R&B charts. Good as that was, it was nothing compared to the success Teddy Pendergrass was enjoying.
1978 saw Teddy Pendergrass release his sophomore album Life Is A Song Worth Singing. It saw Teddy pickup where he left on his 1977 debut album, Teddy Pendergrass. There were seven songs on Life Is A Song Worth Singing. Only You and Close the Door were released as singles. The first single released from the album was Close the Door. It was a huge hit, reaching number twenty-five in the US Billboard 100 and number one in the US R&B Charts. Similarly, when Life Is A Song Worth Singing was released in June 1978, it gave Teddy a number one US R&B album. The album also reached number eleven in the US Billboard 200. This meant Teddy received his second platinum album of his solo career. Teddy was becoming one of Philadelphia International’s biggest names. So were a new act, The Jones Girls.
By the time The Valerie, Brenda and Shirley Jones signed to Philadelphia International, there career was a decade old. They’d released a string of singles to little, or no success. So they sang backing vocals for Betty Everett, Teddy Pendergrass, Lou Rawls, Aretha Franklin and Diana Ross. Then in 1979, The Jones Girls signed to Philadelphia International and released their eponymous debut album. It featured their first million selling single, You Gonna Make Me Love Somebody Else. The single reached number thirty-eight in the US Billboard 100, number five in the US R&B Charts and number twelve in the US Dance Charts. When The Jones Girls was released, it reached number fifty in the US Billboard 200 and number eight in the US R&B Charts. Still, Philadelphia International Records were enjoying commercial success. This continued with McFadden and Whitehead.
Gene McFadden and John Whitehead had formed their songwriting partnership in Philly back in the seventies. They went on to become one of the most successful songwriting and production partnerships. Apart from writing and producing other artists, McFadden and Whitehead enjoyed a successful recording career. Their 1979 eponymous debut album McFadden and Whitehead featured a stonewall, seminal Philly Soul classic, Ain’t No Stopping Us Now. It reached number thirteen in the US Billboard 100 and number one in the US R&B Charts and gave McFadden and Whitehead their first gold disc. When McFadden and Whitehead was released, it reached number twenty-three in the US Billboard 200 and number five in the US R&B Charts. McFadden and Whitehead were vindicated. They were more than songwriters, they were singers. So was Edwin Birdsong.
Edwin had released a trio of albums before signing to Philadelphia International. Commercial success eluded him. History was about repeat itself. He only released one album on Philadelphia International, Edwin Birdsong in 1979. It failed commercially and Edwin left Philadelphia International. Two years later, he resurfaced at Salsoul, where he released Funtazik. However, Edwin Birdsong is a disappointing album, which doesn’t belong in such illustrious company as Philadelphia International-The Collection 20 Original Albums. Things improved in 1983 when Patti LaBelle released I’m In Love Again.
By 1983, Philadelphia International had seen better days. It was like an ageing starlet. The makeup couldn’t quite hide the ravages of time. More was required than a nip and tuck. Gamble and Huff’s signing and release policy seemed strange. A slew of compilations were released. Their signings were just as strange. The Stylistics were signed. They were well past their best. So were The O’Jays. Teddy Pendergrass’ career was all but over, following the car accident resulted in him being paralysed. What Gamble and Huff needed was good news. This came when Patti LaBelle released I’m In Love Again.
I’m In Love Again was recorded whilst Patti LaBelle was appearing on Broadway. Despite this, I’m In Love Again was recorded at Philly’s Sigma Sound Studios. Released in November 1983, to critical acclaim, I’m In Love Again was a commercial success. It reached number forty in the US Billboard 200 and number four in the US R&B charts. This resulted in I’m In Love Again being certified gold. Despite its commercial success I’d not have included I’m In Love Again in Philadelphia International-The Collection 20 Original Albums. It’s far from one of the twenty best albums Philadelphia International released. Maybe Sony Music wanted to include an album from the early eighties? Personally, I would rather have had an album from what was Philadelphia International’s glory years, between 1972 and 1975.
Trying to tell the story of Philadelphia International Records in twenty discs is impossible. Sony Music gave it a good go on Philadelphia International-The Collection 20 Original Albums. They started well, but concentrating on classic and landmark albums released between 1972 and 1975. Harold Melvin and The Blue Notes, The O’Jays, Billy Paul, The Three Degrees and M.F.S.B. all had to feature. They were responsible for transforming Philadelphia International Records into one of the most successful labels between 1972 and 1975. However, I’d have liked Philadelphia International-The Collection 20 Original Albums to feature more albums released between 1972 and 1975. Ideally, two box sets could’ve been released.
The first could’ve covered 1972 to 1975. This would’ve allowed classics, hidden gems and rarities to sit side-by-side. After all, there’s plenty of albums that weren’t huge commercial successes that are full of quality music? The same can be said of Philadelphia International classics. Quite simply, twenty discs and one box set doesn’t do Philadelphia International justice. It’s just a tantalising taste. There’s still 1976 to 1983 to come.
Personally, I’d have made the cut-off date 1979. After that, Philadelphia International was a shadow of its former self. That was apparent on Philadelphia International Records-The 40th Anniversary Box Set. Philadelphia International-The Collection 20 Original Albums falls into the same trap and gets lost after 1979. Ideally, a second box set could’ve been released to cover the period between 1976 and 1979. Sadly, that’s not what Sony Music decided.
Instead, Philadelphia International-The Collection 20 Original Albums is a case of good, but could do better. There were some surprising choices on Philadelphia International-The Collection 20 Original Albums. Among them Edwin Birdsong, Bunny Sigler, Jean Carn, The Jones Girls and Patti LaBelle. They divided opinion among the Philadelphia International faithful. Personally, I wouldn’t have included any of these albums. Edwin Birdsong, Bunny Sigler, Jean Carn and Patti LaBelle only had walk-on parts in the Philadelphia International story. Having said that, there were welcome additions on Philadelphia International-The Collection 20 Original Albums.
This includes albums by The Intruders, the innovative Dexter Wansel and the underrated McFadden and Whitehead. There’s also a number of Billy Paul albums worthy of inclusion. The same goes for albums by Instant Funk, Archie Bell and The Drells, People’s Choice, Jerry Butler, The Futures and Dee Dee Sharp. As I said, Philadelphia International-The Collection 20 Original Albums is just the tip of the iceberg. There’s much, much more in Philadelphia International Records’ vaults. However, given Sony Music have only recently acquired the worldwide rights to Philadelphia International Records’ post 1975 back-catalogue, this is a step in the right direction. Just a couple of words of advice though.
Some more thought could’ve gone into the recently released Greatest Hits’ albums. Their covers were garish and cheapened the product. Hopefully, that’s just a blip. After all, Sony Music now have control of the rights to the entire Philadelphia International Records’ back-catalogue. Sony Music are custodians of the back-catalogue of Philadelphia International Records. This is music with a special place in many people’s hearts.
As a result, the back-catalogue of Philadelphia International Records deserves to be treated with care and respect. Philadelphia International Records was one of the most innovative, influential and successful soul labels of the seventies.
Founded by Gamble and Huff in 1971, it became a showcase for a city’s talent. This includes musicians like Vince Montana Jr, Baker, Harris, Young, Larry Washington, Bobby “Electronic” Eli and Don Renaldo. Then there’s backing vocalists The Sweethearts of Sigma, plus songwriters, arrangers and producers like McFadden and Whitehead, Victor Carstarphen, Jack Faith, Bobby Martin, Cynthia Biggs and Dexter Wansel. All of these musicians, songwriters, arrangers and producers were brought together by Gamble and Huff. Together, they made Philly Soul the soundtrack the much of seventies.
Much of that music is timeless, including many of the albums on the recently released box set Philadelphia International-The Collection 20 Original Albums. Over forty years later, the Philly Soul is loved by many people worldwide. Forever they’ll have a special place in their heart for the music on Philadelphia International-The Collection 20 Original Albums.
PHILADELPHIA INTERNATIONAL-THE COLLECTION 20 ORIGINAL ALBUMS.
CATFISH HODGE-DIFFERENT STROKES-THE COMPLETE EASTBOUND AND WESTBOUND RECORDINGS.
CATFISH HODGE-DIFFERENT STROKES-THE COMPLETE EASTBOUND AND WESTBOUND RECORDINGS.
Great things were expected of Bob “Catfish” Hodge. He was born into a musical family in Detroit, and began playing in clubs when he was still in high school. Before long, he was a regular in Detroit’s clubs. Despite not being able to read music, music came naturally to Catfish. It seemed to flow through him. Catfish you see, was a natural when it came to music. So it’s no surprise that Bob “Catfish” Hodge decided to make a career out of music.
Since then, Bob “Catfish” Hodge has enjoyed a long and illustrious career. He first came to prominence as a member of Catfish. They “coulda been a contender.” During the late-sixties, Catfish seemed destined for greatness. Catfish rubbed shoulders with The Stooges and MC5. Sadly, success eluded Catfish. After that Bob “Catfish” Hodge embarked upon a solo career.
Bob signed to Eastbound Records in the early seventies. As Catfish Hodge,he released his debut album Boogieman Gonna Get You in 1972. Two years later, Bob released his sophomore album Dinosaurs and Alleycats. Then in 1975, Catfish released Soap’s Opera. It was released on Westbound and was Bob’s final release on the Eastbound and Westbound. After that, Bob signed to Adelphi Records. However, the three albums release don Eastbound and Westbound are seen as the finest of his career. These albums, plus several bonus tracks, feature on Ace Records’ compilation of Catfish Hodge’s music Different Strokem-The Complete Eastbound and Westbound Recordings. A luxurious and lovingly compiled double album Different Strokes-The Complete Eastbound and Westbound Recordings, is the perfect introduction to Catfish Hodge, whose career I’ll tell you about.
Music was Bob’s life. He spent all of his spare time listening to music. When he wasn’t listening to music he was making music. Bob formed his first band as a senior in high school, after his friend Terry Kelly taught him how to play guitar. Terry also introduced Bob to a variety of artists, including Lonnie Mack, whose songs found their way into the setlist of Bob’s band. However, Terry wasn’t Bob’s only musical influence.
By the late-sixties, Bob was absorbing the sounds of Detroit. He was a regular visitor to Motown. Along with his friends, Bob sat in his car listening to the music emanating from the studios. Sometimes, Bob and his friends managed to sneak past the security guards in and watch the recording sessions. They were able to watch artists like Smokey Robinson recording. Before long, they were discovered by an embarrassed guard and they’d be thrown out, until the next time. This was a regular cat and mouse game. Whilst watching these sessions, this only depended Bob’s determination to become a musician.
Aspiring musicians are only mortal. They “can’t live by bread alone.” So on leaving school, Bob got a job working at a finance company. One of the job’s he was given was collecting money from customers who had missed a payment. This included a forgetful member of the Four Tops. Whenever he was on tour, he forgot to pay his bills. Bob would go and collect the payments. So Bob would’ve to take the forgetful Four Top, or his wife to Motown. At Motown, they’d pick up some money to pay the bill. Naturally, seeing what was another world close up, made Bob’s mind up, now was the time to make music his career.
Bob’s first job in the music industry was as a songwriter and producer. He penned and produced Capreez’s Over You, which was released on the Detroit label Sound. That was Bob’s introduction to the music industry.
Soon, Bob was working with three local bands. He hired an office and started trying to get them a record deal. One label that showed an interest was Vanguard. So, Bob caught the redeye to the Big Apple, and headed to see Maynard Solomon at Vanguard. Bob played him the tapes. Solomon like what he heard, but reckoned that Vanguard weren’t quite ready for rock ’n’ roll. After his meeting, Bob headed into Greenwich Village.
That night, Bob saw Jimi Hendrix playing in a coffee bar. He was still unsigned. After that, Bob headed to Bleecker. As he passed by a club that was closed, he heard music. Curious, Bob looked in. There was Van Morrison rehearsing. For Bob, that was a eureka moment. At last, he knew what he wanted to do with the rest of his life.
Back home, Bob formed Wicked Religion, who evolved into Catfish. Before long, Catfish established a reputation as one of Detroit’s top live groups. They were soon rubbing shoulders with MC5 and The Stooges. Their raw blues rock sound was winning friends not just in Detroit, but Catfish further afield. This included in the offices of Epic
Kenny Hodges of Epic had heard good things about Catfish. The word in Detroit was Catfish were on their way to the top. So, Kenny signed Catfish to Epic. He wasn’t going to risk anyone beating him to their signature. The only problem would be, replicating Catfish’s famous live sound?
For their debut album Get Down, Kenny Cooper was brought in to produce the album. A total of nine tracks were recorded. They were meant to showcase Catfish’s blues rock sound. On the release of Get Down in 1970, it wasn’t a commercial success. It didn’t even come close to troubling the charts. Then someone at Epic came up with an idea of how to capture what Catfish were about musically. The idea was to record a live album.
So, Detroit’s Eastown Theatre was booked. In front of an enthusiastic audience, Catfish combined their own songs with two Motown covers, Nowhere To Run and Money. The concert became Catfish’s sophomore album, Catfish Live. Released in 1971, Catfish Live failed to chart. Still commercial success and critical acclaim eluded Catfish. Not only did Catfish Live fail to chart, but it spelt the end of Catfish.
The plaudits and commercial success that were about to come the way of MC5 and The Stooges passed Catfish by. They were about to become a footnote to Detroit’s musical history. That shouldn’t have been the case. Catfish had what it took to go from contenders to title holders. Who knows, maybe another record company would’ve got the best out of Catfish? Sadly, Catfish would split-up not long after the release of Catfish Live.
Bob realised this was about to happen, and had been thinking about embarking upon a solo career. He started recording his first album as Bob Hodge. Catfish Hodge had yet to make his debut. As Bob Hodge, he released Empathy. It was recorded in a small studio in Memphis and released on Cupid Records, which was Catfish’s own record label. Bob optimistically, had 500 copies pressed. Empathy passed most people by. So Bob decided it was time for a change and hopped on a plane to London.
He jumped on a plane and headed to London. There was a reason for this. Bob was friendly with many British musicians, including the legendary Peter Green. In London, Bob stayed at the Earls Court hotel and wrote songs. Back then, Bob had hopes of become the next James Taylor. Instead, his music headed in a very different direction, when Bob wrote Boogie Man. So with another album written, Bob headed home, looking for a record deal.
Since Bob had been away, Detroit had changed. Motown had followed the sun to Los Angeles. This was now the age of the major label. No longer were independent labels thriving. Many were struggling to make ends meet. One independent label bucked the trend, Westbound Records.
Founded and run by Armen Boladian, Westbound Records and its subsidiary Eastbound Records were doing well. They were home to Denise LaSalle and The Detroit Emeralds. So, Bob went to see Armen. He’d heard Empathy and liked what he heard. Armen decided to take a chance on Bob. He gave him $500 and told him to record some demos.
Five songs were recorded at a small studio owned by a local band SRC. Then Armen wanted to see Bob play live. Bob just so happened to be playing in a local club. So Armen headed over to the club, accompanied by two members of Funkadelic, George Clinton and Calvin Simon. That night, Bob won over not just Armen, but the two members of Funkadelic. They encouraged Armen to send Bob to Toronto, where Funkadelic were recording America Eats Its Young. Armen agreed, and Bob headed to Toronto, where he recorded Boogie Man Gonna Get Ya.
BOOGIE MAN GONNA GET YOU.
At Manta Recording Studios, in Toronto, Bob recorded Boogie Man Gonna Get Ya. Calvin Simon who’d encouraged Armen to record Bob produced Boogie Man Gonna Get Ya. Bob wrote seven of the eight songs. The other song was a cover of The Beatles’ Want You (She’s So Heavy). Accompanying Bob was a tight, talented band. This included a rhythm section of bassist William Landless, drummer Pat Freer and guitarists “Shakey” Al Werneken and Dallas Hodge. They were joined by pianist Bob Babitch and percussionist Jerry Paul. Producer Calvin Simon decided to add some punchy horns. This was an absolute masterstroke.
Boogie Man Gonna Get Ya was released in 1972. It marked the debut a the newly named Catfish Hodge. It’s described as rock with a hint of funk. Over eight tracks, Catfish Hodge as Bob was now billed, had reinvented himself. From the opening bars of Different Strokes, where rock and funky horns combine, you’re spellbound. Ghetto sees Bob kick loose. Its tough, rocky sound is timeless. Hungry Love has delicious bluesy sound. With its late-night, bluesy sound, it’s one of the highlights of Boogie Man Gonna Get Ya closed side one of Boogie Man Gonna Get Ya.
Lennon and McCartney’s I Want You (She’s So Heavy) opens side two of Boogie Man Gonna Get Ya, It’s reworked, taking on a hard, rocky sound. Then blues, rock and funk combine seamlessly on I’ll Be Gone. Stop has a poppier sound than other tracks, before Catfish unleashes a vocal powerhouse. Just like on I’m The Man reminds me of Tim Buckley stylistically on Stop. The same can be said of the music. Jazz, rock and pop combine head on, on these two tracks. Closing Boogie Man Gonna Get Ya is the blues rock jam. Boogie Man. It’s the perfect track to close any album, including a debut album like Boogie Man Gonna Get Ya.
Sadly, despite what’s a delicious fusion of blues, funk, jazz and rock, Boogie Man Gonna Get Ya failed to chart. This wasn’t helped by Westbound falling behind with the release of Boogie Man Gonna Get Ya. Locally, the album was a success. Boogie Man Gonna Get Ya was played on local radio. This resulted in Catfish playing bigger gigs and heading out to tour Boogie Man Gonna Get Ya. Westbound believing Catfish had a big future ahead of him, commissioned a second album, which became Dinosaurs and Alleycats.
DINOSAURS AND ALLEYCATS.
For Dinosaurs and Alleycats, eight tracks were chosen. Catfish wrote Color TV Blues and Living The Blues. He cowrote five of the other six tracks. The other track was a cover of Jack Bruce and Pete Brown’s Never Tell Your Mother She’s Out Of Tune. Some tracks were recorded at Manta Recording Studios, in Toronto. Other tracks were recorded in Detroit, at the Golden World Studio, which had been where so many Motown hits were recorded. It was much the same band accompanying Catfish.
Catfish’s band included a rhythm section of bassist William Landless, drummer Dave Chambers and guitarists “Shakey” Al Werneken and Dallas Hodge. They were joined by slide guitarist Bob McCarthy pianist Bob Babitch, plus backing vocalists and a horn section. Catfish played acoustic guitar, piano and organ. Once Dinosaurs and Alleycats was completed, it was released in 1974, two years after Boogie Man Gonna Get Ya.
Sadly, some things didn’t change. Dinosaurs and Alleycats failed to chart. This was despite Catfish changing direction. Whereas some of the arrangements on Boogie Man Gonna Get Ya are busy and sometimes, some of the arrangement on Dinosaurs and Alleycats are much more understated and spacious. They remind me of the three albums Terry Callier recorded for Cadet. That’s not the case on the track that opens Dinosaurs and Alleycat, Train To Detroit.
Train To Detroit literally explodes into life and blues and rock collide head on. It’s a glorious combination. Heartbeat Of The Street continues the bluesy sound, but has a much understated arrangement. This allows Catfish’s vocal to take centre-stage. Accompanied by backing vocalists, this new sound where blues, rock and soul combines suits him. Color TV Blues has a traditional bluesy sound. What’s different are the lyrics. This must be the first blues about colour television. Despite this, it showcases Catfish’s credentials as one of the best blues players of his generation. Bluesy horns provide the backdrop to Circus Is In Town, which features an understated and wistful arrangement. Catfish sounding like Van Morrison, delivers a vocal oozing emotion. Without doubt, it’s his finest on Dinosaurs and Alleycats and is the perfect way to close side one.
Never Tell Your Mother is another fusion of blues, funk and rock. Grizzled horns set the scene for Catfish as he almost struts his way through this track. Ten Speed Bike sees a change in style. Catfish fuses blues, jazz and rock on what’s a reminder of another era. Living The Blues has a late-night, smokey sound. Horns play an important part, before Catfish seems to draw inspiration from B.B. King. Combining power and emotion, Catfish aided and abetted by the horn, delivers a blues masterclass. Closing Dinosaurs and Alleycats is the jaunty blues, Birmingham. Again, Catfish remembers the importance of closing an album on a high. He leaves you wanting more, on Dinosaurs and Alleycats, which marked a coming of age from Catfish Hodge.
SOAP’S OPERA.
A year after the release of Dinosaurs and Alleycats, Catfish began work on Soap’s Opera. It proved to be Catfish’s final album for Westbound Records was Soap’s Opera. It was released on their Eastbound imprint. Soap’s Opera featured ten tracks. Catfish wrote eight tracks. The other two tracks were covers of It’s All Over Now and Joni Mitchell’s For Free. Accompanying Catfish, was an all-star band.
This meant it was all change for Catfish. None of the band that played on his first two albums played on Soap’s Opera. The rhythm section included drummers Larry Zack, bassist David Kovarick and guitarist Bonnie Riatt. They were joined by Dr. John on piano and organ, Wayne Cook on keyboards and Sneaky Pete Kleinow played pedal steel. James Montgomery played harmonica and Rosemary Butler of the all-girl band Birtha sung backing vocals. The ten tracks became Soap’s Opera, which proved to be Catfish’s Westbound finale.
On its release in 1975, Soap’s Opera failed to chart. Catfish Hodge had changed direction again. He incorporated the West Coast sound to his usual fusion of blues and rock.
We Got Love In Our House opens Soap’s Opera, and showcases Catfish’s new West Coast Sound. It features some glorious harmonies. They compliment Catfish’s vocal and drive him to greater heights of soulfulness. Silver Arrow has an understated, mellow West Coast Sound. It’s A Shame allows Dr. John to showcase his boogie woogie piano. He’s joined by James Montgomery on harmonica on what’s a delicious fusion of blues and jazz. Bulldog has an understated, laid-back, jazz-tinged sound. This demonstrates another side to Catfish Hodge. So does Oscar Teo, which marks a return to the West Coast sound. It’s very different to what’s gone before. Understated, wistful and beautiful, Catfish comfortably dawns the role of West Coast singer-songwriter. This proves a poignant way to close side one of Soap’s Opera.
Des Woman opens side two of Soap’s Opera with a band. It’s a much more uptempo track, with a rockier sound. This allows Catfish and his band to cut loose. After that, Catfish changes direction on It’s All Over Now. It has a much more understated West Coast arrangement. Catfish delivers a heartbroken, soul-baring vocal. Sweet Cocaine marks a return to the bluesy sound of Catfish Hodge. It has understated, acoustic arrangement it, which allows Catfish’s worldweary vocal to shine. Take A Look In The Mirror is another fusion of styles. Dr. John adds a taste of New Orleans as blues, rock, jazz and soulful harmonies combine. Closing Soap’s Opera is For Free. It features a dramatic, emotive, vocal delivered against a slow, understated arrangement. Gradually, the song reveals its secrets and just like Catfish’s two previous albums, leaves you wanting more.
After the commercial failure of Soap’s Opera, Catfish Hodge left Westbound Records. He’d released a trio of albums, yet hadn’t made a commercial breakthrough. That’s despite the undoubted quality of the music on Boogieman Gonna Get You, Dinosaurs and Alleycats and Soap’s Opera. Each of these albums were very different.
On each album, Catfish’s music evolved. He wasn’t going to stand still. So, each album saw a new side of Catfish. By the time he released Soap’s Opera, Catfish had adopted the West Coast sound. This was totally different from the fusion of blues and rock that was Boogieman Gonna Get You. Then on Dinosaurs and Alleycats, musical genes and influences melted into one. Catfish also realised the importance of space. The arrangements were much more understated and spacious. Having said that, still occasionally, Catfish and his band cut loose. When they kicked loose, it was a glorious sound. Still, commercial success eluded Catfish Hodge. By 1975, Catfish was still trying to catch a break. Even when he jumped on the West Coast Sound bandwagon, commercial success and critical acclaim was nowhere to be seen. For Westbound Records, that was the end of the road.
For Catfish Hodge, his time at Westbound Records might be over, but his career was still in its infancy. Since 1975, Catfish Hodge has continued to release albums and tour. He’s one of the hardest working men in music. Now a musical veteran, Catfish Hodge has recorded a lot of music since Boogieman Gonna Get You, Dinosaurs and Alleycats and Soap’s Opera. However, these three albums are still regarded as the best music of Catfish Hodge’s long career. They’re now available on Different Strokes-The Complete Eastbound and Westbound Recordings, which was recently released by Ace Records.
Boogieman Gonna Get You, Dinosaurs and Alleycats and Soap’s Opera, plus several bonus tracks, feature on Ace Records’ compilation of Catfish Hodge’s music Different Strokes-The Complete Eastbound and Westbound Recordings. A luxurious and lovingly compiled double album Different Strokes-The Complete Eastbound and Westbound Recordings is, without doubt, the perfect introduction to Catfish Hodge, one of music’s best kept secrets. One listen to Different Strokes-The Complete Eastbound and Westbound Recordings, and you’ll wonder how you’ve been able to live without Catfish Hodge’s music in your life.
CATFISH HODGE-DIFFERENT STROKES-THE COMPLETE EASTBOUND AND WESTBOUND RECORDINGS.
SHARON VAN ETTEN-ARE WE THERE.
SHARON VAN ETTEN-ARE WE THERE.
Are We There is singer-songwriter Sharon Van Etten’s fourth album. Released on May 27th 2009, on Jaguarwar, Are We There was released to widespread critical acclaim. Critics hailed Are We There, the finest album of Sharon’s four album career. It surpassed everything that had come before.
Sharon’s recording career began in May 2009. That’s when she released her debut album Because I Was In Love. However, her career began back in 2005. That’s when Kyp Malone of TV On The Radio encouraged Sharon to follow her dream and embark upon a career in music.
By then, Sharon was twenty-four. She was born in Clinton, New Jersey in 1981 and was the middle child in a family of five. Her parents were music lovers, who had a large vinyl collection. This was part of Sharon’s musical education.
So was singing in her school choir and studying clarinet, violin and piano at Yantacaw Elementary School. After that, Sharon headed to North Hunterdon High School. Sharon became a member of school choir and started taking singing more seriously. During this period, Sharon taught herself to play guitar and began writing songs. When Sharon left school, she headed to Middle Tennessee State University.
At Middle Tennessee State University Sharon studied recording. After a year, she dropped out of University. For the next five years, Sharon worked at at the Red Rose. It’s a coffee and record shop, and music venue in Murfreesboro, Tennessee. During this period, Sharon continued to write songs. However, Sharon never sung these songs.
There was a reason for this. Her then boyfriend was constantly telling Sharon her songs were terrible. As a result, Sharon’s confidence was badly affected. Then after six years, she turned her back on this abusive relationship and moved back home to New Jersey. It was the best thing she ever did.
Now back living with her parents, Sharon’s confidence returned. She realised her songs were good. To make some money, Sharon got a job in a shop selling wines and spirits. This allowed her to save enough money to move to Brooklyn, New York in 2005.
It was in Brooklyn, New York in 2005, that Sharon met Kyp Malone of TV On The Radio. Sharon was a friend of Kyp’s brother. After one of Kyp’s shows, she hand him a CD of her music. When he heard Sharon’s music, straight away, he was won over. So, he encouraged Sharon to follow her dream and embark upon a career in music. Kyp also played Sharon’s CD on NPR’s All Songs Considered show. After this, Sharon’s career began in earnest.
With the music industry changing dramatically, Sharon realised she had to market herself properly. She set up her own website and sold her music directly to her fans. Sharon also sold t-shirts and postcards that she designed. Importantly, she was building up a database of people interested in her music. To help her understand the music industry better, Sharon got a job in a publicist. This was the final part of her music education. Now her recording career could begin.
May 2009 saw Sharon released her debut album Because I Was in Love. It was released on the Language of Stone label. Critics were won over by the eleven songs on Because I Was in Love. Its minimalist arrangements were the perfect showcase for a talented singer-songwriter. Sharon Van Etten looked like having a big future ahead of her.
Sharon released her sophomore album Epic in September 2010. Recorded at Miner Street Studios in Philly, Epic was a game-changer. Released to critical acclaim, Sharon Van Etten’s music was finding a wider audience. Especially when Bon Iver, Dave Alvin and The National covered Love More, the song which closed Epic. Sharon’s career was on an upward spiral.
Between the release of Epic in September 2010 and Sharon’s third album Tramp in February 2012, Sharon had been busy playing live. She’d also been busy recording her third album Tramp. On Tramp, shorn collaborated with Zach Condon of Beirut, Jenn Wasner, Wye Oak, Julianna Barwick, Thomas Bartlet and Aaron Dessner, whose studio Tramp was recorded in. The result was the most successful album of Sharon’s career. Tramp reached number seventy-five in the US Billboard 200. Sharon had come a long way in three years.
In the two years since the release of Tramp, Sharon has spent time touring and writing her fourth album Are We There. She penned a total of eleven tracks. They were recorded at two studios. Nine songs were recorded at Hobo Sound, in Weehawken and the other two tracks recorded at the legendary Electric Lady Studios in New York. Accompanying Sharon were her band, plus a string and woodwind section.
For the recording of Are We There, Sharon’s band included a rhythm section of drummer and percussionist Zeke Hutchins, David Hartley who played bass, guitar, synth bass, baritone guitar and guitarists Doug Keith, Marisa Anderson, Adam Granduciel and Jonathan Meiburg, who also played organ. They were joined by Stewart Lerman and Jacob C. Morrison piano, organ, Mickey Free supplied the beats and Mary Lattimore played harp. Stuart Bogie supplied woodwinds and strings came courtesy of Peter Broderick and Heather Woods Broderick, who also played organ and added backing vocals with Jana Hunter and Little Isidore. Sharon played guitars, piano, bass, organ, synths, drums and Omnichord. Once the eleven songs were recorded, Are We There was ready for release in May 2014.
Released in May 2014, Are We There was seen as the best album of Sharon’s career. Released to critical acclaim, Are We There picked up where Tramp left of. Some critics are already forecasting that Are We There will be on the list of best albums of 2014. Will that be the case?
Afraid of Nothing opens Are We There. Just meandering guitars and deliberate stabs of piano combine. They create a wistful backdrop for Sharon’s vocal. Her vocal is tender, but full of pain and misery. Just like the arrangement, it grows in power, becoming needy and despairing. It becomes akin to a cathartic outpouring of grief during this tale of love lost.
A rounded, beefy bass joins beats and sci-fi synths on Taking Chances. They keep the tempo slow before Sharon’s dreamy, ethereal vocal makes its entrance. Quickly, it’s submerged amidst the rocky arrangement. Searing guitars and pounding drums almost smother the vocal. Before long, Sharon takes centre-stage. Her vocal is seductive and dreamy, as she encourages her partner to keep “Taking Chances.”
Swathes of screaming guitars accompany her. They’re the perfect foil for her vocal. Later, washes of Hammond organ replace her vocal. They’re a familiar sound on Sharon’s previous albums. They set the scene for more of the ethereal delights of Sharon’s vocal, as rock, ambient, folk and indie melt into one.
Your Love is Killing Me is another relationship song, which deals with a troubled relationship that’s on its last legs. For Sharon this must bring back memories of the year abusive relationship she was in. As a result, the lyrics are very personal. She’s been there and survived to tell the tale. Without doubt, she’s an inspiration to other women in similar situations. As she delivers the lyrics sometimes, her vocal is bereft of emotion. It’s as if she’s been worn down. So much so, that she’s immune to the pain and abuse. Other times, pain, anger and frustration shine through. Washes of synths and keyboards join a rocky rhythm section and harmonies. Together, Sharon lays bare her soul and in doing so, offers hope to others in a smiler situation.
Our Love has a much more understated and mellow sound. That’s despite the presence of a drum machine. It adds hypnotic beats to the washes of synths and reverberating guitar. They accompany Sharon’s tender, hopeful vocal. So do handclaps, that add to the mesmeric sound. However, it’s Sharon’s tender, ethereal vocal that captivates and has you spellbound throughout this beautiful track.
Tarifa has a minimalist arrangement. A droning space age synth floats in, to be replaced by a carefully strummed guitar. It’s the perfect accompaniment to Sharon’s vocal. It features some of Sharon’s best lyrics. They’re about a relationship gone wrong. With feeling, frustration and sadness, Sharon sings: “tell me when, tell me when is this over, chewed you out, chewed me out when I’m stupid, I don’t wanna, everyone else pales.” It’s as if they can live together, can’t live apart. Sharon delivers them like she’s lived and experienced them. Quite simply, she brings meaning and emotion to the lyrics to this powerful song.
I Love You But I’m Lost is another song about a relationship gone wrong. Against a minimalist arrangement, Sharon sings the lyrics from the point of view of a woman who try as she may, her relationship isn’t working. She delivers the lyrics with power and passion. Pain and frustration fill her vocal. This is reflected in the arrangement. Stabs of piano and pounding drums provide a dramatic backdrop for another soul-baring vocal from Sharon Van Etten.
Ominous drums, droning synth, reverberating guitars and stabs of piano set the scene for Sharon on You Know Me Well. Dramatic describes the arrangement. Fuzzy guitars, melodic keyboards accompany Sharon as she delivers lyrics that are tinged with existentialist angst. Her vocal features equal parts power, passion and pain. One minute she questions, the next she’s encouraging the character in the song to find their true self. The lyrics are some of Sharon’s best. They also demonstrate that Sharon is one of the most talented songwriters of recent years.
Dark synths and plodding drums combine on Break Me. A plucked harp accompanies Sharon’s vocal. There’s a reason for the darkness, Sharon is remembering her abusive relationship. Her vocal is a mixture of emotion and fear as she sings, “he can break me, with one hand to my head.” Later, she sings: “I am writing about him home, I am, I am writing a song for him, he can break me, with one hand to my, head.” By now, you can imagine a scared young woman, far from home, trapped in an abusive relationship. You fear for her, and empathise with her plight. Sharon makes this scenario seem very real, and bravely, tackles the horrors of an abusive relationship.
Hope fills Sharon’s vocal on Nothing Will Change. Accompanied by a thoughtful, subtle arrangement, a hopeful Sharon sings: “I will reach you, I will meet you, on your street, I won’t let you down.” Deep down, Sharon’s optimism turns to pessimism as she sings: “nothing will change.” Despite nothing changing, this is still one of the highlights of Are We There. Quite simply, it’s a beautiful song.
I Know sees Sharon accompanied by just a piano. This is no bad thing. It allows her heartfelt vocal to take centre-stage. She combines emotion, frustration and sadness. Memories come back. Not all good. You wonder if that’s why Sharon sometimes, almost pounds the piano. Her vocal sees Sharon attempt to cleanse herself of memories, because she sings: “all I ever wanted was you.”
Every Time the Sun Comes Up closes Are We There. A chiming guitar and beats combine with a probing bass accompany Sharon. Her vocal is slow, full of emotion and wistful. Especially when she sings: “Every Time the Sun Comes Up I’m in trouble.” Remembering the night before, memories come flooding back. Again, Sharon’s lyrics have a cinematic quality. Just like Sharon’s vocal, they’re among the best on the album.
That’s the story of Are We There, Sharon Van Etten’s fourth album, Are We There. It was released to widespread critical acclaim on May 27th 2009, on Jaguarwar. Critics hailed Are We There, the finest album of Sharon’s four album career. It they sadim surpassed everything that had come before. They were right.
Are We Right is the best album of Sharon Van Etten’s four album career. It was produced by Sharon with a little help from producer Stewart Lerman. Gone is the indie sound of her early albums. Replacing it are lush strings, wistful woodwinds. mesmeric drums and soulful, multi-tracked harmonies. They provide the perfect backdrop to Sharon’s hushed vocals as she lays bare her soul on Are We There.
During the eleven songs on Are We There, Sharon relives the hurt of a troubled relationship. The relationship lasted six long years. By the time Sharon had the confidence to pack her bags and walk, her confidence was crushed. She was down, but far from out.
Having returned home, Sharon rebuilt her shattered confidence. Gradually, she realised the songs she’d written were good. Eventually, she plucked up the confidence to record a debut and make her live debut. Since then, a star has been born. Four albums later, Sharon Van Etten is enjoying commercial success and critical acclaim. She’s won over audiences on both sides of the Atlantic with her unique brand of understated folk rock. After three albums, her fourth album, Are We There, is a game-changer.
During Are We There, Sharon continues to reinvent her music. The eleven songs are best described as a mixture of folk rock and indie rock. With a tight, talented band for company on Are We There, Sharon lays bare her soul. She tells you about her troubled relationship. You’re privy to the six troubled years she spent having every grain of confidence squeezed out of her. Sharon was traumatised. Fear, frustration, pain and hurt were constant companions. She couldn’t seem to do wrong for right. Often, she was left wondering what she’d done wrong. Always, Sharon feared ““he can break me, with one hand to my head.” You can’t help but empathise with her plight. Nobody should’ve to endure what she did. That’s no way for anyone to live. So it’s no surprise Sharon left that relationship traumatised. Now, well on her way to putting those traumatic years behind her, Sharon used her experiences for Are We There.
Hopefully, Are We There will prove an inspiration to other woman who find themselves in a similar situation to Sharon Van Etten. Thankfully, she survived the hurt and pain to tell the tale on Are We There, It’s without doubt, the best album of Sharon Van Etten’s career. Are We There is also a cathartic and soulful confessional where Sharon Van Etten lays bare her soul for all to see.
SHARON VAN ETTEN-ARE WE THERE.
COLOUR MY WORLD-THE SONGS OF TONY HATCH.
COLOUR MY WORLD-THE SONGS OF TONY HATCH.
Prolific. That’s the best way to describe songwriter, pianist, arranger and producer Tony Hatch. During a career that’s lasted over fifty years, Tony has arranged, composed, conducted and produced over one-thousand tracks. Twenty-five of these tracks feature on Ace Records’ recent compilation Colour My World-The Songs Of Tony Hatch. It’s a reminder of one Britain’s most successful songwriters, arrangers and producers. That’s no surprise. Tony was a musical prodigy.
Tony Hatch was born in Southhall, Middlesex on 30th June 1939. From an early age, Tony was fascinated by music. By the age of four, Tony could play the piano. Aged eight, Tony was singing in the school choir. Realising Tony’s potential, his mother decided to enrol him in the London Choir School, in Bexley, Kent. For Tony, this musical appetite whetted his appetite for a career in music.
The choir didn’t just sing in church. They also sung in films, television and on records. Later, Tony became assistant choirmaster. Towards the end of his time at the London Choir School, Tony was writing hymns. All this was a hint of what was to come. When Tony finished school, he’d the opportunity to attend the prestigious Royal Academy Of Music. That wasn’t for Tony. Instead, he went to work for a music publisher.
Aged sixteen, Tony started work at Robert Mellin Music. His job involved demoing songs to potential clients. He’d play the piano and sing the songs to singers and A&R men. After work and at weekend, Tony had his own dance band. His two jobs were the perfect introduction to the music industry for Tony. Before long, Tony was about to make the best move of his nascent carer.
Having demoed one of his songs, Crazy Bells, to Dick Rowe of Decca Records, Dick decided the song was perfect for Gerry Dorsey. Dick also decided that Tony would make a good assistant. So, Dick offered Tony a job at Decca Records. Tony accepted the job and Dick Rowe became his mentor.
When Tony went to work at Decca Records, Dick encouraged him to make instrumental version of popular songs. Back then, instrumentals were big sellers. So, Tony headed into the studio. His debut single was Chick, which featured Side Saddle, on the B-Side. Side Saddle had originally been released by Russ Conway. Released in 1959, Chick was the start of Tony’s recording career. However, that was just one of Tony’s roles.
Amongst Tony’s other duties was producing artists signed to Decca Records. Two of his earliest productions were albums released by the Coldstream Bands. This would prove to be ironic.
Tony was called-up by the armed services to serve National Service. Back then, young men were forced to spend two years in the armed forces. Luckily, National Service had been abolished. However, there was a problem. Tony’s birthday fell on the 30th June, and if he’d been born two days later, he’d not have been eligible for National Service. So, Tony had to spend two years in the army.
Fortunately, with Tony having produced the Coldstream Guards and having proved to be a talented musician, Tony was able to spent the two years in the Coldstream Guards. He spent two years working as the regiment’s arranger. In his spare time, Tony continued to write songs and produce artists for Decca. They’d kept Tony on a retainer during his two years in the Coldstream Guards. During this period, Tony got married and start writing for films.
Tony married Jean Matthews in 1959. He was just twenty. The couple would go on to have two children. Another change in Tony’s life was, he began writing music for films. He’d been approached by Harold Shampan, the Managing Director of Filmmusic, Top Rank’s publishing company. Tony wrote the soundtrack to several films. This included Look For A Star, which was recorded by Garry Mills. It reached number seven in the UK and gave Tony his first hit single. This would be the first of many. However, as the sixties dawned, Tony tried to interest Top Rank in teen pop music. Top Rank weren’t interested. So Tony approached Pye. They offered Tony a part-time job until he left the army. Then when he left the army, the job would become full-time.
The first single Tony worked on after he left the amy was Emile Ford’s Counting Teardrops. Tony it seemed, had the Midas touch. The single reached number four in the UK. After that, Tony worked alongside Alan Freeman on Petula Clark’s Sailor. It was recorded in November 1960, and reached number one in the UK. This wasn’t the last time Tony would work with Petula Clark. They’d later record the classic track Downtown. It’s one of the twenty-five tracks on Colour My World-The Songs Of Tony Hatch.
The tracks on Colour My World-The Songs Of Tony Hatch were recorded between 1960 and 1968. There’s contributions from Petula Clark, Gary Mills, Jackie Trent, Jack Jones, Sarah Vaughan, Matt Monro, Connie Francis, Scott Walker, The Searchers and The Tony Hatch Orchestra. They’re an introduction to one of the finest songwriters, arrangers and producers of his generation, Tony Hatch. So choosing the highlights of Colour My World-The Songs Of Tony Hatch isn’t going to be easy, but here goes.
Colour My World-The Songs Of Tony Hatch features four singles from Petula Clark. This is fitting, given Tony and Petula enjoyed a successful partnership. The earliest single on Colour My World-The Songs Of Tony Hatch is a true classic and a song that’s synonymous with Petula Clark, Downtown. Released in 1964, it was written by Tony and reached number two in the UK, and became a worldwide hit. It’s a truly timeless classic. A Sign Of The Times was released in 1966, and reached number forty-nine in the UK. A poppy, stomping arrangement is the perfect foil for Petula’s tender, needy vocal. It’s a track from the 1966 album My Love, which reached number sixty-eight in the US Billboard 200 charts. Later that year, Petula released the album album Colour My Love. Two of the singles released from Colour My Love were Who Am I and Colour My World. They were written by Tony and Jackie Trent. Tony arranged and produced Colour My Love, which reached number sixteen in the UK and number forty-nine in the US Billboard 200. Sadly, neither single charted, despite their undoubted quality.
The Montanas feature twice on Colour My World-The Songs Of Tony Hatch. Many of their songs were penned by Tony and Jackie Trent. That’s the case here. They cowrote You’ve Got To Be Loved, which was released in 1967. Produced by Tony, it gave The Montanas their only US hit, reaching number fifty-eight in the US Billboard 100. A fusion of pop and rock, it was one of The Montanas finest singles. A year later, The Montanas released A Step In The Right Direction. It’s another track penned by Tony and Jackie Trent, that showcases the vastly underrated Montanas.
Chris Montez wasn’t the first person to record Call Me. No. Petula Clark and then Keely Smith covered the track. It wasn’t until Chris Montez covered the track that it became a huge hit. Written by Tony, Herb Albert arranged and produced Call Me. This mellow, soulful version reached number twenty-two and is the definite version of the track.
There’s three tracks from Tony Hatch on Colour My World-The Songs Of Tony Hatch. Two of the tracks featured on Hit The Road To Themeland. Man Alive features The Tony Hatch Sound. Written and produced by Tony, it was the theme tune to a BBC TV show. So was Sportsnight, which features The Tony Hatch Orchestra. It’s remembered fondly by sport’s fans of my generation. Sounds Of The 70s comes courtesy of Tony Hatch & The Satin Brass. This was the title-track to Tony’s 1974 album. A dramatic sometimes dreamy, and always innovative instrumental, it shows another side to Tony Hatch’s music.
Sarah Vaughan is without doubt, one of the greatest jazz singers of her generation. I Know A Place is a track from her 1966 album Pop Artistry. Written by Tony and produced by Luchi De Jesus, it’s an infectiously catchy stomper, that Northern Soul fans will enjoy.
Following the British invasion in 1964, Connie Francis career stalled. So, it’s ironic that in 1965, Connie Francis headed to London. She was on her way to record with Tony Hatch. He wrote and produced two tracks, Roundabout and Love Is Mine. The best of the two tracks in Love Is Mine. It literally explodes into life, blazing horns, cooing harmonies and the rhythm section driving Connie to greater heights, on what’s a hidden gem from Connie Francis back-catalogue.
Jackie Trent was Tony’s songwriting partner, and also, his wife. She was a talented singer who released a string of singles that she and Tony cowrote. This includes 1965s the wistful, accusing Where Are You Now and 7.10 From Suburbia. It was released in 1968 and benefits from strong, dramatic narrative. Pictures unfold before your eyes during this tale of tedious suburban life. Although not the best known track Tony and Jackie cowrote, it’s one of the most intriguing, given its social comment and cinematic quality.
Jack Jones recorded If You Ever Leave Me two years after Jackie Trent released her version. It became the title-track to his 1968 album. On If You Ever Leave Me Jack Jones, Jack delivers a vocal that’s a combination of power, passion and fear, fear that the woman he loves leaves him. Accompanying Jack is big, bold and dramatic arrangement that’s the perfect foil for his vocal.
One of the most beautiful and compelling tracks Scott Walker recorded is Joanna. Written by Tony and Jackie, Peter Knight’s string-drenched arrangement is the perfect accompaniment for Scott. He combines emotion, hope and pain on a track from his debut solo album Scott. For newcomers to Scott Walker, this is the perfect starting point to his music.
Garry Mills’ Look For A Star was the song that gave Tony his first hit single. Tony wrote the song for the film Circus Of Horrors. His mentor Dick Rowe produced it. It reached number seven in the UK. After this, ten cover versions of this song were released. However, Garry’s tender, heartfelt vocal is the best version.
Originally, Matt Monro was a bus driver. Not for long. Soon, The Man With The Golden Voice was soon rubbing shoulders with musical royalty. He released a series of commercially successful and critically acclaimed albums. I Love The Little Things was written by Tony and was Britain’s entry in the 1964 Eurovision Song Contest. Although it didn’t win, it’s a tantalising taste of what Matt Monro, The Man With The Golden Voice was capable of.
My final choice from Colour My World-The Songs Of Tony Hatch is Bobby Rydell’s Forget Him. It was written by Tony and released on Philly’s Cameo Parkway label in 1963. Back then, Bobby Rydell was a teen idol. Released in the UK in May 1963, Forget Him gave Bobby a top ten hit with what’s a slick slice of sixties pop. Belatedly, Forget Him was released in the US in January 1964, and reached number four in the US Billboard 200. This opened the door for Tony Hatch. He went on to work with Frank Sinatra, Pat Boone and some of the biggest names in music.
The tracks I mentioned are just some of the highlights of Colour My World-The Songs Of Tony Hatch. I could just as easily have mentioned any one of the twenty-five tracks. That’s testament to Tony Hatch, and sometimes, his songwriting partner, Jackie Trent. Tony was, without doubt, a hugely talented songwriter, arranger and producer. The music he wrote and produced was of the highest quality. That’s why he enjoyed a string of hit singles. This includes writing classic tracks like Downtown for Petula Clark and Joanna for Scott Walker. These two artists are just the tip of the iceberg. Tony wrote, arranged and produced over one-thousand songs.
Whether Tony was working with some of the biggest names in music, or a newcomer, he was determined that to help an artist fill their potential. Time and time again, he does that. There’s numerous examples of this on Colour My World-The Songs Of Tony Hatch. Among the artists Tony worked with are Petula Clark, Gary Mills, Jackie Trent, Jack Jones, Sarah Vaughan, Matt Monro, Connie Francis, Scott Walker, The Searchers. He helped launch careers and rejuvenate careers that had stalled. The reason for that was Tony Hatch was the man with Midas touch.
Many of the songs he wrote and produced became timeless classics. Over a career spanning over fifty years, commercial success and critical acclaim were familiar friends for Tony Hatch. He released several albums and a string of singles. Away from his solo career, whether it was Tony Hatch songwriting, arranging, production or running his own publishing company, Tony Hatch was a success. He was one of Britain’s music successful music moguls. Not only was Tony Hatch steeped in music, but he was a shrewd businessman. Where others faltered, Tony thrived. That’s why he enjoyed such a long and successful career.
Now aged seventy-five, Tony Hatch is one of the grand old men of British music. Last year, 2013, Tony was inducted into the Songwriters Hall of Fame. That’s long overdue. Tony Hatch is without the most talented songwriters, arrangers and producers of his generation. To celebrate Tony Hatch’s long and illustrious career, Ace Records have released Colour My World-The Songs Of Tony Hatch, which is a memorable musical reminder of Tony’s six decade career.
COLOUR MY WORLD-THE SONGS OF TONY HATCH.
THE PHANTOM BAND-STRANGE FRIEND.
THE PHANTOM BAND-STRANGE FRIEND.
There aren’t many bands who take four years before they settle on a permanent name. That was the case with The Phantom Band. Formed in 2002, The Phantom Band changed names numerous times. The Phantom Band were variously called NRA, Les Crazy Boyz, Los Crayzee Boyz, Tower of Girls and Wooden Trees. Then in 2005, they adopted the name Robert Redford. That didn’t go down well.
The band were asked to change their name. They also had to remove all references to it from their online presence. As a result, Robert Redford’s only release, The Mummy and Daddy Dance, has become something of a collector’s item. Following their controversial dalliance with Hollywood, the band reformed, under the name Robert Louis Stevenson.
Their new moniker didn’t last long. Having played a series of concerts in Glasgow and Edinburgh, Robert Louis Stevenson released a limited edition cassette. Only 150 cassettes were sold and they too, have become a collector’s edition. After that, Robert Louis Stevenson changed name again. After four years together, The Phantom Band were born in 2006.
The Phantom Band was how the band’s fans affectionately referred to the band’s activities, or some would say lack of activity. A year later, The Phantom Band released their debut single Throwing Bones on the London label Trial and Error Recordings. Released to critical acclaim, Throwing Bones resulted in Glasgow’s premier label, Chemikal Underground signing The Phantom Band.
Since then, Chemikal Underground has been home to The Phantom Band. They’ve released a trio of albums since signing to Chemikal Underground. Their debut album was 2009s Checkmate Savage. The Wants followed in 2010. After that, nothing has been heard of The Phantom Band. That’s until June 2014, when The Phantom Band released their third album, Strange Friend, on Chemikal Underground. It was released five years after The Phantom Band’s debut album Checkmate Savage.
Before heading into the studio to record their debut, The Phantom Band headed out on the road. They played some of the biggest festivals during the summer of 2007. Then in early 2008, The Phantom Band headed into the studio.
Checkmate Savage, The Phantom Band’s debut album was recorded at Chem 19 Studios in Blantyre, Lanarkshire. Recording began in early 2008, with former Delgado Paul Savage producing Checkmate Savage. The lineup of The Phantom Band on Checkmate Savage included a rhythm section of drummer Damien Tonner, bassist Gerry Hart and guitarists Duncan Marquiss, Greg Sinclair and Rick Anthony, the lead vocalist. Andy Wake played keyboards. Together, they recorded nine tracks which became Checkmate Savage. They were then mixed at Franz Ferdinand’s studio in Govan, Glasgow. Once recording of Checkmate Savage was completed, it was released in January 2009.
On its release in January 2009, Checkmate Savage received widespread critical acclaim. Critics realised this was no ordinary debut. Instead, it was an ambitious and cerebral release. The Phantom Band examined a various themes on Checkmate Savage. This included over-population and dwindling natural resources. Checkmate Savage were a band with a social conscience. They also looked like being Scotland’s next big band.
Following the commercial success and critical acclaim of Checkmate Savage, The Phantom Band headed out on a series of UK and European tour. Across Britain and Europe, The Phantom Band played to sell-out shows. One of the most memorable gigs was T In The Park, where the Glasgow based The Phantom Band were hailed conquering heroes. There were also barnstorming appearances at London Calling in Amsterdam, the Storasfestivalen near Trondheim and Sound City in Liverpool. Then as 2009 drew to a close, The Phantom Band played at the prestigious Transmusicales festival in Rennes. 2009 had been a huge year for The Phantom Band. Now they had to begin work on their sophomore album, which became The Wants.
Sophomore albums are notoriously difficult. Often, a band write some of their best material before they’re signed. They’re young, hungry for success and dedicate themselves to getting a record deal. They spend inordinate amounts of time writing their songs. Then when they sign to a record label and enjoy a successful debut album, things change. No longer have they the same time to write an album. Instead, they’re writing on the road, as they tour their debut album. As a result, often, the quality of music suffers. For The Phantom Band, the recording of their sophomore album The Wants, wasn’t easy.
When The Phantom Band entered Chem 19, to record The Wants, the album wasn’t written. So, much of The Wants was written in the studio. The other problem was time was tight. They couldn’t take their time recording The Wants.This caused problems within The Phantom Band. However, with Paul Savage producing The Wants, the album was recorded within the timeframe. However, after The Wants was recorded, The Phantom Band lost its drummer.
Having recorded The Wants, drummer Damien Tonner left The Phantom Band. Considering The Phantom Band were about to tour The Wants, this presented the band with a problem. A new drummer would have to learn all their songs and then head out on the longest and most gruelling tour of their career. Before that, The Wants was released in October 2010.
Despite all the problems the band had encountered, The Wants was released to the same critical acclaim as their debut album Checkmate Savage. The Phantom Band had overcome the problem of the difficult second album. Now they headed out on tour, with a new drummer Iain Stewart.
Iain Stewart was brought in to fill the void left by the departure of Damien Tonner. It couldn’t have been easy. The Phantom Band had been together since 2002. Despite this, Iain settled in to his new role.
On the day The Wants was released, The Phantom Band played the CMJ festival in New York. After that, they hooked up with another Scottish band, Frightened Rabbit. The Phantom Band supported them as they played Boston, Philadelphia, Washington, New York and Chicago. Having won over American audiences, The Phantom Band headed home.
There was no time for rest. It was a case of saying hello to friends and family and heading out on a brief tour of Britain. After that, The Phantom Band spent two months touring Europe. It was one of the most gruelling schedules they’d embarked upon. Having started in March 2011, the tour finished just in time for the festival season to begin. There was no rest for The Phantom Band. They played at festivals like Latitude in Suffold, Walk the Line in Den Haag and The Camden Crawl in London. Then to crown this summer of festivals, The Phantom Band played T in the Park in their native Scotland. By now, they were well on their way to becoming one of Scotland’s best bands. However, since then all has been quiet on The Phantom Band front.
Away from The Phantom Band, the six members of the band have various side-projects to keep them occupied. Rick enjoys a successful solo career. As Rick Redbeards, he released his debut solo album, No Selfish Heart in 2013, on Chemikal Underground. Iain Stewart is a member of Bronto Skylift, an experimental rock band. Duncan Marquiss, Andy Wake and Greg Sinclair sometimes, perform as Omnivore Demon. They’re best described as an improvisational group. All these various side-projects are what has been keeping The Phantom Band busy. However, recently, they headed back into the studio to record their third album Strange Friend.
For Strange Friend, The Phantom Band wrote nine tracks. These tracks marked the recording debut of The Phantom Band’s new lineup. The lineup of The Phantom Band on Checkmate Savage included a rhythm section of drummer Iain Stewart, bassist Gerry Hart and guitarists Duncan Marquiss, Greg Sinclair and Rick Anthony, the lead vocalist. Andy Wake played keyboards. It wasn’t just the band’s lineup that had changed.
For the first time in their career, Paul Savage didn’t produce The Phantom Band. Instead, Strange Friend was produced by The Phantom Band with Derek O’Neill. He also engineered Strange Friend with Paul Savage. Strange Friend was mastered by Kenny MacLeod. It was then released in June 2014.
It was a case of all hail the returning heroes when Strange Friend was released in June 2014. Critics hailed the album as a triumph for the Glasgow-based sextet. Critical acclaim and plaudits came the way of The Phantom Band, on the release of Strange Friend. It’s been a long time coming, but well worth the wait.
The Wind That Cried The World opens Strange Friend. There’s a nod towards Kraftwerk and eighties synth pop sound as the song unfolds. Eighties drums, keyboards and guitars provide the backdrop for Rick Anthony’s vocal. It’s earnest and thoughtful. Before long, Rick scats, drums pound and the rest of The Phantom Band deliver the chorus. It’s infectiously catchy. Especially when the ethereal harmonies becomes a chant. By then, a rousing anthem is unfolding. From there, the track builds. Synths bubble, while pounding drums, guitars drive this arrangement along and what’s sure to be a festival favourite reveals its secrets.
Clapshot sees a change of style from The Phantom Band. Drummer Iain Stewart’s thunderous drums are at the heart of the arrangement. So are Andy Wake’s hypnotic keyboards. They add texture to the arrangement, propelling it along at breakneck speed. The Phantom Band aren’t a two man band. No. They all climb onboard and plays a part in the track’s success. Crystalline guitars shimmer, while Rick seems to have grown into the role of frontman. He struts his way through the lyrics. Later, he’s replaced by ethereal harmonies as this melodic, musical merry-go-round heads into the stratosphere.
Dark and mesmeric describes Doom Patrol. The robotic arrangement marches along. Drums and Kraftwerk synth combine with machine gun guitars. Rick’s vocal sounds not unlike Midge Ure of Ultravox. The same can be said of some of the synths. The Phantom Band draw inspiration from seventies, eighties and nineties. They combine Krautrock with synth pop, pop and later, add some glorious searing, rock guitars. There’s even an Acid House bass added for good measure. This results in a melodic, genre-melting track that’s truly irresistible.
Atacama sounds like a lost Johnny Cash song. Just an acoustic guitar accompanies Rick’s pensive, heartfelt vocal. Before long, drums and quivering strings enter. They don’t crowd Rick’s vocal. Instead, mostly, the arrangement is understated. Later, the drama builds, and guitars quiver. Rick’s vocal becomes an impassioned scat, as he draws inspiration from Neil Young and Bob Dylan. In doing so, he delivers a vocal that’s emotive and impassioned. For everyone who enjoys this track, then Rick’s debut solo album, No Selfish Heart is a must have.
Deliberately, and slowly, chords are played on the guitar and piano as (Invisible) Friends reveals its secrets. They’re played urgently. Stabs of keyboards set the scene for Rick’s vocal. It’s tender, wistful and becomes ethereal. Meanwhile, drums, organ and the piano are combine with guitars. Rick, accompanied by beautiful, ethereal harmonies delivers a vocal that oozes emotion. It’a as if the lyrics are personal and he’s drawing on his own experiences. That’s why this is one of Rick’s most compelling performances.
As Sweatbox unfolds, you’re introduced to a much more avant garde side of The Phantom Band. It’s not unlike disco, but with a lo-fi, lysergic twist. There’s even a nod towards Duran Duran. Literally, the arrangement bursts into life. A myriad of unorthodox instruments are deployed. This includes a collection of vintage keyboards. They join the rhythm section. The other instruments add an experimental sound. It works really well. The arrangement just flows along. You’re captivated. Rick delivers another vocal masterclass. His vocal is veers between slow, soulful and dramatic, as buzzing synths and blistering, choppy guitars are added as the track heads towards its crescendo.
Melancholy describes No Shoes Blues. Guitars shimmer and quiver as the bass and drums join forces with keyboards. They plod along as Rick delivers a soul-searching vocal. Heartache and hurt fill his vocal which sometimes, reminds me of Jeff Buckley. It’s a cathartic outpouring of emotion. He cleanses himself of pain and hurt. Meanwhile, the slow, moody, dramatic and chiming arrangement accompanies him every step of the way during this six-minute Magnus Opus.
Women Of Ghent sees another change of direction from The Phantom Band. Drums, retro synths and chiming guitars combine to provide the backdrop for Rick. He’s accompanied by harmonies as the cascading arrangement unfolds. Synths shimmers and glint, hypnotic drums pound and crystalline guitars chime. Gradually, the arrangement builds. Eventually, it’s ready to reveal its hidden depths. By then, the track has taken on a hypnotic, almost anthemic sound as Krautrock, synth pop and even a hint of psychedelia combine seamlessly.
Galápagos closes Strange Friend, the third album from The Phantom Band. Straight away, the track takes on an eerie ambient sound. That comes courtesy of the myriad of the percussion and synths being deployed. A strummed guitar and despairing vocal from Rick are hidden behind the percussion. Although the arrangement is busy, you can still focus on Rick’s vocal. It’s full of emotion. Then all of sudden, the percussion disappears. So does Rick’s vocal. After that, swathes of synths take centre-stage. They circle above the arrangement, before disappearing into the distance. The result is an atmospheric, ambient track.
Nearly four years have passed since The Phantom Band released The Wants. That’s a long time for a band to be away. Music can have moved on by then. So can their fans. They’ve found new bands. As a result, any band away as long as The Phantom Band must have something special to tempt their fans back. That’s the case with The Phantom Band third album Strange Friend, which was recently released by Chemikal Underground
On Strange Friend The Phantom Band set about reinventing their music. They combine everything from ambient, folk, indie rock, Krautrock, pop, psychedelia, synth pop. There’s even a brief nod towards Acid House and prog rock. Strange Friend is without doubt, a truly eclectic album. It sees The Phantom Band draw inspiration from Can, Kraftwerk, Ultravox, Bob Dylan, Neil Young, Jeff Buckely, Johnny Cash and Brian Eno on Galápagos. The result is a rich, eclectic and captivating and compelling musical tapestry.
The music on Strange Friend is a real emotive roller coaster. No two songs are the same. One song can be beautiful and ethereal, the next dark and dramatic. Other times, the music becomes eerie, haunting and lysergic. Several times, Rick’s vocals are heartfelt and impassioned. They tug at your heartstrings, and you share his pain and hurt. Then, all of a sudden, the music becomes anthemnic, joyous and rousing. Hooks haven’t been spared. Truly, the music becomes irresistible and infectiously catchy. Without doubt, The Phantom Band are sure to win a lot of friends when they play Strange Friend live. There’s many a festival favourite on Strange Friend, which marks a welcome return to form for the Glasgow-based Phantom Band.
After nearly four years away, The Phantom Band are back, and better than ever. They’ve grown and matured as a band, and have reinvented themselves musically. The Phantom Band’s genre-melting music is bound to win friends and influence people over the summer months, as The Phantom Band make their return to the festival circuit. Until then, you’ll have to content yourself with a copy of their critically acclaimed and eclectic album Strange Friend.
THE PHANTOM BAND-STRANGE FRIEND.
THE SUPERBS-THE BEST OF THE SUPERBS.
THE SUPERBS-THE BEST OF THE SUPERBS.
Just over fifty years ago, in March 1964, The Superbs released their debut single, The Story Book Of Love. Things were happening quickly for The Superbs. They’d just signed to Lew Bedell’s Dore Records a month earlier, in February 1964. Lew thought that The Superbs had potential. So, he signed them to Dore Records on a one year deal.
For their debut single, The Story Book Of Love was chosen. It was penned by Gordy Harmon Jr, Frances Lark and Art Sibrie. Gene Page was brought in to arrange The Story Book Of Love. With a shrewd choice of single and one Gene Page’s trademark arrangements, The Story Book Of Love was the perfect showcase for The Superbs’ fusion of soul and doo woo. Before long, The Superbs had a hit single on their hands.
Released in March 1964, The Story Book Of Love gave The Superbs a minor hit, when it reached number eighty-three in the US Billboard 100. Although not the most successful debut single, The Story Book Of Love hinted at a successful future for The Superbs. Sadly, that wasn’t the case.
Never again would The Superbs enjoy a hit single, even a minor hit single. That’s despite The Superbs releasing singles on Dore over a forty-one year period. During the five spells The Superbs had at Dore, they released over thirty singles. Twenty-one of these singles feature on The Best Of The Superbs, which was released on Kent Soul, a subsidiary of Ace Records. Featuring twenty-four tracks,
The Best Of The Superbs is the most comprehensive compilation of The Superbs’ music. It features twenty-four tracks. These tracks were released between 1964 and 1987. Essentially, The Best Of The Superbs documents the history of The Superbs.
1962 was when The Superbs’ story begins. Walter White a native of Long Beach, California, and Lawrence Lockhard were a member of a quartet called The Superiors. They then recorded for the Nanc label as Lonnie and The Heartbreakers. However, none of their recordings were ever released. After The Heartbreakers, the pair decided to form a new group, a quintet which Walter called The Superbs.
At first, The Superbs concentrated on playing live. This was no bad thing. It allowed The Superbs to hone their style. Not long after this, Walter White met someone who’d play an important part in The Superbs’ strory, Bobby Swayne.
Previously, Bobby had enjoyed success with Ray Appleberry as Bob and Ray. Bobby was the vocalist and they enjoyed a minor hit with 1962s Air Travel. Neither of the followup singles, When The Dance Was Over, nor Our Last Night charted. After the failure of Our Last Night, Bob and Ray went their own way, and Ray joined Walter White in The Superbs.
For a while, Bobby and Walter were both members of The Superbs. For a while, everything went well. Then Bobby decided to form his own band. This resulted in Bobby and Walter parting company. Bobby however, held on to The Superbs name. So when Bobby was offered a contract by Lew Bedell’s Dore label, The Superbs were reborn.
The new lineup of The Superbs featured lead vocalist Eleanor Green, Bobby Swayne, Gordon Harmon and Ronnie Cook. On 25th February 1964, the four members of The Superbs headed to their manager Art Sibrie’s Los Angeles’ home. That’s where The Superbs signed the one year contract Lew Bedell’s Dore label offered them. The terms of the contract meant that The Superbs had to record six singles within a year. These six singles feature on The Best Of The Superbs.
For The Superbs debut single, The Story Book Of Love was chosen. Gordy Harmon Jr, Frances Lark and Art Sibrie cowrote the track. Gene Page arranged The Story Book Of Love and the B-side Better Get Your Own One Buddy. The result was the perfect showcase for The Superbs’ fusion of soul and doo wop. Eleanor Green’s lead vocal was a mixture of drama and emotion, while Bobby Swayne, Gordon Harmon and Ronnie Cook added tight, soulful harmonies. Released in March 1964. The Story Book Of Love in March 1964, it reached number eighty-three in the US Billboard 100. Although this was only a minor hit, surely, success wasn’t far away for The Superbs.
July 1964 saw The Superbs release their sophomore single Baby, Baby All The Time. The B-side was Sad Sad Sad, which oozes emotion. Baby, Baby All The Time was penned by B.J. Hunter and arranged by Gene Page. The introduction sees The Superbs draw inspiration from Phil Spector’s girl groups. After that, it’s a seamlessly combination of soul and doo wop. Eleanor’s vocal is heartfelt and needy, as it soars above the arrangement. Harmonies accompany her, proving the perfect foil for her heartbroken vocal. Despite the quality of Baby, Baby All The Time, it failed to chart. Lew Bedell must have thought this was just a blip. However, never agin would The Superbs enjoy a hit single.
By the time My Heart Isn’t In It was released later in 1964, Bobby and Ronnie Cook weren’t getting along. They put aside their disagreements to record a track written by Jack Lawrence. Gene Page’s arrangement is slow and string laden. Eleanor delivers a vocal that’s full of sadness and despair. It’s without doubt, one of her best and most soulful vocals. Just like the other Superbs, she’s influenced by doo wop as she lays bare her soul. Still, a hit single eluded The Superbs.
They tried again in November 1964, when they released The Big Hurt as a single. Penned by Art Sibrie and Bobby Swayne, it was one of The Superbs best singles. Drama, despair and emotion combine as Eleanor delivers a vocal powerhouse that belies her tender years. The arrangement adds to the drama. Driving, braying horns, gongs, percussion and cooing harmonies provide the perfect backdrop for Eleanor. The result is track that should’ve given The Superbs a hit single. On the B-Side was the despairing I Was Blind, which one of The Superbs’ best B-Sides.
1965 began as 1964 had ended, with Baby’s Gone Away failing to chart. It’s another track from the pen of Art Sibrie and Bobby Swayne. Accompanied by the lushest of strings, Eleanor accompanied by the other Superbs deliver a soulful opus full of hurt and heartache.
March 1965 marked the end of The Superbs one year contract with Dore. They released the hopeful, joyous I Was Born When You Kissed Me. Just like the B-Side It Hurts So Much it was written by Art Sibrie and Bobby Swayne. Both were peerless ballads that brought out the best in The Superbs. Despite this, The Superbs weren’t selling many records. Something had to change.
It would. Very soon. Goddess Of Love a catchy, dance-floor friendly single was released in July 1965. Again, it didn’t trouble the charts. As a result, it was the last single to feature the original lineup of The Superbs. Following Goddess Of Love, two members of The Superbs left.
Eleanor Green and Bobby Swayne left The Superbs. Their replacements was Lawrence Dickens. He made his Superbs debut on He Broke A Young Girl’s Heart, which he penned with Walter White. On He Broke A Young Girl’s Heart, The Superbs deliver one of their best performances on The Very Best Of The Superbs. They draw inspiration from the Beach Boys as they deliver a heartfelt, dramatic fusion of soul and doo wop. He Broke A Young Girl’s Heart should’ve been a game-changer for The Superbs. Incredibly, the single failed to chart. Nothing more was heard from The Superbs until February 1966.
That’s when The Superbs released It’s A Million Miles To Paradise. Again, chart success eluded The Superbs. Then On A Day When It’s Raining, which was written by Art Sibrie and Bobby Swayne, was released as a single. Listeners heard had a much more dramatic, experimental sound. This was because of the sound effects. Soul and pop were combined by The Superbs as they tried a new approach. It didn’t result in that elusive hit single. So The Superbs tried again on The Wind Is Blowing. It was an uptempo fusion of pop and soul which showcased another side of The Superbs music. Still, success eluded them. However, The Superbs weren’t about to give up. So they released a couple of singles with the dance-floor in mind.
Go For What You Know was released in April 1966. It was written by Ronald Cook and Lawrence Dickens, who took charge of the lead vocal. With a nod to The In Crowd, Go For What You Know was a hook-laden dance-track. Sadly, despite its quality, the single wasn’t a commercial success. Nor was the B.J. Hunter penned I Wanna Do It With You, Baby. Arranged by James Carmichael, I Wanna Do It With You, Baby was released in January 1967, but the single failed commercially. It did become a favourite amongst Northern Soul fans. By then, The Superbs lineup had changed.
By January 1968, The Superbs released One Bad Habit, their lineup had changed. Originally, The Superbs tried to get Eleanor Green to make a return to the group. She wanted to return. However, her husband wanted the group to be billed as Eleanor Green and The Superbs. That wasn’t going to happen. So The Superbs brought in Claudia Lennear. Along with Lawrence Lockard, Walter White and Bobby Walker the new lineup of The Superbs recorded Richard “Dimples” Fields’ Bad Habit. It’s best described bluesy, wistful and beautiful. This is the last track The Superbs released during the sixties that features on The Very Best Of The Superbs.
Four years later, The Superbs released Your Eyes. Released in 1972, it features a new lineup of The Superbs. This includes Lawrence Lockard, Lawrence Dickens, Ronnie Cook, Bobby Walker and Sandra Petersen. Slow, tender and deeply soulful, an understated arrangement accompanies The Superbs. Hidden away on the B-Side is Wind In My Sails. Written by Lawrence Dickens and Ronnie Cook, it’s a fusion of funk and soul, with a rousing chorus. Bobby Walker takes charge of the lead vocal as we hear another side of The Superbs.
1977 saw The Superbs jump on the disco bandwagon, with Where Or When. Here, The Superbs reinvent a Rogers and Hart song, and give it a dance-floor friendly makeover. The final track from The Superbs on The Very Best Of The Superbs is Where Or When. Released in 1987, twenty-three years after they released their debut single, The Superbs release a deliciously smooth slice of soulful music.
The Very Best Of The Superbs is a twenty-three year journey through The Superbs’ music. It starts with their 1964 debut single The Story Book Of Love, and closes with 1987s Where Or When. This allows the listener to hear the evolution of The Superbs’ music. In their early days, The Superbs’ music was a fusion of doo wop and soul. This became their trademark sound. Eventually, The Superbs music began to change. Later, their soulful side came to the fore. At one point, The Superbs combined soul and pop. This was only briefly. Then in the early seventies, The Superbs mixed soul and funk. This was an example of The Superbs music changing with the time. As The Very Best Of The Superbs closes, The Superbs it’s with a deliciously smooth slice of soulful music. What a way to end The Very Best Of The Superbs, which was recently released by Kent Soul, an imprint of Ace Records.
Without doubt, The Very Best Of The Superbs is the most comprehensive compilation of The Superbs’ music ever released. Rather than just focus on one period of The Superbs’ career, there’s tracks from the sixties, seventies and one from the eighties. There’s even B-Sides, which includes the hidden gem I Was Blind. During these three decades, The Superbs’ lineup changed several times.
One of The Superbs’ biggest loss was Eleanor Green. Her soprano lead vocal sounded not unlike a male falsetto. She was able to breathe emotion, heartache, hurt, joy and sadness into the songs. Then when Eleanor leaves The Superbs, a variety of other Superbs take charge of the lead vocal. Each of them bring something new to the role. Unlike many bands, there was life for The Superbs after Eleanor Green. Indeed, The Superbs career were still releasing singles until 2005. Their final single was 2005s Little Girl, which meant The Superbs’ recording career spanned forty-one years. Sadly, despite the longevity of their career, The Superbs never replicated the commercial success of their debut single The Story Book Of Love.
Released in March 1964, The Story Book Of Love gave The Superbs a minor hit, when it reached number eighty-three in the US Billboard 100. Although not the most successful debut single, The Story Book Of Love was as good as it got for The Superbs. Never again would The Superbs enjoy a hit single, even a minor hit single. That’s despite The Superbs releasing over thirty singles on Dore over a forty-one year period.
During their career at Dore, The Superbs never enjoyed the commercial success and critical acclaim they deserved. That’s a great shame. They were a hugely talented group. Their music was variously soulful, funky and sometimes, dance-floor friendly. Each of these sides of The Superbs’ music features on The Very Best Of The Superbs, which is the perfect introduction to one of soul’s best kept secrets, The Superbs.
THE SUPERBS-THE BEST OF THE SUPERBS.
LOUIS ARMSTRONG-LOUIS ARMSTRONG AND HIS FRIENDS.
LOUIS ARMSTRONG-LOUIS ARMSTRONG AND HIS FRIENDS.
1970 is remembered as a landmark year for Louis Armstrong. It was the year Louis and an all-star band, headed into the studio to record an album to celebrated his seventieth birthday. The album was Louis Armstrong and His Friends, which was recently rereleased on Boplicity, an imprint of Ace Records. It was recorded over three days in May 1970. Louis Armstrong and His Friends was released on Bob Thiele’s Flying Dutchman Records. However, Louis Armstrong and Bob Thiele had jumped the gun.
When Louis Armstrong celebrated his birthday in August 1970, he was only sixty-nine. Louis would never get the opportunity to celebrate this seventieth birthday. Tragically, Louis Armstrong died on the 6th of July 1971, less than a month short of his seventieth birthday. Louis Armstrong and His Friends, proved to be Louis Armstrong’s swan-song. Was Louis Armstrong and His Friends a fitting finale to one of jazz music’s true long and illustrious career?
By the time Louis Armstrong signed to Bob Thiele’s Flying Dutchman Records, he was one of the biggest names in jazz music. He’d come a long way since his early days in New Orleans.
It’s no exaggeration to say, that Louis Armstrong was born into abject poverty. He spent his early years in one of New Orleans’ poorest areas. Poverty was rife in Uptown, New Orleans. When Louis was still an infant, things got tougher.
His father abandoned his young family, and went to live with another woman. After that, Louis’ mother left her family. She placed them in the care of Louis’ grandmother and uncle.
Then when Louis was five, his mother returned and he and his sister went to live with his mother’s family. Louis only ever saw his father occasionally. He later remembered seeing his father taking part in a parade. Still, life for Louis and his sister was tough. Louis had a series of odd jobs that brought some money into the household. Despite this, there was never enough money to make ends meet. However, later, music however, offered Louis an escape from poverty.
Louis had been introduced to music at school. When he left school age eleven, Louis joined a quartet who sang in the streets. At night, Louis spent time listening to bands in New Orleans. Before long, he start teaching himself to play trumpet. Self taught, he learnt to play by ear. Little did anyone realise, Louis would become a musical legend.
Certainly not when Louis found himself in the New Orleans Home for Coloured Waifs. He was a serial offender. One of the most series offences came when Louis discharged his stepfather’s pistol. Ironically, his spells in the Home allowed Louis to hone his musical style. It proved to be a somewhat unorthodox musical apprenticeship for Louis. By the end of his time in the Home, Louis was the bandleader. Then when he was fourteen, Louis was released and returned home. It was then that Louis got his first job playing in a dancehall.
It was at Henry’s Ponce’s that Louis made his debut. He played their by night and worked as coal man by day. Soon, Louis was playing in New Orleans’ legendary parades. Older musicians, especially Joe “King” Oliver took Louis under their wing. He mentored Louis, who soon, got a job working on the steamboat, Fate Marable. This was where Louis mastered reading written arrangements. Then in 1919, Joe “King” Oliver left Kid Ory’s band and Louis replaced him. At the same time, Louis joined the Tuxedo Brass Band. Louis’ career was just about to begin in earnest.
The twenties were a hugely important decade for Louis Armstrong. He moved to Chicago, which was then jazz central. He joined Joe “King” Oliver’s Creole Jazz Band in 1922. This was a huge step for Louis. Soon, Louis’ reputation was growing. He became known as one of the top musicians in Chi Town. Before long, Louis was living the high life. For fun, Louis enjoyed taking part in cutting contests, where jazz men challenged each other to blow 200 high consecutive high Cs. Not many could do this. Louis could. Throughout his career, Louis enjoyed cutting contests. However, with his reputation growing, it would’t be long before Louis made his recording debut.
In 1925, Louis made his recording debut for the Okeh label. This wasn’t with the Creole Jazz Band. No. It was Louis’ own band, the Hot Five and Hot Seven. Featuring a lineup of Kid Ory, Johnny Dodds and Earl Hines, who replaced Louis’ wife on piano, the Hot Five and Hot Seven were a groundbreaking band. They made many a standard their own. The Hot Five and Hot Seven set the bar high. Especially when Louis recorded Ain’t Misbehavin’ in 1929. This was the first track to showcase Louis’ vocal prowess. Ain’t Misbehavin’ gave Louis the biggest hit of his career. For Louis, this was the perfect way for the twenties to end.
As a new decade dawned, Louis was under new management. Joe Glaser, who was allegedly a friend if Al Capone, became Louis’ manager. With Joe Glaser guiding his career, Louis found himself fronting a big band by the end of the thirties. They were called Louis Armstrong and His Stompers. A hugely successful band, their commercial success lasted right through until 1947. However, by then, keeping a big band on the road was becoming prohibitively expensive. So, Louis had to rethink his band.
Louis’ next band was The All Stars. They were a much smaller band. What they lacked in numbers, they made up in skill and charisma. The All Stars toured extensively and always, drew large crowds. So, it made sense to record a series of albums. Their best albums were The All Stars Plays W.C. Handy and The All Stars Plays Fats. Just like Louis previous band, The All Stars enjoyed longevity.
Having began in 1947, The All Stars career lasted right through the fifties and sixties. Each year, they averaged roughly 300 concerts a year. Then there were appearances in films. The All Stars were even more successful than Louis previous bands. Just like Louis, they enjoyed commercial success and critical acclaim.
Louis released Hello Dolly as a single in 1964. It reached number one in the US Billboard 100. So successful was Hello Dolly, that it knocked The Beatles of the number one spot. Three years later, Louis recorded a song that’s become synonymous with Louis Armstrong. This was What A Wonderful World. It reached number one in the UK. A year later, in 1968, Louis recorded We Have All The Time In The World, which became the theme for the James Bond film, On Her Majesty’s Secret Service. We Have All The Time In The World became another Louis Armstrong classic. For Louis, the sixties were the most successful and prolific decade of his career.
Throughout the sixties, Louis Armstrong released a series of albums. He was a truly prolific artist. He released about twenty albums for various labels. Louis was signed to labels like Decca, Coral, Kapp, Mercury, Brunswick, Stateside and ABC Records. It was at ABC Records that Louis first met Bob Thiele.
Bob started work at Impulse 1961 and spent eight years there. During that time, Bob Thiele enjoyed the busiest period of his career. Bob, he was hardly away from the studio, producing over 150 albums in eight years. This included John Coltrane’s seminal album A Love Supreme. Ironically, Bob’s most successful production was Louis Armstrong’s What A Wonderful World. Not all of Bob Thiele’s production’s were as successful. Innovative music didn’t always equate to commercially successful music.
Through working with some of the most innovative and creative musicians in the history of jazz, Bob must have realised that often, large record companies aren’t the best environment for innovative and creative musicians. Often, these musical mavericks didn’t thrive within such an orthodox environment. Their creativity is restricted, meaning they’re unable to experiment and innovate like they’d like.
Soon, Bob Thiele, would be able to create an environment where this would be possible. By 1969, Bob had been at Impulse for eight years. He’d been responsible for producing some of the most important jazz music of the sixties. However, there’s no sentiment in music. In the musical equivalent of a musical coup d’tat, Bob Thiele was ousted from his role at Impulse. This proved to the start of the next chapter in his career.
Leaving Impulse in 1969, Bob founded Flying Dutchman Productions. This would become home to everyone from Ornette Coleman, through Gil Scott Heron, Leon Thomas, Eddie “Cleanhead” Vinson and Louis Armstrong.
Louis Armstrong’s one and only album for Flying Dutchman Productions was Louis Armstrong and His Friends. Joining Louis were some of the biggest names in jazz. It’s no exaggeration to call it an all-star cast that accompanied Louis. However, Louis Armstrong and His Friends was unlike any album Louis had recorded.
For Louis Armstrong and His Friends, Bob Thiele chose a mixture of classics, hits and familiar faces. This included Mood Indigo, Fred Neil’s Everybody’s Talkin’ (Echoes), What A Wonderful World, John Lennon’s Give Peace A Chance and Leon Thomas and Pharaoh Saunders’ The Creator Has A Master Plan (Peace). There was also a cover of the protest song We Shall Overcome. Bob Thiele who penned What A Wonderful World with George David Weiss, cowrote two other tracks. George and Bob penned Father Wore Long Hair with with Pauline Rivelli. Bob coyote Boy From New Orleans with Bob Katz and Ruth Roberts. The other two tracks were Lorenzo Pack’s This Black Cat Has 9 Lives and Robert Medelin and Guy Wood’s My One And Only Love. These ten tracks, which became Louis Armstrong and His Friends, were recorded by a band featuring some top session players.
The recording of Louis Armstrong and His Friends took place on the 26th, 27th and 29th May 1970. Over three days, Louis Armstrong and His Friends recorded ten tracks. Different players played on different tracks. Strings, horns, a chorus and the rhythm section joined forces. The rhythm section included bassist Richard Davis, electric bassists Chuck Rainey and John Williams Jr, electric guitarist Kenny Burrell and Sam Brown, plus drummer Petty Purdie. Other musical luminaries included flautist James Spaulding, pianist Frank Owens and trumpeter Thad Jones. These were just a few of the musicians who joined Louis in recording the album that celebrated his seventieth birthday, Louis Armstrong and His Friends. It was released later in 1970.
Louis Armstrong and His Friends was a mixture of the old and new. Bob Thiele, who produced Louis Armstrong and Friends had pushed Louis to release music that normally, he wouldn’t have considered recording. Normally, Louis Armstrong wouldn’t have recorded Give Peace A Chance or The Creator Has A Master Plan (Peace). Along with We Shall Overcome, this was some of the most political music Louis Armstrong had recorded. On its release, Louis Armstrong and His Friends was well received. Critics enjoyed hearing another side to Louis Armstrong. Sadly, Louis Armstrong and His Friends didn’t sell well. Less than a year later, Louis Armstrong was dead. Was Louis Armstrong and His Friends a fitting finale to his career? That’s what I’ll tell you.
We Shall Overcome opens Louis Armstrong and His Friends. For the recording Bob Thiele threw a party and invited Miles Davis, Chico Hamilton, Leon Thomas, Ornette Coleman and Tony Bennett. They contribute the chorus. Horns soar above the arrangement and drums signal the arrival of Louis’ hopeful, punchy vocal. He’s accompanied by a piano, ride and wandering bass. Horns rasp as the chorus joins Louis. A blazing horn punctuates the arrangement as the chorus returns. They help Louis reinvent Pete Seeger’s song. It takes on a joyous, hopeful sound.
Not only did Fred Neil write Everybody’s Talkin’ (Echoes), but he sung the definitive version. Louis’ version sees the tempo increase and the rhythm section drive the arrangement along. Strings sweep and the piano helps propel the arrangement along. Sitting atop the arrangement is Louis’ carefree vocal. He paints pictures, as he brings new meaning to a classic track.
Having recorded the definitive version of What A Wonderful World, Bob Thiele felt that Louis should rework a song that was synonymous with him. That was a huge risk. After all, he was never going to better the original version. All he could do was reinterpret the lyrics, and attempt to breath new life, meaning and emotion into them. That’s what he does. He changes the introduction. His lived-in vocal is a soliloquy, as he ponders the world’s problems. Then before long, comes that familiar rasping vocal. Accompanied by lush, cascading strings, piano, flute and the rhythm section, Louis reworks the lyrics. With emotion and sincerity, What A Wonderful World takes on a new relevance.
Boy From New Orleans was written with Louis in mind, by Bob Thiele, Bob Katz and Ruth Roberts. The arrangement is based on When The Saints Go Marching In. High kicking horns set the scene for Louis. Soon, he’s accompanied by the piano and bass. Memories come flooding back for Louis. He grabs the song, and makes it work. As for his all-star band, they ensure the song swings. Blazing horns are at the heart of the arrangement as seamlessly, Louis rolls back the years. Later, a misty-eyed Louis gives thanks for his career as the track reaches a dramatic crescendo.
A probing bass, percussion and piano opens The Creator Has A Master Plan (Peace). Soon, strings sweep and a flute cascades. Then Louis and Leon Thomas scat, as the atmospheric arrangement unfolds. Fittingly, the man who popularised and pioneered scatting, Louis Armstrong, is accompanied by another musician who also utilised scatting, Leon Thomas. With a roll of drums, Leon’s tender vocal is accompanied by Louis’ deep, hopeful vocal. Although an unlikely partnership, Leon and Louis work well together. Leon’s vocal becomes like an instrument as a he scats. Against the understated, atmospheric arrangement, Louis and Leon become like yin and yang.
Just a lone piano and understated rhythm section set the scene for an urgent vocals on Give Peace A Chance. They’re delivered at hopefully and urgently at breakneck speed. Louis is content to play a supporting role. His vocal sweeps in and out, soaring above the arrangement. His gravely vocal combines power and passion. Later, the arrangement grows in power. It builds and builds. Growling horns, gospel-tinged harmonies, handclaps and piano join with the rhythm section in helping Louis create an rousing version of a familiar protest song.
Mood Indigo must be one of the most covered songs in musical history. Louis has recorded it before. So he sets about reinventing the track. A cascading flute, flourishes of strings and piano combine. They’re joined by the rhythm section. Together, they provide the backdrop for Louis. He strolls his way through the lyrics, and with the help of his band, totally reinvents a familiar and classic track.
His Father Wore Long Hair has a wistful, understated introduction. Just a piano accompanies Louis’ emotive vocal. Strings sweep in. Drums are played subtlety and briefly, a flute soars above the arrangement. It’s a mixture of drama and emotion, and is the perfect foil for Louis vocal as memories come flooding. He sings the lyrics as if they’re personal.
Strings sweep and a flute flutters above the arrangement to My One And Only Love. Along with a piano, they play the introduction to My One And Only Love. They set the scene for Louis’ heartfelt, seductive vocal. It’s beauty is captivating on what’s not just a beautiful paean, but one of the highlights of Louis Armstrong and His Friends.
Louis Armstrong and His Friends closes with This Black Cat Has 9 Lives. Drums pound, horns bray and strings sweep before Louis’ vocal enters. He seems determined to make the song swing. Louis succeeds. Accompanied by stabs of blazing horns, piano, pounding drums and percussion, Louis shows what he’s capable of and one last time, rolls back the years.
Even though he was a year early, Bob Thiele’s decision to put together an all-star band to record an album to celebrate Louis Armstrong’s seventieth birthday, was a masterstroke. After all, it gave jazz musicians of different generations the opportunity to celebrate the career of one the greats of jazz. The great and the good of jazz turned up. This included Miles Davis, Chico Hamilton, Leon Thomas, Ornette Coleman and Tony Bennett. They were joined by Chuck Rainey, Kenny Burrell, Petty Purdie, James Spaulding and Thad Jones. Each and every one of these musicians pulled out the stops on Louis Armstrong and His Friends.
Given Louis Armstrong’s advancing years and ailing health, each of the musicians gave their all. They were determined Louis Armstrong and His Friends would be a fitting celebration of Louis’ career. Bob Thiele chose the material for Louis Armstrong and His Friends carefully. Classics, hits and new songs sat side-by-side. Each featured the unmistakable voice of Louis Armstrong. By now, he wasn’t playing his trumpet much. Instead, he left that to a new generation of musicians. Louis however, was still able to bring a song to life.
He breathed life and meaning into protest songs like We Shall Overcome and Give Peace A Chance. What A Wonderful World took on new life. Louis reworked and politicised the lyrics. Louis and Leon Thomas reworked The Creator Has A Master Plan (Peace). Just like so many other songs on Louis Armstrong and His Friends, it takes on new meaning. Other tracks were tailor made for Louis Armstrong.
This includes Boy From New Orleans. Listening to the lyrics, it’s easy to imagine them being about a young Louis Armstrong. Maybe so did Louis. He makes the song come to life, injecting emotion and drama. The same can be said of My Father Wore Long Hair. Louis, with the benefit of a lifetime’s experience, interprets the lyrics in a way that they seem real. They come alive and tug at your heartstrings. What helps is Louis’ lived-in, all-seeing, worldweary vocal, plus a band full of some top class musicians. Despite its undoubtable quality, when Louis Armstrong and His Friends was released in 1970, it wasn’t a commercial success. Worse was to come for Louis.
Sadly, Louis Armstrong would never did get the opportunity to celebrate his seventieth birthday. Tragically, Louis Armstrong died on the 6th of July 1971, less than a month short of his seventieth birthday. Louis Armstrong and His Friends, which was recently rereleased on Boplicity, an imprint of Ace Records, proved to be Louis Armstrong’s swan-song. Louis Armstrong and His Friends was a fitting finale to the career of one of jazz music’s true pioneers.
LOUIS ARMSTRONG-LOUIS ARMSTRONG AND HIS FRIENDS.
WHEEDLE’S GOOVE-SEATTLE FUNK, MODERN SOUL AND BOOGIE: VOLUME 2 1972-1987.
WHEEDLE’S GOOVE-SEATTLE FUNK, MODERN SOUL AND BOOGIE: VOLUME 2 1972-1987.
It’s hard to believe that ten years have passed since Light In The Attic Records released the first volume of their Wheedle’s Groove compilation series. Wheedle’s Groove was the first compilation to focus on Seattle’s soul scene between 1965 and 1975. Released to critical acclaim in 2004, Light In The Attic Records had struck gold with Wheedle’s Groove. Hidden gems, rarities and lost classics sat side-by-side on Wheedle’s Groove. Music lovers heard a different side to Seattle’s music scene.
For many people, Seattle was synonymous with grunge. Seattle was the city that brought the world groups like Alice In Chains, Mudhoney, Nirvana, Pearl Jam and Soundgarden. Later, Seattle brought us the post-grunge of The Lemons and the indie folk of Fleet Foxes. However, not many people had heard the soulful and funky sound of Seattle. That’s until the heard Wheedle’s Groove.
The cat was out of the back. Suddenly, Seattle’s best kept secret was common knowledge. Music lovers worldwide had, at last, heard the delights of groups like The Topics, Soul Swingers, Cookin’ Bag, Broham, The Johnny Lewis Trio, Ron Buford and Black On White Affair. So popular was Wheedle’s Groove that a film was made about Seattle’s soul scene.
That was four years later in 2008. Wheedle’s Groove: Seattle’s Forgotten Soul Of the 1960s and 70s was released to the same critical acclaim as Wheedle’s Groove. It went on to win awards. Wheedle’s Groove: Seattle’s Forgotten Soul Of the 1960s and 70s was one of the finest musical documentaries of recent years. After the release of Wheedle’s Groove: Seattle’s Forgotten Soul Of the 1960s and 70s, there was still no sign of another instalment in the Wheedle’s Groove series.
Everyone who’d bought Wheedle’s Groove waited with baited breath for the followup. Years passed and there was no sign of Wheedle’s Groove Volume 2. However, the wait is nearly over. Light In The Attic Records will release Wheedle’s Groove-Seattle Funk, Modern Soul and Boogie: Volume 2 1972-1987 on 16th June 2014.
Wheedle’s Groove-Seattle Funk, Modern Soul and Boogie: Volume 2 1972-1987 features another eighteen tracks of funky, soulful and dance-floor friendly music from Seattle. This includes contributions from Epicentre, Priceless, Don Brown, Deuece, Push, Seattle Pure Dynomite, Romel Westwood, Steppen Stones, Steppen Stones and Robbie Hill’s Family Affair. These tracks were released between 1972 and 1987, when music was changing.
Back then, both music and society was changing. Technology was affecting the way music was made. Drum machines, samplers and sequencers meant music could be made much more cheaply. They were within the budget of aspiring musicians and producers, and they were able to record their own single and release it on their own labels. These singles were sent to local DJs. This didn’t just include radio DJs.
By the mid to late seventies, artists were making music specifically for the dance-floor. No longer did a generation want to form a band and spend years honing their sound in local clubs. Instead, they wanted the instant gratification of having their record played in local clubs. Sometimes, local radio would pick up on the track. This was a lot easier than being in a band and spending years trying to make a commercial breakthrough. However, not every artists was willing to settle for instant gratification.
Instead, they wanted the longevity that traditionally, an artist or band had enjoyed. They spent years honing their sound and learning their “trade.” Eventually, when the time was right, they proudly released a single. For many an artist, this was the biggest day of their musical career. This was the case all over Seattle.
Across Seattle, artists and bands released singles. Many were released on private labels. They were self-financed and released on local labels. Other tracks were released on bigger labels. However, they failed to make the commercial breakthrough their quality deserved. Since then, these singles have been forgotten about. They’re remembered fondly only by the artists that released them and a small group of musical connoisseurs. This includes Seattle’s DJ Supreme La Rock, who compiled Wheedle’s Groove-Seattle Funk, Modern Soul and Boogie: Volume 2 1972-1987, which I’ll pick the highlights of.
The most important track on any compilation is the first track. DJ Supreme La Rock realises this and opens Wheedle’s Groove-Seattle Funk, Modern Soul and Boogie: Volume 2 1972-1987 with Epicentre’s Get Off The Phone. It featured on a 1978 compilation KYYX•FM Seattle Grown. The compilation was released to showcase Seattle’s eclectic musical talent. Epicentre combine Modern Soul with funk on Get Off The Phone. Written by lead vocalists Stacy Christenson, it’s a track that’s got everything. It’s funky, soulful, dance-floor friendly and full of slick poppy hooks.
Don Brown released his Shut The Door E.P. in 1978. It was released on the First American label and featured Don’t Lose Your Love, It’s best described as a blue-eyed soul with disco strings and a hint of boogie. Featuring a soulful, heartfelt vocal from Don this is a real hidden gem, which sometimes, reminds me of Hall and Oates. Just like Epicentre’s Get Off The Phone, Don’t Shut The Door E.P. is a real rarity.
Push only ever released one single. However, what a single You Turn Me On was. Released on the Sound of Seattle label in 1978, You Turn Me On was penned by “Big Joe” Erickson. It’s a slice of dance-floor friendly Modern Soul. Jazz-tinged and with a funky side, You Turn Me On is a joyous dance track. Accompanied by sultry horns, harmonies and keyboards Joe, a joyful, vampish vocal. The result is a track that deserved to fare better than it did. Having said that, it’s a cult classic amongst Seattle soul fans.
Priceless are another group that only released one single. This was Look At Me. It was recorded at Studio One, in Seattle and released on Decimal Records. Written by Jackie Stoudemire, this another laid-back slice of soulful music. Lush strings, harmonies, percussion and a jazz-tinged guitar augment the impassioned vocal. All this results in a smooth slice of dance-floor friendly soul.
By the time Lenny Randle and Ballplayers released Kingdome as a single in 1982, music was changing. Disco had died in 1979. Gone were lush strings and horns. Replacing disco was boogie and hip hop. These singles were recorded on lower budgets. Aspiring musician made good use of drum machines, samplers and sequencers. This allowed aspiring musicians to record their own music, which they then released on their own labels. Many a boogie or hip hop single was recorded and released this way. This included Lenny Randle and Ballplayers, who released Kingdome on their Ballplayers label. It’s a fusion of funk, rock, boogie and hip hop. There’s even a nod to Grandmaster Flash and the Furious Five on Kingdome, a groundbreaking track which shows the changing face of Seattle’s music scene in 1982.
Teleclere released Steal their debut single Fantasy Love in 1982. A year later, they returned with their debut album Affection/Defection. Just like Fantasy Love, it was released on Telemusic Productions. One of the tracks from Affection/Defection was Your Love. It shows the changing face of music. Hugely soulful, thanks to a heartfelt powerhouse of a lead vocal, the arrangement is quite different. Funk and electro combined and provide the backdrop for a vocal that’s an outpouring of emotion and hurt. DJ Supreme La Rock has dug deep to discover this rarity.
Sometimes, it doesn’t take more than a few bars to realise that a track is more than a little special. That’s the case with Steppen Stones’ Darlin’ Oh Darlin.’ Released in 1980, on J Jam Records, this is one of DJ Supreme La Rock’s best finds. It’s smooth, soulful and full of slick hooks. This post disco dance track is one of the highlights of Wheedle’s Groove-Seattle Funk, Modern Soul and Boogie: Volume 2 1972-1987. Thirty-four years after its release, Darlin’ Oh Darlin’ will still fill a dance-floor.
Back in 2011, Unfinished Business rereleased Holding On on Seattle’s Decimal Records. Belatedly, this glorious hidden gem made a welcome return. It’s one of these tracks that as soon as you hear it, you’re won over by its charms. Smooth, soulful, jazz-tinged and funky describes what was only the second single Unfinished Business released. The arrangement just floats along. Jazz-tinged guitars and mellow keyboards setting the scene for a tender, needy vocal. With a summery feel-good sound, it’s a timeless sounding track.
Frederick Robinson III released Love One Another in 1983, on TLP Records. It’s a real fusion of musical genres and influences. Some people see Love One Another as Modern Soul. Not me. I’d described it as a gospel-funk protest track featuring an impassioned vocal vamp from Frederick.
My final choice from Wheedle’s Groove-Seattle Funk, Modern Soul and Boogie: Volume 2 1972-1987 is Robbie Hill’s Family Affair’s Don’t Give Up. This was one five tracks recorded in Los Angeles, between 1971 and 1973, when the band were active. Sadly, these tracks were never released during the band’s lifetime. It wasn’t until 2013, forty years later, that Light In The Attic Records released Gotta Get Back : The Unreleased L.A. Sessions that the songs were heard by a wider audience. One of the highlights is Don’t Give Up, a beautiful and hopeful slice of soulful music. This is the perfect way to close Wheedle’s Groove-Seattle Funk, Modern Soul and Boogie: Volume 2 1972-1987, and whets our appetite for the next instalment in the series.
Wheedle’s Groove-Seattle Funk, Modern Soul and Boogie: Volume 2 1972-1987 has a been a long time coming. Ten years in fact. However, whose been counting? Well plenty of people who enjoyed the first instalment in the Wheedle’s Groove series. However, their patience has been rewarded. The music on Wheedle’s Groove-Seattle Funk, Modern Soul and Boogie: Volume 2 1972-1987 makes the ten year wait worthwhile.
The music on Wheedle’s Groove-Seattle Funk, Modern Soul and Boogie: Volume 2 1972-1987 is a mixture of boogie, funk and soul. There’s even a hint of disco, gospel, hip hop and jazz. Eclectic is the best way to describe Wheedle’s Groove-Seattle Funk, Modern Soul and Boogie: Volume 2 1972-1987. This isn’t a compilation that focuses on one genre. No. It’s a compilation that takes a few twists and turns. Surprises are sprung and curveballs bowled. You never quite know what what direction Wheedle’s Groove-Seattle Funk, Modern Soul and Boogie: Volume 2 1972-1987 is heading. What you do know is that the music is captivating, compelling and will ooze quality.
Light In The Attic Records have struck gold with Wheedle’s Groove-Seattle Funk, Modern Soul and Boogie: Volume 2 1972-1987. It’ll be released by Light In The Attic Records on 16th June 2014. At long last, the ten year wait is over. You won’t be disappointed. No way. Not with music as good as this. Wheedle’s Groove-Seattle Funk, Modern Soul and Boogie: Volume 2 1972-1987 features another eighteen tracks of funky, soulful and dance-floor friendly music from Seattle. Compiled by DJ Supreme La Rock hidden gems, rarities and lost classics sat side-by-side on Wheedle’s Groove-Seattle Funk, Modern Soul and Boogie: Volume 2 1972-1987, which is a must have compilation.
WHEEDLE’S GOOVE-SEATTLE FUNK, MODERN SOUL AND BOOGIE: VOLUME 2 1972-1987.
TOO SLOW TO DISCO.
TOO SLOW TO DISCO.
For the last thirty years, many people have mocked the seventies West Coast sound. They viewed the lush harmonies, slick sound and clever chord progressions with disdain. One of the reasons for this was that West Coast rock was perceived as the music of the establishment. When punk came along, groups like the Sex Pistols took to mocking West Coast rock. These groups cast themselves as class warriors. Helping spread their message was the music press. Unquestionably, they parroted the message of these new class warriors. Their message was met by slavish approval.
Across the country, a generation who previously had grownup listening to the West Coast sound did a swift volte face. Suddenly, West Coast rock wasn’t fashionable any more. Worse still, they believed it was the music of the establishment. They were told that the West Coast sound epitomised everything that was wrong with music. Incredibly, a generation of young people believed this. What’s even more incredible, is that they believed that the fakery of groups like the Sex Pistols was the future of music.
Suddenly, it helped if you couldn’t play an instrument. Up and down the country, bands were formed. It didn’t matter that they couldn’t even play three chords. No. Their nihilistic outpouring of anger was perceived as music. Deluded late night DJs even played these records. Incredibly, people even bought these records. This was The Great Rock ’N’ Swindle.
Buying this pseudo music was a new generation of well balanced class warriors. By that, I mean they have a chip on each shoulder. They preferred to “keep things real.” The West Coast sound was they believed was the music of the establishment. So they openly mocked West Coast sound. This wasn’t for them.
Punk was were their musical drug of choice. It wasn’t because they liked the music. No. Instead, it was because this was what they thought they should like. These people read the music press and like lemmings jumping of a cliff, they believed the hype about punk. They swallowed the hype hook, line and sinker. Years later, it’s only now that they realise they’ve been conned.
All these years later, they were still mistakenly clinging to the belief that they were right all along. Then one night, they dug out their only singles and gave them a spin. It was only then that they realised what deep down, they’d known all along. They’d been conned. It was then that they realised that Public Enemy were right, Don’t Believe The Hype. Belatedly, they realised that the West Coast sound, not punk was what they preferred.
No wonder. Look at the music the West Coast sound gave us. This includes the Beach Boys, The Eagles, The Doobie Brothers, Fleetwood Mac, Chicago, Foreigner, Supertramp and REO Speedwagon. These groups enjoyed widespread commercial success and critical acclaim. That’s no surprise. Their music was always slick, full of clever hooks and always memorable. So, it’s no surprise that nearly forty years after the heyday of the West Coast sound, the music is just as popular as ever.
Recently, a number of compilations celebrating the West Coast sound have been released. This includes Too Slow To Disco, which was recently released on the How Dare You Are Recordings. Compiled by DJ Supermarkt, Too Slow To Disco is like a who’s who of the West Coast sound.
The nineteen tracks on Too Slow To Disco, include contributions from some of the finest purveyors of the West Coast sound. This includes The Doobie Brothers, Fleetwood Mac, and Chicago. There’s also contributions from Tony Joe White, Rupert Holmes and Matthew Larkin Cassell. Some of these tracks aren’t the artists biggest hits.
No. Many of the track were recorded before the artists struck West Coast gold. That doesn’t matter. The tracks aren’t dance tracks. No. They’re Too Slow To Disco. Instead, the songs are best described as mood music. This is what the beautiful people listened to in the seventies. No wonder.
Each of the tracks ooze quality. They’re best described as mellow and laid back. They epitomise everything that’s good about the West Coast sound. This means lush harmonies, clever chord progressions and well written songs. They play their part in the West Coast sound’s slick, hook-laden sound. Quite simply, the tracks on Too Slow To Disco epitomise everything that’s good about the West Coast sound. You’ll realise this as I pick the highlights of Too Slow To Disco.
My first choice from Too Slow To Disco is Micky Denne and Ken Gold’s Let’s Put Our Love Back Together. Micky and Ken were two British singer-songwriters who worked together during the seventies and eighties. Together, they penned numerous hit singles. In 1977, they decided to released an album together. Denne And Gold was released on MCA Records. The lead single was Let’s Put Our Love Back Together. Written by Micky and Ken, it’s a mid-tempo track that epitomises what the West Coast sound was all about. Lush strings, harmonies and slick production play their part in what’s an irresistible hidden gem.
Rupert Holmes is another purveyor of the West Coast sound born in Britain. He’s best know for his hit single, Escape (The Pina Colada Song). That was still to come. In 1975, Rupert released his eponymous sophomore album Rupert Holmes. Released on Epic, it showcases Rupert’s songwriting skills. His music is witty, cerebral and full of hooks. The arrangement is smooth, with dancing string and searing guitars. It’s a reminder not just of how talented Rupert Holmes was, but why the West Coast sound was so successful.
Many people might not have heard of White Horses. That’s a great shame. They were a multitalented group featuring some musicians. This includes drummer Jeff Porcaro and British-born pianist Billy Nicholls, White Horses released their eponymous debut album in 1977. It was released on Capitol Records and is best described as a combination of the West Coast sound, soft rock and funk. There’s even a nod towards Steely Dan. One of White Horses’ many highlights was Over and Done With. That’s thanks to the tight harmonies, washes of Hammond organ and the lead vocals of emotive, needy vocals from Billy Nicholls and Jon Lind.
Straight away, it looks like Nicolette Larson is heading for the dance-floor on Lotta Love, a track from her 1978 debut album Nicolette. It was released on Warner Bros Records. This was the first of a quartet of albums Nicolette released for Warner Bros Records. She’s a hugely underrated and versatile singer. Her career began when she was asked to sing backing vocals on Neil Young’s 1977 album American Stars ’N’ Bars. A year later, Nicolette was signed to Warner Bros. Accompanying her were a crack band of session musicians. Nicolette combined folk, country rock and funk on her debut album. Lotta Love showcased Nicolette’s ability to make lyrics come to life. Her vocal is a heartfelt outpouring of emotion on this soulful and mellow track.
Brian Elliot released his eponymous debut album in 1978 on Warner Bros. It’s a genre-hopping album. Everything from pop, disco, rock and funk combines. That’s apparent on Room To Grow. It’s soulful, funky, dance-floor friendly and full of poppy hooks. Gospel tinged backing vocals add the finishing touch. Sadly, this was the only album Brian ever released.
By July 1972, when Chicago released their fifth album on Columbia, they were a hugely successful band. Two of their albums were certified platinum and two double-platinum. Chicago V kept up the commercial success and critical acclaim. It was certified double-platinum. Saturday in the Park was released as a single and reached number three in the US Billboard 100. No wonder. It oozes quality. Everything from Robert Lamm’s lead vocal to the crystalline guitar and braying horns draw you in. You’re spellbound as Chicago paint pictures about that Saturday in the Park.
Matthew Larkin Cassell seems to have been inspired by Steely Dan. That’s apparent from Rendezvous, a track from Matthew Larkin Cassell’s only album Pieces. It was released by Matthew in 1977. He financed and released Pieces. On Rendezvous, he combines jazz, funk, soul and rock. It features a tender, needy vocal. It’s delivered against a slick, jazz-tinged arrangement, where Matthew pays homage to Steely Dan.
The Doobie Brothers’ Losin’ End is a track from their 1976 album Takin’ It To The Streets. It was released on Warner Bros and reached number eight on the US Billboard 200. Losin’ End is quite different to The Doobie Brothers’ earlier music. It’s as if the rough edges have been smoothed away on this slice of blue eyed soul, which features a vocal masterclass from Michael McDonald.
Fleetwood Mac were formed in London in 1967. By 1975, they were about to enter the most successful period of their career. They released their eponymous album in July 1975. It was certified gold in the UK and reached number one in the US Billboard 200 charts. This resulted in Fleetwood Mac being certified platinum five times over. No wonder. It was the best album Fleetwood Mac had released in several years. There’s no filler, just quality music. One of the highlights is the anthemic Sugar Daddy, which showcases Fleetwood Mac’s unique brand of soft rock.
Tony Joe White’s I’ve Got a Thing About You Baby is my final choice from Too Slow To Disco. This is a track from Tony’s fifth album The Train I’m On. Released in 1972, on Warner Bros, Tony fuses blues, folk and Southern Rock. The understated arrangement allows Tony’s needy, hopeful vocal to shine.
Although I’ve only mentioned ten of the nineteen tracks on Too Slow To Disco, I could’ve picked any of the tracks. That’s how good Too Slow To Disco is. It’s quality all the way. There’s neither filler nor padding on Too Slow To Disco. Compiler DJ Supermarkt has made sure of this. He’s dug deep to find the music on Too Slow To Disco.
Classics, hidden gems and rarities sit side-by-side. There’s contributions from West Coast royalty. The Doobie Brothers, Fleetwood Mac, and Chicago. There’s also contributions from Tony Joe White, Rupert Holmes and Matthew Larkin Cassell. Many of the tracks aren’t the artists biggest hits.
Instead, many are album tracks. This makes a pleasant change. Usually, compilers look no further than singles. However, that’s not DJ Supermarkt’s style. He eschews the obvious for long forgotten album tracks. Many people won’t remember these tracks. No. They’ll only be remembered by diehard fans. Not any more. Now a new generation of music lovers will get the chance to hear these tracks. The same can be said of the West Coast sound.
Too Slow To Disco is the perfect introduction to the delights of the much maligned West Coast sound. It received a bad press in the late-seventies and early-eighties from blinkered musicians and music journalists. They perceived the West Coast sound as the music of the establishment. As a result, the West Sound incurred the wrath of these class warriors. They encouraged a generation to ignore the many, and varied, delights of the West Coast sound. That was a great shame. Hopefully, a new generation of music lovers won’t make the same mistake. After all, there’s a cornucopia of great music awaiting discovery. The nineteen tracks on Too Slow To Disco are just a tantalising taste of the West Coast sound. Hopefully, How Dare You Are Recordings will release further volumes in the Too Slow To Disco series and a new generation will discover the delights of the West Coast sound.
TOO SLOW TO DISCO.
THE FAR OUT MONSTER DISCO ORCHESTRA-THE FAR OUT MONSTER DISCO ORCHESTRA.
THE FAR OUT MONSTER DISCO ORCHESTRA-THE FAR OUT MONSTER DISCO ORCHESTRA.
Between 1975 and 1979, disco orchestras provided the soundtrack to dance-floors worldwide. The greatest disco orchestra was, without doubt, The Salsoul Orchestra. Founded and lead by the late, great Vince Montana Jr, The Salsoul Orchestra featured some of Philly’s top musicians. This included the Baker, Harris, Young rhythm section, guitarist Bobby “Electronic” Eli, percussionist Larry Washington and legendary backing vocalists, The Sweethearts of Sigma. With Vince at the helm of The Salsoul Orchestra, they released a string of successful album. Sadly, nothing lasts forever. When Vince left The Salsoul Orchestra, they never reached the same heights. It was a shadow of its former self. This allowed other disco orchestras to steal The Salsoul Orchestra’s crown.
One of the main contenders was John Davis and His Monster Orchestra. Lead by another Philly native John Davis, His Monster Orchestra featured a number of musicians from his home town. This included musicians who’d played on albums by The Salsoul Orchestra. John Davis, His Monster Orchestra released a quartet of albums, epitomise the disco orchestra sound. However, across North America the same could be said of a number of other disco orchestra.
Although some of the biggest and most successful disco orchestras were based in Philly and New York, across America disco orchestras were founded. Many orchestras were made up of session musicians and members of the city’s orchestra. Collaborations sprung up coast to coast. Some of the biggest success stories were Philly’s The Ritchie Family and n Canada’s THP Orchestra. Other disco orchestra’s included The Alan Silvestri Disco Orchestra, The New York Disco Orchestra, The Disco Light Orchestra and The Charlie Calello Orchestra. However, nothing lasts forever. Disco proved to be a musical bubble.
For a few years, disco was a phenomena. The charts were full of disco tracks. They differed in quality. For every Salsoul Orchestra or Chic, there were artists jumping on the disco bandwagon. Many of these artists careers were at a crossroads. They were desperate to rejuvenate their career. They’d do anything to get back to where they were. Including jump on the disco bandwagon. The results were disastrous. Before long, disco was becoming something of a joke. This lead to disco’s death.
Disco died a slow lingering death. This was no mercy killing. In just under a year, the Disco Sucks campaign succeeded in killing disco. Disco went from hero to zero in the space of a year. 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 died.
Following Disco Derby Night, disco’s popularity plunged. Disco artists were dropped from labels, disco labels folded and no further 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 is 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. Replacing them would be sequencers, synths and drum machines, which during the last couple of years, had become much cheaper. With disco dead, it looked like we’d seen the last of the disco orchestra. However, that proved not be the case.
During the nineties and noughties, nostalgic producers decided to bring back the disco orchestra. Rather than concentrate on the music of the future, they were fixated by the music of the past. Essentially, this was the equivalent of vanity publishing. These albums never sold in huge amounts. No wonder. Music had moved on. The problem was, these producers hadn’t. Just like many remixers, they were lost in the past with their musical memories. Since then, the disco orchestra has almost disappeared. Replacing it was new and innovative music. However, recently, the disco orchestra has decided to make a comeback.
Recently, I read that The Far Out Monster Orchestra were about to release their eponymous debut album on Far Out Recordings. This was a project that began six years ago, in 2008. Inspired by the music coming out of Philly in the seventies, The Far Out Monster Orchestra was founded. Its raison d’être was to combine disco, soul, funk and Brazilian music.
To do this, The Far Out Monster Orchestra divided their time recording in Brazil and England. It’s not been easy though. Three producers and three engineers played their part in the recording of The Far Out Monster Orchestra. Joining them, were a cast of Brazilian and English musicians. Among them were some familiar names.
This includes Jose Roberto Bertrami, one of the driving forces behind the project. Sadly, he died it 2012. He cowrote seven of the twelve tracks and played Fender Rhodes, Hammond organ, Mini Moog, piano, vocoder and synths. Other familiar faces included Azymuth’s Jose Roberto Bertrami and Alex Malheiros plus Arthur Verocai and Paulinho Black from the original Banda Black Rio. They were joined by vocalists Mia Mendes and Marcina Arnold. Giving The Far Out Monster Orchestra its authentic sound was a full string and horn section. It was arranged by Arthur Verocai. Giving the track its pulsating heartbeat was a rhythm featuring some top musicians.
Providing The Far Out Monster Orchestra’s heartbeat were drummers Paulinho Black and Flavio Santos, Alex Malheiros played bass and guitar while Jose Carlos and Fabio Lima play electric guitar. Augmenting the rhythm section is percussionists Zero and Rafael Rocha. DJ Kuku seems to have the strangest role in The Far Out Monster Orchestra. He takes charge of scratching. Hopefully, we won’t make many appearances. Especially as The Far Out Monster Orchestra are trying to replicate the sound of a seventies disco orchestra.
To do this, The Far Out Monster Orchestra have used vintage equipment. Producers Joe Davis, David Brinkworth and Daniel Maunick decided to use an SSL desk, Neve compressors and and two inch Ampex tape. The idea was to replicate sound and feel of the seventies disco orchestra as The Far Out Monster Orchestra combined disco, soul, and Brazilian music on their eponymous debut album. However, it takes more than vintage equipment to create a modern day disco classic. Have The Far Out Monster Orchestra managed this?
Mystery opens The Far Out Monster Disco Orchestra. Drums provide the heartbeat, and cymbals crash, before a funky guitar sets the scene for swathes of sweeping, dancing strings. They dance with delight. All that’s needed is a disco diva and it’s a case of back to the seventies. In she struts, unleashing a sassy, feisty vocal powerhouse. Meanwhile, strings sweep and shimmer and the rhythm section up the funk factor, Urgent harmonies drift in and out, accompanying the strutting, diva-esque vocal. Sometimes, the song reminds of Masters At Work’s Nuyorican Soul project. Just like Nuyorican Soul, this track is funky, soulful and dance-floor friendly. It also sets the tone for what’s to come.
The introduction to Don’t Cha Know He’s Alright is reminiscent of the previous track. Thunderous drums set the scene for a funky bass. Then the arrangement unfolds. Swathes of strings sweep in. They’re joined by a Fender Rhodes and the dreaded vocoder. It’s not overused. Instead, it exits stage left, leaving a soulful, seductive vocal to take centre-stage. However, when it drops out the vocoder returns. The Far Out Monster Disco Orchestra seem to draw inspiration from Daft Punk on this genre-melting track. Everything from disco, jazz, funk, soul and Nu-Disco combine to create a track that’s good, but not great.
Freefall sees The Far Out Monster Disco Orchestra draw inspiration from The Ritchie Family. As the the arrangement bursts into life, bubbling synths, dancing strings and a pounding, funky rhythm section join forces. The vocal is carried above the arrangement. It’s delivered with urgency, a mixture of power, passion and sass. When the vocal drops out, the rest of The Far Out Monster Disco Orchestra get their opportunity to shine. They fuse disco, funk and soul to create a track that’s a reminder of the disco orchestra’s heyday.
Straight away, The Last Carnival has real Latin sound. Braying horns, a myriad of percussion and keyboards join the rhythm section in driving the arrangement along. Harmonies drift in and out, adding a joyous sound. Sometimes, the track reminds me of The Ritchie Family’s album Brazil. That’s down to female vocalists Mia Mendes and Marcina Arnold. They scat and coo their way through the track. Later, a jazz-tinged Fender Rhodes replaces their vocal. By then, the arrangement veers between funky, to futuristic and soulful. One thing that’s omnipresent is the Latin influence. Especially when The Far Out Monster Disco Orchestra jam. They enjoy the opportunity to showcase their talents during thus joyous slice of musical sunshine.
As the rhythm section provide the heartbeat to Keep Believing (Can You Feel It), strings sweep and swirl. Soon, a sweet, hopeful vocal enters. It’s joined by stabs of horns while the mellow sound of the Fender Rhodes adds a melodic wistful sound. By then, The Far Out Monster Disco Orchestra are in full flight. It’s a glorious sound. Then the track almost grinds to a halt. All momentum is lost. After that, the vocal becomes a soliloquy, and the arrangement becomes ethereal and floaty. As the tempo grows and the arrangement rebuilds, the track never quite recovers. Just like disco, it’s gone from hero to zero, and never quite recovered. This track is a real lost opportunity. The idea to reduce the tempo was good, but done too abruptly.
Futuristic and funky describes the introduction to A Disco Supreme. Soon, the arrangement unfolds and reveals its many surprises. Strings sweep and swirl, horns growl and synths bubble. The rhythm section provide an uber funky, futuristic backdrop. Boogie, disco and funk are combined. So is soul. It comes courtesy of a feisty vocal. It’s accompanied by swathes of dancing strings, bubbling synths, sweeping harmonies and the funkiest of rhythm sections. They play their part in a genre-melting, futuristic and dramatic track.
A haunting vocal opens Dead Dance. Stabs of keyboards join the rhythm section in creating an understated and hypnotic arrangement. Before long, The Far Out Monster Disco Orchestra are combining jazz and funk. Keyboards play an important role in this noodling track. So does a heartfelt female vocal. It makes a brief appearance, before disappearing. When it reappears, it breaks up the monotony. Part of the problem is the track is seven minutes long. That’s way too long. As a result, this is one of the most disappointing tracks on The Far Out Monster Disco Orchestra.
Drums pound, synths bubble and this Vendetta begins. Percussion joins cinematic strings and synths as the arrangement prowls along. It has a dark, dramatic sound. Strings add to the eerie sound. Before long, the arrangement takes on a Latin sound. That’s until the bass, guitars and bubbling synths join forces with sweeping strings in driving this arrangement along. At a breakdown, an acoustic guitar and strings provide respite for The Far Out Monster Disco Orchestra on what’s best described as dramatic cinematic disco with a Latin twist. This proves a fitting way to close The Far Out Monster Disco Orchestra.
So that’s the story of The Far Out Monster Disco Orchestra, where the disco orchestra makes its comeback. Of the eight tracks on The Far Out Monster Disco Orchestra, three disappoint. That’s nearly half the album. They’re Don’t Cha Know He’s Alright, Keep Believing (Can You Feel It) and Dead Dance. Don’t Cha Know He’s Alright is a genre-melting tracks. From the opening bars, it reminds me of the opening track Mystery. After that, disco, jazz, funk, soul and Nu-Disco combine. There’s even a nod to Daft Punk via the vocoder. However, somewhere along the way The Far Out Monster Disco Orchestra seem to get lost. The result is a track that’s good, but not great. Keep Believing (Can You Feel It) could’ve and should’ve been the best track on The Far Out Monster Disco Orchestra. Sadly, when the tempo drops midway through the track, it’s much too abrupt. Try as they may, The Far Out Monster Disco Orchestra never recapture the track’s earlier heights. Dead Dance is a fusion of jazz and funk. It’s a track that doesn’t go anywhere. Again, The Far Out Monster Disco Orchestra loose their way and they noodle their way through Dead Dance. Maybe if the track hadn’t been as long, it would’ve worked better? The other five tracks on The Far Out Monster Disco Orchestra are much better.
That’s definitely the case. The Far Out Monster Disco Orchestra showcase their musical prowess. This is what I’d hoped to hear throughout the album. The Far Out Monster Disco Orchestra create music that’s funky, soulful and dance-floor friendly. There’s also a Latin influence on The Far Out Monster Disco Orchestra. These five tracks are best described as cinematic, dramatic, futuristic and joyous. Musical genres melt into one. Lush strings dance, horns growl, synths bubble and the rhythm section create a pulsating heartbeat. Elements of disco, electronica, funk, jazz, Latin, Nu-Disco and soul combine seamlessly. Given the quality of these five tracks, you wonder why The Far Out Monster Disco Orchestra couldn’t have been more consistent? If they had, The Far Out Monster Disco Orchestra would’ve been the perfect homage to the disco orchestra.
Sadly, that’s not the case. The Far Out Monster Disco Orchestra is a good, but not great album. As I said earlier, it takes more than vintage equipment to create a modern day disco classic. You can have the best equipment, musicians and vocalists and still create a disappointing album. The musicians and singers are only as good as the songs they’re given to play and sing. On a couple of occasions, The Far Out Monster Disco Orchestra were let down by the material they were given. Then on Keep Believing (Can You Feel It), if it weren’t for such an abrupt change of tempo, the track would be a modern day dance classic. There’s the genesis of a great track there. The same can be said about The Far Out Monster Disco Orchestra, which isn’t quite finished.
Having said earlier that Vendetta marks the end of The Far Out Monster Disco Orchestra, that’s not quite the case. There’s another four tracks. They’re instrumental versions. This includes instrumentals of Freefall, Don’t Cha Know He’s Alright, Freefall and Keep Believing (Can You Feel It). Just like all bonus tracks they’ll divide opinion.
For some people, they’ll be a welcome inclusion. They allow you to hear another side of the tracks. Without the vocal, other parts of the track grab your attention. Sometimes, you hear things you’ve missed. However, for other people the instrumentals will be seen as filler. They’ll be perceived as makeweights designed to pad out The Far Out Monster Disco Orchestra. For me, the inclusion of the remixes on disc one spoiled the flow of The Far Out Monster Disco Orchestra. If they had to be included, the instrumentals belonged on disc two.
Disc two sees eight remixers remix a tracks on The Far Out Monster Disco Orchestra. Each of the remixers, including John Morales, Theo Parrish, Marcellus Pitman and Jose Carretas reinvent the tracks. They attempt to breath new life and meaning into a track. The three tracks that disappointed on the album are given a much needed makeover. However, in these cases, the remixer’s hands are tied by the stems they’re given. As a result, the remixes vary in quality. The best remix comes from John Morales. His M&M Main Mix of Mystery is the best remix on disc two of The Far Out Monster Disco Orchestra. John’s remix and maybe one other remix would’ve sufficed?
The Far Out Monster Disco Orchestra is a case of what might have been. It’s been six years in the making, but is still three tracks short of being modern day dance classic. Maybe The Far Out Monster Disco Orchestra has been released too soon? Possibly, releasing The Far Out Monster Disco Orchestra to coincide with the World Cup was too good a marketing opportunity? If that’s the case that’s quite sad. Marketing opportunities shouldn’t come into it. Instead, it should all be about the music.
In the case of The Far Out Monster Disco Orchestra, they should’ve drawn inspiration from the disco orchestras of the seventies. They never released sprawling double albums. Instead, albums featured eight to ten tracks. The emphasis was on quality not quantity. As a result, listeners heard only artist’s best work. Another advantage was that the listener doesn’t suffer from over-saturation. Nowadays, that’s often the case, with modern albums featuring upwards of fifteen tracks. That’s way too many. The Far Out Monster Disco Orchestra would do well to remember this. Maybe when The Far Out Monster Disco Orchestra release their sophomore album, it’ll be a homage to heyday of the disco orchestra, rather than a case of what might have been.
THE FAR OUT MONSTER DISCO ORCHESTRA-THE FAR OUT MONSTER DISCO ORCHESTRA.
HAROLD LAND-CHOMA (BURN).
HAROLD LAND-CHOMA (BURN).
Musically, Harold Land was a late developer. Growing up in Houston, Harold never showed any interest in learning to play an instrument. Then in 1944, when he was sixteen, Harold heard Coleman Hawkins recording of Body and Soul. This was a life-changing experience. After this, Harold decided to learn how to play the tenor saxophone. Five years later, Harold Land made his professional debut on Savoy Records.
This was the start of a career that spanned six decades. During his career, Harold Land worked with the great and good of jazz. This included everyone from Wes Montgomery, Bobby Hutcherson, Clifford Brown, Max Roach, Ella Fitzgerald, Bill Evans, Chico Hamilton, Donald Byrd and Curtis Counce. Anyone looking for a top tenor saxophonist had Harold Land’s phone number. However, there was more to Harold Land than collaborator and sideman. He also enjoyed a successful solo career.
During his solo career, Harold Land only released a series of groundbreaking solo albums. This included Choma (Burn), which was released in 1971, on the Mainstream label. It showcased Harold Land’s legendary acoustic combo. They made their name in the late-sixties. By 1971, when Choma (Burn) was released, Harold Land’s combo were at the peak of their powers. That’s apparent on Choma (Burn), which was recently rereleased by Boplicity, a subsidiary of Ace Records. However, before I tell you about Choma (Burn), I’ll tell you about Harold’s career.
Harold Land was born in Houston, in December 1928. When he was five, Harold’s family moved to San Diego. That’s where Harold grew up and went to school. It’s also where Harold first heard Coleman Hawkins recording of Body and Soul in 1944. This was a life-changing experience.
After this, Harold decided to learn how to play the tenor saxophone. Harold had left it late to learn the tenor saxophone. However, he dedicated himself to mastering the tenor saxophone. Remarkably, five years later, in 1949, Harold made his recording debut.
This was for a session for Savoy Records. For the next five years, Harold Land spent time doing what amounted to a musical apprenticeship. He played gigs and recording sessions whenever he could. All the time, he was honing his sound and style. By 1954, Harold was ready to move to Los Angeles.
Now based in L.A, Harold struggled for work. Then his luck changed. Clifford Brown asked Harold to join a band he was forming with drummer Max Roach. This was the break he needed. Between 1954 and 1955, Harold played on five albums featuring Clifford Brown and Max Roach. They were the 1954 live album Jam Session. Late in 1954, Harold played on Brown and Roach Incorporated and Daahoud. Then in 1955, Harold played on Study In Brown. This was his swan-song for Clifford Brown and Max Roach’s band. After this, Harold joined Curtis Counce’s band.
Harold’s debut as a member of Curtis Counce’s band was 1956s You Get More Bounce With Curtis Counce. Landslide followed in 1956, with Sonority following in 1957. A year later, Exploring The Future was released on Dooto in 1958. Harold’s last album was 1960s Carl’s Blues. Away from Curtis Counce’s band, Harold was in demand as a session player.
This included working with Elmo Hope on the 1957 album The Elmo Hope Quintet featuring Harold Land. Then in 1958, Harold played on Hampton Hawkes’ album For Real. However, by then, Harold’s solo career had began.
Grooveyard was Harold’s debut album. It was released in 1958. His sophomore album Harold In The Land Of Jazz, released later in 1958. Then in 1959, Harold released the first in a series of collaborations.
This was The Fox. Released in 1959, it featured Elmo Hope, DuPree Bolton, Herbie Lewis and Frank Butler. The Fox was an album of hard bop which was released to critical acclaim. With every release, Harold’s reputation was growing.
As a new decade dawned, Harold Land released two albums. West Coast Blues and Eastward Ho! Harorld Land in New York were released in 1960. Both albums built on the three albums Harold had released during the late-fifties. As a result, Harold Land was seen as one of jazz’s up-and-coming artists.
1961 saw Harold asked to collaborate with Red Mitchell, for an album that would be released on Atlantic Records. For Harold, this was the opportunity to be heard by a wider audience. So he agreed to the collaboration, and Hear Ye! Harold Land Quintet with Red Mitchell was released in 1961. Not long after Hear Ye! Harold Land Quintet with Red Mitchell was released to widespread critical acclaim, Harold was asked to join Gerald Wilson’s Orchestra.
Harold jumped at the opportunity. Figuring he wouldn’t be asked twice, he joined Gerald Wilson’s Orchestra in 1961. He spent the next six years touring and recording with Gerald Wilson’s Orchestra. Then in 1967, Harold left Gerald Wilson’s Orchestra.
That was when Harold met Bobby Hutcherson. Harold was thirteen years Bobby’s senior. Bobby was a rising star. He was seen as one of a small coterie of musicians who were the future of jazz. This included Jackie McLean, Eric Dolphy, Tony Williams, Graham Moncur III. These musicians were innovators, who were determined to push jazz in a new direction. Harold would play on all of Bobby’s albums for Blue Note. Before that, Harold and Bobby collaborated on an album for Cadet, a subsidiary of Chess Records. The Peace-Maker was released in 1967, and showcased the Hutcherson-Land partnership. This wouldn’t be that last time this partnership was heard.
It was heard on Bobby Hutcherson’s 1968 album Total Eclipse. Harold played tenor saxophone on what was hailed an inventive album. The following year, Harold was signed to Blue Note Records. Harold released Take Aim in 1969. It’s come to be regarded as a Blue Note classic. On Take Aim, Bobby Hutcherson was one of Harold’s band. Harold returned the favor on the two albums Bobby Bobby released in 1969, Blow Up and Now! That year, Harold also played on Ella Fitzgerald’s album Things Ain’t What They Used to Be. Harold Land was rubbing shoulders with the great and good of jazz.
That continued into the seventies. Harold played on Bobby Hutcherson’s next two albums. San Francisco was released in 1970 and Head On in 1971. Donald Byrd also released Ethiopian Knights in 1971. Harold and Bobby were part of a band featuring some of the best jazz musicians. This included Joe Sample and Wilson Felder. Harold Land was, it seemed, the go-to-guy for anyone looking for a tenor saxophonist. This would be the case for much of the seventies.
During this period, Harold Land was splitting his time between session work and his solo career. He’d signed Bob Shad’s Mainstream label and released A New Shade of Blue in 1971. Later in 1971, Harold released the followup to A New Shade of Blue, which was Choma (Burn).
Choma (Burn) features just four lengthy tracks. Three of them, Choma (Burn), Black Caucus and Up and Down were written by Harold. Bill Henderson wrote Our Home. These four tracks were recorded by a band featuring some top jazz musicians.
For the recording of Choma (Burn), the rhythm section included drummers Leon Ndugu Chancler and Woody Theus and bassist Reggie Johnson. Bill Henderson played piano, and Bobby Hutcherson vibes and marimba. Harold Land played piano and tenor saxophone. Producing Choma (Burn), was Bob Shad, who owned the Mainstream label. Choma (Burn) was released later in 1971.
On the release of Choma (Burn) in 1971, the album wasn’t a commercial success. Despite its undoubted quality, Choma (Burn) failed to chart. Choma (Burn) seemed to pass both critics and music lovers by. Considering Choma (Burn) is one of the finest albums Harold Land released since the late-fifties, the album deserved a better fate. I’ll now tell you why.
Opening Choma (Burn) is the title-track. It has a melancholy, understated sound. This comes courtesy of Harold’s flute and Bobby’s vibes. After that, Reggie Johnson’s bass powers the arrangement along. Thunderous drums, stabs of piano, franatic flute and marimba combine. The arrangement charges along, powered by the rhythm section. Everyone else is swept along. By then, the track is heading in the direction of free jazz. Each of the band enjoy their moment in the sun, when the solos arrive. Bill Henderson unleashes a spellbinding solo. He’s matched every step of the way by the drums. It’s as if they’re trying to outdo each other. They drive each other to greater heights, combining drama with power to create a captivating track.
Our Home has a much more thoughtful sound. That’s down to Harold’s tenor saxophone. It takes centre-stage. The rhythm section provide the heartbeat, while Bill Henderson’s piano matches Harold every step of the way. He stabs at his piano while Harold unleashes a blistering, rasping solo. It’s a combination of power and control. Meanwhile, the rest of the band lock into the tightest of grooves. Seamlessly, they fuse funk and jazz. Importantly, they leave space, allowing the arrangement to breath. Later, Bill Henderson’s piano ensures things get funky, while Bobby’s vibes add a contrast to the drama of the rhythm section. The result is an innovative fusion which hinted at the direction jazz was heading during the seventies.
Harold unleashes a blistering tenor saxophone solo on the fantastically funky Black Caucus. Drawing inspiration from Harold, the rest of the band provide a funky, cinematic backdrop. Drums try to match Harold, as he unleashes a spellbinding solo. It’s a tantalising taste of what Harold Land was capable of. He blows his saxophone as if his very life depends upon it. The rest of the band raise their game. Thunderous drums, a funky bass and Bobby Hutcherson’s vibes combines with Bill Henderson’s electric piano. It’s as if they’re determined to match Harold’s virtuoso performance. They don’t let him down on this genre-hopping track. Sometimes, the track heads in the direction of free jazz. Other times, it veers between funk and jazz. It veers between cinematic, dramatic and joyous, and is best described as a lost jazz Magnus Opus.
A lone sultry sounding tenor saxophone Up and Down closes Choma (Burn). It’s soon joined by a melancholy electric piano. Then, before long, it’s all change. The drums threaten to drive the arrangement along. They’re only teasing. Instead, the bass powers the arrangement along. Joining in the fun are the drums. They help propel the swinging arrangement along. Despite that, it’s Harold’s growling saxophone steals the show. He unleashes another spellbinding solo. Hardly pausing for breath, his saxophone soars above the arrangement. Then when he takes a break, the rest of the band get their chance to shine. This includes Bill Henderson on electric piano and Bobby Hutcherson on vibes. They try to match the quality of Harold’s solos. So, do the rhythm section. However, it’s close but no cigar. Harold steals the show. Later on, the arrangement takes on an understated, slinky late-night sound, before everyone kicks loose one more time, ensuring Choma (Burn) closes on a high.
When Harold Land recorded Choma (Burn), it was twenty-two years since he made his recording debut. That was in 1949, for Savoy. Since then, Harold had constantly sought to reinvent his music and stay relevant. Harold had watched as jazz constantly evolved.
When Harold Land’s career began, the swing era was all but over. Bebop was about to become the most popular musical genre. Then it was all change. The West Coast sound became where it was at. Suddenly, everyone wanted to go to the Cool School. It surpassed bebop and hard bop in popularity. Harold Land survived all this and more. His career started in 1949 and he made his name in the second half of the fifties. By 1961, he’d established a reputation as a pioneering musician. That’s why he was asked to join Gerald Wilson’s Orchestra. Then when he left Gerald Wilson’s Orchestra in 1967, he befriended Bobby Hutcherson.
Bobby and Harold become good friends and enjoyed a success. For the next few years, they played on each other’s albums. They also played on other people’s albums. This includes Donald Byrd’s 1971 album Ethiopian Nights. However, by 1971, their partnership was about to end. Choma (Burn) was the last album they recorded together. They certainly went out on a high.
Although Choma (Burn) features just four tracks, they ooze quality. Harold Land and his all-star band burn their way through a quartet of tracks. They pull out the stops, combining elements of free jazz, funk, fusion and jazz. The music on Choma (Burn) is innovative and inventive. It also hints at the direction music was about to take. As the seventies unfolded, fusion grew in popularity. Jazz and funk melted into one. This would provide the soundtrack to part of the seventies. Sadly, Harold Land wasn’t one of the artists doing this. After Choma (Burn), which was recently rereleased by Boplicity, a subsidiary of Ace Records, Harold and Bobby Hutcherson went their separate ways. He only released one more album for Mainstream, which maybe, was the wrong label for Harold?
If Harold Land had been signed to a major label, his music might have been heard by a wider audience? Who knows what heights Harold Land might have reached? Maybe, Harold Land would’ve enjoyed the critical acclaim and commercial success his music deserved. Sadly, that never happened. Instead, Harold only released a few more albums. His last great album was Choma (Burn), which features a fusion of groundbreaking, innovative music from one of the most underrated jazz musicians of his generation, Harold Land.
HAROLD LAND-CHOMA (BURN).
DJ VADIM-DUBCATCHER.
DJ VADIM-DUBCATCHER.
For Dubcatcher, the followup to DJ Vadim’s critically acclaimed tenth album, Don’t Be Scared, he dawns the role of his alter ego Dubcatcher. There’s a reason for this. Dubcatcher isn’t another hip hop album. Instead, Dubcatcher is album of dancehall reggae. This isn’t DJ Vadim’s first reggae album. No. He’s previously released a reggae album. However, after a string of critically acclaimed hip hop albums, DJ Vadim felt the time was right to change direction. This just happened to coincide with a special anniversary.
DJ Vadim’s career began twenty years ago, when DJ Vadim founded his own record Jazz Fudge in 1994. A year later, DJ Vadim released his debut album Headz Ain’t Ready in 1995. Since then, critical acclaim and commercial success has come DJ Vadim’s way. He’s now a globetrotting DJ whose about to release his eleventh album Dubcatcher, which will be released by BBE Music on 9th June 2014. Dubcatcher however, is very different to Don’t Be Scared. It sees DJ Vadim turn his back on his beloved hip hop in favour of dancehall reggae on Dubctacher. This is just the latest of numerous twists and turns in the career of DJ Vadim.
2014 marks the twentieth anniversary of the first time DJ Vadim spun the wheels of steel in public. Since then, DJ Vadim has played across the globe, including at some of the most prestigious venues and events. This includes the legendary Glastonbury Festival. He’s also played in front of forty-thousand people at the Moscow Street Ball. Then there’s appearances at prestigious festivals like Sonar, Big Chill, Fuji Rock and the Notting Hill Carnival. These are just a few of the 2,500 events DJ Vadim has played at during his twenty year journey entertaining and educating dancers worldwide. However, DJ-ing is just one string to DJ Vadim’s bow.
After founding his own record company Jazz Fudge in 1994, DJ Vadim released his debut album Headz Ain’t Ready in 1995. That was the year DJ Vadim signed to Ninja Tunes, who he released four albums for between 1996 and 2002.
Having signed to Ninja Tunes in 1995, DJ Vadim released four albums between 1996 and 2002. These albums are referred to as the U.S.S.R. quartet. The U.S.S.R. quartet established DJ Vadim’s reputation as a innovative DJ, who was constantly pushing the musical boundaries and determined to reinvent his music. His Ninja Tunes’ debut was 1996s U.S.S.R. Repertoire (The Theory of Verticality). Two years later, U.S.S.R. Reconstruction (Theories Explained) followed in 1998. Then in 1999, DJ Vadim released U.S.S.R. Life From the Other Side. After U.S.S.R. Life From the Other Side, another three years passed before DJ Vadim released another album.
By then, DJ Vadim was one of the biggest names in hip hop. He was constantly crisscrossing the globe DJ-ing. DJ Vadim was determined to spread the hip hop gospel. During this three year period, DJ Vadim didn’t turn his back on production. He released several singles. This included 2000s Your Revolution, and then Bang Y2 and Up To Ja in 2002. Later in 2002, DJ Vadim released the final instalment in the U.S.S.R. quartet U.S.S.R. The Art of Listening. This brought to an end what’s remembered as a groundbreaking quartet of albums. However, having released four albums in six years for Ninja Tunes, it would be another five years before DJ Vadim released another album.
During that period, DJ Vadim was busier than ever, producing and DJ-ings. He collaborated with numerous artists, including The Herbaliser, Fat Freddy’s Drop and The Super Furry Artists. After working with other artists, the time came for DJ Vadim to release his next solo album. So DJ Vadim signed to BBE Music and would release his next album in 2007, The Soundcatcher, when sadly, tragedy entered his life.
Five years after he released U.S.S.R. The Art of Listening, DJ Vadim released his first album for his new label BBE Music in 2007. This was The Soundcatcher. It was return to form from DJ Vadim. Like a conquering hero, he released The Soundcatcher Extras following later in 2007. Then tragedy struck for DJ Vadim in 2007. He was diagnosed with a rare form of eye cancer, Ocular Melanoma.
Thankfully, DJ Vadim recovered from Ocular Melanoma. Two years later, in 2009, DJ Vadim made his comeback. He released U Can’t Lurn Imaginashun on BBE Music. It was a glimpse of what hip hop had been missing for the past two years.Then two years later, after further collaborations, plenty of globe-trotting DJ-ing trips, came DJ Vadim’s ninth album.
This was 2011s DJ Vadim Presents The Electric’s Life Is Moving. Just like U Can’t Lurn Imaginashun. It was the third album DJ Vadim released on BBE Music. DJ Vadim Presents The Electric’s Life Is Moving was a fitting followup to U Can’t Lurn Imaginashun. Critics loved the album. So did hip hoppers everywhere. It was vintage hip hop from a hip hop veteran. A year later, DJ Vadim made a welcome return.
When DJ Vadim returned in 2012, he came bearing gifts. This was his tenth studio album Don’t Be Scared. It was released to widespread critical acclaim. Without doubt, Don’t Be Scared was one of the best hip hop albums of 2012. DJ Vadim had set the bar high for his eleventh album. However, DJ Vadim has bowled a curveball.
The followup to Don’t Be Scared isn’t a hip hop album. No. Dubcatcher is an album of dancehall reggae. This being DJ Vadim though, means Dubcatcher isn’t just an album of dancehall reggae. There’s everything from bass culture, boogie, boom bap rap, roots music, soul and UK 2 step soul. Essentially, Dubcatcher is a genre-hopping album where DJ Vadim embarks upon another musical experiment. Helping him along the way, are an extensive cast guest artists.
That’s no exaggeration. On Dubcatcher each of the sixteen tracks on Dubcatcher see DJ Vadim joined by a guest artist. This includes Rio Hemopo, Sabira Jade, Demolition Man, Govenor Tiggy, YT, Dynamite MC, Katrina Blackstone, Jimmy Screech, Jamalski, Karen B and Gappy Ranks. Each of these guest artists play their part in what’s akin to a magical musical mystery tour.
Dubcatcher is like a musical tapestry. DJ Vadim and his guest artists combine musical genres and influences. It’s a musical journey through the music of the last forty years. As a result, the music on Dubcatcher’s playful, joyous and dance-floor friendly. The music is also oozes social comment. This is music with a social conscience. It’s also dubby, and sometimes, takes on a sunshine sound. Dubcatcher is DJ Vadim at his best, producing groundbreaking, genre-melting music. You’ll realise that, when I tell you about Dubcatcher.
Opening Dubcatcher is Hope, where a dubby toaster sets the scene for growling horns, eighties drums and the unmistakable sound of a Hammond organ. That’s the signal for the arrangement to skank along. Sirens howl, before Rio Hemopo delivers a tender, hopeful vocal. He’s accompanied by Sabira Jade. She’s the perfect foil for Rio’s lead vocal. Mostly, her vocal is understated, but later, it soars defiantly. Later, drums crack, becoming dubby, while horns and the Hammond organ play their part in this delicious, and hopeful slice of dancehall reggae. Thankfully, this isn’t the last we’ve heard of Rio Hemopo and Sabira Jade. They make a welcome return on Rise. It’s an inspirational slice of soulful, sunshine sounding music.
Demolition Man features on three of the tracks on Dubcatcher. The first is If Life Was A Thing. Here, Daddy Vad throws another curveball. Braying horns are joined by hypnotic drums. Briefly, they’re drenched in futuristic, sci-fi effects. That’s the signal for Demolition Man to unleash an impassioned rap. The lyrics are full of social comment, including: “the rich are getting richer, the poor are getting poorer.” Angrily, Demolition Man spits out the lyrics. Meanwhile, the dubby arrangement reverberates into the distance, before growing in power and drama. Lyrical Soldier sees the return of Demolition Man. Again, he delivers a spellbinding rap at breakneck speed. Frustration and anger fill his vocal as he breathes life and meaning into the lyrics. Badman is another genre-melting tracks. Everything from electronica, drum ’n’ bass, hip hop and reggae melts into one as Demolition Man unleashes another vocal tour de force.
Consignment marks the entrance of Governor Tiggy. Against a jaunty, bouncy understated arrangement, Governor Tiggy delivers lyrics full of social comment. Again, the theme is poverty and inequality. A thunderous bass plays a crucial role in the skanking arrangement. Despite that, it Governor Tiggy’s vocal that steals the show. He delivers the lyrics with power and passion as if affronted at the equality and injustice he’s singing about. This isn’t the last we’ve heard of Governor Tiggy. No. We hear a different side to him on the irresistibly catchy Sweet Like A Lolly, and the hook-laden, dance-floor friendly Ring My Bell.
Subjects like politics, poverty and war were the type of subjects that featured in the music of the pioneers of dancehall. This is the case with Nah Join. It features more of DJ Vadim’s politically aware lyrics. They deal with the issue of the Afghan war. Here, the lyrics are sung from the perspective of someone refusing to fight in the war. YT unleashes a vocal that’s equal parts anger, frustration and despair. The bass heavy rhythm section are joined by stabs of synths and sci-fi effects. They’re the perfect backdrop for YT’s impassioned plea. Especially when a despairing TY sings: “my heroes are peacemakers.” That’s not the last we’ve heard of YT.
He returns on Give It Up, where he’s joined by Katrina Blackstone. Against a futuristic, dubby backdrop YT provides the perfect foil for the soulful delights of Katrina Blackstone. Together, they’re responsible for one of the real highlights of Dubcatcher. That’s not the last we’ve heard from Katrina Blackstone. She joins forces with Serocee on Magnetic. Serocee and grizzled horns set the scene for a sassy, sultry vocal from Katrina. Meanwhile, the rhythm section, keyboards and harmonies accompany a soulful, sassy Katrina as she delivers a coquettish vocal. Just like on Give It Up, it’s obvious that Katrina Blackstone is a seriously talented singer.
Originate features Dynamite MC. It’s dancehall, albeit with a modern makeover. This dancehall track has a dubby, futuristic sound. Dynamite MC unleashes a vocal that rivals Demolition Man for speed, power and passion. Later, he sings call and response, before the arrangement becomes dubby and later, mellow and melodic.
Jimmy Screech takes charge of the vocal on Action. His vocal is slow, soulful and needy. Rasping horns and a shuffling rhythm section accompany him. Before long it’s all chance. His vocal become a rap, before returning to its earlier slow and soulful sound. This combination results in another genre-melting track. The same can be said other three tracks on Dubcatcher.
Raggamuffin Life. It’s a fusion of dancehall, electronica and funk. Pounding drums, a thunderous bass and stabs of horns accompany Jamalski’s vocal. The result is a track that’s funky, soulful and dance-floor friendly. Karen B is responsible for a sultry vocal on Pele. It’s a captivating fusion of musical genres and influences. Everything from dancehall, drum ’n’ bass, electronica and funk are combined with opera. It’s a truly innovative fusion that DJ Vadim specialises In. So is Carpenter, which features a heartfelt, spiritual vocal from Gappy Ranks. Quite simply, it’s captivating. Here dancehall is combined with Afro-beat, drum ’n’ bass, dub and electronica. The combination of a genre-melting arrangement and Gappy Ranks’ vocal ensures Dubcatcher closes on an irresistible high.
So that’s the story of DJ Vadim’s eleventh album Dubcatcher. Dubcatcher is the followup to 2012s Don’t Be Scared. It was released to critical acclaim, and hailed one of DJ Vadim’s finest albums. For DJ Vadim, this presented a problem. How do you surpass such a critically acclaimed album? DJ Vadim had a cunning plan.
Rather than release another hip hop album, DJ Vadim decided to embark upon another of his musical experiments. So for Dubcatcher, DJ Vadim turned his back on hip hop. Instead, he decided to record an album of dancehall reggae. To do this, he needed some help.
Helping him along the way, are an extensive cast guest artists. Some of these guest artists you might not have heard of. However, that might be about to change. No wonder. Some of the guest artists are seriously talented. This includes Rio Hemopo, Sabira Jade, Katrina Blackstone, Jimmy Screech and Gappy Ranks. They play a huge part in the sound and success of Dubcatcher, where DJ Vadim returns to dancehall reggae.
This being DJ Vadim it’s not just dancehall reggae. Instead, Dubcatcher is a groundbreaking album of genre-melting music. Dubcatcher is best described as a musical tapestry. DJ Vadim combines everything from Afro-beat to bass culture, boogie, boom bap rap plus drum ’n’ bass, dub, electronica, funk, roots music, soul and UK 2 step soul. Quite simply, Dubcatcher is a myriad of musical genres and influences. During the sixteen tracks on Dubcatcher, DJ Vadim and his special guests take you on the equivalent of a musical magical mystery tour.
During Dubcatcher, DJ Vadim’s latest magical mystery tour through musical genres, he springs a series of surprises. DJ Vadim combines social comment with hooks. Staying true to dancehall’s roots, DJ Vadim isn’t afraid to tackle subjects like inequality, injustice, poverty and war. However, other tracks are hook-laden, joyous and dance-floor friendly. There are, you see, several sides to DJ Vadim’s music. They’re all present and correct on Dubcatcher, where DJ Vadim at his best, producing groundbreaking, genre-melting music.
Quite simply, Dubcatcher is a captivating, roller-coaster musical adventure. Just like on previous albums, DJ Vadim is forever the innovator. He’s forever reinventing his music, constantly crossing and combines musical genres. That’s what we’ve come to expect from DJ Vadim, one of the most innovative hip hop producers of his generation. However, there’s more to DJ Vadim than hip hop.
DJ Vadim shows this on Dubcatcher. It sees DJ Vadim make a welcome return to reggae. Dubcatcher is a modern dancehall album, where DJ Vadim, with a little help from his musical collaborators create a fitting followup to Don’t Be Scared. Dubcatcher which will be released by BBE Music on 9th June 2014 is an innovative and imaginative fusion of musical genres and influences. That’s what we’ve come to expect from DJ Vadim. He certainly hasn’t disappointed. Far from it. Dubcatcher is an innovative dancehall album for the 21st century. On Dubcatcher, DJ Vadim has succeeded in reinventing his music once again. Although Dubcatcher is very different from Don’t Be Scared, it has one thing in common, it oozes quality. That’s what we’ve come to expect from DJ Vadim, one of modern music’s most innovative producers. Proof of that is DJ Vadim’s eleventh album Dubcatcher, which is a fitting way for DJ Vadim to celebrate twenty years in music.
DJ VADIM-DUBCATCHER.
dereksmusicblog
dereksmusicblog 