MOD JAZZ, AND THEN SOME!
MOD JAZZ, AND THEN SOME!
It doesn’t seem like eighteen years since Kent Soul released the first instalment in the Mod Jazz series. However, that’s the case. 30th September 1996 was when Mod Jazz first hit the shops. Released to critical acclaim, Mod Jazz was a commercial success. Mod Jazz was music for attendees of the Cool School. Featuring twenty-five slices of gritty dance-floor friendly jazz and smokey soulful dancers, Mod Jazz was one of the best compilations of 1998. Since then, another eight instalments in the Mod Jazz series have been released. The latest instalment is Mod Jazz, and Then Some, which was recently released by Kent Soul, a subsidiary of Ace Records.
Mod Jazz, and Then Some! was released by Kent Soul on 2nd June 2014. It features twenty-four tracks. There’s contributions from The Pac-Keys, Shirley Scott, King Curtis, T.K.O, The Five Counts, Freddy Washington’s Band, B.B. King, Chuck Higgins, Trudy Pitts and Etta Jones. Compilers Ady Croasdell and Dean Rudland dug deep into the vaults of labels like Hollywood, Class, Prestige, Kent, Musicor, Tru-Sound, Ten Star, Brent, Atlas, High Tone, Hill and Temple. On Mod Jazz, and Then Some, classics sit side-by-see with familiar faces, hidden gems and rarities. There’s everything from blues, jazz, Latin, R&B, soul and soul jazz feature on Mod Jazz, and Then Some! All this means that Mod Jazz, and Then Some! is a welcome addition to the Mod Jazz series. You’ll realise why when I tell you about the highlights of Mod Jazz, and Then Some!
The Pac-Keys’ Dig In is my first choice from Mod Jazz, and Then Some! It was the B-Side to The Pac-Keys’ 1966 single Stone Fox. Released on Hollywood Record, it was written by Charles Axton, Johnny Keyes, Jimmy King and Ewan Roussell. It’s a mid-tempo fusion of jazz and funk that oozes quality. That’s no surprise. Two members of The Pac-Keys were experienced musicians. Johnny Keyes was a familiar face in the Memphis music scene. So was Charles Axton. He’d previously been a member of The Mar-Kays and The Packers. They’re responsible for what’s a real hidden gem.
Clarence Daniels and Obie Jessie cowrote Hard Working Girl. They released Hard Working Girl as a single on Affiliated in 1966. It’s a mellow, laid back slice of jazz. For far too long, it lay unloved in Affiliated’s vaults. Not any more. Mod Jazz, and Then Some! is the second compilation of 2014 Hard Working Girl features on. It also features on Tramp Records’ compilation Movements 6, which I recently reviewed.
Shirley Scott is the only artist to feature on Mod Jazz and the latest instalment, Mod Jazz, and Then Some! Her contribution to MoT.K.O The Fat Man Pt. 1d Jazz, and Then Some! is Sister Sadie Pt. 1. This is a track from her 1962 album Plays Horace Silver. It was released on Prestige, the label where Shirley established her reputation as one of the finest Hammond organ players of her generation. On Sister Sadie Pt. 1. Shirley unleashes a blistering performance on her beloved big burner.
Although Eddie “Blues Man” Kirkland was born in Jamaica, he established a reputation as one of the finest blues players of the sixties and seventies. He accompanied blues legends like John Lee Hooker, Muddy Waters and Honeyboy Edwards. Eddie also played alongside King Curtis and Otis Redding. His debut album was 1962s It’s The Blues Man! Released on Tru-Sound, one of the highlights of It’s The Blues Man! was Saturday Night Stomp. Bluesy with a jazzy hue, Saturday Night Stomp is a tantalising reminder of what Eddie “Blues Man” Kirkland, who died in 2011, was capable of.
The name Curtis Ousley might not mean anything to most music lovers. Mention King Curtis, and that’s a different matter. King Curtis enjoyed a successful career as a songwriter, session musician and producer. Then there’s King Curtis’ solo career. He’s best known for his 1967 classic Memphis Soul Stew. There’s more to King Curtis than Memphis Soul Stew. This includes Free For All, a track from his 1962 album It’s Party Time With King Curtis. Released on Tru-Sound, it’s blistering slice of R&B. King Curtis blows his saxophone like his very life depends upon it. A scorching solo on Free For All shows that It’s Party Time With King Curtis.
If you’re only going to release one single, make it one as good as The Five Counts’ Watermelon Walk. It was released in 1962, on the Brent label. Written by Lafayette Faucette and Steven Owens, it’s a moody, mid-tempo, R&B instrumental. Quite simply, it oozes quality. However, Watermelon Walk is a real rarity. That’s why nowadays, copies change hands for over $100.
Despite being eighty-nine, B.B. King is still going strong. Without doubt, B.B. is one of the biggest names in blues music. So was his cousin, Bukka White, who B.B. refers to as his mentor. Bukka taught B.B. well. He became one of the most prolific blues musicians. B.B. also helped popularise blues music. One of B.B’s best known singles was 1972s Don’t Get Around Much Anymore. On the B-Side was Poontwangie (a.k.a. 3 O’Clock Stomp). This wasn’t a new track. Originally, it been released in 1962 on Kent and is a stomping introduction to a blues legend.
Back in 1962, the little-known Bobby Jenkins And His Quartet covered Harry Belafonte’s Troubles. They released it on the Los Angeles based Vistone label. After this, Bobby Jenkins And His Quartet released several other singles on Vistone. However, their finest moment is their reworking of Troubles, a track most people associate with Harry Belafonte.
Comin’ Home Baby is a track that will be familiar to most people. No wonder. It’s a track that numerous artists have recorded. It was originally written by Benjamin Tucker. He was the bassist in The Dave Bailey Quintet. They recorded Comin’ Home Baby in 1961. Then when Herbie Mann covered the track, Bob Dorough added lyrics. After this, Mel Torne enjoyed a top forty hit with Comin’ Home Baby in 1962. Eric Kloss covered Comin’ Home Baby on his 1967 album First Class Kloss! Released on Prestige, his take on Comin’ Home Baby is best described as bright, airy and joyous. New life and meaning is added to a familiar classic.
Trudy Pitts covered Bill Carney’s Bucket Full Of Soul in 1968. It featured on Trudy Pitts and Mr. C’s A Bucketful Of Soul. Released on Prestige, it showcases Trudy Pitts’ prowess on the Hammond organ. Just like Shirley Scott, Philly born Trudy is one of the best Hammond organists of the sixties. One of her finest albums was A Bucketful Of Soul. She kicks loose and unleashes a series of spellbinding performances. One of her best performances is on Bucket Full Of Soul.
Frenchy and The Chessmen’s El Tacos is the track that closes Mod Jazz and Then Some! Released in 1964, on the Temple label, it was the B-Side to Beetle Bebop. Tucked away on the B-Side was the instrumental El Tacos. It’s a real find. An irresistible fusion of funk, jazz, pop, psychedelia and soul, El Tacos is a delicious musical find.
Although I’ve only mentioned eleven of the twenty-four tracks on Mod Jazz and Then Some! there’s much more for the discerning music lover to discover. I could just as easily have mentioned tracks by T.K.O, Freddy Washington’s Band, Chuck Higgins and Etta Jones. Then there’s the two unreleased tracks.
They’re real finds. The soulful delights of Floyd White’s Another Child Lost opens Mod Jazz and Then Some! It leaves you wanting more. You’ve got to wait until the slinky, jazz-tinged sound of Dave Hamilton’s In The Dark. Both of these tracks are real hidden gems. They deserve a wider audience. The same could be said of many of the tracks on Mod Jazz and Then Some!
No wonder. Quite simply, Mod Jazz and Then Some! oozes quality. Mind you, it’s what I’ve come to expect from the latest instalment in Kent Soul’s Mod Jazz series. It’s one of the very few compilations you eagerly await. Never are you disappointed. Certainly not with Mod Jazz and Then Some! Classics sit side-by-side with familiar faces, hidden gems and rarities. Legends like B.B. King, Shirley Scott, Trudy Pitts and King Curtis rub shoulders with The Five Counts, Frenchy and The Chessmen and Bobby Jenkins And His Quartet. Everything from blues, jazz, Latin, R&B, soul and soul jazz feature on Mod Jazz, and Then Some, a welcome and worthy addition to the Mod Jazz series.
Mod Jazz and Then Some! which was recently released by Kent Soul, is the result of compilers Ady Croasdell and Dean Rudland legendary crate-digging skills. They’ve surpassed themselves this time. After all, with each instalment in the Mod Jazz jazz series, there’s a smaller pool of possible tracks available for them to choose from. Despite this, Ady and Dean have dug deep and found some glistening musical gems in the vaults of labels like Hollywood, Class, Prestige, Kent, Musicor, Tru-Sound, Ten Star, Brent, Atlas, High Tone, Hill and Temple. The result was Mod Jazz and Then Some! the ninth volume in what’s without doubt, one of the most eagerly awaited compilation Mod Jazz series. Next time around, the Mod Jazz compilation will celebrate its tenth anniversary.
Who knows what bluesy, funky, jazz-tinged and soulful delights we’ll find on the tenth instalment of Mod Jazz? What In do know, is that if surpasses the quality of Mod Jazz and Then Some!, then it’ll be some compilation.
MOD JAZZ, AND THEN SOME!
ARTHUR PRYSOCK-TOO LATE BABY-THE OLD TOWN SINGLES 1958-66.
ARTHUR PRYSOCK-TOO LATE BABY-THE OLD TOWN SINGLES 1958-66.
Although Arthur Prysock’s career lasted six decades, the most successful period of his career was the eight years he spent at Old Town Records. Between 1958 and 1966, Arthur Prysock released twenty-four singles. There’s also the small matter of nine albums. From Arthur’s debut album was I Worry About You, right through until 1965s A Double Header With Arthur Prysock, Arthur was one of Old Town Records’ most successful artists. So much so, that in 1966, Arthur Prysock was signed to one of jazz’s premier labels, Verve Records.
Sadly, at Verve Records, Arthur never replicated the success he’d enjoyed at Old Town Records. He released six albums for Verve Records and released a collaboration with Count Basie. These albums were well received, but didn’t match the success Arthur enjoyed at Old Town Records. So in 1969, Arthur signed to King Records and released a quartet of albums. Again, the Arthur couldn’t replicate the commercial success he enjoyed at Old Town Records. This resulted in Arthur moving on, before returning home.
Following his departure from King Records, Arthur enjoyed a brief dalliance with MGM Records. Funny Thing was Arthur’s only release for MGM Records. After that, Arthur returned to where it all began for him, Old Town Records.
Now resigned to Old Town Records, Arthur released a quartet of albums. Although Arthur didn’t enjoy the same commercial success he enjoyed first time round at Old Town Records, Arthur became an accidental disco star.
This came courtesy of John Davis, who gave Arthur a Philly Soul makeover on his 1976 album All My Life. The lead single When Love Is New, was released in October 1976, reaching number sixty-four in the US Billboard 100, number ten in the US R&B charts and number eleven in the US Disco charts. Then when All My Life was released in December 1976. It reached number 153 in the US Billboard 200 and number thirty-six in the US R&B Charts. Briefly, Arthur Pysock’s career had been rejuvenated. However, this didn’t compare with the commercial success and critical acclaim Arthur Prysock enjoyed first time around at Old Town Records. Some of Arthur Pysock’s finest moments feature on Ace Records’ recent compilation Too Late Baby-The Old Town Singles 1958-66.
Too Late Baby-The Old Town Singles 1958-66 features twenty four tracks from Arthur Prysock’s time at Old Town Records. They were released between 1958 and 1966. Many of the tracks have never found their way onto CD before. So, for fans of Arthur Prysock, Too Late Baby-The Old Town Singles 1958-66 will be a must have compilation. It’s also an introduction to Arthur Prysock during the most successful period of his career. By the time Arthur signed to Old Town Records, he was already an experienced singer.
Arthur Prysock was born in Spartanburg, South Carolina, on New Year’s Day 1924. He grew on the farm his father, Arthur worked on. His mother Betty was determined her children would be able to look after themselves when they left home. She taught them how to cook, clean and look after themselves. For Arthur, this would prove vital, when he left home aged sixteen, to work in the aircraft industry, in Hartford, Connecticut.
There was a problem though. Arthur had mislead his employer about his age. As a result, Arthur left his job in the aircraft industry and began work as a cook. This was only his “day job.” At night, Arthur Prysock became a singer in a local band.
Arthur was a baritone, who modelled himself on Billy Eckstine. The band played clubs in the Hartford area. One night, sitting in the audience was bandleader Buddy Johnson. Then when Arthur went to see Buddy Johnson’s band, regular vocalist Warren Evans was absent. So, at the interval, Arthur approached Buddy and asked if he could sing during the second show.
Buddy asked if Arthur knew the songs? Arthur did. He sang them every night with his own band. Deciding to take a chance, Buddy gave Arthur the chance to prove himself. He walked onstage like a conquering hero and before long, had the audience in the palm of his hands. They loved Arthur. Following the show, Buddy hired Arthur. It was like a fairy story, the local singer filling in for the star singer and then getting hired.
Between 1944 and 1950, Arthur was the main male vocalist in Buddy Johnson’s band. His sister Ella just happened to be the principal female vocalist in the band. It was now a family affair. For six years, Buddy Johnson’s band were one of the biggest bands in America. Despite this, they only enjoyed two hit singles, 1945s They Say I’m The Biggest Fool and 1950s Because, which was one of the final recordings Arthur made with Buddy Johnson’s band. Not long after the recording of Because, Arthur decided to embark upon a solo career.
For the next eight years, Arthur Prysock embarked upon what was the equivalent to a musical apprenticeship. He signed for Decca in 1950. The next two years, Arthur struggled. It wasn’t until his 1952 cover of I Didn’t Sleep A Wink. It reached the top five in the US R&B chart. Little did Arthur realise, that this would be the biggest single of Arthur’s career. After I Didn’t Sleep A Wink, Arthur released Wheel Of Fortune. It was the first of seven consecutive singles that failed to chart. So in 1954, Arthur Prysock was released from his Decca contract. Next stop for Arthur was Mercury.
At Decca, Arthur modelled his career on his idol Billy Eckstine. However, by the time Arthur signed to Mercury in 1954, Billy Eckstine’s career was on the slide. So, Arthur was given a makeover. Arthur was like a musical chameleon, releasing everything from country, hillbilly and R&B. Despite this, commercial success eluded Arthur. So in 1956, Mercury dropped Arthur. He was then signed to Don Robey’s Peacock label.
Don Robey decided that Arthur should become an R&B shouter. Arthur released two singles, O-Ho-O-Yeh (What The Heck) and There Goes The Mailman. Neither single rejuvenated Arthur’s career. They failed to chart and in 1957, Arthur left Don Robey’s Peacock label. For the next year, Arthur was without a label, until he signed to Old Town Records.
After eight years of struggling, Old Town Records would be the place where Arthur Prysock enjoyed commercial success and critical acclaim. He signed to Old Town Records in 1958 and before long, released his Old Town Records debut, The Greatest Gift.
One of twenty-four tracks that feature on Ace Records’ recent compilation Too Late Baby-The Old Town Singles 1958-66 is The Greatest Gift. It’s Arthur’s Old Town Records debut. Penned by Robert “Bubber” Johnson, The Greatest Gift is best described as a wistful ballad. Elements of jazz, soul and easy listening combine with pop. Sadly, history repeated itself, when The Greatest Gift failed to chart. This was an inauspicious start to Arthur’s career at Old Town Records.
For the followup to The Greatest Gift, Arthur released Keep A Light In The Window For Me. It’s another ballad written by Robert “Bubber” Johnson and features a needy, hopeful vocal. Tucked away on the B-Side is Arthur’s take on I Just Want To Make Love To You. It swings, as Arthur fuses blues, jazz, R&B and soul. So good is this version of I Just Want To Make Love To You, it would’ve made a good single. Maybe then, the single would’ve charted?
As 1959 dawned, Arthur had released two singles, but still hadn’t enjoyed any chart success. His third single was the Norman Mapp penned, I Worry About You. It’s a song Arthur made his own. A slow, sultry. jazzy ballad, it’s a game-changer. Arthur delivers one of his finest vocals. His heartfelt vocal veers between needy to hopeful, joyous. Accompanied by rasping horns and strings, it was the best single Arthur had released for Old Town Records. Despite this, commercial success still eluded him. Maybe as a new decade dawned, commercial success would come Arthur’s way?
1960 saw Arthur released My Everything as a single. Again, tucked away on the B-Side was a hidden gem. It’s a storming cover of Ray Brown’s Good Rockin’ Tonight. R&B and rock ’n’ roll melts into one, resulting in track that’s too good to be a B-side. One More Time was another track destined to be just a B-Side It was the B-Side to the 1960 single Speak To Me. My Everything and Speak To Me weren’t the only singles Arthur released in 1960.
No. In 1960, Arthur released If Ever I Should Fall In Love as a single. He returns to balladry. His vocal is wistful, but tinged with hope and fear, fear that he’ll be hurt again. Arthur articulates the words carefully, delivering each word as if he’s lived and survived it. Despite this, the single failed commercially. So did the heartfelt ballad, Do You Believe? Although commercial success eluded Arthur, Old Town Records released his 1960, debut album I Worry About You. It featured some of the songs Arthur had released for Old Town Records. Essentially, it was an introduction to Arthur Prysock, who was about to make a commercial breakthrough.
It came in September 1961. That’s when Arthur released One More. The single spent two weeks on the US R&B charts. For Arthur, it must have felt as if a weight had been lifted from his shoulders.
1962 saw the release of Pianissimo as a single. It’s another ballad, which was also covered by Jackie Wilson in 1962. In the battle of Pianissimo, Arthur came second. This didn’t stop Arthur releasing his sophomore album Arthur Prysock Sings Only For You. It featured eleven tracks and sees Arthur interprets standards like Unchained Melody and When I Fall In Love. Maybe this was meant to introduce Arthur Prysock to a wider audience. Sadly, Arthur didn’t find favour with the wider audience his music deserved.
In 1963, Arthur was busier than ever. He released two albums, the genre-hopping A Portrait Of Arthur Prysock and Coast To Coast, which was an easy listening album. During 1963, Arthur released a string of singles.
Crawdad was released as a single in 1963, and saw Arthur jumps on the Hootenanny bandwagon. Although catchy, the heartbreaking, string-drenched ballad There Will Never Be Another You, surpasses the quality of Crawdad. Truly, it deserved a better fate than a B-Side. Another B-Side was My Special Prayer, which Arthur delivers with emotion. Quite different was the Our Love Will Last. It saw Arthur combine pop, easy listening, jazz and soul. Hidden away on the B-Side was Come And See This Old Fool. Arthur kicks loose, delivering a sassy vamp as he mixes jazz, R&B and soul. So good is Come And See This Old Fool, it should’ve been a single. For Arthur this might have been the single that transformed his career?
1964 saw Arthur release a quartet of albums. He seemed to be the hardest working man in music. Mr. Arthur Prysock And Guest and In A Mood With featured Arthur doing what he did best, balladry. Everlasting Songs For Everlasting Lovers was another genre-hopping album. Arthur mixed jazz, R&B, soul with easy listening. Intimately Yours was mixture of standards and familiar tracks. Then there were the singles Arthur released during 1964.
This included Ebb Tibe, which should’ve been the single that transform Arthur Prysock’s career. His version was released in February 1964 and is the definitive version of the song. That’s despite Lenny Welch released the song a month later. Unfortunately, record buyers preferred Lenny’s version, and it reached number twenty-five in the US Billboard 100. For Arthur it was a case of so near, but so far.
Still Arthur wasn’t going to give up. He released a swinging, high-kicking version of Close Your Eyes as a single. Full Moon And Empty Arms is another single released in 1964. It’s a return to the balladry Arthur excels at. However, by 1964 music had moved on. The British Invasion was a game changer. Despite the undoubted quality of the dramatic ballad that was Full Moon And Empty Arms, it failed commercially. So did the E.P.s Arthur released in 1964. In A Mood With Arthur Prysock featured the thoughtful, but beautiful ballad House By The Side Of The Road. It’s a glimpse of what Arthur Prysock is capable of. However, with music changing, and changing fast, maybe artists like Arthur were music’s past, rather than future?
1965 saw Arthur release the bossa nova tinged I’m Crossing Over as a single. It’s perfect for Arthur. He breathes new meaning into an old standard. The same can be said of the understated, wistful and beautiful Teardrops In The Rain, which features on Arthur’s E.P. Intimately Yours. Arthur also released Again as a single. With lush strings for company, he croons his way through a track penned by Dorchas Cochran and Lionel Newman. A fusion of jazz and M.O.R. it’s a reminder of another age. Indeed, it’s reminder of what Frank Sinatra and Nelson Riddle did so well at Capitol Records. That’s how good this track is. However, Frank Sinatra was producing music like this in the late-fifties. Again was released in 1965. However, there was still an audience for Arthur’s music.
A Double Header With Arthur Prysock was Arthur’s final album for Old Town Records. Arthur had always sold more albums than singles. Singles were just an introduction to the main event, the album. His final album for Old Town Records oozes quality. Proof of this are tracks like Let It Be Me, Open Up Your Heart and Goodnight My Love. As Arthur’s fans enjoyed wheat proved to be his swan-song for Old Town Records, Arthur came towards the end of his time at Old Town Records.
Arthur’s patience and hard work was rewarded when a bluesy cover of Buddy Johnson’s It’s Too Late Baby, Baby Too Late gave him a hit in late 1965. It reached number fifty-six in the US Billboard 100 and number eleven in the US R&B charts. For Arthur this must have been ironic. He’d spent six years looking for a hit single and just as he was leaving Old Town Records, he hit pay-dirt. For the followup, Arthur released Only A Fool Breaks His Own Heart. A string-laden ballad, it features a heartbroken vocal from Arthur. Despite its quality, Only A Fool Breaks His Own Heart didn’t replicate the success of It’s Too Late Baby, Baby Too Late.
In 1966, Arthur Prysock left Old Town Records. During the eight years he spent at Old Town Records, Arthur was one of the hardest working men in music. Between 1958 and 1966, Arthur Prysock released twenty-four singles and nine albums. Twenty-four tracks from Arthur’s time at Old Town Records feature on Ace Records’ recent compilation Too Late Baby-The Old Town Singles 1958-66. Quite simply, it’s the perfect introduction to one of the most underrated singers in musical history.
From the moment Arthur arrived at Old Town Records, he looked like a star-in-waiting. However, it wasn’t singles that would make Arthur a star. Instead it was albums.
Arthur’s debut album was I Worry About You. His swan-song was his 1965 album A Double Header With Arthur Prysock, It was these nine albums where Arthur Prysock made his name.
Singles were almost a loss leader. They were an introduction to Arthur Prysock. The album was the main event. During this feast of music, Arthur Prysock could stretch his legs. He combined everything from blues, easy listening, jazz, M.O.R, pop, R&B and soul. Arthur Prysock you see, was a versatile singer. He was equally comfortable crooning, as he was making a song swing or delivering a tale of heartbreak with a bluesy hue. Arthur’s versatility and ability to make a song come alive, would prove a successful formula for Arthur Prysock.
Right through until 1965s A Double Header With Arthur Prysock, Arthur was one of Old Town Records’ most successful artists. His 1965 bluesy cover of Buddy Johnson’s It’s Too Late Baby, Baby Too Late, belatedly, gave Arthur the second hit single of his time at Old Town Records. That’s no surprise. It’s Too Late Baby, Baby Too Late is one of the finest moments of Arthur Prysock’s career. Thankfully, it features on Too Late Baby-The Old Town Singles 1958-66.
Too Late Baby-The Old Town Singles 1958-66 is the perfect starting place for anyone interested in Arthur Prysock’s music. It’s a compilation where the music oozes quality. There’s neither filler nor faux pas, just quality music. Whether he’ crooning or swinging, Arthur Prysock as an average vocal from Arthur. Whether ballads or uptempo, dance tracks, Arthur was equally comfortable. With the help of a crack team of musicians, arrangers, producers and songwriters, Arthur Prysock became Old Town Records’ shining star. This is apparent on the twenty-four tracks on Too Late Baby-The Old Town Singles 1958-66. From the opening bars of I Worry About You right through to the closing notes of It’s Too Late Baby, Baby Too Late, Arthur Prysock has you spellbound as he croons and swings his way through the classics, standards and hidden gems that feature on Too Late Baby-The Old Town Singles 1958-66.
ARTHUR PRYSOCK-TOO LATE BABY-THE OLD TOWN SINGLES 1958-66.
MILLIE JACKSON-ON THE COUNTRY SOUL SIDE.
MILLIE JACKSON-ON THE COUNTRY SOUL SIDE.
Trying to describe Millie Jackson in just one word, is almost impossible. If I was asked to do so, the word I’d use would be versatile. She could breath life, meaning and drama into a variety of songs. Whether it was heartbreaking, soulful ballads or country soul, Millie could take you on a mesmerising musical journey. That was the case throughout Millie Jackson’s time at Spring Records.
Millie Jackson was, without doubt, one of the most talented and charismatic female vocalists of the seventies and eighties. That’s indisputable. What many people won’t realise, is that Millie Jackson was a country girl at heart. She was born in Thomson, in rural Georgia, in July 1944. Millie’s country roots influenced her unique brand of soul music. Especially the sixteen albums Millie recorded for Spring Records. Fans of Millie Jackson’s music will be aware of her country soul roots. However, other people may not be aware of Millie Jackson’s country soul side. For them, Millie Jackson-On The Country Soul Side will be the perfect introduction to this side of Millie Jackson’s music.
Released on Kent Soul, an imprint of Ace Records on 2nd June 2014, Millie Jackson-On The Country Soul Side was a tantalising taste of Millie Jackson country soul side. It features seventeen tracks. Sixteen of these tracks are cover versions. Fourteen were released between 1977 and 1981. This includes the 1979 duets with Isaac Hayes You Never Cross My Mind and You Needed Me. The other three tracks have never been released before. There’s an edit of I Still Love You (You Still Love Me) and alternate vocal take of Loving Arms. The other track is Millie’s new single Black Bitch Crazy a.k.a. Redneck Crazy. These seventeen tracks are an irresistible introduction to Millie Jackson’s country soul side. It shawn through early in Millie’s career.
Millie Jackson was born in Thomson, Georgia, but when her mother died, she moved to Newark, New Jersey with her father. Then when Millie was a teenager, she moved to Brooklyn to live with an aunt. It was in New York that Millie Jackson’s career began in 1964. One of Millie’s friends dared her to enter a talent contest in Harlem nightclub.
Having entered the talent competition, Millie won it. This proved to be the start of Millie’s nascent musical career. Six years later, in 1970, Millie recorded her first single for MGM Records. A year later, in 1971, Millie signed to the record company where she would establish her reputation as one the most talented, versatile and charismatic female vocalists of her generation, Spring Records.
At Spring Records, Millie worked with Spring Records’ in-house producer Raeford Gerald, her 1971 singe A Child Of God gave Millie the first hit single of her career. It reached number 102 in the US Billboard 100 and number twenty-two in the US R&B Charts. This proved to the start of the most successful period of Millie Jackson’s long career. During her time at Spring Records, she released what’s undoubtably, the best music of her career. Millie was a truly prolific artist, who released sixteen studio albums for Spring Records between 1972 and 1983. Three of these albums, 1974s Caught Up, 1977s Feelin’ Bitchy and 1978s Get It Out’cha System were certified gold. Each of these albums feature a truly versatile artist. However, some of the best music Millie Jackson recorded at Spring Records was country soul. That’s apparent on Millie Jackson-On The Country Soul Side
When it comes to country soul, Millie Jackson breathes life, meaning, emotion and often, hurt and heartache into each of the seventeen tracks. One minute, Millie is laying bare her soul, the next delivering a heartfelt, impassioned performances. When Millie Jackson sings country soul, it’s a mesmeric musical experience. You’ll realise this when I tell you about Millie Jackson-On The Country Soul Side, which is a reminder of one of the most talented, versatile and charismatic female vocalists of the seventies and eighties.
The story of Millie Jackson-On The Country Soul Side begins back in 1977. That’s when Millie Jackson released Feelin’ Bitchy. It reached number thirty-four in the US Billboard 200 and number four in the US R&B charts. For Millie, this resulted in the second gold disc of her career. Feelin’ Bitchy also featured If You’re Not Back In Love By Monday, which reached number forty-three in the US Billboard 100 and number five in the US R&B charts. This gave Millie her most successful country soul single since 1973s It Hurts So Good. If You’re Not Back In Love By Monday is one of four tracks from Feelin’ Bitchy to feature Millie Jackson-On The Country Soul Side.
1977s Feelin’ Bitchy was produced by Millie and Brad Shapiro. It’s an album about relationships. On Feelin’ Bitchy, betrayal, cheating, heartache and hurt are everyday occurrences. So are breaking up and making up. This is apparent from the four tracks that have been taken from Feelin’ Bitchy.
Angel In Your Arms features a beautiful, soul-baring vocal from Millie. Truly, it’s an outpouring of hurt and betrayal. If You’re Not Back In Love By Monday was a song synonymous with Merle Hagard. That’s until Millie reinvents the song. Her vocal is a mixture of hope, longing, loss and melancholia. She delivers the lyrics like an ultimatum, but all the time, hope’s her man is back in love by Monday. Cheatin’ Is is the final track taken from Feelin’ Bitchy. Although country soul, there’s a funky twist to this musical soap opera from Feelin’ Bitchy. A year later, Millie was back with another critically acclaimed and commercially successful album.
In 1978, Millie released Get It Out’cha System, another album produced by Millie and Brad Shapiro. Get It Out’cha System reached number fifty-five in the US Billboard 200 and number fourteen in the US R&B charts. This resulted in the third and final gold disc of Millie’s career. The Kenny Rodgers penned Sweet Music Man was released as a single, reaching number thirty-three in the US R&B charts. Sweet Music Man and Here You Come Again are the two tracks taken from Get It Out’cha System to feature on Millie Jackson-On The Country Soul Side.
Sweet Music Man is a slow, dramatic ballad. Millie delivers a vocal oozing emotion and despair. Cooing harmonies and sweeping strings provide the perfect backdrop for Millie as she unleashes a heartbroken vocal Magnus Opus. Then on Here You Come Again, Millie accompanied by a crack band of musicians, reinvents a track made famous by Dolly Parton. Dancing strings, growling horns and harmonies create the perfect backdrop for a dramatic, joyous and soulful vocal from Millie Jackson. The result is without doubt, the highlight of Get It Out’cha System.
A year after the critical acclaim and commercial success of Get It Out’cha System, Millie released a collaboration with Isaac Hayes, Royal Rappin’s. It reached number eighty in the US Billboard 200 and number seventeen in the US R&B Charts. One of the singles was You Never Cross My Mind, which reached number thirty in the US R&B charts. Here, Millie and Isaac prove a perfect foil for each other, on this tale of love lost, but in reality, not forgotten. The other track from Royal Rappin’s on Millie Jackson-On The Country Soul Side is You Needed Me. Millie and Isaac’s breath meaning and emotion into this old classic. Royal Rappin’s would be Millie’s last album before a new decade dawned.
As the eighties dawned, Millie released the genre-hopping album For Men Only, which was produced by Millie and Brad Shapiro, It marked a change in Millie Jackson’s music. Her 1979 album Live & Uncensored, hinted at the direction Millie’s music was heading. For Men Only stalled at just number 100 on the US Billboard 200 and number twenty-three in the US R&B charts. One of For Men Only’s highlights was the ballad, I Wish I Could Hurt That Way Again. It epitomises everything that’s good about Millie Jackson’s music. Soul baring describes her wistful, melancholy vocal on what’s one of For Men Only’s highlights. A year later, Millie changed direction again, returning to her country soul roots on Just A Lil’ Bit Country.
Millie released Just A Lil’ Bit Country in 1981. Just like previous albums, Just A Lil’ Bit Country was produced by Millie and Brad Shapiro. Just A Lil’ Bit Country featured covers of Harlan Howard’s Pick Me Up On Your Way Down, Don Gibson’s I Can’t Stop Loving You, Barbara Fairchild’s Standing In Your Line and Kris Kristofferson’s Anybody That Don’t Like Millie Jackson. Other tracks included G. F. Babber and John Conlee’s Rose Coloured Glasses and Larry Henley and Red Lane’s Till I Get It Right. Recording took place at The Sound Shop, in Nashville, Tennessee. The result was a return to form from Millie Jackson.
Sadly, Just A Lil’ Bit Country wasn’t a commercial success. It narrowly missed the US R&B charts, stalling at number 201. At least Just A Lil’ Bit Country reached number forty-three in the US R&B charts. Millie’s cover of Don Gibson’s I Can’t Stop Loving You was released as a single, reaching just number sixty-two in the US R&B charts. For Millie the commercial failure of Just A Lil’ Bit Country was a huge disappointment. Especially given the quality of music on Just A Lil’ Bit Country.
This is apparent from the tracks from Just A Lil’ Bit Country that feature on Millie Jackson-On The Country Soul Side. I Can’t Stop Loving You is given a dance-floor friendly makeover, and Millie struts her way through the lyrics. However, she never forgets her country soul roots. The same can be said of Pick Me Up On Your Way Down. It features a feisty, sassy vocal from Millie, delivered against a dance-floor friendly arrangement.
Standing In Your Line sees the tempo drop and the country influence shine through, Crystalline, country guitars and punchy, rasping horns set the scene for Millie’s despairing vocal. Rose Coloured Glasses is without doubt, Millie at her best. She delivers a slow, wistful vocal. It’s as if she’s lived the hurt and despair she’s singing about. The result is a beautiful ballad, which is vintage Millie Jackson. Melancholy describes Till I Get It Right. Millie’s down, but not defeated. She veers between weary to defiant. Soon, she unleashes a vocal powerhouse. Power, passion and emotion combine to create a track where country and gospel combine seamlessly.
The country sound oozes through on the Kris Kristofferson penned Anybody That Don’t Like Millie Jackson. So does Millie’s trademark humour. It’s the final track from Just A Lil’ Bit Country.
Apart from the fourteen tracks I’ve mentioned, there’s a previously unreleased version of Mac Davis and Mark James’ I Still Love You (You Still Love Me). It’s a hauntingly, beautiful ballad that’s best described as a hidden gem from Millie Jackson’s discography. There’s also an alternate vocal take of Loving Arms. Quite simply, it’s spine tingling. The other new track is Millie’s new single, Black Bitch Crazy aka Redneck Crazy. Millie it seems might be seventy, but the voice remains the same.
For anyone yet to discover the country soul of Millie Jackson, then without doubt, Millie Jackson-On The Country Soul Side is the place to start. It features the varied hues of Millie Jackson’s country soul.
There’s everything from heartbreaking ballads and dance-floor friendly tracks on Millie Jackson-On The Country Soul Side. That’s not surprising. Millie Jackson was a musical chameleon. Her music was constantly evolving. One minute she’s delivering heart-wrenching ballads, the next getting Millie and her band are getting funky and heading for the dance-floor. Whether it’s ballads or dance tracks, Millie’s vocal are country soul. That’s not surprising. She’s a country girl at heart. Born in Thomson, in rural Georgia, Millie Jackson never forgot her country soul roots during the twelve years she spent Spring Records.
Between 1971 and 1983, Millie released sixteen albums. Three of those, 1974s Caught Up, 1977s Feelin’ Bitchy and 1978s Get It Out’cha System were certified gold. However, there’s gold elsewhere in Millie Jackson’s discography. Tony Rounce, who compiled Millie Jackson-On The Country Soul Side for Kent Soul, an imprint of Ace Records, realised this. He dug deep, and the result was Millie Jackson-On The Country Soul Side, a combination of classics, familiar faces, hidden gems, rarities and unreleased tracks. These seventeen tracks are a tantalising taste of Millie Jackson during the most productive period of her career.
During the twelve year period at Spring Records, commercial success and critical acclaim were constant companions for Millie Jackson. She became a huge star. So much so, that Millie Jackson was regarded as one of the most talented, versatile and charismatic soul singer of her generation. No wonder. Millie could make a song come to life. Seamlessly, Millie brings lyrics to life. She breathes life, meaning and emotion into lyrics. Whether it’s heartbreak and hurt, sensuality and sass, or anger and frustration, Millie Jackson brings all these things and more to a song. Quite simply, Millie Jackson is like an artist. Her voice is like a musical palette. It allows her to paint pictures before your eyes. One minute you’re empathising with Millie’s hurt, pain and plight, the next her vocal is filled with joy and happiness and then she’s delivering a wistful and melancholy Magnus Opus. Not many vocalists can do this. Millie Jackson can.
However, not many vocalists are as versatile and talented as Millie Jackson. That’s apparent when you listen to Millie Jackson-On The Country Soul Side to realise this. It’s the perfect companion to the critically acclaimed The Moods Of Millie Jackson-Her Best Ballads. It was released in 2013 by Kent Soul, a subsidiary of Ace Records. Its followup, Millie Jackson-On The Country Soul Side is a tantalising taste of the country soul of Millie Jackson, one of the most talented soul singers of her generation.
MILLIE JACKSON-ON THE COUNTRY SOUL SIDE.
WARDELL GRAY-WAY OUT WARDELL.
WARDELL GRAY-WAY OUT WARDELL.
During Wardell Gray’s tragically short career, he proved to be one of jazz’s innovators. His career lasted just fifteen years. It began in the swing era and encompassed the bebop era. Then, just when Wardell Grey looked like fulfilling his undoubted potential, tragedy struck on May 25th 1955.
Towards the end of his short career, Wardell dabbled with drugs. This isn’t good news for any jazzer. It undoubtably affects their chops. This was the case with Wardell. As his life neared its end, his playing suffered. The drugs took their toll. Then on May 25th 1955 Wardell was found dead.
Mystery surrounds Wardell’s death. He was found was found dead on the outskirts of Las Vegas. His neck was broken. Despite this, the local coroner ruled accidental death. Maybe this isn’t surprising. After all, since then, it’s been alleged that Wardell may have fallen foul of the Mafia. Wardell’s death wasn’t so much an accident, but a mob hit. Even the coroner in fifties Vegas were wary of crossing the mob, who ruled Vegas by fear. Sadly, Wardell Grey may have been one their victims. As a result, jazz music was robbed of a pioneering player, Wardell Gray. Following his untimely death in 1955, Way Out Wardell was released on Modern Records.
Way Out Wardell has recently been rereleased on Boplicity, an imprint of Ace Records. It features five songs recorded in 1947. Wardell is on barnstorming form. He blows his tenor saxophone with power, passion and aplomb. Accompanying him are an all-star case of West Coast jazzers. The result is a poignant and blistering performance from Wardell Gray and his tight, talented band. Quite simply, Way Out Wardell is the perfect way to remember one of jazz’s pioneers. Before I tell you about Way Out Wardell, I’ll tell you about Wardell’s short life.
Wardell Gray was born in Oklahoma City, in May 1921. He was the youngest of four children. For the first eight years of his life, Wardell lived in Oklahoma. However, in 1929, his family moved to Detroit, Michigan. He then transferred to Cass Technical High School. By 1935, Wardell was attending Northeastern High School. Wardell was already playing the clarinet. It produced several jazz musicians, Donald Byrd, Al McKibbon and Eli “Lucky” Thompson. However, Wardell didn’t graduate. Instead he dropped out in 1936. It was around this time that Wardell had a life changing experience.
He heard legendary tenor saxophonist Lester Young. Immediately, Wardell decided to switch to tenor saxophone. Soon, he was playing with a small combo. Isaac Goodwin’s band provided the soundtrack to local dance clubs. This was just a stepping stone to bigger and better things.
Having been heard by pianist Dorothy Patton, Wardell was asked to join her band. He stayed a year with Dorothy Patton’s band. After that, Wardell joined Jimmy Raschel’s band. Then Wardell joined Benny Carew’s band. This was a step up in class. with each move, Wardell was coming closer to making his name as a musician. In a sense, he was learning his trade. Another important thing that happened, was Wardell became a father.
It was during that time, that Wardell met Jeanne Goings. They had a relationship and in January 1941, their daughter Anita, who was born. This was the start of a period where Wardell’s life on and off the stage was going well.
Wardell caught a break when as a twenty-one year old, he was asked to join the Earl Hines Orchestra in 1943. However, this wasn’t playing tenor saxophone. Instead, he was playing alto saxophone. For Wardell, this was the opportunity of a lifetime. He grabbed it with both hands. After all, jazz legends like Charlie Parker and Dizzy Gillespie had made their name with the Earl Hines Orchestra. So did Wardell. Before long he was a soloist in the Earl Hines Orchestra. His spellbinding solos were showstoppers. He spent the next three years criss crossing the land of the free. Wardell also played on the Earl Hines Orchestra 1945 and 1946 recordings. However, in late 1946 the time came for Wardell to move on.
Having left the Earl Hines Orchestra, Wardell flew to Los Angeles. The West Coast was where some of the most innovative jazz was being recorded. Wardell became friends with jazz legends like Chico Hamilton, Dexter Gordon and Charles Mingus. Each of the four musicians played on each other’s albums. A feature of each album was Wardell’s blazing saxophone. Wardell and his compadres hit pay-dirt on or Charlie Parker’s sessions for Dial.
Unlike many players, Wardell wasn’t overawed by being in the presence of greatness. Quite the opposite. It was as if Wardell was inspired by Byrd’s presence, especially on Relaxing’ At Camarillo. After this, Wardell seemed to grow in stature.
On a Dexter Gordon session for Dial, Wardell and Dexter got toe-to-toe on The Chase. It’s a blistering performance from two jazz virtuosos. With Wardell Gray playing as if his very life depended upon it, surely it wasn’t going to be long before Dexter’s solo career began?
That looked like being the case. When Wardell played at the Shrine Auditorium, Los Angeles, on 27th February 1947. That night the tapes were running. Two tracks were recorded. This includes the Ben Bernie, Kenneth Casey and Maceo Pinkard penned Sweet Georgia Brown. The other tracks was Jesse Greer and Raymond Klages’ Just You, Just Me. These two tracks featured an all-star band, including trumpeter Howard McGhee, tenor saxophonist Vido Musso and pianist Arnold Ross. The rhythm section featured drummer Don Lamond, bassist Harold Babasin and guitarist Barney Kessel. This was the band that breathed life and meaning into the two tracks. Then two months later, other three tracks were recorded, albeit with a different lineup. What didn’t change was the quality of music.
At the Civic Auditorium, Pasadena on 29th April 1947, the tapes were running again. Three tracks were recorded featuring Wardell Gray’s band. They’re Edwin Frickel’s Blue Lou, Count Basie’s One O’Clock Jump plus Walter Gross and Jack Lawrence’s Tenderly. The band featured trombonist Vic Dickenson, alto saxophonist Benny Carter and trumpeter Howard McGhee. They were joined by a rhythm section of drummer Jackie Mills, bassist Red Callendar and guitarist Irving Ashby. Wardell unleashes a series of masterclasses on his tenor saxophonist. Sadly, these musical masterclasses weren’t heard until after Wardell Gray’s death.
For the next eight years Wardell’s career continued. Wardell was always a sideman. He never took centre-stage. However, he was the man jazz’s biggest names called when they’d a session. This included Benny Goodman, Count Basie and Benny Carter. Indeed, it was with Benny Carter than Wardell was working when he met his untimely and mysterious death.
Benny Carter’s band were playing three shows a night in the Moulin Rouge Casino, Las Vegas. Wardell played the first two shows on on May 25th 1955. However, Wardell missed the third show. He was found was found dead on the outskirts of Las Vegas. His neck was broken. Despite this, the local coroner ruled accidental death. Since then, it’s been alleged that Wardell may have fallen foul of the Mafia. By 1955, Wardell was dabbling with drugs. Some people allege Wardell was also a gambler and owed the mob money. There was a problem though, Wardell couldn’t pay. So Wardell had to make the long walk into the desert where he met his fate. That night, jazz music lost one of its most promising and pioneering players, Wardell Gray. Way Out Wardell, you’ll realise, is a poignant tribute to Wardell’s talent.
Blue Lou opens Way Out Wardell. Errol Garner’s piano sets the scene for Wardell’s rasping tenor saxophone. Meanwhile, the bass propels the rhythm section along. Wardell’s solo is spellbinding. He ensures the song swings seamlessly. Not once does he miss a beat. His solo cascades, soaring above the arrangement. Later, he combines power and control. Stabs of piano add to the drama. However, it’s Wardell’s rasping tenor saxophone that steals the show. Then the baton passes to pianist Errol Garner. Errol unleashes a jaunty, flamboyant solo. It’s as if he’s been inspired by Wardell’s solo and pulls out the stops. Then later, the two join forces as the track reaches a glorious crescendo.
To rousing applause Sweet Georgia Brown, unfolds. Howard Babsain’s bass powers the arrangement along, before barnstorming solos from Wardell and trumpeter Howard McGhee. The band sound as if they’re having a ball. Hollers accompany drummer Howard Mills as he pounds at his high kicking drums. Soon, everybody is showboating and the crowd love it. They raise the roof, encouraging the band to greater heights. This works. Wardell’s band do what seems impossible and raise their game. Following blistering tenor saxophone and trumpet solos, pianist Arnold Ross gets in on the action. So does drummer Howard Mills. Everyone enjoys their moment in the sun as Wardell and his all-star band breath new life and meaning into an old classic, Sweet Georgia Brown.
Tenderly sees the tempo drop. The piano takes centre-stage. It’s wistful, before flamboyant flourishes are unleashed. Wardell is content to let other members of the band shine. He realises the soloist needs space, so doesn’t crowd Errol Garner. This is something of a masterstroke, as Errol Garner’s flamboyant, beautiful and wistful solo is one of the highlights of Way Out Wardell. It’s a heartachingly beautiful track.
It’s all change on Just You, Just Me, another ten minute epic. The growling horns and rhythm section join forces, and power the arrangement along. Trumpeter Howard McGhee and tenor saxophonist Vido Musso join Wardell. They’re the perfect foil for each other on this bebop influenced track. Again, Wardell allows the soloists to shine. He’s content for his band to shine. One of the finest performances comes from trumpeter Howard McGhee. Guitarist Barney Kessel unleashes a crystalline solo. He combines jazz and blues. Then it’s time for pianist Arnold Ross to take centre-stage. He and drummer Howard Lamont play daring do as the soloists enjoy their moment in the sun. Then later, the band join together as this ten minute epic draws to a close. Not before reminding the audience what’s gone before. By that I mean a stunning slice of bebop.
One O’Clock Jump closes Way Out Wardell, and is another Magnus Opus. It lasts eleven minutes. This means the soloists get the chance to stretch their legs. A cocktail piano and shuffling rhythm section join forces. They play their way into the track. Then the horns sweep in. What a lineup. Alto saxophonist Benny Carter joins trumpeter Howard McGhee and trombonist Vic Dickenson. Add Wardell to the equation and something special is beginning to unfold. Just like previous tracks, the band are revelling on the atmosphere. They encourage each other to greater heights. Somehow, the solos are even more innovative. It’s as if Wardell and his band are determined to pay homage to Count Basie, who wrote the track. Blistering tenor saxophone solos are played with power, speed and control. Then the alto saxophone picks up the reins. Just like previous solos, Howard’s soar above the shuffling, bass lead arrangement. Wardell Grey seems to have kept the best until last. He and his band kick loose and reinvent a Count Basie classic.
Listening back to Way Out Wardell is quite poignant. After all, Wardell Gray was cut down in his prime. He was a pioneering jazz musician, whose solo career had hardly began. By his death in May 1955, Wardell hadn’t even released a solo album. It’s a case of what might have been? What if Wardell hadn’t allegedly dabbled with drugs or gambled? He’d never have come to the attention of the mob. Then Wardell would never have had to make the long walk into the desert. It was a walk where Wardell surely knew he’d never return. What’s unbelievable is that there was no real investigation into what happened to Wardell Gray?
Who knows, maybe a man found with a broken neck on the outskirts of Vegas was a regular occurrence? In the fifties, it was a city like no other American city. Regular rules didn’t seem to apply there. It was a city where shills, spills and thrills were regular occurrences. This was after all, Vegas. Vegas and Wardell Gray weren’t a good combination. Especially when he seemed to have crossed the wrong person. He wasn’t going to live to tell the tale.
As a result, a wife lost a husband and a daughter her father. Jazz also lost one of its most promising and pioneering players, Wardell Gray. Who knows the heights Wardell Gray might have reached? Listening to Way Out Wardell, the death of Wardell Gray robbed jazz lovers of an innovative and inventive player. By 1947, when Way Out Wardell was released, Wardell Gray was blossoming into potentially one of the finest tenor saxophonists of his generation. The five tracks on Way Out Wardell, which was recently rereleased by Ace Records are proof of this. Way Out Wardell is also a reminder of that jazz lost one of the finest tenor saxophonists of his generation that night on 25th May 1955.
WARDELL GRAY-WAY OUT WARDELL
ENO-HYDE SOMEDAY WORLD.
ENO-HYDE SOMEDAY WORLD.
It’s no exaggeration to refer to Brian Eno as the Godfather of electronic music. He is, without doubt, one of the genre’s founding fathers. Brian Eno is also one of electronic music’s innovators. That’s been the case throughout Brian Eno’s career.
Ever ever since his days with Roxy Music, Brian Eno had been an innovator. He was constantly looking to release groundbreaking music. Musical boundaries he realised, should pushed to their limits, and sometimes, beyond. Sadly, this wasn’t going to be with Roxy Music.
When Brian Eno eventually tired of constantly touring with Roxy Music, he decided to pursue a solo career. In many ways, Brian turned his back on fame and fortune, in pursuit of his art. Glam rock he realised, was a passing phase. Electronic music was the future. He was interested in technology and taking his inspiration from minimalist painting which interested and inspired him, decided to forge a career in ambient music. Brian released his debut solo album Here Come the Warm Jets in 1973, with ambient classics like 1975s Another Green World, 1978s Ambient 1: Music For Airports and Music For Films following soon after. During that period, Brian was busy with his “other career,” as a producer.
This included David Bowie’s Berlin Trilogy of 1977s Low and Heroes and final installment, 1979s Lodger. Since then, Brian Eno has released over twenty albums and produced some of the biggest groups in music and forged a career as a remixer. He’s produced albums by Talking Heads, Devo, U2 and Coldplay. Brian has also worked as a remixer
Remixing was just the latest string to Brian Eno’s bow. He was asked to work with some of the biggest names in electronic and dance music. Brian’s credits as a remixer included Massive Attack and Depeche Mode. Apart from production work and remixes, Brian Eno has collaborated with a whole host of artists.
Eclectic. That describes the artists Brian Eno has collaborated with. He’s collaborated with everyone from includes David Byrne, Robert Fripp and Robert Wyatt. However, in the last few years, Brian Eno hasn’t been as prolific as his early years. His last solo album was 2012s Lux. Released to critical acclaim, the Godfather of electronic music was back, and better than ever. Sadly since Lux, nothing has been heard of Brian Eno. That was until recently, when Brian released a collaboration with Karl Hyde of Underworld, Someday World, which was released by Warp.
Released as Eno-Hyde, Someday World features nine tracks. On Someday World, Brian Eno and Karl Hyde joined by a cast of guest artists. This includes some big names. The biggest of all is, without doubt, Andy McKay of Roxy Music. An unlikely collaborator is Coldplay’s Will Champion. He joins the major league on Someday World, rubbing shoulders with Brian Eno, Andy MacKay and Karl Hyde. A new name is Fred Gibson. He’s only twenty-two, but co-produces Someday World. Fred also cowrote two tracks on Someday World.
The two tracks Fred cowrote on Someday World are Daddy’s Car and A Man Wakes Up. Fred cowrote these two tracks with Brian Eno and Karl Hyde. Brian and Karl cowrote The Satellites, Witness, Strip It Down, Mother Of A Dog and Who Rings The Bell. When I Built This World and To Us All were penned by Brian Eno. These nine tracks became Someday World.
When recording of Someday World began, Brian Eno played bass, guitar, keyboards, synths, programmed drums and added vocals and backing vocals. Karl Hyde played piano, guitar and added backing vocals. In addition to his production duties, Fred Gibson played piano, drums, bass, brass, guitar synth and added backing vocals. Regular Brian Eno collaborator John Reynolds played drums. So did Chris Vatalaro and Will Champion. Andy MacKay played alto saxophone, Don E synth and Neil Catchpole viola and violin. Georgia Gibson added alto Vocals, tenor vocals and baritone saxophone. Vocals came courtesy of Darlo Eno and Marianna Champion. The nine songs on Someday World were produced by Brian, Karl and Fred. Once they were mixed and mastered, Someday World was released recently.
Just like so many previous Brian Eno projects, Someday World was released to critical acclaim. Its a haunting and intriguing musical through musical genres. Everything from Afro-beat, ambient, electronica, funk, jazz, pop, rock and soul can be heard Someday World’s nine tracks. As you’ll realise when I tell you about Someday World, it’s another groundbreaking collaboration from he Godfather of electronic music.
Someday World opens with The Satellites. It has a haunting, intriguing sound. A plucked guitar sits amidst shimmering synths. The arrangement grows, veering between discordant and dramatic. Then it’s all change. An explosion of rock guitars are unleaded. They sit above rhythm section and banks of synths. Seamlessly, rock meets electronica. With the band in the tightest of grooves, they power the arrangement alongs. That sets the scene for Brian Eno’s deliberate vocal. This works. You focus on the lyrics. Later, punchy, cascading horns join the rhythm section and synths in driving this anthemic track along.
A myriad of synths and drums combine as Daddy’s Car unfolds. It has an eighties sound and influence. That’s down to the drums, synths and Karl Hyde’s soulful vocal. Think Human League and you’re halfway there. The unmistakable sound of a bass synth and horns help the drums and synths power the arrangement along. Sometimes, the track takes on a hypnotic sound. Other times, slick hooks reveal their secrets. Karl’s soulful, heartfelt vocal plays a part in this. Especially, with sweeping, harmonies accompanying him on a track that’s variously hypnotic, hook-laden and soulful.
A Man Wakes Up is quite different from the previous track. It has a futuristic, almost sci-fi sound. Karl Hyde takes charge of the vocal, delivering it in urgent, dramatic bursts. Meanwhile, the bank of synths join the funky, robotic, rhythm section. Eighties drums crack, stabs of keyboard and a funky synth join forces. Rocky guitar add a contrast. Handclaps ad drama before acrystalline guitar solo weaves its way across the arrangement. Later, the arrangement matches the senesce of urgency in Karl Hyde’s vocal as electronica, rock, funk and soul melts seamlessly into one.
Witness is the signal for Eno-Hyde to get a little funky. Chiming guitars joins a probing bass and synths. The result is more than a little funky. After that, banks of synths build the arrangement. By the time Karl’s vocal enters, it’s obvious that this track is more than a little special. Karl Hyde’s vocal wistful and rueful. He doesn’t reveal the track’s melodic delights too soon. With the help of synths and backing vocals, they build the arrangement. Stabs of Jerry Lee Lewis piano and a deadpan vocal add to the drama. Still, it’s not time to unleash another hook-laden anthem. When it is, it’s well worth the wait to hear the delights of another genre-melting anthem.
Stabs of a bass synths open Strip It Down, before drums crack and a keyboard adds a melodic contrast. The arrangement is panned. It reverberates, taking on a dark, haunting and hypnotic sound. Especially when Brian Eno delivers his vocal. It too, is dark and haunting. Meanwhile, the arrangement veers between dark and mesmeric to melodic. Banks of synths and keyboards play an important part in the track’s dark, driving sound. So do the strings, piano and guitar. They all play their part in an enigmatic and innovative track that should stand the test of time.
Mother Of A Dog has an understated, spacious arrangement. Drums and synths create a rumbling arrangement, before a bluesy harmonica signals the arrival of Karl’s haunting vocal. Brian Eno’s rumbling bass joins a somewhat futuristic, but haunting arrangement. This is perfect for Karl’s Neil Young inspired vocal. Drama builds, and a futuristic, sci-fi soundscape unfolds. Quite simply, this is the highlight of Someday World.
A thunderous drum and guitar combine as Who Rings A Bell gradually reveals its treasure trove of secrets. After this, the arrangement veers between understated, ethereal, thoughtful and graceful to futuristic and robotic. Swathes of cooing harmonies accompany Karl’s enigmatic, emotive vocal. Meanwhile, musical genres melt into one. Elements of ambient, electronica, experimental, jazz and rock are combined by Eno-Hyde and friends, resulting in a musical treasure trove of secrets.
Cinematic describes the introduction to When I Built The World. Shimmering, quivering strings and pulsating, pounding drums give way to Brian Eno’s vocal. It’s heartfelt and rueful. Especially when he sings “when I built this world I built it full of guilt, I built with regret and pain and sin.” As he delivers his vocal, the drama builds. Synths shimmer and bubble, drums pulsate. Then the track takes on futuristic, funky, dance-floor friendly sound. Everything from Andy MacKay’s saxophone, horns, a vocoder, rocky guitar and funky bass join a myriad of synths in showing another side to Eno-Hyde’s music. It’s cinematic and dance-floor friendly, albeit with a futuristic, dramatic sound.
To Us All closes Someday World. It has a much more understated sound. It’s almost mellow, with synths and crystalline guitars joining forces. The arrangement meanders along. Guitars become rocky and synths shimmer as Brian delivers the lyrics. He’s like a seer, pondering what the future has in hold. Hopefully, another Brian Eno solo album.
It’s been two years since we last heard from Brian Eno. That was his 2012 solo album Lux. It was triumphant comeback from the returning hero, and Godfather of electronic music. Since then, Brian Eno has been working with two generations of musicians. Brian’s main collaborator was Underworld’s Karl Hyde. They’re both innovators, who are determined to create groundbreaking and inventive music. The same can be said of Brian’s old friend from Roxy Music, Andy McKay. Another collaborator was Coldplay’s Will Champion. Then there’s another of Brian’s trusty lieutenants John Reynolds. With such a multitalented cast of collaborators, it’s no surprise that Someday World was such a critically acclaimed and commercially successful album.
Just like every album Brian Eno has released, it’s an album that sees him move forward. For Brian Eno standing still is like going backwards. That’s never going to happen. Especially with three generations of groundbreaking musicians to collaborate with. The result was a genre-melting album.
Everything from ambient, Afro-beat, blues, electronica, funk, jazz, pop, rock and soul melts into one during the musical journey that’s Someday World. The music veers between funky to futuristic to dark and dramatic and right through haunting and hypnotic. Other times it melodic or mesmeric. Sometimes, the music is uplifting and joyous. Especially when slick poppy hooks are unleashed on The Satellites and Witness. These tracks should introduce a new generation to Brian Eno and Karl Hyde’s music.
Awaiting them, are a cornucopia of musical delights. That describes the Brian Eno and Karl Hyde’s music. However, cornucopia of musical delights is also the perfect description of Eno-Hyde’s critically acclaimed album Someday World.
ENO-HYDE SOMEDAY WORLD.
ASHFORD AND SIMPSON-HIGH RISE.
ASHFORD AND SIMPSON-HIGH RISE.
By 1983, Ashford and Simpson were about to release their eleventh album, High Rise. It was their second album for their new record label Capitol Records. High Rise was also the followup to their 1982 concept album Street Opera, which dealt with the problems couples face in economically tough times.
Street Opera dealt with the problem a couple face keeping their love alive when money’s tight. Ashford and Simpson examined the problems an ordinary working man encountered whilst trying to support his wife and family during an economic downturn. The result was a concept album full of social comment, emotion and soul searching. Released to widespread critical acclaim in 1982, Street Opera was a huge commercial success. It reached number forty-five in the US Billboard 200 and number five in the US R&B Charts. Since then, High Rise is considered one of Ashford and Simpson’s best albums. A year later, in August 1983, Ashford and Simpson decided to move away from the social comment and urban drama of Street Opera to something quite different, High Rise, an album where four of the eight tracks were designed for the dance-floor.
For High Rise, Ashford and Simpson penned eight tracks. They were a mixture of ballads and dance-tracks. This was very different from Street Opera, but showed that Ashford and Simpson weren’t willing to stand still. Instead, High Rise was the next chapter in Ashford and Simpson’s long and successful career.
When the recording of High Rise began at Penny Lane Studios, Ashford and Simpson enlisted the help of a crack team of musicians to help record the eight songs on the album. This included guitarist Sidney McGinnis, bassist Francisco Centeno, drummer Yogi Horton and Ray Chew on electric piano. Together with the rest of the band, they cut eight tracks, four of which were written specifically for the dance-floor, where the music of Ashford and Simpson had always been well received. On High Rise was a combination of soul and R&B music, with slower songs sitting comfortably next to faster dance-floor friendly tracks. Once High Rise which was rereleased by BBR Records on 2nd June 2014, was recorded, it was mixed at Sigma Sound Studios, in New York. High Rise was then released in August 1983.
High Rise was Ashford and Simpson’s eleventh album, and was released in August 1983. Before it was released, the first single from High Rise, an instrumental version of the title track High Rise was released. It reached number seventeen in the US R&B Charts and number forty-one in the US Dance Charts. A month later, the album High Rise was released, reaching number fourteen in the US R&B Charts and number eighty-four in the US Billboard 200. October 1983 saw the release of the second single from the album It’s Much Deeper. It reached number forty-five in the US R&B Charts. In January 1984 the third and final single was released from High Rise. This was It’s Not That Tough, which reached number seventy-eight in the US R&B Charts. Although neither the album High Rise, nor the three singles taken from it, had replicated the success of Street Opera, High Rise was still a great album, full of quality music, which I’ll now tell you about.
The opening track on High Rise is the title track, High Rise a song cloaked in drama and suspense, from the opening bars. A combination of piano, rhythm section and guitars give way to Nick’s vocal, before Valerie makes her entrance. Nick tell the story of a woman he loved, who wanting the finer things in life him, in pursuit of them. Like Nick, Valerie plays her character well, the quick tempo like her hasty departure in pursuit of a better life. The sound is punctuated by bursts of darkness and suspense from the piano. Meanwhile, a bass reverberates, while a constant drumbeat provides the song’s heartbeat. Later, vibes played by Ray Chew provides a musical contrast, while the chords played on the piano sympathetically echos Valerie’s desire for better things. Similarly to the music on their previous album Street Opera, Ashford and Simpson tell a story that reflects real life perfectly, using not just their vocals, but the instruments to get across the sadness, drama and desire of the scenario, and the pursuit of the best things in life.
SIde Effect opens with a funk drenched sound from the rhythm section and guitars, while a wailing saxophone floats above the arrangement. It’s a dance-floor oriented track, with crisp beats, a funk laden bass and piano being joined by blazing horns. Key to track’s success is Sidney McGinnis guitar playing is used to reflect the side effect suffered by the character in the song. This side effect is how either a lack of love, or a love affair that’s gone wrong can have on a person, and its affect on their life in other ways. As the song progresses, a combination of funky driving rhythm section, chiming guitars and piano accompany Nick and Valerie’s looser, joyous, powerful vocals. The result is a great song, one that’s not just dance-floor friendly, but has a joyful, uptempo sound.
Experience (Love Had No Face) is a slower song, one that explores the nature of casual relationships and their lack of commitment and emotion. Against a backdrop of pianos, rhythm section and shimmering guitar Nick thoughtfully sings the lead vocal. Brief bursts of horns signal Valerie’s entrance, while lush strings sweep in the background. By now, the arrangement has grown, with acoustic and electric piano combining well, while strings and horns add a sad, emotive sound, reflecting the emptiness of these fleeting, casual relationships. Later, Nick and Valerie’s vocals soar emotionally, while behind them, the best arrangement unfolds. Not only has it a beautiful, slow, lush sound, that gradually reveals itself, but when combined with the vocals is by far, one of the album’s highlights.
It’s A Rush is quite different from its predecessor. Straight away, it’s immediately noticeable that the track has a quite dated, electronic sound. This is caused by various synths used, including a synthesizer bass line. Although they sounded okay back in 1983, the sound has dated. Thankfully, after the joyous vocals enter, the sound improves, with the arrangement starting to lose its earlier artificial sound. Maybe this is because of the inclusion of more traditional instruments, including guitars, pianos, percussion and rhythm section. Together, they drive the track along quickly, providing a dance-floor friendly track, made all the better by Nick and Valerie’s joyful, soaring and energetic vocals. However, it’s just a pity that parts of the track haven’t aged well, a common problem among synth-heavy, early-eighties tracks.
My Kinda Pick Me Up, a much better sounding track than its predecessor. It has a jazz influence throughout the track, especially with the addition of George Young’s saxophone playing. It wails and howls above the punchy, arrangement, as piano, rhythm section and chiming, quivering guitars accompany it. Valerie’s gentle tender vocal enters, as she sings about how her lover is her pick me up. Nick’s vocal has a similar tenderness, while the rhythm section, piano and saxophone are key to this fantastic, jazz tinged arrangement. When you add Nick and Valerie’s vocal to it, the result is a timeless, track, unlike its predecessor.
It’s Not That Tough is another slow song, with gentle harmonies sitting atop the arrangement, while strings slowly, sweep and a piano and the rhythm section combine. Both Nick and Valerie’s vocals begin tenderly, growing in strength, before quickly, returning to the previous gentle style. It’s a song about a man with a tough facade, but behind that facade, is a man waiting and wanting to melt into his lover’s arms. Behind them, lush strings, piano and the rhythm section combine with bursts of rasping horns to create a beautiful, slow meandering arrangement, which is perfect for the gentle, beauty and tenderness of the vocal. The result of this combination is a stunning track, one of the best on High Rise.
It’s Much Deeper is a much quicker track, with rock style guitars throughout the track. Ashford and Simpson have built the song around a repeated groove, one that’s used throughout the track. Onto that groove, they get Sidney McGinnis to add a very eighties sounding rock guitar solo. Like the synths used in It’s A Rush, this detracts from the track, giving it a predictable, somewhat dated sound. It just doesn’t work, and sounds like too many similar eighties’ tracks. From the start, a funky, driving rhythm section, chiming guitars and piano accompany the powerful, energetic vocals from Nick and Valerie. Even until Sidney McGinnis adds his rock influenced guitar solo, the track wasn’t as good as the rest of the album. Like the guitar solo, the track has an eighties sound throughout. Like It’s A Rush, it hasn’t dated well, and is a disappointing track.
High Rise closes with Still Such A Thing, a track that Ashford and Simpson had produced for Gladys Knight and The Pips About Love album. This is a stunning track, one that more that makes up for the disappointment of It’s Much Deeper. It’s a track that pays homage to how love transcends race or religion and class or creed, and truly is a universal thing. Against a gentle piano lead arrangement Nick and Valerie gently and tenderly deliver the lyrics. Lush sweeping strings enter, while the rhythm section, guitar and percussion combine. They provide a beautiful backdrop for the vocals, and when subtle, horns enter, combining with the strings, things get even better. As the song progresses, Nick and Valerie sing with emotion and passion, against an arrangement that’s both lush and sometimes dramatic, matching their delivery. By the end of this stunning track, it seems Ashford and Simpson have kept one of the album’s best tracks until last. It was well worth the wait, to hear such a beautiful and brilliant song.
It’s been a while since I last listened to High Rise. So, I’ve had to familiarise myself with High Rise again. Having spent time doing this, I’ve come to the conclusion that although it’s not quite as good as Street Opera, it’s still a good album. Of the eight songs on High Rise, only two disappoint. These are It’s A Rush and It’s Much Deeper, two tracks with a slightly dated sound that sadly, haven’t stood the test of time well. Apart from these two tracks, Ashford and Simpson work their Magic on High Rise.
Some of the tracks are on a par with the critically acclaimed Street Opera. This includes Experience (Love Had No Face) and It’s Not That Tough. They’re two slow tracks which feature great arrangements and some tender, emotive and heartfelt vocals from Nick and Valerie. The jazz tinged My Kinda Pick Me Up, demonstrates Ashford and Simpson’s versatility and features some virtuoso playing by George Young which helps lift the song to the next level. However, Ashford and Simpson kept the best to last with Still Such A Thing, which had originally been on Gladys Knight and The Pips, About Love album. On that track, they pay homage to the universality of love, and produce a stunning vocal performance. That was the perfect way to end the album. Leave the listener on a high, wanting more. That’s the case on High Rise, an an album that deserved to do better, reaching number fourteen in the US R&B Charts and number eighty-four in the US Billboard 200.
ASHFORD AND SIMPSON-HIGH RISE.
SOUTHPORT WEEKENDER: LEFTO.
SOUTHPORT WEEKENDER: LEFTO.
The Southport Weekender has come a long way since it first took place back in 1987. Since 1987, the Southport Weekend has been one of the highlights of the dance music scene. Rather confusingly, the first Southport Weekend took place in Berwick Upon Tweed. This was a somewhat strange choice of venue for a dance music festival. Berwick Upon Tweed isn’t exactly rock ’n’ roll. However, Berwick Upon Tweed was the birthplace of Britain’s premier dance music festival.
After that, the Southport Weekender headed to the party capital of the North West of England, Blackpool. This was the next place the Southport Weekender called home. Following Blackpool, the Southport Weekender headed just along the coast to Morecambe. This was only a brief dalliance. Next stop was sedate Southport, where the weekender called home for many years. Not any more.
Now, somewhat confusingly, the home of the Southport Weekender is Minehead, in sleepy Somerset. Minehead for the time being, is the new home of the Southport Weekender, Britain’s premier dance music festival. It’s played host to some of the biggest artists and DJs.
Over the twenty-seven years, the great and the good have headed for the Southport Weekender. This includes some of the biggest DJs and artists have played at the Southport Weekender. Among the artists are A Tribe Called Quest, India Aria and Soul II Soul. Some of the biggest DJs of the past twenty-five years have all featured at the Southport Weekender, including Blaze, Kenny Dope, Tony Humphries, Dimitri From Paris, Joe Claussell Kerri Chandler, Miguel Migs and Atjazz. Each of these DJs’ mixes have featured on the ten previous volumes of the Southport Weekender. For the latest instalment of the Southport Weekender series, Lefto, the man Fact! Magazine called “your favourite DJ’s favourite DJ,” joins this illustrious list of DJs.
Southport Weekender: Lefto will be released on 2nd June 2014, on BBE Music. It’s best described as a lovingly compiled double album album. Disc one sees Lefto seamlessly mix his way through an eclectic selection of seventeen tracks. It’s a case of jump onboard Lefto’s magical mystery tour. You embark upon a musical journey through musical genres. There’s everything from deep house, electronica, folk, funk, funky house, hip hop, jazz, psychedelia and soul. Then there’s Latin and Lebanese music on Southport Weekender: Lefto.
Opening his set with Reginald Omas Mamode IVth’s Keep On Walking, Lefto mixes seamlessly into The Breathing Effect’s Daydream Prison, before taking you on an eclectic and spellbinding musical journey. You’re introduced to the delights of Om Unit’s . Shine Your Light, Amral’s Trinidad Cavalier’s It Sure Is Funky and Elias Rahbani’s La Dance De Nadia. By then, you realise that Lefto is one of the most dedicated crate diggers’s in Europe. His encyclopaedic knowledge of music means he’s able to drop the right track at just the right time. Genius Of Time’s Drifting Back sits side-by-side with the Kyodai Remix of Pablo Sánchez’s Out and About. Lefto then drops Rodendion’s Well Done. It’s a masterstroke. So is closing his set with the trio of Detroit Swindle’s Under The Spell and then Kid Fonque and Zaki Ibrahim’s 2Sides. Then closing his seventeen track set is Sam Sanders’ Face At My Window. By then, you’ll realise why Lefto is “your favourite DJ’s favourite DJ.” However, this is only half-time in Southport Weekender: Lefto.
You’ve still got disc two of Southport Weekender: Lefto to enjoy. Disc two features twelve full length versions of the seventeen tracks on disc one. This can’t have been easy. Lefto could’ve included any of the seventeen tracks. However, he had only eight minutes to fill. Some tracks weren’t going to make the cut. For Lefto choosing which of the five tracks to omit must have been torturous. I’m sure he changed his many times, given the quality of music on disc one. Eventually, he managed to choose twelve tracks with feature on disc two. They’re a tantalising taster of the music Lefto has spent his life looking for and playing.
Over the last few years, Lefto’s reputation has a groundbreaking DJ has soared. So much so, that now, Lefto is perceived as one of Europe’s top tastemakers. There’s a reason for this. He plays groundbreaking music.
Unlike some DJs, who’ve been playing the same sets since the seventies and eighties, Lefto is always digging deep to find music next big thing. Lefto you see, is not the type of DJ to follow fashions. Instead, Lefto is a trendsetter, who constantly, searches out music’s next big thing. That’s been the case since Lefto worked at the famous Music Mania record shop in Brussels.
It was during this period, that Lefto’s love affair with hip hop and jazz began. Since then, Lefto has come a long way. This was where Lefto first crate digging expeditions took place. Lefto dug deep, discovering hidden gems and rarities. He’s been doing that ever since.
Nowadays, Lefto is one of the top DJs in Europe. His eclectic sets see Lefto spin everything from hip hop, funk breaks, future bass and jazz. To that Lefto adds South-American influences and African music rhythms. This is why Lefto has been crowned one of Europe’s top DJs. He spins his eclectic sets throughout Asia, Europe and North America. Wherever he plays, Lefto keeps the dance-floor packed. That’s the case at Lefto’s regular residencies in Amsterdam and New York. However, there’s more to Lefto’s career than travelling the world DJ-ing clubs.
Lefto also has a regular radio show on Belgium’s national radio station Studio Brussels. During these shows, Lefto’s crate-digging skills are put to good use. He spins a groundbreaking selection of music. Much of the music Lefto plays, many DJs won’t have heard of. If they have, they daren’t spin in live on national radio. Lefto will. Fearlessly, he introduces his audience to a diet of new and innovative audiences. This is why listeners eagerly await Lefto’s shows on Studio Brussels. Club and radio DJ-ing isn’t all Lefto does.
He also works closely with a number of record companies. This includes Brownswood Recordings, BBE Music and Blue Note Records. In 2010, Lefto and Simbad were compiled Worldwide Family Volume 1 for Brownswood Records. Then in 2012, DJ Lefto Presents Universal Magnetic was released on 101 Apparel Artist Series. However, one of Lefto’s proudest moments was being commissioned to by Blue Note Records to create an album of remixes. For a jazz lover like Lefto, this was a dream come true. Since then, Lefto has been busy, DJ-ing and working on a series of projects. Lefto’s latest project was Southport Weekender: Lefto, which I’ll pick the highlights of.
You might not have heard of Reginald Omas Mamode IV yet. That should change and change soon. He released an limited edition E.P. Do You, on Five Easy Pieces in 2013. Another of Reginald’s releases was a cover of Roy Ayers’ Keep On Walking. It’s the perfect track to open Southport Weekender: Lefto. From cinematic and moody, the track becomes slow, sultry and soulful. Hip hop and Nu-Soul become one as you’re introduced to Reginald Omas Mamode IV, an artist with a big future ahead of him.
The Breathing Effect’s Daydream Prison is another hidden gem. It featured on The Breathing Effect’s eponymous E.P. Released in February 2014, The Breathing Effect combine experimental electronica with funk, jazz, hip hop and psychedelia. It’s a glorious combination and a tantalising taste of the innovative music The Breathing Effect create. Let’s hope they release an album really soon.
London based DJ and producer Jim Coles has been releasing music as Om Unit since 2010. He released his debut album Threads in 2013, on Civil Music. Although it doesn’t feature Shine Your Light, the quality of this track will have you checking out Threads. It’s best described as a fusion of elements of drum ’n’ bass, dubstep and electronica. There’s even a hint of hip hop on this joyous genre melting track from Jim Coles’ alter ego.
Anyone whose been a fan of Mr. Bongo’s Brazilian Beats’ series, will have discovered the delights of Som Sete’s Esquindindin. It featured on Brazilian Beats Volume 7. It’s beautiful and understated example of bossa nova, that falls firmly into the category of a hidden gem.
Elias Rahbani is a Lebanese arranger, composer, conductor and producer. He also released a series of albums. This includes Mosaic Of The Orient, which was released in 1972 on Voix De L’Orient Series. It featured La Dance De Nadia, which to me, is one of the highlights of Southport Weekender: Lefto. It’s a fusion of traditional Lebanese music, jazz, folk, funk and even psychedelia. East meets West in this glorious and captivating musical melange.
Peshay’s Kickin’ It With The Piano Trio features Tonounion. This is a track from Peshay’s fourth album Generation. Released on Tru Thoughts in 2013, it sees Peshay reinvent himself and his music. Here, he and his band are transformed into a old school jazz group. While the piano takes centre-stage, the bass propels the arrangement along. By the end of the track, Peshay has been transformed into a fully paid up member of the cool school.
From the get-go Genius Of Time’s Drifting Back is a joyous, hands in the air track. Dance-floor friendly, but with a jazzy twist, this deep house track has a real summery vibe. It was released in 2011 on the Royal Oak label, it’s a timeless dance track that’ll still fill a dance-floor.
Over the last couple of tracks of Southport Weekender: Lefto, the tempo has been rising. It plateaus on Rodendion’s Well Done. It’s best described funky and dance-floor friendly. Inspiration seems to have been sought from Blaxploitation movies. Wah-wah guitars set the scene as the Rodendion mixes licks with pounding beats.
Detroit Swindle’s Under The Spell is aptly titled. Straight away, you’re spellbound. This is a track from Detroit Swindle’s Unfinished Business E.P. Released on Freerange Records, in 2013, all things house melt into one. Deep, funky and vocal house are combined with electronica. The result is a track that’s uplifting, hook-laden and joyous, as Southport Weekender: Lefto heads towards its crescendo.
Sam Sanders’ Face At My Window closes Southport Weekender: Lefto. This is a track from Sam’s album Mirror, Mirror. Belatedly, it was rereleased on Strata Records and was a welcome release. Before this, Sam was best knows as a saxophonist and composer. He’d played with some of the biggest names in soul, funk and jazz, including Stevie Wonder, Smokey Robinson and The Four Tops. On Mirror Mirror, Sam and an all star band combine soul, funk and jazz. One of the album’s highlights was the beautiful and soulful Face At My Window. It proves a fitting way to Lefto’s magical musical mystery tour, Southport Weekender: Lefto.
Choosing the highlights of Southport Weekender: Lefto wasn’t easy. The reason for that is the quality of the music. Lefto it seems, has dug deep, deeper than he’s dug before. The result is an eclectic magical musical mystery tour. During the seventeen tracks, you hear everything from deep house, electronica, folk, funk, funky house, jazz, psychedelia and soul. Then there’s Latin and Lebanese music on Southport Weekender: Lefto. It’s a captivating treasure trove of eclectic music that in Lefto’s hands, becomes a seamless mix.
Definitely. Hidden gems and rarities sit side-by with familiar faces on disc one of Southport Weekender: Lefto. They’re seamlessly mixed together by Lefto. His mixing and programming skills are peerless. It’s a flawless mix. One great track follows hard on the heels of another. A majestic journey through numerous musical genres unfolds. A few curveballs are thrown, just to keep you on your toes. So are a few favourites. Other times, Lefto spices things up with some cutting edge and contemporary tracks. Lefto you see, isn’t the type of DJ to trot out the same tracks.
No way. He’s always determined to keep listeners on their toes. That’s why Lefto is called “your favourite DJ’s favourite DJ.” He’s always going to spin a series of groundbreaking tracks. Things are always interesting when Lefto’s behind the wheels of steel. That’s why Lefto is one of Europe’s top DJs. He spins his eclectic sets throughout Asia, Europe and North America. Wherever he plays, Lefto keeps the dance-floor packed. That’s the case at Lefto’s regular residencies in Amsterdam and New York. For anyone yet to have heard Lefto play one of his legendary sets, then Southport Weekender: Lefto will be released on 2nd June 2014, on BBE Music. Southport Weekender: Lefto is your opportunity to hear one of Europe’s most exciting and innovative DJs spinning an eclectic and exciting set of groundbreaking music.
SOUTHPORT WEEKENDER: LEFTO.
CAROL WILLIAMS-‘LECTRIC LADY.
CAROL WILLIAMS-‘LECTRIC LADY.
In late 1975, Carol Williams became the first Lady of of Salsoul. Carol, one of the original disco divas, became the first female singer to sign for Salsoul. At Salsoul Records, Carol worked with Vince Montana Jr, the man behind the rise and rise of The Salsoul Orchestra. With Vince at her side, Carol Williams disco diva, released two disco classics Love Is You and More. More became the first twelve inch single commercially available worldwide, reaching number four in the Hot Club Play Charts in 1976. The following year, Carol released ‘Lectric Lady, her only album for Salsoul. Mind you, if you’re only going to release one album for the greatest disco label Salsoul, make it one as good as ‘Lectric Lady. On ‘Lectric Lady, Carol Williams with The Salsoul Orchestra created a true Salsoul classic which will be rereleased by BBR Records on 2nd June 2014.
New Jersey born Carol Williams, transformation to becoming the First Lady of Salsoul was almost accidental. Her career started back in the sixties, when she was a member of the female soul trio The Geminis. They released a string of singles on RCA Victor, with 1966s Get It On Home, giving The Geminis their biggest hit. Further singles, including I Hired A Girl and You Put A Hurting On followed, before The Geminis signed to Brunswick. During her time with The Geminis, Carol established herself as a singer and songwriter.
It was during a stint performing on the New Jersey hotel circuit that Carol Williams got the opportunity to become a solo artist. She was performing six nights a week, further honing her skills as a singer, when the opportunity to sign for Salsoul arose. Daverne, Carol’s husband was Wilson Pickett’s bandleader, and his assistant got a call from Salsoul looking for a female vocalist who was similar to Gloria Gaynor. Carol went to the audition and was chosen. When Salsoul heard of Carol’s background in the music industry that was the clincher. Salsoul’s search was over. Carol signed a contract with Salsoul for one album, and soon, a true disco diva would be born.
Now signed to Salsoul, Carol got the opportunity to work with some of the most talented arrangers, producers and musicians. This included producer Vince Montana Jr. and The Salsoul Orchestra. Vince Montana Jr. would play a big part in the success of ‘Lectric Lady. Not only did he produce the album, but played vibes on it and cowrote four tracks. One of these tracks Love Is You which he cowrote with Ron Walker would give Carol one of her biggest hits and best loved tracks. Vince would also go onto become one of Carol’s songwriting partners.
For her Salsoul debut, Carol had the artistic freedom to choose many of the tracks on ‘Lectric Lady. She also cowrote three of the tracks on ‘Lectric Lady and acted as co-publisher of these three tracks. This was an innovative idea, allowing Carol control of the music she cowrote. Of the three tracks she cowrote, two were with Vince Montana Jr, My Time of Need and Come Back, The other track she cowrote wasYou’re So Much A Part of Me, with Jack Perricone, who also cowrote This May Be the Last Time with Paul Vance. With
A total of nine tracks were chosen for ‘Lectric Lady, including a cover version of a track from 1963, More. Originally, the track had been recorded by Kai Winding and featured in the movie Monde Cane. Little did anyone at Salsoul realize that this would become one of Carol’s best known tracks. It was transformed into a stonewall disco classic, at the legendary Sigma Sound Studios.
Accompanying Carol Williams were The Salsoul Orchestra, featuring some of the greatest musicians of the seventies. All the greats played on the album. The Baker, Harris, Young rhythm section and guitarists Bobby Eli, T.J. Tindall and Roland Chambers. Ron “Have Mercy” Kersey and Bunny Sigler played keyboards, Vince Montana Jr, vibes, Larry Washington congas and percussion, flautist Jack Faith plus Don Renaldo’s strings and horns. Adding backing vocals were the legendary Sweethearts of Sigma, Carla Benson, Barbara Ingram and Evette Benton, along with Deborah McKnight, Ronnie Walker and Carl Helms. With such talented personnel accompanying Carol Williams and Vince Montan Jr. producing ‘Lectric Lady, it should come as no surprise that the album would become a Salsoul classic, and featured two successful singles.
Although ‘Lectric Lady didn’t chart on it release in 1976, the two singles released from the album would not just prove successful. They became Salsoul and disco classics. More reached number ninety-eight in the US R&B Charts, number eight in the Dance Music-Club Play Charts and number four in the Hot Club Play Charts. Love Is You then reached number twenty-nine in the Dance Music-Club Play Charts.
From their release Carol Williams two singles More and Love Is You were favorites of disco lovers worldwide. However, there’s much more to Carol Williams Salsoul debut ‘Lectric Lady than just two tracks, as you’ll realize when I tell you about the music on ‘Lectric Lady.
Opening ‘Lectric Lady is Love Is You, the second single released from the album. Earl Young’s pounding drums and Larry Washington’s congas combine before the lushest of strings sweep in accompanied by bursts of rasping horns. They usher in Carol’s tender, heartfelt and beautiful vocal enters. Instantly, you realize an anthemic Salsoul classic is unfolding. With the Baker, Harris, Young rhythm section providing the track’s heartbeat, Bobby Eli’s guitar punctuates the arrangement, while the mass of lush strings and rasping horns carry Carol’s vocal along. The Sweethearts of Sigma provide subtle, tender backing vocals, while flourishes of harp and solos from vibes supremo Vince Montana Jr. and a blistering horn solo play their part in the track’s hook-laden sound. However, it’s Carol’s vocal that makes the track. Her vocal is perfect for the track, delivering the lyrics with equal amounts emotion, energy and passion.
Having started ‘Lectric Lady with a classic track, you’d think that following up such a track wouldn’t be easy. Not here. This was Salsoul at the height of their creative powers. Paul Vance and Jack Perricone cowrote This Time May Be The Last Time, an emotive ballad that tugs at the heartstrings. Carol sings the song from the point of the “other woman,” with gentle, cooing backing vocals accompanying her. Slow, sad sounding strings are at the heart of the arrangement, with the Baker, Harris, Young rhythm section playing subtly, before dramatically reflecting the passion and pain in Carol’s voice. Bursts of rasping horns and keyboards punctuate the arrangement, as Carol’s voice soars, full of heartache and hurt, with strings ever-present reflecting the emotion in the love she might of lost. During this track, Carol shows that there was much more to her music than disco, proving she was equally at home delivering a heartfelt, emotive soulful ballad.
As More begins, the track literally explodes. A pounding rhythm section, with drummer Earl Young at its helm, combines with blazing horns and cascading strings. Carol’s vocal is a mixture of power and joy, as she struts her way through the track. The Sweethearts of Sigma deliver punchy backing vocals, while swathes of strings dance with delight and horns bray. Ron Baker’s bass helps anchor the track, matching Earl beat for beat as he almost makes his drums speak, while percussion, congas and Vince Montana Jr.’s vibes feature. Key to the track are the strings, backing vocalists and horns. One of the best saxophone solos you’ll hear on a Salsoul album can be heard here. Truly, Carol Williams and The Salsoul Orchestra transform this track, turning it into an anthemic disco track thirty-six years later, is best described as a timeless. It’s joyous, uplifting classic, featuring one of Carol’s best vocals.
The tempo drops on Just Feel, which gives Carol another opportunity to reveal her soulful side. The rhythm section, rasping horns, swathes of lush strings, guitar and vibes combine, creating a dramatic, punchy and beautiful backdrop for Carol’s vocal. Her vocal is tender, impassioned and full of hope, with the Sweethearts of Sigma adding equally, tender and soulful backing vocals. Layers of strings, growling horns and pounding drums set the scene for Carol, as she steps up to deliver a stunning vocal. It’s as if she’s been waiting the moment, anticipating delivering Vince Montana Jr. and Ron Walker’s lyrics. She mixes power and passion with emotion, against a backdrop of cooing backing vocalists, the lushest of strings, growling horns and a punchy rhythm section. It’s a mesmerising performance, filed hope and happiness from a hugely talented and versatile vocalist.
My Time Of Need is the first of three songs Carol cowrote, with this one of two she cowrote with Vince Montana Jr. This song is like a four minute soap-opera, filled with drama and emotion. Carol singing the song from the perspective of a young woman, pregnant, desperate and on her own. Strings cascade, while horns rasp, as percussion and vibes accompany the Baker, Harris, Young rhythm section. Together they provide track’s dramatic and moody heartbeat. Carol’s voice is tinged with sadness and hurt, while the Sweethearts of Sigma add judgmental backing vocalists, their vocals are full of shock and surprise. Their back vocals are the finishing touch, contrasting Carol’s desperation, sadness and loneliness. Here, also Carol shows how a talented songwriter and storyteller she, painting vivid pictures in just four minutes.
Come Back is the second track Carol and Vince Montana Jr. cowrote. This is a much quicker, dance-floor friendly track. Pounding drums, breathy backing vocals and flourishes of strings signal the arrival of Carol’s vocal. It’s a mixture of power, passion and hurt, with the Sweethearts of Sigma adding sweeping backing vocals. Meanwhile, horns growl as string dance, as if marching to the rhythm section’s pounding beat. It’s a glorious combination, with Carol’s impassioned, pleading vocal, the finishing touch, swept along above Vince Montana Jr.’s arrangement.
Flourishes of percussion and harp, are augmented by Jack Faith’s flute and Bobby Eli’s guitar, before Danger Sign reveals its secrets. Carol’s vocal is tinged with regret as the rhythm section, sizzling guitars and swathes of strings accompany her. Her heartbroken vocal is a mixture of despair, drama and regret, matched by Vince Montana Jr.’s arrangement. Ron Baker’s pounding bass, bursts of harp and flute plus moody horns play their part in an arrangement that reflects that sadness and regret in Carol’s vocal, as do Don Renaldo’s strings.
Rattlesnake is something of a hidden gem from Carol Williams. It features a sassy, strutting, power vocal from Carol. The Salsoul Orchestra certainly don’t let the side down. A pounding rhythm section, percussion, cascading strings and blazing horns accompany jazz-tinged guitar as Carol Williams disco diva takes centre-stage. Punchy, soaring backing vocals from the Sweethearts of Sigma accompany Carol, as The Salsoul Orchestra kick loose. Here, the mix of a mesmerizing mixture of growling horns, dancing strings and a pounding rhythm section shows them at their very best. It’s a peerless performance from The Salsoul Orchestra, the Sweethearts of Sigma and Carol Williams. She struts her way through the track delivering an impassioned, powerful and sassy vocal.
Closing ‘Lectric Lady is You’re So Much A Part Of Me, which Carol and Jack Perricone cowrote. There’s an almost wistful sound to the track, as horns rasp while strings sweep and swirl. A dramatic burst of Earl Young’s drums signals the arrival of Carol’s beautiful, heartfelt vocal. It floats along amidst the lushest of strings, while horns growl as percussion, vibes and the rhythm section accompany Carol. Soulful backing vocals from the Sweethearts of Sigma augment Carol’s vocal. Sadly, too soon, one of the most beautiful tracks on ‘Lectric Lady close and so does Carol Williams’ career at Salsoul.
Truly, Carol Williams debut album for Salsoul, ‘Lectric Lady is a true gem. It’s been a pleasure reviewing ‘Lectric Lady. To me it represents everything that’s good about music in the seventies. Here was a hugely talented vocalist, equally comfortable in her role as disco diva or singing soulful ballads. Carol was also a talented songwriter, who cowrote a trio of tracks My Time of Need, Come Back and You’re So Much A Part of Me. She also proved a shrewd and innovative businesswoman, deciding to co-publish the three tracks she cowrote, allowing her control of her music. On the nine tracks that comprise ‘Lectric Lady, Carol breathes life and meaning into each of the tracks, transforming herself from disco diva and soul singer seamlessly. Although ‘Lectric Lady wasn’t a commercial success, two of the tracks would become stonewall disco classics, More and Love Is You. These tracks gave Carol the two biggest hits of her career. Since then, they’ve become disco classics, with Love Is You being sampled by Spiller on If This Ain’t Love. Although Carol’s voice played a huge part in the sound and success of ‘Lectric Lady, so did The Salsoul Orchestra and The Sweethearts of Sigma.
The Salsoul Orchestra featured some of the most talented musicians not just of the seventies, but in the history of music. However, The Salsoul Orchestra were much more than musicians, but arrangers, producers and songwriters. On ‘Lectric Lady their combined talents were put to good use. They played real instruments, without a sampler, sequencer or drum machine in sight. Similarly, on ‘Lectric Lady musicians like Vince Montana Jr. proved he was a talented songwriter. He wrote three songs, two with Carol and Love Is You which with Ron Walker. This was way before artists “borrowed” samples from other tracks. Instead they wrote their own material. Vince Montana Jr. and Baker, Harris, Young proved to be talented songwriters, arrangers and producers. With such a coming together of musical talents, it’s no wonder that ‘Lectric Lady is such a stunning album. Really, there’s not a bad track on ‘Lectric Lady. Sadly, ‘Lectric Lady would be Caroi Williams’ only album for Salsoul Records.
Not long after ‘Lectric Lady was released, Carol Williams and Salsoul parted company. Carol didn’t want to become known as just a disco diva. She felt she’d much more to offer. ‘Lectric Lady shows that Carol is just as comfortable singing soulful ballads. However, if you’re only going to release one album for Salsoul, make it as good as ‘Lectric Lady. Truly, ‘Lectric Lady is a Salsoul classic, as are its two singles More and Love Is You. ‘Lectric Lady belongs in the collection of anyone who loves disco, soul or Salsoul. Once you’ve heard Carol Williams’ ‘Lectric Lady, you’ll Come Back for More. Standout Tracks: Love Is You, More, Come Back and You’re So Much A Part Of Me.
CAROL WILLIAMS-‘LECTRIC LADY.
BLUE MAGIC-WELCOME BACK.
BLUE MAGIC-WELCOME BACK.
In 1978, in an attempt to rejuvenate their career, Atco decided that Blue Magic should work with a new producer. So Skip Scarborough was brought onboard to produce Message From The Magic. Skip replaced Bobby “Electronic” Eli, who produced Mystic Dragons. However, a change of producer was just one of a number of changes that would take place.
Rather than record Message From The Magic in Philly, recording took place in Los Angeles. No expense was spared. Some of L.A.’s top session players were drafted in. They replaced members of The Salsoul Orchestra who had always accompanied Blue Magic. These session players would accompany a new lineup of Blue Magic.
Vernon and Wendell Sawyers left Blue Magic after Mystic Dragons. This was a huge blow. They were huge part of Blue Magic’s sound. Their replacements were Michael Buchanan and Walter Smith. They made their debut on Message From The Magic. The decision to hire proved to be flawed Skip Scarborough. He failed to rejuvenate Blue Magic’s career. Their career was at a crossroads before Skip Scarborough arrived. Worse was to come.
Following the abject failure of Message From The Magic, Blue Magic left Atco. To say their career had stalled, was an understatement. Blue Magic didn’t even have a recording. For three long years, Blue Magic never released another album. Philly Soul was no longer popular. Nor was disco. It had died in 1979. Music was changing, and changing fast. So artists and groups were desperately reinventing themselves. Not Blue Magic. They returned to what they did best.
This meant Blue Magic’s formula of romantic ballads, slow jams and dance tracks. This is how they made their name. It had proved successful in the past. One of the mean who’d worked with Blue Magic during the most successful period of his career was producer Norman Harris. That’s who Blue Magic turned to, in an attempt to rejuvenate their career. Norman Harris would produce Blue Magic’s comeback album Welcome Back for Capitol Reords. Welcome Back was recently rereleased by FTG Records. For Blue Magic, this was almost like starting over. It was a long way from 1974.
Blue Magic’s eponymous debut album was released in January 1974, reaching number forty-five in the US Billboard 200 and number four in the US R&B Charts. This resulted in Blue Magic being certified gold. Blue Magic featured the million-selling Philly Soul classic Sideshow, written by Vinnie Barrett and Bobby “Electronic” Eli. Sadly, after their debut album, Blue Magic failed to replicate the success of Blue Magic.
The Magic of The Blue, released in December 1974, reached number seventy-one in the US Billboard 200 and number fourteen in the US R&B Charts. Even when the Vinnie Barrett and Bobby “Electronic” Eli, penned Three Ring Circus was released as a single, it stalled at number thirty-eight in the US Billboard 100 and number five in the US R&B Charts. Blue Magic’s fortunes improve during 1975.
1975 saw Blue Magic embark on their first world tour. It lasted sixteen grueling and exhausting weeks. However, their luck was about to improve. Blue Magic won an Ebony Award for the best new group. Then in September 1975, their third album, Thirteen Blue Magic Lane reached number fifty in the US Billboard 200 and number nine in the US R&B Charts. With Blue Magic’s fortunes improving, work began on their next album Mystic Dragons. For Mystic Dragons, there would be some changes.
Unlike Blue Magic’s first three albums, Norman Harris wasn’t producing Mystic Dragons. Neither would Norman provide any of the songs on Mystic Dragons. Given Norman had co-written eleven songs on Blue Magic’s three previous albums this would be a huge void. Another void was the loss of the Baker, Harris, Young rhythm section. Unsurprisingly On the release of Mystic Dragons in 1976, it was the least successful album of Blue Magic’s career.
Mystic Dragons stalled at number 170 in the US Billboard 200 and number forty-four in the US R&B Charts. Three singles were released from Mystic Dragons during 1976. Freak-N-Steln only reached number seventy-three in the US R&B Charts. It’s Something About Love then reached number forty-eight in the US R&B Charts. Summer Snow proved to be the most successful single, reaching number forty in the US R&B Charts. That was a small crumb of comfort for Blue Magic, who lost two of their original lineup.
Vernon and Wendell Sawyers left after Mystic Dragons. This was a huge blow. They were huge part of Blue Magic’s sound. Their replacements were Michael Buchanan and Walter Smith. Blue Magic’s newest recruits made their debut on Blue Magic’s fifth studio album Message From The Magic, which was released in 1978.
Message From The Magic was produced by Skip Scarborough, and recorded in Los Angeles. It was a case of all change. Even the musicians who’d previously provided the backdrop for Blue Magic were changed. Skip Scarborough was a new broom, determined to sweep clean. Ironically, he produced the least successful and most disappointing album of Blue Magic’s career. On the release of Message From The Magic in 1978, it failed to chart. For Blue Magic this was the least successful album of their career. The decision to move from Philly to L.A. had been a disaster. Worse was to come.
Blue Magic left Atco following the abject failure of Message From The Magic in 1978. Three years passed before Blue Magic set foot in a recording studio. Guiding them every step of the way was producer Norman Harris and some of Philly’s finest arrangers, producers, songwriters, musicians and backing vocalists.
When recording of Welcome Back began at Alpha International Studios and Sigma Sound Studios, in Philadelphia, ten tracks were to be recorded. Eight of the tracks were penned by members of Blue Magic. Alan Felder penned All I Really Need Is You and the Hendricks penned Welcome Back. Accompanying Blue Magic was an all-star case of former members of M.F.S.B. and The Salsoul Orchestra.
Providing Welcome Back’s heartbeat were the Baker, Harris, Young rhythm section. They were joined by guitarists Bobby Eli and T.J. Tindall. Vince Montana Jr. added vibes and percussion, while Larry Washington played percussion and Ron “Have Mercy” Kersey, Lenny Pakula and Carlton “Cotton” Kent keyboards. Adding the strings and horns were Don Renaldo and His Swinging Strings and Horns. Adding backing vocals were the legendary Sweethearts of Sigma, Carla Benson, Barbara Ingram and Evette Benton. Their unmistakable harmonies were augmented by Bruce Grey, Mikki Farrow, Carl Helm, Phil Hurtt. With so many familiar faces, it was like Blue Magic’s early days, when they were enjoying commercial success and critical acclaim. However, some things were changing.
Lead singer Ted Mills didn’t just play piano on Welcome Back, but synths. So did Eugene Curry. He played synths, Fender Rhodes and Mini Moog. Philly Soul, it seems, was changing. Would this result in Blue Magic’s career being rejuvenated?
On the release of Welcome Back in 1981, it was a case of deja vu. Welcome Back failed to chart. Neither of the singles, Land of Make-Believe nor Seems I Haven’t Seen Her charted. Sadly, bringing back Norman Harris and his all-star cast hadn’t rejuvenated Blue Magic’s career. However, Welcome Back is vintage Blue Magic.
Opening Welcome Back is The Oscar, which was co-produced by Ron Tyson. A roll of drums signals the arrival of swirling strings and a Thom Bell horn. Meanwhile the Baker, Harris, Young rhythm section provide the heartbeat. Ron Baker’s bass meanders along, Norman Harris’ guitar chimes and Earl Young’s drum add drama. This is the perfect backdrop for Ted Mills’ tender, heartfelt, falsetto. Cooing harmonies soar above the arrangement. They’re joined by braying horns, sweeping strings and bursts of thunderous drums. They provide a dramatic backdrop to Ted’s emotive vocal as Blue Magic roll back the years. With an all-star cast of Philly’s finest musicians and backing singers, Blue Magic produce a vintage slice of Philly Soul.
Feelin’ The Love bursts into life, and Blue Magic head for the dance-floor. What follows is an irresistible dance-track. From the get-go, the Baker, Harris, Young rhythm section propel the arrangement along. Strings dance and horns rasp as Ted delivers a joyous, lovestruck vocal. It’s as if he and the rest of Blue Magic have been inspired. They’re a totally different band from the one on Message From The Magic. Blue Magic seem reenergised. Especially Ted. His vocal glides atop the lush strings. Harmonies coo, while Ron Baker unleashes some funky licks. It’s the perfect foil for the myriad of percussion, strings and horns that accompany Ted on this joyous and irresistible dance-track.
There’s no let up in the quality on Who Could Ever Leave You. It’s Philly Soul with a funky twist. Baker, Harris, Young join forces with percussion and lush strings. They set the scene for tender harmonies. Then a dramatic burst of Earl Young’s drums signal the arrival of Ted’s rueful vocal. The way he sings “Who Could Ever Leave You,” it’s as if the lyrics are personal. Cooing harmonies sweep in, while Ron Baker’s bass and Norman Harris’ crystalline guitar add a funky twist to this deliciously soulful track.
Strings dance and drums pound as Welcome Back reveals its secrets. Baker, Harris, Young add a funky backdrop as the tempo increases and things get funky. Ted delivers his vocal quickly, combining hope and joy. Harmonies glide in, strings quiver, the rhythm section drive the arrangement along and horns growl. Later, Norman Harris unleashes a funky solo while Ted and the rest of Blue Magic urgently and soulfully, drive each other to great heights.
Land Of Make Believe was the track that closed the first side of Welcome Back. It’s a slow ballad. Vince Montana Jr’s vibes combine with a chiming guitar, cooing harmonies and lush strings. Along with a Fender Rhodes, they set the scene for Ted’s tender, seductive vocal. Earl Young’s drums add an element of drama as Ted’s vocal grows in power and passion. Every step of the way, the rest of Blue Magic’s harmonies compliment Ted’s vocal during this romantic paean. It allows Blue Magic to showcase their vocal prowess. No wonder. This is what Blue Magic made their name doing. In their day, Blue Magic were one of the finest purveyors of Philly Soul.
Seems I Haven’t Seen Her floats into being. Baker, Harris, Young provide the heartbeat and the lushest of strings glide in. They’re joined by Blue Magic’s sweeping harmonies. When the vocal enters, it’s needy and hopeful. It changes hands. Ted’s falsetto provides a contrast. he breaths life, meaning and emotion into the lyrics. As for Norman Harris’ production, it’s a mini masterpiece, reminiscent of Thom Bell’s work with The Stylistics. That’s how good it is.
Baker, Harris, Young join forces with strings and Bobby “Electronic” Eli’s wah-wah guitar, rasping horns and Vince Montana Jr’s vibes on Standin’ On The Edge Of A Love Affair. The result is a fusion of Philly Soul and funk with a slightly futuristic twist. That’s until Ted’s vocal enters. It’s heartfelt and impassioned. That’s still the case when the vocal changes hands. After that, another slice of vintage Philly Soul ufolds. Ron Baker’s bass would help drive the arrangement along, while Earl Young’s drums and growling horns inject an element of drama. This sets the scene for Blue Magic to deliver a heartfelt, hopeful vocal masterclass.
Let There Be Love sees the tempo drop again, and Blue Magic deliver another beautiful ballad. Framing Ted’s wistful, thoughtful vocal are lush strings, braying horns and Vince Montana Jr’s vibes. Underpinning the arrangement is the Baker, Harris, Young rhythm section. They provide a melancholy, understated backdrop for Blue Magic. Before long, the vocal changes hands. It’s needy, hopeful and like the arrangement, grows in drama. Ted’s falsetto is the perfect foil. He adds urgent backing vocals, as Blue Magic demonstrate that when it comes to balladry, they were among the best.
All I Really Need Is You has a bubbling, funky introduction as keyboards, percussion and the Baker, Harris, Young rhythm section combine with strings. So does Bobby “Electronic” Eli’s wah-wah, a synth and braying horns. Then when Ted Mills’ tender, heartfelt vocal enters, it’s all change. The arrangement takes on a vintage sound. Ron Baker’s bass helps propel the arrangement along. Norman Harris’ crystalline guitar chimes and swells of strings sweep. Meanwhile, Ted unleashes a vocal powerhouse and the arrangement, complete with bubbling synth and harmonica glides, before reaching an emotive crescendo.
Remember November closes Welcome Back, Blue Magic’s comeback album. Stabs of melancholy keyboards give way to pizzicato strings and Ted’s wistful vocal. Ron Baker’s bass drives the arrangement along. It features swathes of strings, Norman Harris’ chiming guitar and braying horns. The Sweethearts of Sigma contribute cooing harmonies. They glide and sweep in and out of the arrangement, as Ted’s vocal grows in power and emotion. They’re the perfect foil to Ted as he unleashes another impassioned vocal masterclass.
Blue Magic’s comeback album Welcome Back, was a welcome return to form. It was a far better album than the disappointing Message From The Magic. No wonder. Skip Scarborough had been replaced as producer. He didn’t bring out the best in Blue Magic. Granted he played to their strengths, combining ballads with dance-tracks. However, some of the tracks just weren’t good enough. Another problem was that Blue Magic didn’t sound like Blue Magic. Their trademark Philly Soul sound seemed to have been diluted. This wasn’t the first time this happened.
It happened in 1976, when Blue Magic released their fourth album Mystic Dragons. Unlike their first three albums, it wasn’t produced by Norman Harris. Instead, Mystic Dragons was produced by Bobby “Electronic” Eli. He fused Philly Soul, gospel and a much more funky sound. This didn’t go down well with Blue Magic’s fans. Mystic Dragons became the least successful album of their career. That’s until 1978 and the release of the Skip Scarborough Message From The Magic. Its commercial failure resulted in Blue Magic leaving Atco. Three years later, Norman Harris returned to the fold and produced their best album in six years, Welcome Back.
On Welcome Back, Norman Harris and his all-star band provided the perfect backdrop for Blue Magic. No wonder. Look at the calibre of musicians accompanying Blue Magic. The Baker, Harris, Young rhythm section, Vince Montana Jr, Bobby “Electronic” Eli, Larry Washington, Don Renaldo and The Sweethearts of Sigma were Philly Soul royalty. They’d been members of M.F.S.B. and then The Salsoul Orchestra. These musicians had played on Blue Magic’s first four albums. However, Blue Magic’s best and most successful albums were the trio produced by Norman Harris.
Norman rolled back the years for Blue Magic on Welcome Back. From the opening bars of The Oscar, right through to the closing notes of Remember November, Norman Harris’ all-star band provide the perfect backdrop for Blue Magic. Ted Mills and the rest of Blue Magic seemed to raise their game. They drove each other to greater heights of soulfulness. Aiding and abetting Blue Magic were Norman Harris and his all-star band. Whether it was romanic ballads, slow jams or dance tracks, they provided the perfect backdrop for Blue Magic on Welcome Back. It was a welcome return to form from Blue Magic. Sadly, Welcome Back failed commercially.
The reason for this is simple. By the early eighties. music was changing, and changing fast. Philly Soul was no longer as popular. The same can be said of all forms of soul music. As for disco, it was long dead. Boogie had replaced it in popularity. So even the dance tracks on Welcome Back passed people by. For Ted Mills and the rest of Blue Magic, their reunion with Norman Harris and his all-star band hadn’t been a commercial success. At least, Welcome Back was a welcome return to form from Blue Magic.
Welcome Back sees Blue Magic roll back the years. It’s a return to the music they released on Blue Magic, The Magic Of The Blue and Thirteen Blue Magic Lane. There’s a reason for that. Norman Harris returned to the producer’s chair and with his all-star band, produced Blue Magic’s best album in six years, Welcome Back. It’s the last great album Blue Magic released. Welcome Back was a welcome return to form from Blue Magic, one of the finest purveyors of Philly Soul.
BLUE MAGIC-WELCOME BACK.
SAM DEES-THE SHOW MUST GO ON.
SAM DEES-THE SHOW MUST GO ON.
Without doubt, one of music’s best kept secrets is Sam Dees. So much so, that I’d describe Sam Dees as one of the best singers you’ve never heard. Sam’s career began back in the late-sixties. Sadly, commercial success and critical acclaim never came Sam’s way. As a result, Sam Dees is better known as a songwriter and producer.
That’s why nowadays, Sam Dees is described as: “a prolific songwriter and occasional performer.” That seems a fitting description of Sam Dees, who has written nearly four-hundred songs. However, during a career stretching six decades, Sam has only released a trio of albums.
Clearly, Sam Dees believes in quality over quantity. Anyone whose heard Sam’s 1975 debut album The Show Must Go On will be forced to agree. The Show Must Go On is Sam Dees’ Magnus Opus.
Although Sam’s career started in the late-sixties, he didn’t released his debut album until 1975. By then, Sam was signed to Atlantic Records. His debut album was released to widespread critical acclaim. Despite this, The Show Must Go On failed commercially. Since then, The Show Must Go On is regarded as a Southern Soul classic. You’ll realise that when I tell you about The Show Must Go On, which was recently rereleased by Rhino as part of its Japanese Soul and R&B series. Before that, I’ll tell you about Sam Dees career.
Sam Dees was born in Birmingham, Alabama, in December 1945. He was born into a large family. Sam stood out though. The reason for that was his voice. From an early age, it was obvious that Sam was a talented singer. When he was just nine, Sam was a veteran of talent contests. He’d won numerous talent shows, so decided to form his own group The Bossanovians. By the time Sam was ten, it became apparent Sam had a way with words.
Unlike most ten year olds, Sam was writing poetry and songs. Looking back, Sam Dees was something of a musical prodigy. So, it’s no surprise that he would make a career as a songwriter. Before that, he had dreams of becoming a singer.
Although Sam was a still teenager, he was already travelling from his Birmingham home to perform. This was the equivalent of Sam serving his musical apprenticeship. Then in 1968, Sam caught a break, He got the chance to record his debut single.
Given Sam was an aspiring soul singer, it sees strange that he made his recording debut in Nashville. I Need You Girl was released on SSS International. Sadly, it wasn’t a commercial success. Neither were Easier To Say Than Do nor It’s All Right (It’s All Right), which sam released on Lo Lo Records in 1969. Then as a new decade dawned, Sam’s luck changed.
Since 1968, Clarence Carter had been signed to Atlantic Records. He’d released a trio of albums, to varying degrees of success. His fourth album, Patches, was released in 1970. Produced by Rick Hall, and featuring some of Memphis’ top musicians and backing vocalists, including Chalmers, Rhodes, Chalmers, Patches featured songs from some top songwriters. This included Sam Dees. He wrote Changes, a heartbreakingly beautiful slice of Southern Soul. For Sam Dees, an up-and-coming singer and songwriter, writing a song for Clarence Carter was something of a coup. He was, after all, signed to Atlantic Records, one of the biggest soul labels. Little did Sam realise that in a few years, he’d be signed to Atlantic Records. Before that, Sam signed to another famous label, Chess Records.
1971 proved to be an important year for Sam Dees. He signed to Chess Records, releasing two singles, the Larry Weiss penned Maryanna and Can You Be A One Man Woman. Despite the quality of music, Sam wasn’t making that important commercial breakthrough. At least other artists were covering his songs.
Rozetta Johnson covered A Woman’s Way. It was the B-Side to her single Mine Was Real. Sam wrote both songs with his wife Lillian Dees. He co-produced the songs with Clinton Moon. Released on Clintone Records, it reached number ninety-four in the US Billboard 100 and thirty-nine in the US R&B Charts. This was the first hit single Sam had written. Despite this, Sam saw himself as a singer first, and then a songwriter.
Having written and produced his first hit single, Sam hadn’t given up hope of forging a successful career as a songwriter. After leaving Chess, Sam released a single for Clintone Records. Claim Jumping didn’t replicate the commercial success of Rozetta Johnson’s Mine Was Real. Despite this, Sam’s career was on the up.
By the early seventies, Atlantic Records was a musical institution. Some of the biggest names in soul had been signed to Atlantic. Now, it was a broad musical church, with Led Zeppelin one of its most successful artists. The next addition to the label was Sam Dees. 1973 saw Sam release two singles for Atlantic, So Tied Up and I’m So Very Glad. Despite their undoubted quality, they weren’t the commercial success they deserved to be. At least a song Sam cowrote proved much more successful.
Stop This Merry-Go-Round was was a song Sam, Albert Gardner and Clinton Moon had written. Originally, Bill Brandon took the song to number thirty-three in the US R&B Charts. Now, John Edwards a future Detroit Spinner would record the track. His Johnny Taylor styled cover was released on Aware in 1973, reaching number forty-five in the US R&B Charts. Again, Sam was enjoying more success writing songs than singing them. He wasn’t for turning his back on his solo career,
Sam returned to his solo career in 1974. He released two singles, Worn Out Broken Heart and Come Back Strong. Neither were a commercial success, but Come Back Strong proved to be prophetic.
With the last couple of years proving unsuccessful for Sam Dees, 1975 was a big year for him. Sam was about to release his debut album The Show Must Go On. It featured ten tracks. Four were penned by Sam, including The Show Must Go On, Come Back Strong, What’s It Gonna Be and Good Guys. Sam cowrote Claim Jumpin’ and So Tied Up with William Brandon. He also cowrote Just Out Of Reach with James Lewis and Worn Out Broken Heart with Sandra Drayton. Child Of The Streets was a collaboration between Sam and David Cammon. The pair also cowrote Troubled Child with Al Gardner. These ten tracks became The Show Must Go On, and were recorded at two studios in Birmingham, Alabama.
To record his debut album The Show Must Go On, Sam headed to home to Birmingham, Alabama. He recorded The Show Must Go On at two studios, New London Studios and Sound Of Birmingham. For the recording sessions, Sam drafted in a small, tight band. The rhythm section featured drummer Sherman “Fats” Carson. bassist David Camon and guitarist Glen Woods. Arrangers included Randy Richards, Ronnie Harris, Skip Lane and Sam. Aaron Varnell arranged the horns on Claim Jumpin.’ Sam played piano and produced The Show Must Go On, which was released in 1975.
Sadly, when The Show Must Go On was released, musical tastes had changed. Disco was now King. Soul albums weren’t selling well. The Show Must Go On wasn’t a commercial success. Neither were the singles The Show Must Go On, nor Fragile, Handle With Care. For Sam, this must have been a huge disappointment. Here he was signed to one of soul’s most prestigious labels, but at the wrong time. Belatedly, however, The Show Must Go On has come to be regarded as a Southern Soul classic. You’ll realise why, when I tell you about The Show Must Go On.
Child Of The Streets opens The Show Must Go On. A flute flutters above the arrangement while a probing bass, Fender Rhodes and piano sets the scene for Sam’s vocal. Straight away, he paints pictures. They’re not pretty pictures. Instead, he sings about poverty, crime and drug addiction. Concern fills his vocal at the plight of the “Child Of The Streets.” Her father is a “pusher man,” her mother “on the corner” and her brother a drug addict.” Flourishes of keyboards add to the drama. Frustration fills Sam’s vocal as he asks: “will you end up like your family tree, tell me what you gonna do?” on this poignant, dramatic track full of social comment.
Loleatta Holloway recorded The Show Must Go On. Both versions have a slow, dramatic introduction. The rhythm section, reverberating guitar and violin provide the backdrop for Sam’s soliloquy. Here, he plays the role of a heartbroken star. Each night, he has to face the woman who broke his heart. Sam sings:“I laugh to make the hurt go once again.”. A thunderous drum signals the arrangement to unfold and Sam delivers a vocal that oozes emotion and hurt. He sometimes sings call and response with soaring harmonies. It’s as if they’re trying to sooth his pain. Guitars weep, strings sweep and stabs of keyboards join the rhythm section, who provide the heartbeat. Sam meanwhile, delivers a soul baring vocal that’s full of hurt and loneliness.
A crystalline guitar opens Come Back Strong while the pulsating rhythm section and swirling strings set the scene for Sam. He unleashes a defiant vocal powerhouse that showcases Sam’s prowess as a songwriter. The lyric “they say that love, love will never work for us, but while they fuss and fight all night, we always get along” proves this. It’s just a tantalising taste of a Sam Dees’ masterpiece. As for the arrangement, it just keeps getting better. It’s driven along by the bass, while soaring, rocky guitars, cooing, soulful harmonies, dancing string and growling provides the perfect accompaniment for Sam. He delivers a vocal masterclass of one of the finest songs he ever wrote.
Stabs of piano and quivering strings open Just Out of Reach. They’re joined by tender harmonies and a meandering rhythm section. By the time Sam’s vocal enters, the scene’s set. He’s heartbroken, having realised that the woman he loves is “Just Out of Reach.” His vocal oozes emotion. It quivers as he delivers the lyrics. It’s as if he’s realised the relationship is over. His vocal is augmented by harmonies and lush strings. They reinforce the sadness, whilst adding to what’s a beautiful, but heartbreaking song, where Sam sings the lyrics like he’s lived them.
Claim Jumpin’ sees a change of style. It has a tougher, funkier sound. Even Sam’s vocal is stronger, taking on a powerful, vampish style. The arrangement drive the arrangement along. They’re joined by searing guitars, stabs of scorching horns and bursts of urgent, then cooing harmonies. Sam and his tight talented band fuse Southern Soul and funk, as they show another side to Sam Dees’ music.
Sam drops the tempo on Troubled Child. Just a lone piano accompanies his slow, thoughtful vocal. Frustration and emotion fills his voice as he sings about a Troubled Child. The lyrics are poignant and full of searing social comment. Especially: “old before his time, peeping out window of an empty tenement slum, looking for his dad, he didn’t know his mum.” Again, Sam paints pictures. So much so, that can imagine the scenario. The way Sam sings the lyrics, it’s as if he’s witnessed it. His vocal is dramatic, emotive and powerful. Meanwhile, stabs of horns and Hammond organ join the probing bass in framing Sam’s vocal, as he becomes Southern Soul’s conscience.
What’s It Gonna Be has a shuffling, introduction. The rhythm section, sweeping, swirling strings and piano join forces before harmonies signal the arrival of Sam’s emotive vocal. It grows in power and emotion. Soon, Sam’s unleashed a defiant, vocal powerhouse. He sings: “I know you’ve had a raw deal, but you’re the only one that can fix it, love your fellow man and start caring.” Sam seems to America’s problems personally. He seems determined to help solve. His way of doing this is through music. A talented singer and songwriter, Sam felt he would be able to reach people and bring about change with his music.
Worn Out Broken Heart is another Sam Dees song Loleatta Holloway recorded. The two arrangements on The Show Must Go On are similar. Sam’s soliloquy is accompanied by the rhythm section, braying horns and pizzicato strings. They create an arrangement that’s not unlike a musical merry-go-round. That’s before Sam’s vocal enters. It’s a combination of tenderness, despair, hope and heartbreak. Keyboards underpin the bass. It helps drive the dramatic arrangement along. Meanwhile, strings sweep, and tender harmonies sweep in. At the heart of the arrangement is Sam’s hopeful, needy vocal. It’s one of his best on The Show Must Go On.
The tempo increases on Good Guys. Swirling strings join the rhythm section, percussion and rasping horns. Straight away, Sam grabs the song and delivers another of his trademark vocals. It’s veers between rueful to hopeful. He’s one of the “Good Guys,” but “Good Guys don’t always win.” Despite this, Sam makes his case. I was your strength, your leaning post when you were falling down, and whenever you felt alone, girl I never left alone.” Later, as strings sweep Sam sings: “we were better than lovers, we were friends, and friends are hard to kind,” this is the finishing touch to another Sam Dees classic.
So Tied Up closes The Show Must Go On. Sam scats as string sweep and a piano plays. They’re accompanied by the rhythm section before Sam delivers a needy, heartfelt vocal. He’s in love, “tangled up in this thing called love…so tied up in this thing called love.” The arrangement sweeps along, reinforcing the drama and emotion in Sam’s vocal. It’s akin to a confessional. He sings “this love of yours is the making of me.” After that, Sam’s vocal veers between defiant and tender. Similarly, the arrangement veers between dramatic to understated and ethereal on this beautiful, soul-baring paean.
When Sam Dees released The Show Must Go On in 1975, it was hailed a Southern Soul classic. Sadly, The Show Must Go On wasn’t commercial success. Disco was now the most popular musical genre. Soul albums weren’t selling well. Even classic albums like The Show Must Go On, which oozes quality.
That’s apparent from the opening bars of Child Of The Streets, right through to the closing notes of So Tied Up, The Show Must Go On oozes quality. Love songs sit comfortably side-by-side with songs full of social comment on The Show Must Go On. Child Of The Streets, Troubled Child and What’s It Gonna Be were full of searing social comment. Southern Soul had found its conscience. However, Sam Dees was just as comfortable being Southern Soul’s conscience as he was writing love songs.Good as he was at both, Sam shines on the love songs.
He breathes life, meaning and emotion into songs like The Show Must Go On, Come Back Strong, Just Out of Reach, Worn Out Broken Heart, Good Guys and Tied Up. They’re songs about love lots and love found. During these tracks, the betrayal, hurt, loneliness come to life. So do the hope and joy. Sam sings the lyrics as if he’s lived, loved and survived the lyrics. Other times, he sounds as if he’s experienced the hope and joy that love brings. This makes the music on The Show Must Go On sound very personal. That’s why, Sam’s versions are the definitive versions. Good as Loleatta Holoway’s version of The Show Must Go On and Worn Out Broken Heart were, Sam’s responsible for the definitive versions. That’s the case with several songs on The Show Must Go On. Despite this, other singers are better known for their cover versions than Sam’s original.
That’s because after the commercial failure of The Show Must Go On, Sam Dees decided to concentrate more on his career as a songwriter. He penned tracks for everyone from John Edwards, Loleatta Holloway, Clarence Carter, Rozetta Johnson, Jackie Wilson and Frederick Knight, right through to The Chi-Lites, The Temptations, L.T.D, Johnnie Taylor and Gladys Knight and The Pips. That saw Sam establish a reputation as one of the most talented songwriters of his generation. That’s no exaggeration. Far from it. However, there’s more to Sam Dees than his songwriting skills.
Proof of that is Sam’s debut album The Show Must Go On. It’s a Southern Soul classic from one of the most underrated singers in the history of soul music. That’s why sometimes, Sam is one of the best singers you’ve never heard of. That to me is an injustice. Given his undoubted talent, Sam Dees should’ve enjoyed a successful career as a singer. Sadly, that wasn’t to be. Instead, Sam Dees is “a prolific songwriter and occasional performer” whose debut album The Show Must Go On is a stonewall Southern Soul classic that belongs in every record collection.
SAM DEES-THE SHOW MUST GO ON.
THE SOUND OF SIAM VOLUME 2.
THE SOUND OF SIAM VOLUME 2.
For many people, Soundway Records’ compilation The Sound of Siam was their introduction to Thailand’s music. It was released to critical acclaim in November 2010. Sound of Siam was a trendsetting compilation. After that, interest in Asian music exploded. Record companies jumped on the bandwagon. Compilations of Indonesian, Cambodian, Vietnamese, South Korean and Singaporean music were released. Suddenly, Asian music was on trend. Despite this, there was no followup to The Sound Of Siam, until now.
On 26th May 2014, The Sound Of Siam Volume 2 was released. However, compilers Chris Menist, Maft Sai and Miles Cleret hadn’t been resting on their laurels during the last three-and-a-half years. Far from it. As well as compiling The Sound Of Siam Volume 2, they’ve been running their own Paradise Bangkok club nights. They’ve also been working with their own band the Paradise Bangkok Molam International Band. Their raison d’être is making molam for the 21st Century. What I hear you say is molam?
Molam is the music of North East Thailand, or Isan. It featured on the first instalment in the Sound of Siam series. Of all the music on the Sound of Siam, molam proved the most popular. So much so, that when the Sound of Siam Volume 2 was commissioned, the compilers decided to return to North East Thailand and feature the region’s music on The Sound Of Siam Volume 2.
There’s more to North East Thailand than molam. Much more. There’s also luk thung. The two musical genres are very different. Having said that, they played an important part in the development of North East Thailand’s music, especially the period between 1970 and 1982, which The Sound Of Siam Volume 2 covers.
Before 1970, molam was primarily acoustic music. Usually, the vocal is central to molam. That can be traced back to the the meaning of molam. Mo means doctor or expert and lam means expert. So essentially, a molam was a singing expert. However, there’s more to molam than the vocal.
Three instruments can also be heard on Molam songs. There’s the phin, a three stringed lute. The khalen is essentially a bamboo mouthorgan. It looks not unlike a miniaturised version of a traditional church organ. Then there’s the sor. It’s best described as a one or two stringed violin. These three instruments and the vocal were at the heart of molar music until about 1970. That’s when instruments like the drums, guitars, keyboards and percussion were incorporated into molam music. So, were dance troupes. One of the men behind molam’s modern makeover was promoter and producer Theppabutr Satirodchompu.
He’d been exposed to Western music since the sixties. He heard groups like The Shadows and The Ventures. They were massive throughout Asia. So Theppabutr formed his own band Theppabutr Shadow, and gave Western music an Asian twist. This became known as wong shadow music. Not only were Western hits reinvented, but so were local songs. Everything from rock ’n’ roll and surf music provided inspiration for a new generation of Thai musicians, including Theppabutr, who was on his way to becoming one of the mover and shakers in Thai music.
Before long, Theppabutr was working as a producer on Thai television and radio. This allowed him to showcase a new generation of musicians and singers. With his new position in television and radio, Theppabutr was able to give artists like drummer Saksiam Petchchompu and accordionist Thepporn Petchubon a break. Soon, they were huge stars. Theppabutr was like a star-maker. He could make an artist’s career. So, it’s no surprise he opened his own recording studio,
Siam Studio would be at the heart of Theppabutr’s future business ventures. He hired producer Surin Paksiri to produce artists for his new labels Double Chicken 31 and Theppanom. One of the most successful artists signed to Theppabutr’s labels was Angkanang Kunchai.
With Theppabutr’s help, Angkanang Kunchai became a huge star. She enjoyed a string of hit singles, including Kid Hod Chu, Teoy Salap Pamaa and Lam Plearn Mee Mia Laew Pai. This was a long way from Angkanang’s early days learning to sing molam music. Now she was a star and quite rightly, features four times on The Sound Of Siam Volume 2, which is a fusion of molam and luk thung.
Luk thung, which literally translates as “song of the countryside,” is very different to molar music. It has a much more rural sound. This proved popular throughout Thailand. Especially when combined with molam, One of the most successful proponents of the fusion of molam and luk thung was Saksiam Petchchompu. With Theppabutr guiding his career, he became a star of Thai music. Other artists took things further, incorporating funk with the fusion of molam and luk thung. That’s apparent on The Sound Of Siam Volume 2, which I’ll tell you about.
The Sound Of Siam Volume 2 features a total of nineteen tracks from thirteen artists. This includes some of the biggest names in Thai music, including Angkanang Kunchai, Saksiam Petchchompu and Thepporn Petchubon. There’s also contributions from Banyen Sriwongsa, Chanpen Sirithep, Panom Promma, The Petch Phin Thong Band and Yenjit Porntawi. Just like The Sound Of Siam, The Sound Of Siam Volume 2 is akin to a who’s who of Thai music. Molam and luk thung sits side-by-side on The Sound Of Siam Volume 2, which I’ll pick the highlights of.
It’s fitting that Angkanang Kunchai opens The Sound Of Siam Volume 2. She was one of Thai music’s biggest success stories and is one of the finest exponents of molam music. She contributes a quartet of tracks, includes a trio of singles. The first is Kid Hod Chu, which opens The Sound Of Siam Volume 2. Released as a single on the Hat label, it features an ethereal, soul-baring vocal. Accompanying Angkanang is an understated arrangement, featuring just a piano and phin. It allows Angkanang’s vocal to take centre-stage and you to wallow in its beauty. Very different is Teoy Salap Pamaa. It’s a much more uptempo, urgent track that’s played at celebrations. No wonder. Its percussive delights are irresistible. So is Angkanang’s vocal, on a single that was released on the Phin Khaen label. Lam Plearn Mee Mia Laew Pai was released as a single on the Lepso label. Here, Angkanang’s accompanied by The Lotus City Band. They join Angkanang in building the drama before the arrangement heads towards the dance-floor. Elements of disco and funk are combined. Wah-wah guitars and saxophone replace traditional instruments on a track that shows how Thai music was evolving. Angkanang’s final contribution is Yak Si Glap Isan, an album track. Produced by Surin Paksiri and featuring the Ubon Pattana Band, it’s a song about a woman longing to return to her rural roots, which Angkanang delivers as if she’s experienced the longing she sings about.
The Petch Phin Thong Band contribute one of the hidden gems of The Sound Of Siam Volume 2. No wonder. They were trendsetters. They were the first group to plug in their phin. It’s key to their unique sound. On Bump Lam Plearn, they reinvent the lam learn, by fusing musical genres. There’s everything from funk, jangling pop, psychedelia and even, a nod towards disco. Funky, lysergic, mesmeric and hypnotic, it’s lam learn, but not as we know it.
Anyone whose familiar with West African highlife, will hear similarities with Montien Tienthong’s Kor Kai, which is another luk thing track. It’s not just the tempo that leads to this comparison, but the fact that the arrangement is propelled along by a myriad of congas and cowbells. Just like the keyboards, they’re provided by The Kwanjaj Kalasin Yuk Pattana Band. They established their reputation playing molam. Later, they adapted to playing luk thing and provide the backdrop for an impassioned vocal.
Banyen Sriwongsa contributes two tracks to The Sound Of Siam Volume 2. They’re Ramwong Saraphan and Lam Plearn Kon Baa Huay. Both singles were released on the Phin Khaen single. Ramwong Saraphan is described as an experimental single. The title refers to a singing competition that took place in Thailand. Entrants had to sing about the various aspects of Buddhism and were judged by the monks. A combination of traditional and Western instruments provide the backdrop for the emotive, powerful vocal. It soars above the tradition sounding Eastern arrangement. Often, Thai musicians took inspiration from other songs and sometimes, in the case of Banyen Sriwongsa, cinema.Lam Plearn Kon Baa Huay sees Banyen borrow from the luk thung classic Lub Lor Tom Pai, and the theme from the famous Thai film, Mon Ruk Luk Thung.This proves a potent and powerful combination. Traditional meets moderne during this irresistible call to dance, featuring a vocal masterclass from Banyen Sriwongsa.
Thepporn Petchubon also features three times on The Sound Of Siam Volume 2.His first and best contribution is Pa Gun Tor. It’s a driving fusion of sixties rock, psychedelia and funk. There’s even some bluesy harmonica thrown in for good measure. It’s the perfect foil for the vampish, dramatic vocal. Saam Gler Tiew Krung has a much more understated, thoughtful sound. Gradually, the arrangement reveals its dramatic secrets. Thepporn’s vocal is pensive and full of emotion as he sings about returning to Isan from Bangkok. It’s with a degree of trepidation he makes this journey. Not only does the song portray this, but shows how Thai music was evolving during this period. The same can be said of Fang Jai Viangjan. It has a slow, bluesy sound. That’s before the punchy horns set the scene for the vocal. It’s full of sadness and emotion. What follows is four minutes of raw emotion set against a bluesy backdrop.
Stabs of braying, funky horns open Chanpen Sirithep’s Lam Plearn Kiew Bao. They’re scene setters. When Chanpen’s vocal enters, it’s full of hurt and heartbreak. She’s lonely and sings of looking for a man. There’s a problem though. She’s “poor and ugly.” What follows is a cathartic outpouring of emotion against an arrangement where funk and jazz combines with molam. The result is a powerful and poignant combination.
Closing The Sound Of Siam Volume 2 is Rome Sithammarat’s Sao New Look. It’s another slow, emotive ballad. The arrangement meanders along, taking on a hypnotic sound. As a result of the fusion of the vocal and arrangement, you’re spellbound. There’s a haunting, mesmeric sound to what’s one of the real highlights of The Sound Of Siam Volume 2.
Although I’ve only mentioned thirteen of the nineteen tracks on The Sound Of Siam Volume 2, I could just as easily have mentioned any of the tracks. That’s how good the music is. Not once are you tempted to reach for the remote control. No way. You’re spellbound, wanting to hear each of the track’s subtleties and nuances unfold in all its glory. That’s the sign of a good compilation. Indeed, so good is The Sound Of Siam Volume 2, that I’d say it surpasses its predecessor. That takes some doing. However, compilers Chris Menist, Maft Sai and Miles Cleret have dug deep for what’s a combination of hidden gems, rarities and classics.
That describes The Sound Of Siam Volume 2 perfectly. It’s a mixture of familiar faces and hidden gems with the occasional rarity thrown in for good measure. The Sound Of Siam Volume 2 also shows that there’s more to North East Thailand than molam. Much more. There’s also luk thung. Both genres sit side-by-side on n The Sound Of Siam Volume 2. However, often this is molar and luk thung with a twist.
Everything from blues, funk, highlife, jazz, pop, psychedelia and rock melts into one on The Sound Of Siam Volume 2, which was recently released by Soundway Records. That’s why The Sound Of Siam Volume 2 is best described as a genre-melting compilation of Thai music released between 1970 and 1982. Some of the music is groundbreaking. That’s thanks to pioneering producers and artists. They transformed Thai music.
These producers and artists ensuring Thai music stayed relevant. If they hand’t ensured that Thai music hadn’t changed, it risked becoming irrelevant. So these pioneering producers and artists deserve our thanks. Without them, Thai music would’ve gone the way on numerous other genres, and we wouldn’t be listening to what’s easily one of the best compilations of Asian music I’ve heard in several years, The Sound Of Siam Volume 2.
THE SOUND OF SIAM VOLUME 2.
LEWIS L’AMOUR.
LEWIS L’AMOUR.
Mystery and conjecture surrounded Lewis and his 1983 album L’Amour which was recently rereleased by Light In The Attic Records. Most of the mystery surrounds Lewis. Nobody really knew who he was. Lewis called himself Randall Wulff. However, thirty-one years later, conjecture still surrounded whether that was Lewis true identity.
All that’s known is Randall arrived in Los Angeles in 1983. Sporting perfectly coiffured blonde hair and movie star looks, He lived the playboy lifestyle. Randall drove a white convertible Mercedes and booked into the Beverley Hilton. That’s where he stayed during the recording of L’Amour. When not recording L’Amour, Randall dated a string of beautiful women. Models and movie stars accompanied Lewis to the smartest parties in Los Angeles. During the recording of L’Amour Randall lived the playboy lifestyle. Wine, women and song were constant companions for Randall. However, before long, the party was over.
Having recording the ten tracks that became L’Amour, Randall started planning for the release of his debut album. He’d decided it would be called L’Amour. Rather than using his own name, Randall used the alias Lewis. This added to the air of mystery. So did the album cover.
For the album cover, Randall called one of the most famous photographers in music, Ed Colver. He’d made his name photographing punk bands. That was the past. By 1983, Ed was expanding his musical portfolio. So when Randall called, Ed agreed to meet him in the Beverley Hilton.
When the two met, Ed wasn’t suspicious of Randall. Why should he be? After all, Randall was living in the Beverley Hilton, driving a Mercedes convertible and had a beautiful, model girlfriend. He’d also just recorded his debut album and was looking for someone to shoot some photographs for the cover of L’Amour. That would be Ed. Randall agreed to pay Ed $250 for the photo shoot and wrote a cheque for $250.
Ed shot thirty different versions of the photo that agreed on the cover of L’Amour. It was a head and shoulders photo of Randall. That photo epitomises eighties fashion and attitudes. Looking like the atypical eighties playboy, Randall looks mysteriously into the distance. However, just like everything else about Randall, this was all a facade.
When Ed went to cash the cheque for $250 it bounced. The cheque had been drawn on an account in Malibu. This was no help to Ed. So he headed to where Ed had met Randall, the Beverley Hilton. Staff at the Beverley Hilton told Ed that Randall had left. Randall, they told him, had headed to Las Vegas and then Hawaii. They didn’t have a forwarding address. For Ed this was a disaster. $250 was lot of money. So much, it took him four months to repay his bank. As security, Ed held on to the negatives to the photos for L’Amour, which was released in 1983.
L’Amour featured ten tracks. They were all written by Randall Wulff, under his Lewis alas. Lewis also played guitar, piano and sang all the vocals. The only other musician who played on L’Amour was Phillip Lees, who played synths. L’Amour was produced and distributed by R.A.W. Productions, which was a company owned by Randall A. Wulff. Recording took place at the Fiasco Brothers Recording Studios in Vancouver. This would later provide a clue to the identity of the mysterious Lewis, who released L’Amour in 1983.
The wistful I Thought the World of You opens L’Amour. Straight away, it’s apparent that Lewis is a troubled troubadour. His vocal is rueful, full of hurt and heartache. The minimalist arrangement is a perfect foil for Lewis pensive vocal. Just a piano and synth strings combine to create an arrangement that’s reminiscent of The Blue Nile and The Bathers. Just like Paul Buchanan and Chris Thompson, Lewis delivers lyrics like he’s loved, lived and survived them.
Cool Night in Paris sounds as if it was recorded in Paris’ South Bank. Lewis plucks at an acoustic guitar while playing the role of seducer-in-chief. Just washes of synths join Lewis’ trusty acoustic guitar. They create an understated backdrop for his sultry vocal and during this seductive paean.
Just a lone plucked guitar and lush synths strings accompany Lewis on My Whole Life. Here, Lewis showcases his own unique vocal style. He seems to have drawn inspiration from Leonard Cohen and Tom Waits. His vocal is best described as charismatic and lived in. It’s also tender, needy and heartfelt as he delivers the lyrics as if he means every word.
Even Rainbows Turn Blue has a melancholy, wistful sound. That’s down to Lewis’ thoughtfully plucked guitar and the swathes of synth strings. They sweep in, adding to the wistfulness. You await Lewis’ vocal. However, it never comes. Instead, you wallow in the ethereal beauty of this wistful instrumental.
Straight away, it’s obvious that Like to See You Again is one of L’Amour’s highlights. That’s obvious from the slow, pensive piano that opens the track. It’s joined by synth strings. They sweep in, setting the scene for Lewis’ needy, pleading vocal. Lovestruck, he sings “I’d Like to See You Again, we’ll get a train somewhere.” His vocal is tender, emotive and oozes emotion. Synth string and piano provide the perfect accompaniment and then replacement to Lewis vocal. When his vocal returns, it’s the equivalent to a cathartic outpouring of need, hope and love.
A piano is joined by swathes of synths on Things Just Happen That Way. The arrangement veers between understated, dramatic and heartbreaking. Stabs of piano add drama and emotion before Lewis’ tender, rueful vocal enters. Straight away, memories come flooding back. He remembers the woman who stole his heart. His vocal becomes a confessional. Space has been left within the arrangement. It adds to the emotion and drama. Later, Lewis almost has to force himself to remember memories he’d sooner forget. This includes the woman who stole and broke his heart. QuIte simply, this is one of the most beautiful and moving love songs you’ll ever hear.
Tenderly and thoughtfully, Lewis plays the piano on Summer Moon. Synth strings sweep in. By then, Lewis is playing with a freedom. Flamboyantly, he unleashes flourishes of dramatic music. It’s the perfect foil to the synths. Traditional and electronic instruments go toe-to-toe. The natural beauty of the piano surpasses the synthetic sound of the synths on an poignant instrumental inspired by ambient, classical and electronica.
The arrangement to Let’s Fall in Love Tonight sweeps in. A pensive piano leads the way before synths sweep in. They set the scene for Lewis’ tender, breathy, seductive vocal. It drifts in and out of the arrangement, which later, takes on a jazz-tinged sound. That’s down to Lewis’ vocal and the piano. They’re at the heart of the song’s sound and success, while the cascading synths replicate the merry-go-round love is for Lewis.
From just a lone piano, the arrangement to Love Showered Me takes on a futuristic, sci-fi sound. Bubbling synths are responsible for this. They add an atmospheric, dramatic sound. This is very different to Lewis’ tender, thoughtful vocal. Accompanied by the piano and sci-fi synths Lewis becomes the lovelorn, troubled troubadour. He plays the role beautifully, as if having lived and experienced what he’s singing about.
Originally, Romance for Two closes L’Amour was dedicated to the model Christine Brinkley. What follows is a heartfelt love song. A tenderly plucked acoustic guitar is joined by swathes of synth strings. They provide an ethereal backdrop for Lewis’ needy, lovestruck vocal on what’s easily one Lewis’ most beautiful songs.
So that’s the story of the music on Lewis’ debut album L’Amour. It featured ten songs lasting thirty-seven minutes. These songs are variously beautiful, ethereal, minimalist, poignant and powerful. Lewis sings about heartbreak, hope and hurt. He delivers lyrics like he’s lived, loved and survived them. His vocal ranges from emotive, hopeful, needy and seductive. Other times his vocal is rueful, as he sings about love lost and the woman who broke or stole his heart. Accompanying him are arrangements that are mostly minimalist.
Despite the minimalist nature of the arrangements, they’re hugely effective. They’re the perfect backdrop for Lewis vocal, framing them perfectly. They never overpower Lewis’ vocal. Mostly, it’s just synths, guitar and piano that accompany Lewis on L’Amour. That’s all that required. Anything else and Lewis’ vocal would be overpowered. Thankfully, that doesn’t happen on Light In The Attics recent rerelease of L’Amour. It’s a welcome release of a cult album and solves one of modern music’s mystery.
Jack D. Fleischer was writing the sleeve-notes to L’Amour when he got a phone call from a friend and another long time fan of L’Amour, Markus Armstrong. He was on way to solving the mystery of Lewis’ identity.
Recently, Markus Armstrong discovered several copies of L’Amour for sale in Alberta, Canada.This was unusual, as copies of L’Amour are a rarity. So, Markus decided to start looking for Lewis’ identity in Alberta. Then Markus remembered that L’Amour was a private pressing. Usually, private pressings were recorded locally. In the case of L’Amour, it was recorded at Fiasco Brothers Recording Studios in Vancouver. So possibly, Lewis or Randall Wulff, as he called himself back in 1983, was a Canadian?
Soon, Markus was looking for anyone with a similar name. He checked everywhere he could think of. This included phonebooks. It was a long-shot, but one that paid off.
Before long, Markus was contacted by Randall Wulff,’s nephew. He was able to throw some light on who Randall Wulff was. He was the nephew of heiress of Doris Duke. She was heir to the Duke Power fortune and a legendary philanthropist. Growing up, Ralph lived with his Aunt Doris in Hawaii. However, the nom de plume Lewis, was a reference to his grandmother. At last, thirty-one years after the mystery began, Lewis had been unmasked.
No longer does mystery and conjecture surround Lewis 1983 debut album L’Amour, which was recently rereleased by Light In The Attic Records. L’Amour is without doubt, one of the finest private pressings I’ve ever heard. Light In The Attic Records are to be praised for making Lewis’ debut album L’Amour available. They should also be congratulated for solving the mystery behind Lewis, the man who released L’Amour in 1983 was. Belatedly, one of music’s mysteries has been solved.
LEWIS L’AMOUR.
THE BLACK HIPPIES-THE BLACK HIPPIES.
THE BLACK HIPPIES-THE BLACK HIPPIES.
One of Nigerian music’s best kept secrets, are The Black Hippies. They only ever released two albums. Their finest moment was their 1977 debut album The Black Hippies. It was released in 1977, on EMI. Sadly, by then, disco and funk were flavour of the month. The Black Hippies were a year too late releasing their debut album.
If The Black Hippies had been released in 1976, commercial success and critical acclaim would’ve come The Black Hippies way. Instead, The Black Hippies disappeared without trace. It was a case of what might have been. Since then, a new generation have discovered The Black Hippies. It’s come to be regarded as a lost classic. However, copies of The Black Hippies are being increasingly hard to find. So, Academy LPs decision to rerelease The Black Hippies is a welcome one. The Black Hippies was rereleased on 26th May 2014 and features The Black Hippies’ finest hour.
The Black Hippies story began back in 1973. Founding member Joseph “Pazy” Etinagbedia was a member of The Fire Flies, one of the top bands in Warri. They played a mixture of American and European pop hits, highlife, jazz and rock. Soon, The Fire Flies were one of Nigeria’s biggest bands, especially amongst the expats.
Many expats had arrived in Nigeria from America and Europe. Nigeria was in the throes of an oil boom. It was akin to a gold rush, albeit of the liquid variety. At night, expats far from home, had money to spend. So, they headed to Warri’s clubs, where The Fire Flies held court. They played an eclectic selection of music. Much of that music reminded the expats of home. For a while, Joseph “Pazy” Etinagbedia was happy playing with The Fire Flies. Then eventually, Joseph became restless and decided to form his own band, The Black Hippies.
Joseph’s reason for forming The Black Hippies was he wanted to change direction musically. He wanted to play hard rock. This type of music was popular amongst Nigerian youths. There was a ready made market for The Black Hippies’ unique brand of fuzzy rock.
Soon, The Black Hippies were the toast of the Warri music scene. The trio led by Joseph “Pazy” Etinagbedia were soon one of the city’s biggest bands. They were soon playing alongside some of Warri’s biggest names. This included vocalist Tony Grey. Before long, The Black Hippies were spotted by EMI and their legendary producer producer Odion Iruoje. The Black Hippies were signed to EMI and entered the studio in 1976.
A total of five songs were recorded for The Black Hippies eponymous debut album. The Black Hippies was released in 1977, on EMI. It’s captivating fusion of Afro-beat, fuzzy rock, psychedelia and voodoo funk. However, by the time The Black Hippies was released, music had changed. Disco and funk were now flavour of the month. So when The Black Hippies had released their debut album, it was a year too late. Sadly, The Black Hippies wasn’t a commercial success.The album literally disappeared with trace. Since then, The Black Hippies has become almost impossible to find. Despite that, The Black Hippies is regarded as a lost classic. You’ll realise why, when I tell you about The Black Hippies.
Opening The Black Hippies is Doing It in the Street. Pounding drums, hissing hi-hats and percussion lock into a groove. They’re joined by stabs of a dusty Hammond organ and a blistering wah-wah guitar. An urgent, impassioned vocal enters. Then when it exits stage left, The Black Hippies kick loose. It’s a joy to behold. Searing, sizzling guitars combine voodoo funk with rock and psychedelia. Meanwhile, the rhythm section, percussion and Hammond organ create a mesmeric, hypnotic backdrop on this genre-melting hidden gem.
I Have The Love On You bursts into life. Here, the rhythm section, percussion swathes of Hammond organ and blistering rocky guitars driving the arrangement along. Joseph “Pazy” Etinagbedia’s emotive vocal sounds as if he’s been inspired by soul and reggae. When his vocal drops out, it’s time for some grandstanding. Wah wah guitars, funky bass, pounding Afro-beat drums, a myriad of percussion and the unmistakable sound of the Hammond organ combine. Each of The Black Hippies seems determined to outdo the other. It’s akin to a game of daring do. This has the effect of driving each of The Black Hippies to greater heights as they unleash a blistering, joyous slice of irresistible music.
There’s no let up in the tempo on the joyful, funky Love. From the get-go, The Black Hippies kick loose. Chiming, funky guitars join the rhythm section and Hammond organ in propelling the arrangement along. They’re joined by percussion and blistering, scorching wah wah guitars. Then there’s a needy, heartfelt vocal. It oozes emotion. It’s enveloped by the wall of uber funky guitars, hissing hi-hats and wailing Hammond organ. Genres melt seamlessly into one. There’s everything from Afro-beat, fuzzy rock, jazz, psychedelia and voodoo funk on this dance-floor friendly paean. Quite simply, this is one of The Black Hippies’ greatest songs.
The Black Hippies drop the tempo slightly on the celebratory The World Is Great. A riffing Hammond organ sets the scene for the vocal. Meanwhile, the rest of The Black Hippies provide the arrangement’s pulsating heartbeat. They combine a myriad of percussion with the rhythm section and wah wah funky guitar. Before long, The Black Hippies have kicked loose. It’s as if they can’t contain themselves. Soon, another dance-floor friendly epic unfolds. Resistance is impossible. Not when The Black Hippies unleash their uber funky music.
Closing The Black Hippies is You Are My Witness. Drums, hissing hi-hats and the percussion combine. Before long, bursts of guitar and stabs of Hammond organ make their presence felt. They lock into the tightest of hypnotic grooves. This is the perfect backdrop for the vocal. It’s akin to a confessional. It’s delivered with power and passion, sometimes, briefly becoming a vamp. As the vocal drops out, blistering, searing guitars enter. They veer between funky and rocky. Briefly, they steal the show. Then later, they join the rest of The Black Hippies in driving the arrangement to it’s dramatic, funky crescendo.
Although The Black Hippies features just five songs, it’s an album that oozes quality. From the opening bars of Doing It in the Street, right through to the closing notes of You Are My Witness, you’re hooked. Seamlessly, The Black Hippies fuse musical genres and influences. This includes everything from Afro-beat, fuzzy rock, jazz, psychedelia, reggae, soul and voodoo funk. Sadly, by the time The Black Hippies was released, musical tastes had changed.
The Black Hippies were a victim of circumstances. If disco and funk hadn’t become the most popular genres in Nigeria, then The Black Hippies would’ve been a huge commercial success. Sadly, that wasn’t the case. Commercial success and critical acclaim eluded The Black Hippies. Their debut album disappeared without trace. So, Joseph “Pazy” Etinagbedia decided that The Black Hippies should change direction musically.
For their sophomore album Wa Ho Ha, Pazy and The Black Hippies drew inspiration from a variety of sources. This included disco and reggae. Just like many artists, The Black Hippies had jumped onboard the disco bandwagon. However, Wa Ho Ha didn’t come close to replicating the quality of The Black Hippies.
No way. The Black Hippies finest hour was their genre-melting eponymous debut album. Sadly, when it was released The Black Hippies passed most people by. Since then, a small number of enthusiasts have been flying the flag for one of Nigeria’s lost bands, The Black Hippies. Their finest moment was their 1977 debut album
The Black Hippies. However, there was a problem. Copies of The Black Hippies were becoming increasingly hard to find. When a copy came up for sale, the price was beyond most people. So, Academy LPs decided to rerelease The Black Hippies on 26th May 2014. Belatedly, a new generation of music lovers are able to hear The Black Hippies 1977 lost classic, The Black Hippies.
THE BLACK HIPPIES-THE BLACK HIPPIES.
IMARHAN TIMBUKTU-AKAL WARLED.
IMARHAN TIMBUKTU-AKAL WARLED.
Over the last ten years, Imarhan Timbuktu have been providing the soundtrack at dance clubs and private parties in Northern Mali. Imarhan Timbuktu have starred at the famous Festival au Desert. Gradually, word began to spread about Imarhan Timbuktu. Recently, Imarhan Timbuktu’s music has been heard further afield.
This includes in Europe and North America, where recently, Imarhan Timbuktu have been touring. For many people, this is their introduction to Tuareg music. However, still, many people have yet to discover the delights of Imarhan Timbuktu. Now everyone has the opportunity to hear the music of Imarhan Timbuktu. They’ve recently released their debut album Akal Warled, on Clermont Music. It’s been a long time coming, but well worth the wait.
It was back in 1993 that Imarhan Timbuktu was founded by Mohamed Issa Ag Oumar El Ansari. Imarhan Timbuktu is a family affair. His younger brother, Ousmane Ag Oumar El Ansari plays guitar. His guitar playing is mesmeric. He unleashes blistering, scorching, rhythmic licks. Providing the pulsating and sometimes hypnotic heartbeat are the bass and tinde hand-drums. Playing the tinde hand-drums are sisters Fadimata Walet Oumar and Zeinabou Walet. They’re joined by calabash and urgent, bursts vocals. The result is music that’s captivating, compelling, celebratory, hypnotic and joyous. Imarhan Timbuktu’s music is also very different from traditional Tuareg music.
That’s because Imarhan Timbuktu have taken traditional Tuareg instruments and combined them with electric instruments. It’s a meeting of two musical cultures.
Previously, nobody had dared to do this. Mohamed Issa Ag Oumar El Ansari did. The result was music that crossed cultural borders. Tuareg desert blues meets Afro-beat, funk, jazz, psychedelia, rock and soul. The result isn’t just music to dance to, but music with a social conscience.
Imarhan Timbuktu aren’t afraid to write songs about about political issues. Not at all. They’ve witnessed events firsthand. They’ve watched helplessly as local issues become global issues. These events decimated their world. So, it’s no surprise that some of Imarhan Timbuktu’s music deals with loss and nostalgia. They’re mourning and nostalgic for a world that sadly, will never return. Other songs are celebratory and joyous. They’re sung with pride and hope by Mohamed Issa Ag Oumar El Ansari, who founded Imarhan Timbuktu in 1993. Now, twenty-three years later, Imarhan Timbuktu will release their debut album Akal Warled.
Akal Warled features eight tracks. They were written and arranged by Mohamed Issa Ag Oumar El Ansari. Dave Cook recorded, mixed and mastered Akal Warled at Area 52 Studios, Suagerties, in New York. Producing Akal Warled, was Christopher Nolan. Although Imarhan Timbuktu were a long way from Northern Mali, this was a major event. Imarhan Timbuktu had never recorded an album before. It was a huge opportunity for Imarhan Timbuktu. The release of Akal Warled, which I’ll tell you about, would all Imarhan Timbuktu’s music to be heard by a much wider audience.
Aïcha opens Akal Warled. Ousmane Ag Oumar El Ansari’s blistering, searing guitar is at the heart of the arrangement. It cuts through the arrangement, leaving the tinde hand-drums, pulsating bass and calabash in its wake. Mohamed’s vocal is heartfelt and emotive. Tender harmonies respond to his call. Briefly, urgent bursts of vocals quiver above the arrangement. Meanwhile, scorching licks and handclaps the hypnotic heartbeat provide the backdrop to Mohamed’s impassioned, needy vocal. This proves the perfect introduction to Mali’s best kept secret, Imarhan Timbuktu.
A Strange Country is a song about Malian’s forced to live in exile. Just a wistful guitar joins melancholy harmonies and handclaps. The bass injects a sense of foreboding and the searing, scorching guitar is unleashed.That’s until Mohamed’s vocal enters. There’s a sense of sadness and longing in his voice, as if replicating what the exiles are feeling. Before long, his vocal drops out. It’s as if he’s overwhelmed and can only sing the lyrics in short bursts. Anything else is emotionally overwhelming. Replacing his vocal is Ousmane’s guitar. He plays with passion, power and control. Frustration and anger shine through at the thought of his fellow Malians living in exile. Together, Imarhan Timbuktu highlight the plight of Malian exiles forced to live Burkina Fasso.
Just a scorching guitar sets the scene for Desert Voyager’s Farewell. Soon, the tinde hand-drums, pulsating bass and calabash provide an atmospheric backdrop. Mohamed’s vocal is full of sadness and regret, at leaving the place he calls home. His vocal is replaced by shrieks and squeals. Meanwhile, Ousmane combines Afro-beat, psychedelia and rock. His Hendrix-esque solos are at the heart of the track’s sound and success. So, are tinde hand-drums, bass and calabash. They provide a mesmeric, cascading, hypnotic backdrop Mohamed’s rueful vocal on this deeply moving track.
Chiming, funky guitar licks open For The Women. They’re joined by a hypnotic chant. It’s mesmeric. Meanwhile, waves of a bounding bass, tinde hand-drums and calabash combine. Mohamed’s pays an impassioned tribute to the Malian women. His vocal flits in and out of an arrangement. It’s variously funky, hypnotic and mesmeric. Ousmane’s guitar is at the heart of the arrangement. He surpasses everything that’s gone before. Blistering, searing solos climb above the arrangement. Somehow, he squeezes another note out. It cascades above the arrangement, almost matching the emotion in Mohamed’s heartfelt vocal.
Bursts of chiming guitars, bass and pulsating tinde hand-drums create the mesmeric backdrop on The Girl Who Calms. Mohamed delivers a vocal that’s full of emotion. Harmonies sweep in. They match the emotion in his vocal. Searing guitars add to the gloriously hypnotic backdrop. The rhythm section and guitar are locked into the tightest of swirling grooves. Handclaps and hollers are unleashed. They augment the vocal and harmonies, during a track that’s a celebration of The Girl Who Calms.
The introduction to The Beautiful Girl is much more understated. Just chiming guitars, tinde hand-drums, bass and calabash combine, before the needy, tender vocal enters. Responding to Mohamed’s vocal, are soulful, joyful harmonies. Before long, Ousmane’s spraying a rocky guitar solo across the arrangement. It doesn’t overpower the arrangement. It also carries the melody well. After that the harmonies return, before giving way to the guitar, whoops and hollers. All this results an irresistible and joyous homage to The Beautiful Girl.
Imarhan Timbuktu’s rhythm section join forces with searing guitars on Love Is The Priority. They provide the backdrop for Mohamed’s needy vocal. Tender harmonies reply to his call. They’re yin to Mohamed’s yang. Meanwhile, Ousmane’s unleashing another of his blistering solos. It takes centre-stage, while the rest of Imarhan Timbuktu provide a pounding, pulsating heartbeat. No wonder Imarhan Timbuktu have been providing the soundtrack at dance clubs and private parties in Northern Mali for over ten years. Their truly music is truly irresistible.
Closing Akal Warled is Unity. It’s a poignant track and seems the perfect way to close Imarhan Timbuktu’s debut album. The arrangement is understated and thrustful. Crystalline guitar, tinde hand-drums and calabash combine with Mohamed’s hopeful vocal. Harmonies answer Mohamed’s call, while whoops and hollers punctuate the arrangement. Then the moody bass prowls across the arrangement. Its pessimistic sound is very different the rest of the arrangement. However, the hopeful sound shines through and maybe, one day, Malians will be able to enjoy the Unity Imarhan Timbuktu sing of.
Imarhan Timbuktu’s debut album Akal Warled is long overdue, but has been well worth the wait. It was in 1993 that Imarhan Timbuktu were founded by Mohamed Issa Ag Oumar El Ansari. Since then, Imarhan Timbuktu have been winning friends and influencing people. At first this was in Northern Mali, where for the last ten years, Imarhan Timbuktu have been providing the soundtrack at dance clubs and private parties. Now Imarhan Timbuktu are heading further afield. They’ve toured Europe and North America. No longer are Imarhan Timbuktu Mali’s best kept secret. Far from it.
So this is the perfect opportunity for Imarhan Timbuktu to release their debut album, Akal Warled. It’s an innovative and unique fusion of traditional Tuareg instruments and electric instruments. The result is a meeting of two musical cultures. This was a first. Nobody had dared to do this. Thankfully, Mohamed Issa Ag Oumar El Ansari did. The result was music that crossed cultural borders. Tuareg desert blues meets Afro-beat, funk, jazz, psychedelia, rock and soul. The result isn’t just music to dance to, but music with a social conscience.
Over eight tracks, Mohamed’s vocal veers between worldweary, lovelorn, heartfelt and heartbroken. He delivers his vocals with power and passion. His vocal is variously hopeful, to needy to joyous and proud. Meanwhile, the music is hypnotic, irresistible, mesmeric and pulsating. Much of this is down to the unique fusion of traditional and Western instruments. It’s a glorious fusion. Especially with Mohamed’s brother Ousmane evoking the spirit of Hendrix.
Ousmane’s guitar playing is spellbinding and plays a hugely important part in the success of Akal Warled. He’s a showman, whose not afraid to push his guitar to his limits. The result is spellbinding. Tuareg desert blues are combined with Afro-beat, funk, jazz, psychedelia and rock by Ousmane. Two brothers and two sisters play a huge part in the success of Imarhan Timbuktu.
Sisters Fadimata Walet Oumar and Zeinabou Walet play the tinde hand-drums on Akal Warled. They’re crucial to Imarhan Timbuktu’s hypnotic, mesmeric, pounding and pulsating heartbeat. That’s another reason why Akal Warled is such a captivating album.
Indeed from the opening bars of Aïcha, which opens Akal Warled, right through to the closing notes of Unity you’re spellbound. You realise why Imarhan Timbuktu are winning friends and influencing people around the world. From North America to Europe, people have discovered one of Mali’s best kept secrets, Imarhan Timbuktu. Now everyone can discover the delights of Imarhan Timbuktu. They’ve recently released their debut album Akal Warled, on Clermont Music. Akal Warled is a unique and groundbreaking fusion of musical genres from Malian musical pioneers, Imarhan Timbuktu.
IMARHAN TIMBUKTU-AKAL WARLED.
CHVRCHES-THE BONES OF WHAT YOU BELIEVE.
CHVRCHES-THE BONES OF WHAT YOU BELIEVE.
One of the most highly anticipated albums of recent years was Chvrches’ The Bones Of What You Believe, which was recently nominated for 2014s Scottish Album Of The Year Award. It’s just the latest chapter in the Chvrches’ story.
Chvrches are no ordinary band. Far from it. They’ve come a long way in a short time. The story behind the rise and rise of Chvrches so truly remarkabld. It was three years ago, in 2011m, that Chvrches were founded in Glasgow. Since then, everything has happened so quickly for Lauren Mayberry, Ian Cook and Martin Doherty. They’ve spent the last three years touring the world converting people to their unique brand of shimmering electro-pop. Britain, Europe, Canada and America gave been conquered by Chvrches. Somehow, Chvrches have also found the time to release a four singles and a trio of E.Ps. These singles were a tantalising taste of the main event, Chvrches highly anticipated debut album The Bones Of What You Believe. This was the album that introduced the world to Scotland’s latest pop sensation, Chvrches.
Chvrches, lead vocalist and keyboard player, Lauren Mayberry is an accidental pop star. Originally, she studied law and after graduating, studied journalism. With a Masters in journalism on her C.V. Lauren became an award-winning freelance journalist. From there, she almost inadvertently, became a musician.
Like many Scottish children, she learnt to play the piano as a child. It’s almost a rite of passage. Then when she was a teenager, Lauren learnt to play the drums. Drums or piano, it’s no contest. Soon, she was playing drums for various bands. Between the ages of fifteen and twenty-two, Lauren played in two bands. In Boyfriend/Girlfriend she was the drummer. Then when Lauren joined Blue Sky Archives, she played keyboards and drums. It was in Blue Sky Archives, that Lauren met Ian Cook.
Blue Sky Archives were recording an E.P. and the producer was Ian Cook. He’d originally been a member of Aerogramme and The Unwinding Hours. Ian also wrote music for television and film. Production was another thing he enjoyed. Through producing Blue Sky Archives, Ian met Lauren. She proved to be just who he was looking for.
Ian Cook and Martin Doherty, who was a member of The Twilight Sad when they played live, were working on a new project. They needed someone to lay down some vocals. Neither Ian nor Martin saw themselves as lead vocalists. So, Lauren was asked to come along and sing on a demo.
Little did Lauren realize what she’d let herself in for. Ian and Martin it seems, are perfectionists. That proved to be no bad thing. They spent eight months in a basement studio, working on their new project. Eventually, it was finished. It had been such a success, they decided to transform this studio project into a live band, that became Chvrches.
May 2012, saw Chvrches release their first single. They did this in an unusual way. Through the blog of the Neon Gold label, people were able to download a free copy of Lies, their debut single. This somewhat unorthodox release must have worked. Soon, people were talking about Chvrches. By now momentum was building. What helped, was that Chvrches were a great live band. Throughout the summer of 2012, were honing their live act. Quickly, word was spreading about this new Glasgow band. September 2012 it seemed, was the right time to release their sophomore single.
The Mother We Share was released in September 2012. In between touring, Chvrches found two days to write and record their new single. On its release, it was well received by critics. They were falling over themselves to heap praise on Glasgow’s newest band. A classy and classic slice of glistening, ethereal electro-pop, Chvrches had made an impression.
At the end of 2012, when various magazines and radio stations published their best of 2012 polls, Chvrches name loomed large. The NME, BBC and Huffington Post praised Lies and The Mother We Share. This new band had made a big impression. Would 2013 be as big a year for Chvrches?
Looking at Chvrches achievements so far, I’d suggest that they’ve surpassed everything they achieved during 2012. They’ve released two single and two E.P.s.
Chvrches third single Recover, which was released in February 2013, gave them their first hit single in the UK. It reached number ninety-one. After that, Chvrches had to divide their time wisely. They’d an album to record and had a busy touring schedule to fulfil. In between recording their debut album, The Bones Of What You Believe, Chvrches continued to tour. There were still parts of the world where Chvrches’ gospel hadn’t been heard. Agnostics had to be transformed into believers. This was working
July 2013 saw Chvrches released their fourth single Gun. Just like Recover, Gun was available as either a single or an E.P. Gun gave Chvrches the biggest single of their nascent career. Not only did it reach number fifty-five in the UK, but number forty-four in Japan. It seemed that with each single, Chvrches were conquering another part of the world. Britain first, then Europe, Canada, America and now Japan are all devotees of Chvrches.
Recently, on a coast to coast tour of America, Churches have been winning friends and influencing American musical lovers. This is perfect timing. After all, Chvrches’ debut album The Bones Of What You Believe, was due for release. Written by the three members of Chvrches, The Bones Of What You Believe is without doubt, one of the most eagerly awaited and anticipated albums of recent years. It’s bound to reach the upper reaches of the charts on both sides of the Atlantic. I’ll tell you why, after I’ve told you about The Bones Of What You Believe.
Opening The Bones Of What You Believe is one of the singles that introduced Chvrches to the world, The Mother We Share. Washes of synths give way to squelchy synths and crisp drums. Taking centre-stage is Lauren Mayberry’s ethereal vocal. It’s emotive and heartfelt, as harmonies and synths reverberate into the distance. Drums crack, synths beep and squeak and drums signal Lauren’s about to take this anthemic track to its crescendo.
We Sink’s roots are in eighties synth pop, Euro Disco and house. The arrangement’s driven along by synths while pounding drums provide the pulsating backdrop to Lauren’s feisty vocal. Harmonies and synth strings sweep in as Lauren comes across as part diva, part ice-maiden. She struts her way through the track. During a breakdown the song takes on a dreamy, lysergic sound. Then normal service is resumed, as this classy slice of dance music heads to a close.
From the opening bars of Gun, my faith in modern music is restored. It’s a reminder of what a classic pop song sounds like. Stabs of keyboards are joined by shimmering, synths. They provide the backdrop to the ethereal beauty of Lauren’s emotive vocal. Accompanying her heartfelt vocal are rolls of drums, breathy harmonies and washes of crystalline synths. As for the back synth and drums they add duel bursts of drama. Their raison d’etre is to reinforce the drama and emotion in Lauren’s vocal. Dance-floor friendly, Gun is full of sweet poppy hooks and moments of drama and emotion.
Tether sees Chvrches drop the tempo, and increase the drama. Guitars riff dramatically, while Lauren’s vocal is variously tender, thoughtful and laden with drama. Briefly, galloping drums drive the arrangement along. This proves effective, adding to the drama. As for Lauren’s vocal, it’s full of emotion and hurt. She breathes life and meaning into the lyrics with a soulful, soul searching vocal. After a dramatic pause, swathes of swirling strings and banks of synths take the track in the direction of the dance-floor. Fusing elements of eighties synth pop, Euro Disco, Hi-NGR and soul, we hear two very different sides of Chvrches within a five majestic minutes of mesmeric music.
Thunderous drums and beeping, squeaking synths open Lies. They provide the backdrop for Lauren’s sassy, feisty vocal. Behind her, Ian Cook and Martin Doherty unleash banks of keyboards and synths, while drums provide a dramatic, electro heartbeat. Add to this Lauren’s ethereal, multi-tracked backing vocals. They provide a contrast to the dark, dramatic arrangement. It takes on a life of its own. It’s becomes a collosus. As it marches, struts and swaggers along, Lauren’s vocal is full of bravado, feisty and oozes sass.
Under The Tide sees Lauren take a rest from vocal duties. This allows the Chvrches to take a different approach on what’s another dance-floor anthem. House, synth pop and electro are the main influences here. Stabs of jagged synths and a hypnotic, pounding drum combine with an urgent vocal. Bursts of a bass synth and cascading keyboards provide accompany the impassioned, encouraging vocal. Then adding the finishing touch, are sweeping, ethereal and joyous singalong harmonies enter. The result is an infectiously catchy, hands in the air anthem from Chvrches.
Lauren returns on Recover. She delivers an urgent, dramatic vocal. Her vocal is delivered in short, sharp bursts. As for the arrangement, there’s a Kraftwerk influence in the keyboards and synths. The drums veer between slow and spacious, to crisp, urgent, bursts. Later, when the track slows down, it takes on a mysterious sound. Spurred on, Lauren delivers a vocal that’s not just heartfelt and hopeful, but ethereal, emotive and enigmatic.
Night Sky is a light, airy track that breezes along. Built around sparkling synth lines that are repeated throughout the track, plus pounding drums that provide the heartbeat. Lauren’s vocal is dreamy and wistful. That’s before things change. All of a sudden, Chvrches kick loose. After harmonies cascade, the arrangement explodes. Chvrches reveal a rocky side and Lauren briefly, finds her inner rock chick. Then she returns to the mysterious, melancholy and ethereal beauty of earlier. Flitting between the two sides of the track, Lauren and the rest of Chvrches reveal their versatility, fusing seamlessly, musical genres.
Science/Visions has a broody, moody and mysterious sound. A haunting sound gives way to a combination of cascading, dramatic synths and thunderous drums. Lauren’s vocal is tender and fragile. Elfin like, its almost dominated by the rest of the arrangement. The arrangement becomes an unstoppable musical juggernaut. Filters are used on the arrangement, while echo and delay are used on Lauren’s vocal and the punchy harmonies. All this gives the track a real deep house sound. Having said that, not may producers can make music as good as this.
After drums pound, Lungs takes on a sci-fi sound. That’s thanks to the synths and effects. Lauren’s sweet vocal is urgent and earnest. Synths buzz, drums pound and a whole manner of futuristic sounds give the track an innovative, inventive 21st Century sound. Full of drama and slick poppy hooks, this is Chvrches at their best.
Definite stabs of synths and Lauren’s dreamy, wistful vocal opens By The Throat. Tender harmonies are added as what sounds like a laid back slice of mellow electro pop unfolds. That’s not quite the case, Gradually, the drama builds and grows as what sounds like dance-floor friendly track threatens to explode. It doesn’t. Chvrches are toying with you. Sitting midway between the two, Chvrches tease and tantalize you with this delicious, enigmatic, shimmering slice of electro pop.
You Caught The Lights closes The Bones Of What You Believe. It’s another enigmatic track. You wonder the direction it’s heading in. The tempo is slow, with drums loud and proud providing the heartbeat. Washes of synths sparkle across the arrangement as a worldweary male vocal full of emotion delivers a heartbreaking vocal. Drums, chiming guitars and synths provide a dramatic accompaniment, as the track heads in the direction of indie rock, whilst borrowing from synth pop. Harmonies, searing guitars, ponderous drums and washes of synths play their part in this dramatic, melancholy tale of heartbreak.
Released on 23rd Speptember 2013, The Bones Of What You Believe is a tantalizing taste of what Chvrches are capable of. One of the most highly anticipated albums of recent years, The Bones Of What You Believe, not only lived up to expectations, but surpassed them. The Bones Of What You Believe features innovative, inventive music. It’s pioneering electro-pop, full of shimmering synths and the ethereal beauty of Lauren Mayberry’s vocal. Her vocal is reminiscent of Liz Fraser of The Cocteau Twins. Along with Ian Cook and Martin Doherty, Chvrches fuse electro pop, house, synth pop, hi-NRG, Euro Disco, pop, indie rock and soul. Dance-floor friendly, anthemic, soulful and full of slick poppy hooks, The Bones Of What You Believe is pop perfection. That’s why Chvrches will be Scotland’s next big musical export. Many have been contenders for the title, now it looks like Chvrches with their unique sound, will claim it as their own.
Chvrches have restored my faith in modern music. I’m pleased that still, there are a group capable of making the perfect pop song. That’s what The Bones Of What You Believe is. It’s a reminder of what a classic pop song sounds like. For everyone who says pop music is dead, play them The Bones Of What You Believe. That’ll prove them wrong. Pop music is alive and kicking, and Chvrches’ debut album The Bones Of What You Believe is the future and salvation of pop music. That’s why Chvrches’ must be a favourite to win the 2014 Scottish Album Of The Year Award withThe Bones Of What You Believe, their unique brand of hook-laden, perfect pop.
CHVRCHES-THE BONES OF WHAT YOU BELIEVE.
BARBARA MASON-LOVE’S THE THING.
BARBARA MASON-LOVE’S THE THING.
By 1975, Barbara Mason’s career was at a crossroads. Her previous album Transition, which was released in 1974, had failed to chart. Neither did the three singles World War Three, The Devil Is Busy and Half Sister, Half Brother. This was a long way from Babara’s debut for Buddah Records, Give Me Your Love. It reached number ninety-five in the US Billboard 200 and number seventeen in the US R&B Charts, and featured the soul classic Bed and Board. Since then, Barbara had never matched the success of her Buddah Records debut. Something, it was decided, had to change.
What changed was the producers, arrangers, musicians and songwriters. Previously, Barbara had worked with the creme de la creme of Philly’s producers, arrangers, musicians and songwriters. Coupled with Barbara’s songwriting and her vocal prowess, it should’ve been a potent partnership. Sadly, that wasn’t the case. The problem was, Buddah Records was the wrong label for Barbara. Barbara and her Philly friends would’ve flourished at a bigger label. Buddah Records was the wrong label for Barbara. It was just, nobody realised this until later. Before that, Barbara would record her final album for Buddah Records, Love’s The Thing. Producing Love’s The Thing was Don Davis, who brought in his own band. Would Love’s The Thing, which was recently rereleased by Soul Brother Records, revive Barbara Mason’s career? That’s what I’ll tell, after I’ve told you about Barbara’s career.
Philly born Barbara Mason, released her debut single Trouble Child in 1964, on Crusader Records. Then in 1965, aged just eighteen, Barbara enjoyed the biggest single of her career, the classic, Yes, I’m Ready, which reached number five in the US Billboard 100 and number two in the US R&B Charts. Later in 1965, Barbara released her debut album Yes, I’m Ready, on Arctic Records. It reached number 129 in the US Billboard 200. Her 1968 sophomore album Oh How It Hurts reached just number forty-two in the US R&B Charts.
Having switched labels to National General, If You Knew Him released in 1970, failed to chart. Then in 1973, Barbara’s career received a boost, when she signed to Buddah Records, where she released four albums between 1973 and 1975.
1973s Give Me Your Love was Barbara Mason’s first album for Buddah Records. It saw Barbara hookup with M.F.S.B, Philadelphia International Records’ legendary house-band. They provided the backdrop for what was Barbara’s most successful album on Buddah Records. It reached number ninety-five in the US Billboard 200 and number seventeen in the US R&B Charts, and featured another classic track Bed and Board. Lady Love followed in 1974. Again, M.F.S.B. accompanied Barbara, on an album that reached number twenty-nine in the US R&B Charts. This was slightly disappointing for Barbara. Not as much disappointing as her third album for Buddah Records, 1974s Transition.
On the release of Transition in 1974, it failed to chart. The three singles, World War Three, The Devil Is Busy and Half Sister, Half Brother all failed to chart. For Barbara, her career was at a crossroads. So Don Davis was brought in as producer, while his all-star band would provide the backdrop to Philly born Barbara Mason on Love’s The Thing.
Unlike previous albums, Barbara only penned two tracks for Love’s The Thing, I Call Out Your Name and What Am I Gonna Do. Barbara also cowrote (He Wants) The Two Of Us with Bettye Crutcher, who cowrote From His Woman To You with Lester Snell. Jackie Avery penned Shackin’ Up and Norma Toney So He’s Yours Now. The other four tracks Your Sweet Love, One-Two-Three (You Her Or Me),What Do You Say and (There’s) One Man Between Us were written by Jerry Akines, Victor Drayton, John Bellmon and Reginald Turner. These ten tracks became Love’s The Thing, which were recorded in Detroit.
When recording of Love’s The Thing began, producer Don Davis had brought in a rhythm section of bassist Roderick “Peanut” Chandler, drummers Richard “Pistol”Allen and Ural Jones, plus guitarists Robert White and Eddie Hinton. Earl Van Dyke and Rudy Robinson played keyboards. They were joined by the Fisher Strings and the Detroit Horns. This was the band that laid down the ten tracks that became Love’s The Thing, which was released in 1975.
From His Woman To You was the lead single from Love’s The Thing. Reaching number twenty-eight in the US Billboard 100 and number three in the US R&B charts, it was Barbara’s biggest single. Shackin’ Up reached a disappointing number ninety-one in the US Billboard. However, Shackin’ Up did reach number nine in the US R&B charts. On the release of Love’s The Thing, in 1975, it stalled at 187 in the US Billboard 200 and number forty-two in the US R&B charts. Shackin’ was the only single released from Love’s The Thing.This meant Love’s The Thing had surpassed the success of Transition. However, is Love’s The Thing a better album than Transition? That’s what I’ll tell you?
Shackin’ Up opens Love’s The Thing. It has a slow, understated arrangement. Just chiming guitar accompany a slow, pensive rhythm section and keyboards. They provide the backdrop for Barbara’s slow, rueful soliloquy. Harmonies sweep behind Barbara, as she rues people “who don’t understand other people.” This is the signal for Barbara’s vocal to enters. It’s a mixture of pain, power and passion. Hurt and emotion shines through as strings sweep in and the arrangement grows in power and drama. Harmonies accompany Barbara. They’re multi tracked and sung by Barbara. Just like Barbara’s lead vocal, they literally ooze emotion. The harmonies play a huge part in this soul-baring epic written by Jackie Avery. It’s the perfect way to open Love’s The Thing.
Punchy, cooing harmonies cascade across the arrangement to I Call Out Your Name. Before long they coo, and Barbara makes her entrance. Her vocal is tender and needy. Memories come flooding back. She sings “I Call Out Your Name you were smiling… and now these memories are haunting me.” Meanwhile, the Hammond organ adds an atmospheric backdrop and the rhythm section provides a sultry heartbeat. Harmonies add to the emotion. They’re the perfect accompaniment to a heartbroken Barbara breathes life and meaning into her lyrics. The result is a beautiful and moving ballad.
Your Sweet Love sees the tempo rise. Pounding and a piano drums provide the heartbeat. Growling horns and guitars set the scene for Barbara. She delivers a feisty, sassy vocal. Cooing harmonies sweep in, horns bray and drums pound. Guitars add a rocky twist. Barbara’s vocal and her harmonies make the track. As a result, the track is almost anthemic. It’s catchy. Hooks certainly haven’t been rationed. That’s why the track is so popular in the UK’s Modern Soul scene.
The unmistakable sound of a Hammond organ opens So He’s Yours Now. It’s joined by an understated rhythm section. That’s perfect for Barbara’s wistful vocal. She’s accompanied by rueful harmonies, strings and a quivering, jazz-tinged guitar. Suddenly, a sense of urgency is injected into arrangement. Briefly, it becomes cluttered. Thankfully, before long normality is returned, and the arrangement meanders along. Still, Barbara’s vocal is rueful and tinged with melancholy, as strings sweep and dance and propelling the wistful arrangement along.
Just a probing bass, chiming guitars and sweeping strings open From His Woman To You. It’s the reply to Shirley Brown’s million selling single Woman To Woman. It was about a love triangle. Drums mark time, before a telephone rings and Barbara confronts her love rival. Her soliloquy is heartfelt. She may not be able to give him money, clothes and the finer things in life, but she loves him, with all her heart. That’s why when Barbara unleashes her vocal, it’s a combination power, passion, sincerity and emotion. Barbara’s hedging her bets though. She sings “I don’t mind sharing if you don’t bother me.” Against a string drenched backdrop, a lovestruck Barbara delivers a vocal powerhouse that’s a soulful and heartfelt reply Shirley Brown’s Woman To Woman.
Strings quiver and shiver, while woodwind and growling horns combine to create the backdrop to Barbara’s vocal One-Two-Three (You Her Or Me). It’s full of confusion, hurt and pain because of her cheating man. Meanwhile, the rhythm section and piano join the swirling string in providing a dramatic arrangement. Cooing, sweeping harmonies match a feisty Barbara as she delivers an ultimatum to the man whose broken her heart.
What Do You Say is another slow, sultry ballad. The arrangement is understated, just the rhythm section, chiming guitars and stabs of piano. They’re the perfect backdrop for Barbara’s tender vocal. So are sweeping harmonies and lush strings. Later, an alto saxophone is added. It’s the finishing touch, and after that, Barbara reaches greater heights of soulfulness. Her vocal veers between a scat to needy, tender and hopeful.
Straight away, it’s obvious that (He Wants) The Two Of Us isn’t going to work. That’s obvious when a rogue wah wah guitar is unleashed. It reverberates and causes you to wince. Not only that, but it means you can’t concentrate on Barbara’s heartfelt, impassioned vocal. She’s caught in a love triangle, and realises she’s been betrayed. Meanwhile, the rest of the arrangement works. Swathes of strings sweep, the rhythm section add a pulsating heartbeat and harmonies soar above the arrangement. Sadly, the rogue wah wah guitar spoils this track.
Dramatic. That describes the introduction What Am I Gonna Do. Guitars chime, drums roll and the Barbara scats as the drama builds. Soon, she’s strutting her way through the arrangement, with cooing, sweeping harmonies for company. Horns growl, the rhythm section mix funk, soul and rock. This is perfect as Barbara struts her way to the track’s dramatic crescendo.
(There’s) One Man Between Us closes Love’s The Thing. It’s yet another love triangle song. Rocky, soulful and dance-floor friendly, Barbara sings the song to her love rival. “I ain’t gonna give him up” she sings. Meanwhile, horns growl and the rhythm section drive the arrangement along. It swings. That’s down to the band and Barbara’s sassy vocal.
Love’s The Thing closed a chapter in Babara Mason’s career. This was the last album she released for Buddah Records. Although it surpassed the success of Transition, Barbara never released another album on Buddah Records. It seemed her time was up. That maybe wasn’t a bad thing for Barbara. Maybe at a bigger label, Barbara would enjoy the commercial success and critical acclaim her talent deserved?
After all, Barbara was a talented singer and songwriter. However, she only wrote two tracks on Love’s The Thing. She penned I Call Out Your Name and What Am I Gonna Do. Barbara also cowrote (He Wants) The Two Of Us with Bettye Crutcher. The other tracks were written by other people. Four tracks were penned by the songwriting team of Jerry Akines, Victor Drayton, John Bellmon and Reginald Turner. They seemed to specialise in relationship and love triangle songs. This was very different to the songs Barbara wrote for previous albums.
Many of the songs Barbara wrote oozed social comment. They were a comment on the worlds woes during the early seventies. This wasn’t the only thing that was missing.
Previously, Barbara had worked with the creme de la creme of Philly’s producers, arrangers, musicians and songwriters. This included arranger and producer Norman Harris. Then there’s M.F.S.B. featuring the cream of Philly’s musicians accompanying. They featured the Baker, Harris, Young rhythm section, Bobby “Electric” Eli, Ron “Have Mercy” Kersey, Larry Washington, Don Renaldo’s Strings and Horns. The final piece in the jigsaw were the Sweethearts of Sigma, backing vocalists Carla Benson, Evette Benton and Barbara Ingram. All this was missing on Love’s The Thing.
That’s why Love’s The Thing is the weakest in the quartet of albums Barbara Mason released on Buddah Records. Having said that, it’s not a bad album. It’s good, but just not great. Love’s The Thing is a long way from Give Me Your Love, Lady Love and even Transition, which marked a change in Barbara Mason’s style. This continued on Love’s The Thing.
On Love’s The Thing, Barbara combined elements of Southern South with funk, faux Philly Soul and R&B. The strings, horns and harmonies add a Philly Soul influence. However, what’s missing are the men behind the music. M.F.S.B. had provided the soulful sounding backdrop for Barbara’s vocal on her three pervious albums. Good as the band that featured on Love’s The Thing were, they were no match for M.F.S.B. in their prime. However, one thing remained the same, Barbara Mason.
Barbara delivers each song with either passion, emotion, sincerity and urgency. She also adds harmonies. They’re good and the perfect foil to her lead vocal. However, they’re not as good as the Sweethearts of Sigma. They were yin to Barbara’s yang, and had been for three albums. However, the producer Don Davis had rung the changes.
Give Don Davis his due, he gave Barbara her biggest single of the seventies. Love’s The Thing also saw Barbara return to the charts. It may not have matched the success of Give Me Your Love and Lady Love, but Give Me Your Love charted. Ultimately, this proved a Pyrrhic victory.
Following all the change she’d had to endure, Barbara left Buddah Records after Give Me Your Love. It would prove to be her last album to chart. Between 1978 and 1984, Barbara released a trio of solo albums and an album with Bunny Sigler. Not one of these albums charted. So, in 1984, Barbara decided to concentrate on her music publishing company. She was only thirty-seven. This was music’s loss. Her final album to chart was Give Me Your Love, which ironically, was the weakest album Barbara Mason released on Buddah Records. For anyone wanting to discover Barbara Mason’s music, Give Me Your Love and Lady Love, but Give Me Your Love are the albums to try first. Only then, move on to Barbara Mason’s Buddah Records’ swan-song Give Me Your Love.
BARBARA MASON-LOVE’S THE THING.
THE DEADBEATS-ON TAR BEACH.
THE DEADBEATS-ON TAR BEACH.
There aren’t many teenagers who dream of leaving the Florida sunshine to head to London, and form a band. That’s what Suzie May did in 1979. She left her home in the Florida suburbs, and arrived in Camden Town, London. Suzie was halfway towards fulfilling her dream. Her dream was to form a band whose music was a combination of sixtes girl groups like The Ronettes, Motown and Merseybeat. Just over a year later, Suzie would achieve her dream.
The story began after Suzie placed an advert in Melody Maker saying singer “seeking musician with quiffs.” This was the first chapter in The Deadbeats story. They recorded just one album, On Tar Beach, which was only released in France. That’s until recently, when Ace Records rereleased On Tar Beach. It’s now available for the first time in the UK, since On Tar Beach was recorded twenty-nine years ago. However, there’s more to Ace Records’ rerelease of On Tar Beach than the album itself. There’s eight bonus track on Ace Records’ rerelease of On Tar Beach. This makes On Tar Beach the most comprehensive collection of The Deadbeats music ever released. It’s also the story of Suzie May following her dream.
Having arrived in London, Suzie May quickly settled in to Camden Town’s thriving music scene. She quickly made friends with local musicians. This resulted in Suzie getting a job as a waitress in Dingwalls, one of Camden’s many music venues. After work, Suzie headed home to the squat she was living in. It was there that she wrote songs on a guitar she’d bought in a charity shop. All the time, Suzie was determined to form a band. Before long, her dream would become a reality.
Two exiled Nottingham musicians, bassist Kevin Green and guitarist Tony Berrington saw Suzie’s advert in Melody Maker. They couldn’t miss it. It simply said singer “seeking musician with quiffs.” Intrigued, the two former members of the GTS answered the advert.
Unlike Suzie, Kevin and Tony were experienced musicians. The GTs had contributed two tracks to the punk album Raw Deal. After this, Kevin and Tony were asked to join The Favourites, which consisted of former members of Plummet Airlines. Then in December 1980, Kevin and Tony answered Suzie’s advert.
When Suzie met Kevin and Tony, it was a meeting of minds. They had similar musical tastes, including The Beatles, Phil Spector’s Wall of Sound, Brill Building pop and Gene Vincent. Given they shared the same musical tastes, the trio decided to form a band. All they needed was a drummer.
This was where Parker Semmons came in. Previously, Parker, had been a drummer in rockabilly bands. Suzie, Kevin and Tony approached Parker and he agreed to come along to a rehearsal. After just one rehearsal, Parker realised this was a band going places. He agreed to join the band which became The Deadbeats.
Before long, The Deadbeats were playing around London. During this period, The Deadbeats started writing their own material. Suzy was the main songwriter. She used the music of her childhood as a basis for her songs. Suzie drew inspiration from an an eclectic range of sources. This included everything from sixties girl groups, The Beatles, adverts and jingles. What they each had in common was they were melodic. That was key for Suzie and the rest of The Deadbeats, who were part of London’s burgeoning rockabilly scene.
Although Suzie was the principal songwriter, the rest of The Deadbeats helped shape a new song. They moulded it into shape. Gradually, during practise sessions and concerts, The Deadbeats were honing their sound. They had firm ideas about how their music should sound. So when The Deadbeats recorded a demo, they knew what they were trying achieve.
Recording of The Deadbeats’ demo took place at EMI’s Manchester studios. Taking charge of the sessions was former Babe Ruth guitarist Alan Shatlock. For a while, there was talk that The Deadbeats were about to sign for EMI. However, sudden “budget cuts” resulted no contract being forthcoming. It was after this, that drummer Parker Semmons left. Not long after this, The Deadbeats’ luck changed.
Peter Jenner and Blackhill Enterprises approached The Deadbeats about managing the band. As an added incentive, they offered The Deadbeats the chance to record at Workhouse Studios. Tenpole Tudor drummer Gary Long would play drums. The result was The Deadbeats’ first single.
Crazy Hound Dog, Crazy When I Hear That Girl and New Girl were recorded at Workhouse Studios in 1982. Producing the sessions was Laurie Latham. He came up with the idea of giving Crazy Hound Dog a Spector-esque makeover. Laurie was preaching to the converted. The Deadbeats were huge Phil Spector fans. New Girls would be their homage to their idol. However, New Girls wasn’t released a single. Crazy Hound Dog was. On the B-side was Crazy When I Hear That Girl. Releasing their debut single should’ve been one of the most exciting periods of The Deadbeats’ career. It was and it wasn’t.
For any band, the release of their debut single is a cause for celebration. This was the case for The Deadbeats. The release of Crazy Hound Dog in 1982, was landmark in The Deadbeats’ career. Unfortunately, not long after the release of Crazy Hound Dog, Blackhill Enterprises became insolvent and went into receivership. It was one step forward and two steps back for The Deadbeats.
Things improved in early 1982. The Deadbeats found the drummer they’d been looking for. This was ex-Meteors drummer Mark Robertson. His addition to The Deadbeats’ lineup proved to be a blessing in disguise.
Not only was Mark a talented drummer, but a Francophile. Mark could see beyond the White Cliffs of Dover. The country he loved most was France. As befitting a dedicated Francophile, Mark spoke fluent French. This came in useful when The Deadbeats met Jiri Smetena, who owned a club in Paris, Le Gibus. Jiri helped organise a lengthy tour of France for The Deadbeats. Even better, Jiri helped arrange a record deal with Frech record label, New Rose Records.
Now signed to New Rose Records, The Deadbeats headed to Jackson’s Studio, in Rickmansworth, where they would record ten songs. Nine of the songs were penned by Suzie May. The other was a version of Tchaikovsky’s Swan Lake. It was arranged by The Deadbeats. Producing what became On Tar Beach was Vic Maile, who previously, had produced The Animals’ single We’ve Got To Get Out of This Place and Motorhead’s 1980 classic album Ace Of Spades. Vic had also worked with Led Zeppelin, The Kinks, Jimi Hendrix, The Small Faces and Eric Clapton. So having Vic produce On Tar Beach, was something of a coup for The Deadbeats.
Especially since Vic’s mixer at Jackson’s Studio was a vintage, all-valve desk. This fitted in with The Deadbeats’ policy of only using vintage instruments. The Deadbeats believed this helped them to recreate an authentic early sixties sound. However, this came at a price. Bassist Kevin Green and guitarist Tony Berrington only played vintage Harmony and Gretsch guitars and basses. Similarly, drummer Mark Robertson used a 1963 Gretsch drum kit. Instruments like those used by The Deadbeats were expensive, particularly instruments in good condition. However, The Deadbeats believed this was important to creating an authentic sixties sound to their as yet, unnamed album.
Having recorded their debut album, the only thing it lacked was a name. Then a friend of Suzy’s, Scurvy D. Bastard just happened to mention that when he grew up in New York in the early sixties, people escaped the oppressive heat by sleeping on the roof. This Scurvy said was spending time “on tar beach.” Straight away, everyone realised this was the perfect title for The Deadbeats’ unnamed album.
On Tar Beach was released in 1985. Originally, On Tar Beach was meant to be released only in France. Then Andy Hurt, a reviewer for Sounds wrote a review. He gave the album five stars. This was the highest accolade any album could receive. However, On Tar Beach wasn’t really promoted in Britain. The only promotion On Tar Beach received was a short promotional film. Despite this, The Deadbeats ended up supporting The Pogues on a tour of the North of England. Sadly, On Tar Beach wasn’t a commercial success in Britain. Things were very different in Mark Robertson’s beloved France.
Over in France, The Deadbeats were a hugely popular band. Night after night, The Deadbeats played to sold out crowds. This included some of France’s premier venues, including Chez Paulette in Roul, The Rex in Paris and Heartbreak Hotel in Sete. Throughout that 1985 tour, The Deadbeats were winning friends and influencing people coast-to-coast. This translated into record sales. On Tar Beach was New Rose Records’ second biggest selling album. Only The Cramps outsold The Deadbeats. On Tar Beach was a huge success. Despite this, it’s never been rerelease in the UK. That’s until Ace Records recently rereleased On Tar Beach, which I’ll tell you about.
Fall In Love Tonite opens On Tar Beach. Suzie hollers, as the rhythm section provide a sixties-inspired heartbeat. She literally swaggers her way through the lyrics. Surf style guitars reverberate into the distance, as harmonies answer Suzie’s feisty vocal. When all this is combined, the result is a strutting slice of rocky, raunchy music with a vintage sound.
As Crazy When I Hear That Beat unfolds, there are similarities to Dick Dale and the original Batman theme. There’s even a nod to Gene Vincent. Soon, the arrangement is akin to a wall of sound. Key to this wall of sound are the surf guitars. Suzie’s vocal sounds not unlike Debbie Harry. She combines a similar mixture of sass and confidence. Good as Suzie’s vocal is, Tony Berrington’s glorious guitar solo proves show stealer. He sounds as if he was weaned on surf music, as he unleashes a blistering solo and adds the finish touch to this hidden gem.
Straight away, it’s hard to believe the wistful New Girl wasn’t recorded in 1963.. That’s down to the rhythm section and Tony Berrington’s guitar. It’s Shadow-esque. Suzie’s vocal is full of heartache and hurt. Meanwhile, the bass helps drive the arrangement along. A strummed acoustic guitar is panned left, drums pound and chimes add to the Spector-esque wall of sound. Suzie adds the final touch to this homage to Phil Spector and his early sixties girl groups with her heartbroken vocal.
Bobby shimmers, before the arrangement gallops along. When Suzie’s vocal enters, it’s dramatic, and full of sadness and regret. Gradually, the story unfolds. Drums are at the heart of the galloping arrangement. They’re joined by harmonies, a Hammond organ, surf guitars and chimes. They add a Spector-esque twist to a song that’s full of pain and pathos. It sounds as if it should’ve been recorded by The Shangri-Las or The Ronettes.
Suzie’s vocal is full of drama on Delilah. No wonder. She’s about to confront her cheating man. The arrangement is jazz-tinged and understated. That’s before it reveals its secrets. Soon, Suzie is accompanied by standup bass, hissing hi-hats and piano. The bass also helps power the arrangement along. Later, so does Tony’s searing, chiming crystalline guitar. As usual, it plays an important roll in The Deadbeats’ sound. So do the bass and pounding drums. Together, The Deadbeats join forces to create an atmospheric, dramatic and cinematic backdrop to Suzie’s feisty vocal.
Don’t Tell Joe sees The Deadbeats kick out the jams. Scorching, blistering guitars are responsible for a rockier sound. Suzie’s vocal is edgier. She mixes power, with fear and frustration. Meanwhile, the rhythm section provide the heartbeat. Later, Tony unleashes another guitar masterclass. His scorching solo is spellbinding. The same can be said of Suzie’s vocal. She delivers the lyrics as if she’s lived them. As she does this, a breathy, whispery vocal is panned left and finger clicks are panned right. They’re finishing touches to this rocky kitchen sink drama.
A quivering guitar sets the scene for Suzie’s dramatic vocal on Sexy Sadie. Soon, The Deadbeats kick loose. The rhythm section lock into a tight groove. A punchy bass is a perfect foil for Tony’s shimmering, surf guitar. He unleashes some blistering licks. Suzie swaggers her way through the track. Sassy harmonies, handclaps and another guitar masterclass provide the perfect accompaniment to Suzie’s vocal.
Stabs of drums and guitar are joined by an organ that provides an authentic sixties sound on When You Dance. Suzie mixes confidence and sass, as the track swings. Again, The Deadbeats sound as if they recorded this track back in the sixties. It’s not just the style of music, but their use of vintage equipment. All this plays its part in a rollicking slice of sixties inspired, hook-laden music.
Never before will you have heard Swan Lake like this. The Deadbeats take what’s a seminal piece of music and give it a rousing makeover. Expect whoops, hollers, twangy, jangling, surf guitars and pounding rhythm section. What follows is a musical roller coaster that you won’t want to get off.
Closing On Tar Beach is Johnny Reb. Here, Suzie sounds not unlike Chrissie Hynde of The Pretenders. Jangling guitars join the rhythm section in providing the backdrop for Suzie’s vocal. It’s a mixture of drama, emotion and sadness. Her vocal, like the arrangement, grows in power. Then as if to reinforce the drama and pathos, the tempo slows, before increasing. Later, the arrangement marches along, as it becomes a homage to The Shangri La’s Leader Of The Pack. Drama, emotion and pathos are combined to create a poignant track to close On Tar Beach.
Released in 1985 to critical acclaim, On Tar Beach could’ve been the start of the rise and rise of The Deadbeats. It wasn’t. Instead, 1985s On Tar Beach proved to the only album The Deadbeats recorded. Since then, On Tar Beach has never been rereleased. That’s until Ace Records decided to rerelease On Tar Beach. At last, a hidden gem of an album is available for a new generation of music lovers to discover. Maybe even, those who missed On Tar Beach will discover the album’s delights. They’re certainly not in short supply.
Far from it. On Tar Beach is akin to a love story to the music that inspired The Deadbeats. This was what Suzie May had hoped when she flew from Florida to London. She fuses not just sixtes girl groups like The Ronettes and The Shangri Las with Motown and Merseybeat, but surf music, perfect pop, rockabilly and rock. There’s even a nod towards psychedelia, Blondie, The Stray Cats and The Pretenders. It’s a glorious melange of musical influences and genres.
As an added bonus, there’s even eight bonus tracks of Ace Records rerelease of On Tar Beach. This includes six previously unreleased tracks. One of the unreleased track is the Spector-esque New Girl. Then there’s the original versions of Crazy Hound Dog and Crazy When I Hear That Girl. Just like New Girl, they were produced by Laurie Latham. These eight tracks make On Tar Beach the most comprehensive collection of The Deadbeats’ music ever released. That’s why On Tar Beach is the perfect introduction to one of music’s best kept and most melodic secrets, The Deadbeats.
THE DEADBEATS-ON TAR BEACH.
WIM MERTENS-MAXIMIZING THE AUDIENCE.
WIM MERTENS-MAXIMIZING THE AUDIENCE.
Anyone interested in avant garde and experimental music will know the name Wim Mertens. He’s a composer, pianist, guitarist, vocalist and producer. Wim is also a musicologist, who studied music theory and piano at the prestigious Ghent Conservatory in Belgian. Music, however, wasn’t what Wim originally studied. No. Originally, Wim studied studied social and political science at the University Leuven. After graduating in 1975, Wim enrolled at Ghent Conservatory. Since then, his life has revolved around music.
Wim’s career began in 1978, when he got a job as a producer at Belgian Radio and Television. He was soon producing concerts by some of most innovative avant garde musicians, including Phillip Glass, Terry Riley, Stephen Reich, Urban Sax and Merdith Riley. After that, Wim presented a program called Funky Town with Gust De Meyer. Wim and Gus also collaborated on the album that launched Wim’s solo career in 1980, For Amusement Only. Little did Wim know that this was his step towards becoming one of the most innovative composers and musicians of his generation.
Two years later, in 1982, Wim founded Soft Verdict, They released two groundbreaking albums during 1982, At Home-Not At Home and Vergessen. Critics realised that here was a composer and producer with something different to say. Wim’s music was unique, cerebral and captivating. This would be the case throughout Wim’s career.
During 1983, Soft Verdict, released two more albums, Close Cover and Struggle for Pleasure, which was a landmark album. Released to widespread critical acclaim, it was Wim’s first classic album. Considering it was only a couple of years since Wim’s debut solo album, critical acclaim, commercial success and plaudits came to Wim early on in his career, Struggle For Pleasure saw Wim’s style gradually unfolding. His music was variously ambient, avant garde, experimental and minimalist. Critics and music connoisseurs realised that Wim was on his way to becoming one of the great modern European composers.
Struggle For Pleasure had set the standard for future Wim Mertens’ albums. Critics weren’t disappointed when Wim returned with Visiting Card in 1984. Critics hailed Visiting Card a fitting followup to Struggle For Pleasure. They realised that Wim wasn’t going to stand still. No. He was going to challenge musical norms and push musical boundaries to their limits, sometimes even beyond. Throughout his fifty album career, it’s been a case of expect the unexpected from Wim Mertens.
That was the case in 1985. Wim released another two albums. This included Usura, the last Soft Verdict, album. Usura was well received by critics. However, the other album Wim released during 1985, Maximizing The Audience which was recently rereleased by Rhino. It became Wim’s second classic album and essentially, Wim’s debut solo album. Soft Verdict were now Wim’s backing band.
Maximizing The Audience features five tracks written by Wim. He also arranged and produced Maximizing The Audience. Accompanying Wim were some of the best musicians around. This included percussionist Marc Bonne, pianist Hans François and violinist Geoffrey Maingart. Kris Van Severen played viola, Monique Laperre cello and André Van Driessche French horn. Dirk Descheemaeker played clarinet and soprano saxophone, while Ine Van Den Bergh, Minne Pauwels and Valerie Koolemans-Beijnen added vocals. Wim played piano and sang.
On the release of Maximizing The Audience as a double-album in 1985, critics hailed called the album one of the best albums Wim had released. They said it compared favourably with Struggle For Pleasure, in terms of quality. The best known track was Maximizing The Audience. It had been written for Jan Fabre’s play play The Power of Theatrical Madness. The play was premiered in 1984 in Venice, Italy. However, there’s much more to Maximizing The Audience than one track. You’ll realise that, when I tell you about Maximizing The Audience.
Opening Maximizing The Audience is Circles. Dirk Descheemaeker plays all the instruments .That includes the thoughtful, probing clarinet. It opens the track, and scurries in and out of the arrangement, relating the same notes. After a while, it becomes hypnotic. This continues for over two minutes of this eighteen minute epic. It’s then joined by a bass clarinet and they carry on a minimalist, avant garde conversation. Gradually, instruments flit in and out of the arrangement, including a cascading soprano saxophone. It provides a contrast to the hypnotic backdrop. Gradually, the arrangement reveals its subtleties and surprises. By then, it sounds like a journey on a musical merry-go-round. That’s until the ethereal harmonies. enter. They’re akin to an angel’s confessional and are the yin to the arrangement’s yang.
A soul-searching, wistful piano solo opens Lir. It sweeps you away, tugging at your heartstrings and painting pictures in your mind’s eye. Soon, a second piano enters. They compliment each other beautifully, as they arrangement meanders along. Sometimes, grandiose flourishes add a flamboyance to the arrangement. Other times, it’s minimalist, pensive and thoughtful. Essentially, it’s an emotion roller coaster where beauty, grace and elegance is omnipresent.
Deliberate stabs of the piano open Maximizing The Audience. This is akin to a cathartic outpouring of anger, frustration, hurt and pain. Deliberately, Wim pounds the piano, playing with power, passion and precision. Marc Bonne adds percussion while Hans François’ piano plays a supporting role. It’s played tenderly and gently. It matches the power and passion of Wim’s piano, soaring gracefully above the arrangement. Ine Van Den Bergh and Valerie Koolemans-Beijnen share the vocal. When the vocal drops out, strings sweep feverishly. They’re then joined by a second vocal, which is equally impressive. Controlled power, emotion and passion combine, as it soars above the arrangement. Later, the two vocals join forces and are swept along on swathes of strings, while a pounding piano provides the heartbeat to this beautiful, dramatic and ethereal Magnus Opus.
Just a lone piano opens The Fosse. It ambles along, its wistful sound setting the scene for Minne Pauwels’ vocal. It’s slow, emotive and full melancholia and sadness. So, is the operatic vocal that soars above Minnie’s vocal. It quivers, shimmers, and cascades above the arrangement. Then when the vocal drops out, mournful strings and the piano prove a fitting replacement. Having set scene for Minne Pauwels’ vocal, she digs deep and delivers a vocal that’s an outpouring of emotion, sadness and grief.
Closing Maximizing The Audience is Whisper Me. Thoughtful, wistful strings sweep. A French horn escapes from the string-laden arrangement. So does Wim’s vocal. It’s haunting, cascading above the hypnotic arrangement. The arrangement is a fusion of classical, avant garde and experimental. Hypnotic, mesmeric and haunting describes the music. Then, after fourteen minutes, the drama builds and builds, Eventually, it reaches a dark, moody crescendo. This is very different from earlier in the track. However, still, the music is haunting, hypnotic and mesmeric.
For Wim Mertens, Maximizing The Audience was the next chapter in his career. Soft Verdict, the band he founded were now his backing band. Wim decided to become a solo artist. Maximizing The Audience was the album that started Wim’s solo career.
Maximizing The Audience marked a departure in style from Wim Mertens. Not only was it his first solo album, but it was his first album to feature lengthy compositions. The shortest track was The Fosse, which was just under five minutes long. Other tracks lasted as long as eighteen minutes. This was Wim Mertens Magnus Opus. He came of age musically on Maximizing The Audience, which featured some of the most groundbreaking music of his career.
Maybe freed from being part of a band allowed Wim to open the doors of perception. He was able to innovate and push musical boundaries, sometimes to their breaking point. The result was Maximizing The Audience, which contained some of the best music of Wim’s career. This was obvious from the opening track, Circles.
Circles saw Wim draw inspiration from Steve Reich, as the clarinets intertwine, while the soprano saxophone cascades above the hypnotic arrangement. The piece de la resistance are the ethereal harmonies. All this, sets the tone for the rest of Maximizing The Audience. This proves a captivating combination. Then at the heart of Maximizing The Audience, is the title-track. It’s the album’s centrepiece and is best described as a beautiful, dramatic and ethereal Magnus Opus. Equally beautiful and poignant is The Fosse. Closing Maximizing The Audience is the haunting, hypnotic and mesmeric Whisper Me. It’s similar to Circles, as sometimes, the music heads in the direction of chamber music. These five tracks were part of a classic album Maximizing The Audience, which launched Wim Mertens’ solo career.
No twenty-nine years later, Maximizing The Audience has been released. It’s a very welcome rerelease of a classic album, where ambient, avant garde, classical, experimental and minimalist music are combined seamlessly by Wim Mertens. The result is Maximizing The Audience, a multilayered album that’s beautiful, captivating, complex, emotive, ethereal, groundbreaking, haunting, hypnotic, melancholy, mesmeric and wistful. That’s why Maximizing The Audience is a timeless classic from one of the most innovative musicians of his generation, Wim Mertens.
WIM MERTENS-MAXIMIZING THE AUDIENCE.
HORSE MEAT DISCO VOLUME IV.
HORSE MEAT DISCO VOLUME IV.
It’s been a long time coming, Horse Meat Disco Volume IV. Three years, but hey, who’s counting. At last, though, the wait is nearly over. Horse Meat Disco Volume IV will be released on Strut Records on 16th June. A lot has happened in the last three years.
Since the release of Horse Meat Disco Volume III, the Horse Meat Disco collective have been spreading their unique brand of disco worldwide. This includes mainland Europe and North America. Despite their globe-trotting lifestyle, the Horse Meat Disco guys still maintain their monthly residences at The Eagle in London’s Vauxhall and at Prince Charles’ in Berlin. The Horse Meat Disco collective must be, the hard working men in disco. However, despite their gruelling schedule, recently, the Horse Meat Disco guys touched base.
When Jim Stanton, James Hillard, Luke Howard and Severino joined forces, It was a case of the boys are back in town. They’d picked sixteen tracks for their mix on disc one of Horse Meat Disco Volume IV. The result was a seamless and flawless mix. It features everyone from OPAL, K.S.B, The Sunburst Band, King Sporty and The Root Rockers, Phreek Plus One, Winners, Rena, Laura Taylor, Joey Negro Vs. Horse Meat Disco and Camouflage. Then there’s disc two of Horse Meat Disco Volume IV to enjoy.
Just like previous volumes of Horse Meat Disco, disc two of Horse Meat Disco Volume IV features full length tracks. This time, disc two of Horse Meat Disco Volume IV features twelve full length tracks. Four of these tracks are remixes. This includes the Special Club Mix of OPAL’s Ain’t No Way, the Funked Over Mix of Shahid Mustaf MC’s Getting To Know MC and the Horse Meat Disco Mix of Joey Negro Vs. Horse Meat Disco’s Candidate For Love. Then there’s the sampled version Cleavage’s Barah. The Horse Meat Disco collective have dug deep for Horse Meat Disco Volume IV, which I’ll tell you about.
The only way to describe disc one of Horse Meat Disco Volume IV is seamless and flawless. Mind you, Horse Meat Disco have been doing this a long time. Since 2003, to be precise. That’s when Jim Stanton, James Hillard, Severino and Filthy Luka, have been putting on their legendary Horse Meat Disco club nights in London. They’re now based in The Eagle in Islington, but take their club nights around the world, allowing other people to experience the now famous Horse Meat Disco club nights. To allow everyone to experience what their club nights sound like, they release their first compilation, Horse Meat Disco in 2009.
When Horse Meat Disco was released in 2009, it was a double album. The format was the same the same. Disco one featured fifteen tracks mixed by Horse Meat Disco, while disc two featured twelve tracks. Released to critical acclaim, Horse Meat Disco’s fusion of boogie, disco and electro. Hidden gems, rarities and classics sat side-by-side. So, it’s no surprise that Horse Meat Disco was hailed as one of 2009s best compilations. A year later, came Horse Meat Disco Volume 2.
Horse Meat Disco Volume 2 was released in 2010. Again, the Horse Meat Disco collective’s musical taste was impeccable. Familiar faces, classics and rarities were seamlessly mixed by Horse Meat Disco. Critics hailed the release of Horse Meat Disco Volume 2. It was perceived as a worth followup to Horse Meat Disco. The only difference was the format. Horse Meat Disco 2 wasn’t a double album. Instead, Horse Meat Disco Volume 2 was flawlessly mixed by Horse Meat Disco, while the full length version of the tracks were available via a free download. However, Horse Meat Disco III saw a return to the tried and tested double album.
For Horse Meat Disco Volume III, the Horse Meat Disco guys had dug deep. Idris Muhammad sat side-by-side with Sylvester, The Salsoul Orchestra, Tambi, Marcel King, Gene Chandler and even Wham. Released in July 2011, Horse Meat Disco Volume III was hailed as the best in the series so far. It was going to take a lot to top Horse Meat Disco III. However, if anyone can, Horse Meat Disco can. Especially with a compilation the quality of Horse Meat Disco Volume IV.
DISC ONE.
From the opening bars of OPAL’s Ain’t No Way, it’s obvious that the Horse Meat Disco guys are determined to get the party started on Horse Meat Disco Volume IV. Seamlessly, the mix into K.S.B. Misaluba, then The Sunburst Band’s Taste The Groove and Valery Allington’s Stop. Their programming is perfect. They drop the right song at the right moment. Proof of this is L’Amour featuring Krystal’s Let’s Make Love Tonight.
L’Amour is a glorious slice of vocal disco. Quite simply, it’s the perfect track at the perfect time. So is Go To Work, a collaboration between J. Boogie’s Dubtronic Science featuring The Pimps Of Joytime. Joyous, funky and soulful, it’s full of poppy hooks. It’s real hands in the air music. Still, Horse Meat Disco’s mixing is seamless and flawless, just like their programming skills. There’s only one problem, how do you follow a track like Go To Work?
In Horse Meat Disco’s case that’s quite simple. They spin Winners Get Ready For The Future. A soulful, slice of disco from 1978, it’s a real hidden gem. Next up is Rena’s sassy, I Love Your Beat. Released in 1980, it melts seamlessly into Laura Taylor’s Some Love. It’s a real find, and shows how deep the Horse Meat Disco guys dig. This was the B-Side to Laura’s 1979 single All Through Me. After that, there’s only two tracks to go. Will Horse Meat Disco finish on a resounding high?
That proves to be the case. Briefly, Horse Meat Disco tease you with Joey Negro Vs. Horse Meat Disco’s Candidate For Love. They take the track in the direction of funk, before boogie, disco and house melt into one. Then finishing Horse Meat Disco Volume IV on a resounding high is Camouflage’s Bee Sting. It brings this musical journey to sassy, soulful, symphonic and dance-floor friendly crescendo. Mind you, what do you expect from Horse Meat Disco, purveyors of top quality dance-floor friendly music. Not only that, but their musical taste is impeccable. Proof of that can be found on disc two of Horse Meat Disco Volume IV.
DISC TWO.
Disc two of Horse Meat Disco Volume IV features just twelve tracks. That’s purely down to time constraints. However, these twelve tracks ooze quality. They include classics, hidden gems and rarities. There’s even a B-side thrown in for good measure on Disc two of Horse Meat Disco Volume IV, which I’ll tell you about.
Opening Disc two of Horse Meat Disco Volume IV is OPAL’s Ain’t No Way. Released in 1983, on Silver Cloud Records, it was written by Phil Barr and mixed by Edward Colon. This is a track that shows how dance music had changed since disco died in July 1979. Gone are the lush strings and rasping horns of the disco orchestra. Replacing them, are banks of synths and a sassy, strutting, soulful vocal. The result is a feisty slice of boogie.
K.S.B. released Misaluba on the Italian label Empire Records in 1983. It’s a real fusion of influences. One minute there’s a sci-fi influence, the next, there’s an Afro-beat influenced chant. Then there’s trippy, mysterious synths. They play their part in a hypnotic, lysergic boogie track.
The Sunburst Band released The Secret Life Of Us in July 2012, on Z Records. It featured the soulful delights of Taste The Groove. The soulfulness comes from strutting, diva-esque vocal. However, there’s more than soul to Taste The Groove. It’s a track that’s funky, dance-floor friendly and full of hooks.
Valery Allington released Stop in 1982, on the Italian label Musix. Stop was recorded and mixed at R.G. Studio, Vincenza, Italy. Producing Stop was Sangy. From the get-go, Stop reminds me of early seventies Stevie Wonder given an eighties makeover. Stabs of horns join the funky rhythm section in creating a track that’s joyous and truly irresistible.
Shahid Mustaf MC’s Getting To Know MC was released back in 2012. The version included is the Funked Over Mix. The arrangement is best described as uber funky, hypnotic, with an eighties influence. It’s a case of back to the future. Synths, drum machines and a funky bass accompanying the vocal on this eighties inspired dance track.
L’Amour featuring Krystal released Let’s Make Love Tonight on Broccoli Rabe Records, back in 1984. It’s a funky, soulful boogie track, with a twist. The twist is the harmonica that drifts in and out of the arrangement. What makes the track is Krystal’s vocal. Quite simply, it’s at the heart of the track’s success. It’s sassy, seductive and breathy and vital to the success of this hidden gem.
By 1979, Ismael Angel Ledesma had played on numerous disco, funk and soul tracks. Now was the time for him to release his debut album, Ish. It wasreleased on the Clouds’ label in 1979. One of the highlights of Ish was Don’t Stop. It’s a fusion of boogie, disco, funk, soul and sci-fi synths. Don’t Stop was the perfect showcase for Ish’s guitar playing and showed the way dance music was heading.
Joey Negro Vs. Horse Meat Disco’s Candidate For Love has everything you want in a dance-track. It was released on Record Store Day 2014 as a limited edition 12” single. Here. Joey Negro and the Horse Meat Disco guys musical tastes shine through.They take the track in the direction of funk, before boogie, disco and house melt into one. The result is a homage to the music that’s inspired Joey Negro and the Horse Meat Disco.
Cleavage’s only single was Barah, which they released in 1987, on Studio Records. The version on Horse Meat Disco IV is the Sampled Version. Produced by Archie Lucas and Tyrone “Tito” Robinson, they combine elements of funk, Latin, electronica and house. There’s even some searing rocky guitar licks. They’re added to the myriad of percussion and hypnotic beats. Later, the track takes a cinematic twist as Cleavage spring another surprise on this eclectic track.
Rena released Love Your Beat (Play It Again Sam) in 1980, on Factory Beat Records. It’s a fusion of dance music’s past and future. By that, I mean disco and boogie. Disco had died in 1979, with boogie seen as dance music’s future. Written and produced by Billy Nichols, mostly, it’s disco that’s to the fore. Lush disco strings sweep Reena along, while horns rasp. Later, bubbling synths add a hint of boogie, before Reena unleashes a sensual, vampish vocal on what’s a glorious reminder of the heady days of the disco and boogie eras.
Laura Taylor’s Some Love was the B-Side to Laura’s 1979 single All Through Me. It was released on T.K. Records, and is a delicious fusion of disco, funk and soul. Some Love is a real find. Its string drenched arrangement sweeps Laura’s tender, needy vocal along. Horns growl, the rhythm section add the heartbeat and cooing harmonies accompany Laura. When all this is combined, the result is one of the real highlights of Horse Meat Disco IV.
Closing Horse Meat Disco IV is Camouflage’s Bee Sting. It was released in 1977, on State Records. This was at the height of the disco era. Camouflage are responsible for this eight minute symphonic epic. It’s a musical journey par excellence. It’s sassy, soulful, symphonic and dance-floor friendly, and is the perfect way to close Horse Meat Disco IV. Quite simply, it’s a case of keeping the best until last.
Just like the three previous volumes of Horse Meat Disco, Horse Meat Disco IV doesn’t disappoint. Far from it. The Horse Meat Disco collective back and better than ever. They’ve dug deep and come up with music that’s funky, soulful and dance-floor friendly. That’s what we’ve come to expect from the Horse Meat Disco collective. Their raison d’être is filling dance-floors worldwide. They’ll do that with the music on Horse Meat Disco IV which will be released on Strut Records on 16th June.
No wonder. Horse Meat Disco IV is full of tracks guaranteed to fill dance-floors. Horse Meat Disco take chances. They eschew the predictable for hidden gems, rarities and even one of the best B-sides I’ve heard in a long time, Laura Taylor’s Some Love. It’s one of the highlights of Horse Meat Disco IV. So is Rena’s Love Your Beat (Play It Again Sam). It’ll ensure that even the most reticent dancer will be heading for the dance-floor. Other tracks are funky, hook-laden, hypnotic, joyous, sassy and soulful. Most importantly, all the tracks on Horse Meat Disco IV are dance-floor friendly.
This is regardless of whether it’s boogie, disco, electro and house. Hidden gems, rarities and classics sit side-by-side on Horse Meat Disco IV, which is the best instalment in the Horse Meat Disco series. So much so, that Horse Meat Disco IV is guaranteed to get any party started and fill dance-floors everywhere.
HORSE MEAT DISCO VOLUME IV.
JAH WOBBLE PRESENTS: PJ HIGGINS-INSPIRATION.
JAH WOBBLE PRESENTS: PJ HIGGINS-INSPIRATION.
During a career that’s spanned nearly forty years, Jah Wobble has always sought to create groundbreaking music. This has been the case since Jah’s solo career began in the late-seventies. Back then, Jah was a bassist, singer, songwriter and poet. However, Jah’s breakthrough came when he joined John Lydon’s post-punk pioneers, P.I.L. Jah was a member of P.I.L. right through to 1981, when he left to pursue a solo career.
Since1981, Jah’s solo career has been a sonic adventure. He’s never stood still. Each Jah Wobble album is different. He’s released over thirty albums since 1981, including albums of alt rock, ambient, dubby dance, experimental and world music. This is why Jah Wobble is considered one of music’s innovators. He’s constantly challenged musical norms, and seeking to push musical boundaries to their limits, and sometimes, beyond. That’s why no Jah Wobble album is the same. Far from it. Each new Jah Wobble album is akin to a sonic adventure. That’s still the case. One listen to Jah Wobble Presents: PJ Higgins-Inspiration, which will be released on Sonar Kollektiv, on 2nd June 2014, and you’ll realise this.
Jah Wobble Presents: PJ Higgins-Inspiration sees Jah return to the music that inspired him, reggae. For this collaboration, Jah joined forces with singer and songwriter PJ Higgins.
For many people, PJ Higgins will be a new name. That’s not the case. She’s been around since 1996. Back then, PJ was using the aliases Julie and Julianna. Then in 2000, she dawned the role of Princess Julianna. However, in 2006, Princess Julianna became PJ Higgins. Just like Jah Wobble, PJ Wobble is a musical chameleon. On Inspiration, they proved to be a potent partnership. After all, here was one of music’s best kept secrets joining forces with a musical legend on the aptly titled Inspiration.
Inspiration is a reggae album. This is quite fitting, as is was the music that Jah Wobble grew up listening to, in Whitechapel, in the East End of London. Back then, he was still John Joseph Wardle. He was born in August 1958, and grew up on Whitechapel’s Clichy Estate. John attended the London’s Kingsway College, where his friendship with John Lydon was born.
At College, both John Lydon and Jah both shared a love of music. It seemed almost inevitable that they’d form a band. This was The Four Johns. The other members were John Simon Ritchie, who’d later would reinvent himself as Sid Vicious and John Gray. It was during this period, that Jah Wobble was born. However, it wasn’t until Jah joined P.I.L. that his musical career began.
Jah Wobble was one of the original members of P.I.L, which was founded in 1978. By then, Jah was twenty and an assured and talented bassist. He’d an eclectic musical taste, but reggae and world music especially, inspired Jah and John Lydon. This shawn through on their music. P.I.L. released their debut album Public Image: First Issue, in 1978. The followup Metal Box, was P.I.L’s seminal album. Released in 1979 to critical acclaim, it was an album P.I.L. never surpassed. A year later, P.I.L. released their first live album, Paris au Printemps, in 1980. This was the final P.I.L album Jah Wobble played on. He left the band and embarked upon a solo career.
This was the start of a musical journey full of twists and turns. Jah’s debut solo album was 1980s The Legend Lives On… Jah Wobble In Betrayal. It was an innovative, genre-melting album. So was Jah’s sophomore album, 1983s The Bedroom Album. However, during the three year gap between albums, Jah had been busy collaborating.
Jah’s first collaboration was with Can’s Holger Czukay. The result was 1982s Full Circles. Snake Charmer followed in 1983. These two albums were the first in a series of collaborations Jah would embark upon. Collaborations seemed to inspire Jah. It was as if he was a sponge, soaking up all the ideas and influences. He’d go on to collaborate with Ollie Marland on 1985s Neon Winds and 1986s Tradewinds. The after releasing Psalms in 1987, Jah’s next collaboration was with one of the most innovative British artists, Brian Eno.
Spinner was released in 1995. It was a collaboration between two generations of musicians. Brian Eno had been around since the seventies, and was perceived as the musical establishment. Jah was still perceived as one of music’s angry young men. Despite their very different musical backgrounds, Spinner was critically acclaimed. This just happened to coincide with one of the most productive periods in Jah’s career.
Heaven and Earth was released in 1995, and was the start of one of the most productive periods in Jah’s career. The Inspiration Of William Blake followed in 1996. Then in 1997, Jah signed to 30 Hertz Records and released a string of well received albums. This included 1997s The Light Program and 1998s Requiem and 1998s Jah Wobble Presents Zi Lan Liao-The Five Tone Dragon. Deep Space followed in 1998. With each album, Jah was pushing musical boundaries. He was determined not to sit still. That wasn’t an option. Especially when Jah was about embark on collaborations with fellow innovators.
The first of these was a collaboration with Bill Laswell on A Dub Transmission. It was released in 2001, on 30 Hertz Records. So was Jah Wobble and Evan Parker’s Passage To Hades. Then in 2002, Jah Wobble and Temple Of Sound collaborated on Shout At The Devil. Released in 2002, critics hailed the album an inventive meeting of minds. Despite this, Jah turned his back on collaborations for a few years.
Instead, he returned to his solo career. Fly was released in 2002 on 30 Hertz Records, with Ode following in 2003. Jah then released the soundtrack to Fureur in 2004, before returning to 30 Hertz Records, with Elevator Music Volume 1A, one of Jah’s most groundbreaking albums. However, despite the critical acclaim and plaudits heaped upon Elevator Music Volume 1A, Jah changed direction.
Next for Jah was the release of Live In Leuven, where Jah collaborated with Can’s Jaki Liebezeit and Philip Jeck. It was also released in 2004, by 30 Hertz Records, and showed that Jah was constantly attempting to reinvent himself. So, in 2005, Jah released Mu on reggae label Trojan Records. Then in 2006, Jah released Jah Wobble And The English Roots Band. Jah it seemed, was a musical chameleon.
That’s been the case the last few years. Jah released Alpha One Three in 2006 30 Hertz Records, then Heart In Soul in 2007, on Trojan Records. Car Ad Music was released in 2009 in 30 Hertz Records, with Welcome To World following in 2010. After that, Jah released a trio of collaborations.
The first of these was Psychic Life, a collaboration with Julie Campbell released in 2011. Next was Yin and Yang, a collaboration between Jah and Keith Levene, which was released in 2012. Then last year, 2013, Jah and Marconi Union collaborated with Anomic, a dubby, downtempo album. The latest addition to Jah Wobble’s discography is Jah Wobble Presents: PJ Higgins-Inspiration.
Jah Wobble Presents: PJ Higgins-Inspiration, features eight tracks. Joining Jah and PJ Higgins are guitarist guitarist Alex McGowan and trumpeter Sean Corby, who brings a touch of Studio One to Inspiration. Along with Jah’s trademark bass and PJ’s vocals, Inspiration should prove to be an inspirational and innovative album, which I’ll tell you about.
My Heart’s Burning opens Inspiration. A tender, heartfelt vocal emerges from the arrangement. Soon, the vocal’s a mixture of power, passion and pain. Dubby drums, dominate the mix. A probing, pounding bass and chiming guitars flit in and out of the mix. Harmonies are panned. They ping pong, while cinematic guitars meander in and out of the arrangement. Effects are used. Reverb and delay add a dubby sound. This has the effect of making the arrangement quiver. Mostly, though, the arrangement has a classic dub sound. It’s the perfect foil for PJ’s beautiful, soul-baring vocal.
Thundering, dubby drums reverberate as I Did Bad unfolds. Effects are added, as Jah unleashes his trusty bass, producing a masterclass. Jah a musical veteran, leads from the front. Pounding, dubby licks join the drums and Andy McGowan’s guitar. The arrangement surrounds PJ’s sultry, seductive vocal. Occasionally, subtle effects are added to her vocal. Not enough to take the edge of her sassy, sultry, soulful. This is dub, but not as we know it. PJ swaggers her way through the track. Meanwhile, a myriad or instruments and effects are added. This adds to the full-on dub experience. Guitars add an Eastern twist, while Jah marries dub, to PJ’s sassy fusion of Nu Soul and R&B. The result is a glorious genre-melting track.
King Of Illusion sees the reggae influence shine through. It’s as if Jah has discovered a lost track from Studio One’s vaults and given it a 21st Century makeover. Gone is the dub of previous tracks. The rhythm section provide the heartbeat. They’re joined by the dusty sound of a Hammond organ played by Jah and Sean Corby’s trumpet. Its rasping sound adds a vintage old school reggae sound. Then there’s PJ’s vocal is best described as a slow, soulful and spiritual. PJ combines Nu-Soul, R&B and reggae, as Jah Wobble and his all-star band create a glorious slice of old school reggae.
Jah takes the original version of King Of Illusion and gives it a Dub makeover. Effects are added to the arrangement, mainly reverb, echo and delay. They’re not overused. The arrangement is driven along by the rhythm section. Meanwhile, the Hammond organ and percussion seem to play starring roles. They replace PJs vocal, which only makes fleeting appearances. When it does, effects are added to her vocal. Later, Jah ups the ante, and starts to unleash the effects. This proves really effective. Especially, when used on the trumpet. It cascades above the arrangement, as the track reaches a dub-drenched crescendo.
Inspiration seems reticent about revealing its secrets. Gradually, it does. Drums, handclaps, Hammond organ and Jah’s bass combine. Soon, Inspiration reveals its secrets. The arrangement is a fusion of influences. Reggae, dub, world music, jazz and funk seems to have influenced Jah and his band. Jah plays some of his best bass lines. He makes it seem so easy. It’s not. He’s ones of the best. So is Alex McGown’s trademark guitar playing. However, what grabs your attention is PJ’s vocal. It’s truly impassioned. Diva-esque and inspirational describes PJ’s performance on Inspiration.
Keyboards and Jah’s choppy bass combine on Watch How You Walk. Stabs of piano and pounding drums provide the backdrop to PJ’s vocal. Sometimes, effects are added to PJ’s vocal, as she combines R&B, reggae and Nu-Soul. Meanwhile, the band are recreating a slice of old school reggae. Concern and fear fill PJs vocal. Especially when she sings: “Watch How You Walk at night, don’t let it be your resting place.” When her vocal drops out, Jah’s bass takes centre-stage. He showcases his inconsiderable skills. Jah and PJ prove a potent partnership fusing reggae, R&B, Nu-Soul with a hint of hip hop.
Jah takes charge of the vocal on Chaingang. Unaccompanied, he sings call and response, while the rest of the band, including PJ, replicate the sound of the Chaingang with handclaps and foot-stomps. Soon, Jah’s dark, probing bass enters. It’s the only instrument that accompanies the vocal. This works, allowing the vocal to take centre-stage and you to share the despair, pain and suffering of those on the Chaingang.
Closing Jah Wobble Presents: PJ Higgins-Inspiration, is What Have I Become? Jah’s picks at his bass before a myriad of drums and percussion create a voodoo-esque backdrop. This perfect for PJ’s sassy, swaggering vocal. She struts her way through a track that’s inspired by world music, especially Haitian and African music. It’s a truly irresistible combination, that’s akin to a call to dance. Quite simply, resistance is impossible. All you can do, is submit to What Have I Become’s irresistible charms.
So, that’s the story of Jah Wobble Presents: PJ Higgins-Inspiration. Not only is Inspiration the latest addition to Jah Wobble’s discography, but an introduction to one of music’s best kept secrets, PJ Higgins. She’s been around since 1996, but hasn’t made a commercial breakthrough. That’s despite being a talented singer and songwriter. However, all that may be about to change on Jah Wobble Presents: PJ Higgins-Inspiration, which will be released on Sonar Kollektiv, on 2nd June 2014.
Just like so many collaborations that Jah Wobble has been involved with, Jah Wobble Presents: PJ Higgins-Inspiration is a groundbreaking, genre-melting album of innovative music. Musical norms are challenged. Similarly, musical boundaries are pushed to their limits, as Jah and PJ combine musical genres. Everything including dub, reggae and world music is combined with Nu-Soul, R&B and briefly, hip hop, jazz and funk. It’s a heady and potent brew.
Especially with Jah laying down some of his trademark bass lines. Then there PJ Higgins’ vocals. They’re stunning. That’s the case From the moment she makes her debut on My Heart’s Burning. Right through to she swaggers and struts her way through What Have I Become, you’re spellbound by PJ. She’s capable of combining power, passion, emotion and sass. Lyrics come to life, while Jah combines dub and reggae. Mostly, Jah Wobble Presents: PJ Higgins-Inspiration is full-on dub. There’s a homage to the vintage reggae sound on King Of Illusion. It’s one of Inspiration’s highlights. It’s as if Jah has discovered a lost track from Studio One’s vaults and given it a 21st Century makeover. However, it’s unfair to single out just one track. Each track on Jah Wobble Presents: PJ Higgins-Inspiration oozes quality.
During each of the eight songs on Jah Wobble Presents: PJ Higgins-Inspiration, musical influences and genres melt seamlessly into one. The result is spellbinding, captivating and enthralling. With each listen, you hear new sounds, influences and musical textures. Layer upon layer of music reveals itself. Musical subtleties, secrets and surprises gradually unfold. Other times, the During each song, musical influences and genres melt seamlessly into one. The result is spellbinding, captivating and enthralling. With each listen, you hear new sounds, influences and musical textures. Layer upon layer of music reveals itself. Musical subtleties, secrets and surprises gradually unfold. Other times, the music on Jah Wobble Presents: PJ Higgins-Inspiration is infectiously catchy. Irresistible, it’s akin to a call to dance. You can’t help but submit to its charms.That’s why Jah Wobble Presents: PJ Higgins-Inspiration is an eclectic magical musical mystery tour, where two musical chameleons, Jah Wobble and PJ Higgins provide a glorious soundtrack.
JAH WOBBLE PRESENTS: PJ HIGGINS-INSPIRATION.
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