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.
BOMBAY MONKEY-DARK FLOW.
BOMBAY MONKEY-DARK FLOW.
Mention Dark Flow and the words will mean different things to different people. To astrophysicists it’s a subject of conjecture and controversy. For music lovers, Dark Flow means something very different. Dark Flow is the highly anticipated fourth album from Bombay Monkey.
Dark Flow will be released on BBE Music on 19th May 2014, is the long awaited followup to 2008s 130 Astronauts. In the five years since the release of 130 Astronauts, much has happened to Bombay Monkey.
Back in 2008, Bombay Monkey were a duo consisting of Guy Martin and Andrew Organ. Since then, two has become three. Dave Tomkinsmith joined Bombay Monkey in 2012. He shares lead vocal duties with Andy. Depending up whose voice suits the song, one sings lead, the other adds backing vocals. This is very different to Bombay Monkey’s early days.
Guy and Andrew had known each other since the new millennia dawned. However, it wasn’t until 2003 that the two producers and songwriters began working together. This was when Bombay Monkey was born. In the early days, Bombay Monkey’s music consisted of cut-ups, montages and samples. Accompanying Bombay Monkey on their tour was an impressive audio visual setup. A Bombay Monkey show, wasn’t just about the music. It was an “experience.” The next step for Bombay Monkey was releasing their debut album.
For many bands, back in 2006, they’d book time in a local recording studio. Not Bombay Monkey. They decided to builds their own custom built studio, Lo-Tek. It was situated on a farm in rural Kent. That was where their eclectic debut album Vanish! was written recorded. Vanish! was released on Lo-Tek Audio in 2006. Its sound was quite different to later albums. Five of the eight tracks were instrumentals. On its release, Vanish was well received by critics who were impressed by the inventive, genre-melting music. Bombay Monkey’s sophomore album was released not long after Vanish!
The followup to Vanish! was the space inspired Time Travellers. Released to critical acclaim in 2006, it has a cinematic sound. Everything from ambient, dub, electronica, hip hop, psychedelia and trip hop melts into one. Time Travellers was a coming of age from Bombay Monkey. Two years later, came the followup to Time Travellers.
This was 2008s 130 Astronauts. It was described by Bombay Monkey “as part three in Bombay Monkey’s trilogy of four parts.” Bombay Monkey, as usual, were doing things their way. Again, seamlessly, Bombay Monkey fuse ambient, dub, electronica, hip hop, jazz, psychedelia and trip hop. Trippy, dubby and dreamy to ethereal and eclectic it was a mind-blowing, lysergic adventure. Surpassing 130 Astronauts wasn’t going to be easy.
Five long years passed since Bombay Monkey last released an album. Now a trio, they return with Dark Flow. It features eleven genre-melting tracks from the new look Bombay Monkey. Founding members Guy and Andrew have been joined by Dave Tomkinsmith. He’ll share lead vocal duties with Andy in the new lineup of Bombay Monkey, which makes it debut on Dark Flow, which I’ll tell you about.
Mindpower opens Dark Flow. Dark, eerie and gothic describes the introduction. There’s also a sci-fi sound before the vocal sweeps in. It’s briefly reminiscent of a seventies rock album, before dreamily, drifting into the distance. By now, electronica meets melodic, synth pop sound. Drums crack, synths, buzz and harmonies reverberate as musical genres melt into one. This includes classic rock, dub, electronica, psychedelia and synth pop. Bombay Monkey combine to create dreamy, lysergic, synth pop with a sci-fi twist.
Understated describes the introduction My Delihla. A backing vocal is panned while swathes of thoughtful synths create a backdrop for the tender, wistful vocal. Soon, Bombay Monkey bring out the big guns. By this, I mean their trusty synths. They produce a big, bold backdrop that play an important part in the track’s anthemic sound. Especially when combined with the vocals, stabs of keyboards, crisp drums and sci-fi sounds. The result is a track that’s bound to become an anthem at festivals during the summer.
Monkey See Monkey Do has a drum and bass inspired introduction. This is joined by dark strings and an urgent vocal. Soon, hooks are being unleashed as squelchy synths, dark strings and the drum and bass-tinged backdrop. It’s an irresistible and hook-laden track, with a big, bold and urgent arrangement.
A haunting, eerie spoken-word vocal introduction opens It’s Not My Dog. It’s accompanied by dark bass synth and a Madness inspired vocal. The vocal is almost Suggs’ like. Delivered at breakneck speed, the jive-talking vocal sometimes become a rap. As for the arrangement, it’s best described as jaunty. It swaggers along, the rhythm section joined by keyboards, percussion, synths and backing vocals. Here, Bombay Monkey, combine electronica, hip hop and indie roc to create a truly irresistible, swaggering track.
Cat Got Your Tongue? is a ninety second hip hop and jazz inspired interlude. Bombay Monkey replicate the sound of worn vinyl. The vinyl “plays” jangling, vintage arrangement. It veers between jazz-tinged, dubby and hip hop, all in the space of ninety second. No wonder Bombay Monkey exit stage left to riotous applause.
King Of The Jungle sounds as if it would be perfect for the new Star Wars movie. Its sci-fi sound glides into being. It’s dark and dramatic. Especially when the sci-fi tinged vocal emerges. It’s moody and broody, the perfect foil for the lead vocal. As the deliberate lead vocal reverberates into the distance, drums pound and synths join forces with the eerie, sci-fi vocal. Soon, the rhythm section, searing guitars and banks of synths. They combine elements of classic rock, synth pop and prog rock, to create a dark, dramatic, cinematic track.
Just a stabs of a lone melodic keyboards open Heartrush. Soon, things change. Drums pound and swathes of synth combine with a tender, thoughtful vocal. Again, this track has a heavier, darker, sound. That extends to the lyrics. They’ve a strong narrative. Bombay Monkey paint pictures. Dark, dramatic scenes unfold before your eyes. There’s a sense of urgency in the arrangement, which references early eighties electronica. Especially during a synth hook. After that, the tempo quickens, reflecting the sense of urgency in the lyrics. Bombay Monkey continue to combine electronica, pop and synth pop to create a track that’s melodic, dramatic and full of subtle hooks.
Istanbul Dub has light, airy and joyous introduction. Just a scatted female vocal skips across the arrangement. Drums and percussion provide the backdrop as a male and female vocal dance their way across the arrangement. They’re replaced by swathes of rumbling synths, crisp drums and a joyful male vocal. Samples, synths, and the scatted female vocal combine to create a compelling, multilayered arrangement. When the vocal returns, it continues to play an important role in what’s a delicious and joyous, dance-floor friendly track.
Straight away, Love’s An Illusion reminded me of Simple Minds. It’s the synths and vocal that leads to this comparison. The synths are slow, dark and meander along. As for the vocal, it melancholy and moody. Backing vocals reverberate above the arrangement. Meanwhile a probing bass and drums provide the backdrop, to this mid-eighties influenced track.
The Girl From The Future is a fusion of indie pop and synth pop. Just a dreamy vocal and melodic keyboards combine with sweeping synths. Harmonies sweep in as indie pop and synth pop combine. That’s before thundering dance beats cascade in. They provide the heartbeat, as poppy hooks combine to create big room anthem in waiting. Quite simply, this is a track ripe for a remix. After that, Bombay Monkey will be the toast of dance-floors.
Feed Your Fire closes Dark Flow. It has a broody, dark and dramatic sound. From the get-go, you’re spellbound, wondering where this track is heading. Big, bold and gothic synths sweeps over you. They’re joined by ethereal vocals. They provide a contrast as the arrangement glides along. Synth pop, electronica and indie pop combines to create a track that’s both beautiful and ethereal plus dark and dramatic.
Although five years have passed since the release of Bombay Monkey’s third album 130 Astronauts, the wait for Dark Flow has been worthwhile. The new lineup of Bombay Monkey have returned with an eclectic musical adventure. Dark Flow sees Bombay Monkey move in different directions. This includes towards the dance-floor on Heartrush and The Girl From The Future. It’s Not My Dog sounds like a Madness inspired sing-along. Dance-floor friendly, it shows another side of Bombay Monkey. Delicious, joyous, quirky and dance-floor friendly describes the other dance track Istanbul Dub. Then there’s the anthemic My Delihla. However, there’s more to Dark Flow than just five tracks.
Other tracks prove that Bombay Monkey haven’t turned their back on their music past. Mindpower which opens Dark Flow is a dreamy, lysergic, synth pop with a sci-fi twist. King Of The Jungle is dark, dramatic, cinematic track. Cat Got Your Tongue veers between jazz-tinged, dubby and hip hop, in the space of ninety seconds. Love’s An Illusion is an eighties-influenced track that reminds me of Simple Minds. The Girl From The Future somehow, manages to be simultaneously beautiful and ethereal plus dark and dramatic. That’s some feat. However, this is Bombay Monkey we’re talking about.
They’ve been around since 2003. This makes Bombay Monkey almost musical veterans. However, they added a new member in 2012, Dave Tomkinsmith. Dave and Andy share lead vocals on Dark Flow. When Dave sings lead vocal, Andy sings backing vocals. This works well. They’re like ying and yang on Dark Flow, which is an album of innovative, genre-melting music.
That’s what you get when combine ambient with classic rock, dub, electronica, indie rock, pop, prog rock, psychedelia and synth pop. The result is Dark Flow, an album that’s variously dark, dramatic and eerie to beautiful and ethereal, right through to anthemic, dance-floor friendly, hook laden, irresistible and joyous. Dark Flow also veers between cinematic and subtle, to melodic and melancholy. That to me, is the perfect description of Dark Flow, the fourth album from Bombay Monkey, which will be released on 19th May 2014, on BBE Music. That’s why Dark Flow is a career defining album Bombay Monkey, that’s sees them come age musically.
BOMBAY MONKEY-DARK FLOW.
R.M. HUBBERT-BREAKS AND BONE.
R.M. HUBBERT-BREAKS AND BONE.
For R.M. Hubbert, 2013 was the best year of his long musical career. A veteran, and some might say, unsung hero, of Glasgow’s music scene, Hubby won the Scottish Album Of The Year Award in June 2013, with his sophomore album, Thirteen Lost and Found. Considering the competition Hubby was up against, this was quite a feat. Paul Buchanan, Lau, Calvin Harris and Emile Sande were among the nominees. However, Hubby triumphed. Thirteen Lost and Found won the Scottish Album Of The Year Award. This was result of a musical journey that started back in 1991. Having savored the moment, it was straight back to work for Hubby on another album that would be nominated for 2014s Scottish Album Of The Year Award.
This was Breaks and Bone. It was the album Hubby was in the midst of recording. This was Hubby’s third album. Breaks and Bone was recorded in seven short, intensive sessions during a one-year period. Featuring ten tracks, which were produced by Paul Savage at his Chem 19 studios. Two themes run through Breaks and Bone, letting go and acceptance. They’re the threads that ran through Hubby’s first two albums. That’s hardly surprising. Hubby’s had to contend with the loss of both parents and a five year battle with depression. For Hubby and many listeners, Breaks and Bone, will prove a cathartic experience. Before I tell you about Breaks and Bone, I’ll remind you about Hubby’s musical journey.
Unlike many musicians, Hubby didn’t fully embrace Glasgow’s thriving musical scene. Instead, he made tentative steps into its vibrant midst. This was in 1991, when he formed Me, Hubby and Thom with Thom Falls. Thom was also drummer for The Blisters, who featured a young Alex Kapranos.
Through Thom, Hubby and Alex Kapranos became friends. Soon, they were running a club night and were bandmates. Hubby and Alex took over the running of the long lamented Kazoo Club. It was held at The 13th Note in Glasgow. When the original promoter suddenly left, the very future of the Kazoo Club was at risk. Enter Alex and Hubby. Saving the day, they took over promoting The 13th Note. Further cementing their friendship, Hubby joined The Blisters as second guitarist. This didn’t last long. Hubby left The Blisters in 1992, to join another Glasgow band Glue, Having spent three years as a member of Glue, Hubby joined the band where he made his name.
El Hombre Trajeado were formed in 1995. Consisting of Hubby, Stevie Jones, Ben Jones and Stef Sinclair, El Hombre Trajeado released three albums over the next ten years. Their debut album was Skipafone, released in 1998. Three years later, they released Saccade in 1998. Shlap was their final album. It was released in 2004, the year before the band split. During the ten years El Hombre Trajeado were together, they built a large, loyal following. This resulted in them being chosen to support Nick Cave and The Delgodos.
Following the breakup of El Hombre Trajeado, it was another four years before Hubby released any more music. He was constantly touring, supporting. Franz Ferdinand, The Delgados, Mogwai, Emma Pollock and The Twilight Sad. Then tragedy struck for Hubby when his parents died. This inadvertently lead to Hubby’s live album.
Trying to rid his mind of the tragedy he’d experienced, he recorded nine solo guitar tracks. They were just a way of taking his mind off what had happened. First and Last featured Hubby playing guitar, using flamenco style and structure. To do this, Hubby had built a custom built Spanish guitar. It was made by Anders Ellasson in South-West Spain. It’s perfect for Hubby’s distinctive flamenco style.
To give the music a more modern sound, Hubby took a different approach to melody. Once First and Last was finished, Hubby released it himself. Critically acclaimed, this lead to Glasgow’s premier label, Chemikal Underground signing Hubby in 2010. Now he was among his kith and kin, First and Last was reissued in early 2011. With his debut album released, and signed to a new label, Hubby looked to the past for his future.
Hubby had first thought about what became Thirteen Lost and Found back in 2009. Now with friends old and new, Hubby set about bring his idea to fruition. Alex Kapranos of Franz Ferdinand was chosen to produce Thirteen Lost and Found. Indeed, some of the recording took place at his studio in Glasgow. At three studios, ten tracks were recorded with some of Scotland’s top musicians. Aidan Moffat, Emma Pollock, Alex Kapranos, Marion Kenny, Paul Savage, Stevie Jones, Alistair Roberts, Rafe Fitzpatrick, Shane Connolly, John Ferguson and Luke Sutherland all passed through the studio doors playing starring roles in Thirteen Lost and Found, Hubby’s sophomore album.
Thirteen Lost and Found was released on Chemikal Underground Records in January 2012. Critics were won over by Thirteen Lost and Found. They hailed it as a Magnus Opus of a collaboration, one that was innovative and imaginative. It was all that and more.
When the long-list for 2012s Scottish Album of The Year Award was released, Thirteen Lost and Found featured on the long-list. The competition was fierce. Some of Scotland’s best artists were in contention for this prestigious award. Among them were Paul Buchanan, Lau, Calvin Harris and Emile Sandy. Then when the long-list became the shortlist, gone were Calvin Harris and Emile Sandy. Hubby was on the shortlist of ten. Then on 20th June 2013, when the winner of the Scottish Album of The Year Award was announced, Hubby had won Scotland’s most prestigious music award. Next for Hubby, was completing the recording of what was the last in a trilogy of albums.
Breaks and Bone was the final album in the Ampersand trilogy. The threads that run through the three albums are contending with the loss of both of his parents and a five year battle with depression. Hubby had hoped this would help to do this. He says it had, although not to the the extent he’d hoped. The trilogy was an attempt to reach out to friends he’d lost touch with. That’s worked much better.
On Breaks and Bone, Stevie Jones, Aidan Moffat, Emma Pollock, Andrew Savage and Paul Savage all make guest appearances at Chem 19. Producing Breaks and Bone, was Paul Savage. Breaks and Bone was then released on Chemikal Underground on 30th September 2013. Released to critical acclaim, Breaks and Bone which I’ll tell you about sees Hubby build on his first two albums.
Son of Princess, Brother of Rambo opens Breaks and Bone. It’s a mesmeric and spellbinding instrumental you lose yourself in. It washes over you. Thoughts race through your head. You realize what striking a chord means. Memories come back, emotions are stirred. Later, the music becomes a wash, wall or wave of music. Its potency and power, is hugely moving and emotive. It poses questions, that you’re left to answer.
Bolt tells the story of what’s best described as a dysfunctional relationship. This is apparent from the lyric: “he broke your heart, you broke his jaw.” Straight away, you wonder where the song is headed? The lyrics are dark, bleak and nihilistic. Especially when Hubby sings: “I wish you’d break my jaw.” That’s a dark place to be. With buzzing synths, drums and his trademark guitar for company, Hubby’s delivery is almost bereft of emotion. It’s as if he’s hurting inside. Hopefully, by articulating his feelings, this proves therapeutic and cathartic.
Driving and chiming guitars combine as Couch Crofting, another instrumental, reveals its mystery and ethereal beauty. Here, you’re concentrating on two parts of the song. There’s a sense of time ebbing away, and leading ultimately to loss. This comes courtesy of a buzzing sound. Meanwhile, Hubby like a painter, paints bold brush strokes with his guitar. His playing is confident and brisk. He questions and probes looking for answers. All the time, time is ebbing away, and answers still prove elusive.
Tongue Tied and Tone Deaf sees Hubby tackle the subject of depression. This is personal for him. He’s suffered from cronic depression for five years. When he sings: “keep your head afloat and wipe your tears…till the next time,” it’s obvious that Hubby is drawing upon experience of the “black dog.” This is personal and his vocal is heartfelt and sincere. There’s a worldweary sound to his voice. Hubby has lived with, and survived depression. His music is cathartic and his story inspirational.
Go Slowly has a melancholy sound as it unfolds. Just a flamenco guitar trails off into the distance. It has a crystalline, ethereal sound. Then Hubby almost punishes his guitar. Power and ethereal beauty sit side-by-side. It’s as if it’s telling the story of loss and grief. Although their death was relief, a relief from pain and suffering, for those left behind, they feel cheated and angry. Their overcome with loss and grief. Hubby vents his frustration via the guitar. His playing is full of frustration and anger. This fusion of emotion results in a track where darkness and light sit next to beauty and power. An outpouring of emotion, frustration and anger, it’s powerful, potent, emotive and beautiful.
Feedback Loops features some of Hubby’s best guitar playing on Breaks and Bone. Quite simply, it’s exquisite. Here, Hubby’s half-spoken vocal and chiming, reverberating guitar become one. They’re as one as they tell the story of going round in circles, never quite achieving anything. The problem is never ever solved. “Arguments help,” Hubby sings, but nothing quite gets to the root of the problem. There’s a weary, resigned sound in Hubby’s vocal, as he fears things will never be the same.
There’s an almost uplifting sound to For Helen. It’s a quite beautiful instrumental. Here, Hubby’s pulled out all the stops. His playing veers between intricate, wistful and melancholy, to bold, beautiful and ethereal. Whoever this is a homage to, must have been a special lady?
It’s obvious the date Dec 11 has some significance in Hubby’s life. He’s almost welling up with emotion, anger and frustration. His vocal is whispery and emotive. Memories come flooding back. You fear emotion and anger will get the better of Hubby. Somehow, he manages to keep himself together. Then, as his vocal drops out, he unleashes a mesmeric guitar solo. All his anger, frustration and sadness is channeled via his guitar. This seems to relieve Hubby of his emotion and hurt, proving therapeutic.
Buckstacy has an understated sound. Slowly and thoughtfully, Hubby toys with his guitar. This is just a curveball. As a drum pounds, it’s all change. It provides the heartbeat as Hubby’s hand flits up and down the fretboard. He plays in a bold, decisive and sometimes, flamboyant, almost un-Hubby like way. There’s a joyous, uplifting sound to a track that shows another sound to Hubby’s music.
Sights closes Breaks and Bone. There’s a melancholy sound to Hubby’s vocal as he sings: “we never really spoke, but I expected the last conversation would have some meaning.” These powerful words will ring true for so many people. They always expect, the last thing a loved one will say to them, especially a parent to a child, will have some significance or deep meaning. That isn’t usually the case. This leads to people feeling cheated or having been robbed of something. They feel the last words someone should speak, should have some deep meaning in how to cope with the travails of life. Sadly, as Hubby sings, that’s not the case.
Breaks and Bone is not just one of the most captivating albums of 2013, but an album that’s cerebral and inspirational. The last part in the Ampersand trilogy, Breaks and Bone has you spellbound from the opening track. Despite being an instrumental, Son Of Princess, Brother of Rambo is something of a roller coaster journey. Listen to the track with an open mind, and thoughts, memories and ideas will cascade past your mind’s eye. From there, the music veers between becomes dark, bleak and nihilistic on Bolt, through to thoughtful, melancholy, emotive, joyous and uplifting. Often it’s introspective and seeking answers. That’s no bad thing. Hubby like so many other people, is looking for answers.
Many other people, like Hubby, have lost loved ones and are still grieving. It’s an ongoing process that needs worked through. For Hubby, music proves cathartic. He lost both parents a few years ago. Like many people, music is a way of finding answers to questions. Part of his trying to come to terms with this loss, is the Ampersand trilogy. Breaks and Bone is the final chapter in this trilogy. Let’s hope it’s helped Hubby to come to terms with his loss. I hope it’s helped Hubby in another struggle.
Another theme explored during Breaks and Bone, was depression. Like many people, Hubby has suffered from depression. He’s fought chronic depression for five years. Music to Hubby, has proved therapeutic and cathartic. Part of his healing process was the Ampersand trilogy, including Breaks and Bone. Let’s hope it’s helped Hubby to come to terms with what is a truly debilitating and heartbreaking illness. Certainly, some of the music on Breaks and Bone is much more uplifting.
Several things haven’t changed from Thirteen Lost and Found. Breaks and Bone is another eclectic and emotional musical journey. It draws inspiration from disparate musical influences and genres. Folk, country, flamenco, Celtic, indie and Americana were thrown into the mix. Then there’s some of Scotland’s top musicians who played a part in the making of Breaks and Bone. Among them are Aidan Moffat, Emma Pollock and producer Paul Savage. Each of these musicians wanted to help one of the nicest men in Scottish music bring this very personal project to a close. Breaks and Bone, like the two previous chapters, is a highly personal, cerebral and emotive exploration of loss and depression.
Seeking answers, R.M. Hubbert embarked upon the Ampersand trilogy. Now this musical journey is over. Hubby has kept the best until last. Breaks and Bone is the result of a two year musical journey. We can only hope R.M. Hubbert found the journey that was Ampersand trilogy both therapeutic and cathartic. Breaks and Bone is also truly compelling and personal album, that could see R.M. Hubbert pick up 2014s Scottish Album Of The Year Award. It would a fitting reward for one of Scottish music’s best kept secrets R.M. Hubbert.
R.M. HUBBERT-BREAKS AND BONE.
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THE PASTELS-SLOW SUMMITS.
THE PASTELS-SLOW SUMMITS.
There’s something almost contrary about certain Scottish bands, including The Blue Nile, The Bathers and The Pastels. Hugely talented, they’ve released critically acclaimed and commercially successful albums. Yet in a quintessentially Scottish way, as if unsure of fame, fortune and the trappings it brings with it, these bands fail to capitalize on the momentum they’ve built up. It’s as if they can’t or don’t want to quite make the next step. In some ways, this is understandable.
Maybe they don’t want to become part of the machine that is a major label? They don’t want to become part of the constant grind of releasing an album, publicizing it and then heading out on tour. Then they need do it again and again. They’re forced to make compromises and tow the party line. Some bands are willing to do all this and more, just to experience a taste of fame and not always fortune.
After all, they forget, everything they do, the record company is charging them for. Record companies aren’t charities. Far from it. There’s no such thing as a free lunch in the music industry. The artist pays for every lunch, promo album, photo shoot and new guitar that comes their way. For some bands they don’t want to become part of this. They’d rather do things their own way and at their own speed.
That’s be the case with The Pastels. Since forming in 1981, The Pastels have only released five albums. Their latest album is Slow Summits, which was recently released on Domino. Slow Summits is the first studio album The Pastels have released since 1997s Illumination. Having said that, they did provide the soundtrack to John McEntire’s The Last Great Wilderness in 2003. However, since then, things have been quiet on The Pastels’ front. Dedicated followers of The Pastels wondered if we’d ever hear from the group again. Then last year, came Slow Summit, The Pastels fifth album in the group’s thirty-two year career, which I’ll tell you about. It was a return to form for The Pastels, which saw them nominated for 2014s Scottish Album Of The Year Award. This is fitting for one of Scotland’s veteran bands.
The Pastels were formed in 1981 in Glasgow. Their original lineup consisted of bassist Gerry Love, guitarist John Hogarty, trumpeter Alison Mitchell, flautist and keyboardist Tom Crossley plus vocalist and guitarist Stephen McRobbie. They’ve been the backbone of the group. Like any band who have enjoyed the longevity of The Pastels, there’s been occasional changes to the lineup. However, that was the lineup that featured on their debut single.
1982 saw The Pastels release their debut single Songs For Children on the Whaam label. After that, The Pastels were signed to both Rough Trade and Creation, where they released a series of singles. During this period, The Pastels continued to hone their sound. It was a period of evolution. Quickly, they became an influential group within both the burgeoning fanzine movement and the Glasgow music scene. Then in 1986, The Pastels featured on the NME’s C86 compilation. Although this showcased a new generation of bands, its importance has been overstated. A year later, The Pastels released their debut album.
Six years after forming, The Pastels released Up For A Bit With The Pastels on the Glass label. Veering between indie pop, garage and post punk, it marked a new chapter in The Pastels’ career. Their sound had evolved and was much tighter. Produced by John Rivers Up For A Bit With The Pastels was critically acclaimed and perceived as a classic Scottish album. It’s in the top 100 Scottish albums. Up For A Bit With The Pastels looked like being the start of a successful career for The Pastels.
Two years later, The Pastels released their sophomore album Sittin’ Pretty. It had been recorded over a two year period and was released on the Chapter 22 label. The Pastels trademark sound changed. There was a harder edge to their music. Maybe this was because there had been a change of producer from Up For A Bit With The Pastels? Replacing John Rivers, was Paul Mazda. After the release of Sittin’ Pretty, it looked like The Pastels were no more. Rumours were rife in the music press that The Pastels were splitting up. Reports of their demise proved to be exaggerated.
While The Pastels didn’t split up, their lineup changed. Drummer Karina Mitchell joined the band in 1990. With the lineup settled again, The Pastels got back to work. Eventually, they released their third album Mobile Safari in February 1995. It featured the new lineup, plus contributions from many of Glasgow’s best musicians. The Pastels’ friends joined the band for their first album for six years. Produced by Paul Chisholm and The Pastels, this was their first album for the label that they’d call home for the next eighteen years.
Having released their first album in six years, The Pastels released their next album Illumination in 1997. Co-produced by Ian Carmichael, Gregor Reid and The Pastels, Illumination saw The Pastels draw inspiration from a wide range of sources. Melodic and similar to Mobile Safari, The Pastels had found their own sound. Released to critical acclaim, Illumination looked like the album would be The Pastels breakthrough album. It wasn’t. Instead, we never heard from The Pastels for another seventeen years.
Apart from providing the soundtrack to John McEntire’s The Last Great Wilderness in 2003, we never heard anything else from The Pastels. Even The Great Wilderness was a quite un-Pastels’ album. It was more like a series of soundscapes. Then earlier this year, rumors started doing the rounds that The Pastels were about to release a new album. Some people were sceptical. They were wrong. Glasgow’s forgotten group had been busy.
Slow Summits features nine tracks, four of which were penned by Stephen McRobbie. He penned Secret Music, Night Time Made Us, Summer Rain and Wrong Light. Karina Mitchell wrote Kicking Leaves and Come to the Dance. She and Stephen cowrote Check My Heart and After Image, while Stephen and Tom Crossley contributed the title-track Slow Summits. These nine tracks became Slow Summits, which was recorded at several studios in Glasgow.
This includes Chem 19, Cava Studios, LA Chunky and Castle of Doom studios in Glasgow. The Pastels were joined by a whole host of old friends, including Norman Blake, Craig Armstrong and Bill Wells. They recorded nine tracks, which became Slow Summit, The Pastels’ comeback album. Was it worth the wait?
There’s a understated, wistful sound to Secret Music. Distant cymbals give way to percussion, melancholy flute and pensive rhythm section. Guitars chime as Karina’s tender, almost whispered vocal takes on a wistful sound. Around her, the rest of The Pastels replicate the sound of the meandering nighttime traffic. Horns rasp, guitars chime and drums add mystery to a track where melancholia and the ethereal beauty of Karina’s vocal prove a potent combination.
Night Time Made Us sees The Pastels reminisce, remembering how they saw the world as children. Things they used to do, people they used to know and things they believed. In doing so, Stephen’s vocal takes on a pensive sound, as he remembers simpler times. Crystalline guitars, heartbreaking horns and harmonies accompany his vocal, as memories come flooding back. Soon, the track takes on not just a trademark Pastels’ sound, but a Glasgow sound. It reminiscent of a generation of bands who came through at the same time. Two of the best known are Teenage Fanclub and BMX Bandits. The other member of the triumvirate are The Pastels, who on form like this, are back.
Check My Heart sees the comeback continue on a truly genre-melting track. Everything from sixties girl groups, pop indie rock, garage and doo wop combine. Karina is accompanied by punchy harmonies. Meanwhile the rhythm section and scorching guitars drive the arrangement along. Stephen shares the lead vocal. His vocal provides is deeper and louder and is a contrast to Karina’s tender vocal on this paean.
Summer Rain sounds like Aztec Camera during the eighties. It’s the deliberate, crystalline guitars that leads to the comparison. What’s different is the vocal. Here, Stephen’s tenderly delivers the lyrics. His needy, heartfelt vocal is accompanied by cooing harmonies, distant rasping horns and guitars. Up until then, it’s a beautiful song. Then The Pastels noodle. They decide to experiment. Guitars, flute and the rhythm section are join by sci-fi sounds. For two minutes they’re sure to divide opinion. It can either be scene as innovative, jazz tinged exploration of the track’s nuances or a missed opportunity?
After Image has a somewhat subdued and experimental sound. It sounds like a relation of Summer Rain. An instrumental, bursts of ethereal harmonies provide a contrast to the dark, moody and broody sound of the arrangement. Keyboards, synths and guitars are unleashed, providing cinematic sounds to a wistful, futuristic soundscape.
Kicking Leaves written by Karina Mitchell is one of the highlights of Slow Summits. Her ethereal vocal is accompanied by cooing harmonies and strings that tug on your heartstrings. Guitars are strummed, as drums mark time. They’re playing a supporting role to Karina. Her lyrics have a strong narrative and are full of imagery. She paints pictures that unfold before your eyes. You can imagine her wandering through the Botanic Gardens frustratedly kicking leaves and singing hopefully Oh Kiss Me We Won’t You Kiss Me.
Wrong Light sees The Pastels roll back the years to when they and their fans were much younger. Stephen is in reflective mood, singing: “you were so young, a flower in the sung.” There’s a tinge of sadness and regret in his voice. Karina adds backing vocals, horns rasp and guitars scream. The rhythm section provide a thoughtful heartbeat and a harmonica adds to the emotion. Later, handclaps encourage what is one of the best guitar solos on Slow Summits. There’s even a bit of showboating, as The Pastels show they’ve not lost their mojo. They haven’t. Neither has Stephen McRobbie who wrote this wistful, poignant reminder of day opportunities lost.
Slow Summits is a six minute instrumental. It’s reminiscent of a track from the soundtrack to a sixties French art movie. It’s the flute lead instrumental that leads to the comparison. That and the meandering understated, pensive arrangement. Soon, it’s all change. Searing guitars cut their way through the arrangement. Their crystalline, chiming sound has a sixties sound. Clanking and chiming, the flute meanders wistfully above the arrangement. Eventually, The Pastels settle into a groove, where drama and ethereal beauty unite. Rasping horns, harmonies horns and blistering guitars join The Pastels as they revel in this opportunity to showcase their musical ability, on what could easily be part of a soundtrack to a film or television program.
Come to the Dance closes Slow Summits. Again, there’s a sense of melancholia. The Pastels might have Come to the Dance, but sound as if their heart has been broken. Karina’s vocal is tender and thoughtful. Harmonies, handclaps and the rhythm section join chiming guitars as her vocal veers between pensive, hopeful and heartbroken. She doesn’t sound as if she’s Come to the Dance, more to briefly escape her broken heart.
After seventeen years away, many people had forgotten about The Pastels. They thought the band had split up. After all, their last studio album Illumination was in 1997. They’d made a brief return with The Last Great Wilderness in 2003. After that…nothing. Having started their career with the critically acclaimed Up For A Bit With The Pastels, The Pastels “should’ve had a brilliant career.” Sadly, although The Pastels released three further albums, they never scaled the heights they should’ve.
Mind you, neither did their contemporaries. Neither The BMX Bandits nor Teenage Fanclub enjoyed the critical acclaim and commercial success their talent warranted. Although commercial success came their way, they should’ve sold many more albums. At least critics and their fellow musicians recognized their undoubtable talent.
Maybe though, groups like Teenage Fanclub and The BMX Bandits, The Pastels found a level of success that they were comfortable with? After all, look what fame and fortune did to Babyshambles and Nirvana? Possibly, The Pastels didn’t want to scale the heights Franz Ferdinand did? That would’ve meant sacrificing too much to the major label machine. For them, maybe that was a step too far?
Instead, The Pastels were content to follow in the footsteps of The Blue Nile. They released critically acclaimed and commercially successful albums on their own terms. That did The Blue Nile no harm. It added to the sense of mystery that shrouded them. The same can be said of The Pastels.
Where have they been since 1997? What have then been doing? All we can say with certainty, is that they’re back, older, wiser and more experienced on Slow Summits. Sometimes The Pastels sound worldweary and rueful, especially when Stephen takes charge of the lead vocal. Like those of a certain age, we realize our youth is but a distant memory. Sometimes, he sounds rueful as if unsure he’s done the right thing. Deep down I wonder if he’s wondering whether five albums in thirty-two years does The Pastels justice. As for Karina’s vocals, they’re ethereal, veering between wistful, melancholy, hopeful and needy. Her vocals breath life, meaning and emotion into lyrics. She sounds as she’s lived, experienced and survived the lyrics. Maybe she too, realizes they could’ve and should’ve been a much bigger band. Slow Summits is proof of this.
No wonder. The Pastels are a a band full of talented musicians and songwriters. They’re not content to replicate previous albums. Instead, they innovate, and move their music forward. That’s to their credit. After all, they’ve been making music since 1981. Eclectic music at that. On Slow Summits, everything from indie rock, pop, sixties girl groups, doo wop, garage is thrown into The Pastels mixing bowl. It’s stirred by producer John McEntire and The Pastels. The nine tracks are a compelling musical journey, where not once, do The Pastels take a wrong turn. Far from it. The Pastels haven’t just made a comeback on Slow Summit, but are back and are better than ever. Indeed, The Pastels have reached slowly and somewhat belatedly reached the summit with Slow Summits, which was one of the best Scottish albums of 2013. That’s why Slow Summits resulted in The Pastels being nominated for 2o014s prestigious Scottish Album Of The Year Award.
If The Pastels are crown winners, this will be fitting. The Pastels are a Scottish musical institution. Just like so many Scottish bands their contrarian. They’ll only do things their way. The result is five albums during a thirty-three year career. However, it’s quality not quantity that matters. Slow Summits is proof of this and could see the contrarian and quintessentially Scottish band The Pastels win the Scottish Album Of The Year Award.
THE PASTELS-SLOW SUMMITS.
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STRANGE BREAKS AND MR. THING III.
STRANGE BREAKS AND MR. THING III.
One of the most commercially successful and critically acclaimed compilation series makes a welcome return on 19th May 2014. That’s Strange Breaks and Mr. Thing III. It’s been a long time coming. Five years in fact. So, after a five year back, Mr. Thing makes a very welcome return with Strange Breaks and Mr. Thing III, which is the result of five years of crate digging.
Mr Thing. is without doubt, one of the most passionate and persistent crate-diggers, when it comes to unearthing hidden gems. No stone is left unturned in his search for elusive hidden gems. Quite simply, Mr. Thing digs where other crate diggers fear to dig. Whether it’s dusty basements, thrift stores, warehouses or record shops, nowhere is off limits. As a result, Mr. Thing’s choice of music is truly eclectic. That’s reflected on Strange Breaks and Mr. Thing III.
Rather than focus on one genre of music, Mr. Thing casts his net wider than other crate diggers. His eclectic and discerning musical taste is reflected on Strange Breaks and Mr. Thing III. It features fifteen slices of funk, jazz and soul from Mr. Thing’s legendary record collection. It’s a tantalising glimpse of what is a musical treasure trove. Just like previous instalments in the series, familiar faces sit side-by-side with hidden gems, killer cuts and rarities on Strange Breaks and Mr. Thing III, which is a double album.
Disc One of Strange Breaks and Mr. Thing III is a fifteen track DJ mix from Mr. Thing, who has been DJ-ing since 1987. Since then, Mr. Thing’s name has been synonymous with him. He’s a turntabilist’s turntabilist. Quite simply, Mr. Thing is one of the top hip DJs in Britain. That’s why he spends much of his time touring the world showcasing his finely honed skills. One listen to Mr. Thing’s DJ mix and you’ll realise his mixing skills are flawless. Then on disc two, Mr. Thing chooses nineteen slices of soulful, funky and jazzy music.
Among the nineteen artists on disc two of Strange Breaks and Mr. Thing III, you’re introduced to familiar faces sit side-by-side with hidden gems, killer cuts and rarities. This includes Dynamic Concept, Disco Orchestral, Woolwich Polytechnic School Concert Band, Chuck Jackson, Sharon Cash, Harry Beckett and Zulema. With its combination of funk, jazz and soul, choosing the highlights of Strange Breaks and Mr. Thing III isn’t going to be easy.
Opening Strange Breaks and Mr. Thing III is Disco Orchestral’s Do It Again. This is a track from Disco Orchestral’s only album Soupa Disco Sounds. It was produced by Tony Palmer. Released in 1976, on DJM Records, this twelve track album was described as “12 Favourite Varieties.” After it’s sassy intro, Do It Again unfolds. It’s best described as a fusion fusion of laid back funk, sassy, seductive soul and rocky guitars. A glorious melange of musical genres, Do It Again whets your appetite for the rest of Strange Breaks and Mr. Thing III.
Dum-Dum’s At The Grass has a dramatic, funky cinematic sound. It’s was taken from Dum-Dum’s 1972 album Dum-Dum. Released in 1972, this was their only album. It’s a real rarity. Copies of this album change hands for $200. No wonder. The music oozes quality. Funk and jazz is seamlessly combined by Dum-Dum to create moody, dramatic cinematic sound. This is reminiscent of the type of track you’d hear in early seventies low budget movie.
John Fitch and Associates released Romantic Attitude as a single in 1969. It was released on Beacon Records and is another rarity. It’s a captivating track. For much of the arrangement, it’s wistful and atmospheric. Then later, the scorching guitars take the track in the direction of psychedelic rock. One thing never changes, John’s vocal, which is a cathartic outpouring of hurt and heartbreak.
Soulful, funky and full of frustration and anger describes The Internationals’ Give A Damn. Released in 1969, on D’ar Recording Co. Inc, Give A Damn was penned by Richard Poindexter with his brother Robert and Jackie Members. They later wrote The Persuaders’ Thin Line Between Love and Hate. This is very different. It’s full of social comment, and features a vocal that’s impassioned, angry and frustrated. The result is a powerful comment on late sixties America.
New Jersey funk group Nu-Sound Express, Ltd, only released two singles. Their debut singls was One More Time Y’all. It was released in 1970, on Silver Dollar Records, it was written and arranged by Paul Kyser. It’s an uber funky slab of early seventies good time funk, with a jazzy twist. This is a welcome addition to Strange Breaks and Mr. Thing III, from Nu-Sound Express, Ltd, who’d later evolve into Rhyze and release two albums in the early eighties.
From the get-go, you realise that Dynamic Concept’s La Da Da is something special. Mind you, what would expect from what was essentially Edwin Starr’s backing band. In 1974 Dynamic Concept had released their debut single California. It wasn’t a commercial success. Neither was La Da Da, which was released on H.B. Barnum’s London-based Power Exchange Records & Tapes label. H.B. Barnum wrote, arranged and produced this funky hidden gem. Sadly, La Da Da proved to Dynamic Concept’s final single.
Asmral’s Trinidad Cavaliers released seven albums on Canadian label Calypan. Their penultimate album was Heat, which was released in 1975. Heat is a much prized album among record collectors and sample hungry producers. One of Heat’s highlights is the hypnotically funky hidden gem It Sure Is Funky. It’s a tantalising taste of Asmral’s Trinidad Cavaliers’ genre-melting music.
James Asher’s Oriental Workload featured on the 1979 album Action Disco, which is a really rare album. It was released on the Studio G label and featured tracks by James Asher, Pete Willsher and T. Kelly. It has a moody, lysergic, psychedelic and ambient sound. Full of subtleties and nuances, this is one of my favourite tracks from Strange Breaks and Mr. Thing III.
Without doubt, one of the most left-field and surprising choices on Strange Breaks and Mr. Thing III is Özel Türkbas’ Özel´s Dance Music. It’s a track from the 1972 album How To Make Your Husband A Sultan-Belly Dance With Özel Türkbaş. This track is a real discovery and is testament to Mr. Thing’s crate digging skills. It’s one of these albums that most people would walk past. Not Mr. Thing. He must have realised that there were breaks and samples awaiting discovery within the album. That was the case. Here, Mr. Thing has edited the track. As a result, its hypnotic and funky Eastern sound, it’s akin to a call to dance.
Zulema’s Giving Up is a track from her 1973 sophomore album Ms. Z. It was released on Sussex Records. After that, Zulema Cusseaux, soul, funk, disco and boogie singer and songwriter signed to RCA Victor. Giving Up shows why RCA Victor signed Zulema. She delivers a heartfelt, soulful vocal. She’s accompanied by backing vocalists, swathes of strings and an all-star band of top session players. They fuse soul, funk and disco strings to create the perfect backdrop for Zulema’s vocal.
Harry Beckett’s Ring Within Rings is a track from his 1975 album Joy Unlimited. This was Harry’s third album and was released on Cadillac Records. He was one of Britain’s top jazz musicians, who played trumpet and flugelhorn. During his career, he played with some of the legends of British and American jazz, induing Stan Tracey and Charles Mingus. Ring Within Rings sees Harry and his band veer between jazz and fusion. During this six minute epic, Harry unleashes a barnstorming solo that showcases his indisputable talent.
Not much is known about Smiling Hard. This is the case with their only single Fire To The Galleon. It was released on the Survival label and was produced by Steve Royal and Don White. What I do know, is that it’s a quality track. Funk, jazz and pop are combined by Smiling Hard. So are hooks during this mysterious slice of music.
When I heard The Woolwich Polytechnic School Concert Band’s version of The Sweeney, memories came flooding back. After all, The Sweeney was and still is, a favourite television program among people of my age. Back then, The Sweeney were the good guys, who lived hard, spun drums, chased villains and always enjoyed a punch up before the titles rolled. The Woolwich Polytechnic School Concert Band’s take on The Sweeney is from their 1981 album Poly Music. Released on the Tam Studio label, it’s a much more thoughtful version of a classic television theme.
The Caprellls with The Sul Brothers Band released Close Your Eyes in 1975. They’d been around since 1972, when they released their debut single Deep Love on Band. On 1975, they released two further singles, Dotty’s Party and Close Your Eyes, a soulful, funky track with a summery vibe.
Closing Strange Breaks and Mr. Thing III is Sharon Nash’s Nature Boy. It’s a track from Sharon’s 1970 album He Lives Within My Soul. It was released on Jay Ward’s Los Angeles independent label, Mothers Records and The Snarf Company. Produced by H.B. Barnum, Nature Boy features a slow, impassioned and soulful vocal. Later, the arrangement and Sharon’s vocal grows in power, becoming powerful vamp as the track reaches a dramatic, soulful crescendo.
After a five year break, Mr. Thing makes a welcome return with the latest in Strange Breaks and Mr. Thing series, Strange Breaks and Mr. Thing III. Mr. Thing has picked up where he left off on the previous volume, combining funk, jazz and soul. To that, there’s even disco strings, rocky guitars and a touch of psychedelia. That’s why the best way to describe Strange Breaks and Mr. Thing III is eclectic. Strange Breaks and Mr. Thing III is also a compilation that oozes quality.
It’s a case of sitting back and enjoying the music on Strange Breaks and Mr. Thing III. Not once do are you tempted to press next. Instead, Mr. Thing has you captivated. You wonder where he’s taking you now, on what’s akin to a musical journey. This is Mr. Thing’s take on the Magical Mystery Tour. Mr. Thing doesn’t disappoint during this double album. Far from it. That’s testament to Mr. Thing’s crate-digging skills.
During the truly eclectic compilation, Strange Breaks and Mr. Thing III, hidden gems and musical nuggets are discovered. Mr. Thing it seems, has been digging deep, deeper than he’s dug before. That’s why he’s surpassed his previous efforts. To do this, he’s combined numerous musical genres and influences. Mr. Thing mixes funk, fusion, jazz, pop, psychedelia, rock and soul. All this is thrown into Mr. Thing’s musical melting pot. What comes out is a mesmeric fusion that captivates and compels. You’re taken on the musical journey that’s Strange Breaks and Mr. Thing III which will be released by BBE Music on 19th May 2014.
During this journey that’s Strange Breaks and Mr. Thing III. the music veers between dramatic, dreamy, and trippy, to beautiful, understated and melancholy. Other times the music is moody and broody. On other tracks, the music is sassy and seductive. One thing the music never is, is boring. Not at all. Certainly not when Mr. Thing is in charge of the music. Subtleties and surprises are sprung. Mr. Thing isn’t afraid of changing direction. Using the musical equivalent of a handbrake turn, he performs a volte face. That’s what makes Strange Breaks and Mr. Thing III such a captivating and refreshing compilation that belongs in everyone’s record collection.
STRANGE BREAKS AND MR. THING III.
ROSIE BANS-BE BOLD.
ROSIE BANS-BE BOLD.
At this time of the year in Scotland, everyone involved in the music industry’s thoughts turns to the Scottish Album Of The Year Award. It’s Scotland’s premier award. So, it’s with baited breath that artists all over Scotland await the announce of the long-list of twenty albums. The long-list then becomes a shortlist of ten. Then at a glittering award ceremony in June, the great and good of the Scottish music industry gather for the announcement of the Scottish Album Of The Year Award. The next day, the search begins for Scottish music’s next big thing.
What follows is a search for the latest unsigned artists who might, be at future Scottish Album Of The Year Award ceremonies. This could include one of the best unsigned Scottish artists, Rosie Bans, who has just released her debut E.P. Be Bold. It’s the introduction to one of Scotland’s best kept musical secrets.
Not for much long. Glasgow born Rosie Bans is determined to make a name as a singer and songwriter. That’s why she moved South to London, seeking fame and fortune. So, far Glasgow and London audiences have been won over by Rosie. Her music and trademark banter have won friends and influenced people in London. No wonder, given the quality of Rosie’s songs.
Her songs are slick, melodic and hook-laden. They’re also variously heartfelt confessionals, complex, emotive, honest, soul searching, subtle and beautiful. Rosie writes songs that tell stories. She introduces you to a cast of characters. You empathise with them, share their pain, hurt, stories and lives. That’s the case on Be Bold, where Rosie sits down with her trusty piano and backing band lays bare her soul.
Opening the Be Bold E.P. is Arguments. Scorching, Led Zeppelin licks grab your attention. They join forces with the rhythm section in delivering a musical curveball. It’s a scene setter. In struts Rosie’s feisty vocal. It’s enveloped by scorching guitars, driving rhythm section and piano. Harmonies flit in and out the gloriously rocky arrangement. Later, the arrangement becomes jazz-tinged, before returning to its rocky norm. This is the perfect backdrop for Rosie’s vocal on this tale of a relationship gone wrong. Emotive, feisty and full of frustration, what an introduction to Rosie Bans.
Make Believe is very different to the previous track. Jazz-tinged describes the piano lead arrangement. Drums signal the arrival of Rosie’s vocal as she delivers a vocal tour de force. She’s lonely and alone, before her vocal becomes sassy and needy. It’s soft and tender, cascading above the arrangement. Drums, piano and cooing harmonies combine. Rosie’s vocal is breathy, ethereal and akin to an emotive confessional.
Bold Light has a slow, lush and atmospheric introduction. Vibes accompany Rosie’s vocal on a song that could be autobiographical. She recently moved to London, from Glasgow, her hometown. In the song, she’s lonely, confused and uncertain. She doesn’t alone, doesn’t know who she is any more and understandably, wants to go home to her old life. She wells up, emotion filling her vocal. Meanwhile, the punchy arrangement meanders alone, before becoming jaunty as Rosie lays bare her soul with a soulful vocal.
Westbound Ghosts closes the Be Bold E.P. It’s a homecoming song of sorts. Accompanied by the piano, Rosie sings about travelling up the east coast “to a place that I feel most fits like home,” By then, drums are providing the heartbeat and strings have swept in and are sweeping the arrangement along. Rosie paints pictures. There’s a sense of joy and trepidation about her homecoming. Her new and old lives are very different. Then a thunderous drum signals Rosie to kick loose. She unleashes a vocal powerhouse and ensures the song swings. Her jazzy vocal is a joy to behold. Especially when strings sweep and swirl and the jaunty piano and drums accompany here. It’s an irresistible, hook-laden fusion of jazz and pop from Rosie Bans.
Recently, Rosie Bans was hailed one of the best unsigned singers in Britain. That’s definitely the case. Rosie is a hugely talented singer and songwriter. The four tracks on Be Bold are a tantalising taste of what Rosie Bans is capable of.
On the four tracks on Be Bold, Rosie combines jazz, pop and soul. Rosie’s songs are slick, melodic and full of hooks. They’re also heartfelt confessionals. The songs are variously complex, emotive, honest, soul searching, subtle and beautiful. Rosie writes songs that tell stories. She introduces you to a cast of characters. You empathise with them, share their pain, hurt, stories and lives. That’s the case on Be Bold, which Rosie Bans will be showcasing on her forthcoming tour.
Hopefully, during Rosie Bans forthcoming tour, it won’t just be music fans that will be at each show. Hopefully, so will a whole host of A&R reps wanting to sign Rosie Bans. Having heard Be Bold, they’ll be wanting to add Rosie to their roster. No wonder. She’s an artist with a huge future. Be Bold is proof of that and is why it won’t be long until Rosie Bans is signed to a record company. After that, we’ll be hearing a lot more from Rosie Bans.
ROSIE BANS-BE BOLD.
MOGWAI-LES REVENANTS.
MOGWAI-LES REVENANTS.
Earlier this year, Glasgow’s very own Mogwai released their eighth studio album Rave Tapes. This was their first album in three years, since the release of Hardcore Will Never Die, But You Will. However, during that three year period, Mogwai had been busy. They contributed the soundtrack to the French television series Les Revenants which was recently nominated for 2014s Scottish Album Of The Year Award. This wasn’t the first soundtrack Mogwai had written. No. Quite the opposite.
Previously, Mogwai provided the soundtrack to the 2006 movie Zidane: A 21st Century Soundtrack. The same year, Mogwai collaborated with Clint Mansell on the soundtrack to The Fountain. Les Revenants was just latest project Mogwai had been involved with during their nineteen year career. So, before I tell you about Les Revenants, I’ll tell you about one of Scotland’s biggest and best bands Mogwai.
Mogwai’s roots can be traced to Glasgow in April 1991. That’s where guitarist Stuart Braithwaite and Dominic Aitchison first met. Four years later, they met drummer Martin Bulloch and formed Mogwai, which film buffs will remember, is a character from the movie Gremlins. Mogwai was always meant as a temporary name, but it stuck and was on the label of their 1996 debut single Tuner. It was released to critical acclaim and the NME awarded it their single of the week award. Two other singles were released during 1996 Angels v. Aliens and Summer. By then Mogwai were a quartet.
Guitarist John Cummings joined the band in 1995. He’s also something of a maestro when it comes to all things technical and is described as playing “guitar and laptop.” He was part of one of the hottest bands of the late nineties, Mogwai who released two more singles in 1997.
These two singes were New Paths To Helicon Pt. 1 and Club Beatroot. Just like their debut single Tuner, New Paths To Helicon Pt. 1 was won NME’s single of the week award. This was the perfect time for Mogwai to record their debut album, Mogwai Young Team.
For Mogwai Young Team, Mogwai brought onboard Brendan O’Hare the Teenage Fanclub’s drummer. Another guest artist was Aidan Moffat of Falkirk based band Arab Strap. He added the vocal to R U Still In 2 It. The rest of Mogwai Young Team consisted of instrumentals. Mogwai Young Team was recorded at Chem 19 studios and produced by ex-Delgado Paul Savage and Andy Miller, one of Scotland’s top producers. Once Mogwai Young Team was completed, it was released on Scotland’s biggest record label, Chemikal Underground.
On its release in October 1997, critics were one over by Mogwai Young Team. Mogwai were hailed Mogwai as a band with a big future. Mogwai Young Team was a groundbreaking album of post-rock, which sold over 30,000 copies and reached number seventy-five in the UK. The Mogwai Young Team were on their way. However, a few changes were about to take place.
A year later, Mogwai were back in the studio recording their sophomore album Come On Die Young. Much had changed. A new member had joined the band. Barry Burns a flautist and sometimes pianist, had played a few gigs with the band. They then asked him to become the fifth member of Mogwai. Violinst Luke Sutherland joined Mogwai, but not on a full-time basis. This wasn’t the only change.
Recording was split between New York and Glasgow. This time, they’d forsaken Chem 19 in Blantyre and recorded parts of the album in Tarbox Road Studios, New York. Some sessions took place in Glasgow’s Cava Studios. Producing Come On Die Young was Dave Fridman. Some critics felt his production style resulted in a much more orthodox sounding album. However, I’d argue that Come On Die Young was part of Mogwai discovering their “sound” and direction. Come On Die Young is a much more understated, but also ambient, experimental, multi-textured and melodic. There’s a fusion of ambient, grunge and post rock on Come On Die Young, which was released in March 1999. It reached number twenty-nine in the UK. Mogwai it seemed were now on their way to finding their sound and fulfilling the potential evident on their debut album.
Mogwai’s music continued to evolve on their third album 2001s Rock Action. More use was made of electronics on Rock Action. This was part of a process that would continue over the next few albums. There were even more layers and textures on Rock Action. It was as if Mogwai had expanded their palette. Seven of the songs were instrumentals, while Dial Revenge featured Gruff Rhys of Super Furry Animals.
Again, Rock Action was produced by Dave Fridman, while recording took place in New York and at Glasgow’s Cava Studios. Once Rock Action was completed, it became Mogwai’s first album to be released on Play It Again Sam.
Rock Action was released in April 2001, and proved to be Mogwai’s most successful album. It reached number twenty-three in the UK. Critics remarked upon how Rock Action wasn’t as dark an album as its predecessors. That didn’t mean that Mogwai’s view of the world had changed. They were still worldweary. Soon, they’d be happy people writing happy songs and making a breakthrough into the American market.
Happy Songs For Happy People was released in 2003. Mogwai’s evolution continued. Their music continued further down the electronic road. Yes, electric guitars and a drummer were used, but synths were playing a more important role in Mogwai’s music. So were the addition of strings and a piano. They played their part in what was a much more understated album. Part of this change in style was a change of producer.
Tony Doogan was brought onboard as producer. He replaced Dave Fridman. Gone were transatlantic recording sessions. Happy Songs For Happy People was recorded at Cava Sound Studios, Glasgow. On its release in June 2003, Happy Songs For Happy People was well received by critics. They welcomed the change in style. So did record buyers. While Happy Songs For Happy People only reached number forty-seven in the UK, it spent a week in the American charts, reaching number 182 in the US Billboard 200. After four albums, Mogwai had broken into the American market. Happy Songs For Happy People it seemed, was a landmark album.
Having made inroads into the lucrative American market, Mogwai didn’t rush their fifth album. It was released three years after Happy Songs For Happy People. There’s a reason for this. They were working on tree separate projects. The first was their fifth album Mr. Beast. Then there was the first soundtrack they’d written and recorded. This was for the 2006 movie Zidane: A 21st Century Soundtrack. Mogwai also collaborated with Clint Mansell on the soundtrack to The Fountain. Although soundtracks were a nice sideline for Mogwai, their fifth album Mr. Beast was of huge importance. Especially, if it was a commercial success in America.
Mr. Beast was released in March 2006. It had been recorded at Mogwai’s new studio, Castle Of Doom Studios in Glasgow. Recording took place between April and October 2005, with Tony Doogan and Mogwai producing Mr. Beast. On its release, it was mostly, to critical acclaim. Critics were fascinated at how Mogwai’s music continued to evolve. For Mogwai, standing still was going backwards. Ever the innovaors, they were rewarded by an album that reached number thirty-one in the UK and number 128 in the US Billboard 200. Mogwai were now one of Scotland’s most successful musical exports. They were certainly Scotland’s most innovative band. This was a title they weren’t going to give up without a fight.
To ensure they kept their title of Scotland’s most innovative bands, Mogwai returned to the studio where it all began, Chem 19 in Blantyre. Andy Miller who’d co-produced Mogwai Young Team, Mogwai’s debut album was chosen to produce what became The Hawk Is Howling. This was Mogwai’s sixth album and marked a first. It was Mogwai’s first album to consist of just instrumentals. Once The Hawk Is Howling was recorded, Garth Jones mixed the album at Castle Of Doom Studios in Glasgow. After that, The Hawk Is Howling was ready for release.
The Hawk Is Howling was released in September 2008. Critics were won over by The Hawk Is Howling. There were no dissenting voices. This was one of Mogwai’s best albums. So, it’s no surprise it sold well in the UK and America, reaching number thirty-five in the UK and number ninety-seven in the US Billboard 200. It seemed with each album, Mogwai’s music evolved and matured. This resulted in even more success coming their way. Would this continue with Hardcore Will Never Die, But You Will?
For their seventh album, Mogwai returned to Chem 19 Studios in Blantyre, where they hooked up with ex-Delgado Paul Savage. Since he’d produced Mogwai’s debut album, Mogwai Young Team Paul had established a reputation as one of Scotland’s best producers. He’d worked with everyone from Franz Ferdinand, Admiral Fallow and Camera Obscura to R.M. Hubbert. However, it was a very different Mogwai Paul encountered. They were very different to the band who recorded Mogwai Young Team. Their music had evolved and was continuing to do so. They’d matured as musicians and embraced the new technology. Hardcore Will Never Die, But You Will was proof of this.
Here was an album of groundbreaking, genre-melting post-rock with attitude. Hardcore Will Never Die, But You Will was also an album not short on humour. Especially, with tracks about poppy soulster Lionel Ritchie and Scotland’s nemesis Margaret Thatcher. With a combination of pioneering, post rock music crammed full of hooks, humour and attitude, surely Hardcore Will Never Die, But You Will couldn’t fail?
Yet again, Mogwai had won over critics with Hardcore Will Never Die, But You Will. It reached number thirty-five in the UK and number ninety-seven in the US Billboard 200. For Mogwai, they were now into their third decade as band and had just enjoyed their biggest album to date. What next?
The answer to that was Les Revenants, a soundtrack to a French television series. Les Revenants or The Returned is essentially a television program about zombies. Unlike similar programs, when the “undead” return to the town they lived in, it’s as they were, not how most films portray zombies. Another difference was the way Mogwai were commissioned.
Usually, someone writing a soundtrack can see the film they’re writing music to. Not Mogwai. They were just shown a few scripts. Then they were given an overview of what the series was about. From there, Mogwai wrote thirteen tracks. The other track they chose was What Are They Doing In Heaven Today, which was written by Charles Elbert Tilney. These fourteen tracks were recorded by Mogwai, who produced Les Revenants with Neil MacMenamin. Once Les Revenants was finished, it was released in February 2013.
Before Les Revenants was released an E.P. was released. It featured four tracks. That was a tantalising taster of what was to come. After all, Mogwai would approach a soundtrack like Les Revenants in a different manner. They wouldn’t do anything predictable. Les Revenants was a case of expect the unexpected. Critics loved Les Revenants and hailed the album as one of the best albums Mogwai had released. However, why was that?
Earlier, I described Mogwai’s music as multi-textured. That’s the case on Les Revenants. It’s an album of constantly shifting moods, full of nuances, subtleties and surprises. I’d also describe the music as dramatic and disturbing, right through to melancholy and menacing. Having said that, it’s also music that has a warmth and is ethereal. Another important way to describe Les Revenants is cinematic.
Here is music that paints pictures. Close your eyes, allow your imagination to run riot and Les Revenants appear before your eyes. This is the case from the moody drama of Hungry Face. It’s a fusion of ambient, electronica, indie rock and post rock. You can imagine the opening titles to Les Revenants rolling as the tension and drama builds. This drama continues on Jaguar. It builds and grows, washes of synths and piano joining a pulsating beat. It’s moody, dark and most importantly dramatic.
The Huts is very different to the previous tracks. It has a much more understated, spacious sound. Just pensive, tender driven post rock guitar and melancholy piano play their part in an ethereal, cinematic track. Kill Jester is another understated track. It’s a piano driven track, that builds and grows. Again it has an ethereal and melancholy quality. Then later, the track takes on a celestial quality.
There’s a change in style on This Messiah Needs Watching. Menacing, moody and dramatic, it’s a track that builds. Feedback is sprayed across the arrangement while a meandering piano and keyboards combine. Searing guitars add to the tension. One wonders what scene this accompanies, given the tension that’s building?
Thoughtful and spacious describes Whisky Time. It’s one of the shortest tracks on Les Revenants and has a pensive and contemplative quality. So does Special N. That’s partly because of the melancholy strings and chiming guitar. Drums provide a thoughtful heartbeat before the drama and tension builds. Still it’s a beautiful, ethereal track. Just like Whisky Time, Relative Hysteria is another track that’s slow, spacious and thoughtful. Just chiming guitars, keyboards and beats combine, before shimmering guitars glisten. They play their part in an atmospheric, evocative soundscape. Minimalist and moody describes Fridge Magic. Percussion, synths and cinematic string create a multilayered arrangement. It meanders dramatically along proving captivating. The cinematic synths make a reappearance on Portugal. So do droning synths and a keyboards. Soon, the track veers between understated to dramatic and disturbing, but is always cinematic.
Eagle Tax is played on a Fender Rhodes, producing a wistful introduction. Soon, guitars reverberate, reminding me of the soundtrack to a Wim Wenders film. That can only mean two men, Ry Cooder or Irmin Schmidt of Can. There’s even a similarity to Angelo Badalamenti’s Twin Peaks’ soundtrack. Soon, the Fender Rhodes and guitar are joined by drums as one of the most evocative, atmospheric and dramatic tracks unfolds.
Modern is totally unlike anything that’s gone before. Buzzing, droning synths and searing guitars join forces, while melancholy strings and meandering keyboards compete for your attention. Somehow, the track is dramatic, understated and ethereal simultaneously.
There’s a country sound to What Are They Doing In Heaven Today? Just a piano, guitars and steady beat provide the backdrop for a melancholy, pensive vocal. It’s tender, emotive and full of pain and frustration. This results in a truly beautiful, soul-searching song.
Wizard Motor closes Les Revenants and sees Mogwai throw another curveball. After the droning, dramatic and then melancholy introduction, drums pound and scorching, machine gun guitars are unleashed. Mogwai decide now’s the time to combine post-rock, grunge and indie rock as they close Les Revenants on a high. Seamlessly, the fuse musical genres and drama. There’s even avant-garde, electronica, experimental and folk thrown into the mix, as Mogwai, forever the innovators close Les Revenants on a dramatic, rocky high.
Ever since they released their debut album Mogwai Young Team in 1996, Mogwai have established a reputation as one of the most innovative groups of the past thirty years. During this period, Mogwai had sought to constantly reinvent themselves. Standing still it seems, isn’t an option. As a result, with each album Mogwai’s music evolves. Sometimes, it’s as if you’re listening to another band. That’s the case on Les Revenants.
Les Revenants is best described as a cinematic Magnus Opus. It’s an album of ambitious, bold, challenging, influential and innovative music. This is music full of nuances, subtleties and surprises. During fourteen tracks the mood constantly shifts. One minute, the music is wistful, melancholy and pensive, the next dark, disturbing, eerie and moody. By the same token, Les Revenants is sometimes, beautiful and melancholy. The music on Les Revenants tugs at your heartstrings, poses questions and paints pictures. The music is also ambitious, bold, challenging, influential and innovative. Quite simply, Mogwai take you on genre-hopping musical journey.
Over fourteen tracks, Mogwai combine everything from ambient, avant-garde, classical, experimental, folk, grunge, indie-rock and post-rock. This resulted in a genre-melting album, Les Revenants. It’s a mesmeric fusion that captivates and compels. You’re taken on a musical journey, one that veers between dramatic, dreamy, surreal and trippy, to beautiful, pensive, understated and melancholy Other times the music is dramatic, moody and broody. One thing the music never is, is boring.
Not at all. Certainly not with Mogwai providing the soundtrack to Les Revenants. Subtleties and surprises are sprung, while Mogwai aren’t afraid of changing direction. Using the musical equivalent of a handbrake turn, the Mogwai Young Team perform a volte face. That’s what makes Les Revenants such a captivating and refreshing soundtrack. Les Revenants is also one of the best albums Mogwai have recorded. That’s why Les Revenants must be one of the favourites to land Mogwai 2014s Scottish Album Of The Year Award.
MOGWAI-LES REVENANTS.
RICK REDBEARD-NO SELFISH HEART.
RICK REDBEARD-NO SELFISH HEART.
All too often, when I pore through each week’s new releases, I wonder where music is heading? It seems that nostalgia is now officially the future. A deluge of third-rate reissues seems to be all some record companies are releasing. Then there’s compilations. Like greetings cards, there are compilations for every occasion. Many record shops now seem to be musical equivalent of Hallmark. Not content with albums of Christmas music, we’re now treated to compilations for St. Valentine’s Day and fathers day. I’m fully expecting some enterprising record label to release an album for Bar Mitzvahs, first communions or even, music to celebrate the passing of your nearest and dearest. With songs like First Cut Is The Deepest, Little Ole Wine Drinker Me and Another One Bites The Dust, a new revenue stream awaits enterprising record companies. Even worse, there’s the D.I.Y. music.
With music software much more affordable, everyone thinks they’ve got what it takes to be a “star.” Sadly, that’s not the case. Sadly, each copy of Logic doesn’t come with talent enclosed. Worse still are edits. They’re are usually made by wannabe DJs lacking the talent to make remixes. Incredibly, record companies are now releasing compilations of edits. Then there’s beard stroking DJs releasing remixes of third rate eighties soul. Seriously, you couldn’t make this up. Of course, maybe we’re getting the music we deserve?
Living in the age of so called talent shows, “stars” are created over a period of weeks. Like so much of modern society, music is now instant and disposable. “Stars” are created almost overnight. Over a period of eight weekly hour shows, a star is born. So, it’s no surprise that their music is disposable. This weeks talent show winner is next month’s shelf stacker. Their music is equally disposable. Empty, vacuous and lacking in meaning and depth, their music is next month’s landfill. Thankfully, there is an alternative.
Despite all this and more being wrong with music, very occasionally, along comes an album that restores my faith in music. It makes up for everything I’ve described. Sometimes, the musical Gods are smiling on me. When this happens, the constant search for quality music becomes worthwhile. This was the case when last year, I came across Rick Redbeard’s No Selfish Heart, which I’m pleased to say has been nominated for 2014s Scottish Album Of The Year Award.
No Selfish Heart was released on Glasgow’s premier label, Chemikal Underground in January 2013. A long time in the making, at long last, Rick Redbeard’s debut album No Selfish Heart was out. Before I tell you the subtleties, nuances and melancholy delights of No Selfish Heart, which was eight years in the making, I’ll tell you about Rick Redbeard.
Although No Selfish Heart is Rick Redbeard’s debut album, it’s not his musical debut. Quite the opposite. That was with The Phantom Band. Using his real name, Rick Anthony, he’s been lead singer of one of Glasgow’s leading bands since hey released their debut single Throwing Bones in 2007. Two years later, they released their critically acclaimed debut album Checkmate Savage on Chemikal Underground Records. Just a year later, The Phantom Band were back with their sophomore album The Wants. Since then, The Phantom Band haven’t released another album. That gave Rick the opportunity to finish the No Selfish Heart, an album his alter-ego started eight years ago.
Work on No Selfish Heart began eight years before its release. The idea was to give Rick an outlet for his more pensive, thoughtful music. It was too good to lay unreleased, but unsuitable for The Polar Band. So, Rick invented his alter-ego Rick Redbeard. He was the polar opposite to the hard rocking lead singer of The Polar Band. Rick Redbeard was the perfect musical vehicle for these songs. Among the artists who have influenced No Selfish Heart are Tom Waits, Bruce Springsteen, Leonard Cohen and Nick Cave. To that, I’d add Paul Buchanan of The Blue Nile, Chris Thompson of The Bathers and the books of Alistair Gray and James Joyce. All these influences and more can be heard on the nine tracks on No Selfish Heart, which was recorded in unusual circumstances.
Eschewing Glasgow’s top recording studios, Rick took a different approach to recording No Selfish Heart. He split his time between his between two places. This included his flat in Glasgow’s West End, the city’s artistic quarter and his parent’s house in rural Aberdeenshire. From a technical viewpoint, this isn’t ideal. Listen carefully and you can hear imperfections like a piano stool creaking. While this might not make sense to many people, the intimate and familiar surroundings allowed an outpouring of emotion. In allowing Rick’s sensitive and pensive side to shine through. Eventually, after eight years hard work, No Selfish Heart, a true labor of love was completed.
When Rick Redbeard came to release No Selfish Heart, it made sense to release it on Chemikal Underground. After all, it was The Phantom Band’s label. Released in January 2013, No Selfish Heart was released to critical acclaim. Superlatives were exhausted by critics. They marveled at Rick Redbeard’s debut album No Selfish Heart. Eight years in the making, it had been time well spend. You’ll realize that too, when I tell you about No Selfish Heart.
Opening No Selfish Heart is Clocks. It features the unmistakable sound of a shruti-box, which is crucial to the song’s lament like sound. It accompanies Rick’s weary, wistful vocal. Pondering and wondering, he seems consumed by the sense that time is running out. It’s as if he’s realized that every minute, of every hour, of every day, of every year time is slipping. Mournful and melancholy it’s a wake up call that nobody is immortal.
Just an acoustic guitar and subtle strings accompany Rick’s vocal on Old Blue. Needy and lonely suffering from the breakup of a relationship, time, isn’t healing his hurt. Backing vocals sweep in. They seem sympathetic and share his hurt. This doesn’t matter. Still his loss is akin to a gaping wound, in that it still hurts badly.
There’s a country influence to Any Way I Can. It’s Rick’s vocal and the guitars that lead to this comparison. Expressive and evocative describe Rick’s lyrics. His voice paints pictures. It’s hardly one of domestic bliss. Instead, it’s a relationship on the rocks. Rick the lyricist, is like a latter day Johnny Cash. He sings: “put down the blade and come to bed…I won’t take back the things I’ve said… and..I can’t undo the things I’ve done.” Powerful, evocative and emotive, their love still lingers.
A Greater Brave is another example of Rick’s songwriting skills. Again, he paints pictures with his lyrics. It reminds me of The Blue Nile on A Walk Across The Rooftops describing a city as darkness falls. The understated arrangement, where acoustic guitar and punchy harmonies accompany his heartfelt, emotive vocal. Later, Josephine Anthony’s ethereal vocal joins the harmonies. It’s the perfect foil for Rick and his lyrics which seem inspired by James Joyce and Alistair Gray.
We All Float has a melancholy, some would say mournful introduction. No me. Instead, I’d describe it as pensive and beautiful. As Rick sings about man’s mortality, his voice is filled with emotion and sadness. There’s almost a sense surprise at this sudden realization that comes with age.
Kelvin Grove is a traditional Scottish song. It’s a love song given a makeover by Rick. Just acoustic guitars and strings accompany him. His vocal is slow, impassioned and emotive. Taking care with the lyrics, he delivers them thoughtfully, as if he’s singing them to someone. In doing so, he brings out the beauty in this traditional song.
Just his trusty acoustic guitar and percussion accompany Rick on Now We’re Dancing. It’s a song about the breakup of a relationship. Here, Rick sings about how his life seemed to stop when this happened. He describes it as: “my evolution’s come undone.” Memories come flooding back of happier times. They’re long gone. Rueful and almost superstitiously, as if scared to mention her name, he sings: “I would love to say your name, if only for the sake of it.” Poignant and filled with pathos, Rick’s hurt seems almost real.
Cold As Clay (The Grave) is a track whose roots are firmly in folk music. Here, Rick’s vocal is reminiscent of James Grant of Love and Money. Accompanied by accordion, guitar and strings, Rick’s vocal is a cathartic outpouring of hurt, grief and pain. Raw and heartfelt the reality of death is the cause of his pain. The only consolation is, that one day, he believes, they’ll be together again.
Wildlove features another outpouring of emotion from Rick. With just a guitar for company, he unleashes a vocal that’s equal parts power and pain. Conjuring up feelings emptiness and even grief, the lyrics, deal with love lost and the vacuum it leaves behind.
Closing No Selfish Heart is the title-track. A slow, deliberate guitar sets the scene for Rick’s vocal. He delivers lyrics that are evocative, expressive, poetic and Baroque. They take you on a musical journey, to another time and place. Rick’s vocal is heartfelt and filled with emotion and sincerity. Painting pictures with his lyrics, he sings of the woman who transformed: “his selfish heart.”How did he do this? “Only love can change a selfish heart,” one that seems unattainable and tantalizingly out of reach.
Although the ten songs on No Selfish Heart took eight years to record, they were well worth the wait. This was the same with The Blue Nile. They were far from a prolific group. Like The Blue Nile, Rick’s music is the polar opposite to so much modern music. Rather than being instant and disposable, it’s intelligent, evocative, expressive, poetic and thoughtful. Rick Redbeard sings of hurt and heartbreak, love and loss, life and death. Poignancy gives way to pathos, while there’s a sense of melancholia and wistfulness on several tracks. Indeed, several tracks are like a coming of age for Rick. There’s a realization that no longer he’s immortal. That’s something that comes with age, experience and maturity. Other songs, they’re akin to an outpouring of grief and loss. Rick’s vocal is at the heart of these songs, while the mostly acoustic arrangements are understated and subtle. Despite this, the songs are intricate and multilayered. Subtleties, surprises and nuances await discovery.
Like Paul Buchanan, Rick has a lived-in, world-weary sound. Both albums feature music that’s moody, broody, but sometimes hopeful. The music is also introspective, poignant and wistful music. That’s what I’d expect from Scotland’s latest troubled troubadours. Maudlin but beautiful, heartbreaking but hopeful and always heartfelt, Rick Redbeard’s No Selfish Heart, is well worth discovering. Indeed, Rick Redbeard’s No Selfish Heart, like Mid Air, is pensive and reflective music, that’s perfect for late-night listening. So it’s no surprise that No Selfish Heart, Rick Redbeard’s musical coming-of age has been nominated for 2014s Scottish Album Of The Year Award.
Rick Redbeard’s No Selfish Heart reminds me of Paul Buchanan’s Mid Air. It was nominated for 2013s Scottish Album Of The Year Award. Paul and Rick are both troubled troubadours, whose music is soul baring and beautiful. The songs on No Selfish Heart are akin to a confessional from Rick Redbeard as he lays bare his soul for all to see. This means No Selfish Heart is very different to other albums nominated for 2014s Scottish Album Of The Year Award. However, No Selfish Heart has one thing in common with most of the album, quality. Quite simply, No Selfish Heart oozes quality, emotion and beauty and means Rick Redbeard may be a genuine contender for 2014s Scottish Album Of The Year Award.
RICK REDBEARD-NO SELFISH HEART.
CAMERA OBSCURA-DESIRE LINES.
CAMERA OBSCURA-DESIRE LINES.
There aren’t many bands who announce on their website that they’re on maternity leave. Camera Obscura do. They’re another Scottish band who do things their way. So far, that’s worked well. They’ve released five albums since they were formed in Glasgow in 1996. Their most recent album, was Desire Lines, saw Camera Obscura change direction musically. This is always risky, but Camera Obscura have been vindicated by being nominated for the 2014 Scottish Album Of The Year Award.
For two albums, Camera Obscura had worked with Swedish producer, Jari Haapalainen, of The Bear Company. He’d produced their third album, 2006s Let’s Get Out Of This Country, then the followup, 2009s My Maudlin Career. Despite My Maudlin Career being Camera Obscura’s most successful album, Jari was replaced as producer. Camera Obscura decided to move their music forward. They’d been accused of sticking with the same formula. Certain critics accused My Maudlin Career of sounding like Let’s Get Out Of This Country. That must have stung. So Camera Obscura headed to Portland, Oregon, where Tucker Marine produced Desire Lines. Making guest appearances, were Neko Case and Jim James of My Morning Jacket. This was a brave move for Camera Obscura. After all, they’d enjoyed the most successful album of their career with My Maudlin Career. Would Camera Obscura’s decision to change direction work? Before I tell you that, I’ll tell you about Camera Obscura’s career so far.
It was back in 1996, that lead singer Tracyanne Campbell, John Henderson and Gavin Dunbar formed Camera Obscura. After that, the lineup has changed several times. The first was when David Skirving joined as guitarist. He played on their first two singles. Park and Ride was released in March 1998 and Your Sound released in December 1998. Both singles were released on Andmoresound. After that, it took three long years before they released their debut album. By then, their lineup had changed.
The next change in Camera Obscura’s lineup came when drummer Lee Thompson joined in 2000. Then in 2001, keyboardist Lindsay Boyd joined, while Kenny McKeeve replaced David Skirving. This was the lineup that played on Camera Obscura’s 2001 debut album Biggest Bluest Hi-Fi. Producing the album, was a stalwart of Glasgow’s music scene, Stewart Murdoch of Belle and Sebastian. Biggest Bluest Hi-Fi was released on Andmoresound in December 2001, but failed to chart. Critics liked Camera Obscura’s music. They were compared to Belle and Sebastian, and were tipped to become one of the best Scottish indie bands. The five years they’d spend honing their sound had been worthwhile.
Two years after releasing their debut album Biggest Bluest Hi-Fi, Camera Obscura signed to Spanish independent record label Elefant in 2002. They rereleased Biggest Bluest Hi-Fi while recording of the followup was taking place. Then in August 2003, Camera Obscura released Underachievers Please Try Harder. It was produced by another stalwart of the Scottish music scene, Geoff Alllan. On its release, it was well received by critics. Although critically acclaimed in some quarters, Underachievers Please Try Harder failed to chart. At least the lead single teenager gave Camera Obscura a minor hit single. It reached number 182 in the UK singles charts. Things however, would get better.
Following the release of Underachievers Please Try Harder, Camera Obscura headed out on their first nationwide tour. After touring Britain and Ireland, Camera Obscura toured America. Apart from releasing Keep It Clean from Underachievers Please Try Harder, Camera Obscura’s only other single was I Love My Jean. This was Robert Burns’ poetry put to music. The collaboration between Scotland’s national bard and Camera Obscura, resulted in their biggest hit single. Reaching number 101 in the UK would be a sign of what was about to happen.
Change was on the cards for Camera Obscura. Whereas their two previous albums had been recorded in Scotland and produced by Scottish producers, Camera Obscura headed to Sweden and worked with Swedish producer, Jari Haapalainen, of The Bear Company. He produced their third album Let’s Get Out Of This Country. Released in June 2008, this was Camera Obscura at their best. Perfect pop songs full of delicious melodies and poppy hooks, Let’s Get Out Of This Country was released to critical acclaim. Sadly, it only reached number 125 in the UK. The hook-laden Lloyd, I’m Ready To Be Heartbroken was chosen as the lead single. This was the reply to Lloyd Cole and The Commotions’ classic Are You Ready To Be Heartbroken. Tragically, Lloyd, I’m Ready To Be Heartbroken stalled at number 144. Maybe being signed to an indie was hampering Camera Obscura’s progress?
After Let’s Get Out Of This Country, Camera Obscura signed to 4AD in November 2008. They arrived at their new label with fourth album already recorded. My Maudlin Career was produced by Jari Haapalainen and released in April 2009. Most critics loved My Maudlin Career. However, there were a few dissenting voices. They felt My Maudlin Career was sounded the same as Let’s Get Out Of This Country. They’d have to eat their words when My Maudlin Career proved to be the most successful album of Camera Obscura’s career. Not only did it reach number thirty-two in the UK, but number eighty-seven in the US. After thirteen years and four albums, Camera Obscura had enjoyed the most successful album of their career. Then things started to change.
The first change was Nigel Baillie became a father. He decided quite rightly, to put his family before his career, so became a part-time member of the band. This must have started a trend. Other members of Camera Obscura headed off on maternity leave. Just now, Camera Obscura are officially on maternity leave. Despite this, Camera Obscura released their fifth album Desire Lines.
Jari Haapalainen was replaced as producer. Camera Obscura decided to move their music forward. Replacing him, was Tucker Marine. To work with Tucker, Camera Obscura headed to Portland, Oregon, where they recorded the twelve song written by Traceanne Campbell. Tracyanne played keyboards and sang lead vocals. Kenny McKeeve played guitar, Gavin Dunbar bass, Lee Thompson drums and Carey Lander keyboards. Making guest appearances, were Neko Case and Jim James of My Morning Jacket. This was a brave move for Camera Obscura. After all, they’d enjoyed the most successful album of their career with My Maudlin Career. Would this risk pay off?
On the release of Desire Lines, it was released to critical acclaim. Critics hailed Desire Lines as their finest album so far. Sadly, it didn’t quite replicate the success of My Maudline Career. Desire Lines reached just number thirty-nine in the UK and number 106 in the US Billboard 200. Despite that, the new Camera Obscura on Desire Lines was welcomed.
There was a familiarity to the music on Desire Lines. Having said that, it was innovative. Unlike other groups, Camera Obscura’s music was progressing in a new direction. Describing Desire Lines as cerebral, literate, intelligent, ethereal, quirky and emotive is selling the album short. It’s all that and more. Indeed, Desire Lines which I’ll tell you about, is the latest installment the Camera Obscura story.
Opening Desire Lines is Intro, a melancholy scene setter. Swathes of strings add a wistful and elegant sound, leaving you wanting more.
This Is Love (Feels Alright) is a tale of love gone wrong, with Tracyanne acting as arbiter and maybe seducer. Bluesy horns join the rhythm section as the arrangement meanders along. There’s a a sense of disappointment and inevitability that her friends have fallen out. Although they both have their faults, she’s a “killer tease.” He meanwhile, is a “good boy,” a good boy she’s attracted to. In her heart, he’s too good for the “killer tease.” So when she offers her advice, she wonders aloud. Should we “turn out the light, just give in to the night…on this fine night?” While this is three minutes of cerebral pop perfection, we never find out how this love triangle turned out.
Troublemaker sees the tempo increase as the rhythm section drive the arrangement along. Keyboards replicate sirens, which seems fitting as Tracyanne wants to crush: “what remains of this love.” Although opposites attract, they don’t necessary stay together. Chiming guitars, harmonies and pounding drums provide the backdrop to Traceyanne’s vocal, as frustration fills her vocal. She realizes the relationships over and is frustrated and disappointed that they can’t let go of each other.
William’s Heart is a track that only Camera Obscura could’ve recorded. It has their trademark sound. There’s even a touch of Lloyd Cole and The Commotions in the guitars. Add to that Tracyanne’s literate lyrics and its a potent combination. Not many bands refer to Byron in their lyrics. Camera Obscura do. There’s a fuller, rockier sound to the arrangement. Searing guitars join sweeping, ethereal harmonies as Tracyanne delivers a heartbreaking vocal. Her lyrics have a poignancy and poetic nature, that she brings to life. One of the most moving lyrics is: “is there enough of a spark to sparkle again?” This brings to mind a relationship that’s all but over and is a heartbreaking kitchen sink drama from Glasgow’s Queen of indie pop.
New Year’s Resolution is a laid-back, languid slice of pop perfection. The arrangement meanders along, fuzzy guitars, deliberate rhythm section and cooing harmonies accompanying Tracyanne’s tender, heartfelt vocal. Kenny McKeeve lays down some fuzzy, muted guitar solos. They don’t overpower Tracyanne’s vocal which takes centre-stage. That’s just as well. Her vocal is needy and full of emotion. She wants, needs reassurance that her relationship won’t end.
Do It Again sees Camera Obscura find their rocky side. Tracyanne finds her inner rock chick. Her vocal is not unlike Debbie Harry, while Kenny McKeeve unleashes blistering guitar licks. The rhythm section provide a pulsating, rocky heartbeat, while a feisty, sassy Tracyanne struts her way through the track.
Cri Du Coeur or Cry Of The Heart is a much slower, soul-baring but dramatic. Her vocal full of sadness, hurt and regret, Tracyanne lays bare her soul. Introspective she realizes her faults. “I never listen to people…I know, I know, I’ll cry.” Drums pound as Camera Obscura create a Spector-esque wall of sound. It replicates Tracyanne’s hurt on this heartbreaking, soul-searching Cri Du Coeur.
Crystalline, chiming guitars and pounding guitars open Every Weekday, an upbeat, joyous slice of pop. This sets the scene for Tracyanne’s vocal, as she delivers a grateful paean to friendship. Her vocal is full of pride and gratitude, as she delivers the slick, intelligent lyrics. Punchy harmonies accompany her, while guitars chime and the rhythm section drive the arrangement along. When it gets to the bridge, the track takes on an anthemic sound. No wonder. Full of slick poppy hooks, it’s Camera Obscura at their best and most joyous.
Fifth In Line To The Throne meanders, wistfully into being. Crystalline guitars reverberate into the distance while the rhythm section provide the melancholy heartbeat. Tracyanne wistfully, realizes that being Fifth In Line To The Throne means her chance is gone. No longer, will she ever get a shot at the title. Worse still, she doesn’t trust those around her, especially her King. She wonders aloud: “if you want me to leave then I’ll go, if you want me to stay, let it show.” A poignant, moving song, full of sadness I wonder what inspired her to write this song?
I Missed Your Party sees Tracyanne transformed into a 21st century Nancy Sinatra. The only difference is, Tracyanne has a better voice. It’s sultry and seductive, while the arrangement is a glorious reminder of another musical age. With bursts of growling horns for company, a standup bass and pounding drums propel the arrangement along. Add to this cooing harmonies and Tracyanne revels in this new style. This results in one of the highlights of Desire Lines.
Break It to You Gently is another kitchen sink drama from Camera Obscura.Tracyanne’s lyrics paint a picture of a somewhat tragic man. In four minutes, this tragi-comedy unfolds. It’s about an ambitious man who always gets things wrong. Talk about running before you can walk. He’s also about to have his heartbroken. As Tracyanne sings: “you had the office before you had the business, you had the ring before the girl,” the rest of the band provide a melancholy backdrop. Keyboards and a pounding rhythm section play their part in a melodic, dramatic tale of heartache. It reaches its heart-wrenching climax when Tracyanne delivers the line: “I’ll break it to you gently.” Heartbreak, hubris and humor, what more do you want in a song?
Desire Lines closes with the title-track. It sounds as if it should’ve been recorded in Nashville. A pedal steel weeps, as if breaking its heart. This sets the scene for Tracyanne’s tender, heartfelt, impassioned vocal. What follows, is an authentic slice of Americana. A tale of a doomed long distance love affair, Tracyanne hopefully sings: “we could send letters.” As her vocal drops out, the pedal steel replicates her grief and heartbreak on this authentic slice of Americana from Glasgow’s very own Queen of pop perfection.
Four years after the release of 2009s My Maudlin Career, Camera Obscura are back and better than ever. Desire Lines is a really grown up album.That’s partly because of Tracyanne Campbell’s lyrics. They demand to be listened to. This isn’t background music. No. It’s too good for that. If you want that, then buy some tawdry chill out album. Desire Lines is full of tales of relationships gone wrong, insecure people, tragi-comedies and kitchen sink dramas. Hurt and heartbreak sit side-by-side with hope. The lyrics sometimes, sound personal. They sound as if they’ve happened to Tracyanne or people she knows. She brings these situations to life. Characters seem very real. You feel sorry for them, laugh at them or pity them. That’s a credit Tracyanne’s skill as a writer. She’s a natural storyteller, one who could just as easily have been an author. Instead, she tells stories with her lyrics and brings them to life with her vocal.
Ethereal, heartfelt and impassioned, Tracyanne’s vocal is also full of hurt, heartbreak and regret. You believe every word she sings. That’s because with each performance, she gives something of herself. Each song that she wrote, is akin to a glimpse at her soul. By singing her lyrics, she reveals even more of her self. Not once on Desire Lines does she phone in her vocal. That’s not her style. Instead, every performance is impassioned and heartfelt. That encourages the rest of Camera Obscura to producing the best performances of their seventeen year career.
While I’ve mentioned Tracyanne most of all, she is the songwriter and lead vocalist, she couldn’t exist without the rest of Camera Obscura. They’re a tight, talented and versatile band. They provide the backdrop to Tracyanne’s stories of love gone wrong, kitchen sink dramas and tragi-comedies. Other times, they play a part in what can simply be described as joyous examples of pop perfection. Slick, polished and hook-laden, the rest of the band yang to Tracyanne’s ying. Over twelve tracks, musical genres melt into one. Americana, country, garage, indie pop, new wave, pop and rock can be heard on Desire Lines, Camera Obscura’s Magnus Opus. Their decision to change producer was vindicated.
Camera Obscura’s decision to change producer was a risk worth taking. From an artistic point of view, Desire Lines surpasses everything that’s gone before. Sadly, it didn’t quite replicate the commercial success of My Maudlin Career. Released to critical acclaim, it still gave the band a hit on both sides of the Atlantic. Another chapter in Camera Obscura’s seventeen year musical story was finished. It was the best of their career. Desire Line featured Camera Obscura at their cerebral, literate and intelligent best. Witty, quirky, but full of hurt, heartbreak and regret, Desire Lines is ethereal, elegant and beautiful. Hook-laden, slick, slices of pop perfection, Desire Lines is pop music at its best and is a contender for the 2014 Scottish Album Of The Year Award.
CAMERA OBSCURA-DESIRE LINES.
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