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.
THE PERSUADERS-THIN LINE BETWEEN LOVE AND HATE.
THE PERSUADERS-THIN LINE BETWEEN LOVE AND HATE.
The Persuaders will always be synonymous with the soul classic, Thin Line Between Love and Hate. It’s the song that brought commercial success and critical acclaim The Persuaders way. The story began in New York, in 1969, when Douglas “Smokey” Scott, Willie Holland, James Barnes and Charles Stodghill formed The Persuaders. Previously, the four Persuaders had been members of other local doo wop groups The Internationals and The Majestics. These groups weren’t going anywhere. Doo wop was dead by 1969. So, with their careers at a crossroads, Douglas, Willie, James and Charles decided to form a new band, The Persuaders. It was the best decision they’d ever made.
Two years later, in 1971, The Persuaders signed to an label that was synonymous with soul label, Atlantic Records. The Persuaders were sent into the studio straight away. They were going to record a song penned by pianist and songwriter Richard Poindexter with his brother Robert and Jackie Members. This was a future soul classic Thin Line Between Love and Hate.
It was released in later in 1971 and transformed the fortunes of four Persuaders. Thin Line reached number fifteen in the US Billboard 100 and number one in the US R&B charts. This resulted in Thin Line Between Love and Hate being certified gold. Commercial success and critical acclaim came The Persuaders way. To build on the success of Thin Line Between Love and Hate, The Persuaders were sent back into the studio to record their debut album. This was Thin Line Between Love and Hate, which was recently released by Rhino, as part of their Japanese Soul and R&B series.
For Thin Line Between Love and Hate, the songwriting partnership of Richard Poindexter his brother Robert and Jackie Members got to work. They penned seven of the tracks, Thin Line Between Love And Hate, Let’s Get Down Together, Blood Brothers, You Musta Put Something In Your Love, Thanks For Loving Me, If This Is What You Call Love (I Don’t Want No Part Of It) and Mr. Sunshine. Richard, Robert and Jackie also penned Love Gonna Pack Up (And Walk Out) and Thigh Spy. The track that closed For Thin Line Between Love and Hate was Can’t Go No Further And Do No Better, which Richard and Robert cowrote with Howard Sledge. These ten tracks became Thin Line Between Love and Hate which was recorded at Atlantic Recording Studios, New York.
When recording began at Atlantic Recording Studios, New York, Richard and Robert Poindexter had been chosen to producer Thin Line Between Love and Hate. The arrangers were Richard Poindexter and Arif Mardin, who arranged the strings. Young, Gifted and Bad provided the rhythm section, Paul Young vibes and Richard Poindexter played piano. Once recording of Thin Line Between Love and Hate was finished, it was released later in 1971.
On the release of Thin Line Between Love and Hate in 1971, it reached number 141 in the US Billboard 200 and number thirty-five in the US R&B charts. The singles fared well. Love Gonna Pack Up (And Walk Out) then reached umber sixty-four in the US Billboard 100 and number twenty-one in the US R&B charts. If This Is What You Call Love (I Don’t Want No Part Of It) reached number twenty-seven in the US R&B charts. The Persuaders were now one of the most successful soul groups of their early seventies. They’d come a long way since they formed in 1969. Thin Line Between Love and Hate which I’ll tell you about, is their greatest album.
Opening Thin Line Between Love and Hate is the title-track. A slow, wistful piano is panned left and right, setting the scene for Douglas “Smokey” Scott’s emotive, fearful vocal as he sings about domestic abuse. He sings about domestic abuse from the man’s point of view, He’s been beaten and is bloodied. Douglas vocal is full of sadness, disbelief and hurt. Harmonies sweep in. Later, so do lush strings. Mostly, it’s just the piano and rhythm section. The bass matches the piano every step of the way, setting the scene for a soul-baring vocal. It’s akin to a confessional. Beautiful and oozing hurt and emotion, it’s a soul classic dealing with a difficult and despicable crime, domestic abuse.
Vibes and cooing harmonies open Let’s Get Down Together as Douglas delivers a vocal that’s heartfelt and needy. Harmonies soar above the arrangement. It consists of just piano and the rhythm section. This allows Douglas’ vocal to take centre-stage as he delivers a seductive vocal. There’s a nod to Sam Cooke and Bobby Womack, while The Persuaders revisit their doo wop past on this heartachingly beautiful ballad.
Blood Brothers is a song about racial togetherness and tolerance. The rhythm section join vibes and The Persuaders harmonies. Then Douglas unleashes a powerhouse of a vocal. Using controlled power, he pleads for unity, describing everyone as “Blood Brothers” regardless of their skin colour. Later, a soaring falsetto soars above the arrangement. Horns rasp and growl, strings sweep and vibes punctuate the arrangement. The pounding bass sits way down in the mix as The Persuaders deliver their impassioned plea for racial unity and understanding.
The rhythm section and piano drive the arrangement to You Musta Put Something In Your Love along. However, from the get-go, it’s obvious that this track isn’t working. Douglas’ delivers an impassioned grizzled vamp. He’s accompanied by urgent harmonies and a jaunty piano which seems unnecessary. As a result, the song comes across as lightweight.
Dramatic and soulful describes the introduction to Thanks For Loving Me. Stabs of piano and vibes combine with sweeping, dramatic vocal. Douglas’ vocal is heartfelt and emotive. He’s sings the lyrics like he means every word. Harmonies sweep in, adding to the drama and soulfulness. Strings add add to the songs beauty. However, the addition of the vibes seem unnecessary and result in the arrangement taking on a somewhat generic sound. This doesn’t detract from the beauty of ballad. Later, an airy falsetto soars above the arrangement and proves the perfect foil to Douglas vocal. Stabs of horns add the finishing to this glorious heartfelt ballad.
The rhythm section, searing guitars and vibes combine to create the backdrop for The Persuaders’ punchy harmonies on Love Gonna Pack Up (And Walk Out). Douglas’ vocal is full of sadness and frustration. He’s not going to watch his relationship fall apart. His vocal ls a needy and mixture of power, passion and emotion. Punchy and cooing harmonies are the perfect accompaniment to Douglas’ lead vocal. So are a jazz-tinged guitar and lush swirling strings. The only debatable inclusion is the vibes to a track that’s an outpouring of hurt and heartbreak.
Briefly, If This Is What You Call Love (I Don’t Want No Part Of It) reminds me of the title-track. That’s down to the piano that opens the track. It’s joined by the rhythm section and vibes. This results in another generic arrangement. The tempo is slow, adding to the drama and emotion of Douglas’ vocal. It’s one of his best. This seems to spur the rest of The Persuaders to greater heights. Their harmonies soar above the meandering arrangement and join the strings. All the time the bass is setting the tempo, as Douglas’ delivers what’s a best described as an outpouring of hurt. Quite simply, this is one of his best vocals.
As Mr. Sunshine unfolds, you wonder what direction the song is heading? Hesitant describes the introduction. Vibes are panned left while the funky rhythm section eventually create a summery vibe. It’s a track that seems reticent about revealing its secrets. That’s until The Persuaders take centre-stage. Douglas’ impassioned airy vocal is accompanied by soaring, cooing harmonies, rolls of drums and later, strings. The vibes are used to add to the summery vibe as The Persuaders deliver a summery slice of soulful music.
Thigh Spy is a fusion of funk and soul that’s reminiscent of Sam and Day. A driving, funky rhythm section and piano set the scene for The Persuaders as they vamp their way through the track. There’s even a nod to The Temptations on a track that’s funky, soulful and full of hooks.
Closing Thin Line Between Love And Hate is Can’t Go No Further And Do No Better. Bursts of drums are joined by a prowling bass and omnipresent vibes. As usual, the vibes are panned left where they compete with the bass. Together, the create a slow backdrop for a needy, soul searching vocal from Douglas. Meanwhile, a jazz-tinged guitar, vibes and bass create a hypnotic backdrop. Douglas’ vocal is full of despair as he realises that “I Can’t Go No Further And Do No Better.” He sounds devastated. So much so, that it’s as if the rest of The Persuaders are empathising with his plight, as Douglas breathes life, meaning and emotion into the lyrics.
Having began their career by releasing a soul classic, Thin Line Between Love And Hate, The Persuaders set the bar high. Thin Line reached number fifteen in the US Billboard 100 and number one in the US R&B charts. This resulted in Thin Line Between Love and Hate being certified gold. Commercial success and critical acclaim came The Persuaders way. Next came the biggest challenge of their career, releasing their debut album, Thin Line Between Love and Hate.
Thin Line Between Love and Hate is a good album, but not a classic. The reason for this is obvious. Some of the arrangements have a generic sound. This isn’t unusual in soul music. Motown especially, and sometimes Hi Records and Philadelphia International Records’ releases have a generic sound. That’s the case here. A case in point are the vibes. They’re omnipresent, regardless of whether the song requires vibes. Occasionally, the vibes overpower the rest of the arrangement. During Thin Line Between Love and Hate, the tempo doesn’t vary much. The album could’ve done with some quicker tracks, where The Persuaders were allowed to stretch their legs and show is another side to their music. Similarly, the bass is used in the same way. I can’t fault the playing, just the way the player is used. After a while, some of the arrangements become predictable. This is a great shame and does’t do justice to The Persuaders. The same can be said of one of the tracks on Thin Line Between Love and Hate,
This is You Musta Put Something In Your Love, It’s a really disappointing lightweight track. Despite The Persuaders’ best efforts, the track just doesn’t work. Another track that works, but only just, is Mr. Sunshine. Here, the problem is the hesitant introduction. When it eventually unfolds, things improve and a summery soulful sound takes shape. That’s down to The Persuaders. Maybe with a different producer these tracks would be very different? Having said that, there’s much to commend Thin Line Between Love and Hate.
Obviously, Thin Line Between Love and Hate is a soul classic. Let’s Get Down Together is a heartachingly beautiful ballad and Blood Brothers is an impassioned plea for racial unity and understanding. Thanks For Loving Me is a beautiful, heartfelt ballad. Thigh Spy is funky, soulful and full of hooks. Can’t Go No Further And Do No Better is a stunning ballad and the perfect way to close Thin Line Between Love and Hate. Add to this Love Gonna Pack Up (And Walk Out and Love Gonna Pack Up (And Walk Out) and Thin Line Between Love and Hate and Thin Line Between Love and Hate is just a couple of songs short of being a great album.
Despite this, Thin Line Between Love and Hate was the most successful album of The Persuaders’ five album career. Their career has lasted five decades and numerous changes in lineup. During this period, The Persuaders only released a quintet of albums. However, for many people, The Persuaders’ debut album Thin Line Between Love and Hate, was their finest album. For me, Thin Line Between Love and Hate is two tracks short of being a great album. However, it does feature The Persuaders’ timeless soul classic Thin Line Between Love and Hate.
THE PERSUADERS-THIN LINE BETWEEN LOVE AND HATE.
THE BLACK KEYS-TURN BLUE
THE BLACK KEYS-TURN BLUE.
The Black Keys have come a long way since they formed back in 2001. Since then, The Black Keys have released eight albums. Their latest album is Turn Blue, which was released on Nonesuch on 12th May 2014. Turn Blue is the followup to El Camino, which was certified platinum in the US and UK. El Camino was the most successful album of The Black Keys career, which began back in 2001.
It was back in 2001, when guitarist and vocalist Dan Auerbach and drummer Patrick Carney formed The Black Keys. The duo from Akron, Ohio dropped out of college to see if they could make a career out of music. Since then, Dan and Patrick have been living the rock ’n’ roll dream. Back in the early days, it was very different
When The Black Keys formed, they rehearsed and recorded in basements and garages. Dan and Patrick produced their early recordings, which were a fusion of garage, blues and rock. As The Black Keys honed and refined their sound, it was described as blues rock. That’s what featured on their debut album The Big Come Up.
May 2002 saw The Black Keys released their debut album, The Big Come Up. Produced by Patrick Carney, it was released on Los Angeles’ based Alive Records. Released to critical acclaim and hailed as one of the best album of recent years. Despite this, The Big Come Up failed to chart. However, a breakthrough wasn’t far away for The Black Keys.
Just eleven months after the release of The Big Come Up, The Black Keys released their sophomore album, Thickfreakness. It was released on Australian label Fat Possum Records in April 2003. The Black Keys raw, blues-tinged garage rock won friends and influenced people. Especially critics and music lovers in the UK and Australia. Thickfreakness reached number 182 and in the UK number ninety in Australia. Soon, however, The Black Keys’ popularity would spread much further afield.
That’s no surprise. The Black Keys were an old school band. They embarked on extensive and gruelling tours. That was their way of building a fan-base. It worked. Rubber Factory, which was released on Fat Possum Records in September 2004. Rubber Factory was hailed as The Black Keys’ finest album. It was also their most successful album, reaching number 131 in the US Billboard 200, number sixty-two in the UK, number eighteen in Australia and number 123 in France. Not bad for an album recorded in a disused factory in Akron, Ohio and like their previous album, produced by Dan and Patrick. The Black Keys were on their way.
So, it’s no surprise that they signed to a subsidiary of a major label. This was Nonesuch, a subsidiary of Warner Bros. Magic Potion was The Black Keys’ Nonesuch debut. Released in September 2006, Magic Potion was the first Black Keys’ album to feature only original material. Recording took place at The Audio Eagle Nest, Akron, Ohio. This was a studio in the basement of Patrick Carney’s house. It’s where the band’s first two albums were recorded. Both Patrick and Dan like the sound that could room produce. So did critics and record buyers.
Magic Potion was released to widespread critical acclaim. It was their most successful album, reaching number ninety-five in the US Billboard 200, number seventy-nine in the UK, number twenty-seven in Australia and number 109 in France. Belgian music fans discovered The Black Keys and Magic Potion reached number ninety-nine. With every album, The Black Keys’ success was growing.
For their fifth album Attack and Release, The Black Keys changed tact. They turned their back on recording in Patrick’s basement. Instead, they headed to Suma Recording Studio, Painesville, Ohio. Another change was that an outside producer was brought in. This was Grammy Award winning producer, Danger Mouse. He seemed an unlikely choice for The Black Keys, given his musical CV. Danger Mouse had worked with everything from ambient and hip hop acts through to folk, psychedelic and alternative rock groups. However, the combination of The Black Keys and Dangermouse was a huge success.
Attack and Release was released on April Fool’s Day in 2008. Critics hailed the partnership between The Black Keys and Dangermouse a masterstroke. This translated into sales. The album reached number fourteen in the US R&B Charts, number thirty-four in the UK and number twelve in Australia. Attack and Release charted across Europe, in Belgium, Denmark, France and Holland. However, it was in Canada that The Black Keys received their first gold disc. This marked the start of the most successful period in The Black Keys’ career.
Brothers was the album that transformed The Black Keys. It was recorded in studios in Muscle Shoals, Alabama, Portland and San Diego. Producing Brothers were The Black Keys, Mark Neill and Dangermouse who produced just one track, the lead single Tighten Up. It spent ten weeks at number one on the US Alternative charts and was The Black Keys first album to chart in the US Billboard 100 charts. Although peaked at number eighty-seven in the US Billboard 100 charts, it was certified gold. So was Howlin’ For You, another single released from Brothers. This was just a taste of the commercial success that was about to come The Black Keys’ way.
When Brothers was released in May 2010, it reached number three in the US Billboard 200 and twenty-nine in the UK. This resulted in Brothers being certified platinum in the US and silver in the UK. In Canada, Brothers was certified platinum. Brothers was a huge success across Europe, including Belgium, Denmark, France, Holland and Sweden. The latest country to be won over by The Black Keys was New Zealand. That wasn’t the end of the commercial success. No. in 2011, Brothers won three Grammy Awards, including The Grammy Award for Best Alternative Music Album. After six albums, it seemed, The Black Keys were a musical phenomenon.
The followup to Brothers was El Camino. This marked a return to the partnership between The Black Keys and Dangermouse. Recording of El Camino took place in Easy Eye Sound studio in Nashville. The result was an album inspired by the music released between the fifties and seventies. Everything from blues, glam, rock ’n’ roll, soul, rockabilly and surf influenced El Camino, which was released in December 2011. What followed, surpassed everything that had gone before.
El Camino was released to critical acclaim. There were no dissenters. Everyone was in agreement that El Camino was The Black Keys’ finest album. It certainly was a worthy successor to Brothers. On it release in December 2011, El Camino reached number two in the US Billboard 200 charts and number six in the UK. Across the world, El Camino reached the top ten. It was certified platinum in the US and UK and double platinum in Australia, Canada and New Zealand. Then there’s the singles released from Camino. They ensured the success continued.
Lonely Boy was the lead single from El Camino. Released in 2011, Lonely Boy reached number one in the US and Canadian Alternative and Rock Charts. This resulted in Lonely Boy being certified platinum in the US and Canada, and triple platinum. Gold On The Ceiling then was certified gold in the US, Canada and Australia. The final single released from El Camino was Little Black Submarine. It added to the haul of gold discs, when it was certified gold in Australia. El Camino was, by far, the most successful album of The Black Keys’ career. Surpassing its success won’t be easy.
It’s too soon to tell if Turn Blue will surpass the success of El Camino. It was only released yesterday. However, Turn Blue, has been released to widespread critical acclaim. Hook-laden, melodic and irresistible describes the music on Turn Blue. It consists of eleven tracks penned by Dan Auerbach and Patrick Carney. These tracks were recorded between January 2013 and February 2014.
Recording of Turn Blue was recorded at three studios. The sessions started at Key Club Recording, in Benton Harbour, Michigan. The Black Keys were on a break from their El Camino tour. For twelve days straight, The Black Keys never left the studio. During this period, they recorded three songs. Then in July 2013, The Black Keys headed to Sunset Sound in Hollywood. They stayed at Hollywood Sound until August 2013. The final sessions took place in during In Easy Eye Sound, Nashville February 2014.
At these sessions, Dan Auerbach played guitar, bass, keyboards and sung lead vocals. Patrick Carney played drums, keyboards and percussion. Accompanying The Black Keys were Brian Burton on keyboards and piano. Regina, Ann, and Alfreda McCrary added backing vocals on Weight of Love, Turn Blue and 10 Lovers. Producing Turn Blue, which I’ll tell you about, were the tried and tested partnership of The Black Keys and Danger Mouse. Will Turn Blue be a fitting followup to The Black Keys’ career defining album El Camino?
Weight of Love, which opens Turn Blue, is reminiscent of an old Neil Young. It meanders lazily and dreamily into being. A guitar is strummed while percussion rings out. Then the pounding drums and blistering guitars take centre-stage, it’s reminiscent of Pink Floyd in their pomp. Ladies and gentlemen, The Black Keys are in the building. Having built the drama up, the arrangement settles down and Dan’s vocal enters. By now the arrangement reminds me of late period Beatles. That’s before The Black Keys sweep you away. Backing vocals, searing crystalline guitars and a powerhouse of a rhythm section. It’s an impressive sound. Later, Dan’s vocal is needy and soulful, before The Black Keys fuse hooks with blues, psychedelia and classic rock. This proves the perfect appetiser for the rest of Turn Blue.
Ethereal harmonies and deliberate stabs of piano open In Time. That’s before thunderous guitars and searing, soaring guitars glide above the arrangement. When the vampish vocal arrives, it’s sung in a faux falsetto. As it drops out, harmonies, the rhythm section and keyboards sweep in. They’re replaced by Dan’s scorching guitar. He unleashes another glistening solo. Then when he returns to vocal duties, he vamps his way through the lyrics, before unleashing another guitar masterclass. Meanwhile, horns growl and strings add a wistful twist on this delicious fusion of glam rock, blues and rock. My only criticism is the album is way too loud.
A roll of drums and crystalline guitars Turn Blue. A buzzing sound cascades across the arrangement. This adds a dubby twist to what’s a much more understated track. Dan’s vocal is whispery and tender. Cooing harmonies and a piano accompany him, while the bass and guitar help drive the arrangement along. An occasional burst of horns punctuate the arrangement as The Black Keys reinvent themselves. There’s no way they were going to make El Camino Mk. II, so went back to the drawing back and combined a groundbreaking fusion of perfect pop, electronica, soul and rock. The result is one of the highlights of Turn Blue.
As Fever unfolds, it’s hard to believe that you’re listening to The Black Keys. They’re a band transformed. Long gone is their early bluesy sound. Instead, it’s as if they’ve gone through their record collection and drawn inspiration from everything from Kraftwerk, David Bowie, The Knack, Arcade Fire, Talking Heads, funk, post rock, psychedelia and jazz. There’s still the odd bluesy lick. It’s a compelling combination. Especially, the robotic, mechanical arrangement. Dan dramatically vamps his way through this genre-melting, experimental arrangement as The Black Keys are reborn.
There’s another change of direction on Year in Review. The pounding rhythm section set the backdrop for ethereal harmonies. They swirl above the arrangement, just like the strings that accompany Dan’s vocal. His punchy, frustrated vocal is filled with emotion. Harmonies coo, empathising with his worldview. Meanwhile, the rhythm section provide the heartbeat. Dan lays down what’s the best bass line on Turn Blue. Later, Dan unleashes a scorching guitar solo. They’re replaced by by strings and cooing harmonies as The Black Keys demonstrate their ability to write rock anthems.
Bullet in the Brain has a wistful, understated sound. Dan’s thoughtful vocal is joined by strummed guitars. As his vocal drops out, the arrangement takes on a spacey, psychedelic sound. Guitars reverberate, shimmer and quiver, while keyboards add subtle hooks. Soon, the rhythm section decide to up the tempo. Now, Dan’s vocal has taken on a late-sixties sound. Ambient, pop, classic rock, psychedelia and space rock are combined to create a dreamy, lysergic and psychedelic opus that’s trippy and rocky,
It’s Up to You Now sees The Black Keys return to the past for future. They combine everything from blues to classic rock, garage, psychedelia and stoner rock. Dan’s scathing, angry vocal is shrouded by filters as The Black Keys unleash some heavy rock licks. Thunderous drums and searing, screaming guitars combine. Sometimes, they return to the bluesy sound of The Black Keys’ early album. Other times, the track veers between muscular heavy rock and a lysergic sixties sound. This allows The Black Keys to shine like a glittering star.
Swathes of chiming guitars open Waiting on Words. They give way to a dreamy, heartfelt vocal. You hope this folk rock sound going to continue and that The Black Keys don’t kick out the jams. Guitars that sound as if they belong on a David Lynch reverberate into the distance. Then it’s all change. The arrangement fills out, and The Black Keys deliver a series of populist, poppy hooks. There’s still occasionally a rocky sound. It comes courtesy of the Hammond organ and pounding drums. However, from the folk rock of earlier in the track, a melodic and populist slice of pop unfolds. It’s melodic and full of hooks. Sadly, it’s not The Black Keys of their earlier album. Some would say, that The Black Keys seem to have sold out. Not me. It’s perfect pop par excellence.
10 Lovers sees the The Black Keys get a little funky. Keyboards add a poppy sound. So does Dan’s vocal. The populist pop of the previous track returns. As the rhythm section and keyboards drive the arrangement along, Dan vamps his way through the track. There’s even a guitar hero solo that closes the track. The result is a track that’s melodic, irresistibly catchy and full of poppy hooks. It’s also anthemic and ripe for a dance-floor friendly remix. However, good as this track is, it’s a long way from the blues rock of early albums.
In Our Prime is a Beatles-esque tracks. It sounds as if the jaunty, psychedelic and rocky arrangement has been inspired by Sgt. Pepper’s Lonely Hearts Club Band. A lone piano panned left opens the track. Drums play slowly and a guitar chimes, reverberates. Dan’s vocal sounds as if it has been inspired by John Lennon. Especially, when the arrangement becomes jaunty. It’s like climbing onboard the Magic Roundabout. Strings sweep, the bass drives the arrangement along and guitars quiver. Keyboards add to the psychedelic sound. Later, Dan unleashes one of his trademark scorching guitar solos. It sounds as if it belongs on either classic rock or sometimes, surf rock album. This combination of classic rock, surf and psychedelia is a compelling combination, and allows us to hear another side to The Black Keys and their music.
Gotta Get Away closes Turn Blue. it sees The Black Keys draw inspiration from the Rollings Stones and even glam rock. As the track unfolds, it could be Keith Richards unleashing some of his trademark licks. His guitar is double-tracked as the rhythm section and keyboards kick loose. Dan’s vocal is reminiscent of early seventies glam rock. Soon, The Black Keys pickup the baton from the New York Dolls and The Faces. They strut through this three minute rocker, leaving the audience wanting more of the same. It’s just a pity there wasn’t more songs like Gotta Get Away on Turn Blue.
For The Black Keys, trying to replicate the commercial success and critical acclaim of El Camino wasn’t going to be easy. It was, after all, the most successful album of their career. Recording the followup to El Camino was doubly difficult. The Black Keys were on a gruelling tour. So when they had downtime, they started recording Turn Blue. When they went into the studio, they were faced with a dilemma, what direction did they take?
Many bands would’ve been tempted to record El Camino Mk. II. Not The Black Keys. They’re one of the most groundbreaking bands in modern music. The Black Keys are also ambitious. Their ambition is to continue to create innovative music. That’s what their c-producer Danger Mouse always strives to do. So, there was no doubt that Turn Blue, The Black Keys’ eight album was going to be a fitting followup to their career defining album El Camino.
Turn Blue is best described as magical, musical mystery tour of genres. During the eleven tracks, The Black Keys combine everything from alternative rock, ambient, blues, classic rock, electronica, folk, garage, glam rock, perfect pop, post rock, psychedelia, rock, soul and space rock. There’s a nod to everyone from Arcade Fire, David Bowie, Kraftwerk, Pink Floyd. The Beatles, The Faces, The Knack, the New York Dolls and the Rolling Stones. Quite simply, Turn Blue is a captivating and compelling musical tour de force where The Black Keys reinvent themselves yet again. This is what we’ve come to expect from The Black Keys, who never stand still. Producer Danger Mouse wouldn’t let them. With Danger Mouse co-producing The Black Keys there’s no chance of that.
That’s why Turn Blue is full of music that’s dramatic, dreamy, hook-laden, irresistibly catchy, lysergic, muscular, populist, psychedelic and rocky. Over Turn Blue’s eleven tracks, The Black Keys throw a series of curveballs. It’s album full of twists and turns, and subtleties and nuances. With every listen you hear something new. Layers of music unfold. The music on Turn Blue is akin to a musical tapestry, that’s best described as ambitious, bold and groundbreaking. Turn Blue is a genre-melting album where The Black Keys draw inspiration from the music of the last sixty years. It’s a fitting followup up to the critically acclaimed and commercially successful El Camino. However, I’ve one problem with Turn Blue.
The problem is Turn Blue is far too loud. So much so, that Turn Blue is one of the loudest albums I’ve heard recently. There’s literally no headroom. That’s a great shame. It takes the edge of The Black Keys and Danger Mouse’s production. They spent over a year recording Turn Blue. They then passed it to Grammy Award winning mixer Tchad Blake. He played a huge part in the album’s sound and success of Turn Blue. So it must be frustrating to hear an album as loud as Turn Blue. Having said that, Turn Blue which was recently released by Nonesuch is still a fitting followup to El Camino.
Turn Blue features The Black Keys at their genre-melting best. They take you on a magical musical mystery tour, where The Black Keys combine musical genres with poppy hooks. The result is a captivating and compelling musical tour de force, Turn Blue, where The Black Keys reinvent themselves yet again.
THE BLACK KEYS-TURN BLUE.
WAYNE COCHRAN-GOIN’ BACK TO MIAMI-THE SOUL SIDES 1965-1970.
WAYNE COCHRAN-GOIN’ BACK TO MIAMI-THE SOUL SIDES 1965-1970.
Unmistakable. That describes the outlandish outfits Wayne Cochran wore on-stage. Then there was his glistening peroxide bouffant. Wayne certainly grabbed your attention. Especially his music. It ranged from the raunchiest R&B to country soul and even biker funk. Eclectic described Wayne Cochran’s music. That’s obvious when you listen to Wayne Cochran-Goin’ Back To Miami-The Soul Sides 1965-1970, which was recently released by Ace Records.
Wayne Cochran-Goin’ Back To Miami-The Soul Sides 1965-1970 is no ordinary compilation. No way. It’s a luxurious and lovingly compiled double-album. Disc one features twenty-six tracks. This includes tracks from Wayne’s time at Mercury, Chess and King. There’s singles, rarities and unreleased track. Some of them are real finds. They fall into the category of hidden gem. That’s not the end of Wayne Cochran-Goin’ Back To Miami-The Soul Sides 1965-1970. Not at all.
Disc two of Wayne Cochran-Goin’ Back To Miami-The Soul Sides 1965-1970 is entitled The Wayne Cochran Show. It features twelve tracks recorded Live In Las Vegas between 1967 and 1970. For many people, this was Wayne Cochran in his prime. These tracks have never been released before. Originally, they were recorded by King Records, but never released. So for fans of Wayne Cochran, this is an exciting release. That’s also a good way to describe Wayne Cochran-Goin’ Back To Miami-The Soul Sides 1965-1970. Quite simply, Wayne Cochran-Goin’ Back To Miami-The Soul Sides 1965-1970 is the most comprehensive of compilation of Wayne Cochran in his prime. Everything that had gone before in Wayne Cochran’s career was leading up to this period.
The Wayne Cochran story begins back in 1939, in Thomaston, Georgia. That was where the the future White Knight of Soul was born. Wayne was always interested in music. His father played guitar before Wayne was born. So did his uncle. Then one day, his uncle through his guitar in the bin. No wonder. It had neither a bridge nor strings. So, Wayne rescued the guitar and headed to the local store. He bought a new bridge and strings. That was the start of Wayne’s musical journey.
Having learnt to play the guitar, Wayne formed his first band The Rocking Capris. By 1957, he was so confident in their ability, that he was advertising their availability in Billboard. Before long, The Rocking Capris were playing twice a week and earning $50. That was twice what his father was earning for a week working in the local cotton mill. Wayne was still in school. That’s until the school insisted he get his hair cut. He refused, quit school and got a job in the cotton mill. With his first paycheque, Wayne bought a new guitar, a Martin D-28 Jumbo. It cost him $250. This was an investment in Wayne’s future career.
Between 1959 and 1965, Wayne released around a dozen singles. This included his debut The Coo, which was released on Scottie in 1959. The Rocking Capris accompanied Wayne The Coo, which many radio stations banned. According to the radio stations, The Coo was “too vulgar.” It was inauspicious start to Wayne’s recording career. However, there was more to Wayne than a singer.
After this, Wayne released a string of other singles. Last Kiss was released on Galico Records in 1961. The same year, Wayne Cochran and The Rocking Capris released a cover of Ray Sharp’s Linda Lu on Confederate. Then in 1962, Wayne Cochran and The Rocking Capris released Liza Jane and Cindy Marie. However, it was Last Kiss that gave Wayne Cochran and The Rocking Capris the biggest hit of their career. It was a death disc single, similar to Tell Laura I Love Her. Released in Aire in 1962, Wayne Cochran and The Rocking Capris version of Last Kiss was a regional hit. Still, it surpassed the success of his previous singles. Despite this, Wayne was frustrated about the lack of success. So, he decided to launch his solo career. By then, Wayne was a budding entrepreneur.
Wayne also worked as a songwriter, musicians and publisher. Often, some of the songs he wrote were for artists who his manager Bob Smith produced or managed. Bob Smith was a local used car dealer who’d built a recording studio. Bob produced the artists who recorded in his studio. He was also their manager. So Bob needed a steady stream of new songs. This was where Wayne came in.
Away from his recording career, Wayne penned songs for Bob Smith’s artists. Wayne also had his own publishing company, Cochran Music. It published two song written by Otis Redding, who was a friend of Wayne’s. The pair were firm friends. Wayne had played on some of Otis’ earliest recordings. So, when Otis was looking for a publishing company for Shout Bamalama and These Arms Of Mine, he decided to use Cochran Publishing. For a new publishing company this was something of a coup. However, publishing wasn’t how Wayne wanted to make a living. No. He wanted to be a singer and in 1963, his solo career began.
Wayne’s debut solo single was a novelty single, Monkey Monkey (You Do It Like This). It was released in 1963, on the Deck label. The single sunk without trace. Re-recordings of Last Kiss and The Choo followed in 1964. August 1964 saw the release of Wrong Girl, Wrong Time, which was released on King Records. Just like Last Kiss, Wrong Girl, Wrong Time received some radio play, but very little in the way of sales. So, Wayne decided to head out on the road and build a fan-base.
He bought an old bus and took his new band out on the road. The new band were the C.C. Riders. Wayne Cochran and The C.C. Riders headed out on the first of a series of gruelling and lengthy tours. This was Wayne’s way of spreading the word about his music. It’s no surprise that this gruelling touring schedule coincided with what’s regard as Wayne Cochran in his prime. Everything it seemed was leading up to this period. The prime of Wayne Cochran also features on Wayne Cochran-Goin’ Back To Miami-The Soul Sides 1965-1970, which was recently released by Ace Records, which I’ll tell you about.
DISC ONE.
Disc one of Wayne Cochran-Goin’ Back To Miami-The Soul Sides 1965-1970 features twenty-six tracks released between 1965 and 1995. This includes tracks from Wayne’s time at King, Mercury and Chess. These tracks feature Wayne at his very best. The earliest songs are from Wayne’s time at King.
In 1965, Wayne was signed to Mercury. November 1965 saw Wayne release a cover of Bob and Earl’s Harlem Shuffle. Wayne accompanied by soulful backing vocalists, unleashes a grizzled vocal powerhouse. He fuses soul and R&B as he vamps his way through this soul classic. Tucked away on the B-Side was Somebody Please, where Wayne sounds uncannily like James Brown. An compelling inclusion is the unedited version of Think. Here, Wayne accompanies by braying horns vamps his way through this track, unleashing whoops and hollers aplenty.
Wayne’s second single for Mercury was Get Down With It. Released in March 1966, Wayne storms his way through the track. The B-Side was No Rest For The Wicked. It’s a ballad featuring a heartbroken Wayne. He don’t hold back, unleashing a powerful, emotive vocal. Later in 1966, Wayne unreleased the song that became his theme tune, Goin’ Back To Miami where Wayne and The C.C. Riders deliver a barnstorming performance. I’m In Trouble was a ballad and shows two side to Wayne Cochran. His vocal veers between restrained to a grizzled roar. It’s a horn drivenm stomper that Northern Soul fans will adore. Two other tracks from 1966 that will interest fans of Wayne Cochran are the alternate flip ofTo Make Me A Man and the Full Length version of Get Down On It. For Wayne Cochran completists, this makes Wayne Cochran-Goin’ Back To Miami-The Soul Sides 1965-1970 a must have.
By 1967, Wayne was signed Chess Records. That year, Wayne released his debut album Wayne Cochran. It featured some of the best music Wayne had recorded. Wayne Cochran was very much a coming of age musically. It featured eleven tracks. Wayne seems to have been tamed. He sacrifices power. Gone are the powerhouses of his time at Mercury. Get Ready features a much more understated vocal from Wayne, On I’m Leaving It Up To You and Big City Woman Wayne delivers tender, heart wrenching ballads. They’re glorious example of country soul. When My Baby Cries is another ballad. Wayne’s vocal literally oozes emotion, hurt and sadness. Little Bitty Pretty One and Some-A Your Sweet Love feature a soulful, vampish vocal and a funky arrangement. Later, Wayne kicks loose, but never overdoes it. The same can be said of The Peak Of Love, You Can’t Judge A Book By It’s Cover. Hoochie Coochie Man sees Wayne deliver a grizzled vocal where R&B, blues and soul combine. it suits the song. Still, he sings within himself. There’s no whoops or hollers, just a vocal tour de force.
Wayne was signed to Chess between 1967 and 1968. During that period, Wayne released his eponymous album and several singles, including Some-A’ Your Sweet Love, Get Ready and Willie Dixon’s You Can’t Judge A Book By The Cover. Hidden away on the B-Side was a wistful, dreamy, pop-tinged ballad. If it had been chosen as a a single, it could’ve helped Wayne Cochran crossover. That’s how good this track is. Chess it seemed was tailor made for Wayne Cochran. They seemed to tame Wayne. He was no longer whooping and hollering his way through tracks. His vocals were much more restrained. He combined country soul ballads with more uptempo tracks. Even on the uptempo tracks, Wayne didn’t overdo things. Instead, he sung within himself. This resulted in the best music of Wayne’s career. However, after his time at Chess, Wayne signed to King Records, which was home to his idol James Brown.
At King, Wayne released several singles. This included Life’s Little Ups And Downs (Part One) in 1969. The B-Side Life’s Little Ups And Downs (Part Two) features on Wayne Cochran-Goin’ Back To Miami-The Soul Sides 1965-1970, It’s a soul-searching, country soul ballad. Let Me Come With You (Part One) was released as a single in 1970. This is a much more uptempo track. Soulful and psychedelic, it’s propelled along percussion Wayne delivers a lysergic vocal. My Machine was a released as a single in 1970. Funky, it features a gravelly, but soulful vocal from Wayne. Chopper 70 is a driving slice of funk. It featured on Wayne’s 1971 album for King Wayne Cochran and The C.C. Riders. Horns join forces with the rhythm section in driving the uber funky instrumental along. The result is one of the funkiest track Wayne Cochran recorded.
The other four tracks on Wayne Cochran-Goin’ Back To Miami-The Soul Sides 1965-1970 are unreleased tracks. For Wayne Cochran fans, this makes the compilation a must. Especially the given the quality of Which One Should I Choose. It’s a fusion of soul, pop, funk and psychedelia. You Got It From Me is another driving slice of funk from a grizzled vocal from Wayne. This is much more like the music he was releasing for Mercury. If It Don’t Fit, Don’t Force It is a real hidden gem. Horns, piano and the rhythm section drive the arrangement along, before Wayne’s heartbroken, lived-in vocal floats in. The arrangement, like Wayne’s vocal then starts to build and Wayne showcases his vocal talent. Everybody is the final unreleased track. Best described as a stomper, it allows Wayne to unleash another vamp.
DISC TWO.
Disc Two of Wayne Cochran-Goin’ Back To Miami-The Soul Sides 1965-1970, The Wayne Cochran Show, features twelve tracks. They see Wayne work his way through a string of soul classics. These tracks were recorded in Las Vegas between 1967 and 1970. They’re eclectic and allow Wayne to showcase his vocal prowess.
Among the twelve tracks are a cover of Sly Stone’s Dance To The Music. In Wayne’s hands it’s storming fusion of soul and funk. Wayne grabs the song and vamps his way through the lyrics. Sam and Dave’s Soul Man is given a similar treatment, before Wayne delivers a beautiful version of When Something Is Wrong With My Baby. From there, he unleashes a rousing version of 634-5789. Then it’s all change and Wayne returns to balladry on Try A Little Tenderness. It’s a captivating take on a classic. Wayne literally lives the lyrics. From there, it’s all change.
Wayne storms through I Can’t Turn You Loose and Hard To Handle. I Wish It Would Rain sees power and passion combined by Wayne. It’s a ballad sung with real feeling. After that, Wayne struts his way through Isaac Hayes and David Porter’s Hold On I’m Comin’ and breaths life and meaning into Fa Fa Fa Fa Fa (Sad Song). Wayne’s closes his set with two Otis Redding songs (Sittin’ On) The Dock Of The Bay and I’ve Been Loving You Too Long. It’s case of keeping the best to last, as I’ve Been Loving You Too Long literally oozes emotion.
Thirty-eight songs spread over two discs, that’s what you’ll find on Wayne Cochran-Goin’ Back To Miami-The Soul Sides 1965-1970, which was recently released by Ace Records. It features Wayne Cochran in his prime. That’s the case whether it’s country soul, R&B or biker funk. Whichever it is, Wayne Cochran breathes life, meaning and emotion to the songs. Often, Wayne adds power. During his time at Mercury, and for some of his time at King Records, Wayne delivered what are best described as vocal powerhouses. Sometimes, he whoops and hollers his way through the lyrics. That wasn’t the case at Chess.
No. At Chess, Wayne Cochran was tamed. His vocals are much more restrained. It’s really effective. He’s transformed into a country soul singer. This should’ve been the start of something big. After all, Wayne it seemed, had found his musical identity. Sadly, Wayne’s time at Chess ended in 1968.
Next stop for Wayne was King Records. Wayne returned veered between his newfound understated style to his trademark powerhouse vocal. He vamped and strutted his way through tracks, combining power and passion. Other times, he drops the tempo and delivers heartfelt, tender vocals. This allows you to hear two sides of Wayne Cochran.
That’s the case throughout Wayne Cochran-Goin’ Back To Miami-The Soul Sides 1965-1970. It’s without doubt the most comprehensive compilation of Wayne Cochran’s music that’s been released. It features hit singles, rarities, hidden gems annd unreleased tracks. That’s why Wayne Cochran-Goin’ Back To Miami-The Soul Sides 1965-1970 is an essential purchase for anyone interested in the unmistakable and inimitable Wayne Cochran.
WAYNE COCHRAN-GOIN’ BACK TO MIAMI-THE SOUL SIDES 1965-1970.
MARGIE JOSEPH-FEELING MY WAY.
MARGIE JOSEPH-FEELING MY WAY.
When Margie Joseph released Feeling My Way in 1978, she was just twenty-eight. However, Feeling My Way was Margie’s seventh album since her debut Makes A New Impression. It was released on Volt Records, a subsidiary of Stax Records in 1970, a year after Margie signed to Volt. Margie Joseph had come a long way since then. This included signing to Atlantic Records, who released Feeling My Way, which was recently rereleased by Rhino, as part of their Japanese Soul and R&B series. The Margie Joseph story began in Mississippi, back in 1950.
Margie Joseph was born in August 1950, in Gautier, Mississippi. Growing up, Margie sang in her church choir. This was her introduction to music. When she left high school in 1967, Margie headed to Dillard University, in New Orleans, where she studied speech and drama. During this period, Margie sang demo recordings at Muscle Shoals Sound Studios. This was where Margie was discovered by Okeh Records.
Margie’s debut single for Okeh was Why Does a Man Have to Lie? Sadly, Why Does a Man Have to Lie was a commercial success. Neither was Margie’s debut for Volt Records, the next label she signed to.
In 1969, Margie released One More Chance for Volt Records. It was produced by Willie Tee. Despite this, One More Chance failed to chart. Neither did What You Gonna Do. Soon, Margie’s luck changed.
Your Sweet Lovin’ was Margie’s third single for Volt Records. Released in 1970, it was also her breakthrough single, reaching number forty-six in the US R&B Charts. Later in 1970, Margie’s debut album Sweet Impression was released. Sweet Impression featured Margie’s next hit single, Stop In The Name Of Love, which reached number ninety-six in the US Billboard 100 and number thirty-six in the US R&B charts. A year later, Margie released her sophomore album Phase II. The lead single from Phase II was the heartbreaking I’ll Always Love You. Although I’ll Always Love You failed to chart, it showed what Margie was capable of. This resulted in Margie signing to a major label, Atlantic Records.
Having signed to Atlantic Records, set about recording the first of a quintet of album for Atlantic Records. Margie Joseph was Margie’s Atlantic debut. Released in 1973, Margie Joseph reached number twenty-one in the US R&B Charts. One of the singles released from Margie Joseph was cover of Al Green’s Let’s Stay Together. It reached number forty-three in the US R&B charts. That year, 1973, Come Lay Some Lovin’ On Me, a non-album track gave Margie the biggest hit single of her career, when it reached number thirty-two in the US R&B Charts. Margie’s decision to Atlantic Records seemed to have resulted in her career being transformed.
In 1974, the success kept on coming for Margie. Her fourth album Sweet Surrender reached number 165 in the US Billboard 200 and number fifty-six in the US R&B Charts. Margie’s cover of Paul McCartney’s My Love resulted in her biggest hit single. It reached number sixty-nine in the US Billboard and number ten in the US R&B charts. Words (Are Impossible) also reached number ninety-one in the US Billboard and number twenty-seven in the US R&B charts. Margie Joseph was enjoying the most successful period of her career. Nothing it seemed could go wrong.
1975 was a huge year for Margie. She released her fifth album Margie. It reached number fifty-three US R&B charts. The single, Stay Still, reached number thirty-four in the US R&B Charts. Margie also collaborated with Philly Soul group Blue Magic on one of the tracks from their third album Thirteen Blue Magic. This was the Philly Soul classic What’s Come Over Me, which reached number eleven in the US R&B Charts.
For Margie’s sixth album, Hear The Words, Feel The Feeling, It was released on Atlantic Records’ subsidiary Cotillion. Hear The Words, Feel The Feeling saw a change in producer. Previously, Arif Mardin had produced Margie’s Atlantic Records’ albums. Not this time. Instead, Hear The Words, Feel The Feeling, was produced by Lamont Dozier. Margie and Lamont proved a potent partnership, with Hear The Words, Feel The Feeling reached number thirty-eight in the US R&B charts in 1976. Despite the success the Lamont Dozier and Margie Joseph enjoyed on Hear The Words, Feel The Feeling, Johnny Bristol was brought in to produce Feeling My Way, Margie’s seventh album.
For Feeling My Way Johnny Bristol played a huge part in the album. He penned five tracks and cowrote the three other tracks. Johnny’s compositions were Come On Back To Me Lover, You Turned Me On To Love, I Love Talking ‘Bout Baby, Love Takes Tears and All Good-Bye’s Aren’t Gone. Of the other three tracks, Johnny cowrote I Feel His Love Getting Stronger with James Jamerson Jr, He Came Into My Life with Sanra Leoncavallo, Picture Of A Clown with Hense Powell, How Will I Know with Robert Torres and Discover Me (And You Will Discover You) with Doris McNeil and Beatrice Verdi. These ten tracks became Feeling My Way.
Recording of Feeling My Way took place at Davlen Studio, North Hollywood, California. The rhythm section featured drummer James Gadson, bassist James Jamerson Jr. and guitarists David Williams, David T. Walker, Al McKay, Lee Ritenour and Mitch Holder. Bobby Hall and Larry Torres played percussion, Larry Farrow piano and Ernie Watts saxophone. Backing vocalists featured Debra Tibbs, Marsha Grimes and Lynda Evans. Strings and horns were arranged by Hense Powell and Sonny Burke, while Johnny Bristol produced Feeling My Way, which was released in 1978.
On the release of Feeling My Way, it failed to chart. This was a disaster, given the success of Margie’s previous albums for Atlantic. The increase in disco’s popularity had claimed another victim. Soul albums weren’t selling well. Disco was King. Even the singles weren’t particularly successful. Come On Back To Me Lover stalled at number eighty-five in the US R&B Charts. I Feel His Love Getting Stronger crept into the US R&B charts at number ninety-four. Feeling My Way, which I’ll tell you about marked the end of Margie Joseph’s time at Atlantic Records.
I Feel His Love Getting Stronger opens Feeling My Way. The arrangement literally floats into being. Swathes of strings, flourishes of piano, chiming guitars and hypnotic rhythm section join forces. They set the scene for Margie’s tender, needy vocal. She sings call and response with her backing vocalists. Their contribution is equally tender. Jazz-tinged guitar, a probing bass, swirling strings and flourishes of piano provide the perfect backdrop for Margie’s hurt-filled vocal.
Come On Back To Me Lover sounds not unlike the previous track. So is the tempo. It’s 91 beats per minute, instead of 90 beats per minute. As for the arrangement it’s understated and spacious. Similar instruments are used. This includes swathes of strings, occasional flourishes of piano, a chiming guitar and the understated rhythm section. There are some differences. Briefly, drums add drama, strings dance and horns rasp. They’re the perfect foil for the strings as the arrangement grows and fills out. Margie’s vocal veers between tender and needy to hopeful and impassioned. Again, backing vocals are used effectively. Sadly, the same can’t be said of the rocky guitar. It seems out of place on what’s another emotive soulful ballad.
You Turned Me On To Love is another slow, soul searching ballad. Against a string laden backdrop, Margie delivers a tender, heartfelt vocal. Cooing harmonies, percussion and piano join the rhythm section. Everyone plays subtly. That includes the crystalline guitar that replaces Margie’s vocal. Then when Margie returns, nobody risks overpowering the beauty and emotion of Margie’s vocal.
Drums mark time as a sultry saxophone drifts above the arrangement to I Love Talking ‘Bout Baby. Margie scats, her quivering vocal floating above the arrangement. Soon, a lovestruck Margie enters. She’s thankful that she’s found a man she loves. Her vocal is tender and oozes emotion. Keyboards meander across the arrangement. They’re subtle, just like the harmonies and crystalline guitars. The only problem is the drums. They need reined in, as they slightly overpower Margie’s vocal. They’ve been panned left and right, so not to crowd the vocal. Sadly, they take some of the shine off a quite beautiful ballad.
He Came Into My Life is a mid-tempo dance track. This marks a change of direction from Margie. It really suits her. That’s the case from the pounding drums and funky guitars that set the scene for Margie. Her vocal is sassy and wistful. That doesn’t stop Margie making the song swing. With harmonies for company, Margie grabs the song and makes it work. Stabs of piano, chiming, funky guitars and a sultry horn combined and transform Margie into a disco diva during this delicious dance track.
Pictures Of A Clown floats into being. Swathes of strings, percussion and piano combine with the rhythm section and pizzicato strings. Margie’s vocal veers between tender and heartfelt, to emotive and dramatic. Whispery harmonies accompany her vocal. Meanwhile, the rhythm section provide the heartbeat, strings sweep and swirl and guitars chime. Despite Margie’s best efforts, the song just doesn’t work. That’s not her fault. It’s the lyrics which are twee.
How Will I Know sees a return to form from Margie. It’s another ballad, where Margie unleashes an emotive powerhouse. Just like so many other tracks, Margie’s vocal is carried upon swathes of the lushest strings. Meanwhile, the piano, percussion, crystalline guitar and rhythm section provide the backdrop for Margie as the arrangement floats along. It reminds me of early Anita Baker. That’s the quality of this track, which is easily, one of the highlights of Feeling My Way.
Love Takes Tears is another mid-tempo dance track. Again, it’s a track that should’ve found favour with DJs. Sadly, it passed them by. The arrangement just meanders into being. Gradually it unfolds, when chiming guitars, lush strings, piano and the rhythm section combine. A flourish of a piano is the signal for Margie to strut centre-stage. She delivers a feisty, sassy, vocal. Harmonies accompany Margie as the song swings. Margie and her backing vocalists play leading roles. So does bassist James Jamerson Jr. and a jazz-tinged guitar from Lee Ritenour who like Margie, showcase their talents during Love Takes Tears.
All Goodbyes Aren’t Gone sees the tempo drop and Margie deliver another ballad. It’s something she does so well. Again, the arrangement is understated, meandering gently into being. Soon, strings sweep, harmonies coo and the rhythm section provide a jaunty backdrop for Margie’s heartbroken vocal. She sings call and response with her backing vocalists. They seem to encourage Margie to even greater heights of soulfulness and emotion, as Margie and the string drenched arrangement tug at your heartstrings.
Discover Me (And You Will Discover Love) closes Feeling My Way. Margie heads for the dance-floor for her Atlantic Records’ swan-song. It’s a real fusion of influences. There’s everything from soul, funk, jazz and even a twist of country from Margie. It’s a compelling track, where hooks haven’t been rationed. Margie’s vocal is sassy and sultry, while the funky, pounding rhythm section drive the arrangement along. Meanwhile, disco strings dance, flourishes of keyboards and sassy harmonies accompany Margie as struts her way through this dance track.
Feeling My Way marked the end of Margie Joseph’s time at Atlantic Records. She didn’t bow out on a high. Far from it. Instead, Feeling My Way was Margie’s least successful album for Atlantic Records. It failed to chart. This was very different to Margie’s four previous albums. They’d all charted and resulted in a string of hit singles. However, by 1978, music had changed.
Disco in 1978, was now the most popular musical genre. It had surpassed soul in popularity. So, Feeling My Way, an album featuring seven ballads wasn’t going to be a huge success. Granted there was a nod towards disco with He Came Into My Life, Love Takes Tears and Discover Me (And You Will Discover Love). That wasn’t enough though. They were on the slow side. Who knows though, if they’d been released as singles they might have taken dance-floors by storm? Sadly that wasn’t the case. Feeling My Way sunk without trace. It was the wrong album at the wrong time.
If Feeling My Way had been released in 1974 or 1975, it would’ve been a much bigger success. The music on Feeling My Way was what people wanted to hear. Sadly, three or four years is a long time in the music industry. It certainly was for Margie Joseph.
Despite four successful albums and a string of hit singles, Feeling My Way was Margie Joseph’s Atlantic Records’ swan-song. Margie was released by Atlantic Records. Nothing was head of Margie for five long years. During that period, she recorded an album with Dexter Wansel. Sadly, the label folded and it was never released. So, Margie returned to teaching. Then in 1983 released her comeback album Knockout.
Knockout reached number twelve in the US R&B Charts in 1983. This resulted in Margie resigning to Atlantic Records’ imprint Cotillion and released Ready For The Night in 1984. It was produced by Narada Michael Walden. When Ready For The Night wasn’t a commercial success, Margie was released by Cotillion. Two Margie Joseph albums, The Name Of Love and Stay were released in 1988. After that, Margie turned her back on music. It wasn’t until 2006, that Margie Joseph released Latter Rain, a gospel album. Latter Rain was a long way from her 1978 album Feeling My Way.
It’s no exaggeration to describe Feeling My Way is one of the hidden gems in Margie Joseph’s discography. It’s an album that’s stood the test of time and features a captivating combination of ballads and dance tracks. Margie is at her best on the ballads. She breathes life, meaning and emotion into the ballads. That’s why Margie Joseph was one of the most talented soul singers of the seventies. Her Atlantic Records’ swan-song Feeling My Way is a soulful hidden gem, and one of the most underrated albums in Margie Joseph’s discography.
MARGIE JOSEPH-FEELING MY WAY.
DORE L.A. SOUL SIDES.
DORE L.A. SOUL SIDES.
It was in 1955 that cousins Lew Bedell and Herb Newman decided to found their first record label, Era Records. The two cousins came from very different backgrounds. Lew Bedell had been a comedian, but his career was at a crossroads. So he was on the lookout for a new career. Herb Newman however, was a music industry veteran. He’d started out as a West Coast sales rep for Mercury and later Decca. Having learnt the ropes, Herb wanted to form his own company. With his cousin looking for a new career, this seemed like the perfect opportunity for the two cousins.
Herb and Lew were like brothers. This and been the case since Lew’s parents split-up. Lew was born in El Paso, Texas. After his parent’s divorce, his mother took Lew and his sister to New York. They didn’t stay in New York long. Instead, they headed to Los Angeles, where they stayed with Max Newman. Not long after this, Herb Newman was born. The two cousins were brought up as brothers. So it’s no surprise that the two cousins went in to business together.
With the financial support of Herb’s father Max Newman, they founded Era Records in 1955. Three years later, in 1955, Dore Records, an imprint of Era Records was founded. The newly founded Dore Records was named after Lew’s first son, who’d been born to Lew and his wife Dolores in 1957. The rationale behind forming a second label was that it would double the chances of having a record played on the radio. Dore Records would also allow Herb and Lew to release much more groundbreaking records.
This was the case from the day Dore Records opened its doors. Having released two singles, a young Phil Spector approached Herb and Lew with To Know Him Is To Love Him, by The Teddy Bears. When Herb heard the understated arrangement, he thought that if it was to be released on Era the record would be rerecorded. Phil disagreed. So did Lew. He heard the potential in the To Know Him Is To Love Him and agreed to release the track in its original form. It became a huge worldwide hit. For the next couple of years, Lew and Herb’s opinions on music differed. Eventually, in 1959, Lew and Herb decided to go their own ways in May 1959.
It was an amicable spilt. Herb Newman continued with Era Records. He moved the company to new premises. Lew retained Dore Records, which stayed at 1481 Vine Street, Hollywood. Dore Records became Lew’s baby. He was a shrewd judge of character and transformed Dore Records into one of the top independent soul labels of the sixties. That’s why Kent Soul, a subsidiary of Ace Records, recently released Dore L.A. Soul Sides, a compilation of music released by Dore Records and its subsidiaries Crescent and Horace’s.
Dore L.A. Soul Sides features twenty-four tracks. Twenty-one of the tracks were released between 1962 and 1969. This includes contributions from The Whispers, The Superbs, Ray Marchand, Milton James, The Fidels, Starbright, Kenard Gardner and Eddie Kool. There’s also two previously unreleased tracks from Toussaint McCall and The Natural Resources. The other tracks is Rita and The Tiaras’ Gone With The Wind Is My Love, which wasn’t released until 1994. These tracks are just a tantalising taste of the music Dore Records released. That’s why choosing the highlights of Dore L.A. Soul Sides isn’t going to be easy.
Opening Dore L.A. Soul Sides is The Whispers’ It Only Hurts For A Little While. It’s one two tracks from The Whispers, one of Dore’s most successful acts. They signed to Dore on 6th October 1964. Three days later, they recorded It Only Hurts For A Little While. Released in 1964, it’s an understated and beautiful ballad which showcases The Whispers’ harmonies. It was written by Mac Davis and Fred Spielmann, with Gene Page arranging this soulful gem. In 1965, The Whispers released the Nicholas Caldwell penned Dr. Love. An uptempo dancer arranged by Gene Page, it’s a taste of what The Whispers were capable of and shows why they were destined for greatness.
The Superbs feature twice on Dore L.A. Soul Sides. They signed to Dore in February 1964. They released Baby’s Gone Away in 1965. It was penned by Art Sibrie and Bobby Swayne and is tailor made to showcase The Superbs balladry. Eleanor Greene delivers a tender, heartfelt vocal that’s accompanied by needy harmonies. On A Day When It’s Raining is very different. It’s another Art Sibrie and Bobby Swayne composition. Released in 1965, it’s an uptempo number, featuring Beach Boys influenced harmonies and a crooning vocal. This shows another side to The Suberbs.
From the opening bars of The Natural Resources’ If There Were No You you’re hooked. It’s another track written by Bobby Swayne who’d been a member of The Superbs. He’d left The Superbs after an argument with Ronnie Cook. Bobby formed The Entertainers and then The Natural Resources. Sadly, If There Were No You was never released. That’s a great shame, as this is a hook-laden hidden gem.
The Entertainers IV were another group formed by Bobby Swayne. He’d left The Superbs, and with Charlie Davis, Kenard Gardner and Frank Monroe, formed The Entertainers IV. They released Temptation Walk (People Don’t Look No More) which was written by Bobby and Charles Davos. It’s a homage to The Temptations Don’t Look Back. This resulted in Dore’s biggest single, when Temptation Walk (People Don’t Look No More) reached number twenty-nine in the US R&B charts. Four years later, in 1969, The Entertainers IV released Do It Right Now. It features the third lineup of the group. Penned by Bill Howe and B.J. Hunter, Do It Right Now was The Entertainers IV swan-song and sees them leave Dore on a soulful high.
Ray Marchand’s Your Ship Of Fools is another hidden gem from the Dore discography. It was written by Ray with Glen Marchand and Art Sibrie. Full of hooks and dance-floor friendly, Ship Of Fools is real rarity among record collectors. Copies of this single change hands for ever increasing sums of money.
Betty Turner and The Chevelles recorded The Winds Kept Laughing for the San Diego label Crescent. They signed a distribution deal with Dore. Released in 1964, The Winds Kept Laughing was written and produced Leonard Green and John Gummoe. Here, soul meets early-sixties’ girl groups. They inspire Betty’s vocal. It’s an outpouring of emotion and sadness. The horns that punctuate the arrangement were provided by the local high school band. This uptempo track became a favourite in the UK Northern Soul scene in the early seventies.
Back in January 1975, Starbright released Aries Man. This was their debut single for their new lable Dore. Tucked away on the B-Side was another ballad, Sunshine. It’s slow and features a heartfelt, emotive vocal. Accompanied by swathes of the lushest strings, the result is a beautiful track that’s one of the highlights of Dore L.A. Soul Sides.
Rita And the Tiaras’ Gone With The Wind Is My Love bursts into life. Vibes give way to rasping horns and dancing strings. They set the scene for Rita Graham’s heartbroken vocal and sweeping harmonies. Written by Rod Baumgardner and Louie Baretto, who produced the track, the original version of this track wasn’t released until 1994. However, the two minute edited version has been a favourite of British soul fans since the early seventies. No wonder. It’s hook-laden, oozes emotion and is akin to a call to dance. Quite simply,Gone With The Wind Is My Love epitomise everything that’s good about soul music.
Eddie Kool released Where There’s A Will There’s A Way on Dore in 1968. It was written by Eddie Lee Williams and Robert Byrd, who arranged and conducted the track under the alias Bobby Day. By 1968, Bobby was into his second decade in the music industry. He’d been a singer, songwriter and producer. One of the artists Bobby worked with was Eddie Kool, who delivers an emotive powerhouse on Where There’s A Will There’s A Way. Sadly, despite its undoubted quality, commercial success eluded this track. That, sadly, was the story of Bobby’s career.
Friday’s Child’s As I Sit Here closes Dore L.A. Soul Sides. This is a cover of one The Whispers’ ballads. It was written by Bobby Swayne, Ronald Cook, Frances Lark and Gordy Harmon. As I Sit Here is a fusion of soul and foo woo. Lew Bedell got an female vocalist to deliver a heartbreaking vocal above the harmonies. This is hugely effective and brings the lyrics to life. Sadly, the female vocalist’s identity is unknown. Some people believe it was Frances Lark or Shirley Bertolet. Other people believe two vocalists were used. What I know is that this is a heart-wrenching hidden gem that’s the perfect way to close Dore L.A. Soul Sides.
Dore L.A. Soul Sides is the perfect introduction to Dore Records. Founded in 1958, Dore Records went on to become one of America’s top independent soul labels. The man behind the label was Lew Bedell. He and his cousin Herb Newman had founded Dore Records to release innovative and exciting music. That’s what Dore Records did. Especially after May 1959, when Lew took control of Dore Records.
Now Lew had the freedom to release music that Era Records would’ve shied away from releasing. Soon, Lew was signing some of the best up-and-coming artists. This includes The Whispers, The Superbs, Milton James, The Fidels, Starbright and Kenard Gardner. Compiler Ady Croasdell takes you on a journey through Dore Records’ discography. You’re introduced into some of the Dore’s biggest names. Then there’s artists who only played a walk-on part in the Dore Records’ story. These artists are responsible for both hits and hidden gems. That’s the beauty of compilations like Dore L.A. Soul Sides.
Whereas some labels release compilation full of familiar tracks. That makes for a predictable compilation. That’s not the case here. Far from it. Compiler Ady Croasdell has dug deeper for Dore L.A. Soul Sides. It was recently released by Kent Soul, an imprint of Ace Records. It’s crammed full of quality soul. Ballads and dancers sit side-by-side on Dore L.A. Soul Sides, which is a tantalising taste of Dore Records’ discography.
DORE L.A. SOUL SIDES.
OLIVER NELSON-SWISS SUITE.
OLIVER NELSON-SWISS SUITE.
It was at 1971s Montreux Jazz Festival that Oliver Nelson showcased Swiss Suite. Oliver had composed the four-part Swiss Suite especially for Montreux Jazz Festival, which was in its fourth year.
Founded in 1967, the Montreux Jazz Festival took place in one of the most the picturesque parts of Switzerland. Montreux was framed by mountains and took place in the wake of Lake Geneva. This might seem like an unlikey venue for a jazz festival. However, since 1967, it’s grown into one of the world’s premier jazz festivals. By 1971, the Montreux Jazz Festival was in its infancy.
Mostly, it was dominated by European musicians who headed to the Montreux Jazz Festival. So did some American musicians. Artists including Rahsaan Roland Kirk were trailblazers who headed to the Montreux Jazz Festival. Another trailblazer was Bob Thiele, who owned Flying Dutchman Productions. Bob realised the Montreux Jazz Festival was the perfect showcase for the artists on his label.
So, in 1971, Bob flew all of Flying Dutchman Productions’ biggest names into the Montreux Jazz Festival. This included Leon Thomas, Eddie “Cleanhead” Vinson, Gato Barbieri and Larry Coryell. They were all going to take part in a concert that showcased the music of Flying Dutchman Production. One of the centre-pieces of the evening was a set by Oliver Nelson. He had written a new four-part piece Swiss Suite especially for the occasion.
Swiss Suite featured an all-star band comprising some of Flying Dutchman Productions’ biggest names and a whole host of session players flown in specially for the occasion. Accompanying Oliver on Swiss Suite, which was recently rereleased by BGP Records, an imprint of Ace Records, were an all-star band. This included everyone from Bernard Purdie, Eddie “Cleanhead” Vinson, Gato Barbieri and Stanley Cowell. No expense had been spared for the debut of Swiss Suite.
Flying some of Flying Dutchman Productions’ biggest names from America to Switzerland wasn’t cheap. Bob Thiele’s label didn’t have the deep pockets that the major labels did. Luckily, Phillips, the electronics company and record label did. They released Flying Dutchman Productions’ releases in Europe. Phillips decided to picked up the tab for the trip. This was, after all, in Phillips’ interest. The appearance of the Flying Dutchman all-stars should result in more albums sold in Europe. Add in Oliver Nelson debuting Swiss Suite at the Montreux Jazz Festival, and it seemed a win-win situation.
By 1971, Oliver Nelson was thirty-three. He was born in St. Louis, Missouri, in June 1932. Oliver seemed destined to become a musician. He was playing in bands from the age of fifteen. Soon, he was playing with a jazz legend. Not long after making his professional debut, Oliver was playing second alto saxophone in Louis Jordan’s band. Everything it seemed, was going well for Oliver. Then in 1952, Oliver was drafted.
Having been drafted, Oliver spent four years in the US Navy. Oliver spent his four years playing woodwind in the 3rd Division band in Korea and Japan. It was in Japan that Oliver realised what he wanted to do with his life. On leave in Japan, Oliver saw the Tokyo Philharmonic Orchestra. That night, Oliver realised he wanted to make a career as a composer.
When Oliver left the Navy, he returned home and enrolled at the Washington and Lincoln Universities. Oliver studied musical composition. After he graduated, he headed to New York and began working with some of the biggest names in music.
Now living in New York, Oliver’s found himself accompanying Ernest Hawkins and Wild Bill Davis. After that, he joined the Quincy Jones Orchestra. It was during that period that Oliver started recording for Impulse, whose A&R man was Bob Thiele.
Before signing to Impulse, Oliver had released a trio of albums, 1959s Meets Oliver Nelson, 1960s Nocturne and Taking Care Of Business. During 1960, Oliver collaborated with King Curtis and Jimmy Forrest on Soul Battle. After this, came Oliver’s Impulse years.
Between 1961 and 1968, Oliver released a string of critically acclaimed albums on Impulse. He also collaborated with some of Impulse’s biggest names. Oliver’s first collaboration was The Blues and Abstract Truth. Released in 1961, it featured Bill Evans, Roy Haynes and Eric Dolphy, who Oliver collaborated with on 1961s Straight Ahead. Then in 1962, Oliver and Joe Newman collaborated on Main Stem. After this, Oliver divided his time between his solo career and working as a composer and session player.
1963 saw Oliver released Full Nelson for Verve Records. This was the first of two albums Oliver released on Verve during the sixties. The other was 1966s Leonard Feather Presents The Sound Of Feeling And The Sound Of Oliver Nelson. Mostly, Oliver recorded for Impulse, which was akin to his musical home.
It was certainly where he released the best music of the sixties. This includes 1964s More Blues and Abstract Truth. After that, 1965s Sound Pieces, 1966s Oliver Nelson Plays Michelle were released. The same year, 1966, Oliver wrote, arranged and conducted the Sonny Rollins Orchestra on the soundtrack to Alfie. A year later, Oliver and Steve Allen collaborated on 1968s Soulful Brass. That was Oliver’s Impulse swan-song.
Oliver’s next release was 3-2-1-0, a collaboration with Nobuo Hara and His Sharps & Flats. It was released in 1969, the year Bob Thiele founded Flying Dutchman Productions.
By the time Bob Thiele signed Oliver to Flying Dutchman Productions, Oliver had moved into the world of soundtracks. He’d been doing this for a few years. Alfie in 1967, was one of Oliver’s first soundtracks. In 1970, Oliver wrote the score to Zigzag. The same year, Oliver released another collaboration and his Flying Dutchman debut.
3 Shades Of Blue was a collaboration between Johnny Hodges, Leon Thomas and Oliver. It was released in 1970, the same year Oliver released his Flying Dutchman debut, Black, Brown and Beautiful. The other album Oliver worked on was Soul On Top. It featured James Brown With The Louie Bellson Orchestra. Oliver had been drafted in to conduct The Louie Bellson Orchestra. Oliver it seemed was one of the hardest working men in music.This continued in 1971.
During 1971, Oliver conducted and arranged The Count Basie Orchestra on Afrique. Oliver collaborated with Leon Thomas on Leon’s live album Berlin. Then on 18th June 1971, Oliver played at Montreux Jazz Festival.
The Montreux Jazz Festival was the perfect European place for Flying Dutchman to showcase their music. The label’s biggest names flew in especially. On the 18th June 1971, the Montreux Jazz Festival was given over to Flying Dutchman’s biggest names. The centre-piece was the debut of Oliver Nelson’s four-part Swiss Suite, which he’d written especially for Montreux Jazz Festival.
A twenty-seven piece band had flown in to accompany Oliver Nelson for the recording of Swiss Suite. This included some of the labels biggest names and top session players. No expense had been spared. Especially with a band featuring a rhythm section of drummer Pretty Purdie, bassists Victor Gaskin and Hugo Rasmussen. Eddie “Cleanhead” Vison played alto sax and Stanley Cowell piano. Besko Petrovic played drums, vibes and tarabooka, Na-Na berimbau and Sanny Morgan congas. Eddie “Cleanhead” Vison and Gato Barbieri played alto sax and Stanley Cowell piano. Add to this a full horn section and it was an impressive sound. What better way was there to showcase Flying Dutchman and Oliver Nelson’s newest composition Swiss Suite. It featured on side one of Swiss Suite, which I’ll tell you about,
Opening Swiss Suite is the title-track. It’s nearly twenty-seven minutes long and takes up the whole of the first side of Swiss Suite. As the bass and congas propel the arrangement along, bursts of blazing horns make their presence felt. Drums pound and horns growl. The arrangement in played in 6/8 time. Leading the band are alto saxophonists Eddie “Cleanhead” Vison and Gato Barbieri. They share the spotlight with Oliver’s alto sax. Their styles are very different. Gato’s alto saxophone rasps and growls. Then when Oliver’s alto sax enters, in soars high above the arrangement. Its ethereal sound is a contrast to Eddie roaring, howling sax. He blows his alto sax as if his life depends upon it. Power and passion are combined. The three saxophonists showcase their unique styles. Meanwhile, the audience love it. They whoop and holler as the band kick loose. Stabs of piano and grizzled horns join a myriad of persuasion as the track becomes a musical tour de force. It’s full of twists and turns, subtleties and surprises. This triumvirate of jazz virtuosos showcases not just Oliver’s latest composition, but what Flying Dutchman as a label were trying to achieve. By that I mean release groundbreaking music, which this is.
The rest of Swiss Suite features older tracks written by Oliver Nelson. Stolen Moments is the first. This is a very different version of the track. This is down to the twenty-seven piece band. They’re responsible for the slinky, sultry sound. Horns are at the heart of the action, as the rhythm section and piano drive the arrangement along. Congas and percussion are sprinkled across the arrangement. Neither Gato nor Eddie feature. They’d left to prepare for their solo spots. So, Danny Moore takes centre-stage. His trumpet solo is a show-stealer. It’s sultry and swings. For some people, the massed horns and trumpet solo gave the track an edge that hadn’t been present before. That’s no bad thing and is part of the reinvention of Stolen Moments, an Oliver Nelson classic.
Black, Brown and Beautiful has a much slower and understated sound. Horns rasp, their heart-achingly beautiful sound os akin to a cathartic outpouring of emotion. Especially Oliver’s alto saxophone. It’s a game-changer. It literally steals the show. As it soars elegantly above the arrangement it’s a reminder what Oliver Nelson is capable of. Later, the horns grow in power and drama. They never kick loose. Instead, their sound is understated, and sometimes, dramatic. However, one thing never changes their beauty. The horns are at the heart of this tracks inherent beauty.
Blues and The Abstract Truth, which closes Swiss Suite, is another Oliver Nelson classic. It’s akin to dramatic explosion. Horns punctate the arrangement, as the rhythm section propel the arrangement along. The horns rise and climb above the arrangement. Their grizzled sound swings and adds an element of drama. Stanley Cowell’s piano matches them every step of the way. It’s the counterpoint to the sweeping, cascading horns. They quiver, shiver, blaze and kick while deliberate, stabs of piano and drums punctate the arrangement. In full swing, Oliver Nelson and his band are a musical marriage made in heaven. Oliver unleashes a solo. It you think is peerless. Then later, Pretty Purdie gets in on the act. He enjoys showboating. After what’s a drum masterclass. He’s stolen the show. As Oliver Nelson and his band join together, they head to the track’s dramatic crescendo leaving 1971s Montreux Jazz Festival wanting more of this all-star band.
Swiss Suite features Oliver Nelson and his all-star band winning friends and influencing people at 1971s Montreux Jazz Festival. Listening to Swiss Suite, the audience were in awe of Oliver and his band. No wonder.The band features some of the biggest names in jazz, including Pretty Purdie, Victor Gaskin, Eddie “Cleanhead” Vison, Gato Barbieri and Stanley Cowell piano. Many of these musicians were at the height of their career. So it’s no surprise that the audience were captivated.
From the opening bars of the newly composed Swiss Suite the audience are spellbound. No wonder. Three of the top alto saxophonists feature on the twenty-seven minute epic Swiss Suite. Oliver is joined by Eddie “Cleanhead” Vison and Gato Barbieri. They seem to encourage each other to even greater heights. It’s akin to a case of daring do. Anything you can do, I can do better. After Swiss Suite Gato and Eddie exit stage left, to prepare for their own performances. There’s no drop in quality.
The all-star band reinvent a trio of Oliver Nelson classics. New life and meaning are breathed into these tracks. To do this, Oliver combines avant grade, free jazz and traditional jazz. There’s even a nod to Charlie Parker on some tracks, given the inventive way that Oliver plays. On Black, Brown and Beautiful, Oliver remembering Miles Davis’ maxim about space. He leaves space allowing the music to breath. Other times, the music is dramatic, frantic, joyous and sultry. It’s also beautiful, elegant, inventive and considering how Oliver reworked three classics, groundbreaking. That’s what makes Swiss Suite, which was recently rereleased by BGP Records, an imprint of Ace Records, such a captivating release.
Sadly, after three years after Swiss Suite was released in 1972, Oliver Nelson died of a heart attack. During the last few years of his life, he’d turned his back on jazz. Oliver made his return to jazz in 1974 when he recorded an album by Oily Rags and arranged Richard “Groove” Holmes’ Six Million Dollar Man. A year later, Oliver Nelson was dead. He was just forty-three. Jazz had been robbed of one of its most talented musicians, composers and arrangers. Swiss Suite is a reminder of Oliver Nelson in happier times, when he and his swinging all-star band won friends and influenced people at 1971s Montreux Jazz Festival.
OLIVER NELSON-SWISS SUITE.
MOSKUS-MESTERTYVEN.
MOSKUS-MESTERTYVEN.
It was back in 2012 that pioneering jazz trio, Moskus, released their critically acclaimed debut album, Salmesykkel. A lot has happened since then. In 2013, Moskus were nominated for two Spellemannspris. They’re the Norwegian equivalent of a Grammy. Moskus were nominated for the highly prized best jazz album and best new act. For the three members of Moskus, this was the perfect start to their recording career. Since then, Moskus have been winning friends and influencing people throughout Europe and North America.
Just like several generations of bands, Moskus embarked on a gruelling touring schedule. At first, the three members of Moskus were touring Norway. They played at both clubs and some of the Norway’s biggest festivals. After that, the three members of Moskus pianist Anja Lauvdal, double bassist Fredrik Luhr Dietrichson and drummer Hans Hulbækmo have been playing much further afield.
Over the last couple of years, much of Europe has been introduced to Moskus’ unique and groundbreaking brand of Nordic jazz. Everywhere from England, Germany, Poland and Portugal, have been won over by Morkus’ music. Audiences realised that Morkus are the future of jazz. Having conquered Europe with their music, Morkus headed to North America. Canada was just the latest country to embrace Morkus’ music. Morkus gruelling touring scheduled had paid off.
Morkus’ profile is at its highest. No longer are Morkus just a Norwegian musical phenomenon. No. Now, Morkus are perceived as as one of the most exciting and pioneering jazz groups. This makes this the perfect time for Morkus release their sophomore album Mestertyven, which will be released by Hubro Music on 19th May 2014. Mestertyven marks a change in approach and direction from Morkus.
For their debut album Spellemannspris, Morkus recorded the album at Stockholm’s famous Atlantis Grammofon Studio. When the time came to record their sophomore album, Moskus decided to try a new approach to recording. Gone was the venerable surroundings of Atlantis Grammofon Studio. Its replacements was the Risør Church. It became a de facto recording studio, albeit one that didn’t have the same standard of equipment.
One of the most important pieces of equipment Atlantis Grammofon Studio has is grand piano. Morkus used this on their debut album Spellemannspris. Its unmistakable sound played an important part in Spellemannspris’ sound. For Mestertyven, Morkus exchanged the grand piano for an upright piano. The upright piano gave the piano a more intimate sound. This was all part of Morkus’ new sound which they showcase on Mestertyven.
Whereas the music on Spellemannspris, Morkus’ debut album were well rehearsed, the music that features on Mestertyven is new and untried. Morkus hadn’t spent ages honing and tightening the tracks. This was deliberate.
Recording of Mestertyven took place in the makeshift studios at Risør Church. The eleven songs were written by Moskus. Anja Lauvdal played piano, Fredrik Luhr Dietrichson double bassist and Hans Hulbækmo drums. Rather than bring in a producer, Moskus produced Mestertyven. Their approach to the sessions were simplicity itself.
As the sessions began, Moskus pressed record. Every single idea was recorded. This made sense. There was no chance that a moment of genius would be missed. Songs were recorded from their genesis to fruition. Songs evolved on the tapes. Eventually, Moskus were left with a pile of tapes. What they had to do was then sift through the tapes. Gradually, eleven songs took shape. Some ideas and experiments were kept, others discarded. The result was Mestertyven, an album that’s described as variously unique, melodic, playful and intimate. Is that the case? That’s what I’ll tell you.
Fjesing opens Mestertyven, which means master thief. Straight away, you notice the difference between the upright and grand piano. The richer sound of the grand piano is replaced by the more everyday sound of Anja’s upright piano. This a sound more people can relate to. Its jaunty, sometimes melodic sound is a mixture of jazz and free jazz. Hans drums and percussion are played in an inventive and ambitious free jazz style. He’s pushing boundaries. Meanwhile, the bass propels the arrangement along. It has a much more orthodox style, while the rest of Moskus continue to push musical boundaries to their limit.
Tandem med Sankt Peter has an almost dramatic, cinematic style. The piano is at the heart of the arrangement’s sound and success. It wanders and meanders along. Anja has found a groove and is exploring its every nuance. Moskus rhythm section are content to provide the backdrop for Anja’s piano. It plays a starring role. The result is one of the most melodic tracks on Mestertyven.
Wistful and innovative describes Yttersvingen. Here, jazz is combined with avant garde and experimental music. It’s a compelling combination. Anja’s piano wanders wistfully along, the bass in its shadow. They supply the jazz. Hans’ percussion adds an industrial sound. It’s ying to Anja’s yang, as avant garde meets experimental. Later, his pounding drums protest, bringing to an end an ambitious and enthralling fusion of musical genres and influences.
Just an understated piano is joined by pounding drums as Jag är ett ägg reveals its secrets. A scratchy fiddle adds another musical contrast. When all this combined the result is ethereal, haunting, moody and melancholy.
Rullings sees Moskus unleash their combined talents. Anja pounds her piano while the rhythm section lock horns. They propel the arrangement along. It’s an impressive sound. Then all of a sudden, the arrangement runs out of steam. Having gathered their thoughts, they do it all again. They veer between dark, dramatic, lively and playful, as Afro-Cuban, jazz and free jazz is combined by Moskus.
Flourishes of Anja’s piano open Lille Trille. They cascade across the arrangement. The rest of Moskus sit this track out. Anja gets the opportunity to deliver a lengthy solo. Quite simply, it’s spellbinding. This a reminder of how effective and underrated an instrument the piano is. It’s at the heart of a track that’s pensive, wistful, emotive and beautiful.
Percussion dominates Fuglene var I Ertehumør’s shuffling arrangement. Sharp stabs of piano and bass add to this hypnotic, experimental arrangement. It’s as if Moskus are jamming. They feed off each other, drawing inspiration from each other’s performances. From dark and dramatic, the music becomes playful and melodic and jaunty.
Understated and ethereal describes the introduction to Glasblåsern. Everyone plays gently. The bass flits across the arrangement. Plinking percussion and piano sit atop the arrangement. Gradually, the arrangement grows and unfolds. Anja deliberately pounds her piano, repeating the same note. At the same time, a brief ethereal vocal escapes from the arrangement. Sounds flit in and out the arrangement. Everything from ambient, avant garde, free jazz and jazz is combined seamlessly and peerlessly. Moskus do what they do best, innovate.
The bass that takes centre-stage as Leverpostei Med Mrie unfolds. Before long, the piano and drums join in. The piano picks up the baton and enjoys its moment in the sun. Moskus if you’ve not realised, comprise three hugely talented musicians. Meanwhile, the rhythm section provide the heartbeat. Anja’s piano takes centre-stage as she delivers another show stealing performance.
Melancholy, moody and cinematic describes Tradisjonskvelern. It meanders along atmospherically. It’s a track that paints in your mind. Just the mesmeric piano, hissing hi-hats and subtle bass combine. At one point, the arrangement is stripped bare. Just hi-hats and the scratchy bass remain. It’s almost haunting. Then the rest of this wistful, cinematic opus returns. It’s without doubt, one of Mestertyven’s highlights.
Gammel-Erik closes Mestertyven. Dark, dramatic and thoughtful are the words that spring to mind when this track begins to reveal its secrets. The piano takes centre-stage, while feedback escapes from the arrangement. Even this is a welcome addition to what’s an evocative and haunting track.
Mestertyven has been well worth the two year wait. Two years have passed since Moskus released their debut album Salmesykkel. Since then, Moskus have been busy. Far from it.
In 2013, Moskus were nominated for two Spellemannspris,the Norwegian equivalent of a Grammy. Moskus were nominated for the highly prized best jazz album and best new act. After that, Moskus headed out on a series of lengthy tours. Europe and North America were introduced to the magical and innovative sound of Moskus. Now they’re back with an album that’s a game-changer, Mestertyven.
Featuring eleven tracks, Mestertyven sees Moskus pickup where they left off on Salmesykkel. By that, I mean Moskus continue to create pioneering and ambitious music. There’s no chance that Moskus would stand still. That’s not what they’re about. Far from it. For Moskus, every album has to be a step forward. Mostkus’ raison d’être is to create music that’s innovative and challenges musical norms. To do this, Moskus draw inspiration from various sources.
This includes free jazz legends like Ornette Coleman, Charles Mingus, Albert Ayler and Sun Ra. They also reference ambient pioneers like Brian Eno and Harold Budd. There’s even a nod to Irmin Schmidt of Can’s soundtracks. The more you listen to Mestertyven, the more influences you hear. Everything from Afro-Cuban, ambient, avant garde, experimental, free jazz and jazz can be heard on Mestertyven. This results in music that’s variously ambitious, beautiful, challenging, dark, dramatic, ethereal, eerie, evocative, haunting, hypnotic and mesmeric. Mestertyven is also music that’s groundbreaking.
Although many bands set out to create a groundbreaking album, not many succeed. Often, the problem is that bands aren’t ambitious or brave enough. Moskus are. What also helped is that Moskus had a vision. So, when Moskus entered the Risør Church, where they recorded Mestertyven, they knew how they wanted their sophomore album to sound.
At Risør Church, there was no searching for an elusive sound. Instead, they plugged in pressed play. Moskus embarked upon a lengthy and inventive jam session. Every single idea was recorded. This made sense. There was no chance that a moment of genius would be missed. Songs were recorded from their genesis to fruition. Songs evolved on the tapes. Others took shape later when Moskus edited the tapes. Gradually, the eleven songs on Mestertyven took shape. Eventually, Mestertyven, Moskus’ long-awaited sophomore album was finished. Mestertyven will be released by Hubro Music on 19th May 2014. It’s an album that’s been well worth the two year wait.
Why? Well. Mestertyven features music that’s pioneering, dramatic, melodic, ethereal, wistful and intimate. That’s the perfect description of Moskus’ sophomore album, Mestertyven, which marks the return of jazz pioneers this groundbreaking opus.
MOSKUS-MESTERTYVEN.
LEON THOMAS-BLUES AND SOULFUL TRUTH.
LEON THOMAS-BLUES AND SOULFUL TRUTH.
Some labels are a perfect fit for an artist. This was the case with Leon Thomas and Bob Thiele’s Flying Dutchman Productions. They proved to be the musical equivalent of ying and yang.
By the late sixties, Leon Thomas had embraced free jazz fully. He turned his back on the blues and his vocal style was totally transformed. His vocal encompassed Afrobeat, blues, jazz R&B and soul as he scatted and yodeled. Leon’s vocal style was truly unique. Many people within the music industry didn’t understand what Leon was doing. Bob Thiele at Flying Dutchman Productions did.
During his career, Bob Thiele had worked with some of the most innovative and creative musicians in the history of jazz. Bob realised that often, large record companies aren’t the best environment for innovative and creative musicians. Often, these musical mavericks didn’t thrive within such an orthodox environment. Their creativity is restricted, meaning they’re unable to experiment and innovate like they’d like.
Having left Impulse following the musical equivalent of a musical coup d’tat, Bob Thiele founded Flying Dutchman Productions. His new label would be the perfect environment for musical mavericks to thrive. Bob signed some of the most innovative jazz musicians of the late-sixties and early seventies. Among them weer Ornette Coleman, Gil Scott Heron, Eddie “Cleanhead” Vinson, Louis Armstrong and Lonnie Liston Smith and His Cosmic Echoes. Another artist signed to Flying was Leon Thomas.
Leon Thomas released a quartet of albums between 1969 and 1973. His Flying Dutchman debut was 1969s Spirits Known And Unknown. The following year, Leon released his sophomore album The Leon Thomas Album in 1970. Flying Dutchman was the perfect label for Leon Thomas. It was as if having found a label that understood him, Leon was allowed to unleash his creativity. With each album, Leon pushed musical boundaries even further. His third album, 1972s Blues And The Soulful Truth, which was recently rereleased by BGP Records, found Leon at his creative zenith. He’d come a long way since he first heard Miles Davis back in St. Louis.
Leon Thomas was born in East St. Louis, Illinois, in October 1937. From an early age, Leon’s life revolved around music. His parents were avid music lovers and his hometown had a thriving musical scene. Inspired by a blues’ shouters like Big Joe Turner, was a familiar face on the local music circuit. Then when Miles Davis came to town, Leon had a musical awakening
The night Miles Davis played St. Louis, Miles’ band featured John Coltrane. That night, they embraced improvisation and pushed musical boundaries to their extremes. For Leon Thomas, this showed him what was possible musically. Here was musical that was inventive, innovative and influential. So much so, that it inspired Leon to study musical at Tennessee State University.
Having left Tennessee State University, Leon became a familiar face on the jazz circuit. Having signed to RCA in 1958, Leon recorded what should’ve been his debut album. It wasn’t released. After that, When Leon was the vocalist with Count Basie’s band in the early-sixties right through until the mid-sixties. During that time, Leon’s style is best described as traditional blues. However, his style changed when he headed to Los Angeles.
It was is Los Angeles that Leon Thomas embraced free jazz. Already an admirer of improvisation within jazz, free jazz took things further. Even better, Leon met musicians who not only shared similar musical philosophies, but political and social values. This included saxophonist Arthur Blythe, drummer Leroy Brooks and pianist Horace Tapscott. Together, they were the Underground Musicians and Artists Associations. Meeting these three musicians, resulted in Leon finding his real voice. With their help, Leon’s voice became like an instrument. He fused musical influences, with blues, jazz and Afro-beat combining with soul, as Leon’s vocal veered between a scat and yodel. This was unique, avant garde and groundbreaking. Leon Thomas was a pioneer, as he headed to New York, looking for fellow travellers.
By 1967, Leon Thomas had met saxophonist Pharoah Sanders. This was a perfect match for Leon. Here were two groundbreaking musicians. In Pharoah Sanders’ hands, the saxophone was transformed. He’d been a member of John Coltrane’s band, until his death in 1967. After that, he formed his own band. Comprising Leon, pianist Lonnie Liston Smith and Pharoah, this was a band of musical pioneers recorded Pharoah Sanders 1969 album Karma, which was released on Impulse. It featured The Creator Has A Master Plan, which showcased Leon’s unique vocal style. A compelling, spiritual track where Leon yodels and scats his way through the track, it was truly groundbreaking. One man who realized Leon Thomas’ potential was Bob Thiele, founder of Flying Dutchman Productions.Having heard Leon Thomas feature on Pharoah Sanders’ Karma album, Bob Thiele signed Leon to Flying Dutchman Records. Leon’s Flying Dutchman Records’ debut was 1969s Spirits Known and Unknown. It was an ambitious and groundbreaking album that showcased Leon’s unique vocal style. Plaudits and critical acclaim accompanied the release of Spirits Known and Unknown. Sadly, Spirits Known and Unknown wasn’t a commercial success. However, Spirits Known and Unknown was only Leon’s debut album.
A year later, Leon returned with The Leon Thomas Album. Released in 1970, as the new decade dawned, The Leon Thomas Album was hailed as innovative and ambitious. Critics realised that Leon was an artist who was determined to move jazz in a new direction. Standing still wasn’t an option for Leon. This was admirable. However, it wasn’t profitable. Sadly, The Leon Thomas Album didn’t sell well. The problem was, that Leon was way ahead of the musical curve. Would his third album Blues And The Soulful Truth, which was released in 1972.
For his third album, Blues And The Soulful Truth Leon wrote L-O-V-E and Love Each Other. He also arranged the traditional song C.C. Rider. Leon cowrote Shape Your Mind To Die with Neal Creque and Let’s Go Down To Lucy’s with Alfred Ellis. Alfred and Leon cowrote China Doll with Jesse Kilpatrick. Other tracks included covers of Gabor Szabo and George David Weiss’ Gypsy Queen and John Lee Hooker’s Boom-Boom-Boom. These eight tracks became Blues And The Soulful Truth.
When recording of Blues And The Soulful Truth began, Pee Wee Ellis had been drafted in to arrange and conduct the band. Pee Wee also played piano and tenor saxophone. Different lineups played on different tracks. So the rhythm section included variously drummers Bernard Purdie, Jesse Kilpatrick and Airto Moreira, bassists Stanley Clarke, Donald Pate and Gordon Edwards, plus guitarists Cornell Dupree and Larry Cornell They were joined by pianist Neal Creque, percussionist Baba Feme and Gene Golden on congas. Horns came courtesy of trumpeter Dick Griffin, trombonist John Eckert and bariton saxophonist Cecil Payne. Leon sang the vocals and played percussion on Blues And The Soulful Truth, which was released in 1972.
Blues And The Soulful Truth was released in 1972. It marked a change in direction from Leon. Critics referred to Blues And The Soulful Truth as the most accessible album Leon had released. The addition of Pee Wee Ellis had played an important part in this. He realised the importance of choosing the right tracks for the album. The eight tracks allowed Leon’s vocal to shine. They also allowed what’s a hugely talented band to showcase their considerable talents and sometimes, stretch their legs musically. The result was one of the most exciting and exhilarating vocal jazz albums of the early seventies. Despite this, Blues And The Soulful Truth passed record buyers by. Thankfully, since then, a new generation of music lovers have discovered Blues And The Soulful Truth, which I’ll tell you about.
Let’s Go Down To Lucy’s opens Blues And The Soulful Truth. From the get-go you’re hooked. Chiming guitars, growling horns and a funky rhythm section join forces with meandering keyboard. Leon unleashes a powerful, sassy, lived-in vocal. The rhythm section provide the funky, pulsating heartbeat. Meanwhile, bursts of blazing horns punctuate the arrangement as Leon vamps his way through the lyrics. He vamps and jive-talks his way through the track combining jazz and soul with power, sass and humour.
Finger clicks, percussion and a meandering piano create the groove to L-O-V-E. Soon, the bass, hissing hi-hats and soaring, soulful harmonies sweep in. That’s Leon’s signal to kick loose. Crystalline guitar licks, grizzled free jazz horns and a hypnotic bass combine. By now, Leon is singing call response with the backing vocalists. He seems to be drawing inspiration from Isaac Hayes on this gloriously soulful, funky track.
Straight away, Gypsy Queen sees Leon return to the more familiar sound of his two previous albums. Keyboards flit across the arrangement, while the arrangement create a shuffling, spacious beat. Leon scats tenderly. Then as rasping horns enter, Leon unleashes his vocal. He sounds not unlike Terry Callier. Heartfelt and growing in power and passion describes his vocal. The arrangement grows in power. Elements of jazz, funk and soul are combined. Leon scats and yodels. This is very different from the previous tracks. Especially when he unleashes a free jazz powerhouse. Gypsy Queen is transformed. It becomes something very different to the song Santana popularised on Abraxas. In Leon’s hands, he reinvents the song, transforming it into something that writers Gabor Szabo and George David Weiss never envisaged.
Love Each Other has a funky, jazz-tinged and soulful sound. The rhythm section, electric piano and harmonies accompany Leon’s impassioned, joyous. Horns rasp and growl, punctuating the arrangement. The rhythm section lock into a groove and with the electric piano create the perfect backdrop for Leon’s heartfelt, impassioned and soulful vocal tour de force.
Shape Your Mind To Die has an Eastern sound. That comes courtesy of the horns. They’re joined by percussion and the rhythm section. Just like the previous track the bass line is at the heart of the arrangement. Leon’s vocal is deliberate and dramatic. The lyrics are cerebral and full of social comment. Midway through the track, Leon unleashes a haunting laugh. That’s the signal for the band to stretch their legs. They don’t need to be asked twice, combining everything from funk, jazz, psychedelia and rock. When Leon returns, his vocal breathes life and meaning into the lyrics. It’s spiritual jazz at its finest.
Most people will know John Lee Hooker’s Boom-Boom-Boom. It’s a familiar blue track. However, Leon transforms the track. In his hands, the song swings. Driven along by the piano rhythm section and crystalline, rocky guitar Leon combines jazz, blues and rock. A scratchy fiddle and Hammond organ are added. By now, a tired old blues track has been transformed. Leon Thomas grabs the song and makes it swing.
China Doll marks another change of direction from Leon. Flourishes of piano join percussion, cymbals and finger clicks. Leon adds a scatted vocal and gradually, the arrangement shows its hidden secrets. A wistful piano, meandering bass and myriad of percussion combine. They create the backdrop to Leon’s needy, sassy vocal. Harmonies coo while the piano meanders and percussion is sprinkled across the understated arrangement. When all this is combined, the result is a track that’s soulful, sassy and jazz-tinged. It also showcases Leon’s versatility and talent as a storyteller who can bring lyrics to life.
The familiar sound of C.C. Rider closes Blues and The Soulful Truth. Growling horns, jazzy piano and the rhythm section combine blues, funk and jazz. They’re joined by a glistening guitar and scratchy fiddle. Together, they set the scene for Leon’s heartbroken vocal. He mixes power, frustration and despair. Then when his vocal drops out, his band take centre-stage. They enjoy the opportunity to kick loose. A glorious rocky guitar solo steals the show. Then an atmospheric Hammond organ picks up the baton. It unleashes flourishes of jazzy-tinged, funky and dramatic music. Stabs of piano, rocky guitar and scratchy fiddle compete for your attention. Leon seems content to let his all-star band to grandstand. However, with a minute to go, he returns delivering a heartbroken, dramatic and impassioned vocal powerhouse. This proves a fitting finale to Blues and The Soulful Truth.
Blues and The Soulful Truth was Leon Thomas’ third album for Flying Dutchman Productions. His two previous albums hadn’t sold well. So, something had to change. What changed was Leon’s musical direction. Gone was Leon’s unique and inimitable free jazz style.
Whereas Leon scatted and yodelled on his two previous albums, Blues and The Soulful Truth had a much more traditional sound. Granted Leon returned to his trademark sound on Gypsy Queen. Apart from that, Leon eschews scatting and yodellng. Instead, he sticks to a much more traditional vocal jazz style. Leon Thomas had moved towards the jazz mainstream. It was maybe, a case of needs must.
No record label can continue to release albums that don’t sell. That would be folly and a recipe for insolvency. So Leon recorded his most accessible and mainstream album, Blues and The Soulful Truth. It was a revelation. Blues and The Soulful Truth should’ve been a huge commercial success. It showcased a versatile and multi-talented vocalist. He could sing blues, jazz, R&B, rock or soul. Leon’s band were equally versatile. They strut their way through eight tracks, flitting between and sometimes, fusing blues, free jazz, funk, jazz, psychedelia, R&B, rock and soul. Not once do they miss a beat. Mind you, what do you expect from what was a band comprising some of America’s top musicians. Sadly, despite their best efforts, Blues and The Soulful Truth wasn’t a commercial success.
Leon Thomas it seemed, wasn’t going to enjoy the commercial success his music deserved. He’d even changed direction, releasing the most accessible and mainstream album of his career, Blues and The Soulful Truth which was recently released by BGP Records, a subsidiary of Ace Records. Blues and The Soulful Truth is the album that should’ve transformed Leon Thomas’ career and fortunes. Sadly, that wasn’t to be and Blues and The Soulful Truth proved to a lost classic.
That wasn’t the end of Blues and The Soulful Truth. No. For too long, his music was largely forgotten. As time went by, a new generation of music lovers discovered Leon Thomas’ music. They realised that Leon Thomas was one of music’s best kept secrets. Here was an artist whose groundbreaking, genre-melting albums should’ve enjoyed commercial success and critical acclaim aplenty. Sadly, talent alone doesn’t equate to commercial success and critical acclaim. If it did, then Leon Thomas would’ve been one of the most successful jazz singers of the early seventies. Unfortunately, that wasn’t the case. However, Leon Thomas will always be remembered as one of jazz music’s true pioneers.
Proof of that is the quartet of albums Leon Thomas released for Flying Dutchman Productions. His third album for Flying Dutchman Productions was Blues and The Soulful Truth. Blues and The Soulful Truth is the most accessible, mainstream album from Leon Thomas, one of jazz’s true pioneers.
LEON THOMAS-BLUES AND SOULFUL TRUTH.
LONNIE LISTON SMITH AND THE COSMIC ECHOES-COSMIC FUNK.
LONNIE LISTON SMITH AND THE COSMIC ECHOES-COSMIC FUNK.
Innovative, influential and way ahead of the musical curve, describes Lonnie Liston Smith. That is the perfect description of Lonnie Liston Smith and The Cosmic Echoes 1973 debut album Astral Travelling. The music on Astral Travelling was groundbreaking. So much so, that it’s hard to believe Astral Travelling was released in 1973. Lonnie Liston Smith was a musical visionary. He was determined to push musical boundaries to their limits, and sometimes, beyond. However, Astral Travelling never enjoyed the commercial success and critical acclaim it enjoyed.
So, Lonnie dusted himself down and returned with Lonnie Liston Smith and The Cosmic Echoes 1974 sophomore album, Cosmic Funk, which was recently rereleased by BGP Records, an imprint of Ace Records. Cosmic Funk is another genre-melting album of groundbreaking music from a true jazz pioneer, Lonnie Liston Smith, who is seemed was destined to become a musician.
For Lonnie Liston Smith, it was almost written in the stars that he’d become a musicians. Lonnie was born in 1940, into a musical family. His father was a member of Richmond Gospel music group the Harmonising Four. Growing up, members of gospel groups The Soul Stirrers and Swan Silvertones were regular visitors to the Smith household. With all this music surrounding him, Lonnie learned piano, tuba and trumpet in High School and college. After college, he headed to Morgan State University.
Inspired by Trane, Bird and Miles Davis, Lonnie embarked upon a degree in musical education. Throughout his time at University, Lonnie continued playing the pianist in local clubs and singing backing vocals. He played with alto saxophonist Gary Bartz and trombonist Graham Moncur. This was all part of Lonnie’s musical eduction. Having completed his BSc in musical education at Morgan State University, Lonnie walked straight into a job.
On leaving Morgan State University, Lonnie got a job with the Royal Theatre’s house band. For a young musician, this was would help turn them into a musical all-rounder. After all, they had to be able to accompany a wide range of artists. For Lonnie, this was the next stage in his musical education. The next part of his musical education took place in New York.
Having moved to New York, Lonnie was luck enough to get a gig playing piano in Betty Carter’s band. This helped Lonnie get his name known in the Big Apple. Then in early 1965, Lonnie caught a break. He joined Roland Kirk’s band and made his recording debut on March 14th 1965. That was when Here Comes The Whistleman was recorded live in New York Lonnie only played on the title-track, Making Love After Hours, Yesterdays and Step Right Up. Then Lonnie featured on Roland andAl Hibbler’s 1965 live album A Meeting Of The Times. After this Lonnie, joined one of jazz’s top bands.
Over the last few years, The Jazz Messengers had established a reputation for young musicians looking to make a name for themselves. Lonnie joined in 1965. He shared the role with Mick Nock and Keith Jarrett. However, with The Jazz Messengers ever evolving lineup, Lonnie only played three in concerts. These three concerts just so happened to be at the legendary Village Vanguard. For Lonnie, despite the prestigious venue, this must have been a disappointing time. Luckily, he was rehired by Roland Kirk.
Lonnie rejoined Roland Kirk’s band in time to play on his 1968 album Now Please Don’t You Cry, Beautiful Edith. This established Lonnie’s reputation as the go-to-guy for a pianist. It was the start of period where Lonnie worked with some of the most innovative and inventive jazz players. Musical boundaries were about to be pushed to their limits as Lonnie joined Pharaoh Saunders’ legendary free jazz band.
Pharaoh Saunders had worked closely with John Coltrane right up to his death in 1967. The following year, Pharaoh formed a new band. Their music is best described as free jazz. Musical boundaries were pushed to their limits and beyond. Recognising a fellow believer in free jazz, Pharaoh asked Lonnie to join his band. Lonnie went on to play on three of Pharaoh’s best albums. The first of this trio was 1969s Karma. It was followed in 1970 with Jewels of Thought and 1971s Thembi. The other Pharaoh Saunders album Lonnie played on was 1970s Summun Bukmun Umyun. which was released on Impulse. Just like the three albums Pharaoh recorded for Flying Dutchman Productions, it was a groundbreaking album.
During this period, Pharaoh and his band were constantly pushing boundaries and rewriting the musical rulebook. Their music was truly groundbreaking. Even Lonnie was challenged. On Thembi, Pharaoh asked Lonnie to play the Fender Rhodes. This was the first time that Lonnie came across an electric piano. However, he rose to challenge and wrote Thembi’s opening track Astral Travelling. Later, Astral Travelling would become synonymous with Lonnie Liston Smith and The Echoes. Before that, Lonnie would play with some of jazz’s mavericks. One of these was Gato Barbieri. He’d just signed to Bob Thiele’s nascent label Flying Dutchman Productions. It was establishing a reputation for providing musicians with an environment where innovative and creative musicians could thrive. Bob believed musical mavericks didn’t thrive within such an orthodox environment. Their creativity is restricted, meaning they’re unable to experiment and innovate like they’d like. So, Bob signed Gato to Flying Dutchman. Lonnie played on his 1969 debut album The Third World. Bob’s next signing was Leon Thomas and played on his debut album Spirits Known and Unknown. Soon, Lonnie was a regular at Flying Dutchman sessions.
When the time came for Gato to record his 1971 sophomore album Fenix, Lonnie was called upon. He played on Fenix and joined Gato’s band. Lonnie played on Gato’s 1972 album El Pampero. He also toured throughout Europe with Gato. Then came the opportunity of a lifetime. After El Pampero, Lonnie got the chance to work with another jazz legend.
Lonnie was a member of Gato Barbieri’s band when Miles Davis got in touch. He wanted Lonnie to join his band. At this time, Miles’ music was changing direction. The direction it was heading in was funk. Electronic instruments were the flavour of the month for Miles and he was exploring their possibilities. However, Miles was doing this outside the studio environment. That’s why there are very few recordings of Lonnie playing alongside Miles at that time. That came later, when Lonnie would later work with Miles. Meanwhile, Lonnie decided to move on with his solo career and his debut album Astral Travelling.
When recording of Astral Travelling began, Lonnie had put together some of the most talented and innovative musicians. The Cosmic Echoes’ rhythm section included bassist Cecil McBee, drummer David Lee and guitarist Joe Beck. Sonrily Morgan and James Mtume played percussion and conga, Gee Vashi tamboura and Badal Roy tabla. George Barron played tenor and soprano saxophone and Lonnie played piano and electric piano on Astral Travelling. Bob Theile produced Astral Travelling, which was released in 1973.
On its release in 1973, Astral Travelling was critically acclaimed. It was as if Lonnie had drawn upon all his experience working as a sideman. He’d worked with Pharaoh Saunders, Gato Barbieri, The Jazz Messengers, Leon Thomas, Stanley Turrentine and Miles Davis. This meant he was no ordinary musician. No. Lonnie Liston Smith was an innovator, who was determined to push musical boundaries to their limits and beyond. This was apparent on Astral Travelling. A year later, Lonnie returned with the followup up Astral Travelling, Cosmic Funk.
Cosmic Funk featured six tracks, three of which Lonnie wrote. They were the title-track Cosmic Funk, Beautiful Woman and Peaceful Ones. The other tracks were Wayne Shorter’s Footprints, James Mtume’s and John Coltrane’s Naima. These six tracks were recorded by an all-star band.
For the recording of Cosmic Funk, Lonnie had put together some of the most talented and innovative musicians. The Cosmic Echoes’ rhythm section included bassist Al Anderson, drummer Art Gore. Lawrence Killian played percussion and conga, while Doug Hammond, Ron Bridgewater and Andrew Cyrille played percussion. George Barron soprano saxophone, flute and percussion, while Donald Smith played piano, flute and added vocals. Lonnie played acoustic and electric piano plus persuasion on Cosmic Funk. Bob Theile produced Cosmic Funk, which was released in 1974.
Cosmic Funk was released in 1974. Critics heard a different side to Lonnie Liston Smith on Cosmic Funk. It was a much more orthodox album. One thing remained the same, the reaction of critics. Just like Astral Travelling, plaudits and critical acclaim followed the release of Cosmic Funk. Sadly, Cosmic Funk which I’ll tell you about, wasn’t a huge commercial success.
Opening Cosmic Funk is the title-track. An uber funky bass line and percussion set the scene. Briefly, you think you’ve put on a Blaxploitation soundtrack. Soon, hissing hi-hats join as the arrangement takes on a dubby sound. Subtle rasping horns are added before Donald Smith’s vocal is a fusion of power and passion. It’s akin to a cathartic outpouring of emotion. By now, the all-star band are jamming, feeding off-each other. Donald unleashes another vocal powerhouse. He literally screams “citizens of the world, it’s time for world peace.” His impassioned plea is accompanied by a Lonnie’s unique fusion of funk, jazz and soul, which can only be described as Cosmic Funk.
Footprints has an unmistakable sound. Penned by Wayne Shorter, Footprints featured on Miles Davis’ Miles Smiles’ album. Lonnie’s decision to cover the track could be seen as risky. After all, some people see Miles’ version as the definitive take on this track. Here, what’s noticeable is the unlike the previous track, it has a much more orthodox jazz sound. A wandering bass, flourishes of piano and soprano saxophone combine to create an understated, dreamy arrangement. It literally floats along, propelled by the rhythm section and piano. Percussion is sprinkled across the arrangement. Gradually, it grows in power and drama. Lonnie’s piano is key to the arrangement, feeding off the saxophone. After the saxophone drops out, Lonnie steals the show, delivering a masterclass he reinvents a classic track.
Beautiful Woman is the second of a trio of tracks penned by Lonnie. Flourishes of flamboyant piano, percussion and a shuffling rhythm section provide a Latin backdrop for Donald’s tender, heartfelt and seductive vocal. When his vocal drops out, Lonnie’s piano takes centre-stage. He’s accompanied by a subtle saxophone, a myriad of percussion and a pulsating rhythm section. However, it’s Lonnie’s piano that has you captivated. He plays with freedom and flamboyance during a lengthy solo. It’s one of the finest on Cosmic Funk. Meanwhile, Donald scats before picking up the baton from Lonnie and delivering the lyrics to the beautiful paean with passion and sincerity. The result is one of Cosmic Funk’s highlights.
Sais (Egypt) is eight minutes of spiritual jazz. It’s as if Lonnie’s been inspired by Pharaoh Saunders, who he used to play with. This track was penned by James Mtume, who played in Miles Davis’ band. However, it was Sonny Rollins who first recorded Sais (Egypt) on Horn Culture. Here, the arrangement is slow, with a mysterious, mystical sound. Just a lone bass plays before percussion, piano and drums enter. Lonnie’s piano playing is central to the track’s success. His playing is flamboyant, with flourishes of piano cascading across the arrangement. Playing an equally important role is the soprano saxophone. It too, cascades across the arrangement, while percussion and a reverberating piano add to the mystical, futuristic and experimental sound.
Peaceful Ones has a laid-back, mellow sound. The arrangement just meanders along. It has an understated, dreamy and floaty sound with envelops James’ vocal. It’s heartfelt. James sings as if he means every word. Especially the lyric “we’ll live in harmony.” When his vocal drops out the rhythm section, percussion and piano drive the arrangement along. Al Anderson’s bubbling electric bass plays a starring role. It’s panned right and Art Gore’s drums panned left. This add a sense of symmetry to the arrangement and allows James’ tender, beautiful and heartfelt vocal to take centre-stage, where it belongs.
Naima, which was written by John Coltrane, closes Cosmic Funk. Lonnie’s spacious piano reverberates and the arrangement unfolds. James picks up where he left off on Peaceful Ones. Heartfelt and tender describes his vocal. The understated arrangement floats and cascades around him. Bells chime, a flute bubbles and the bass probes. Percussion and Lonnie’s piano plays an important role. Especially when James’ vocal drops out. They briefly enjoy a starring role. Then when James’ vocal returns, they return to playing a supporting role on this wistful, ethereal and beautiful track.
Cosmic Funk proved to be a transitionary album for Lonnie Liston Smith. Released in 1974 critics heard a different side to Lonnie Liston Smith on Cosmic Funk. It was a much more orthodox jazz album. Jazz, funk, Latin and soul were combined on Cosmic Funk. However, one thing remained the same, the reaction of critics. Just like Astral Travelling, plaudits and critical acclaim accompanied Cosmic Funk which looking back, was a stepping stone for Lonnie Liston Smith.
The benefit of hindsight is a wonderful thing. However, anyone familiar with Lonnie Liston Smith’s back-catalogue will tell you that Cosmic Funk was a stepping stone for Lonnie. He found himself one step nearer what would be regarded as his trademark sound. He found his trademark sound on his third album, Expansions, which was released in 1975. For Lonnie, the first two albums of his career were part of a musical voyage of discovery.
During that journey, Lonnie embraced a whole host of ideas musically. That’s apparent on Cosmic Funk. Jazz, funk, Latin, soul and even electronica make an appearance on Cosmic Soul. That would be the case throughout Lonnie’s career. Some of the ideas worked. Others didn’t. These he cast aside, albeit sometimes temporarily. Sometimes, Lonnie would revisit them later in his career. Lonnie was always open minded musically. It was a case of neither ruling anything in, nor out. That’s why Lonnie Liston Smith will forever be regarded as an musical innovator and visionary.
Lonnie Liston Smith would go on innovate and influence several generations of musicians. Even today, forty years after the release of Cosmic Funk, Lonnie Liston Smith is still influencing generations. It seems belatedly, Lonnie Liston Smith’s music is finding a wider audience. Maybe, only now do people understand what Lonnie Liston Smith was trying to do? After all, his music was way ahead of the musical curve. However, Cosmic Funk which was recently rereleased by BGP Records is one of Lonnie Liston Smith’s most accessible albums.
Although Cosmic Funk was quite different to the music on Lonnie Liston Smith’s debut album Astral Travelling, it has one thing in common, quality. Cosmic Funk oozes quality. No wonder. Lonnie was accompanied by a band that features several former members of Miles Davis’ band. Each of them, played their part in Cosmic Funk’s sound and success. Cosmic Funk was very different to Lonnie’s debut album Astral Travelling. Despite its much more orthodox jazz sound, Cosmic Funk found Lonnie one step nearer finding his trademark sound. With its much more traditional sound, Cosmic Funk is one of the most accessible albums Lonnie Liston Smith and The Cosmic Echoes released. That’s why Cosmic Funk is the perfect introduction to Lonnie Liston Smith and The Cosmic Echoes’ unique brand of cosmic jazz.
LONNIE LISTON SMITH AND THE COSMIC ECHOES-COSMIC FUNK.
1982-A/B
1982-A/B
A/B the fourth album from enigmatic Norwegian improvisational trio 1982, sees them draw inspiration from the past. The result is another groundbreaking album A/B,, which will be released on Hubro Music, on 12th May 2014. It’s the followup to 2012s 1982 + B.J. Cole. This was the third album 1982 had released since they formed back in 2007. A lot has happened since then. A/B harks back to the age of the vinyl album and is the latest chapter in the 1982 story.
The 1982 story began back in 2007. That’s when Sigbjørn Apeland, Øyvind Skarbø and Nils Økland formed what was essentially a Norwegian supergroup consisting of innovative musicals. Each member of 1982 was an experienced and inventive musician. They’d all played on albums by other bands. Nils Økland had already released a trio of solo albums. 1982 would become a vehicle to showcase their collective talents.
Two years later, in 2009, 1982 released their debut album. Entitled Sigbjørn Apeland, Øyvind Skarbø, Nils Økland, it was released to critical acclaim. The improvisational trio had released an album of innovative, inventive and influential music. This was just the first chapter in the story of one of Norway’s most exciting bands.
Pintura was 1982s sophomore album. It was recorded at Grieghallen Studio, Bergen, on December 7th 2010. Released in 2011, on Hubro Music, Pintura featured saw 1982 pick up where they left off on their debut album. Critically acclaimed and featuring groundbreaking music, word was spreading about 1982 and their unique improvisational style. Their third album would be a collaboration with a musical veteran.
1982 + B.J. Cole saw Sigbjørn Apeland, Øyvind Skarbø and Nils Økland joined by legendary pedal steel player B.J. Cole. For many people, 1982 + B.J. Cole might have seemed like unlikely collaborators. Especially, given their different musical backgrounds. However, this is what people have come to expect from 1982. They’re determined to push musical boundaries to their limit, and sometimes, beyond. This is what they did on 1982 + B.J. Cole. The result was an ambitious and innovative album. For A/B, the followup to 1982 + B.J. Cole, 1982 have decided to collaborate again.
When work began on what would be A/B, 1982 decided their fourth album would be another collaboration. This time, 1982 invited wind players Fredrik Ljungkvist of Atomic, Erik Johannessen of Jaga Jazzist, plus Sofya Dudaeva, Hanne Liland Rekdal, Matthias Wallin and Stian Omenås. They’d play on what was an unorthodox collaboration.
A/B harks back to the days of the vinyl album. Essentially, it’s album of two parts, the A-side and B-Side. The A-Side features just one lengthy piece. Hence the title 18.16. It was penned by Sigbjørn Apeland, Øyvind Skarbø, Nils Økland and Stian Omenås. This piece is seen as the most innovative piece of music 1982 have recorded. Stian has composed and arranged a piece for a wind sextet. It’s another layer of music that sits atop the original improvisation. The rest of A/B was penned by Sigbjørn, Øyvind and Nils.
Just like 18:16, the other tracks 02:01, 03:51, 03:12, 1:08 and 5:00, indicate the length of the track. This isn’t new. 1982 have been doing this since their debut album. It’s actually a clever idea. With no traditional title, there’s nothing to give you a clue as to the meaning of the music. Instead, you can let your imagination run riot. That’s perfect for the music on A/B.
On the B-Side, 1982 return to playing as a trio. There’s a number of departures from previous 1982 albums. Sigbjørn plays piano on one track, and Nils delivers a vocal. This is just part of 1982s musical journey. During this journey, their raison d’être is to always create groundbreaking, innovative music. With each album, 1982 are determined to push things even further. This is the case on A/B.
Recording of A/B took place in two studios. 1982 recorded A/B in Grieghallen Studio in Bergen. This was just before the studio shut its doors for the last time in the summer of 2013. Nils played Hardanger fiddles and violins and added a vocal. Stian recorded the sextet in Oslo.
The sextet was recorded at Rainbow Studio, in Oslo, with technician Jan Erik Kongshaug, Fredrik Ljungkvist played clarinet, Sofya Dudaeva flute, Hanne Liland Rekdal bassoon, Matthias Wallin tenor horn, Erik Johannessen trombone and Stian Omenås trumpet. When the sextet had recorded 18:16 their part, it was layered atop the piece recorded by 1982 by producer Øyvind Skarbø. The result you’ll realise, when I tell you about A/B, is one of the most groundbreaking pieces of music 1982 have ever recorded, 18:16.
18:16 opens A/B, 1982s fourth album. It’s understated and ethereal as it reveals its subtleties and nuances. A harmonium, violin and wind instruments play gently, They play with care and subtlety. The arrangement meanders along, gradually unfolding. Soon, a clarinet enters. It adds an element of drama. Meanwhile, scratchy fiddles add a melancholy sound. By now, everything from ambient, avant garde, classical, experimental and jazz has been combined. Later, 1982 add their unique improvisational twist to the track. When free jazz enters the equation, the track veers between haunting, to eerie, disturbing and dramatic. Much later, the arrangement is spacious and pensive, before returning to a an understated, ethereal and wistful sound. This results in an epic track, one that’s ambitious, challenging, dramatic and groundbreaking. So much so, that it’s career defining track for 1982 that’s a game-changer as far as they’re concerned.
Just a lone piano opens the spacious 02:01. Soon, it’s all change. Drums, percussion and fiddles join forces. They dominate the arrangement. The piano adds to the drama, before the arrangement returns to an understated, wistful sound.
It’s just thoughtful drums that open 03:51. A distant violin makes its way forward. So does a droning sound. Mostly, it’s just the drums and fiddle that create an understated and melancholy arrangement. The addition of the droning sound adds to the melancholia. It also adds a melodic sound to this dreamy, thoughtful track.
03:12 picks up where 03:51 left off. The arrangement has an understated, thoughtful sound. A fiddle, harmonium and scatted vocal combine as the arrangement unfolds in waves. It’s a combination of ambient, avant grade, drone and 1982s unique improvisational style. Nils delivers an improvised vocal that’s the perfect foil for the rest of the arrangement. This results in a track that’s variously haunting, beautiful, ethereal and gloriously understated.
01:08 is a brief sonic experiment. It’s a taste of what 1982 are capable of. 1982 draw you in, improvising and taking you on a journey. Sadly, it’s over before it’s begin. However, you’ve had a tantalising taste of what 1982 are capable of where they’re capable of taking you.
05:00 closes A/B. Just like most of the music on the “B-Side” the music is understated, wistful and melancholy. Drums played by brushes join the harmonium and fiddle. They leave space within the arrangement. It’s as if they’re allowing music for the music to breathe. By then, it’s broody and eerie. Hi-hats hiss as ambient, classical and jazz combine with experimental music. Later, the music becomes broody, moody and heart-achingly beautiful.
A/B, which is the fourth album from Norwegian improvisational trio 1982, is without doubt, the best album of their career. Flawless describes this Nordic minimalist epic. So does innovative, understated, wistful, melancholy, dramatic, dreamy, eerie, beautiful, broody, moody and haunting. A/B are all these things and more as 1982 seamlessly, mix musical genres.
Everything from ambient, avant garde, classical, drone, experimental, free jazz and jazz is combined by 1982. The result is A/B an album of groundbreaking sonic journeys. A/B’s centrepiece is 18:16, the album’s Magnus Opus. It’s a collaboration with a wind sextet. This collaboration was one of the most ambitious pieces of music 1982 have ever recorded. Quite simply, it’s a groundbreaking piece of music that for 1982, will be game-changer. 18:16 is also a career defining track. It’s what everything else 1982 produce will be compared to. However, there’s more to A/B than 18:16.
The other five tracks are part of an innovative and influential sonic experience. 1982 take you combine musical genres to create music that’s emotive and tugs at your heartstrings. It’s also music that’s beautiful, complex and full of nuances. The music is multilayered, spectral and full of textures. These five tracks, just like 18:16, are part of an album that’s career defining. That’s how I’d described A/B, 1982s fourth album which was released on Hubro Music, on 12th May 2014. A/B is a career defining album from the groundbreaking Norwegian improvisational trio 1982.
1982-A/B
SHAWN LEE PRESENTS GOLDEN AGE AGAINST THE MACHINE.
SHAWN LEE PRESENTS GOLDEN AGE AGAINST THE MACHINE.
Shawn Lee’s new album, Shawn Lee Presents Golden Age Against The Machine, which was released on 5th May 2014, has been a labor of love. It’s Shawn paying homage to the golden age of hip hop, which influenced and inspired him. So much so, that Shawn decided to pursue a career as a producer.
His career began back in 1995, when he moved to London and recorded his 1996 debut album, Discomfort, for Giles Petersen’s Talking Loud label. Since then, Shawn has released a string of commercially successful and critically acclaimed albums. The latest addition to his discography is Shaun Lee Presents Golden Age Against The Machine. It’s been described as a “passion play.” It could also be described as a love letter to the golden age of hip hop, which Shaun believes was between the mid-eighties and mid-nineties. Featuring seventeen tracks, Shawn Lee Presents Golden Age Against The Machine is a one of the ambitious albums of Shawn’s career, which is now entering its third decade.
Shawn Lee was born and grew up in the outskirts of Wichita, Kansas. From an early age, Shawn began a lifelong love affair with soul and funk. He grew up listening to Sly and The Family Stone, The Isley Brothers and Blaxploitation soundtracks. Later, he discovered gospel music, when he started playing drums in the local baptist church. This didn’t go down well with some of Shawn’s supposed “friends.”
They disapproved of this. For Shawn, this proved the last straw. He decided to leave the Mid West. For Shawn this was doubly disappointing. Not only had his “friends” proved to be racists, but Shawn was enjoying playing in Lotus, a local band which featured a future country megastar, Martina McBride. However, Shawn headed across the Atlantic, to London, to record his debut album, Discomfort.
This was 1995. Now living in London, Shawn recorded his 1996 debut album, Discomfort. It was released on Giles Petersen’s Talking Loud label. Monkey Boy, his sophomore album, followed in 2000. Then between 2002 and 2003, Shaun released five volumes of his Ape Breaks series. So popular were the Ape Breaks series, that Shawn became the most sampled drummer of his generation. Following the Ape Breaks series Shawn released the first album by his newest project, Shawn Lee’s Ping Pong Orchestra.
Shawn Lee’s Ping Pong Orchestra released Music and Rhythm in 2004. Moods and Grooves followed in 2005, with Strings and Things released in 2006. Another seven albums would be released by Shawn Lee’s Ping Pong Orchestra between 2007 and 2012. With each album, their genre melting music was finding a wider audience. The same year, 2006, Shawn Lee’s Ping Pong Orchestra released Strings and Things, Sean released two further albums.
The first album was a soundtrack album, Rockstar Games Presents Bully Original Soundtrack. Then there was Shawn’s first release for BBE Music, Soul Vista. It was released to critical acclaim. Soul Vista marked a new chapter in Shawn’s career. So did two collaborations Shawn was involved with.
In 2008, Shawn and Clutchy Hopkins released their collaboration Clutch Of The Tiger. Shawn also collaborated on the Under The Sun Original Motion Picture Soundtrack with Afro Dizzi Act, Band of Frequencies and Low Pressure Sound System. Then in 2010, Bei Bei and Shawn collaborated on Into The Wind. The same year, Shawn released another solo album.
Sing A Song was released in 2010. It was the latest addition to Shawn’s discography. With each album, Shawn was evolving and maturing as a producer. He’d established a reputation as one of the most innovative producers of his generation. Shawn was also gaining a reputation as the hardest working producer in modern music.
2011 saw Shawn collaborate with Alex Rizzo, Elliot Ireland and The Fingers Malone Ensemble on The Organic Downbeats. This wasn’t the only album Shawn released. No. His latest collaboration made released their debut album in 2011.
Celestial Electric was the debut from A.M. and Shawn Lee. Their sophomore album La Musique Numérique followed in 2012. Shawn also released another solo album in 2012, the genre-melting Synthesizers In Space. The following year, Shawn was part of innovative transatlantic project,
In 2013, Shawn joined collaborated with Herbie Flowers, Tim Lee and Barry Morgan. The result of the quartet’s collaboration was New York Trouble / Electric Progression. This was the just the latest innovative addition to Shawn Lee’s discography. The next is Shawn Lee Presents Golden Age Against The Machine.
For Shawn. Shawn Lee Presents Golden Age Against The Machine is a deeply personal album. It harks back to the music that influenced and inspired him. It’s what he calls the golden age of hip hop, which he believes was between the mid-eighties and the mid-nineties. This was what Shawn listened to growing up and when he was embarking on his career as a producer.
What especially inspired Shawn was sample based production. This was new. No longer did you need musicians and a studio to record an album. It was now within the budget of a new generation. Like the previous generation, they dug deep looking for samples. Around this sample. producers, like Shawn, could build a track.
Often, it was a drum beat, guitar lick or horn riff. Sometimes, it was all three. This formed the basis for the track. Strings could be added. Possibly percussion or a snippet of a vocal. Maybe another sample or samples were added. Sometimes, the tempo was changed or effects added. All this was to disguise the sample’s identity. This describes how the music Shawn grew up listening to was made. It also describes what he did early in his career.
Shawn would play the drums while rappers vamped over Chic’s Good Times. He then graduated to playing Rufus’ Ain’t Nobody. Soon, Shawn had his own Linn drum machines, Dmx’s, SP 12 and 1200’s and MPC drum machines. His career was underway. He was a fully fledged hip hop producer.
Now, nearly twenty years later, Shawn is approaching the veteran stage of his career. He’s held in the highest esteem among the hip hop community. They’ve come out in their droves to accompany Shawn on his new album Shawn Lee Presents Golden Age Against The Machine. It’s an all-star cast the accompanies Shawn Lee on the gloriously old school Shawn Lee Presents Golden Age Against The Machine. However, it’s old school with a twist.
The old school hip hop albums from De La Soul, The Dust Brothers and Prince Paul that inspired Shawn were all sample based productions. Not Shawn Lee Presents Golden Age Against The Machine. It isn’t a sample based production. No way. Instead, Shawn played everything Shawn Lee Presents Golden Age Against The Machine. This includes every one note stab, lick and drum beat. That’s what makes Shawn Lee Presents Golden Age Against The Machine such a compelling project. It’s also a fitting homage to the golden age of hip hop. Helping Shawn were a cast of guest artists.
Among the guest artists on Shawn Lee Presents Golden Age Against The Machine, are Braille, MC ThinkTank, Lightheaded, Ohmega Watts, Miles Bonny, Earl Zinger, Busdriver, Princess Superstar and Andy “Undertaker” Cooper. All these artists helped Shawn Lee produce Shawn Lee Presents Golden Age Against The Machine, which may very well be his an old school hip hop Magnus Opus with a twist. Is that the case though?
Forward To The Past opens Shawn Lee Presents Golden Age Against The Machine. Straight away, it references hip hop roots. It draws inspiration from Chic’s Good Times, before a joyous fusion of soul, funk and disco unfolds. Blazing horns, chiming guitars and a funky rhythm section join forces with percussion and a strutting rap. The result is hook laden old school hip hop the new school way.
Stay On Course features the first guest artist Braille. He plays a part in the track’s tougher harder sound. A myriad of grizzled horns, crystalline guitars, stabs of piano and scratches provide the backdrop to Braille’s swaggering rap.
Back To The Future is a real fusion of styles. It also has an eighties sound. That’s no surprise. This is when Sean grew up. Everything from electronica, electro and funk are combined as MC ThinkTank swaggers his way through the track. Bubbling synths and effects are added, resulting in a futuristic sound as we take a trip Back To The Future.
After this, a string of guest artists make an appearance. Lightheaded features on Rocksteady, where elements of reggae, funk and soul are combined. The arrangement is dominated by keyboards, while stabs of horns, crisp drums, scratches and bursts of vocal escape from the arrangement to this genre-melting track. Ohmega Watts plays a huge part in We Got The Jazz. He plays the role of jive talking hep cat to a tee on this jazz-tinged slice of smokey hip hop.
Slow, moody and dubby describes the old-school influenced Boom Rap. It features a jazz-tinged guitar and the crackling sound of old vinyl. Later, stabs of horns are added to the understated arrangement to what could easily be a vintage hip hop classic.
Big Bad Wolf shows another side to Shawn Lee. It’s dark, dramatic and cinematic, as Shawn springs surprises during this magical musical mystery tour. It continues on Hip Hop Harpe. From the get go it’s slow and moody. Meandering, hypnotic, keyboards grab your attention. Sean’s other secret weapon are the drums. They plod along adding to the atmospheric, broody arrangement which again, has a cinematic sound.
The next few tracks see the return of the guest artists. Miles Bonny guests on the soulful, jazzy and beautiful Wake Up. Earl Zinger features on Jackie Chan. It veers between the atmospheric, disturbing, haunting and hypnotic.
Next stop is Christophe which features Busdriver. He unleashes a vocal at breakneck speed. Meanwhile the arrangement veers between soulful and uber funky. There’s even a brief nod to Canned Heat and hint of blues and poppy harmonies. Mostly, it’s funky, as if inspired by Shawn’s love of Blaxploitation. Princess Superstar features on I Just Had A Baby. She mixes Nu-Soul and hip hop with humour and hooks. Andy “The Undertaker” Cooper features on the wistful, dramatic hip hop anthem Ashes To Ashes. His vocal and the keyboards are at the heart of a track that’s dark, dramatic and anthemic.
School House Funk sees Shawn roll back the years. He replicates the youthful exuberance and energy of the high school band. This can’t help make you smile as Shawn’s musical journey continues.
Straight away, Baby Breakin’ reminds me of Queen’s Another One Bites The Dust. It’s an old school track, that reminds me of hip hop’s early years, especially Grandmaster Flash and the Furious Five. Featuring MC Shawny Shawn’s rap, it’s a homage to hip hop’s early years.
Marimba has a wistful introduction. That’s before the thunderous drums gallop in. They provide a contrast the the melancholy sound of the Marimba. Swathes of strings, keyboards and drums combine to create a wistful, sixties sounding cinematic track. Muson Magic closes Shawn Lee Presents Golden Age Against The Machine. It has futuristic, space-age sound. Add to that elements of funk and Kraftwerk and Muson Magic sounds like the soundtrack to a cult sci-fi film.
So that’s the story of Shawn Lee Presents Golden Age Against The Machine. This was Shawn’s Magnus opus, his love letter to the golden age of hip hop. Described as a “passion play,” Shawn Lee Presents Golden Age Against The Machine is anold school hip hop album the new school way.
By this, I mean Shawn eschews sample based production for playing each of the parts. Shawn played everything on Shawn Lee Presents Golden Age Against The Machine. This includes every one note stab, lick and drum beat. That and a cast of guest artists is what makes Shawn Lee Presents Golden Age Against The Machine such a compelling and critically acclaimed project.
Among the guest artists on Shawn Lee Presents Golden Age Against The Machine, are Braille, MC ThinkTank, Lightheaded, Ohmega Watts, Miles Bonny, Earl Zinger, Busdriver, Princess Superstar and Andy “Undertaker” Cooper. Each and every one of these guest artists played a part in the success of Shawn Lee Presents Golden Age Against The Machine. However, it’s Shawn that deserves the most credit.
Not only is he a talented producer, but a talented musician. Unlike many modern producers, he can actually play an instrument. He proves that here on Shawn Lee Presents Golden Age Against The Machine’s seventeen tracks. Shawn draws inspiration from everything from Blaxploitation, electro, electronic, funk, jazz, Nu-Soul, pop, rock and soul. The result is a captivating and compelling musical tapestry full of subtleties and surprises. Shawn throws a series of curveballs as he sets about winning friends and influencing people on Shawn Lee Presents Golden Age Against The Machine which will be released on 5th May 2014 on BBE Music.
Shawn Lee Presents Golden Age Against The Machine was an ambitious project. After all, trying to create an album that paid homage to the golden age of hip hop was never going to be easy. After all, many a classic album was released during this period. These albums are part of hip hop’s fabric and history. They represent part of the evolution of hip hop. Not only that, but they were the soundtrack to Shawn Lee’s youth and the start of his career as a producer. So, it must have been with a degree of apprehension that Shawn set about making Shawn Lee Presents Golden Age Against The Machine. However, in Shawn Lee Presents Golden Age Against The Machine, his love letter to the golden age of hip hop, he has made not just a fitting homage to hip hop’s golden age but an album that one day, will become part of hip hop’s history.
SHAWN LEE PRESENTS GOLDEN AGE AGAINST THE MACHINE.
BOWIE HEARD THEM HERE FIRST.
BOWIE HEARD THEM HERE FIRST.
David Bowie is, without doubt, one of the most influential and innovative artists of the last fifty years. So it’s fitting that Ace Records have recently released a compilation of music that influenced David Bowie. Bowie Heard Them Here First features twenty-four tracks and is a snapshot into the music that inspired David Bowie, who has sold over 140 million albums during a fifty-two year career that began in 1962.
Since 1962, David has refused to stand still. He wasn’t content to stand still. Instead, he constantly reinvented not just his music, but himself. That’s been the case since 1962, when fifteen year-old David Bowie formed his first band, The Konrads.
Success eluded The Konrads. This was the case with other groups joined. Whether it was blues groups like The King Bees and The Mannish Boys or The Lower Third, The Buzz and The Riot Squad commercial success eluded them. David’s solo career fared no better
Released in 1967, David’s eponymous debut album failed to chart. Not only was it a fusion of pop and psychedelia, but was influenced by the music hall. David Bowie passed record buyers by. For the next two years, commercial success eluded David Bowie. To make ends meet, David was a session singer, singing jingles for ice cream and chocolate bars. However, as the seventies dawned, David, with the help of manager Tony Defries, became one of the most successful artists of the seventies.
During the seventies, David was like a chameleon, his music constantly changing. He was an innovator who influenced a generation. His 1970 album The Man Who Sold the World gave birth to glam rock. The following year, David released Hunky Dory, which became his most successful album. It reached number three in the UK and was certified platinum. Hunky Dory also marked the debut of the lineup members of David’s legendary band The Spiders from Mars.
They played on David’s 1972 concept album The Rise and Fall of Ziggy Stardust and The Spiders from Mars. The album was based on the life of a fictional rock star, Ziggy Stardust. He became David’s alter-ego. The Rise and Fall of Ziggy Stardust and the Spiders from Mars was the album that saw David make his commercial breakthrough in the America. It was certified gold in America and platinum in the US. However, Aladdin Sane was the swan-song of The Spiders from Mars.
Aladdin Sane became David’s first number one albums and was certified gold in the UK and America in 1973. I also marked the retirement of Ziggy Stardust. After that another chapter in David’s career unfolded.
October 1973 saw the release of Pin Ups was an album of cover versions. It reached number one in the UK and was certified gold. Six months later, David released Diamond Dogs in April 1974. This was an ambitious album based partly on George Orwell’s 1984 and David’s glam-tinged post-apocalyptic world. Diamond Dogs was huge success, giving David his third UK number one and was certified gold in the UK and USA. After Diamond Dogs, David’s music became soulful and funky.
Young Americans is another example of David’s determination to innovate and move forward. Influenced by Philly Soul, the lushest of strings and hissing hits are combined with a pulsating rhythm section. Soulful and funky, 1976s Young Americans was certified silver in the UK and gold in the USA. The single Fame gave David a number one single. The rest of the seventies demonstrates David’s chameleon like nature.
1977s Station To Station marked the debut of The Thin White Duke, who was David’s last great musical alter-ego. This was tenth album and was an innovative album. The soul and funk of Young Americans was present, but there was a hint of what would become the Berlin Trilogy. Motorik drums beats and the influence of Neu, Kraftwek and Can were obvious. Given the innovative nature of Station To Station, it’s no surprise that the album was certified gold in the UK and USA. However, after this, David Bowie released the innovative and critically acclaimed Berlin Trilogy.
The Berlin Trilogy consists of 1977s Low and Heroes and 1979s Lodger. These three albums were all certified gold in the UK. David was collaborating with Brian Eno,who produced the Berlin Trilogy. They’re best described as innovative, experimental and avant garde, The influence of Motorik drums beats and Neu, Kraftwek and Can plays a huge part in what were three of the most innovative and influential albums of David Bowie’s career. Since the release of the Berlin Trilogy these three albums have been regarded as the most important albums of David Bowie’s long and illustrious career.
The seventies are a snapshot of David Bowie’s career as he constantly sought to reinvent not just his music, but himself. That’s why for newcomers to David Bowie’s music, the perfect starting place is the music he released between 1970 and 1979. That music was influenced by the music that features on Ace Records recently released compilation Bowie Heard Them Here First.
Bowie Heard Them Here First features twenty-four tracks and is a snapshot into the music that inspired David Bowie. There’s contributions from everyone from Bobby Bland, The Velvet Underground, The Pretty Things, The Kinks, Roxy Music, Jacques Brel, Tom Verlaine, Iggy Pop, The Walker Brothers and The Pixies. Quite simply, Bowie Heard Them Here First, which I’ll pick the highlights of, is a truly compelling and captivating compilation of eclectic music of music which influenced David Bowie.
Bobby Bland’s I Pity The Fool is my first choice from Bowie Heard Them Here First. It was released as a single in 1961 on Duke and features on Bobby’s debut album Two Steps From The Blues. Written by Deadric Malone, Bobby combines blues, soul and emotion. Rueful and full of frustration, Bobby unleashes a vocal powerhouse. This was the start of another chapter in Bobby’s long and successful career.
When you first hear Ron Davies on It Ain’t Easy, a track his 1970 album Silent Song Through The Land, he sounds not unlike Bob Dylan. He has a gnarled, lived-in vocal. His music is a fusion of rock, country and folk. Accompanied by backing vocalists and a tight talented band who sound straight out of Nashville, Ron proves why he’s one of American music’s best kept secrets.
The Velvet Underground are one of the most innovative and influential band in musical history. No wonder, with a lineup that featured Lou Reed, John Cale, Sterling Morrison, Maureen Tucker and Nico. White Light / White Heat is the title-track from The Velvet Underground’s 1968 sophomore album. This was a worthy followup to The Velvet Underground and Nico and features one of the most innovative, influential and controversial groups in their prime.
Formed in 1963, The Pretty Things were named after a Chuck Berry song. By 1964, they’d released Rosalyn as a single on Fontana. It’s a track from their 1965 eponymous album which reached number six in the UK. Rosalyn features The Pretty Things at their best. They snarl their way through the track fusing garage, rock, psychedelia and proto punk. It’s a glorious combination from one of the most underrated sixties bands.
Brothers Ray Dave Davies formed what became one of the most successful and influential bands of the sixties, The Kinks. Where Have All The Good Times Gone is an example of the perfect pop The Kinks were capable of producing. For some reason, was the B-Side of their 1965 single Till The End Of The Day. This hidden gems shows that some of The Kinks B-sides were better than some groups singles.
Back in 1966, Eddie Floyd released the soul classic Knock On Wood on Stax. The following year, Eddie released his debut album Knock On Wood. This was the first of seven albums Eddie released on Stax. However, the song that started this run of commercial success was the timeless soul classic Knock On Wood.
Jacques Brel was a Belgian singer and songwriter, actor and film director. He was twenty-eight when he released an E.P. which featured Amsterdam. The song also featured on Jacques’ 1978 album Amsterdam 3. Amsterdam features a heartfelt vocal sung in the chanson style by the enigmatic and charismatic Jacques Brel.
Most people remember Tom Verlaine as a member of Television. However, there’s more to his career than that. He also enjoyed a successful solo career. He released his eponymous debut album in 1981. It featured Kingdom Come where rock and new wave combine head on. There’s even a nod to David Bowie on Kingdom Come, which showcases the talents of the inimitable Tom Verlaine.
When many compilers decide to add include an Iggy Pop track on a compilation, they predictably, plump for Lust For Life. Not Mick Patrick, whose compiled Bowie Heard Them Here First. He’s chosen Sister Midnight, a track from Iggy’s 1979 album New Values. Soulful and sultry, it’s Iggy Pop, a true legend and innovator at his best.
Roxy Music released a string of critically acclaimed and commercially successful albums during the seventies. Their debut was Roxy Music, released in 1972, on Island Records. It featured If There Is Something which is a fusion of perfect pop, art rock, glam rock and soul. This marked the start of Roxy’s rise to rock royalty. No wonder Roxy Music had an abundance of talent. With Bryan Ferry as frontman and Brian Eno, Andy McKay, Graham Simpson, Paul Thompson and Phil Manzanera in the lineup, it’s no surprise Roxy Music reached the heights they did.
In 1978, The Walker Brothers released what was the last album of their career, Nite Flights. They’d reunited back in 1975 for No Regrets. Lines followed in 1976. Nite Flights was their swan-song. The title-track was one of four tracks penned by Scott Engel. The Walker Brothers transformed this into memorable slice of art rock. It’s no ordinary art rock. Instead, it’s given a makeover. Dance-floor friendly and ethereal thanks to the vocal and synth strings The Walker Brothers, like David Bowie, weren’t content to stand still. Not with the genius of Scott Walker at the band’s helm.
The Pixies’ Cactus is my final choice from Bowie Heard Them Here First. A driving fusion of indie rock, post punk and garage, Cactus is a track from what’s regarded as The Pixies’ best album Surfer Rosa. With tracks like Cactus, it’s no surprise that it’s regarded as an indie classic.
Bowie Heard Them Here First is the finest instalment in Ace Records’ Heard Them Here First Series. It literally oozes quality. No wonder. Look at the music on Bowie Heard Them Here First. There’s contributions from Bobby Bland, The Velvet Underground, The Pretty Things, The Kinks, Roxy Music, Jacques Brel, Tom Verlaine, Iggy Pop, The Walker Brothers and The Pixies. Fittingly, each and every one of them released innovative music.
Whilst these artist may not have sold 140 million albums like David Bowie, they’ve influenced several generations of musicians. Indeed, some of the artists on Bowie Heard Them Here First will be new to some people. Not any more. Hopefully, having heard Bowie Heard Them Here First will inspire people to go out and buy albums by Ron Davies, The Pretty Things, Tom Verlaine and even the late period Walker Brothers’ albums. That’s the beauty of albums like Bowie Heard Them Here First. They introduce people to artists and albums they may never have heard of. So in a sense, Bowie Heard Them Here First is the start of a musical journey of exploration. You discover albums you’v never heard before. These albums are a treasure trove of ambitious, groundbreaking, innovative, inventive and influential music. That’s the case from the get-go. As Paul Revere and The Raiders strike up Louie Go Home right through to closing bars of The Legendary Stardust Cowboy’s I Took A Trip On A Gemini Spaceship, Bowie Heard Them Here First is all killer no filler. So much so, that Bowie Heard Them Here First is one of the best and most eclectic compilations of 2014.
BOWIE HEARD THEM HERE FIRST.
LINDA PERHACS-PARALLELOGRAMS.
LINDA PERHACS-PARALLELOGRAMS.
In the music industry, sadly, talent alone doesn’t guarantee commercial success and critical acclaim. If only that was the case, then things would be very different. There would be no such thing as DJs, remixers and grid-iron producers. These three products of the modern music industry examples of where music has gone wrong. Their success means rather than learn to play a musical instrument, read music and write songs. That was what happened during the music’s golden age. Not now though.
Now a generation are growing up wanting to be a DJ. They want to play other people’s music, rather than make their own music. So they buy a DJ controller, and rely on the sync button to blag their way through a set. Then there’s the remixer.
They’ve been around for roughly forty years. Most of them can’t play an instrument, never mind read or write music. Yet they’re lauded for regurgitating the music someone else has written, recorded and produced. Sadly, they’ve inspired a new generation of aspiring remixers.
With their pirated software, they make their tawdry cut and paste edits. They then pollute the internet with them. Incredibly, some record companies, looking for a cheap release, are foolish enough to release them as a compilation. Thankfully, these record companies have fallen by the wayside. Then we come to the grid-iron producer.
The grid-iron producer is a sign of the times. Their raison d’être is making bad music sound good. Regardless of how bad the vocal, lead guitar, bass or drums are they can “fix” it. Melodyne can correct the vocal and samples can be triggered to fix the drums. If the timing or pitch is wrong, the grid-iron producer can “fix” it. As a result, music that should never be release is not only being released, but is making stars out of talentless people. Meanwhile, seriously talented musicians are struggling to make a living. Sadly, that’s always been the case.
It was in 1970, that twenty-seven year old dental hygienist Linda Perhacs released Parallelograms, her debut album. Some people wondered why it had taken Linda so long. After all, she was a musical prodigy.
Linda Long was born in Mill Valley, which lies just north of San Francisco’s Golden Gate Bridge in 1943. By the time she was six or seven, Linda was able to write write quite complicated compositions. She was gifted. However, as is often the case with gifted children, her teachers didn’t maybe realise this. This didn’t stop Linda enrolling in the University of Southern California.
At University of Southern California, Linda majored in dental hygiene. This allowed her to work and study. Her course also allowed Linda to explore what was unfolding around her. Remember, this was the start of the counterculture explosion. San Francisco was central to this. Being around this meant Linda was exposed to a many different cultures. It was the same with art and music. For Linda, this was creatively stimulating and would change the course of her life.
Having graduated from University of Southern California, Linda began working with periodontist. During this period, Linda immersed herself in the various philosophies that were popular. Essentially, she taught her to mediate and rid herself of negative energy. This helped her and her patients. It may also have helped Linda develop as songwriter.
Away from work, Linda and her sculptor husband used to enjoy walking in the city’s public parks. It was during these walks that Linda was first inspired to write songs. This was something Linda hadn’t done since she and her husband moved to Topanga Canyon.
Indeed, Linda hadn’t written songs for a while. Throughout her University days, Linda hadn’t been involved in making music. However, she loved music. Topanga Canyon was full of artists and musicians. So, it was the perfect place for an aspiring singer-songwriter. With an environment that inspired her, and the sense of hope that was prevalent during the second half of the sixties, this marked the cultural blossoming of Linda Perhacs.
What also inspired Linda was her travels. She spent time travelling up the Big Sur coastline, right through Mendocino, the Pacific Northwest and to Alaska. This was her road rip. So was a trip to Chimacum, on the Olympic Peninsula. These journeys were what inspired Linda to write songs. Linda stresses her journeys inspired her. Drugs played no part in stimulating her creativity. Her songs come from her experiences in life.
This includes the colours, patters and shapes that she’s seen since she was a child. Again, they’re not the result of recreational drugs. No. They’re a phenomenon that many people experience. These colours, patters and shapes inspired Linda, who soon, would be one step releasing her first album.
Linda was, by now, working in the office of Beverley Hills’ periodontist. That’s where Linda met film soundtrack composer Leonard Rosenman and his wife Kay. Linda would ask them about their forthcoming projects. Then one day Leonard said to Linda “I can’t believe that clinical work is all you do.” So, Linda told them about her music and played a tape of one of her songs. These were songs she’d recorded during her travels. Leonard took the songs home to listen to them. The next day, Linda was offered a record contract.
When Linda handed Leonard the tape, she thought that Leonard was wanting to hear a glimpse of the type of music younger people were making. After all, Leonard had a lot of projects on the go. However, that didn’t stop him offering to produce Linda’s debut album. The song that made him make that offer was the Parallelograms, which would be the title-track of Linda’s debut album. Leonard referred to this track as “visual music composition.”
Once Leonard made the offer to produce Linda’s debut album, she headed to his home. Once there, she met musicians and singers she’d only read about. It was then that Leonard explained the his concept of “visual music composition.” Leonard who’d been a composer all his life, had never been able to achieve this. Linda had. He explained that Parallelograms was different from the other tracks. They were songs. Parallelograms was different. Each of the component parts were interactive to the composer as three-dimensional sound. It’s akin to sculpting with ice, where the result is essentially a type of light and dance. For Linda, this was the way she’d always written. However, now Linda was going to take this one step further and record what became Parallelograms.
Parallelograms featured eleven tracks. Linda wrote ten of them. The exception was Hey, Who Really Cares? which Linda cowrote with Oliver Nelson wrote. Producer Leonard Rosenman brought in an all-star cast of musicians.
When recording of Parallelograms began, Leonard Rosenman and Linda were aiming to sculpt a series of soundscapes full of textures, colours and shapes. The music Linda hoped, would be “softer and ethereal.” Accompanying her were some legendary musicians. This included Shelley Mann and Milt Jackson on percussion. The rhythm section included Reinie Press on electric bass and Fender guitar and Steve Cohn on lead and 12-string guitar. John Neufield played flute and saxophone, Leonard Rosenman electronic effects and Tommy harmonica. Brian Ingoldsby was tasked with using an electrified shower hose for horn effects. Parallelograms was no ordinary album. It was truly groundbreaking.
On its release in 1970, Parallelograms was released to critical acclaim, but sadly, this psychedelic folk classic wasn’t the huge commercial success it should’ve been. This wasn’t helped by the record company’s failure to promote Parallelograms Linda, like so many other hugely talented artists failed to enjoy their commercial success and critical acclaim. So Linda returned to her job as a periodontist and nothing was heard of Parallelograms until the nineties. Since then, it has become a cult class. Interest in Parallelograms grows with each year. Maybe only now do people fully understand and appreciate this seminal, lost classic which I’ll tell you about.
The wistful Chimacum Rain opens Parallelograms. It has an understated, acoustic arrangement. That’s perfect for Linda’s tender, ethereal vocal. She also adds harmonies. They cascade and surround you, like the rain Linda is singing about. Her vocal has a dreamy, lysergic song. It’s captivating. You’re drawn to and seduced by its ethereal beauty.
Just guitars set the scene for Linda’s vocal on Paper Mountain Man. Her vocal is slow, sultry and deliberate. It’s as if she’s taking care with her phrasing and diction. Behind her, her small tight band mix blues and country. A scorching blues harmonica, guitars and percussion join forces. They leave plenty of space in the arrangement for Linda’s vocal. It’s a mixture of power, emotion and control, that’s ying to the arrangement’s yang.
Ethereal and heartfelt describes Linda’s vocal on Dolphin. She’s accompanied by a lone guitar that reminds me of Nick Drake. Linda delivers a vocal that’s spellbinding in its beauty. It’s quite simply, haunting and captivating.
Call Of The River is reminiscent of Chimacum Rain. Just a guitar accompanies Linda’s vocal. It’s sung with feeling, as cascading harmonies accompany Linda. They’re sung by Linda and compliment her vocal. The same can be said of the arrangement. It’s understated, spacious and dreamy. It also allows Linda’s vocal to take centre-stage on a track that epitomises everything that’s good about psych-folk.
Just like the previous tracks, Sandy Toes is a carefully crafted soundscape. Here, psych-folk and country combine. An electric bass joins a chiming guitar and percussion. They provide the backdrop to Linda’s vocal. She proceeds to paint pictures. Close your eyes and they come to life. Her cinematic lyrics and tender, heartfelt vocal prove a potent combination, as we hear another side to Linda Perhacs.
Parallelograms is the track that grabbed Leonard Rosenman’s attention. It’s a musical sculpture full of textures, colours and shapes. They drift in and out, to be replaced by something else. From understated and ethereal, darkness and drama makes an appearance. Soon, the lysergic, dreamy and experimental sound makes me think of Alice In Wonderland. You loose yourself in this sonic experiment, drifting away to another place and time. It’s as if the doors of perception have been opened. The only problem is, you neither want the song to finish, nor the doors to close.
Hey, Who Really Cares? is another track where Linda is just accompanied by acoustic guitar. Her vocal is rueful and full of melancholia. It’s joined by a bass, that hesitantly probes its way through the arrangement. Effects and guitars compliment Linda’s wistful vocal. She’s despairing, wondering “if anyone really cares.” Her pain seems real as she breathes life, meaning and emotion into a song where pathos and pain are ever-present.
Slow and space describes the drums that open Moons And Cattails. Chiming, crystalline guitars quiver and shiver, before Linda’s dreamy, lysergic vocal floats above the arrangement. It’s as if it’s been caught in “sandstorm” she’s singing about. After that, her vocal is deliberate and dramatic. Adding to the drama are drums played by hand and shimmering, weeping guitar. Together, this results in a track that dramatic, moody and atmospheric.
Hesitantly, a line guitars plays as Morning Colors unfolds. It’s all that accompanies Linda, as she delivers a vocal that’s heartfelt and full of sincerity. Just like other tracks, her lyrics have a cinematic quality. They’re also cerebral, haunting and beautiful. The same can be said of the flute and horn that later, accompanies Linda. They’re addition takes the direction of jazz, sometimes free jazz. This compliments the rest of the arrangement and highlights the lyrics, as takes on the role of storyteller. Using her voice like an artist uses his palette, Linda paints pictures that come to life before your eyes.
Porcelain Baked-Over Cast-Iron Wedding was one of the earliest songs Linda wrote. She wrote it in 1969. It’s an uptempo, guitar driven track. Guitars are panned left and right, enveloping Linda’s vocal. She seems determined to make the song swing. This shows another side to her. She’s accompanied by percussion, drums and bass. Linda’s vocal is full of irony, and her lyrics full of social comment at perceived stereotypes. Her combination of intelligent lyrics and subtle hooks are another example of Linda’s versatility and talent as a singer and songwriter.
Delicious closes Parallelograms. Linda’s slow, tender, ethereal vocal is joined by a guitar, as the arrangement meanders along. Her vocal soars elegantly above the arrangement, while the guitar ambles along. Cascading harmonies flit in and out. They’re the perfect accompaniment to Linda’s vocal. It’s one of her best vocals. Ethereal, heartfelt, tender and beautiful, it’s a tantalising taste of what Linda Perhacs is capable of.
Following the release of Parallelograms, it failed commercially. This wasn’t anything to do with the music. Instead, it was the record company’s failure to promote Parallelograms. As a result, Linda, like so many other hugely talented artists, failed to enjoy their commercial success and critical acclaim their talent deserves. So Linda returned to her job as a periodontist.
Nothing was heard of Parallelograms until the nineties. Since then, it has become a cult class. Interest in Parallelograms grows with each year. Maybe only now do people fully understand and appreciate this seminal, lost classic from an artist who should’ve enjoyed a long and successful career.
Looking back, Linda admits that, much as she loved music, she didn’t seem to have the drive required to make a career as a musician. She did, however, have the talent. Linda was blessed with an abundance of talent. That’s apparent listening to her critically acclaimed debut album Parallelograms.
Parallelograms is a flawless fusion of Americana, country, folk, pop, psychedelia and rock. There’s even a twist of ambient, drone pop, experimental and jazz. It’s potent and heady brew that showcases one of music’s hidden gems, Linda Perhacs.
She’s only released two albums between 1970 and 2014. The Soul Of Natural Things was recently released. It was the long awaited followup to Parallelograms. Linda picks on The Soul of All Natural Things where she left off on Parallelograms. It’s as if she’s never been away. However, forty-four years have passed. The Soul of All Natural Thing, just like Parallelograms, reminds us that class is permanent. What The Soul of All Natural Thing has also done, is stimulate interest in Parallelograms, which will be rereleased by Anthology Recordings on 12th May 2014.
If you’re only going to buy one album next week, then Parallelograms is the one to buy. It’s real music, played by real musicians written and sung by the hugely talented Linda Perhacs, one of music’s best kept secrets. No longer though. Parallelograms will be released on vinyl as a double album. Parallelograms is a reminder of the golden age of music.
Parallelograms features a hugely talented singer and songwriter, Linda Perhacs. Then there was producer Leonard Rosenman, an ambitious, innovator who in Linda, found a musical soul-mate who wanted to push musical boundaries to their limits. The result was Parallelograms an ambitious, innovative and flawless lost classic. It features the ethereal beauty of Linda Perhacs, as she breathes, life, meaning, beauty and emotion into the eleven songs on Parallelograms. Thankfully, Parallelograms is belatedly, receiving the plaudits and critical acclaim that this lost classic deserves.
LINDA PERHACS-PARALLELOGRAMS.
BLUE MAGIC-MESSAGE FROM THE MAGIC.
BLUE MAGIC-MESSAGE FROM THE MAGIC.
By 1978, when Blue Magic released Message From The Magic, their career had stalled. Much had changed since they released Mystic Dragons in 1976. Two of Blue Magic’s original members had left. Vernon and Wendell Sawyers had left after Blue Magic’s fourth album, Mystic Dragons. It was the least successful album of Blue Magic’s four album career. Maybe the Sawyers’ brothers saw that the writing was on the wall for Philly Soul.
Disco was now King. Philly Soul which had provided the soundtrack to the early and mid seventies was no longer as popular. Its popularity had been usurped by disco, which was a worldwide phenomenon. Blue Magic’s formula of romantic ballads and slow jams was yesterday’s sound. Atco, Blue Magic’s record company realised that and decided things had to change.
Whereas Blue Magic’s four previous albums were recorded at Philly’s Sigma Sound Studios, Message From The Magic, which was recently rereleased by Funkytowngrooves, would be recorded in Los Angeles. This meant that members of The Salsoul Orchestra, wouldn’t accompany Blue Magic. They and The Sweethearts of Sigma had been part of Blue Magic’s Philly Soul sound. Another change was that Skip Scarborough would produce Message From The Magic. Looking back, this was the last roll of the dice for Atco. If Message From The Magic, failed commercially, this could be the end of Blue Magic’s time at Atco. Things had been very different in 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 third 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.
For Message From The Magic, members of Blue Magic penned six of the nine tracks. Ted Mills contributed If You Want Me To and Sweet Woman. He wrote Can’t Get You Off My Mind, Purple Passion, Still In Love With You and Message with Keith Beaton and Richard Pratt. Producer Skip Scarborough and Raina Taylor wrote Lady In My World Of Love. Phillip Bailey of Earth, Wind and Fire cowrote the other two tracks. This included Four Leaf Clover, which he cowrote with Carl Carlwell and Wayne Stalling. The other tracks was I Waited, which Phillip cowrote with Ernest Straughter and Luther Waters. These nine tracks became Message From The Magic.
When recording of Message From The Magic began, no expense had been spared. String, horn and woodwind sections were brought in. So were some of L.A’s top session players. The rhythm section included drummer Ralph Johnson, bassist Rober Johnson and guitarist Al McKay and Spencer Bean. Louis Russell played acoustic guitar, Gayle Levert harp, while Ted Mills and Ernest Straughter played electric piano. Earth, Wind and Fire’s Phillip Bailey played bongos, congas and tambourine and Victor Feldman played vibes, chimes, xylophone and tambourine. Saxophonist Ernie Watts was part of the horn section that accompanied Blue Magic on Message From The Magic, which was released in 1978.
I Waited was the lead single from Message From The Magic. It failed to chart. Worst was to come. 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. Despite producer Skip Scarborough being on the hottest streak of his career, Message From The Magic had flopped. Since then, Message From The Magic has come to be regarded as Blue Magic’s forgotten album, which I’ll tell you about.
Can’t Get You Off My Mind opens Message From The Magic. Straight away, there’s elements of the Philly Soul sound. It’s best described as Philly Soul lite. Swathes of strings sweep and swirl, horns rasp, while piano and percussion provide a backdrop for Ted’s tender, needy vocal. Harmonies sweep in. They’re tender, and the perfect accompaniment to Ted’s vocal. Guitars chime, horns growl and the lushest of strings dance. Meanwhile, Blue Magic get the opportunity to showcase their balladry. The result is soulful and beautiful.
The rhythm section power the arrangement to If You Want Me To along, Strings dance and horns bray, setting the dramatic scene for Ted’s vocal. It’s reminiscent of his vocal on the previous track. Heartfelt and emotive, the lyrics come to life. Harmonies compliment his lead vocal, while the arrangement floats along. It’s a mass of dancing strings, rasping horns, punchy rhythm section and flourish of xylophone. They set the scene for some grandstanding from Ted. He unleashes a vocal that’s a mixture of power and passion. It’s impressive and is a reminder why Ted Mills is called The Wizard.
Lady In My World Of Love is another ballad. It’s as if Skip Scarborough was playing to Blue Magic’s strengths. That’s all very well, but wasn’t what the record buying public wanted. The arrangement is understated and reminiscent of Earth, Wind and Fire. Space is left with the arrangement as strings sweep, horns bray and the rhythm section play within themselves. The rest of Blue Magic add subtle harmonies.Ted eschews power, relying instead on a tender heartfelt vocal during this paean. Sometimes, to reinforce a lyric his vocal soars above the arrangement. This proves effective and demonstrates Ted’s ability to make a song come to life.
Four Leaf Clover sees a change in direction, as disco, funk and Philly Soul combine head on. It’s a catchy enough track, that Blue Magic try their best to make work. Ted especially, throws himself headlong into the lyrics. His falsetto soars, quivering above the arrangement. Punchy harmonies accompany him. So do a funky rhythm section, disco strings and bursts of braying horns. They do their best to help Blue Magic catch the disco bandwagon. This results in a good, but not great track.
Purple Passion is another dance-floor friendly track. Producer Skip Scarborough picks up where he left off on the previous track. The rhythm section provide the dramatic, dance-floor friendly heartbeat. Disco strings and flourishes of piano are added. They accompany the pounding disco beat. Ted vamps his way through the track, his vocal a mixture of sass, sensuality, power and passion. Harmonies sweep in as Ted showcases his inconsiderable skills, proving there’s more to Blue Magic than romantic ballads and slow jams.
Still In Love With You sees a return to what Blue Magic do so well, ballads. They surpass everything that’s gone before. Against a string drenched arrangement, horns bray and percussion and piano are added. Ted delivers a tender, heartfelt vocal. Cooing harmonies and swathes of strings accompany him. So did bursts of horns, percussion and chiming guitars. However, it’s Ted’s vocal that steals the show. He delivers a truly impassioned lead vocal. Sometimes, he sings call and response. Either way, Ted plays a huge part in the song’s success.
Message sees the tempo rising and Blue Magic heading for the dance-floor. The rhythm section aren’t at their best. They’re slightly loose, just like on Purple Passion. It’s not helped that on both tracks the drums are panned left, sitting at quarter-to-nine. Chiming guitars, rasping horns and percussion set the scene for Ted’s airy vocal. It’s accompanied by harmonies, dancing strings and rasping horns. However, the drums spoil the arrangement. They’d have been better in the middle of the arrangement as the arrangement sounds unbalanced. Despite that, Ted unleashes a vocal powerhouse. He grabs the lyrics and is determined to make them work. Just like the lyrics say, tries to “shine” and does. It’s just a pity the drums take the edge of the song.
A piano opens Sweet Woman, another ballad. It meanders into being before strings sweep and quiver. Ted’s scatted vocal soars above the arrangement. Meanwhile, piano, vibes, chiming guitar and the rhythm section combine. This time the drums are slap bang in the middle. What a difference this makes. Especially with the bass matching the drums every step of the way. Rasping horns and tender harmonies add a wistful twist to the track, as Ted delivers a vocal that’s a fusion of power, passion and emotion. He delivers the lyrics as if his very career depends on it. That’s why this is one of Message From The Magic’s highlights.
I Waited was the only single from Message From The Magic. Sadly, it too, failed to chart. This is one of three tracks not penned by Blue Magic. That’s obvious, as it doesn’t seem to suit them. Try as they may, the song doesn’t quite work. It’s an uptempo track with a jaunty arrangement. Horns growl while the rhythm section provide the heartbeat. Percussion is sprinkled across the arrangement. So are the harmonies that accompany Ted’s vocal. It’s wistful and tinged with regret. He really tries to breath life and meaning into the lyrics. Although he manages to do so, you’re left thinking that it’s the wrong song for Blue Magic.
Message From The Magic proved to be Blue Magic’s swan-song for Atco. After Message From The Magic failed to chart, Blue Magic decided to leave Atco. They didn’t record another album 1981s Welcome Back. Just like Message From The Magic, Welcome Back failed to chart. It wasn’t much of a Welcome Back. Sadly, Blue Magic never again enjoyed the critical acclaim or commercial success of their first three albums.
Blue Magic’s debut was released in 1974, the same year as The Magic of the Blue. A year later, Thirteen Blue Magic Lane was released in 1975. These three albums were produced by Norman Harris and featured an all-star cast of Philly’s greatest musicians, including M.F.S.B. and backing vocalists The Sweethearts of Sigma. The albums featured songs by Blue Magic and some of Philly’s top songwriters. Philly even provided the musicians who arranged the three albums. These three albums feature the best music of Blue Magic’s career. Things started to go wrong in 1976, as the disco became King.
Another change was that Norman Harris didn’t produce Blue Magic’s fourth album Mystic Dragons. Bobby “Electronic” Eli did. Bobby took Blue Magic out of their comfort zone, combining elements of funk, rock and even psychedelia with Philly Soul. He even used synths on Mystic Dragons. That was a disappointment. Without the dreaded synths, Mystic Dragons could’ve been a better album. However, on five songs that epitomised what Philly Soul was about, Blue Magic did what they do so well. However, given the change in musical tastes, Blue Magic’s music had to change.
That’s why Skip Scarborough was brought in. With a band made up of some of L.A. session players, Skip tried to work his magic and rejuvenate Blue Magic’s fortunes. Ironically, the result was The Magic of the Blue, the least successful album of Blue Magic’s career. For a group whose career was at a crossroads, The Magic of the Blue didn’t really offer anything new. It was a fusion of Philly Soul, disco and a smattering of funk.
Blue Magic were at their best on the tracks they wrote. Especially the ballads Can’t Get You Off My Mind, If You Want Me To, Still In Love With You and Sweet Woman. Then there’s Purple Passion and Message, dance-floor friendly track penned by Ted Mills, Keith Beaton and Richard Pratt. It’s the best of the dance tracks. That’s despite the problem with the drums on Message. These tracks show another side to Blue Magic as they try to clamber onboard the disco bandwagon. They do this successfully. Sadly, despot this, Message From The Blue a couple of tracks short of being a good album.
Of the other three tracks on Message From The Blue, Lady In My World Of Love was a quite beautiful, heartfelt ballad. Sadly, Phillip Bailey’s contributions let Message From The Magic down. Four Leaf Clover was a good, but not great dance track. Then there’s the disappointing I Waited, which was something of anti-climax. It was a disappointing way for Blue Magic to end their career at Atco. Even with Skip Scarborough who was enjoying hottest period of his career, producing Message From The Magic, Blue Magic’s time at Atco ground to a halt.
Blue Magic were no better of than if they’d stayed in Philly. Instead, they flew to L.A. and with a huge cast of musicians produced the least successful album of their career at Atco. Skip Scarborough failed to rejuvenate Blue Magic’s career. Rather than move away from romantic ballads and slow jams, he played to their strengths. That was balladry. There was a nod towards disco with Purple Passion, Message and the disappointing Four Leaf Clover. There was no way Message From The Magic was going to rescue Blue Magic’s ailing career. It was a very different story from 1974, when Blue Magic’s eponymous debut album was certified gold.
However, by 1978, music had changed and disco was now the most popular musical genre. Perfectly good albums were being overlooked. The only reason for this was they didn’t have a disco beat. It’s only over thirty years later that these albums are being rediscovered. Message From The Magic is an album that’s been overlooked since its release in 1978. It’s nowhere near as good as Blue Magic, The Magic of The Blue and Thirteen Blue Magic Lane, which feature Blue Magic at their very best. However, Message From The Magic is a couple of songs short of joining that triumvirate.
Having said that, Message From The Magic features several hidden gems and features the debut of Blue Magic MkII as they fuse Philly Soul, disco and funk. Message From The Magic is also a reminder of what Blue Magic, one of the finest purveyors of Philly Soul were capable of.
BLUE MAGIC-MESSAGE FROM THE MAGIC.
MUYEI POWER-SIERRA LEONE IN 1970s USA.
MUYEI POWER-SIERRA LEONE IN 1970s USA.
In the early seventies, Muyei Power had established a reputation as one of Sierra Leone’s top dance bands. Along with Afro Nation, Sabaoh 75 and Super Combo, Muyei Power provided the soundtrack to daily life in Freetown, Sierra Leone’s capital. Their music was a fusion of the music that was popular in Sierra Leone. This included Afrobeat, funk, jazz, pop, rock and soul. Muyei Power fusion of these genres proved popular not just in Sierra Leone, but much further afield.
This included in Spain and later, America. By 1975, the Orchestre Muyei Power had a sumer residency in Las Palmas. Their unique Afro-Rock sound quickly won over locals and tourists. The Orchestre Muyei Power lengthy sets were a mixture of covers of rock music and traditional Afro-beat. Throughout the summer of ’75, the Orchestre Muyei Power were hugely popular. So much so that a single Orchestre Muyei Power At The Beach Club was released. Following that summer residency in Las Palmas, the Orchestre Muyei Power followed the sun and headed to California.
When Muyei Power arrived in California in late 1975, they were originally booked to play on the college circuit. Just like in Spain, Muyei Power were soon winning friends and influencing audiences. As a result, Muyei Power toured extensively through the West Coast right through 1976. It was during this period that Muyei Power recorded five songs.
Having recorded the five songs, Muyei Power didn’t do anything with them till they started touring the East Coast. When they arrived in Brooklyn, New York Muyei Power they came across the owner of the African Record Centre. He released Muyei Power’s debut single Ben Ben Bee on Makossa International Records in 1976. After that, Muyei Power’s tour of America ended and they headed home to Sierra Leone. Nothing more was heard of the music Muyei Power had recorded until 1979.
That was when Makossa International Records released the first of a series of 12” featuring Muyei Power. This included Yamba Sowe in 1979. Wali Bena, Bi Loko and Jackitomboi in 1980. After that, no further music was released by Muyei Power. That’s until now. Soundway Records have just released Muyei Power-Sierra Leone in the 1970s USA. It features the five tracks that Muyei Power released during their tour of America during 1975 and 1976. Muyei Power-Sierra Leone in the 1970s USA features Muyei Power at their very best. It’s also all the music Muyei Power recorded.
Just after Makossa International Records released Muyei Power’s music in 1979, the band split-up. That makes Muyei Power-Sierra Leone in the 1970s USA all the more poignant. Not only was it the only music they recorded, but just after the music was originally released Muyei Power split-up. After the split, Abou Whyte, Muyei Power’s vocalist, and formerly the lead vocalist of the Merry-Go Jazz Band, went on to enjoy a successful career. No wonder. He was, by then, a musical veteran.
Abou Whyte was just eighteen when he became the lead vocalist of the Merry-Go Jazz Band in 1964. They were popular throughout the sixties. The Merry-Go Jazz Band combined covers of The Beatles and James Brown songs with Congolese rhumba. This was a potent and heady brew. Especially given how eclectic Sierra Leone’s music scene was.
Everything from the music coming out of the Caribbean, the Congo, French Antilles and Nigeria was influencing music in Sierra Leone. So was pop and rock, including British pop groups like The Beatles. Then when soul and funk began to become popular, James Brown inspired many a group in sixties Sierra Leone. This included a future bandleader, Abou Whyte.
Having been a member of the Merry-Go Jazz Band since 1964, Abou Whyte joined a newly formed band in 1971, Orchestre Muyei, which was formed by promoter Abu Sillah. Immediately, the newly formed Orchestre Mubye headed out on the first of a series of long and gruelling tours. From small villages to large towns, Orchestre Muyei arrived and played. Soon, Orchestre Muyei conquered Freetown, with their unique brand of Afro-Rock.
Orchestre Muyei combined pop and rock music with not just the music of Sierra Leone, but Nigeria and Congo. Through relentless tours the Orchestre Muyei had established a reputation as one of the most popular and progressive bands. The next step for the Orchestre Muyei was to conquer Europe and America.
Having enjoyed their summer residency in Los Palmas, the Orchestre Muyei Power followed the sun to California. Through late 1975 and into 1976, they toured the West Coast. It was during this period that Muyei Power recorded the six songs on Muyei Power-Sierra Leone in the 1970s USA.
The six tracks on Muyei Power-Sierra Leone in the 1970s USA are credited to Muyei Power. They wrote and produced the six tracks. Muyei Power’s lineup featured a rhythm section of drummer Larry Sandy, bassist G.B. Mustapha and rhythm guitarist Ed Boy. Joining them were lead guitarist Tamyu Sesay and horn player Sammy Dumbeh. About White was bandleader, lead vocalist and played congas. His vocals were augmented by David Mado and Dr. Chessie’s vocals. Recorded back in 1976, the five tracks on Muyei Power-Sierra Leone in the 1970s USA, which I’ll tell you about, have never been released as an album.
Wali Bena opens Muyei Power-Sierra Leone in the 1970s USA. This is sung in the Limba dialect. Translated it means “good morning, we’re enjoying ourselves.” So will the listener. From the get-go the arrangement literally explodes. The rhythm section and guitars drive the arrangement along. They’re augmented by percussion and congas. Abou’s vocal is a mixture of power and passion. Harmonies responding to his call, whilst the pulsating, frantic arrangement is a mass of drums, percussion, crashing cymbals and congas. Searing wah wah guitars and a blazing horn are unleashed. Add to this Abou’s vocal and the harmonies and it’s an irresistible fusion of Afro-beat, funk and rock.
Drums pound, hi-hats hits, whistles blow and Afro-beat guitars chime as Yamba Sowe unfolds. It’s sung in the Tembe language and is one of two adapted secret society songs. Muyei Power could’ve got into a lot of trouble recording these songs. The government saw this as an act of rebellion and could’ve lead to imprisonment. The rhythm section provide the pulsating heartbeat to heartfelt, soulful harmonies. Their soulfulness is contrasted by the arrangement. It’s like an express train. All you can do is sit back and enjoy the ride. Abou takes on the roll of cheerleader, encouraging the rest of Muyei Power to greater heights. Soulful harmonies, a blazing horn, percussion, congas and a rhythm section that fuse Afro-beat and funk create a track that’s akin to a call to dance. Irresistibly catchy and full of hooks, Muyei Power are quickly proving to be Sierra Leone’s best kept musical secrets.
Be Patient sees the tempo drop and a wistful horn set the scene. The arrangement is understated, with space left in the arrangement. Guitars chime, drums are played subtly and percussion sprinkled across the arrangement. Harmonies are full of emotion and heartache. They reflect the melancholia of the saxophone. Later, Muyei Power kick loose. Not only does the tempo increase, but the arrangement is a myriad of braying horns, thunderous rhythm section and percussive delights. Whistles, harmonies and rocky guitars add to the joyous, celebratory sound. Muyei Power are right, this track is a case of Be Patient.
Bi Loko sounds is a cross between James Brown and Afro-beat. It’s sung in the Limba dialect and means I love you. Anyone who likes their music funky will love this track. It has a punchy, funky arrangement. That comes courtesy of Muyei Power’s rhythm section. They join forces with bursts of growling horns, chiming guitars and percussion. Abou’s vocal is impassioned and augmented by harmonies. He’s no one-man band. Far from it. Muyei Power strut their way through the track mixing Afro-beat, funk, soul and rock. However, Tamyu Sesay’s blistering, scorching, guitar solo steals the show.
Ben Ben Bee closes Muyei Power-Sierra Leone in the 1970s USA. This is the second adapted secret society songs sung in the Tembe language. Percusssionm congas and the rhythm section combine before a grizzled horn soars above the arrangement. Abou sings call and respond. His vocal sits above the pounding, dance-floor friendly arrangement. The rhythm section, combining with chiming guitars and congas seem to raise their game. It’s as if they want to finish on a resounding high. They do. Not only are we reminded why Muyei Power were one of Sierra Leone’s top bands, but that some of the band were top class musicians, who when they unleashed a solo, shawn like the brightest star.
As I said earlier, Muyei Power are one of Sierra Leone’s best kept secrets. They only ever entered a recording studio once.That was in 1976, during a lengthy tour of the West Coast of America. Some of the results of that session feature on Muyei Power-Sierra Leone in the 1970s USA. This is a tantalising taste of one of Sierra Leone’s band at the peak of their powers. Sadly, by the time Makossa International Records released some of the songs on Muyei Power-Sierra Leone in the 1970s USA as 12” inch singles, the band had split. They’d gone there separate ways. Muyei Power was a case of what might have been.
If Muyei Power had been spotted by the right label, things could’ve been very different. Instead, they handed their master-tapes to the owner of the African Record Centre. He released Muyei Power’s debut single Ben Ben Bee on Makossa International Records in 1976. After that, Muyei Power’s tour of America ended and they headed home to Sierra Leone. By then, Muyei Power were history. After that, nothing was heard of Muyei Power.
That was until Soundway Records released Muyei Power-Sierra Leone in the 1970s USA. It features five tracks from Sierra Leone’s best kept musical secret, Muyei Power. These five tracks are a tantalising taste of Muyei Power’s irresistible and unique fusion of Afro-beat, funk, rock and soul. The music on Muyei Power-Sierra Leone in the 1970s USA features Sierra Leone’s best kept musical secrets.
MUYEI POWER-SIERRA LEONE IN 1970s USA.
HEDVIG MOLLESTAD-TRIO ENFANT TERRIBLE.
HEDVIG MOLLESTAD-TRIO ENFANT TERRIBLE.
Norwegian guitar virtuoso Hedvig Mollestad Thomassen first picked up a guitar when she was just ten. It was her mother’s much loved nylon strung acoustic guitar. This was the start of a lifelong love affair with the guitar. Now twenty years later, Hedvig is now one of Europe’s finest guitarists. Hedvig’s group, the Hedvig Mollestad Trio, will release their third album Enfant Terrible on 27th May 2014 on Rune Grammofon. It showcases Hedvig’s critically acclaimed guitar playing.
Her style is best described as a fusion of rock and jazz. That’s the music she discovered in her father’s record collection. Hedvig was inspired by rock legends Jimi Hendrix, Jimmy Page of Led Zeppelin and Tony Iommi of Black Sabbath. They inspired the blistering, scorching licks Hedvig unleashes. However, there’s more to Hedvig than this. Her playing can be restrained, cerebral, disciplined and innovative. This has also lead to comparisons with the Mahavishnu Orchestra’s John McLaughlin, Carlos Santana and Pete Cosey, whose Hendrix-esque guitar playing graced Miles Davis’ band between 1973 and 1975. Hedvig Mollestad you’ll realise is no ordinary guitarist.
Far from it. Anyone whose heard the Hedvig Mollestad Trio’s two previous albums will tell you this. Their debut album was was Shoot, released in 2011 on Rune Grammofon. This was two years after Hedvig founded the Hedvig Mollestad Trio in 2009. She brought bassist Ellen Brekken and drummer Ivar Loe Bjørnstad onboard. Straight away, critical acclaim came the Hedvig Mollestad Trio’s way.
At the prestigious Molde International Jazz Festival, won the award for the best “young jazz talent” of 2009. This lead to a tour of Norway in 2010. The Hedvig Mollestad Trio then recorded what became their debut album Shoot. When Rune Gramophone heard Shoot, they signed the Hedvig Mollestad Trio. Released to critical acclaim, Shoot was the start of the rise and rise of he Hedvig Mollestad Trio.
Following the release of Shoot, the Hedvig Mollestad Trio continued to tour extensively. They honed their sound by playing literally hundreds of concerts. Whether it was small jazz clubs or huge festivals including Øyafestival, Utkantfestival and Pstereo Festival they were familiar faces. Their sound was soon winning friends and influencing people.This was all good preparation for the recording of the Hedvig Mollestad Trio’s sophomore album, All Of Them Witches.
It was 2013 when the Hedvig Mollestad Trio’s 2013 sophomore album, All Of Them Witches was released. Not only was it critically acclaimed, but it won the Norwegian equivalent of a Grammy Award, in the rock category. Soon, The Hedvig Mollestad Trio were on their way.
Having won one of the most prestigious awards in their homeland, word was spreading about the Hedvig Mollestad Trio. This resulted in a second tour of Europe. Sweden, Denmark, Germany, Poland, Switzerland, France and Italy were introduced to the Hedvig Mollestad Trio. Then there were trips to Japan and Malaysia. During this period, critical acclaim was a constant companion for the Hedvig Mollestad Trio, who’d come a long way since they’d formed in 2009.
So had Hedvig. She’d come a long way since she received her first electric guitar as a confirmation present. Now she’s one of Europe’s top guitarists. In Decmeber 2013, she and the other two members of the Hedvig Mollestad Trio headed into the studio record their third album Enfant Terrible.
When the Hedvig Mollestad Trio arrived at Ocean Sound Recording, they had written six songs. Hedvig penned Liquid Bridges and Pity The Children. She cowrote Arigato, Bitch with Ellen Brekken, who wrote Laughing John. Drummer Ivar Loe Bjørnstad contributed Rastapopoulos and cowrote La Boule Noire with Hedvig. These six tracks would become Enfant terrible
Recording of Enfant Terrible took place at Ocean Sound Recording. Enfant Terrible was recorded onto an eight track tape-machine. The six tracks were recorded live by Henning Sworen. This is the old school way. It’s also how the artists who influenced Hedvig recorded their legendary albums. Her thinking must have been, if it’s good enough for Black Sabbath, Led Zeppelin, Santana, Jimi Hendrix and the Mahavishnu Orchestra, it’s good enough for The Hedvig Mollestad Trio as they mix classic rock and electric jazz on Enfant Terribe. This is a heady, potent and exhilarating brew, which I’ll tell you about.
Laughing John opens Enfant Terrible. Straight away, you can’t help but be impressed by the Hedvig Mollestad Trio. They kick loose from the get go. At the heart of the action is Hedvig’s blistering, scorching guitar licks. Ivar’s pounding drums and buzzing bass provide the backdrop for Hedvig. She unleashes a swaggering virtuoso performance. Her fingers nimbly flit up and down the fretboards. As a result the guitars shimmer, chime and take on a fuzzy sixties sound. It resonates, reverb reminding you how impressive a performance this is. It’s one that encapsulates the spirit of Jimi Hendrix.
Arigato, Bitch reminds me of Black Sabbath circa Paranoid and Masters Of Destruction. The music is dark and moody, as the Hedvig Mollestad Trio lock into the tightest of grooves. You could easily be forgiven for thinking that bassist Geezer Butler and guitarist Tony Iommi that are going toe to toe. It’s not. Instead, Hedvig’s guitar and Ellen Brekken’s bass roll back the years to create a slice of vintage rock. Midway through the track, sparse drums provide the heartbeat as Hedvig’s chiming, crystalline guitar takes centre-stage. It shivers and quivers, effects used sparingly. Reverb adds space to the sound, as Hedvig delivers a guitar masterclass. Her playing is restrained and disciplined. Later, the Hedvig Mollestad Trio join forces as the track reaches a glorious rocky crescendo. It’s like the Hedvig Mollestad Trio’s homage to Black Sabbath in their prime.
Rolls of drums open Liquid Bridges as Hedvig’s guitar and Ellen Brekken’s bass. The drums provide the slow, hypnotic heartbeat. Hedvig’s guitar and Ellen’s bass veers between rocky to restrained and disciplined. Rocky gives way to jazz-tinged. When the music is restrained, it’s as the Hedvig Mollestad Trio are toying with you. That’s the case. Soon, Hedvig unleashes some classic rock licks. Her, searing, scorching and soaring licks are a reminder of the early seventies. Hedvig’s playing is flawless. Similarly, Ellen and drummer Ivar Loe Bjørnstad never miss a beat. The result is a flawless fusion of electric jazz and classic rock.
Rastapopoulos is quite simply, two minutes of musical magic. It’s named after the in Tin Tin’s nemesis. What follows is a a roller coaster journey through classic rock. It’s a case of sit back and enjoy some blistering, scorching, screaming guitar licks, machine gun bass lines and thundering drums. Throw in some feedback and it’s the perfect way to spend two minutes.
La Boule Noire has a dark, dramatic sound. The Hedvig Mollestad Trio unite to create this moody, gothic sound. The rhythm section and Hedvig’s searing, scorching guitars drive the arrangement along. The tempo is slow, allowing you to revel in a bass and guitar masterclass. Hedvig’s guitar and Ellen’s bass lock horns. They both play a part in the track’s sound and success. Then when the band kick loose, Hedvig delivers one of her best solos. Her fingers fly up and down the fretboard, unleashing a series of scorching, soaring power chords. This spurs the rest of the band on. They up their game on this seminal eight minute heavy rock epic.
Pity The Children closes Enfant Terrible. It has an understated, wistful, melancholy sound. Everyone plays within themselves. Guitars shimmer and quiver, while cymbals shiver. Then drums pound hypnotically and the bass and guitars join forces. You sense that the Hedvig Mollestad Trio are going to kick out the jams one more time. Briefly, they do. They return to a much more restrained style. This allows Hedvig to showcase her considerable skill. Her crystalline guitar chimes, climbs and soars high above the arrangement. That seems to be the signal for the band to kick loose. This they do, but only briefly. After that, the track heads to an understated, wistful and beautiful crescendo, that allows you to hear two sides to the Hedvig Mollestad Trio’s music.
Enfant Terrible is only the third album of the Hedvig Mollestad Trio’s career. They;ve come along way since they were founded in 2009. Now they’re one of Norway’s top bands, who are making a name for themselves worldwide. That’s why in 2013 they were invited to play SXSW, and they’ve also been invited to play several concerts in Canada in 2014, including the Ottawa Jazz Festival. No wonder. The Hedvig Mollestad Trio are a hugely talented band with a big future ahead of them. Hopefully, Enfant Terrible will help them make the next step. After all, Enfant Terrible is the finest album of the Hedvig Mollestad Trio’s career.
The Hedvig Mollestad Trio an example of a tight and talented band who have spent the last few years honing their sound. Their constant touring has paid off. It’s the only way for a band to tighten and hone their sound. It also allows a band to build a fan-base and honing their sound. The Hedvig Mollestad Trio like countless other bands over the past fifty years have done this. Now is the time for them to enjoy the fruits of their labour. This has paid off.
Enfant Terrible is, without doubt, a career defining album from the Hedvig Mollestad Trio. They seamlessly shift between musical genres. Bues, jazz, psychedelia and rock are thrown into the mix by the Hedvig Mollestad Trio’s. Sometimes, Bushman’s Revenge seamlessly switch between musical genres mid track. Not every band can do this. Mind you, not every band is as talented as the Hedvig Mollestad Trio. They’re more than capable of throwing a series of curveballs, and lulling you into a false sense of security. It’s the Hedvig Mollestad Trio’s way of making sure you’re listening as they strut and swagger their way through the six tracks on Enfant Terrible.
For much of the time, the Hedvig Mollestad Trio are a hard rocking power trio. They can kick out the jams like the hardest rocking power trios. That’s why they’ve a huge following not just throughout Europe, but as far afield as Japan, Malaysia and Canada. As the Hedvig Mollestad Trio kick out the jams, they bring back memories of rock legends like Jimi Hendrix, Led Zeppelin, Black Sabbath and Cream. Then there’s the electric jazz of Mahavishnu Orchestra, Santana and Miles Davis between 1968 and 1975. That’s the music that’s influenced Hedvig Mollestad Thomassen growing up.
The same music has inspired Hedvig’s band, the Hedvig Mollestad Trio. Their third album Enfant Terrible, will be released on on 27th May 2014 on Rune Grammofon. Enfant Terrible is a career defining album that marks the coming of age of one of Norway’s premier bands, the Hedvig Mollestad Trio.
HEDVIG MOLLESTAD-TRIO ENFANT TERRIBLE.
SLY AND ROBBIE-UNDERWATER DUB.
SLY AND ROBBIE-UNDERWATER DUB.
For over forty years. Sly and Robbie have been reggae’s go-to rhythm section. They’ve also established a reputation as a talented and innovative production team, producing reggae royalty like Prince Jammy, Peter Tosh, Linval Thompson, Bunny Wailer, Black Uhuru and The Revolutionaires. However, it’s not just reggae artists who Sly and Robbie have produced. Far from it.
Sly and Robbie have produced the great and good or music. This includes everyone from Bob Dylan, Herbie Hancock, Serge Gainsbourg, Grace Jones, Mick Jagger and The Fugess. These are just a few of the artists Sly and Robbie have produced during the last forty years. This is just the tip of a musical iceberg. It’s estimated that Sly and Robbie have played on and produced several thousand recordings. This includes the albums Sly and Robbie have recorded during their solo career.
The latest addition to Sly and Robbie’s discography is Underwater Dub, which was released on 28th April 2014, on Groove Attack. Underwater Dub is the followup to 2012s Blackwood Dub. Just like Blackwood Dub, Underwater Dub was recorded at Harry J’s recording studio, in Jamaica. Producing Underwater Dub was Alberto “Burur” Blackwood of Slam Records and Groove Attack. Alberto couldn’t have picked a better studio for Sly and Robbie.
Harry J’s is one of the most prestigious studios and is like a second home for Sly and Robbie. They’ve recorded at Harry J’s many times since the mid-seventies, when Sly and Robbie established their forty year partnership.
Back in the mid-seventies, drummer Sly Dunbar was the drummer for Skin, Flesh and Bones. Robbie Shakespear was the bassist for the legendary band The Aggrovators. When they met, it was a musical meeting of minds. They both shared a love of Stax, Motown, Philly Soul, country music and classic reggae. Their favourite reggae labels were Channel One and Treasure Isle. Sly and Robbie also shared the same theories about music, and how music should be made. This was the start of a partnership that would last forty years and 200,000 recordings. Their latest recording was Underwater Dub.
At Harry J’s recording studio, Sly and Robbie recorded ten tracks they’d written with producer Alberto “Burur” Blackwood. Accompanying the legendary rhythm section of Sly on syn drums and percussion and Robbie on bass and guitar were guitarists Mikey Chung, Radcliffe “Dougie” Bryan, Daryl Thompson and Dalton Browne. They were joined by keyboardists Robbie Lyn, Frankie Waul and Steven “Leaky” Marsden, while Uziah “Sticky” Thompson added percussion. Horns came courtesy of saxophonist Tony Green, trumpeter Hopeton Williams and trombonist Everald Gayle. These musicians played on the ten tracks that became Underwater Dub, the much anticipated followup to Blackwood Dub, which I’ll tell you about.
Opening Underwater Dub is Dictionary. From the get-go Sly and Robbie join forces. Sly’s syn drums crack and Robbie’s bass probes. They’re joined by the melodic sound of a Hammond organ. Soon, the the dubby arrangement is panned. It assails and surrounds you. Later, guitars chime, drum crack and Robbie’s thunderous bass tests the tolerance of your speakers. Especially when echo and reverb are added. Then when the arrangement is stripped bare, Sly and Robbie showcase their rhythmic talents. They’re joined by percussion, which flits in and out of the mix. The mix veers between slow, moody and broody to melodic, as Sly and Robbie, dub’s innovators, return determined to reinvent dub.
From the opening bars, Forward March has a dubby sci-fi sound. This is is 21st Century dub. One thing remains the same, Sly and Robbie. They lock into the tightest of dubtastic grooves, while the futuristic sci-fi sound is ever-present. It’s accentuated when effects are added. This includes filters and reverb. Despite this, you can still hear Sly and Robbie in the distance, as they deliver a 21st futuristic Century dub masterclass.
French Woman has a bright, upbeat and melodic sound. Crystalline guitars, percussion and bubbling synths join reggae’s greatest rhythm section. Soon, Sly and Robbie unleash a myriad of effects. Again, the arrangement is panned. It swirls around your head, hidden behind filters. Reverb and echo are added. Guitars resonate into the distance, while Sly’s drums and Robbie bass are shrouded by filters. This adds to the dubby, lysergic and innovative sound. Sly and Robbie continue their dub revolution.
A reveille sound as Spray Belly gets underway. This is the signal for Sly and Robbie to gallop centre-stage. Accompanied by keyboards, guitars and percussion the arrangement explodes into life. Then the effects are added. Filters are used effectively. Sly and Robbie tease you, letting you hear more or less of the pounding, galloping arrangement. This results in a slice of vintage dub courtesy of Sly and Robbie.
As Great Wall reveals its secrets, Sly and Robbie’s rhythms are joined by blazing horns, bubbling synths, percussion and chiming, crystalline guitars. It’s a heady brew. Before long, producer Alberto “Burur” Blackwood reaches for his trusty effects. Filters, reverb and echo are added. He uses the effects effectively, especially when highlighting parts of the arrangement. This includes Robbie’s pulsating bass. It never misses a beat and is a reminder of why Robbie’s one of reggae’s greatest bass players. Then there’s the braying horns, reverb adds space, allowing them to disappear dubbily into the distance.
Stormy has a dark, dramatic arrangement, where dub meets rocky guitars. Sly and Robbie unleash hypnotic, mesmeric rhythms. At the heart of the arrangement is a haunting sound. It’s equally hypnotic. So much so, that you’re captivated. Having said that, you’re still aware of the machine gun, rocky guitars, percussion and handclap. They flit in and out of the haunting, mesmeric arrangement to what’s one of Underwater Dub’s best tracks.
A robotic warning sounds as the futuristic arrangement to War Zone unfolds. This is Sly and Robbie’s signal to enter this dub War Zone. It’s a mass of shimmering, crystalline guitars and bubbling synths. Sly and Robbie lay down some of their finest rhythms. Robbie’s pulsating, pounding bass is joined by Sly’s drums. They’re crisp, cracking and pounding, resonating and reverberating like the chiming guitars. Effects are used much more sparingly on a track that’s a glorious fusion of dub’s past, present and future.
Daphne has a much more laid back, melodic sound. Sly and Robbie roll back the years and deliver another dub masterclass. Sly’s drums provide the heartbeat. Robbie plays a starring role, his pulsating bass line at the heart of the track’s sound and success. His fingers flit up and down the fretboard. Echo is added to the drums, while synths bubble and guitars shimmer. They’re joined by percussion and handclaps. Here, the effects aren’t overused. No. Instead, they’re used sparingly and effectively. This results in a slice of musical sunshine.
Dramatic. That describes the introduction to Melissa. Feedback squeals, drums pound and Robbie’s bass rumbles, dominating the arrangement. Effects are unleashed, but not overused. Playing an important role is percussion. it adds a hypnotic sound. It’s mesmeric and joined by bursts of shimmering, dubby guitars. Keyboards and feedback drifts in and out. `However, it’s Sly and Robbie’s rhythms that are at the heart of this track’s success. It’s classic dub with a 21st century twist.
Thumb Drive, a ten minute Magnus Opus closes Underwater Dub. Straight away, the arrangement has a melodic, soulful sound. This comes courtesy of keyboards, bubbling, buzzing synths, crystalline guitars, percussion and rhythms Sly and Robbie style. Sometimes, the arrangement is masked by filters, so you can only hear a tantalising taste of the music. Other times, the arrangement assails and surrounds you. It’s transformed by effects. Then later, Sly and Robbie change direction. They seem to relish the opportunity to experiment, incorporating elements of funk, jazz and electronica. Whilst all this is happening, heavy duty effects are unleashed. Reverb, echo and filters transforms the music, which takes on a futuristic, sci-fi sound. The result is dub Sly and Robbie style. By this I mean innovative, ambitious and groundbreaking.
Underwater Dub is very different from many of the projects Sly and Robbie have been involved with. Producer Alberto “Burur” Blackwood is actually Sly and Robbie’s in-house engineer. However, back in 2011, Alberto invited his bosses to record a new dub album. They accepted Alberto’s commission. The result was Blackwood Dub. It was released to critical acclaim in 2012. So, it made sense to record a followup. The only problem was fitting what became Underwater Dub into Sly and Robbie’s schedule. As the go-to rhythm section and production team for many of music’s top artists, they don’t have much down time. When they did, they headed to the familiar surroundings of Harry J’s recording studios. That’s where Sly and Robbie laid down one of the most ambitious, innovative and exciting albums of their careers, Underwater Dub.
Underwater Dub is like nothing else Sly and Robbie have recorded. They’ve drawn inspiration from Afrobeat, drum ’n’ bass, electronica, hip hop, R&B, rock and soul. All these influences shine through on Underwater Dub, which is best described as an album of adventurous soundscapes.
Sly and Robbie collaborated with some top musicians on Underwater Dub. Their rhythms were augmented by everything from bubbling synths, dusty Hammond organs, African percussion and rocky guitars. The result was an adventure in sound Sly and Robbie style. By this I mean the music is innovative and ambitious. It’s as if Sly and Robbie are determined to rewrite dub’s rules.
That’s no bad thing. After all, if music doesn’t evolve, it risks becoming irrelevant. Sly and Robbie realised this back in the eighties, and started using synths on dub albums. This didn’t please traditionalists. They felt there was no room for synths or technology. For dub, thinking like this spelt disaster. Unless dub evolved, it risked becoming a relic of the past. Thankfully, not every producer agreed with the traditionalists. Technology was incorporated into recording studios and dub evolved. Now, however, Sly and Robbie are determined to reinvent dub.
They’ve incorporated numerous musical genres during the ten tracks on Underwater Dub. This includes Afrobeat, drum ’n’ bass, electronica, hip hop, R&B, rock and soul. It’s a glorious melange of influences. They shine through during the musical adventure that’s Underwater Dub. The result is compelling and captivating music. Underwater Dub is also innovative, inventive and influential. Mind you, that’s what we’ve come to expect from the hardest working men in dub, Sly and Robbie, whose critically acclaimed new album Underwater Dub is out now on Groove Attack.
SLY AND ROBBIE-UNDERWATER DUB.
SPACE MONKEY-THE KARMAN LINE.
SPACE MONKEY-THE KARMAN LINE.
Over the last few years, Gard Nilssen has gained a reputation as one of Norway’s top drummers. He also deserves to be described as an innovator. Anyone whose heard Gard’s work with Astro Sonic, Puma, The Trondheim Jazz Orchestra and Susanne Sunfor’s band will realise realise this. Then there’s the six albums Gard has recorded with Bushman’s Revenge.
Their most recent album was Thou Shalt Not Boogie. It was released in January 2014 to critical acclaim. It’s no exaggeration to say that Thou Shalt Not Boogie is one of the best albums of 2014. However, Gard isn’t resting on his laurels. No way.
On 12th May 2014, Gard will return with his latest collaboration. This was with another of Norway’s most innovative musicians Morten Qvenild. Morten has an equally impressive CV. He’s previously worked with In The Country, Shining, Jaga Jazzist, Trinity and Susanna and The Magic Orchestra. The latest addition to Morten’s CV is sPace monKey, whose debut album The Karman Line will be released by Hubro Music on 12th May 2014. sPace monKey, which is one of the most exciting and innovative collaborations of 2014, was the result of a chance meeting between Morten and Gard.
Having played in some of Norway’s most groundbreaking groups Morten and Gard were both members of Mathias Eick’s band. Morten was the pianist and Gard the drummer. They both enjoyed working together. So, much so, that Morten and Gard decided to collaborate. This wasn’t going to be a full-blown band, just a duo, sPace monKey. There was a reason for this.
Morten and Gard found the idea of working as a duo compelling. It allowed them for freedom to express themselves. There was the opportunity to innovate and take their music in different directions. This meant improvising. The result was The Karman Line, an album containing nine spacey and intriguing soundscapes. sPace monKey spring a series of surprises it’s a case of don’t try and second guess sPace monKey. That’s not possible. It’s also one of the reasons that sPace monKey’s debut album The Karman Line, is such a captivating album.
The Karman Line featuries nine tracks written by Morten and Gard. They arranged and produced The Karman Line, which was recorded at Propeller Studio, Oslo. At Propeller Studio, Morten played hyper-piano and is responsible for programming. Both Morten and Gerd take charge of electronics. Gerd plays drums, gongs, bells and vibes. Jørgen Træen was the only guest artist on The Karman Line. He played modular synth on Digital Cigarettes. The other eight tracks on The Karman Line, which I’ll tell you about, are Morten and Gard, sPace monKey.
Opening sPace monKey’s debut album The Karman Line is Aeronautics. Wistful and thoughtful describes this track. Just a piano and drums combine to create a poignant, melancholy arrangement. It’s akin to an outpouring of emotion and sadness. Later, brief bursts of strings flit in and out of the arrangement. Then midway through the track, it heads in the direction of avant garde and experimental. The piano becomes almost discordant. Feedback is fired above the arrangement. By now, the track has become the equivalent of Primal Scream Therapy. That’s before thunderous drums power the arrangement along to its dramatic crescendo. This proves the perfect way to close this innovative and ambitious track.
Chopping Wood In My Brand New Moon Boots has an understated and pensive arrangement. Just a lone piano dominates the arrangement. In the distance, instruments flit in and out. Bells ring and jangle, while bursts of electronica interject. Thoughtfully, the arrangement meanders along. Drums mark the time, while Morten’s piano playing is deliberate. He adds a darkness to the arrangement. There’s a sense of pathos to the haunting arrangement. Although haunting, there’s a beauty to the music which can’t help but move you.
Digital Cigarette features guest artist Jørgen Træen on modular synth. Straight away, the arrangement is atmospheric and takes on a cinematic sound. Bubbling synths, flourishes of piano and rolls of drums combine avant garde, experimental, and free jazz. Cymbals crash, drums pound. At one point, it’s as if you’re on a train journey across the Mid west. This is no ordinary road trip. Later, layers of music intermingle. Thundering drums, buzzing synths, crashing cymbals and a myriad of other effects combine with a jangling piano. Post rock, psychedelia and rock are thrown into the melting pot by sPace monKey as they push musical boundaries to their limits and way beyond, resulting in a groundbreaking 21st century sonic experience.
From the get go, Darkness has a moody, broody, gothic sound. The arrangement slowly unfolds. Deliberate and dramatic flourishes of piano take centre-stage. A droning sound escapes from the arrangement. As a result, the Darkness doesn’t just descend, but envelops you.
Blue Baboon and Carpenter is one of the slower tracks on The Karman Line. Again, it has a cinematic sound. sPace monKey’s instruments tell the story of the Blue Baboon and Carpenter. sPace monKey replicate the sound of hammers, drills and the baboon. Mostly, they use slow, plodding and drums and a melancholy piano. This is hugely effective. However, having said that, there’s a sense of sadness in the music which is also quite beautiful.
Dramatic and futuristic. That describes sPace monKey. It sounds like part of the soundtrack to a sci-fi film. You can imagine a spaceship making its way from a distant galaxy. Providing the soundtrack are banks of synths, electronics and rolls of drums. Beeps and squeaks are the perfect addition. They add to the futuristic sound. Later bursts of free jazz piano, crackling electronica, rolls of pounding drums and sci-fi synths add to the drama of this futuristic space odyssey, sPace monKey style. sPace monKey sounds like the soundtrack to a dramatic sci-fi movie waiting to be made.
Just like other tracks on The Karman Line, Meanwhile In Galaxy Far Away has a spacious sound. A piano jangles hesitantly in the distance. It’s unaccompanied. That’s until bursts of drums and then feedback enter. By now, layers of music assail you. A thunderous bass and drums help power the arrangement along. This allows sPace monKey to stretch their legs. That’s apart from the piano. It’s still hesitant. Towards the end, the track takes on a minimalist and futuristic sound, as if sPace monKey have reached the distant galaxy.
Long Distance Call shimmers then drones into being. Again, there’s a moody, dark and futuristic sound. The arrangement’s futuristic, sci-fi sound surrounds you. It has an edgy sound. Gradually, the drama and moody sound grows and builds. Then in the distance, a piano jangles and resonates. Later, the arrangement changes. While the darkness hasn’t lifted completely, it takes on an ethereal sound. That comes courtesy of the keyboards. The drums are responsible for the darkness and drama. They’re the perfect foil for the keyboards and both play equally important parts in this track’s sound and success.
sPace monKey’s journey is almost over. Landing Day closes The Karman Line. Deliberate stabs of ethereal, dreamy keyboards dominate the arrangement. They almost disappear into the distance, as if heading for a distance galaxy. All that’s left is a sense of melancholia, that this beautiful, ethereal and wistful track is over.
The Karman Line is best described as a groundbreaking, genre-melting musical journey from two of Norwegian music’s innovators, sPace monKey. sPace monKey are Gard Nilssen and Morten Qvenild. They’re both experienced musicians who’ve been mainstays of Norway’s thriving musical scene. However, The Karman Line is their first collaboration as sPace monKey. Hopefully, The Karman Line won’t be sPace monKey’s last album. Especially considering sPace monKey have created music that’s ambitious, influential, innovative and inventive.
Throughout The Karman Line, sPace monKey strive to reinvent their music and push musical boundaries. Sometimes, musical boundaries are pushed to their limits. Other times, boundaries are broken and rules rewritten. It’s as if sPace monKey aren’t content to stand still on what’s essentially a musical adventure.
Throughout The Karman Line, sPace monKey’s music constantly changes. Sometimes, it’s hard to believe it’s the same band. The music veers between wistful, melancholy and pensive, to dark, dramatic and disturbing. It’s also eerie and moody. Sometimes, it’s beautiful and melancholy. The music on The Karman Line is always ambitious, bold, challenging, influential and innovative as sPace monKey take you on a futuristic, genre-hopping musical journey.
During this musical journey, sPace monKey’s music is full of nuances, subtleties and surprises. sPace monKey combine everything from ambient, avant garde, classic rock, electronica, experimental, post rock and psychedelia on The Karman Line. It will be released by Hubro on 12th May 2014. This is just the latest critically acclaimed album from Hubro Music, who are fast gaining a reputation as a label who release groundbreaking albums. The Karman Line, sPace monKey’s debut album is proof of this.
The Karman line is without doubt one of the most ambitious and innovative genre-melting albums of 2014. Featuring nine improvised soundscapes, it’s a mesmeric fusion that captivates and compels. You’re taken on a nine musical journeys. Subtleties and surprises are constantly sprung, sPace monKey aren’t afraid of changing direction. Throughout The Karman Line, it’s a case of expect the unexpected as sPace monKey innovate and improvise creating music that’s captivating, compelling and groundbreaking.
SPACE MONKEY-THE KARMAN LINE.
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