SERENA KERN-I LIED E.P.
SERENA KERN-I LIED E.P.
Hardly a day goes past without me receiving press releases about artists who have “a big future ahead of them.” Sadly, that’s often wishful thinking. Either that, or the result of an over exuberant P.R. company. Not in the case of Serena Kern. Serena Kern is the real deal. She has a big future ahead of her. However, London-based lawyer, Serena Kern might seem an unlikely singer. That’s not the case though.
From an early age, music has played an important part in Serena Kern’s life. She grew up in the mountains of Southern India, where Serena listened to Tamil film music and later, Bollywood music. Serena’s father travelled widely, and brought Serena a selection of Western music. This was the music that provided the soundtrack to the early part of Serena’s life.
In 2005, Serena had just finished college, and was awaiting the results of her IGCSE exam. Serena achieved the highest marks in the IGCSE exam in India in 2005. This resulted in Serena heading to one of the most prestigious universities in the world.
Next stop for Serena was the prestigious London School of Economics. Having graduated, Serena secured a position with one of the top global law firms in London. Somehow, she manages to juggle a high pressure position in a firm of international lawyers with her music career.
Over the last few years, Serena Kern has been winning friends with her unique brand of soulful pop. So much so, that Serena has a large fan base worldwide. Many of them will have heard Serena’s 2011 debut album Sui Generis. However, her fan base is sure to increase with the release of Serena’s I Lied E.P. on 7th May 2014.
From the opening bars of I Lied, you’re captivated by a soul-baring, impassioned and emotive vocal from Serena. It’s accompanied by a slick, polished arrangement. This compliments Serena’s vocal perfectly and showcases Serena Kern’s unique brand of soulful pop. There’s more to I Lied than one track. Much more.
Lullaby is quite different from I Lied. It features a tender, ethereal vocal from Serena. Wistful and dreamy describes her vocal. As for the arrangement, it’s understated with just an acoustic guitar and drums played with brushes accompanying Serena.
The rueful Better to Have Loved is another ballad, but has an Indian influence. Serena breathes life and meaning into the lyrics. It’s as if she’s lived, loved and survived the pain and hurt. With a delicious fusion of influences, Better to Have Loved, which is a track from Serena’s 2011 debut album Sui Generis, shows what Serena is capable of.
For those yet to discover Serena Kern, her I Lied E.P. is the perfect introduction to a hugely talented singer-songwriter. I Lied Is the next chapter in the Serena Kern story. The Swiss-Indian singer-songwriter has come a long way since her 2011 debut album Sui Generis.
Serena has won over a whole host of new fans. They’ve been captivated by her autobiographical songs. Serena breathes life, meaning and emotion into each song. She becomes a storyteller. Each of Serena’s songs tell a story. They’re a snapshot into her world. Serena’s songs are also wistful, beautiful, ethereal, pensive and powerful. That’s why Serena Kern has a big future ahead of her.
After the release of I Lied on 7th May 2014 you’ll be hearing a lot more from Serena Kern. Who knows, maybe Serena Kern will be swapping her law books for a full-time musical career? Let’s hope so.
SERENA KERN-I LIED E.P.
BOMBAY DISCO-DISCO HITS FROM HINDI FILMS 1979-1985.
BOMBAY DISCO-DISCO HITS FROM HINDI FILMS 1979-1985.
Disco. Never has a musical genre divided opinion like disco. For some people, disco was the musical equivalent of a four letter word. In their eyes, disco sucked. That was the case back in 1979. Thirty-five years later, disco still divides opinion.
During the thirty-five year period, disco has flitted in and out of popularity. Over the last couple of years, there’s been a resurgence in disco’s popularity. However, record labels have become complacent.
They’ve got to the stage that they think they can put disco in the title and music lovers will blindly buy a copy. Not any more. Over the last year, the standard of so called disco compilations have hit rock bottom. Things have got so bad that in 2014, I’ve not reviewed any disco compilations. There’s a reason for this. The compilations released during 2014 are described as third rate at best. They usually have titles like The Best Disco Album, Top 30 Disco or Disco Funk. They’re like a one-night stand, they’ll leave you feeling guilty and full of regret. If you see these albums, do as Dionne says and “walk on by.”
It’s labels big and small that have been guilty of jumping on the disco bandwagon. Among them, are previously successful reissue labels. That wasn’t their best decision. Barrel scraping describes their output. That’s why I’ve been casting my net wider for music to review. After all, there’s more to third rate disco, including badly remastered rambling remixes from DJs who aren’t even household names in their own houses. There’s more to music than disco, much more. However, I’ve decided to make an exception for a disco compilation the was released on 17th March 204. That’s Bombay Disco-Disco Hits From Hindi Films 1979-1985 by Cultures Of Soul Records.
The title Bombay Disco-Disco Hits From Hindi Films 1979-1985 is slightly misleading. Disco was long dead by then. Its death happened at Comiskey Park, Chicago on 12th July 1979. After disco’s demise, boogie, Italo Disco and Chicago House filled the void left by disco. However, in India, disco was still popular in the late seventies.
Especially in the home of Bappi Lahiri. He’d been caught up in the disco boom. However, it was the disco-lite diet of the Bee Gees, Abba and the dreaded Boney M that Bappi was weaned on. This would go onto influence him as a composer.
Bappi was a musical prodigy, who was born into a musical family. He grew up to become a songwriter, musician and musical director. Indeed, Bappi was the youngest musical director in India. He was a teenager when he started writing scores for Bengali films. His first success came with Chalte Chalte in 1975, when he was only twenty-two. Four years later, Bappi got his big break.
It was 1976, Bappi was twenty-six. He was a prolific composer, with a successful track record. That’s why the producer of Surakksha Gunmaster G9 approached Bappi. He told Bappi: “I want you to give me music like in Saturday Night Fever.” That’s what Bappi delivered. Bombay Disco had just been born.
There’s thirteen examples of Bombay Disco on Bombay Disco-Disco Hits From Hindi Films 1979-1985. Fittingly, five of the thirteen tracks on Bombay Disco-Disco Hits From Hindi Films 1979-1985 feature Bappi Lahiri. Then there’s tracks from Usha Kuthup, Asha Bhosle, Kishore Kumar and Salma Agha. These tracks featured on films released between 1979 and 1985 and are epitomise what Bombay Disco is all about. However, what are the highlights of Bombay Disco-Disco Hits From Hindi Films 1979-1985?
Usha Uthup and Chorus’ Hari Om Hari opens Bombay Disco-Disco Hits From Hindi Films 1979-1985. This is a track from the soundtrack to Pyaar Dushman, which was released in 1980. Dramatic, cinematic and funky describes the track. Bubbling synths join the rhythm section. It sounds as if it belongs on a Blaxploitation soundtrack. They combine with sweeping disco strings. Then comes the vocal. Sassy and sensual, it’s sung in a call and response style. Locking into a groove with the harmonies it’s akin to a sassy mantra. Later, things get uber funky, before briefly, the track pays homage to Eruption’s One Way Ticket. Dance-floor friendly, funky and soul, it’s also a dramatic and cinematic opus.
It’s fitting that the first Bombay Disco track features on Bombay Disco-Disco Hits From Hindi Films 1979-1985. Bappi Lahiri and Chorus’ Mausam Hai Gaane Ka was the song that launched musical a genre. Taken from the 1979 low budget film Surakksha Gunmaster G9, the scene is straight out of Saturday Night Fever. The main difference is that the lead character is a government agent. Gradually, the atmosphere and drama builds. It might seem a slow burner, but remember this is for a film soundtrack. Listening to the track in isolation means you’re only getting half the information. It’s worth the wait when this pulsating slice of strutting music unfolds. Horn blaze, strings dance and hearts melt as Gunmaster proves to be the hero of the day. For five minutes, Bollywood meets Hollywood, as funk, pop, soul and disco play their part in a genre-melting track.
Moody and melodramatic describes the introduction to Udi Baba. It’s a track from Asha Bhosle and Chorus that featured in the 1982 film Vidhaata. From the opening bars you’re hooked. After a understated, broody introduction your speakers are punished to their limits. Then comes the vocal. Sung in a call and response style, it’s sensual and breathy. Harmonies, horns and percussion are added. They add to the sensual, hook-laden sound that once you’ve heard, won’t forget.
Asha Bhosle and Bappi Lahiri join forces for the irresistible Bugi Bugi. It featured in the 1985 movie Kismetwala. The scene it provides the backdrop to is one everyone should see once. Shakti Kapoor is at the bar drinking copious amounts of alcohol, whilst watching an female band sing Bugi Bugi. Having drunk enough to floor a small army, Shakti decides to jump onstage. He proceeds to gyrate whilst singing Bugi Bugi, which is a fusion of Euro Pop, funk, disco and soul. Full of hooks, it’s an irresistible track that’s guaranteed to fill any dance floor.
Bappi Lahiri’s Discotheque Music bursts into life the rhythm section and rocky guitars propelling the arrangement along. There’s references to Donna Summer’s Love To Love You Baby and surf music. Then there’s dancing disco strings. Along with the growling horns, they’re at the heart of what’s two minutes of musical magic, from the 1979 film Shikshaa.
Genre-melting describes Karate, a track from Bappi Lahiri and Amit Kumar. This was the title-track to the 1983 film Karate. No ifs, no buts, it sounds like the soundtrack to a Kung Fu flick. Having said that, it’s more like Kung Fu after a gak binge. Frantic and frenzied describes the music. Screechy strings, the funkiest of bass, handclaps, percussion and piano are combined with harmonies, before horns bray. There’s a brief classical music. Then there’s the vocal. It’s variously joyous and dramatic. At the breakdown, the arrangement’s stripped bare. Having toyed with you, it’s a case of rebuilding. If anything, things get even better. Just like so many tracks on Bombay Disco-Disco Hits From Hindi Films 1979-1985, it’s akin to a call to dance. You can’t help but submit to this track’s joys and dance like you’ve never danced before.
Award winning producer Giorgio Moroder is, he has a lot to answer for. If he’d never produced Love To Love You Baby, he wouldn’t have inspired a thousand impersonators. Thankfully, Usha Uthup’s Main Gul Badan, a track from the soundtrack to 1984s Locket, is one of the better ones. Bubbling synths and a sensual, vampish vocal join forces. This sets the scene. Strings sweep and swirl, while percussion, drums and synths combine. Crucial to the track is the vocal. Sassy and sensual, accompanied by harmonies it’s a successful homage to Donna Summer and of course, Giorgio Moroder.
Closing Bombay Disco-Disco Hits From Hindi Films 1979-1985 is Salma Agha and Bappi Lahiri’s Jeena Bhi Kya Hai Jeena (Part 2). It’s a track from Kasam Paida Karnewala Ki, a film from 1984. It doesn’t take much more than a couple of bars before you realise that this is what is best described as a tribute to Michael Jackson’s Billie Jean. it’s a myriad of bubbling, sci-fi synths, shrill strings, percussion and pulsating bass. Then there’s the vocals. They’re sung in a call and response style and veers between needy, urgent and joyous. The result is Billie Jean like you’ve never heard before.
Earlier, I bemoaned the lack of quality disco compilations. That’s been the case for the second half of 2013 and all of 2014. Then out of nowhere, came Bombay Disco-Disco Hits From Hindi Films 1979-1985. Thirteen tracks of what became known as Bombay Disco. Ironically, by then, disco was long dead in America.
Disco had gone from hero to zero in the space of a year. Suddenly, disco sucked. Disco’s downfall started on Christmas Eve 1978, That’s when Steve Dahl was fired by Chicago radio station WDAI. It had previously been a rock station, but switched to disco. Steve wasn’t out of work long. He was hired by WLUP, a rival station. WLUP played rock, which suited Steve Dahl. He’d an inkling that disco wasn’t long for this world.
Steve wasn’t a fan of disco, and took to mocking disco on-air. Openly, he mocked WDAI’s “disco DAI.” It became “disco die” to to Steve. Soon, Steve had created the Insane Coho Lips, his very own anti-disco army. Along with cohost Gary Meier, they coined the now infamous slogan “Disco Sucks.” The backlash had begun.
From there, the Disco Sucks movement gathered momentum. Events were held all over America. This came to a head at Disco Demolition Derby, which was Steve Dahl’s latest anti-disco event. Each one was becoming bigger, rowdier and attracting even more publicity. Disco Demolition Derby, which was held at Comiskey Park, Chicago on 12th July 1979 surpassed everything that went before.
WFUL were sponsoring a Chicago White Sox game at Comiskey Park. if fans brought with them a disco record, they’d get in for ninety-eight cents. These records would be blown up by Steve Dahl. An estimated crowd between 20-50,000 people attended. Quickly the event descended into chaos. Vinyl was thrown from the stands like frisbees. Then when Steve blew up the vinyl, fans stormed the pitch and rioted. Things got so bad, that the riot police were called. After the Disco Demolition Derby disco died. Comiskey Park was disco’s grassy knoll moment.
While disco died in America, in India, disco’s popularity soared thanks to the film industry. For six years, Bombay Disco was part of the soundtrack to day-to-day life in India. Film fans heard Bombay Disco. Whether it was pastiches of the dreadful Saturday Night Fever or Bruce Lee-esque Kung Fu flicks, Bombay Disco became a favourite of film fans and music lovers. However, Bombay Disco isn’t all it seems.
While much of the music of the music on Bombay Disco-Disco Hits From Hindi Films 1979-1985 is disco inspired, much of it is a melange of musical genres and influences. Funk, jazz, psychedelia, rock and soul are thrown into the mix. The result is music that cinematic, dramatic, evocative, frantic, frenzied, funky, lysergic, sassy and sensual. Truly, Bombay Disco-Disco Hits From Hindi Films 1979-1985 is the perfect introduction to Bombay Disco. The good news is there’s much more where Bombay Disco-Disco Hits From Hindi Films 1979-1985 has come from.
Bombay Disco-Disco Hits From Hindi Films 1979-1985 is just the tip of the iceberg. I realised that, whilst researching this article. There’s much more Bombay Disco hidden away in record company vaults. It’s one of music’s best kept secrets. So are the films the music is taken from. They’re another area worth investigating. That’s why I hope that Cultures Of Soul Records who released Bombay Disco-Disco Hits From Hindi Films 1979-1985 on 17th March 2014 release further volumes in this series. Hopefully, Bombay Disco-Disco Hits From Hindi Films 1979-1985 is the first in a successful compilation series that showcases one of Indian music’s best kept secrets, Bombay Disco.
BOMBAY DISCO-DISCO HITS FROM HINDI FILMS 1979-1985.
MOVEMENTS 6.
MOVEMENTS 6.
One of the longest running compilation series is Movements, compiled by Tobias Kirkmayer. The first instalment in the series, Movements was released back in 2005 on Perfect Toy Records. In an ever crowded compilation market, Movements was well received. A year later, in 2006, came Movements. Then nothing. Four long years passed without another instalment in the Movement series. That’s a long time between Movements.
Then in 2010, Tobias’ Movements’ series found a new home at Tramp Records. Movements was released in May 2013. Nearly two years later, Movements 4 was released in March 2012, with Movements 5 released in May 2013. The Movements’ compilation series was a survivor. It had lasted eight years and five volumes. Now was a case of stick or twist.
The problem with long-running and successful compilation series’ is knowing when to quit. It’s always best to get out while you’re ahead. The last thing a record company or compiler can do, is release too many in a compilation series. This can tarnish the memory of a series. Fond memories are tarnished by one too many compilation. Many compilation series have suffered this fate. There’s several reasons for this.
Probably the most obvious, is with each compilation that’s released, the pool of quality music available shrinks. Then there’s copycat compilations. Usually, when a smaller label hits on a successful formula, someone at a major decides they should jump on the bandwagon. That was the case back when downtempo compilations were the musical flavour of the month. Everyone jumped on the bandwagon and as a result, downtempo compilations became a four letter word. So when a compilation series reaches five or six volumes, the worry for the compiler, record company and especially the record buyer, is that it’s one compilation too many. Will that be the case with Movements 6 was released by Tramp Records on 17th March 2014.
For Movements 6, Tobias Kirkmayer has headed on another crate-digging mission. Whether it’s dusty warehouses, thrift stores, backstreet record shops or junk shops, no pile of vinyl is left undisturbed. Not when Tobias is about. He’s always on the look out for that elusive hidden gem. Will his persistence and determination often pays off. That’s what I’ll tell you, when I tell you about Movements 6.
Movements 6 is a seventeen tracks compilation. Eclectic describes the music on Movements 6. Everything from funk, jazz, R&B and soul sits side-by-side. This includes contributions from Clarence Daniels and Obie Jessie, Rudy Lambert, Ural Thomas, Los Keys, Billy Young, Changes and Professor Lett and Study. These are just a few of the tracks on Movements 6 which I’ll pick the highlights of.
Clarence Daniels and Obie Jessie’s Hard Working Girl opens Movements 6. This single is a real rarity. Recently, a copy changed hands for $1,100. It was penned by Clarence and Obie and released by Affiliated Records. Sadly, it wasn’t a commercial success. That was the story of Clarence’s career. Fame and fortune eluded him. Indeed, between1976 and 1981, he was Esther Phillips’ musical director. Clarence’s solo career was on hold. Working Girl was a distant memory. It’s propelled along by a standup bass and vibes, blues, jazz, R&B and soul is combined by Clarence and Obie. The result is a track that’s jazz-tinged, bluesy and soulful hidden gem that’s the perfect way to open Movements 6.
It was in New Orleans that Luther Kent was born and he’d immerse himself in music. Music was his life. Later, he signed to Lou Adler’s Ode Records and fronted Blood, Sweat and Tears on their 1974-1975 world tour. Before that, Luther dawned the persona of Dynamic Duke Royal. Using that alias, he released a series of singles. One of them was the blistering I Wanna Know. It literally, explodes into life. The Duke fuses blues, R&B and soul, his needy vocal pleading “I Wanna Know.” Blistering, explosive and joyous. The only thing to slightly tarnish the track is the sound quality, which could be better.
The Impacts’ Thunder Chicken is a driving R&B instrumental. Driven along by blazing horns, handclaps and the rhythm section, it was perfect showcase to Philly’s nascent musical scene. Thunder Chicken was written by Calvin Harris and produced by Wally O Productions. Released on Marmaduke Records, this was The Impacts only single. Why? Well, after the release of this single, Gamble and Huff signed most of The Impacts to their new label Philadelphia International Records and they became M.F.S.B.
When Bob French’s Storyville Jazz Band play the introduction to St. James Infirmary, its late night jazzy sound is captivates you. It’s a track from their eponymous album, which was released in the early seventies. Horns rasp and bray, while a piano meanders and a vocal full of pain, hurt and heartbreak adds the finishing touch. Laden in emotion, it’s easily one of the highlights of Movements 6
Singer and songwriter doesn’t do Billy Young justice. There’s more to him than that. During his life he’s been an entrepreneur, running several record labels. He’s also fought for justice and equality. Music is only part of the Billy Young story. He wants to make life better for his fellow Americans. However, one his finest moments was his 1973 single Suffering With A Hangover Part 1. He wrote the single, which was released on the Joyja label. From the opening bars, you can sense Billy suffering and sadness. His voice is needy and full of confusion and longing. However much he drinks, he can’t forget the love he lost.
Sultry and funky describes Changes’ Feel So Bad. Powered along by a Hammond organ and the rhythm section, this sets the scene for a vocal that oozes emotion and loneliness. Grizzled horns enter, adding the finishing touch. Feel So Bad was the B-Side to Changes’ second and final single. Recorded in 1973 and released on Joey Records, it’s a shame Changes didn’t release more music, going by the standard of this track.
Society Inc’s Disco Jockey Jam was released back in 1974, on the Dot label. It’s a fusion of disco, funk, jazz and proto-boogie. Funky, futuristic and dance-floor friendly describes this track. Synths add to the sometimes futuristic, sci-fi sound. The result is a lysergic musical journey where musical genres and influences melt into one resulting in a track you’ll either love or loathe.
It was back in 1957, that The Dell Vikings released their debut album. They’d go onto enjoy commercial success and critical acclaim. Come Go With Me released in 1957, was their biggest selling single. It sold over one-million copies. Twenty years later, The Dell Vikings were signed to Fee Bee Records and released the uber funky Welfare Blue. It starts promisingly, with the rhythm section providing the pulsating, funky heartbeat, while horns blaze and bray. The only problem is the vocal. Here, The Dell Vikings sound like James Brown impersonators, vamping their way through the track. That takes the edge of a slice of prime funk.
Closing Movements 6 is Professor Lett and Study’s We Oughta Get Together. It was the B-Side to The Funky Professor. This is another journey into funk. At the heart of the track are the rhythm section. Chiming guitars and funky guitar lock into the groove. They provide the backdrop for a vocal that’s both heartfelt and sassy. Add to the mix growling horns and you’ve the recipe for some funky music.
For anyone who enjoys there music funky, jazz-tinged, soulful or dance-floor friendly, Movements 6 is a compilation that might appeal to you. It crammed full or rarities and hidden gems. Many of these hidden gems will be new to many people. Even dedicated crate-diggers will find something new on Movements 6.
Indeed, trying to buy copies of each of the tracks, or the albums they’re taken from, would require a second mortgage. However, let’s not confuse rarity with quality. Too often people do that. In the case of some of the tracks on Movements 6, including Clarence Daniels and Obie Jessie’s Hard Working Girl which is a real rarity, oozes quality. Copies of this track change hands for around $1,200. However, it’s not quality all the way.
A couple of the hidden gems would’ve been best left hidden. A prime example is are The Dell Vikings’ Welfare Blues. It starts of uber funky and goes rapidly downhill when the vocal enters. It makes me think of a James Brown impersonator, on a bad day. Without the vocal it would’ve been a slice prime funk, and a sampler’s delight. Then there’s the tracks that you’ll either love or hate.
This includes Marie Adams and The Tommy Dodson’s All Stars’ That’s The Way To Get Along and Society Inc’s Disco Jockey Jam. These two tracks will divide opinion. You could play them to a group of people and everyone will have their opinion. All I’ll say is they’re far from my favourites. However, there’s much to commend Movement 6, albeit with a caveat.
For fans of funk, jazz, R&B and soul, there’s plenty to get your teeth into on Movements 6. The same goes for crate-diggers and sample hungry hip hoppers. I guarantee there’s breaks aplenty on Movements 6. Tobias Kirkmayer has dug deep and come up with some musical gold. However, the only thing is the sound quality.
On some tracks the sound quality isn’t as good as I’d expect. Obviously, sometimes, master tapes aren’t in the best condition. If they’re not available, sometimes, compilers rely on vinyl copies. Either way, that might explain the snap, crackle and pop on some tracks. Of course, many of these singles are forty years old, so we can forgive this. Indeed, some people would say it adds to the rawness and power of the music on Movements 6. In some cases I’d be forced to agree. On others on Movements 6, the latest in the Movements’ compilation series the sound quality jars.
Earlier, I said that by the time a compilations get to the fifth or sixth volume in a compilation series, compilers and record companies should be considering the series’ future. That’s not the case with the Movements series. There’s still life in the series, as Movements 6 shows.
MOVEMENTS 6.
WITHERED HAND-NEW GODS.
WITHERED HAND-NEW GODS.
Five long years have passed since Withered Hand recorded their debut album Good News. It was released to critical acclaim and praised for its stark honesty. There was a reason for this. The man behind Withered Hand, Dan Willson was a latecomer to music. He was already thirty when he wrote his first song. So, Dan had lived a life and had stories to tell. Many of them were based upon his life. This is also the case with Withered Hand’s sophomore album New Gods.
New Gods was released on 17th March 2014. With the help of funding from Creative Scotland, Dan was able to record New Gods, the long awaited followup to Good News. It was released via Fortuna POP! in the UK and Europe and Slumberland in the US and Canada. New Gods features more songs based on Dan’s life. That’s been the case since Dan wrote his first song.
This came during a period when Dan’s life had been turned upside down. A close friend had just died, and he was about to become a father, for the first time. Dan was reflecting on what life was about. He found himself asking the “big questions.” To help him find answers and express how he was feeling, Dan wrote his first song. For Dan, this proved a cathartic experience. It helped Dan to make sense of what had been happening in his life. This is when Dan realised he was a talented songwriter.
Aged thirty, he began writing the songs that became Good News. Rather than release the album as Dan Willson, Dan dawned the persona of Withered Hand. Maybe, it was easier for Dan to write and perform the songs via his alter ego? On Good News’ release, critics on both sides of the Atlantic and musicians like Jarvis Cocker were won over by Good News. Where had Withered Hand all these years?
Previously, Dan had been active in the world of visual art. He was interested in music and “dabbled.” However, it wasn’t until he dawned the persona of Withered Hand, that Dan decided to make a career as a musician.
Following the release of Good News, Withered Hand has established a reputation as a prolific live performer. That’s no bad thing. It allowed Withered Hand to further hone his sound. This has resulted in Withered Hand establishing a reputation as one of Scotland’s best singer-songwriters. During this period, Withered Hand has continued to win friends and influence people. Among them, are fellow musicians.
Many of Withered Hand’s fellow musicians are delighted to share a stage with one of Scotland’s rising musical stars. Recently, this has included Pam Berry, of America noisepop band Black Tambourine. Pam also joins Withered Hand on New Gods, adding backing vocals. Pam isn’t the only guest artist on New Gods. Far from it.
For New Gods, Dan penned eleven tracks. These songs deal with the big issues in life. This includes love, death, friendship and infidelity. There’s also songs about road trips, stargazing and cough mixture abuse. New Gods is a grownup album from a perceptive and talented songwriter. That’s why when Withered Hand recorded New Gods, he was joined by some of the biggest names in Scottish music.
When the recording of New Gods got underway at Mogwai’s Castle Of Doom Studios, Withered Hand’s band was augmented by a who’s why of Scottish music. Withered Hand’s band includes a rhythm section of bassist Fraser Hughes, drummer Alun Thomas and guitarist Malcolm Benzie. Peter Liddle plays accordion and Pam Berry of Black Tambourine, adds backing vocals and plays tambourine. Other guest artist include Pete Harvey on cello, Andy Robinson on djembe and Rob St. John on mellotron. They were joined by King Creosote, who Dan describes as his mentor. There were also guest appearances from some of Scottish music’s biggest names. Among them were Eugene Kelly of The Vaselines, Stevie Jackson and Chris Geddes of Belle and Sebastian and Scott Hutchison of Frightened Rabbit. Producing New Gods was another legend of Scottish music, Tony Doogan who previously, has produced Mogwai, Teenage Fanclub and Belle and Sebastian. It was this all-star lineup that recorded New Gods, which was funded in a different way to most albums.
Making an album is an expensive business, especially without a record company behind you. So, to fund New Gods, Withered Hand turned to Creative Scotland. They’ve previously helped Quickbeam and Blood Relatives to record and release albums. They helped Withered Hand to fund New Gods, which has just been released. Would New Gods be well received?
On its release New Gods critics have heaped praise upon New Gods. Just like Withered Hand’s debut, Good News, New Gods has been critically acclaimed. New Gods has been described as the equivalent of a “confessional” that’s variously wistful, joyous and “life-affirming.” That’s some recommendation. New Gods it seems, is one of the best Scottish albums of 2014 so far. Is that the case? That’s what I’ll tell you.
Opening New Gods is Horseshoe, which demonstrates Dan’s skill as a singer and songwriter. It’s a poignant and powerful song about fear and loss. Just a lone acoustic guitar accompanies Dan’s vocal. Fear and despair fill his vocal as he sings: “Please don’t put a shadow on her lung.” Accompanying him are distant harmonies, a strident rhythm section, searing guitars and keyboards. The arrangement grows, matching the despair in Dan’s vocal. He unburdens himself, revealing his deepest fears. His vocal is a cathartic outpouring of despair, fear and grief and results in a poignant, powerful and beautiful song.
Crystalline and jangling guitars join the rhythm section and harmonies as Black Tambourine unfolds. It’s a slice of perfect pop that’s described as an “anti-hipster anthem.” Think Lloyd Cole and The Commotions circa Rattlesnakes and that’s a fair comparison. Dan even finds his inner rocker, as blistering guitars are unleashed. Mostly, though, it’s the sweetest and purest perfect pop that’s melodic and anthemic.
Love Over Desire is a relationship song, sung from the point of view of a musician on the road. It has a much more understated arrangement. It’s just Dan and his trusty acoustic guitar. Gradually, the arrangement builds, with weeping guitars and the rhythm section combining. Later, an organ, cello and backing vocals enter. However, it’s Dan’s lyrics and vocal that grabs your attention.His lyrics paint pictures. They’ve a cinematic quality, and when Dan delivers them, his worldweary vocal brings them to life.
Joyously, King of Hollywood bursts into life. Folk and rock combine as Dan twists his way through the song. Accompanied by an accordion, rhythm section and guitars Dan tells the story of a night out in Los Angeles with King Creosote. As Dan reminisces, the accordion helps power this hook-laden opus along. Melodic, memorable and truly infectious describes this song.
California is the polar opposite of the previous track. The arrangement is moody and understated. Acoustic guitars accompany Dan’s wistful vocal his time in California, when he experienced its darker side. Dan reminisces, remembering how it all unfolded. It started well, “beer, ice cold, in my hand, I’m on my way” then later; “stopping for a burger in the In-n-Out” and then: “bag of powder,” “heart beating in my chest like a jackhammer.” Meanwhile, the rest of band provide a moody backdrop to Dan vocal, as he remembers what he’d sooner forget.
Chiming guitars and the the rhythm section set the scene for Dan on Fall Apart. His vocal is tender and thoughtful, before growing in power. Stabs of piano and harmonies accompany Dan. Memories come flooding back. Sadly, they mean more to him. Dan remembers: “you and I were dancing, by the light of every dead star” and “put your hand in mine, I remember the first time.” These lyrics are part of another anthem that showcases Dan’s talents as a singer and songwriter. Just like the other tracks, his all star band provide the perfect backdrop for his vocal powerhouse.
Between True Love and Ruin is another relationship song, but one with a twist in the tale. He loves and needs her, while she’s “dreaming of freedom.” That’s because of her insecurity. Dan sings: “you said when people say nice things to you, you found it hard to believe them.” Horns rasp, while the rhythm section provide the arrangement’s heartbeat. Dan’s vocal is melancholy and needy, as he lays bare his soul, constantly reassuring her: ”don’t you know you had a friend?” This results in a quite beautiful and perceptive song about the nature of relationships.
Life Of Doubt is a song about addiction and specifically, being addicted to cough medicine. With a blues harmonica, that’s reminiscent of a Neil Young album setting the scene, one of the most poignant and moving songs unfolds. Just the blues harp and acoustic guitar accompanies Dan’s vocal. His vocal is a mixture of hope, fear and despair. He knows he’s an addict, but doesn’t know if he can or wants to get clean. Bleak, despairing and brutally honest, it’s one of the best songs about addiction I’ve heard in a long time.
New Gods has an understated, folk influence. The song is set in Switzerland. Dan’s vocal is tender and heartfelt. He delivers the song to a woman mourning her youth. Dan describes running across the fields late at night, staring spellbound, at the sky above. With just tambourine, acoustic guitar and harmonies for company, Dan delivers an impassioned plea. Later, he reassures her by singing: “someday, you’ll be beautiful again.”
Heart Heart is a raucous slice of singalong rock-tinged folk. Withered Hand kick loose. It’s as if the spirit of ’76 has inspired them. Rebel rouser in chief is Dan. His vocal is powerful as he helps the rhythm section, guitars and keyboards drive the arrangement along. When the tempo drops, this is a curveball in a track that’s best described as a raucous everyman anthem.
Not Alone close New Gods. It’s a wistful and poignant song. The understated arrangement suits the song. This allows Dans’ delivery of the lyrics to take centre-stage. That’s until the braying horns, mellotron and la-la-la harmonies take charge. Soon, the wistfulness is gone, becoming celebratory as if saying goodbye for the final time.
“It’s been a long time coming”, so sang Sam Cooke. The same thing can be said about New Gods, Withered Hand’s sophomore album. However, it has been worth every minute of that long wait. New Gods features eleven songs dealing with the big issues in life. This includes love, death, friendship and infidelity. There’s also songs about road trips, stargazing and cough mixture abuse. That’s why I’d describe Withered Hand’s sophomore album New Gods is a grownup album from a perceptive and talented songwriter. That was the case with Good News, Withered Hand’s debut album. Released to critical acclaim, Good News followed from Withered Hand. A new album, New Gods, was due out on 17th March 2014 via Fortuna POP! in the UK and Europe and Slumberland in the US and Canada.
Much anticipated, New Gods was released to critical acclaim. No wonder. Cathartic, cerebral, heartbreaking, perceptive and witty describes New Gods, which was the first album Withered Hand recorded in a recording studio. With a the experienced producer Tony Doogan at the helm Withered Hand headed to Mogwai’s Castle Of Doom studios, in Glasgow. Joining Withered Hand were some of the biggest names in Scottish music. So it’s no surprise Withered Hand’s sophomore album New Gods is one of the finest Scottish albums of recent years. There’s a reason for this.
Dan is one of the most talented and perceptive songwriters around. His songs can make you laugh, cry and dance with joy. From the opening bars of Horseshoe, right through to the closing notes of Not Alone, New Gods is a spellbinding album. That’s why I’d describe it as a cathartic confessional. New Gods veers between wistful, joyous and everything in between. That’s why Withered Hand have a big future. With their unique brand of Americana, blues, country, folk and rock Withered Hand are one of Scotland’s most exciting bands, whose sophomore album New Gods, is one of the best albums of 2014 so far. Standout Tracks: Horseshoe, Black Tambourine, Between True Love and Ruin and Love and Doubt.
WITHERED HAND-NEW GODS.
BLOOD RELATIVES-DEERHEART.
BLOOD RELATIVES-DEERHEART.
It’s about this time of year that people start that the movers and shakers in Scottish music start thinking about the nominations for the Scotland’s premier music award, the Scottish Album of The Year Award. Last year, R.M. Hubbert’s sophomore solo album Thirteen Lost and Found won the Scottish Album of The Year Award. For Hubby, an unsung veteran veteran of Scottish music this was well deserved. This year, the competition will prove to be just as fierce.
No wonder. 2013 was a vintage year for Scottish bands. Bands like Camera Obscura, Chvrches, The Holy Ghosts, and Quickbeam released albums. Then there’s albums from Roddy Womble, Edwyn Collins, Rick Redbeard and of course, R.M. Hubbert to be considered. Another contender are the Glaswegian band Blood Relatives.
For those of you still to discover, Blood Relatives they’re a Glaswegian band whose raison d’etre is to make you dance, sing and think. Cerebral, joyous and hook-laden describes Blood Relatives, who eat, live and breath music. That describes Anna, Callum, Alan and Nick, the four members of Blood Relatives.
Blood Relatives have been making music together for a number of years. They’ve spent time on the road, honing their sound. Gradually, the venues got bigger and Blood Relatives found themselves playing at festivals such as T In The Park, The Wickerman Festival, Rockness, and Belladrum. Having established a reputation as one of Scotland’s best up-and-coming bands, the time was right for Blood Relatives to release their debut album Deerheart.
Deerheart, Blood Relatives’ debut album features ten tracks. The album is described as: “sunny pop from a rainy town.” Anna Meldrum is Blood Relatives’ lyricist-in-chief. She wrote all the lyrics to the ten tracks and cowrote the music to The Spit with Sorren McLean. Blood Relative wrote the music to eight tracks and collaborated with Stewart Brock on Deerheart. These ten tracks would become Deerheart.
To fund the recording of what became Deerheart, Blood Relatives had secured funding from Creative Scotland. They followed in the footsteps of another Scottish band Quickbeam, whose eponymous debut album will be another contender for Scottish Album of The Year Award. With the funding in place, the four members of Deerheart headed to Chem 19 Studios.
When recording of Deerheart began at Chem 19 Studios, ex-Delgado Paul Savage was sitting in the producer’s chair. Paul is an experienced producer with a good track record. He was ideal to guide Blood Relatives through the recording of their debut album, Deerheart. Joining Deerheart were a number of guest artists. This included trombonist Craig McMahon, trumpeter Alex Sharples, guitarist Sorren McLean, Elaine Glass on cello and Stewart Brock on piano, Wurlitzer and synth. Once the the ten tracks were recorded, Deerheart was released in October 2013.
On 31st October 2013, Blood Relatives released Deerheart on the Comet and Cartwheels’ label. This was no ordinary release though. Critics welcomed the Blood Relatives cerebral, joyous and hook-laden sound. Sunny and upbeat, it’s interwoven with a uniquely Scottish sense of humour. As debut albums go, the Blood Relatives’ debut Deerheart had been well received. However, could Deerheart be a contender for the Scottish Album of The Year Award?
Opening Deerheart is Fowl Mouth, which has a thoughtful, understated arrangement. It meanders into being, accompanying Anna’s wistful vocal. Gradually, the arrangement builds. The rhythm section provide a pounding backdrop to Anna’s vocal. Her lyrics are cerebral. As she sings being tongue-tied and lonely, sadness and regret fill her voice. By now, an anthemic track has unfolded, one that reminds me of Big Country.
Jangling guitars and pounding drums combine as Deerheart bursts into life. Anna’s vocal is breathy and ethereal. Stabs of piano add to the drama. The lyrics have a strong narrative. So much so, that they’ve a cinematic quality. You can imagine the scenes unfold as Anna delivers them. Cooing, ethereal harmonies provide a contrast to the driving, pounding arrangement. This proves a potent partnership and will be a favourite at festivals this summer.
Melodic, witty and cerebral describes Bone Idol. Anna is determined not to be a “Bone Idol.” She’ll neither eat nor wear it. All the time, people are telling her: “get some protein inside you,” “hang it around your neck” and “adorn your bones.” Frustration and sadness fills Anna’s vocal. Meanwhile crystalline guitars, probing bass and drums provide a backdrop to a song that’s melodic, witty and cerebral.
A Murder Of Crows has a big, bold sound. Anna’s vocal veers between theatrical and dramatic. Behind her, thunderous drums and jangling guitars combine with harmonies. Later, a bluesy harmonica enters. Its addition is a masterstroke. After that, the Blood Relatives continue to fuse folk, indie pop and rock. Despite the somewhat dark lyrics, Blood Relatives haven’t spared the hooks.
Dead Hip is another of Blood Relatives’ anthemic tracks. At the heart of the track’s success are Anna’s lyrics. She delivers them at breakneck speed, combining power and passion. Her feisty vocal is accompanied all the way by sharp bursts of pounding drums. They’re joined by searing guitars and keyboards. They provide this anthemic track’s heartbeat.
Just melancholy keyboards open Cold Fish. This song features some of Anna’s best lyrics. Taking her lead from the keyboards, Anna’s vocal is wistful, as she remembers the “Cold Fish” she met. He was her challenge. Then she met the octopus, “who could cause an awful fuss, he had a temper inky black, so I took shelter in a shell, with a crab who wasn’t well.” As she reminisces, drums pound. They’re joined by a buzzing bass, keyboards and harmonies. Sadness and melancholia are ever-present in Anna’s vocal, as she brings to life lyrics that somehow, manage to be poetic, dark and witty.
Crystalline country-tinged acoustic guitars open Bird Flu. They accompany Anna’s heartfelt, rueful vocal. Using metaphors, Anna apologetically, sings: “I’m sorry I couldn’t cure you, I’m sorry I gave you bird flu.”
Duck explodes into life. Blood Relatives drive the arrangement along. It’s a mass of pounding drums and keyboards. They’re augmented by jangling guitars and Anna’s vocal. It’s a mixture of power, passion, feistiness and sass. She goes on to deliver her vocal with a feisty swagger.
Cheek By Jowl has a much more understated sound. That’s been the case before, but before long, the track is transformed into an everyman anthem. Not here. Just the acoustic guitar and cello accompany Anna’s vocal as she sings about the ageing process. Her lyrics are poignant and tinged with sadness. Although this folk-tinged track is very different from the rest of Deerheart, it’s a direction that suits Blood Relatives.
Ethereal harmonies and keyboards open The Spit, which closes Deerheart. Soon, the rhythm section take charge. They leave space within the arrangement. This is no bad thing, as it allows Anna’s vocal to take centre-stage. It’s tender and heartfelt. She seems to inspire Blood Relatives’ to greater heights in their continued pursuit for pop perfection.
Rather than release a sprawling fifteen track album, Blood Relatives’ debut Deerheart is an old school album. It’s a reminder of the pre-CD days. Back then, the amount of music a vinyl album could hold was limited. So, artists didn’t need to pad their albums out with filler. Nowadays, that’s the norm. Not on Deerheart though. By only including ten tracks, we hear the best music Blood Relatives have to offer. Just like Jerry Lee Lewis said, “it’s all killer, no filler.”
From the opening bars of Fowl Mouth, right through to the closing notes of The Spit, Deerheart is best described as cerebral, cinematic, hook-laden, joyous and witty. Hooks certainly haven’t been rationed. Far from it. Deerheart is full of everyman, anthemic tracks. That’s why Blood Relatives are festival favourites.
Their unique brand of upbeat music is a fusion of musical genres. That’s despite Blood Relatives describing themselves as a pop band. There’s more to Blood Relatives than pop music. Blues, country, folk, indie rock, pop and rock is combined by Blood Relatives over the ten tracks on their debut album Deerheart. It’s an album that could find itself on the long-list to the Scottish Album of The Year Award.
Given 2013 has been such a vintage year for Scottish music, competition is sure to be fierce for the Scottish Album of The Year Award. Familiar faces and newcomers will vie for what’s Scotland’s premier music award. I’m sure that when the nomination for the 2013 Scottish Album of The Year Award are announced, Blood Relatives should find Deerhart on the long-list.
BLOOD RELATIVES-DEERHEART.
ERA RECORDS AND WEST COAST NORTHERN SOUL.
ERA RECORDS AND WEST COAST NORTHERN SOUL.
The Era Records story began back in 1955. That’s when two cousins, Lew Bedell and Herb Newman decided to decided to form a record label in their hometown, Los Angeles. They called their new label Era Records. For Lew and Herb, this was indeed the start of a new era. Especially, in the case of Lew Bedell
Previously, Lew Bedell had been a comedian. However, his career seemed to have stalled. With his career at a crossroads, Lew was on the look out for a new career. Luckily, his cousin Herb Newman a music industry veteran, was looking for a new start.
Herb had started out as a West Coast sales rep for Mercury and later Decca. Having learnt the ropes, he wanted to form his own company. With his cousin looking for a new career, this seemed like the perfect opportunity. After all, Herb and Lew had been brought up together, after Lew’s parents split up and were like brothers. With the financial support of Herb’s father Max Newman, they founded Era Records in 1955. Seven years later, in 1962, Era Records became a soul label.
Having started their own label, Herb and Lew concentrated on releasing music that was popular locally. Los Angeles’ music scene was much more conservative than New York, Washington or Philly. So, originally, they planned to released just pop, country, rockabilly and jazz. With black music not as popular in Los Angeles, they only occasionally released soul or R&B. Their first soul single Era Records released was in 1957. It was as if they were just testing the water. Seven years later, in 1962, Era Records took the plunge and became a soul label.
By then, Era Records had already released over 150 records. Following the decision to change direction musically, Era Records released a whole host of singles that have become popular on the Northern Soul scene. A selection of Era Records’ Northern Soul singles can be found on Era Records and West Coast Northern Soul which was recently released by Outta Sight Records. However, somewhat confusingly, given the title, there’s more this compilation than Northern Soul.
Era Records and West Coast Northern Soul features “Northern Soul dancers, neo-doo-wop rarities and R&B rockers.” Well known faces sit side-by-side with rarities, hidden gems and unreleased tracks. In some ways, the twenty-eight tracks demonstrate just how eclectic the music Era Records released. There’s contributions from some of Era Records’ biggest names, including Jewel Akens, Ketty Lester and Bob and Earl. Then there rarities and hidden gems from Dee Dee Dorety, The Wonders, Tommy Mosely and Albert Stone. Before that, Era Records was about to enjoy its first hit single.
From the get-go, the Lew and Herb had the Midas touch. Era Records’ first hit single was Cogi Grant’s Suddenly There’s A Valley, released in 1955. Cogi proved to be their lucky charm. In 1956, Era Records released Cogi Grant’s classic The Wayward Wind. Written by Herb Newman, it reached number one. For the next couple of years, Era Records continued to enjoy a modicum of commercial success. One of these was Art and Dotty’s Chanson D’Amour, which reached number eight in early 1958. Later that year, Lew and Herb founded another label, Dore.
Dore was founded as an outlet for more adult oriented music. Ironically, what should’ve been Dore’s first released wasn’t exactly adult oriented. What could’ve been their new label’s release resulted in a parting of the ways for the two cousins. A young producer called Phil Spector arrived with a demo of To Know Him Is To Love Him. Herb, musically trained, felt the song lacked something. He suggested adding swathes of lush strings. Phil Spector and Herb had different ideas when it can to production. This disagreement proved costly, when Phil took the song to another label. This resulted in an argument between the cousins. They agreed to part ways in May 1959. Lew took Dore and Herb Era. What could’ve been a successful partnership was no more. Herb Newman had a point to prove.
Now in full control of the label, Herb Newman set about turning Era Records into one of the most successful independent labels in Los Angeles. Herb Newman, now a music industry veteran, lived and breathed music. He was determined Era Records would become a successful label. Sticking to his policy of only releasing music that he thought would prove popular, now that soul music was growing in popularity, Herb embraced it.
Era Records enjoyed success with The Rockets, who also doubled as the label’s backing vocalists. Along with The Castells, Ronnie Height and Ketty Lester soul music proved lucrative for Era Records. So much so, that from 1962 onwards, Era Records became a soul label. This is documented on Era Records and West Coast Northern Soul, which I’ll pick the highlights of.
Jewel Akens’ I’ve Arrived opens Era Records and West Coast Northern Soul. This is one of four tracks he contributes. I’ve Arrived was released as a single in 1965. It was written by Steven Howard and arranged by Don Ralke. The same year, Jewel released A Slice Of The Pie as a single. Written by Barry Stuart, it was arranged by James Carmichael, who would go on to work with Billy Preston and Syreeta and of course, Lionel Ritchie. A year later, in 1966, Jewel released My First Lonely Night, which features a vocal full of heartbreak. Arranged by Miles Grayson, it’s perceived by some as Jewel’s finest moment. Later, this would become a favourite among the Northern Soul scene. These three tracks, plus Love Potion No.9 and Jewel’s million-selling single The Birds And The Bees, which was the title of Jewel’s only album, which was released in 1965.
Tommy Mosley’s Exit Loneliness Enter Love is an example of the Northern Soul tracks that Era Recods became known for. It’s a stomper, where Tommy’s accompanied by The Rockets on backing vocals. Wishing Well is Tommy’s other contribution. It’s an unreleased track. However, it doesn’t come up to the standard of Exit Loneliness Enter Love, which is one of Era Records and West Coast Northern Soul highlights.
Billy Watkins’ The Ice-Man is a sassy, stomper, whch was released in 1967. Penned by Billy and Herb, it was produced by H.B. Barnum. With backing vocals, dancing strings, rasping horns and a showboating vocal from Billy it’s a joyous, hook-laden track.
Othello Robertson’s So In Luv has Northern Soul written all over. If anyone asks you what Northern Soul sounds like, play them this track. Released in 1967, it was written by Dell Randle who produced the track and arranged it with Eddie Foster. As for Othello Robertson’s vocal, it’s an outpouring of power, passion and emotion. She pushes her vocal to its limits, as if determined to breath life and meaning into the lyrics. Accompanied by an arrangement that epitomises Northern Soul, describing this as an impassioned ballad is an understatement.
Jesse Davis released Gonna Hang On In There Girl as a single in 1967. Tucked away on the B-Side, was Albuquerque. It was written by Howard “Chico” Barber and has an air of mystery and drama. Albuquerque has a cinematic sound and is as far removed from Northern Soul as you can get.
Back in 1963, Bruce Cloud released two singles for Era Records. They were Lucky Is My Name and Little Spark Of Fire. Lucky Is My Name was written by Murray Schwimmer and Ray Stanley. Irony oozes out of Bruce as he delivers the lyrics. However, later, there’s a twist in the tale, as Bruce’s luck changes. For Bruce, lucky is his name. Bruce’s other contribution is Little Spark Of Fire was penned by the songwriting team of Lou Duhig and Ruby Berry.
Without doubt, Bob and Earl’s Harlem Shuffle is one of the best known tracks on Era Records and West Coast Northern Soul. Released in 1963, Harlem Shuffle was penned by Bob Relf and Earl Nelson. Not only did they write and perform this minor classic, but the co-produced it. Since 1963, Harlem Shuffle has become a soul standard and a minor classic.
Melvin Boyd’s Things Are Getting Better was released in 1965. Written by Barry Stuart and arranged by Miles Grayson, the only way to describe this track is a joyous slice of Northern Soul. With Melvin delivering a vocal powerhouse, The Rockets add cooing harmonies. The result is one of the the highlights of Era Records and West Coast Northern Soul.
Jimmy Lewis is one of the biggest names on Era Records and West Coast Northern Soul. One Love was released in 1966. It was written by Cliff Chambers and arranged by James Carmichael. One Love showed what James Lewis was capable of. He’d go on to release a single for Volt and release some of the best music of his career on the Hotatlanta label.
Ketty Lester’s River Of Salt closes Era Records and West Coast Northern Soul. River Of Salt was the B-Side to Ketty’s 1962 single You Can’t Lie To A Liar. Written by Bernard and Zackery with Irving Brown, River Of Sale falls into the category of hidden gem, which shows why it’s always worth checking the B-Side of a single. Another person who liked River Of Salt, was Bryan Ferry who covered River Of Salt on his 1973 solo album These Foolish Things.
Nowadays, compilations are two a penny. Especially, Northern Soul compilations. Hardly a week goes by without a new Northern Soul compilations. This presents several problem. Some compilations feature the same predictable tracks. The other problem is quality. Often, the quality varies greatly. I’ve described Northern Soul compilations, as the good, bad and ugly. That, however, is the case with all compilations. However, what category does Era Records and West Coast Northern Soul fall into?
The first thing to say, is that categorising Era Records and West Coast Northern Soul isn’t easy. After all, Era Records and West Coast Northern Soul isn’t just a Northern Soul compilation. Era Records and West Coast Northern Soul is said to feature “Northern Soul dancers, neo-doo-wop rarities and R&B rockers.” Well known faces sit side-by-side with rarities, hidden gems and unreleased tracks. In some ways, the twenty-eight tracks demonstrate just how eclectic the music Era Records released.
Outta Sight Records, who recently released Era Records and West Coast Northern Soul, take the listener on a tour through Era Records’ back-catalogue. We hear some familiar tracks from Jewel Akens, Billy Watkins, Othello Robertson, Jimmy Lewis, Melvin Boyd, Ketty Lester and Bob and Earl, there’s much to commend Era Records and West Coast Northern Soul. That’s not forgetting a whole host of hidden gems, rarities and unreleased tracks. When all this is combined, Era Records and West Coast Northern Soul is an eclectic retrospective of the music released by Lew Bedell and Herb Newman’s Era Records. For the newcomer to Era Records, it’s the perfect introduction the Lew Bedell and Herb Newman’s label. Especially when combined with Kent Soul’s compilation Era Records Northern Soul.
Era Records Northern Soul is the ultimate Era Records’ compilation. The recently released Era Records and West Coast Northern Soul, will compliment Era Records Northern Soul perfectly, and together, they’re the perfect introduction to Era Records. Indeed, I’d go further, and describe Era Records Northern Soul and Era Records and West Coast Northern Soul as everything you wanted to know about Era Records, but were afraid to ask.
ERA RECORDS AND WEST COAST NORTHERN SOUL.
THE BONNIWELL MUSIC MACHINE.
THE BONNIWELL MUSIC MACHINE-THE BONNIWELL MUSIC MACHINE.
In 1955, Sean Bonniwell’s life changed when he heard The Platters’ Only You. That’s when he decided to become a musician. Eventually, his dream became a reality, and he became one of the most influential and innovative musicians of the mid-sixties. With his band The Bonniwell Music Machine, Sean would influence a whole generation of musicians. The Bonniwell Music Machine would influence psychedelia, garage and punk bands. Their most important album was their 1968 eponymous sophomore album, The Bonniwell Music Machine which was recently released by Big Beat Records, a subsidiary of Ace Records, as a double album. This was the result of a nine year musical journey for Sean Bonniwell.
Sean Bonniwell was born in August 1940, in San Jose, California. He was inspired musically, by his father, who played trumpet. However his life changed the day he heard The Platters’ Only You. That’s when Sean, who was still a high school student, decided to make a living as a singer-songwriter. Four years later, aged nineteen, Sean formed his first band The Noblemen.
This was 1959, and Sean was a college student. The Noblemen were a folk group. Sean wanted to be part of the burgeoning folk movement, so founded The Noblemen. They were a short-lived group, lasting until 1960. It would be another three years before Sean joined another group, The Wayfarers
The Wayfarers were an existing band and Sean joined them in 1963. They’re best described as a pop-folk quartet. Sean’s time with The Wayfarers was part of his musical education. It during this period that Sean recognised the importance of a band being prepared. For The Wayfarers, second best wasn’t good enough. They were determined to be the best, so honed their sound. During this period, The Wayfarers released a trio of albums.
Having signed to RCA, The Wayfarers released their debut album The Wayfarers At The Hungry I in 1963. Sean featured on their sophomore album, The Wayfarers At The World’s End. During that period, The Wayfarers shared the stage with some of the biggest names of the sixties. However, in 1964, Sean decided to leave The Wayfarers. He decided to form The Ragamuffins.
Although it might have surprised many people that Sean left The Wayfarers, he had a good reason for doing so. He felt frustrated artistically. He was a member of a clean cut folk pop group. This Sean felt, was too conservative. He needed to push himself and find himself as a singer and songwriter. What better vehicle for this was there than his own band, The Ragamuffins.
Formed in 1965, The Ragamuffins featured Ron Edgar, Keith Olsen and Sean. Straight away, Sean set about reinventing himself and finding his own voice. The shackles were off. No longer was he restricted. He set about finding himself as a songwriter. His timing was perfect. The psychedelic era was just about to dawn. The doors of perception were well and truly opened.
After a year as a trio, The Ragamuffins added guitarist Mark Landon and keyboardist Doug Rhodes in 1966. It was then that The Ragamuffins realised they needed a new name. Sean Bonniwell’s reasoning was “artistic survival.” He was fed up of managers asking him to play cover versions. What he wanted was the band to get up on stage and just play constantly. The band would be like a machine. So, he hit on the name, The Music Machine.
With new members and a new name, The Music Machine’s fortunes changed. They signed a recording contract with Original Sound. They then began work on (Turn On) The Music Machine. It was recorded at Original Sound Studios. A total of twelve songs were recorded, seven of which were written by Sean Bonniwell. They became (Turn On) The Music Machine.
On the release of (Turn On) The Music Machine in 1966, the singles fared better than the album. (Turn On) The Music Machine was a fusion of garage, pop, rock and psychedelia. It was groundbreaking and influential. Sadly, it wasn’t a commercially success. At least the singles were.
Talk Talk, the lead single, became a top twenty single in the US Billboard 100. The follow-up single, The People In Me, stalled at number sixty-six in the US Billboard 100. Sean felt the single should’ve fared better, but alleged problems between the band’s manager and someone at the record company didn’t help matter. Another bone of contention was the four cover version on (Turn On) The Music Machine. This was the record company’s idea. Relationships it seems, were strained. The problem was, nobody knew how badly.
After the release of (Turn On) The Music Machine, The Music Machine headed on a tour to promote their debut album. On their return home, four of the five members of The Music Machine left the band. Then there was one.
Now that The Music Machine was just Sean Bonniwell, he decided to change the group’s name again. He decided upon The Bonniwell Music Machine. This was the band that signed to Warner Bros.
With The Bonniwell Music Machine reduced to just Sean, this could’ve presented a problem for Warner Bros. After all, how was a one man band going to record an album? One solution would’ve been to bring in sidemen. That wasn’t necessary. Luckily, Sean had an album up his sleeve.
During the first six months of 1967, The Music Machine had been on a gruelling touring schedule. They decided to record some music. This includes some of the music on The Bonniwell Music Machine. Originally, these tracks, which were recorded in New Orleans, were going to be demos. The plan was for The Music Machine to rerecord them in Los Angeles. Then when the band listened to them, they realised they were good enough to release. For Sean, this was a result. He at least had an album to present to Warner Bros.
What became The Bonniwell Music Machine, features fourteen tracks. They’re a mixture of the songs recorded in New Orleans, plus some singles. Sean had penned thirteen tracks and cowrote The Day Today with Keith Olsen. Although this was hardly ideal for The Bonniwell Music Machine’s major label debut, there was no alternative. After all, Sean had a band, but no band members. It was a case of making do and mend. So, The Bonniwell Music Machine was released in 1968.
When The Bonniwell Music Machine was released in 1968, it didn’t make any impression on the US charts. Neither did the single Bottom Of My Soul. For The Bonniwell Music Machine their eponymous sophomore album hadn’t proved a commercial success. However, why wasn’t The Bonniwell Music Machine a commercial success? That’s what I’ll tell you, after I’ve told you about Big Beat Records’ recent compilation The Bonniwell Music Machine.
DISC ONE.
THE WARNER BROS. RECORDINGS.
The Bonniwell Music Machine must be the most comprehensive retrospective of the band’s time at Warner Bros. Disc one, which features The Bonniwell Music Machine’s time at Warner Bros features a total of twenty-five tracks. The first fourteen tracks are The Bonniwell Music Machine.
Eclectic. That describes the fourteen tracks that comprise The Bonniwell Music Machine. It’s a truly genre-melting album. Everything from blues, garage, pop, proto-punk, psychedelia, R&B and rock is thrown into mix by The Bonniwell Music Machine. It’s then given a stir by producer Brian Ross and the result is a magical, musical, mystery tour. Having stopped in New Orleans to record what became The Bonniwell Music Machine, they drew inspiration from the city’s musical heritage.
That’s apparent on three of The Bonniwell Music Machine’s highlights. Somethin’ Hutin’ On Me has a bluesy, soulful sound. The same can be said of I’ve Loved You and Affirmative No. Having said that, there’s still a nod towards The Bonniwell Music Machine’s psychedelic sound.
Astrologically Incompatible showcases this psychedelic sound and is the perfect way to open the album. With psychedelic, pop and rock colliding head-on. This continues on Double Yellow Line, where The Bonniwell Music Machine remind me of The Doors. Absolutely Positively is a dramatic, mid-sixties slice of psychedelia. Here, The Bonniwell Music Machine hit their stride and demonstrate what they’re capable of. The same can be said of The Trap, where a harpsichord and harmonies accompany Sean’s vampish, melodramatic vocal.
Soul Love see another change in direction. On Soul Love, musical genres melt into one. Rock, psychedelia, soul and R&B are fused as Sean delivers emotive, dramatic vocal powerhouses. Another follows on The Eagle Never Hunts The Fly. Sean’s accompanied by a blistering guitar solo on The Eagle Never Hunts The Fly. With the guitar for company, Sean steals the show on both tracks, as he vamps bis way through the track.
Talk Me Down is best described as proto-punk. That’s why for many people, The Bonniwell Music Machine were one the founding father’s not just of psychedelia and garage, but punk. That’s apparent here. Eight years later, in 1976, they’d inspire another generation of musicians.
Very different is the understated, mellow and heartfelt The Day Today. Seamlessly, Sean dawns the role of a crooner, delivering a tender, heartfelt vocal. This shows yet another side to The Bonniwell Music Machine.
Closing The Bonniwell Music Machine on a lysergic high is Me, Myself and I. Psychedelia, rock and drama combine/with an experimental, futuristic sound. Again, melodramatic and theatrical describes Sean’s vocal. His vocal becomes a vamp as if he’s determined to leave a lasting impression. This he does.
Innovative and influential describes The Bonniwell Music Machine. It’s a genre-melting album. Everything from blues, garage, pop, proto-punk, psychedelia, R&B and rock was combined by The Bonniwell Music Machine on their eponymous sophomore album. It was produced Brian Ross, who played an important role, in turning what was originally a bunch of demos into an album. This saved Sean Bonniewell from an embarrassing situation.
After all, The Bonniwell Music Machine had just signed to Warner Bros. The only problem was, that the band was no more. Sean was The Bonniwell Music Machine. However, out of a bunch of demos reworded in New Orleans, plus some singles came The Bonniwell Music Machine. This was the band’s Warner Bros. debut.
Sadly, The Bonniwell Music Machine wasn’t a commercial success. Some critics felt that The Bonniwell Music Machine was too eclectic. How wrong they were. The Bonniwell Music Machine went on to influence several generations of musicians. They were the founding fathers of psychedelia and punk. As if that’s not enough, The Bonniwell Music Machine were one of the most important garage bands. So, The Bonniwell Music Machine’s importance can’t be underestimated. That’s why Big Beat Records released a double album celebrating their sophomore album.
Apart from The Bonniwell Music Machine on disc one, there are stereo mixes of five tracks. This includes You’ll Love Me Again, In My Neighbourhood, To The Light, Time Out (For A Daydream) and Tin Can Beach, which was the B-Side to Time Out. Two of these tracks, Time Out (For A Daydream) and Tin Can Beach, are among six previously unreleased tracks. They make their debut on Big Beat Records’ version of The Bonniwell Music Machine. For anyone interested in The Bonniwell Music Machine, these unreleased tracks make this a must have release. However, there’s more to The Bonniwell Music Machine than disc one.
DISC TWO-INSIDE ETERNITY: DEMOS AND RARITIES.
Disc two of The Bonniwell Music Machine features another twenty-four tracks, twenty-one of which have never been released before. They tell the story of Sean Bonniwell’s musical career. The first two tracks are Sean Bonniwell home demos of Gimme Gimme and Stand Aside. Later on disc two, there’s another six of Sean’s demos. Among them are home demos of I’ll Take The Blame, The Life I Live, Would You Believe, Inside Eternity and You’ll Love Me Again. These tracks are a fascinating insight into Sean’s early career. That’s always the case with tracks from early on in artist’s career. As Sean’s career progresses, his music matures. That’s the case on a quartet of tracks from The Ragamuffins.
The four tracks from The Ragamuffins include Too Much, Push Don’t Pull, Chances and Talk Me Down. These tracks allow you to hear how Sean Bonniwell was maturing as a singer and songwriter. By the time he formed The Music Machine, Sean Bonniwell had come of age as a singer and songwriter.
A total of twelve tracks from The Music Machine feature on disc two. The first is Point Of No Return, which featured on a flexi-disc that was a free gift with Splendid Magazine. Other tracks include rehearsals, demos and stereo mixes.
There are demos of She Is, Dark White and King Mixer. It’s interesting to compare the demo versions of Dark White and King Mixer with the stereo mixes that also feature on disc two. It shows how the track evolved.
Two interesting inclusions are stereo mixes of the 1969 single Advise and Consent plus Mother Nature and Father Earth. Rehearsals of Reach Me In Time, Closed and Temporary Knife are like eavesdropping on The Music Machine as they hone a song. However, there’s a poignancy to these tracks, as The Music Machine split-up way before they reached their potential. It’s a case of what might have been.
Fittingly, closing the twenty-four tracks on disc two of The Bonniwell Music Machine is Citizen Fear. This is another of the twenty-one unreleased tracks on disc two. It’s another track which demonstrates what Sean Bonniwell, a truly innovative and influential musician is capable of.
After the release of The Bonniwell Music Machine, Sean went on to release another four albums. Then in 1970, Sean Bonniwell turned his back on music. He was lost to music for eleven years.
Sean decided to become a westernised guru era. This affected every part his life. Sean became interested in transcendental meditation, vegetarianism and a whole host of Eastern religions. That was Sean’s life for eleven years. However, throughout that time, Sean continued to write music. That was a constant in his life. Throughout the rest of his life, Sean Bonniwell continued to make music. That was the case right up until his death on 20th December 2011. The most fruitful part of Sean’s career was as part of The Music Machine and The Bonniwell Music Machine.
Throughout their career, The Bonniwell Music Machine released innovative and influential music. They influenced several generations of musicians. Some people would go as far as to say that Sean Bonniwell was one of then most influential and innovative musicians of the mid-sixties. With his band The Bonniwell Music Machine, Sean would influence a whole generation of musicians. The Bonniwell Music Machine were founding father’s of both psychedelia and punk who would influence psychedelia, garage and punk bands. Their most important album was their 1968 eponymous sophomore album, The Bonniwell Music Machine which was recently rereleased by Big Beat Records.
THE BONNIWELL MUSIC MACHINE-THE BONNIWELL MUSIC MACHINE.
MERRY CLAYTON-GIMME SHELTER.
MERRY CLAYTON-GIMME SHELTER.
When the Rolling Stones released Gimme Shelter in 1969, many people were left wondering who duetted with Mick Jagger on the single? That was Merry Clayton. Her vocal powerhouse helped make the song a classic. However, Merry Clayton wasn’t meant to even sing on Gimme Shelter. No. She replaced Bonnie Bramlett, who was ill and missed the recording of Gimme Shelter. Merry stepped in and her performance on Gimme Shelter transformed her career.
Following the release of Gimme Shelter, Merry Clayton signed to Lou Adler’s Ode Records. This would be the start of her solo career. Fittingly, Merry’s debut album was entitled Gimme Shelter. Produced by Lou Adler, Gimme Shelter featured cover versions of songs written by Paul Simon, James Taylor, Billy Preston, Van Morrison and unsurprisingly, Jagger and Richards. A total of eleven tracks featured on Gimme Shelter, which was released in 1969, when Merry was twenty-two. However, Merry’s career began when she was just fourteen.
Merry Clayton was born in Gert Town, New Orleans in December 1948. By the time she was fourteen, her career began in earnest, when she duetted with Bobby Darin on Who Can I Count On? (When I Can’t Count on You), a track from his You’re The Reason I’m Living album. Released in 1963, it reached number forty-three in the US Billboard 100 charts. This launched Merry’s career. A year later, she’d release her debut single.
La La Jace Song (Spanish Boy) was Merry’s debut single. It was released on Capitol, the same label Bobby Darin was signed to. Sadly, La La Jace Song (Spanish Boy) wasn’t a commercial success, so Merry started singing backing vocals.
For Merry, singing backing vocals was part of her musical education. She sang on Neil Young’s 1968 eponymous debut album. A year later in 1969, Merry sang backing vocals on Feeling Alright, a track from Joe Cocker’s With A Little Help From My Friends album. She also featured on Joe’s 1969 eponymous album. Then there’s “that song”…Gimme Shelter.
When Gimme Shelter was recorded, Bonnie Bramlett had been booked to sing the female part. She wasn’t available that day. It’s thought she was ill. So Merry was asked to step into the breach. She made her way to the New York studios and cut a slice of musical history.
Most people probably think that when Merry arrived in the studio, she duetted with Mick Jagger. She didn’t. He wasn’t even in the same room. Mick had recorded his part months before. What Merry did, was sing her part of the song and it was overdubbed. What was one of the most famous duets wasn’t as it seems. Having said that it works brilliantly.
On Gimme Shelter, Merry injects soul and emotion, as she delivers a show stealing performance. The song became a classic. So did Let It Be, the Rolling Stones’ 1969 album. It reached number one in the UK and number three in the US Billboard 200 charts. Surprisingly, Gimme Shelter wasn’t released as a single. However, when people heard Let It Bleed, Merry’s show-stopping stopping performance meant a number of people took notice of Merry. This includes Lou Adler.
Lou Adler had founded Ode Records in 1967, the same year he sold Dunhill Records for three million Dollars. Ode Records’ reputation and roster were growing. His next signing he decided, would be Merry Clayton. He’d heard what she was capable of and decided to sign her. Merry he believed should release her own version of Gimme Shelter.
Gimme Shelter was one of eleven tracks on Merry’s debut album, Gimme Shelter. Apart from the Jagger and Richards’ penned Gimme Shelter, James Taylor’s Country Road, Robby Krieger’s Tell All The People, James Cleveland’s Here Come The Heartaches Again, Billy Preston’s You’ve Been Acting Strange, Billy Page’s Good Girls and Van Morrison’s Glad Tidings. Merry cowrote I Ain’t Gonna Worry My Life Away with Billy Preston, while Forget It I Got Got was penned by Gary Wright and Johnny Miller. I’ve Got Life was penned by Galt MacDermot, Gerome Ragni and James Redo. These eleven tracks became Gimme Shelter which Lou Adler produced.
For recording of Gimme Shelter, some of the top session players came together. The rhythm section included drummer Paul Humphrey, bassist Bob West and guitarists’ David T. Walker, David Cohen, Lou Morrell and Orville J. Rhodes. Joe Sample and Billy Preston played piano and organs, King Errisson congas and Gary Coleman and Victor Feldman percussion. Once Gimme Shelter was recorded, it was released in 1970.
The lead single from Gimme Shelter was the title-track. Released in 1970, it reached number seventy-three in the US Billboard 100 charts. Country Road was then released as a single, but failed to chart. When Merry’s debut album Gimme Shelter was released, it failed to chart. For Merry and Lou Adler, this was a huge disappointment. Especially given the praise heaped on Merry for her performance on the Rolling Stones’ version of Gimme Shelter. However, did Merry Clayton’s debut album deserve a better fate? That’s what I’ll tell you.
Country Road, a James Taylor song opens Gimme Shelter. Growling horns, gospel tinged harmonies and the rhythm section with the piano as Merry unleashes a vocal powerhouse. It’s a fusion of soul, R&B and gospel. She mixes power, emotion, joy and hope. Washes of atmospheric Hammond organ and a jangling piano play important roles. So do the harmonies and horns. However, it’s Merry that plays the starring role. Her vocal takes centre-stage as this song is given a magical musical makeover.
A roll of drums, stabs of horns and washes of Hammond organ open Tell All The People. Merry’s vocal is loud, confident and assured. Behind her, the rhythm section provides the heartbeat. Drums pound while crystalline guitars join a Hammond organ, piano and percussion. Horns add to the drama as Merry delivers a truly captivating and assured vocal,
Bridge Over Troubled Water has been covered by many artists. So, you’d think it’s impossible to bring something new to the song. Wrong. Merry delivers a gospel-tinged version. Her vocal oozes emotion, breathing life and meaning into the lyrics. The Hammond organ and bass are panned right and the piano left. They envelop Merry’s vocal tour de force while drums add to the drama and emotion. Cooing harmonies, percussion and grizzled horns are added. That’s a masterstroke which results in the finishing touch to what’s one of the best versions of this classic track.
Braying horns play their way into I’ve Got Live. Gradually, the arrangement unfolds. Cooing harmonies accompany Merry’s soul-baring vocal. Joining her are the driving rhythm section, Hammond organ and joyous horns. With the guitars they soar above the arrangement. At the heart of the arrangement is Merry’s vocal. With her backing vocalists she unleashes a joyous, powerful vocal that’s a fusion of soul, R&B and gospel.
The introduction to Gimme Shelter meanders into being. Guitars and the rhythm section combine before horns kick loose and drums pound. That’s the signal for Merry to deliver a vocal masterclass. Accompanied by harmonies, stabs of blazing horns and a driving bass she takes charge of the track. Then when her vocals drops out, it’s replaced by a searing guitar solo. When Merry returns, she picks up where she left off, combining power, sass and emotion. Seamlessly, genres melt into one. Everything from soul, funk, rock and R&B combines, as Merry reinvents another classic track.
It’s a bass, flute, piano and drums that open Here Comes Those Heartaches Again. They’re joined by chiming guitars and Merry’s heartbroken vocal, as she sings: “I’ve got the blues again.” Harmonies sweep in, the soulfulness almost reassuring Merry. Adding to the sense of sadness are the lushest of strings. They sweep and swirl, as harmonies sing: “what can I do,” in response to Merry’s cries of: “I’ve got the blues again.” As Mary lays bare her soul, the result is a heartachingly beautiful track, which shows another side to Merry Clayton.
Vibes and probing bass combine on Forget It. Stabs of Hammond organ accompany Merry’s needy, sassy vocal. Horns growl, the bass prowls and jazz, blues, soul and funk combine. As Merry struts her way through the arrangement this seems to spur the band to greater heights. Stabs of horns and rolls of drums add to the drama. Then briefly, the band drop out. Merry take centre-stage, before Merry and her all-star band head towards the dramatic, vampish crescendo.
You’ve Been Acting Strange sees the tempo drop. Horns blaze, harmonies soar and a bubbling bass prowls across the arrangement. Merry delivers a needy, urgent vocal. Hurt fills her vocal as she accuses “You’ve Been Acting Strange.” She’s not giving her man up easily, as she sings: “there ain’t nothing I won’t do for you.” Gospel-tinged harmonies, rocky guitars and blazing horns accompany Merry. Her vocal veers between sassy, needy, frustrated and confused, as she’s determined to keep her from leaving.
I Ain’t Gonna Worry My Life Away sees another change in direction. Merry combines jazz and blues, as she delivers a despairing vocal. Flourishes of piano, bass and swathes of strings sweep in as Merry mixes despair and disappointment at being betrayal. Despite this, she’s not for leaving. It’s as if she’s in denial and takes this as a challenge. She thinks she knows what he wants and is determined to win her man back. Chiming guitar, piano, strings, piano and a sultry saxophone join ethereal harmonies. They sweep in, and drama and emotion are ever-present as a defiant Merry sings: “you’re gonna be mine, one day.”
Good Girls is a track that’s perfect for Merry. Blazing horns and the rhythm section join cooing harmonies as Merry delivers a feisty, sassy vocal. Again, she literally struts her way through the track. With growling horns, pounding rhythm section and soaring harmonies for company, Merry vamps her way through the arrangement. Sass, sultry and soulful describes her performance.
Glad Tidings which closes Gimme Shelter is track from Van Morrison’s 1970 classic album Moondance. Merry doesn’t stray far from the original. With horns, harmonies, Hammond organ and the rhythm section for company, Merry vamps her way through the track ensuring the song swings. That’s the case and proves the perfect way to close Gimme Shelter.
Gimme Shelter deserved to fare much better than it did. It’s a familiar story. When Gimme Shelter was released, it failed to chart. Since then, Gimme Shelter has been a hidden gem. Apart from a few musical connoisseurs, very few people were aware of Gimme Shelter, which was the first of a quartet of albums Merry released on Ode Records.
Merry’s sophomore album, Celebration, released in 1971, also failed to chart. Merry Clayton released in 1971 reached number 180 and number thirty-six in the US R&B Charts. 1975s Four years later, Keep Your Eye on the Sparrow reached number 146 and number fifty in the US R&B Charts. Sadly, Merry Clayton didn’t enjoy the commercial success nor critical acclaim her music deserved.
That’s a familiar story. All too often, I write about albums that could’ve and should’ve been a commercial success. Sadly, for any number of reasons, these albums aren’t a commercial success. With Gimme Shelter, there’s nothing whatsoever wrong with the music. Far from it.
From the opening bars of Country Road, right through to the closing notes of Glad Tidings, you’re captivated by Merry Clayton. With some of the songs, including Country Road, Bridge Over Troubled Water and Gimme Shelter, the songs take on new meaning. Merry works her magic, breathing life, emotion and sass into the tracks. She delivers a series of vocal powerhouses, strutting her way through songs. As she does this, musical genres melt into one. Blues, funk, jazz, R&B, rock and soul are combined by Merry Clayton and her all-star band. No longer was Merry Clayton a backing singer.
At last, Merry Clayton had stepped out of the shadows. She took centre-stage and delivered eleven genre-melting tracks. They became Gimme Shelter, her debut album. Whilst Gimme Shelter wasn’t a commercial success, it launched Merry Clayton’s career and is a hidden soulful gem that’s truly timeless. Standout Tracks: Country Road, Bridge Over Troubled Water, Gimme Shelter and I Ain’t Gonna Worry My Life Away.
MERRY CLAYTON-GIMME SHELTER.
NUDE-OH MY LADY.
NUDE-OH MY LADY.
For a while, there’s been a real shortage of guitar bands. Not any more. Manchester-based Nude have entered the building. Nude are an old school band who’ve just released their debut E.P. The Rockfield Live Demonstrations, which features one of my favourite tracks of the moment Oh My Lady. Unsurprisingly, given the E.P’s title, it was recorded at the illustrious Rockfield Studios.
The road to Rockfield Studios is a well trodden path for bands who are going places. Everyone from New Order, The Beta Band, The Stone Roses and Teenage Fanclub have recorded at Rockfield Studios. Add to that illustrious list, Nude.
Nude headed to Rockfield Studios, Monmouth to record their debut E.P. They were so pleased with the result that they named their debut E.P. The Rockfield Live Demonstrations. One of the tracks is Oh My Lady, a fusion of indie rock, jangling Byrdsian guitars and some funky licks thrown into the mix. Then there’s Indigo Ford vocal. It’s heartfelt and needy as it delivers this paean. Behind the bluster it seems, Nude have a sensate side. However, who are Nude and where did it all begin?
It was at Manchester’s College of Music that the four members of Nude met. Each of the four members of Nude contribute to the band’s positive upbeat indie sound. They also have lived a life and found themselves in few strange situations. So, let’s meet Nude.
Well let’s start with the rhythm section. Drummer Will Jaquet is a native of Edinburgh, who turned his back on a possibly glittering football career with Celtic. There was a problem though. Will had a penchant for red cards.
Joining him in the rhythm section is bassist Frank Morgan. His claim to fame is falling down a shallow mine on the outskirts of Newport, only for his beloved bass to break his fall. He’s the lucky member of Nude.
Guitarist Jonny Smale the only Mancunian in Nude. His previous band Carpe Diem, which featured drummer “Funky Si” Simon Wolstencroft. They supported Ian Brown of the legendary Stone Roses.
Then there’s vocalist Indigo Ford. His grandmother was none other than Beryl Bainbridge. Now you know who Nude are, you can look out for them. Why?
Well one listen to Nude’s debut E.P. The Rockfield Live Demonstrations, and you’ll realise they’re a hugely talented band. Proof of this is Oh My Lady. It’s a delicious slice of indie rock with a funky side. Indigo Ford, shows Nude’s sensitive side with his heartfelt vocal. This is just a tantalising taste of what Nude are capable of. They look to have a big future ahead of him.
Tight, talented, charismatic and confident describes Nude. They’re currently on a tour of the UK promoting The Rockfield Live Demonstrations. If you get a chance, catch Nude live. They’re going places and it’s only a matter of time before Nude make the next step.
Nude will released their single Oh My Lady on 24th March 2014. It’s from Nude’s E.P. The Rockfield Live Demonstrations. Hopefully, soon, Nude will begin work on their debut album. Maybe by then Nude will have signed to either one of the top independents or a major label. That wouldn’t surprise me. When you hear Oh My Lady it won’t surprise you either.
NUDE-OH MY LADY.
DAVID BOWIE-SCARY MONSTERS (AND SUPER CREEPS).
DAVID BOWIE-SCARY MONSTERS (AND SUPER CREEPS).
Throughout a career that’s lasted over forty years, David Bowie has strived to produce innovative music. He’s constantly sought to reinvent himself, and his music. His music has evolved throughout his career. That’s been the case since he made a commercial breakthrough with Space Oddity in 1969. Eclectic describes the music David Bowie released after that.
In the early days, David Bowie released everything from psychedelia and glam rock. Then in 1972, he dawned the persona of Ziggy Stardust on 1972s The Rise and Fall of Ziggy Stardust and The Spiders From Mars. After that, The Thin White Duke sought to constantly reinvent himself.
Between 1974 and 1976, David’s music moved towards soul and funk on 1974s Diamond Dogs and 1975s Young Americans, which featured David’s first number one single in America, Fame. Then when 1976s Station To Station was released, David became The Thin White Duke. He downed the character of Thomas Jerome Newton, the extraterrestrial being he portrayed in the film The Man Who Fell To Earth. During this period, David became a controversial figure. He later blamed this on his drug addiction. However, not long after this, David’s music changed again when he headed to Berlin.
Inspired by the thriving German music scene, David headed to Berlin. He began to focus on minimalist, ambient music. for the first of three albums, co-produced with Tony Visconti. This began Low in January 1977 and Heroes in October 1977. This trio finished with Lodger in 1979. Critically acclaimed the Berlin trilogy were, they failed to match the commercial success of previous albums. However, David Bowie’s career got back on track with 1980s Scary Monsters (and Super Creeps), which was recently rereleased by WEA Japan. Scary Monsters (and Super Creeps) lead to a change in Bowie’s fortunes.
For Scary Monsters (and Super Creeps) David Bowie wrote nine tracks and cowrote Kingdom Come with Tom Verlaine. Recording of Scary Monsters (and Super Creeps) would take place at The Power Station, New York and Good Earth Studios, London. Accompanying David were an all-star band.
When Bowie set about recording Scary Monsters (and Super Creeps), he made several changes in the way he worked according to coproducer Tony Visconti. On this album, he had spent much more time writing the lyrics and working on melodies before he entered the studio. This was instead of having to improvise, and come up with lyrics quickly. Another change was that Bowie decided that the album wouldn’t be as experimental sounding, and instead, the sound should be much more commercial sounding.
If you’ve heard the Berlin trilogy, you’ll realise that much as they’re innovative albums, they’re not the most commercial sounding albums. When Scary Monsters (and Super Creeps) was released, the change in sound was astounding, it was an album that would appeal to a wider audience. One other change from previous albums, was Bowie’s reliance on help from musicians who were helping record the album.
Unlike previous albums, Brian Eno didn’t work with David Bowie on Scary Monsters (and Super Creeps). Previously, he’d collaborated with Bowie on the Berlin trilogy, playing a big part in the sound and success of these albums. Two familiar faces made a return. Roy Bittan who played piano in Bruce Springsteen’s band, and had played on Station To Station. The other was Robert Fripp, who’d played guitar on Heroes, the second of the Berlin trilogy. Meanwhile, two guest artists helped record the album, Pete Townsend played guitar on Because You’re Young and Chuck Hammer, who previously, had played guitar-synth with Lou Reed, played on two tracks. One of these track was Ashes To Ashes, where his guitar-synth playing was at the heart of the track. They weren’t the only musicians to play on Scary Monsters (and Super Creeps).
Other members of the band included a bassist George Murray, guitarist Carlos Alomar and percussionist Dennis Davis. Tony Visconti played acoustic guitar and Andy Clark synths. Adding backing vocals were Lynn Maitland, Chris Porter and Michi Hirota. Producing Scary Monsters (and Super Creeps) were David and Tony Visconti. Once Scary Monsters (and Super Creeps) was finished, it was released in September 1980.
Released in September 1980, Scary Monsters (and Super Creeps) was critically acclaimed and commercially successful. It reached number one in the UK album charts, and was certified platinum. Over the Atlantic, Scary Monsters (and Super Creeps) reached number twelve in the US Billboard 200 charts. A quartet of singles were released from Scary Monsters (and Super Creeps). Ashes To Ashes reached number one in the UK and was certified silver. Fashion reached number five in the UK, resulting in the single being certified silver. However, Fashion stalled at number seventy in the US Billboard 100. Having said that, it was the only single from Scary Monsters (and Super Creeps) to chart in America. The title-track reached number twenty in the UK. Up The Hull Backwards, Finally, Up The Hill Backwards reached number thirty two in the UK. Scary Monsters (and Super Creeps) had been commercially successful and critically acclaimed, David Bowie was back.
Scary Monsters (and Super Creeps) was critically acclaimed, with critics saying it was his best album in years. When it was released, it gave Bowie his first number one album in the UK since Diamond Dogs in 1974. The album was a big success in the US, and in the process, helped to rebuild his reputation there. Since Scary Monsters (and Super Creeps) release, it’s often cited as one of Bowie most best and most accessible albums. After Scary Monsters (and Super Creeps), every new David Bowie album was compared with it. However, what is it that makes Scary Monsters (and Super Creeps) so special?
Opening Scary Monsters (and Super Creeps) is It’s No Game (No. 1). Various background noises and Michi Hiroto spoken word vocal in Japanese accompanied by loud screeching guitars. David Bowie’s vocal is similarly loud, as he roars at the top of his voice. It’s the mesmeric wall of noise created by the rhythm section that grabs your attention. Guitar solos emerge soaring, screaming and screeching, then disappear, only to reappear later. Meanwhile David sings while a hugely powerful arrangement unfolds. Overall, the sound is slightly harsher than you’d expect from a David Bowie album. Towards the end the track takes a slightly chaotic turn. This doesn’t detract from what is a powerful and impressive track, including a passionate vocal from David Bowie.
Up the Hill Backwards picks up where the opening track left off. An acoustic guitar, guitars and drums combine producing a similarly bold sound. After that, the track changes totally. It’s more understated, with David’s vocal accompanied by the rhythm section. His vocal is much more subdued, almost weaker and thinner. Just as you’re getting used to this quieter part of the track, it’s all change again. Guitars soar high, chiming and screeching, as drums pound powerfully. From there until the track’s end, it’s another demonstration of power from the band, as the rhythm section drive the arrangement along. Impressive as the arrangement may be, Bowie’s vocal is slightly weak, but some intelligent lyrics make up for the vocal’s weakness.
David adopts a mockney accent on Scary Monsters (and Super Creeps) long before anyone had ever invented the term. Robert Fripp’s crystalline, soaring, guitar solo takes centre-stage. It’s outstanding throughout the track. Likewise, David’s vocal is much better. It’s strong and full of character. Behind him, the arrangement is dominated by the guitars and drums, that punctuate the arrangement. Backing vocals fill in when David’s vocal drops out. The tempo is fast, the sound joyous, and the lyrics descriptive. Bowie and Visconti’s arrangement and production is perfect. This is easily one of the album’s highlights.
Ashes To Ashes sees the reincarnation of Major Tom from his earlier hit single Space Oddity. The song was created around the guitar-synth part played by Chuck Hammer, and feature’s one of David’s best vocals on the album. It’s that guitar-synth, bass and drums that plays the familiar opening to the song. Although his voice is quite different to what it sounding like on Space Oddity, Bowie sings the lyrics perfectly. He’s like an actor going into character as he sings, delivering the lyrics with emotion and charisma. Like his vocal, the arrangement is one of the best on the album. Much of that is thanks to Chuck Hammer’s guitar-synth. Then there’s George Murray’s bass. It’s funky and spacious, while Roy Bittan’s piano playing adds to the atmospheric arrangement of this timeless track.
A short sweeping, echoey sound open Fashion, before it bursts proudly into life. The rhythm section and synths combine with David’s deep powerful vocal. By now, the arrangement has fuller, funky sound. Like other tracks, guitars play a huge part in the arrangement. They’re loud, soaring and chiming, screaming, while drums pound with regularity. A synth plays during the track, adding a moderne sound to the arrangement, while a bass sits at the bottom of the mix. It adds a touch of funk to the proceedings. Just like Ashes To Ashes the track has a timeless quality. Much of that is down to David Bowie and Tony Visconti’s arrangement. This results in another of Scary Monsters (and Super Creeps) highlights.
Teenage Wildlife features some of Bowie’s most cutting and personal lyrics as he cocks a snook at certain New Wave artists popular in 1980, but now long forgotten. If you listen to the track closely, you’ll hear similarities with Heroes, his 1977 hit single. Guitars play, as another melodic solo emerges. Straight away, there are similarities with Heroes. When David sings, his voice has a haughty sound, laden with character. It rises and falls, highlighting specific lyrics. Drums sit in the background, as the guitars and David take centre-stage, almost stealing the show. Backing vocal accompany and compliment David’s vocal. As the arrangement has really grown, and is dominated by guitars, with drums increasingly playing a more prominent role. This results in melodic track, which showcases David talents as a singer and songwriter.
Scream Like A Baby is a song about a political prisoner, and being imprisoned for your beliefs. With a song about such an important issue, comes a dramatic, almost overwhelming introduction. Straight away, drums are pounded, guitars almost growl at the start of the track. After that, Bowie gives one of most passionate vocals, as behind him, the arrangement isn’t as melodic, and hooks are scarce. It’s a very different track, that sometimes sounds nearly discordant, as drum crash and Bowie’s vocal gyrates. David’s impassioned vocal is full of emotion, anger and frustration.
Kingdom Come has a much more melodic, pleasing sound. Guitars and drums open the track, with the guitars repetitive, layer upon layer of guitars are unleashed. David’s vocal is strong and passionate. He sings call and response with the backing vocalists. This ensures Tom Verlaine’s lyrics come to life, They’re a fairly bleak portrayal of life, and sound more like a portrayal of the afterlife and hell. One thing that’s apparent is the track doesn’t have as polished a sound as you’d expect. Despite this, it’s a hugely impassioned performance from David Bowie and his band, of a track originally made famous by Television.
Pete Townsend plays guitar on Because You’reYoung and contributes towards one of the best arrangements and tracks on the album. Guitars open the track, the sound quickly growing much fuller, the tempo quickening. Davide delivers a heartfelt, soul-baring performance. Around him, the arrangement unfolds. It’s melodic, with hooks aplenty. Chiming and driving guitars, synths and rhythm section produce a bold, dramatic and melodic sound. Here, the lyrics are wistful, even bleak as David looks back at life, remembering the hurt, dreams and scars while offering advice to another generation. It’s a powerful and moving performance from The Thin White Duke.
Scary Monsters (and Super Creeps) closes with It’s No Game (No. 2). Guitars and rhythm section set the scene for David. His voice is strong and clear, as he takes care with his phrasing. Guitars punctuate the track, as if indulging in call and response. Later, a piano plays, adding to the track’s drama, and adding another dimension to the arrangement. Guitars chime, the bass plods along and drums are to the fore, pounding and reverberating slightly. Here, the lyrics are political, commenting on world events, revolutions and unrest. Just like other lyrics on the album, his worldview isn’t exactly positive. His glass is half empty. There’s a false ending on the track, and for nearly half a minute, you hear various sound effects. These seem to reflect the events portrayed during the song and a clever way to end this thoughtful track.
I find it hard to believe that it’s thirty-four years since the release of Scary Monsters (and Super Creeps), which was recently rereleased by WEA Japan. The reason for this is it’s a timeless album. Not only that, but Scary Monsters (and Super Creeps) marked a change in David Bowies fortunes. Scary Monsters (and Super Creeps) was much more successful than the Berlin trilogy. It contained his first UK number one single and helped rebuild his career in America.
Released in 1980, Scary Monsters (and Super Creeps) was very different to what David Bowie recorded immediately before this. The critically acclaimed, though not as commercially successful, Berlin trilogy preceded Scary Monsters (and Super Creeps). Although the Berlin trilogy contained some of the most innovative music David Bowie ever released, many fans struggled to understand the music on these albums. The problem was they weren’t populist. Low in Heroes and Lodger aren’t exactly hook-laden. Many David Bowie fans they turned their back on his music. Scary Monsters (and Super Creeps) saw them return.
Many longstanding David Bowie fans welcomed the change in sound on Scary Monsters (and Super Creeps). It’s manages to be both innovative and populist. Hooks are certainly not in short supply. Especially on Scary Monsters (and Super Creeps), Fashion and Ashes To Ashes, which marks the return of Major Tom. As always, David Bowie innovates. He fuses new wave, pop, funk, soul and electronica. The result was an album that’s timeless and manages to retain a contemporary sound. That can be said for much of Scary Monsters (and Super Creeps) which thirty-four years later, still sounds fresh and has aged well.
That’s why for many people, Scary Monsters (and Super Creeps) is the last great David Bowie album. After Scary Monsters (and Super Creeps), every David Bowie album was compared to it. For many critics, nothing came close. However, David Bowie was about to enjoy a commercially successful period.
Following Scary Monsters (and Super Creeps), David Bowie was about to enter one of his most successful periods. His next album Let’s Dance saw his popularity soar, and he acquired another generation of fans. Right through to 1989s Tin Machine, David Bowie’s career enjoyed an Indian Summer. Looking back, Scary Monsters (and Super Creeps) was David Bowie’s last great album. Other albums, including 1983s Let’s Dance came close, but no cigar. Scary Monsters (and Super Creeps) is a truly timeless and innovative album from David Bowie, Often Copied, Never Equalled.” Standout Tracks: Scary Monsters (and Super Creeps), Ashes To Ashes, Fashion and Because You’re Young.
DAVID BOWIE-SCARY MONSTERS (AND SUPER CREEPS).
PETER WALKER-“SECOND POEM TO KARMELA” OR GYPSIES ARE IMPORTANT.
PETER WALKER-“SECOND POEM TO KARMELA” OR GYPSIES ARE IMPORTANT.
Back in 1967, Peter Walker released his seminal album Rainy Day Raga, which was released on Vanguard Records. Since then, it’s become a cult classic. Many people though, thought Rainy Day Raga was Peter’s only album. It wasn’t. The following year, 1968, Peter released his sophomore album “Second Poem To Karmela” Or Gypsies Are Important, which was recently released by Light In The Attic Records.
“Second Poem To Karmela” Or Gypsies Are Important picks up where Rainy Day Raga left off, and proceeds to take things further. Much further. So much so, that “Second Poem To Karmela” Or Gypsies Are Important has been described as: “the missing link between Ravi Shankar, Sandy Bull and Timothy Leary, in more ways than one.” This quotation makes “Second Poem To Karmela” Or Gypsies Are Important an album the everyone must hear once in their life. Before I tell you about “Second Poem To Karmela” Or Gypsies Are Important, I’ll tell you about Peter Walker’s life.
Peter Walker was born in 1938 and grew up in Medford, just north of Boston. His father played the guitar, and aged three, Peter first picked up the guitar. He was hooked. Having broken the strings on the guitar, his parents bought him a mandolin. This was an important part of Peter’s musical education.
By the time he was a teenager, his parents had decided that Peter should be a musical all-rounder. So, he Peter played brass, woodwinds, piano and later, harmonica. The guitar came later.
That came after Peter ran away from home. This was the real thing. Peter spent time travelling round America. Incredibly, he was still in the early years of high school. On his return, Peter took up the guitar. Sadly, Peter wasn’t given any encouragement.
Far from it. His stepfather was far from happy about Peter’s decision to take up the guitar. There was no stopping him though. Looking back, Peter thinks it was his way of connecting with his father, who he still missed after his parent’s split-up. While Peter played guitar, he was broadening his musical taste.
Using a radio that he’d hidden under his bed, Peter started listening to the Grand Ole Opry. Soon, his musical tastes broadened. Blues, folk, gospel, R&B and rock ’n’ roll. Peter was hooked.
So much so, that he started learning the songs he heard on his radio. He bought a capo and started learning all the keys. One of the first songs he learnt, was The House Of The Rising Sun. Soon, he realised that playing guitar made him popular.
Out of all of the ten-thousand students at the University of Cincinnati in 1957, only two people played the guitar. So, this more or less guaranteed them invites to any campus parties. After college, Peter became a beatnik.
This was around 1958 or 1959. Back in 1957, Jack Kerouac had released his seminal classic On The Road, a book which inspired dreams and for the lucky ones, road trips and easy living. Peter lived the dream. With his guitar for company, he hung around North Beach, San Francisco. It was during this time, Peter honed his sound. By night, Peter lived above the Bagel Shop in Grant Avenue. During this time, Peter met a cast of colourful characters.
Among them were Jim Gurley, who later, would find fame with Big Brother and The Holding Company. He was taking his first steps musically, as he learnt to play the guitar. Then there Brownie McGhee, Sonny Terry, Josh White, Jose Feliciano, Lightnin’ Hopkins, Joan Baez, The Jim Jweskin Jug Band and Karen Dalton. Indeed, it was Peter who lent Karen Dalton the long-necked banjo that she plays on her classic album In My Own Time. All this was part of Peter’s development as a musician.
So were the early sixties. Peter was combining his time working a regular job and honing his musical style. This included hearing Ravi Shankar live. In 1962, Peter had bought a 100 string sarangi in 1962. He saw it in the window of a shop and was intrigued. Two years later, in 1964, Peter saw Ravi live. His music would go on to influence Peter’s debut. However, by then, Peter had been on a road trip.
The death of President Kennedy had affected Peter. He headed off, after believing his life was destroyed. During Kennedy’s presidency Peter had travelled back and forward between Mexico, buying guitars. After Kennedy’s assassination, Peter headed off on the mother of road trips.
First of all he headed to Spain. With the help of the US Consulate, Peter found a Flamenco teacher. This was Senor Pappas, who Peter addressed as Maestro. Throughout the winter, which he spent in Spain and North Africa, Peter studied Flamenco. Then when he headed back to America, he heard Ravi Shankar and began studying Indian music.
Hearing Ravi Shankar live inspired Peter. He headed down to Mexico and using a stereo he’d borrowed from his friend John Barrymore’s car, set about copying Ravi Shankar’s technique on the guitar. It took seven long months of playing along with a tape played at half-speed before Peter achieved what he set out to do. Being able to play both Flamenco and make his guitar sound like Ravi Shankar would result in a captivating debut album.
That would come later. Before that, John Barrymore Jr. took Peter under his wing. They’d become good friends. So, John showed around Hollywood. John introduced Peter as if he was a guitar maestro. Peter enjoyed his spell in Hollywood, but decided to return to New York.
Back in New York, Peter and Monte Dunn started playing together. Peter also played sessions at Columbia and had a residency at Cafe Au Go Go. It was there that a representative of Vanguard Records heard Peter. They liked what they heard, came backstage and offered Peter a contract on the spot.
Delighted, Peter accepted Vanguard Records offer. He set about recording his debut album Rainy Day Raga. Peter penned nine tracks and covered Lennon and McCartney’s Norwegian Wood. On its release in 1967, Rainy Day Raga seemed to pass most people by. It wasn’t a commercial success. Rainy Day Raga was described as: “the perfect L.S.D. soundtrack.” Since then, Rainy Day Raga has become a cult classic. Most people thought that was the end of the Peter Walker story. It wasn’t.
Following Rainy Day Raga, Peter began work on his sophomore album “Second Poem To Karmela” Or Gypsies Are Important. He wrote nine tracks and cowrote Mixture with Michael Chechik which were recorded and mixed at Vanguard Records’ Vanguard’s 23rd Street Studio.
As recording of “Second Poem To Karmela” Or Gypsies Are Important began at Vanguard Records’ Vanguard’s 23rd Street Studio, Peter would be accompanied by a talented band. This included flautist Jim Pepper, organist Michael Chechik, violinist John Blair and Jim Hotep on tabla. Midnite added tamboura and ondiolines came courtesy of New York Tactical Force. Peter played sarod, guitar and sitar. Producing “Second Poem To Karmela” Or Gypsies Are Important was Michael Chechik. Once “Second Poem To Karmela” Or Gypsies Are Important was completed, it was released in 1968.
When “Second Poem To Karmela” Or Gypsies Are Important was released in 1968, lightning stuck twice. It wasn’t a commercial success. Neither critics nor music lovers picked up on “Second Poem To Karmela” Or Gypsies Are Important. Again, it passed them by. Since then, only a small group of music lovers with eclectic tastes have appreciated “Second Poem To Karmela” Or Gypsies Are Important, which I’ll tell you about.
Opening “Second Poem To Karmela” Or Gypsies Are Important is Second Song. Wistful, eerie and exotic describes the arrangement. That’s before the drums gallop away and a flute cascades. The guitar is transformed in Peter’s hand. It takes on an Indian sound. That’s down to the tuning. As for his playing, his hands flit up and down the fretboard. It’s mesmeric. He joins forces with the drums and flute. There’s an urgency, fluidity and passion in their playing.
From the distance, an Eastern sound emerges. It’s captivating. So is Peter’s playing on I and Thou. Slow, careful and tenderly he plays his guitar. Behind him, subtly, instruments accompany. They weave in and out. Tamboura and tabla combine. However, it’s Peter’s playing that has your attention. His guitar has become an extension of him and his emotions. It’s as if his emotion, fears and frustrations flow through him to his guitar on this Flamenco influenced track.
Just Peter’s lone guitar opens Southwind. He plucks thoughtfully and gently at his guitar. Miles Davis believed space is left within the arrangement. So does Peter. Here, it adds to the drama. As do the tabla and flute. Together, they ask an unanswerable question. Peter and the flute match each other every step of the way for drama. Peter’s playing is exquisite. Jim Pepper’s flute proves a perfect foil for Peter.
Tenderly, but beautifully and soon, urgently Tear unfolds. Peter has your attention. Unaccompanied, he plays a spellbindingly beautiful solo. His playing veers between tender, strident, stark and melancholy. Heartache and hurt are ever-present and you can imagine a Tear falling.
Barefoot features a myriad of influences. Gradually, they all merge into one. Straight away, there’s the influence of Ravi Shankar. It comes courtesy of Peter’s guitar and tabla. Then a flute later joins gypsy violins. They’re played urgently, creating a joyous sounding track which you could dance Barefoot and carefree to.
Subtly and wistfully, Peter strums his guitar Gypsy Song, Tabla tremble and gypsy violins lay bare their soul. They’re played with tenderness and emotion. Meanwhile, the flute flutters above the arrangement. Even when the tempo rises, melancholy and soul-searching describes this track.
Circus Day has a similar wistful sound. Peter plays his thoughtfully and slowly. His playing takes on a sense of urgency. So much so, that it’s as if the flute is trying to reassure him. Try as it might, it can’t. Gradually, the arrangement grows. So does the Indian influence. Tabla and saron accompany the flute as they play with urgency, speed and fluidity. Somehow, they keep this up throughout the day, as of trying to replicate the happiness and joy Circus Day brings.
Blake Street veers between folk and Flamenco. Confidently, Peter plays the guitar. His playing is strident. Then as you think he’s about to change tack and head of in another direction, the song is over. Your left wondering what it might have become?
Tabla set the scene on Socco Chico. They march ominously towards you. When Peter plays the sarod, it’s thoughtfully and tenderly. He then plays his guitar with confidence. Meanwhile, the flute cascades across above the arrangement. It makes you think of an eagle in full flight. Later, Peter’s guitar playing becomes urgent. So do the tabla and flute during this dramatic opus.
Mixture which closes “Second Poem To Karmela” Or Gypsies Are Important, has a different sound. That’s because of new instruments, including an organ, ondiolines and sitar. There’s even tapes playing backwards. Slow, surreal and psychedelic describes this track. To that, I’d add moody and eerie. Meandering along, it proceeds to spring a series of sonic surprises, musical genres melt into one. Gypsy violins and tablas, psychedelia, jazz and rock combine to create a lysergic melange that closes “Second Poem To Karmela” Or Gypsies Are Important on a hypnotic high.
For Peter Walker, the commercial failure of “Second Poem To Karmela” Or Gypsies Are Important must have been ironic. The title “Second Poem To Karmela” is a reference to the book Sibbartha, which is the story of a man seeking enlightenment. Once he’s become enlightened, he decides to his newly enlightened self in the material. It’s during this part of his life, the man meets Karmela, a beautiful woman. Despite this, and his newly enlightened state, he decides to return to his monastic life. For Peter this must have struck a nerve. Having failed to enlighten music lovers, he turned his back on music.
For thirty-eight years, Peter Walker was lost to music. It was in 2006, that Peter made his comeback, when he recorded Second Raga For Peter Walker. After thirty-eight years in self-imposed exile, one of music’s innovators made his return. However, what might have Peter have achieved during this thirty-eight year period? Who knows? He may have become one of the most influential and innovative artists of his generation? We’ll never know. What I do know is that Peter Walker’s self-imposed exile was music’s loss.
It only takes one listen to Second Poem To Karmela” Or Gypsies Are Important, which was recently released by Light In The Attic Records to realise this. It’s a truly innovative and influential genre-melting album. Lysergic, experimental and groundbreaking, Peter Walker was ahead of his time. That’s nothing new.
A whole host of artists have suffered the same fate. However, not all of these artists walk away from music for thirty-eight years. Peter Walker did, leaving behind two minor classics. The first of these is Rainy Day Raga in 1967. A year later, Peter Walker released the cult classic “Second Poem To Karmela” Or Gypsies Are Important which has been overlooked since its release in 1968. Not any more. Peter Walker’s sophomore album “Second Poem To Karmela” Or Gypsies Are Important is an groundbreaking, genre-melting lost classic, one that everyone should hear. Standout Tracks: Second Song, Tear, Barefoot and Mixture.
PETER WALKER-“SECOND POEM TO KARMELA” OR GYPSIES ARE IMPORTANT.
LOU ADLER-A MUSICAL HISTORY.
LOU ADLER-A MUSICAL HISTORY.
Songwriter, producers, manager, director and impresario. That describes Lou Adler. During a long and illustrious career, that started back in 1958, Lou Adler has written over 150 songs and has 300 production credits to his name. Lou Adler has worked with some of the biggest names in music. Among them are Sam Cooke, Carole King, The Everly Brothers, Scott McKenzie, Jan and Dean and The Mamas and The Papas. Tracks from each of these artists feature on Lou Adler-A Musical History which was recently released by Ace Records.
Lou Adler-A Musical History features twenty-five tracks. They were released between 1958 and 1974 on labels like Keen, Capitol, Dore, Madison, Liberty, Warner Bros, plus Ode Records and Dunhill Records, the record companies Lou cofounded. These tracks are just a few of the songs that Lou either penned or produced during his career, which began in 1958.
Although Lou Adler was born in Chicago, his parents moved to Los Angeles when he was just eighteen months old. Growing up on Boyle Heights, in East Los Angeles, Lou was weaned on a diet of R&B jazz. Lou was also interested in pop music. His musical education came from local radio stations and the jazz concerts he went to. During his period, Lou was a music fan first and foremost. He’d no interest in making a career out of music. Then in 1957, Lou met another future legend of music, Herb Albert.
By 1957, Lou had already had a few jobs. This included managing a clothes shop and selling insurance. He even sold a policy to Herb Albert. Their respective girlfriends were friends. Through their girlfriends, Lou and Herb became friends.
Herb had been playing trumpet since he was eight. He was steeped in music. This meant the pair were well matched.
With Herb and Lou spending time together, they decided to try and write some songs together. Having written a few songs, they went looking for a publisher. Lou and Herb did the rounds of publishers and record companies. Major labels were off limits. Trying to get your foot in the door of the three majors, Columbia, Capitol and RCA was impossible. So up-and-coming songwriters took their songs to independent labels. That’s what Lou and Herb did.
They took their demos to A&R, where Bumps Blackwell promptly hired Lou and Herb as A&R men. This was the next part of their musical education. Bumps took the pair under his wing, giving them a crash course in how the music business worked. Part of this was analysing songs. They wrote their findings down and Bumps critiqued and marked it. This was invaluable. Having graduated from Bumps’ informal school of music, Lou and Herb made their songwriting debut.
It was May 1958 when Lou and Herb made their songwriting debut. They penned The Salamas Brothers’ Circle Rock, Froggy Landers and The Cough Drops’ River Rock and The Raiders Yoo Hoo. Another track they wrote was for a musical legend, Sam Cooke which features on Lou Adler-A Musical History, which I’ll pick the highlights of.
All Of My Life is one of two tracks from Sam Cooke on Lou Adler-A Musical History. It was the B-Side to Stealing Kisses, which released on Keen in 1958. Lou and Herb penned All Of My Life. Sam Cooke’s other contribution is a true classic, Wonderful World. Released as a single on Keen in 1969, it featured on their album The Wonderful World Of Sam Cooke. This was Sam’s final album for Keen, before he signed to RCA Victor.
There aren’t many artists who enjoy the longevity that Johnny “Guitar” Watson has. His career began in the early fifties and soon, Johnny established a reputation as one of the best guitarists of his generation. By 1958, Johnny released Baby Talk on Keen. It was written and produced by Lou and Herb. A blistering slice of R&B, it’s no surprise that Johnny went on to enjoy the commercial success and longevity he did.
Surf music is one of the most underrated musical genres. Two of the giants of surf music are Jan and Dean, who enjoyed a string of successful singles. These singles epitomised the surf era. This included 1960s Baby Talk which was released on Dore and gave Jan and Dean a top ten single. It was produced by Lou and Herb. Three years later, Lou and Herb penned Honolulu Lulu with Jan Berry. Released on Dore, it featured on Jan and Dean’s 1963 album Surf City And Other Swingin’ Cities. For newcomers to surf music and Jan and Dean, these two tracks should whet your appetite.
Between 1960 and 1961, The Untouchables released a quintet of singles. Four were released on Madison. This included their 1960 Goodnight Sweetheart, a beautiful fusion of doo wop and R&B. Produced by Lou and Herb, it’s the finest moment of The Untouchables’ career.
Given the recent death of Phil Everly, it’s quite poignant that The Everly Brothers’ Crying In The Rain features on Lou Adler-A Musical History. Their country tinged brand of rock ’n’ roll proved successful during the late fifties and sixties. They enjoyed three number one singles in the US Billboard 100 and US R&B charts. Crying In The Rain reached number six in the US Billboard 100. It was written by Howard Greenfield and Carole King and prodded by Lou and Herb. The result was a timeless classic which is a poignant reminder of The Everly Brothers.
For many people, The Mamas and The Papas provided the soundtrack to the mid-sixties. Their fusion of folk, rock and psychedelia proved hugely popular and epitomises a time and a place. Their debut single was Go Where You Wanna Go, which failed to chart. Written by John Phillips and produced by Lou Adler, it was released on Dunhill Records, the label Lou cofounded in 1964. Go Where You Wanna Go featured on the 1966 album If You Can Believe Your Eyes and Ears, which reached number one in the US Billboard 200. If You Can Believe Your Eyes and Ears also featured California Dreamin,’which reached number four in the US Billboard 100. California Dreamin’ is a timeless, classic track, one that people never tire of hearing.
Scott McKenzie’s San Francisco (Be Sure To Wear Some Flowers In Your Hair) is another track that epitomises the sixties and the hippy era. Just like so many other tracks on Lou Adler-A Musical History, it’s worthy of being described as a classic. Written by John Phillips who produced the track with Lou, it sold over seven million copies. Since then, this psychedelic pop anthem has been referred to as “the unofficial anthem of the counterculture of the 1960s.”
The Blossoms spent much of their career singing backing vocals. They were a favourite of producer Phil Spector. However, there was more to The Blossoms than singing backing vocals. They enjoyed some chart success during the sixties. By 1967, The Blossoms were signed to Ode Records and released Wonderful as a single. It was produced by Lou Adler. So was the B-Side Stoney End, which was a cover of a Laura Nyro track. Both these tracks show what The Blossoms were capable. They’re also a reminder that given their inconsiderable talent, The Blossoms should’ve enjoyed much more commercial success.
Peggy Lipton is described as an “actress, former model and occasional pop singer.” Wear Your Love Like Heaven which was released on Ode 1968, is Peggy’s finest moment. It also features on her 1968 eponymous album. Produced by Lou Adler, her tender, seductive vocal and lush strings combine beautifully. The result is a quite beautiful hidden gem.
Oh No Not My Baby is a track that’s been covered by a number of artists. One of them was Merry Clayton. Produced by Lou Adler, it reached number seventy in the US Billboard 100 and number thirty in the US R&B charts in 1973. Merry’s other contribution to Lou Adler-A Musical History is a cover of the Jagger and Richard’s penned Gimme Shelter. It was produced by Lou and reached number seventy-three in the US Billboard 100. A fusion of soul, gospel and rock this was the title-track to Merry’s 1970. She breathes new life, soul and sass into the familiar lyrics.
Carole King released a true classic album in February 1971, Tapestry, which reached number one in 1971. Eventually, Tapestry sold twenty-five million copies and won five Grammy Awards. Tapestry featured It’s Too Late. Written by Carole and Toni Stern, and produced by Lou, it was released as a single on Ode Records. It reached number one in the US Billboard 100 and winning a Grammy for song of the year in 1972. Carole’s other contribution on Lou Adler-A Musical History is the wistful ballad, It’s Going To Take Some Time, from her million selling album Music, which was released on Ode in December 1971. It’s Going To Take Some Time is another track from the pen of Carole and Toni Stern, which reached number twelve in the US Billboard 100. 1971 proved to be the most successful year in Carole’s career. No wonder, with Music like It’s Too Late and It’s Going To Take Some Time.
My final choice from Lou Adler-A Musical History is Spirit’s I Got A Line On You. Released as a single in 1968 on Ode Records, I Got A Line On You featured on Spirit’s eponymous debut album. Written by Randy California and produced by Lou Adler, I Got A Line On You showcased Spirit’s fusion of psychedelic rock and jazz reaching number twenty-five in the US Billboard 100. Spirit reached number thirty-one in the US Billboard 200 and launched their career.
While I’ve only mentioned eighteen of the tracks on Lou Adler-A Musical History, I could just as easily have mentioned any one of the twenty-five tracks. That’s testament to Lou Adler. The music he wrote and produced was of the highest quality.
Whether Lou was working with some of the biggest names in music, or a newcomer, he was determined that to help an artist fill their potential. Time and time again, he does that here. Whether it’s giants of music like Sam Cooke, Carole King, The Everly Brothers, Scott McKenzie, Jan and Dean and The Mamas and The Papas, or newcomers like Spirit or The Untouchables Lou brings out the best in them. Many of the songs he wrote and produced became timeless classics. This includes songs he recorded for his own record companies.
Lou cofounded Dunhill Records in 1964 and sold the company three years later in 1967, to ABC for three million Dollars. Then in 1967, Lou began again with Ode Records. He had the Midas touch. One of his most successful signings was Carole King. 1971 was her Magnus Opus, when she released the twenty-five million selling Tapestry and Music, which was certified platinum. So not only was Lou steeped in music, but was a shrewd businessman. Where other faltered, Lou Adler thrived. That’s why he enjoyed such a long and successful career.
Lou Adler has written over 150 songs and has 300 production credits to his name. Since 1958, Lou Adler has worked with some of the biggest names in music. The twenty-five tracks on Lou Adler-A Musical History, are just the tip of the iceberg. To do Lou Adler’s career justice, Ace Records, who recently released Lou Adler-A Musical History, would’ve to release a box set. However, who knows what the future holds? Maybe that will include a followup to Lou Adler-A Musical History, which pays tribute to Lou Adler, an accidental music mogul.
LOU ADLER-A MUSICAL HISTORY.
SLAKAH THE BEATCHILD-SOUL MOVEMENT VOLUME 2.
SLAKAH THE BEATCHILD-SOUL MOVEMENT VOLUME 2.
“It’s been a long time coming sang Sam Cooke.” The same can be said of Slakah The Beatchild’s forthcoming album Soul Movement Voiume 2. It’s the sequel to Soul Movement Volume 1, which was released to critical acclaim back in September 2008. After a gap of six long years, Soul Movement Volume 2 will be released on 10th March 2014, by BBE Music, which has been like a second home to Slakah The Beatchild.
It was on BBE Music that Slakah The Beatchild released his 2008 debut, Soul Movement Volume 1. It was released to critical acclaim. Music lovers hungrily awaited the followup to Soul Movement Volume 1. When Something Forever dropped in February 2011, it wasn’t a sequel to Soul Movement Volume 1. No. Slakeh was saving that for later. Instead, it was a smooth fusion of Nu Soul and hip hop. Critics loved Something Forever. So did music lovers. It was the perfect soundtrack to those warm summer nights. Everyone agreed Slakah The Beatchild was an artist going places. However, for the Toronto based artist, he was doing things on his own terms.
That’s been the case since the start of Slakah The Beatchild’s career. His love of music stems from his childhood. He was born Byram Joseph in the small city of Sarnia, Ontario. From an early age, Slakah caught the music bug. That came when he inherited a small collection of vinyl from his parents. Soon, Slakeh was hooked. Just like many children, Slakah had dreams of becoming a musician. His makeshift drum kit was his mother’s pots and pans. She tolerated this for a while, but eventually, decided Slakah learn to play the drums.
So, Slakah headed off to drum lessons. This was the next part in his musical education. After learning how to play the drums, Slakah took singing lessons and learnt to play the piano. For any aspiring musician, being able to read music and understand music theory is important. This would stand the future Slakah The Beatchild in good stead.
With his musical education complete, Byram Joseph’s career began in earnest. His raison d’être was to create timeless music. Inspired by Stevie Wonder, Marvin Gaye, D’Angelo, Quincy Jones, Raphael Saadiq and J-dilla, Byram’s career began career in Toronto.
For many people, the first they heard of Slakah The Beatchild was in 2005. Slakeh worked with Atomic Betty on her eponymous debut album. Sharp-eyed music lovers might have noticed in the credits the name Byram “Slakah” Joseph. He was credited for programming. Slakah The Beatchild had been born.
A year later, in 2006, Slakeh featured on Bad Meaning Good, a track from DJ Small and Drake’s album Room For Improvement. Then in 2007, Slakeh featured on Share, a track from Drake’s Comeback Season album. Slakeh also produced In The Studio for Poizunus’ 2007 album A.ctive D.reaming D.isorder. Word it seemed, was spreading about Slakah.
In 2008, Slakeh wrote Sunglasses for Divine Brown’s sophomore album The Love Chronicles. It went on to win a Juno award in 2009, which is the Canadian equivalent of a Grammy. By then Slakeh had arrived.
Slakah The Beatchild released his 2008 debut, Soul Movement Volume 1. It was released to critical acclaim on BBE Music. “It had been a long time coming.” However, it was worth the wait. Having written, produced and appeared on other people’s albums, Slakeh’s solo career was now underway.
Having released his debut, Slakah returned to writing and production. Slakah worked on Tingsek’s 2009 album Restless Soul. He wrote four tracks and produced two tracks. Then on Shad’s 2009 album The Old Prince, Slakeh mixed and produced Now A Daze. All this was good experience for Slakah The Beatchild’s sophomore album.
Nearly three years after the release of Soul Movement Volume 1, Slakah The Beatchild released Something Forever. With its fusion of Nu Soul and hip hop, Something Forever was well received. Just like its predecessor, Something Forever was critically acclaimed. However, it would be another three years before Slakah The Beatchild’s released another album.
During that three year period, Slakah The Beatchild was busy. He worked on Häzel’s 2012 album The Lost Tapes. Then there was The Slakadeliqs 2012 album The Other Side Of Tomorrow. The Slakadeliqs was a side-project for Slakah The Beatchild. It too was well received by critics. Slakah The Beatchild’s profile was in the ascendancy.
No longer was Slakah The Beatchild just a Canadian phenomenon. Far from it. Now he was building a fan-base further afield. This included in the UK and Europe. Slakah The Beatchild’s profile is sure to rise with release of Soul Movement Voiume 2.
Six years after the release of Slakah The Beatchild’s debut album Soul Movement Volume 1, comes the sequel Soul Movement Volume 2. It features fourteen tracks penned by Slakah The Beatchild. On Soul Movement Volume 2, Slakah The Beatchild joined by an all-star class that includes Spek Won, Glenn Lewis, Ian Kamau, Ayah and Tanika Charles. Will this all-star cast ensure Soul Movement Volume 2 is a fitting followup to Soul Movement Volume 1? That’s what I’ll tell you.
Opening Byram’s Soul Movement Volume 2 is Groove (Cut A Rug). Bubbling synths, crisp drums and percussion give way to ethereal harmonies. They cascade across the arrangement, as funk, electronica and hip hop unites. Slakeh’s cooing vocal is tender, as it becomes a jazzy scat. It’s sassy and sensual as it floats in and out of the mellow, multi-layered arrangement.
Stompthatflo is best described as a jazz-tinged slice of hip hop. From the get-go, the track has a smokey, old school sound. Joining Slakeh is Spek Won, who delivers a feisty rap. Horns rasp, crisp drums and vibes join harmonies, as Slakeh and Spek Won, unite to create a slice of old school hip hop. With its late-night, smokey, jazz-tinged sound, it’s one of the highlights of Soul Movement Volume 2.
Jazzy guitars and cascading harmonies unite as Adventure For 2 unfolds. Synths bubble, drums crack and Slakeh delivers a needy, seductive vocal. Tender harmonies accompany him, as Nu Soul, jazz and hip combine. The result is an Adventure For 2 that could result in three.
Number 1 has a cinematic sound. It’s the sound of a piano being played against a backdrop of chatter that results in this comparison. Then it’s all change. Glenn Lewis joins Slakeh and they fuse Nu Soul and hip hop unite. Drums crack, while flamboyant flourishes of a piano set the scene for a heartfelt vocal. Power, passion and emotion combine during this heartfelt paean, which shows another side of Slakah The Beatchild.
Thunderous drums, keyboards and Slakah’s scatted vocal open Where’s Yesterday. They’re joined by a rap. By now, the arrangement has taken on a mellow, laid-back and soulful sound. Slakah’s vocal accompanies the rap. Tenderly and soulfully, he sings around the rap. His vocal is yang to the rap’s yin. Meanwhile, the drums, keyboards and harmonies are locked into a groove. Mellow and soulful, with a summery vibe, this would make a good single.
Stabs of keyboards open Keep Up, while Slakah’s vocal cascades across the minimalist arrangement. Gradually, the arrangement unfolds, and an eight minute epic gets underway. What follows is a fusion of ambient, jazz, hip hop, house and soul. For the first half of the track minimalist describes the arrangement. Just crisp drums, keyboards and Ayah’s vocal accompany Slakah. They’re vocals are a perfect fit. Tender, ethereal and full of yearning. Then swathes of the lushest strings sweep in. This is perfect. It’s a masterstroke and results in the album’s emotive and ethereal Magnus Opus.
Something About Her sees a return the Nu Soul. Pizzicato strings, keyboards and drums provide the backdrop to Slakah’s sultry vocal. Harmonies float in and in out, while the drums become crisp. The drums aren’t as loud. That’s no bad thing. It allows the vocal and string to take centre-stage and enjoy starring roles in this track.
Miscommunication features two guest artists, Spek Won and Ian Kamau. Again, Slakah throws another curveball. A cocktail piano opens the track, before before it heads in the direction of hip hop, albeit with a touch of Nu Soul thrown in for good measure. Spek and Ian sing call and response, combining hip hop and Nu Soul. Meanwhile, the piano and drums have locked into a groove. This proves an irresistible perfect accompaniment to Spek Won and Ian Kamau.
Endurance reminds me of D’Angelo. It’s the arrangement that prompts this comparison. Nu Soul, hip hop and jazz combine seamlessly. Rasping horns, jazz guitar, mellow keyboards and crisp drums combine. Harmonies float above the brisk arrangement, which is propelled along by a standup bass. Slakah’s distant vocal is emotive and pensive. It drifts in and out of the arrangement, which washes over you a captivating combination of hip hop, jazz and Nu Soul.
Just like several tracks on Soul Movement Volume 2, Wanna Do opens with a jazzy guitar. It seems to be a favourite of Slakah. So are the crisp drums which accompany the guitar and Slakah’s sensual vocal. Bubbling synths and a rap flit in and out. The mainstay of the arrangement are the guitar, drums and Slakah’s vocal. This triumvirate prove a potent partnership on another genre-melting track.
Slow, thoughtful and jazz-tinged describes Us Theory. It has a spacious, jazzy arrangement, where just a guitar, drums and Slakah’s vocal combine. Cooing, scatted harmonies and keyboards add the finishing touches to what’s one of the most beautiful songs on Soul Movement Voiume 2.
The familiar fusion of jazzy guitar, drums and cocktail piano open Someone Like That. It has a lovely, understated and mellow sound. Meandering along, a funky bass joins the mix. By now, funky, jazz-tinged with a hip hop hue describes this mellow track.
With the crackling sound that opens Love Fool, it’s akin to listening to cherished vinyl record from yesteryear. Especially, when Tanika Charles delivers a vocal powerhouse. She’s a singer with a big future. Tanika sounds like she’s been raised on a diet of classic soul. There’s even a resemblance to Amy Whitehoue. Slakah’s band raise their game, as if realising this is musical magic is happening. They provide a driving arrangement to Tanika Charles, a diva in waiting.
Closing Soul Movement Volume 2 is Overtime. Again, the sound of worn vinyl is replicated. What follows has an old school sound. That’s thanks to the keyboards, rhythm section and bubbling synths. Literally, the arrangement meanders along. A clavinet enters, as if Slakah is paying homage to Stevie Wonder. Then all too quickly, the track is over. It’s a final reminder of just what Slakah The Beatchild is capable of.
Six long years after Slakah The Beatchild released his critically acclaimed debut album, Soul Movement Volume 1, comes the sequel Soul Movement Volume 2. It’s been well worth the wait. A genre-melting album, Soul Movement Volume 2 is a coming of age from Slakah The Beatchild. He’s come a long way since his debut Soul Movement Volume 1. No wonder. Slakah has hardly stopped working.
Since then, Slakah The Beatchild has released two further solo albums, plus released an album with The Slakadeliqs his side-project. Then there working with a whole host of artists. Slakah has written, mixed, produced and been a guest artist on other people’s albums. All this has been good for the main event, his solo career, and specifically, Soul Movement Volume 2, the long awaited sequel to Soul Movement Volume 1.
Returning to the scene of the rhymes after six years, was risky. Indeed, sequels per se are risky. After all, if Soul Movement Volume 2 didn’t match the quality of Soul Movement Volume 1, Slakah risked tarnishing his debut’s legacy. Thankfully, that’s not the case. Far from it. If anything, Soul Movement Volume 2 has surpassed the quality of Soul Movement Volume 1.
That’s not a surprise. Slakah The Beatchild is six years older and wiser. He’s matured as a musician, songwriter, singer and producer. With an all-star cast, Slakah The Beatchild has recorded the best album of his career. It’s a genre-melting album full of nuances, subtleties and surprises.
Everything from old school hip hop, ambient, electronica, funk, jazz and Nu Soul is combined by Slakah The Beatchild over fourteen tracks. His raison d’être has always been to create timeless music. That’s the case here. Ten years down the line, Soul Movement Volume 2 won’t have aged. That’s the case with all good music. I’m sure when you return to Soul Movement Volume 2 in the future, it’ll sound just as good. No wonder. Look at Slakah The Beatchild’s influences.
Listening to Soul Movement Volume 2, it’s obvious that Slakah The Beatchild has been inspired by everyone from Stevie Wonder, Marvin Gaye, D’Angelo, Quincy Jones, Jazzmatazz, Raphael Saadiq and J-dilla. To that, I’d add the old school hip hop of A Tribe Called Quest, the classic jazz of Wes Montgomery, plus Nu Soul singers like N’bambi, Jill Scott and Erkay Badu. All these artists have influenced Soul Movement Volume 2, which will be released on 10th March 2014, by BBE Music. It’s an album that’s been well worth the wait.
Six years after the release of his debut Soul Movement Volume 1, Slakah The Beatchild returns with the much anticipated sequel, Soul Movement Volume 2. Since then, he’s released two more solo albums. However, Soul Movement Volume 2 is the finest moment of Slakah The Beatchild’s career…so far, and marks a coming of age for the former Byram Joseph.
SLAKAH THE BEATCHILD-SOUL MOVEMENT VOLUME 2.
DR JOHN THE NIGHT TRIPPER-GRIS GRIS.
DR JOHN THE NIGHT TRIPPER-GRIS GRIS.
The scenario that I’m going to describe, really happened, and demonstrates that even the most experienced people in the music industry get things wrong. It was in January 1968, and Dr. John completed his debut album Gris Gris. A copy of Gris Gris was sent to Ahmet Erteghun at Atlantic Records. When he heard Gris Gris, he disliked the album so much, that he was reluctant to even release it. His response was “how can we market this boogaloo crap?” When Gris Gris was released, and just as Ahmet Erteghun forecasted, the album wasn’t a commercial success. Gris Gris failed to chart. However, since then, critics have changed their initial opinions of Gris Gris.
Since the release of Gris Gris in 1968, critics have reappraised the album. Belatedly, they’ve recognised the importance of Dr. John’s debut album Gris Gris. It’s best described as a fusion of psychedelia, blues, free jazz, R&B, soul, funk and jazz. Add to this psychedelic stew the authentic music of the melting pot that is New Orleans. The result was an album that was totally unlike anything that had been released before. Variously, Gris Gris has been described as an innovative, cerebral, mesmeric, menacing, haunting, seductive, progressive, psychedelic and lysergic. This presented a problem. Neither Ahmet Erteghun nor critics couldn’t compare it to anything. They’d no cultural reference points. For many critics, Gris Gris was an album that went over their head. However, belatedly, Gris Gris which was recently released by Real Gone Music has been recognised as classic album.
Nowadays, Gris Gris is recognised as one of the most important albums ever released. Since its reappraisal, Gris Gris has been included in Rolling Stone magazine’s list of the 500 most important albums of all time. As for Dr. John, he’s become a musical legend. What Ahmet Erteghun disparagingly referred to as is “boogaloo crap,” was the start of long and illustrious career. Following Gris Gris, Dr. John has released over twenty studio albums, proving that even Ahmet Erteghun sometimes got things wrong. However, in 1968, Dr. John was still known as Malcolm “Mac” Rebennack
Before Dr John recorded his debut album, Gris Gris, he was still Mac Rebennack, an experienced session musician, songwriter and producer, who played both rock and R&B music. In 1965, he’d relocated to Los Angeles from New Orleans because of drug problems and problems with the feds. It was there that he met a group of new Orleans session musicians, with whom he joined, playing various sessions, assisted by Harold Battiste, an arranger from New Orleans. The pair worked together on sessions for the Ric and Ron labels. However, Dr John wanted to make an album, but an album with a difference.
Dr. John’s concept for the album was intriguing. The album was to combine the different styles of New Orleans music via a front man and lead singer he decided called Dr. John Montaine, who he said he was an African potentate. He chose the name because his sister knew about Dr. John Montaine. Originally, it was Ronnie Barron, a New Orleans singer, who Mac Rebennack wanted to be lead singer and take on the persona of Dr. John. His manager Don Costa felt this wasn’t right for Barron’s career, so Mac Rebennack decided to don the persona of Dr. John.
For the recording of Gris Gris, the newly named Dr. John put together of New Orleans finest musicians. The rhythm section, which produced Gris Gris’ all important heartbeat, featured bassist Bob West, drummer John Boudreaux, guitarist Richard “Didimus” Washington who also played mandolin and percussion. They were joined by Steve Mann on guitar and banjo. Plas John Johnson Jr. played saxophone, Lonnie Boulden flute and Mo Pedido congas. Dave Dixon, Jessie Hill and Ronnie Barron added backing vocals and percussion. Arranger and producer Harold Battiste played bass, clarinet and percussion. Dr. John played keyboards, guitar and added his inimitable vocals. This was the lineup that headed into the Gold Star Studios in Los Angeles to record what would become Gris Gris.
Despite being an album with a musical DNA that reads New Orleans, the seven songs that became Gris Gris were recorded in Los Angeles, at Gold Star Studios. Dr. John penned four tracks, Gris-Gris Gumbo Ya Ya, Danse Fambeaux, Jump Sturdy and I Walk On Gilded Splinters. He cowrote Danse Kalinda Ba Doom with Harold Battiste and Mama Roux with Jessie Hill. The other track was Harold Battiste’s Croker Courtbullion. Then when recording was about to begin, things didn’t get of to the best of starts.
When Dr. John and his band arrived at Gold Star Studios, straight away, there were problems. Dr. John was unprepared. After all, he’d wanted Ronnie Barron to be the lead singer. So, Dr. John was a reluctant frontman. That wasn’t the end of the problems. On their arrive at Gold Star Studios, there wasn’t a studio available for him to record in. Then fate intervened. A studio that was reserved for Sonny and Cher became free. Seizing the opportunity that came their way, the seven songs were recorded. Once Gris Gris was completed, Dr. John sent the album to his record company Atco, a subsidiary of Atlantic Records.
When Ahmet Erteghun received Gris Gris, he dismissed the album out of hand. He disliked Gris Gris so much, that he was reluctant to even release it. On hearing Gris Gris, Ahmet Erteghun said: “how can we market this boogaloo crap?” Despite Ahmet Erteghun’s reservations, Gris Gris was released.
On its release in 1968, Gris Gris failed to chart. Gris Gris’ fusion of psychedelia, blues, free jazz, R&B, soul, funk and jazz seemed to go over the head of both music lovers and critics. It was an album that was totally unlike anything that had been released before. This presented a problem. They’d no cultural reference points, nothing to compare Gris Gris. However, like so many albums, Gris Gris was reappraised and belatedly, is recognised as seminal album. You’ll realise that, when I tell you about Gris Gris.
Opening Gris Gris is Gris-Gris, Gumbo Ya Ya, a song that epitomises Dr John’s new persona perfectly. The sound is dark, really dark. It brings to mind an atmosphere where Dr John’s candles and incense, help set the scene for Dr John, resplendent in his costume of feathers, surrounded by the paraphernalia and trinkets of his grandiose new identity, before he makes his debut as newly crowned musical potentate. A guitar soars, before a husky, whispery vocal from Dr John enters, accompanied by a multitude of otherworldly sounds, percussion and backing vocalists. It’s a mixture of psychedelia and R&B, with rhythm section, percussion and horns combining to produce a sound that is spooky, eery and just a bit unsettling. You wonder what the good Dr is hoping to achieve in this nocturnal sounding journey? Is he trying to contact long forgotten spirits, or raise the dead? Whatever, he hope to achieve, he has produced an intense, atmospheric and quite brilliant track, that’s best listened to late at night, in the dark, with someone to hold your hand when these unsettling sounds emerge from your speakers.
The unsettling, eery atmosphere continues with Danse Kalinda Ba Boom, which opens with a melange of chanted vocals, dark, booming drums, and an intense combination of prominent percussion and frenzied, repetitive vocals. Together, with mandolins, flutes and whistles, congas and guitars, Dr. John takes you a walk on the dark side of New Orleans. Goodness knows what rituals are being performed in the studio given the darkness, intensity and ferocity of the music. What makes the experience even more edgy, and even dangerous, is the way the music has been separated, and different instruments and sounds can be heard from different speakers. By the end of this fascinating combination of chants, rhythms and percussive diversions, you’re hooked, in love with the music, and in awe of Dr John’s vision and bravery at releasing such and ambitious and inspirational music.
After the two previous authentic slices of the dark side of New Orleans, things change quite drastically with Mama Roux, a track that has a brighter, more traditional sound. As the track opens it’s a combination of rhythm section, guitars and percussion accompanying backing vocalists, before Dr John regales us with the tale of Mama Roux. Here, he takes on the persona of the fast talking, pseudo mythical potentate. His vocal is atmospheric, whispery, and husky, with the backing vocalists a complete contrast, their voices sweet and melodic. Behind them, a jumble of percussion, drums and guitars provide a backdrop that’s very different to previous tracks. Gone are the edgy, eery sounds and in, is a much more melodic sound. Here, Dr John demonstrates his skill as a vocalist, on a track that has a much more subtle arrangement. It’s quite simply one of the best tracks on Gris Gris, and even today, is one of Dr John’s legion of fans favourite tracks.
Danse Fambeaux begins with a mandolin playing, before some slick guitars licks join a melange of whistles, percussion and rhythm section. It’s as if they’re announcing the imminent arrival of backing vocalists and the newly appointed potentate Dr John. The backing vocalists unite against soulfully and spiritually. Then Dr John delivers one of his most haunting, otherworldly vocals. He seems to embrace his new identity. His vocal veers between haunting, otherworldly, theatrical and grandiose. It seems as if his new mysterious alter ego, is perfect for the mysterious concoction of psychedelia and R&B. Like the arrangement, which is a mixture of exotic and sometimes moody, percussion, haunting voodoo drums, bringing to mind visions of mystery, faux spirituality and darkness. Together, they combine magically, creating a song that’s a masterful concoction of haunting and otherworldly sounds and vocals.
When Croker Courtbullion opens, immediately, this dark gothic journey through the sights and sounds of New Orleans underbelly continues. Quickly, drums rumble and reverberate, more of those slick guitar licks, which soar and chime as a harpsichord melodically plays while percussion, and a dark moody bass combine. The tempo is quick, nearly frantic, with the track drifting towards a discordant destination, only to be rescued at the last minute. Vocals, a haunting, chant and an eery flute combine. They’re joined by congas. Somewhere in the distance, sounds that are almost indescribable can he heard. You can hear screaming and shrieking, dogs barking. That’s just some of the things that you hear. Quite simply it’s an intriguing piece of music, where although you find yourself at the edge of your seat, you just must hear what happens next. It’s very different, totally unorthodox and out of step with the music of 1968. Having said that, it’s alo innovative, unique, inimitable, intriguing, riveting and hugely listenable.
Distant percussion, opens the track before backing singers unite, soulfully interjecting as a banjo plays a melodic, catchy solo before Dr John sings the lyrics to Jump Sturdy. If you listen carefully, there’s a hesitancy to his vocal, with him singing his lyrics either to soon, or at the wrong time. He has to stop himself, then after regaining his composure, and go again. It’s a very much warts and all version of this track, complete with percussion and dark, moody bass. Having said that, he gives a great vocal, laden in charisma and emotion, his voice loud and confident. The track lasts just under two and a half minutes, and I’ve always felt that this track could’ve been extended, made into something even better, an epic track, like the previous track. However, it’s still a great track, one of the best tracks on Gris Gris.
Gris Gris ends with I Walk On Gilded Splinters, a track that when Dr John performs live, brings to life, injecting the sheer force of his personality and charisma into. It’s a dark, moody sound that opens the track, congas, percussion accompanied by a choir of finger-clicks that accompany Dr John’s equally mood, atmospheric vocal. When the backing vocalists enter, their voices have a distant, haunting sound, matched by a swampy, eery otherworldly arrangement. A clarinet plays, its sound haunting, while congas and percussion combine in producing one of the eeriest and moodiest arrangements on the album. However, the man that makes this the best track on the album is the former Mac Rebennack, the newly anointed potentate Dr John. Quite simply, his performance is stunning, charismatic, eery and atmospheric. This is a classic track to end a classic album.
Listening to Gris Gris, it’s a debut album like no other. It’s no exaggeration to say that Gris Gris is one of the most ambitious and innovative debut albums. With no thought for his future career, he recored a groundbreaking album, Gris Gris. It proceeded to go over everyone’s heads. This included Ahmet Erteghun at Atlantic Records.
When he heard Gris Gris, Ahmet Erteghun disliked the album so much, that he was reluctant to even release it. His response was “how can we market this boogaloo crap? However, he wasn’t alone in missing Gris Gris’ potential and brilliance in Gris Gris. It was only many years later, that a new generation of reviewers revisited Gris Gris with an open mind, and realised just how important, influential and innovative an album it really is.
Granted, when you first hear Gris Gris not the easiest album to listen to. However, after one listen, you’re hooked. Dr. John weaves his spell over you on Gris Gris, a genre-melting album. It’s best described as a fusion of psychedelia, blues, free jazz, R&B, soul, funk and jazz. Add to this psychedelic stew the authentic music of the melting pot that is New Orleans. Listen carefully to Gris Gris and layer upon layer of music can be heard. With each listen, you’ll hear something new. It’s a like a lysergic mystical mystery tour where the music is ambitious, bold, challenging, eerie, broody, moody, mesmeric, menacing, haunting, seductive, progressive and psychedelic. That’s why Gris Gris is also a truly groundbreaking album. Dr. John dared to go where no artist had gone before. Sadly, many people in 1969 didn’t understand Gris Gris which was recently released by Real Gone Music. Not any more.
When a new breed of critics reappraised Gris Gris, they hailed it a classic. So did Rolling Stone magazine. Nowadays, Gris Gris is recognised as one of the most important albums ever released. Gris Gris has been included in Rolling Stone magazine’s list of the 500 most important albums of all time and is the album that launched Dr. John’s long and illustrious career.
After the release of Gris Gris, Dr. John has released over twenty further albums. Following Gris Gris, Dr. John released a string of innovative and influential albums. This includes 1968s Babylon, 1970s Remedies and The Sun and The Moon and The Herbs in 1971. Along with Gris Gris, these are some of the best albums Dr John released. For newcomers to Dr. John’s music, these albums are a good place to start. The best of this quartet is Gris Gris, a classic album that’s a genre-melting melange of musical influences and genres, which is akin to a lysergic, mystical mystery tour. Standout Tracks: Gris-Gris, Gumbo Ya Ya, Mama Roux, Jump Sturdy and I Walk On Gilded Splinters.
DR JOHN THE NIGHT TRIPPER-GRIS GRIS.
YOU TALK TOO MUCH-THE RIC AND RON STORY VOLUME 1.
YOU TALK TOO MUCH-THE RIC AND RON STORY VOLUME 1.
Joe Ruffino founded his Ric and Ron labels in 1958. For the next five years, they were one of New Orleans’ premier independent R&B labels. During this five year period, artists of the calibre of Professor Longhair, Irma Thomas, Johnny Adams, Eddie Bo and Eddie Laing released singles on the Ric and Ron labels. Many of these singles were written or produced by Joe Ruffino. This was pretty good going for someone who originally, had started out in the record distribution business. Little did Joe realise that Ric and Ron would become so successful, so much so, that a whole host of labels would model themselves on his labels. What Joe would also surprised Joe Ruffino is that forty-one years after his labels shut their doors for the last time, interest in the music released by Ric and Ron has never been higher. That’s why Ace Records have recently released You Talk Too Much-The Ric and Ron Story Volume 1.
On You Talk Too Much-The Ric and Ron Story Volume 1, are twenty-four tracks from the vaults of Ric and Ron. There’s contributions from Professor Longhair, Irma Thomas, Al Johnson, Tommy Ridgley and Joe Jones. Compiled by Tony Rounce who wrote the sleeve-notes, this is the first in a series of compilations featuring the music released by Ric and Ron. Before I tell you about the music on On You Talk Too Much-The Ric and Ron Story Volume 1, I’ll briefly tell you the story behind Ric and Ron.
It was back in 1958, in New Orleans when Joe Ruffino founded his Ric and Ron labels. He named them after his sons. Ric and Ron were independent R&B labels. They weren’t the first R&B labels in New Orleans, but they’d be one of the most important and influential. That’s no surprise, the man heading Ric and Ron was a music industry veteran.
Previously, Joe had worked in the record distribution business. He’d been employed by the New Orleans’ distributor Record Sales. Joe had also worked with Johnny Vincent, who owned the Ace and Vin labels. They were based in Jackson, Mississippi. However, Joe was Johnny’s man in New Orleans. He looked after the companies’ interest. One way he did this, was by bringing new acts to Johnny. Two of these acts were The Supremes and Lenny Capello. However, eventually, Joe tired of working for other people. Now was the time to head out on his own.
Johnny Vincent, as a token of his gratitude, gave Joe some Ace masters. This would help Joe’s nascent labels, Ric and Ron. The first thing Joe did, was hire Edgar Blanchard, who Joe appointed his head of A&R. However, Edgar was also an artist and features on You Talk Too Much-The Ric and Ron Story Volume 1 with Let’s Get It. Written by Joe and Edgar, it was the B-Side to Lonesome Guitar, a guitar driven instrumental. Released on Ric in 1958, this was Edgar’s first and only single for Ric. Not long after this, Edgar signed Ric’s first artist, Al Johnson.
Al only released two singles on Ric. His debut on Ric was You Done Me Wrong. Released on Ric, in 1958, it was penned by Al. It’s a dramatic, soulful and heart wrenching ballad. Two years later, Al released his best known song Carnival Time. It was written by Joe and Al and became Al’s theme song. After that, Al became known as Mr. Carnival Time. Having signed Al, Edgar Blanchard left Ric. His successors would be legends of New Orleans music.
Harold Battiste took over from Edgar. His successor was Malcolm “Mac” Rebenack. He’d go on to find fame as Dr. John, the Gris Gris man. So would some of Ric’s artists.
Midway through 1958, Joe added Johnny Adams to his roster. Johnny would release more singles on Ric and Ron than any other artist. His first single was I Won’t Cry, penned by Joe with Dorothy LaBostrie. There are two versions on You Talk Too Much-The Ric and Ron Story Volume 1. There’s the original version released in 1959 and a demo version, that first released in 1959. Despite a vocal oozing hurt and heartbreak, I Won’t Cry wasn’t a commercial success in 1959. Ironically, Johnny rerecorded the song in 1970 and it reached the US R&B top forty. The followup to I Won’t Cry was Come On, which was penned by Joe, Dr. John and Seth David.
Another artist signed in mid-1958 was Eddie Bo. Eddie was one of the many talented piano players to come out of New Orleans. A talented singer, songwriter and pianist, Eddie not only enjoyed a solo career on Ric, but penned tracks for other artists. He too contributes two tracks to You Talk Too Much-The Ric and Ron Story Volume 1. The best is Tell It Like It Is, which was written by William Allen and Dorothy Johnson which was Eddie’s pseudonym. Dorothy was his wife. Feisty and sassy, stabs of grizzled horns accompany Eddie on a track that was released in 1960. His other contribution is You Got Your Mojo Working. It came from the pen of William Allen and Dorothy Johnson. With a moody, bluesy sound, it’s truly irresistible.
Early in 1959, Tommy Ridgley was signed by Joe. This proved a shrewd move, because Tommy introduced Joe to a young Irma Thomas. He also released a string of singles on Ric. His debut was Is It True. Tucked away on the B-Side was Let’s Try And Talk It Over. It’s a track Tommy wrote and brings to life. Tommy’s vocal is a combination of emotion, hope and hurt. It’s as if he’s lived the lyrics. Is It True was the first of a string of singles Tommy released on Ric.
Having introduced Joe to Irma Thomas, little did Joe realise that here was New Orleans’ Soul Queen in waiting. Irma released the rocky Don’t Mess With My Man in November 1959 on Ron. Written by Dorothy LaBostrie, it shows what the nineteen year old Irma Thomas was capable of. By the time Irma released I May Be Wrong in April 1960, she’d matured. She delivers a heart-wrenching performance of a track Joe wrote with William Allen and Eddie Bo. Eddie cowrote using the alias Dolores Johnson. This was his wife’s name. I May Be Wrong was a tantalising taste of what Irma was capable of. Unfortunately, as soon as Irma left Ric, the hits started coming. She’d go on to become on of New Orleans’ most successful musical exports.
The same can be said of a true musical legend, Professor Longhair. By 1959, when Professor Longhair released Go To The Mardi Gras, he was forty-one. He was a musical institution in New Orleans. It’s no exaggeration to say he was one of the finest pianists of his generation. That’s apparent on Go To The Mardi Gras, which Professor Longhair wrote using his real name, Henry Byrd, it features Dr. John on guitar, which was his original musical weapon of choice. This was the second time Professor Longhair had recorded this track. Quite simply, joyous describes this version, which gave Ron its biggest hit single. Professor Longhair contributes his 1960 single Cuttin’ Out (Hey Now Baby). which he wrote. Again, he demonstrates why he’s one of New Orleans’ best pianists. A real hidden gem is a demo of Professor Longhair’s Tipitina, which he cowrote with Cosimo Matassa.
In 1960, Joe let another successful artist slip through his hands. This was Chris Kenner, who released Rocket To The Moon in 1960. It was a track Chris had written. He would become a successful singer and songwriter. One of his best known and biggest hits was Land Of 1000 Dances, which was released in 1962 on Instant Records. Before that, Chris had written his 1961 hit I Like It. This was the start of a string of hit singles for Chris, who was the one that got away for Joe Ruffino.
Other singles released during 1960 were Martha Carter’s Nobody Knows (How I Feel About You). Martha was discovered by Eddie Bo. Using his Dorothy Johnson alias, Eddie and William cowrote Nobody Knows (How I Feel About You). Released on Ron, in October 1960, it wasn’t a commercial success and proved to be Martha’s only single.
Another single released in 1960, was Joe Jones’ You Talk Too Much. This was a song Joe had recorded for Roulette. Written by Joe and Reginald Hall, it proved to Ric’s biggest single. They didn’t release the song. So, when Joe’s contract with Roulette ended, he recut the song. It was produced by Harold Battiste. On its release on Ric, towards the end of 1960, it was the label’s most successful single. It reached number three in the US Billboard 100 and nine in the US R&B Charts. Never again, would Ric nor Ron enjoy this level of commercial success.
So, that’s the story of You Talk Too Much-The Ric and Ron Story Volume 1, which was recently released by Ace Records. It features twenty-four tracks released on Ric and Ron between 1958 and 1960. With contributions from Professor Longhair, Irma Thomas, Johnny Adams, Eddie Bo and Eddie Laing, it’s no surprise that Ric and Ron are held in such high esteem by connoisseurs of R&B. Bluesy, funky, sassy and soulful describes the music, which is the perfect introduction to Joe Ruffino’s two labels. Sadly, despite being seen as one of the most important and influential of New Orleans’ independent R&B labels, mostly, commercial success eluded Ric and Ron.
Despite that, the next generation of record label owners modelled their companies on Ric and Ron. I can see why. Joe seemed unafraid to hire the best person for the job. This included Edgar Blanchard, Harold Battiste and Malcolm “Mac” Rebenack. They were Joe’s A&R men. He trusted them to find him artists who would bring success to his label. They had good ears, discovering artists like Irma Thomas and Chris Kenner, before they found fame. Then there was the decision to have Professor Longhair recut the classic Go To The Mardi Gras. This resulted in one of the label’s biggest singles. It was topped only by Joe Jones’ You Talk Too Much, which had been rejected by Roulette. Seeing the potential in the song, Harold Battiste produced a second version of the single. The decision was vindicated, when the recut version of You Talk Too Much became the label’s biggest single. That single, like so many on You Talk Too Much-The Ric and Ron Story Volume 1, are timeless.
Indeed, much of the music on You Talk Too Much-The Ric and Ron Story Volume 1, is among the finest R&B released by New Orleans labels between 1958 and 1960. Well known artist and unknowns sit side by side on You Talk Too Much-The Ric and Ron Story Volume 1. They have one thing in common, and that they recorded some timeless R&B. Backed by some of New Orleans’ finest musicians, these artists are responsible for some of the finest music released on Joe Ruffino Ric and Ron labels. It features on Ace Records latest compilation You Talk Too Much-The Ric and Ron Story Volume 1, which is the perfect introduction to the Ric and Ron labels.
YOU TALK TOO MUCH-THE RIC AND RON STORY VOLUME 1.
INNER CITY BEAT-DETECTIVE THEMES, SPY MUSIC AND IMAGINARY THRILLERS 1967-1975.
INNER CITY BEAT-DETECTIVE THEMES, SPY MUSIC AND IMAGINARY THRILLERS 1967-1975.
KPM Music, De Wolfe Music, Amphonic Music and Conroy. These names may not mean much to many people. However, for sample-hungry hip hop producers and crate-digging DJs alike, this means musical gold. One of music’s best kept secrets is library music. This has been the case for many years.
Ever since the dawn of hip hop, library music has proved a source of inspiration for sample-hungry hip hop producers and crate-digging DJs alike. Library music has also proven popular with music lovers with discerning musical tastes. This was never meant to be the case.
Library music was meant to be used by film studios or television and radio stations. It was never meant to be commercially available. The music was recorded on spec by music libraries. They hired often young unknown composers, musicians and producers. Once recorded, record libraries sent out demonstration copies of their music to production companies. If the production companies liked what they heard, they’d license it from the music libraries. That was how it was meant to work.
Often, the music recorded by library companies was never licensed. Since then, it has lain unheard in the vaults of music libraries like KPM, De Wolfe, Amphonic and Conroy. This includes the music on Inner City Beat-Detective Themes, Spy Music and Imaginary Thrillers 1967-1975 which was recently released by Soul Jazz Records. It features twenty-four slices of jazz, funk and easy listening. It’s like returning to what was a golden period in television and cinema.
Anyone who grew up during this period, will be aware it was one of the golden eras of British television and cinema. No wonder. Programs like The Persuaders, The Sweeney, The Avengers, Department S, The Protectors, The Champions and Randall and Hopkirk Deceased) were a regular occurrence on British television. Sometimes, the soundtracks to these television programs were just as memorable. Ironically, the soundtracks were often recorded on spec by music libraries. They hired often young unknown composers, musicians and producers who are responsible for what are some of the most memorable television themes ever. Sadly, the same can’t be said of the twenty-four tracks on Inner City Beat.
Many of the the twenty-four tracks on Inner City Beat were never licensed. So this marks their debut. These tracks bring back memories of the late-sixties and early seventies. They’re truly evocative. Listening to tracks by Syd Dale, Norrie Paramor, Dave Richmond, Reg Tilsley, Brass Incorporated, Francis Coppieters and Johnny Hawksworth is like being transported back in time. These pre-PACE times saw the police get their man by fair means and foul. Usually, this means car chases, punch-ups and doors being kicked in. There was nothing cerebral about these testosterone fuelled days. It was action packed and all over within an hour. The same can be said of Inner City Beat
Peter Reno and Barry Stoller’s Sparks opens Inner City Beat. It’s a track from the Music De Wolfe music library. It’s taken from their 1974 album Super Ride. It’s a real fusion of influences. Everything from easy listening, funk and rock is combined, to create an unmistakable early seventies sound.
Syd Dale features twice on Inner City Beat. His first contribution is the funky, jazz-tinged, dramatic and cinematic Danger Musicians At Work. Written by Syd, it features on his 1967 album Impact And Action. His other contribution is The Hell Raisers, which features on The Sound Of Syd Dale, which was released on KPM Music. Again, it’s dramatic, with jazz, easy listening and funk combining to create a quintessential mid-sixties British sound.
Clive Hicks’ Transit has a moody sound from the get-go. That’s down to the hissing hi-hats, broody bass and washes of keyboards. Then there’s the rasping horns. By now, it’s reminiscent of an episode of The Sweeney. You get the feeling something is going down. It’s a real scene setter. Released on KPM Music on their 1975 compilation drama, it’s one of Inner City Beat’s highlights.
Norrie Paramor was a prolific British composer. His recording career started way back in the fifties. By 1974, he was writing library music. Theme from New Scotland Yard was a track from his 1974 album Law Beat, released by Contour. On Law Beat, he covers the themes to various crime dramas. They bring back a whole host of memories.
Francis Coppieters features twice on Inner City Beat. His contribution are Funky Chimes and Cross Talk. Both tracks are from Francis’ 1975 album Piano Vibrations. It was released on KPM Music. The best of the two tracks is the mellow, languid and dreamy Funky Chimes.
Dave Richmond contributes Gotta Getaway and Heavy Lead to Inner City Beat. Gotta Getaway features on the 1973 KPM Music compilation Look On The Bright Sid. Heavy Lead, a fusion of funk and jazz, features on KPM Music’s 1975 compilation The Hunter/Adventure Story. It has a moody, dramatic and cinematic sound that sounds like it was recorded in 1975.
Reg Tilsley Ode To A Stone is quite different to other tracks on Inner City Beat. It’s the rocky sound that’s different. What follows is a real genre-melting track. Everything from rock, jazz, funk and psychedelia is combined to create a track with a late-sixties sound. It features on Reg’s 1967 The Music Of Reg Tilsley. Released on Music De Wolf it represents the sound of swinging London. Reg’s other contribution as the Reg Tilsley Orchestra. The Ratcatchers is a track from the 1967 album Top TV Themes, which was released on Fontana.
Fuel Injection, Crossflow and Dynamic Patterns are three tracks from Ernest Copley which featured on Industrial-Openings And Endings. This was a compilation released by Conroy in 1972. It also features Johnny Hawksworth’s Workshop and Conveyor Belt. These tracks are variously evocative, dramatic and cinematic, painting pictures in your mind’s eye.
Jazz-tinged and dramatic describes Brass Incorporated’s On a Bicycle Made for Three. It and Come One, Come All were taken from Brass Incorporated’s 1972 album Have Band-Will Travel. It was released on Amphonic Music. Written and produced by Sydney Dale this is a much prized item among record collectors. No wonder. If On a Bicycle Made for Three is anything to go by. It’s one of the highlights of Inner City Beat.
David Lindup wrote Men of Action and Superformance, which feature on KPM Music’s 1967 compilation Impact And Action. Funk-fuelled, jazzy and dramatic, it’s credited to The European Sound Stage Orchestra. Another track from this compilation is Johnny Pearson’s Grand Prix. A fusion of funk, jazz and rock, it has an unmistakable sixties sound. Johnny also contributes Product Efficiency, from KPM Music’s 1970 compilation Speed And Excitement. Its cinematic sound makes it perfect for an early seventies detective series.
The International Studio Orchestra are responsible for the two other tracks on Inner City Beat, High Diplomacy and Police Five. They’re tracks from their Double Or Quits album. It was released in 1970, on Music De Wolfe. Peter Milray wrote Double Or Quits and Johnny Hawksworth penned Police Five. Not much is known about The International Studio Orchestra. Most likely, they were an anonymous group of session musicians. Having said that, it only takes one listen to realise that these musicians are hugely talented. It’s just a pity we don’t know more about them?
The mainly anonymous, young composers, musicians and producers responsible for library music could never have known the music they recorded would have. This includes the music on Soul Jazz Records’ recently released compilation Inner City Beat-Detective Themes, Spy Music and Imaginary Thrillers 1967-1975. These compilation of library music is what has inspired a whole host of people. I’d go as far say it’s touched everyone’s life either directly or indirectly.
It’s touched everyone’s life. I mean everyone. This includes children growing up in the seventies, weaned on cartoons like Dangermouse, viewers of TV quizzes or current affairs programmes. Then there’s hip hop producers like Jay-Z, Doom and Guilty Simpson. Or what about film producers like Quentin Tarantino and cutting-edge DJs? Each and everyone of them have been inspired and affected by library music. Despite this, library music is still one of music’s best kept secrets. Hopefully, not any more.
Library music is a musical treasure trove awaiting discovery. Whether its easy listening, funk, jazz, pop or soul, there’s something for everyone. You could be about to embark upon a musical voyage of discovery. After hearing Inner City Beat-Detective Themes, Spy Music and Imaginary Thrillers 1967-1975, you’ll want to hear more of music’s best kept secret, library music. Much of this music is from composers and musicians who many people won’t yet be aware of. However, I’ll warn you, library music is becoming increasingly rare. No longer will you find it in car boot sales, charity shops or second hand stores. So, you’ll need to dig deep. Maybe, however, you’ll be lucky and strike musical gold. If not, at least you can enjoy the delights of Inner City Beat-Detective Themes, Spy Music and Imaginary Thrillers 1967-1975, which contains one of music’s best kept secrets, library music.
INNER CITY BEAT-DETECTIVE THEMES, SPY MUSIC AND IMAGINARY THRILLERS 1967-1975.
GIL SCOTT-HERON-PIECES OF A MAN.
GIL SCOTT-HERON-PIECES OF A MAN.
Just a year after the release of his 1970 debut album Small Talk At 125 and Lenox, Gil Scott-Heron returned with his landmark album Pieces Of A Man which was recently rereleased by BGP Records, a subsidiary of Ace Records. Pieces Of A Man was Gil’s second collaboration with musician Brian Jackson. Gil was a poet, musician, and author. Together, their fusion of jazz, blues and soul music, highlighted the social and political problems of the early seventies.
Racism, poverty, corruption, inequality and drug addiction featured in Gil’s lyrics to Pieces Of A Man. Fearlessly, Gil tackled these subjects head on, delivering the lyrics with his proto-rap style. Pieces Of A Man was an album that would go on to influence several generations of music lovers. Among them, were several generations of hip hop artists.
Each of them, owe Gil Scott-Heron a debt of gratitude. He was, after all, the Godfather of hip hop, having invented rap. It wasn’t just hip hoppers who’ve been inspired by Gil Scott-Heron.
From the day Gil released Pieces Of A Man in 1970, this inspired several generations. It inspired and politicised them. Having opened their eyes to the injustice around them, they began to right wrongs. That was all thanks to Gil Scott-Heron’s landmark album Pieces Of A Man. It features one of Gil’s best known tracks, The Revolution Will Not Be Televised.
The Revolution Will Not Be Televised was Gil-Scott-Heron’s finest hour. His lyrics are cerebral, witty, scathing and most importantly, honest. Remarkably, he was only twenty-one.
April Fool’s Day in 1949 was an important day in Chicago’s musical history. That was the day Gil Scott-Heron was born. His mother Bobbie Scott-Heron was an opera singer. She sang with New York’s Oratorio Society. Gil’s father was Gil Heron was a Jamaican footballer, who at one time, played for Glasgow Celtic Football Club. Sadly, Bobbie and Gil’s marriage ended when Gil was young.
After this, Gil was sent to live with his maternal grandmother, Lillie Scott, who lived in Jackson,Tennessee. Then when Gil was just twelve, Lillie Scott died. Gil returned to New York to live with his mother. She was now living in the Bronx. Originally, Gil enrolled at the DeWitt Clinton High School, but later, moved to the Fieldston High School.
This came after impressing the head of the English department. He’d read one of Gil’s essays and recommended that Gil received a full scholarship. This proved a poisoned chalice. The education he was receiving was better. However, he was only one of five black students. He felt alienated. Another problem was the socioeconomic gap between him and other students. They came from a much more affluent background. Gil was the son of a single mother. It was at this period, that Gil became socially and politically aware. His eyes were opened to inequality, injustice and racism. This would shape his music in later years. Before that, Gil headed to university.
Lincoln University was where Gil headed after high school. Gil was recommend to head to Lincoln University by Langston Hughes. He was also at Lincoln University and was a member of Gil’s first band, the Black and Blues. After two years at Lincoln University, Gil decided to take time out to write a novel.
During this period, Gil Scott-Heron wrote two novels. His first novel was a thriller entitled The Vulture, was published in 1970. Whilst writing The Vulture, Gil saw The Last Poets in Lincoln in 1969.
After watching The Last Poets, Gil approached the band and asked: “can I form a band like you guys?” The seed had been sown. Maybe, music rather than writing would be the direction Gil’s career headed?
Having been impressed with The Last Poets and now considering a career in music, Gil had a lot on his mind as he headed back to New York. He found a new home in Chelsea, Manhattan. Once he’d settled in, Gil decided to make his dream a reality. So he looked for a record company. Gil just so happened to approach a label tailor-made for his music, Flying Dutchman Productions.
After his departure from ABC/Impulse Bob Thiele decided to found his own label. Over the last few years, Bob 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. So when Bob parted company with Impulse, who he’d transformed into one of jazz’s pioneering labels, he founded Flying Dutchman Productions. This was the label that Gil Scott-Heron approached. There was a problem though.
While Bob wanted to sign Gil, there was a problem, funding. The funding that Phillips, the Dutch record label had given Bob wasn’t going as far as he’d hoped. Despite this, when he met Gil he was impressed by the poet, musician, and author. So what Bob did, was fund an album that was a fusion of poetry accompanied by understated, percussive arrangements.
This was Small Talk At 125 and Lenox. It was recorded at a studio and released in 1970. Immediately, comparisons were drawn with the group who’d inspired Gil, The Last Poets. This was a fair comment. However, one listen to tracks like Whitey On The Moon, plus what was the original version of The Revolution Will Not Be Televised, and people realised that Gil took what The Last Poets had been doing to the next level. With just a trio of percussionists accompanying Gil, Small Talk At 125 and Lenox was a potent and explosive mix of scathing political and social comment.
Sadly, when Small Talk At 125 and Lenox was released, it wasn’t a commercial success. However, a small crumb of comfort was, that The Revolution Will Not Be Televised found its way onto radio play lists. That was encouraging for Bob and Gil. They knew they were on the right track. So they decided that Gil should begin work on his sophomore album Pieces Of A Man.
For Pieces Of A Man, Gil wrote The Revolution Will Not Be Televised, Save The Children, Lady Day and John Coltrane and Home is Where The Hatred Is. He cowrote the other seven tracks with Brian Jackson. These eleven tracks were recorded on 19th and 20th April 1971. Joining Gil were a few well known names.
When Bob Thiele asked Gil who he’d like to accompany him, jokingly, Gil said flautist and saxophonist Hubert Laws and bassist Ron Carter. So Bob got them onboard for the recording of Pieces Of A Man. This was Bob Thiele’s way of making Gil feel at home. Bob knew this was the way to get the best performance possible from an artist.
Joining Ron in the rhythm section were drummer Bernard “Pretty” Purdie and guitarist Burt Jones. Brian Jackson played piano and Gil played guitar, piano and sang lead vocals. Producing Pieces Of A Man was Bob Thiele. After two days recording, Pieces Of A Man was completed. Now it was ready for release.
When Pieces Of A Man was released in 1971, only Rolling Stone magazine realised the cultural importance of the album. Pieces Of A Man passed the rest of the music press by. This is a sad indictment on music journalism at one of the most important period in musical, social and political history. Just like Pieces Of A Man passed the majority of the music press by, the same can be said of the record buying public. Apart from spending six weeks in the US Jazz Charts in1972, where it peaked at a lowly number twenty-five, commercial success passed Pieces Of A Man by. Ironically, later, critics reappraised Pieces Of A Man and hailed it a classic album that’s intense, politically charged, innovative and influential. That was still to come. Before that, I’ll tell you about Pieces Of A Man.
Opening Pieces Of A Man is The Revolution Will Not Be Televised, a much misunderstood song. When Gil wrote the song, it was a comment on the times. He was frustrated that rather than bring about change, people were watching television. Nothing would be achieved by sitting watching television. People had to change. Only then, could they make a difference. The song which featured on Small Talk At 125 and Lenox is transformed. Gone is the understated sound. Ron Carter’s bass and Bernard “Pretty” Purdie drums providing the pulsating heartbeat. Hubert Laws’ flute provides the accompaniment to Gil’s scathing, cynical vocal. It weaves above his vocal, which is full of anger and frustration, before he fires a parting shot that: “the revolution will be no re-run brothers, the revolution will be live.” These words ended one of the most important songs in musical history.
Chiming guitars, rhythm section, flute and percussion provide a backdrop to Gil’s vocal on Save The Children. The mellow, laid-back arrangement is the perfect backdrop to Gil’s vocal. He pleas” we must do something to Save The Children.” Hope fills Gils’s voice that together, they’ll be able to make things better for the generation to follow. A much covered song, Gil’s version is the definitive take. Why? That’s down to the arrangement and Gil’s heartfelt vocal.
If anyone asks you how music makes you feel, play them Lady Day And John Coltrane. Gil articulates this perfectly. It doesn’t matter what’s happening in your life, music will always make you feel better. That’s the case from the opening bars, where the rhythm section drive the arrangement along. Meanwhile, Brian Jackson delivers a masterclass on keyboards. This is crucial to the song’s success. So is Gil’s urgent, emotive jazz-tinged vocal. He brings the lyrics to life, in this paean to power of music.
From the get-go, Home Is Where The Hatred has a cinematic quality. That’s down to the lyrics. They come to life as Gil delivers them with frustration, anger and power. Ironically, later in life, Gil succumbed to the addiction he sings about. Behind him his band kick loose. Ron Carter’s bass probes, drums and guitars add drama. Burt Jones unleashes a soaring, crystalline guitar solo. Again, Brian Jackson’s keyboard playing plays. They seem to raise their game, as Gil unleashes a vocal powerhouse where emotion and frustration are omnipresent.
Chirping guitars and braying saxophone answer Gil’s call on When You Are Who You Are. Hubert Law switches from flute to saxophone and in the process, plays a starring role. Meanwhile, the rhythm section provide the heartbeat. Gil sings this song to a woman whose trying to impress him. His message to he is, when someone’s happy being themself. Later, Burt Jones lays down some jazzy licks. Then when the saxophone takes charge, Burt gets funky. As for Gil, he ad libs and encourages his band as they head to a jazzy crescendo.
I Think I’ll Call It Morning has the same languid, laid-back sound as Save The Children. Key to this is Brian Jackson, who has switched to piano. His piano is at the heart of the arrangement to this feel-good song. Here, Gil looking at “this world’s madness,” is inspired by nature. Brian’s clever chord changes add to the poignancy of the lyrics. The piano is panned left and the bass right. This allows Gil’s vocal to play a starring role, as he delivers some of the best and most beautiful lyrics on Pieces Of A Man.
Pieces Of A Man has a wistful, old school, jazzy sound. That’s down to the standup bass and piano. They meander across the arrangement, while Gil delivers a vocal full of sadness and pathos. When Gil sings about: “sweeping up the remnants of a letter,” it’s a metaphor for a father’s pride being swept up by his wife after being made redundant. What’s left are the “Pieces Of A Man.” Quite simply, a poignant and moving song that’s just as relevant today, as in 1971.
A Sign Of The Ages sees a continuation of the old school jazzy sound. Just standup bass and piano accompany Gil, who asks the big question: “why am I here?” He delivers the lyrics with a combination of power, passion, emotion and confusion. As for Brian Jackson, his playing is confident and assured. So is Gil’s vocal. That’s why it’s hard to believe Gil was only twenty-two when he recorded this track. Listening to this fusion of blues and jazz, he sounds much older and worldly.
Or Down You Fall sees Gil sing about not wanting your family and friends to see your weaknesses. Gil unleashes a vocal that’s best described as soul-baring. It’s akin to a cathartic confession. Powering the arrangement along are the two artists Gil wanted to play on Pieces Of A Man. Ron Carter’s bass and Hubert Laws flute play crucial roles as Gil lays bare his soul for all to see.
A jaunty arrangement where the piano and rhythm combine opens The Needle’s Eye. This is a reference to the biblical quotation: “it’s easier for a rich man to enter heaven, than a camel to pass through the eye of a needle.” Gil quotes this during the track. Just like other tracks, the lyrics are full of social comment. War, and money spent on war anger Gil. Frustration, anger and sadness fills his voice. As for the arrangement, Brian Jackson’s piano plays an important role. He plays powerfully and flamboyantly. Flourishes of piano accompany Gil’s vocal as he delivers lyrics full of social comment.
Closing Pieces Of A Man is the nine minute epic The Prisoner. As the arrangement unfolds, it’s as if the arrangement is heading in the direction of free jazz. Percussion, bowed bass and drum combine. They give way to flourishes of Brian Jackson’s piano and a plucked bass. Gil’s vocal is dramatic and emotive, as he delivers the lyrics about a man “trapped by fear.” He sings” “help me I’m The Prisoner, I need somebody to listen to me.” The character in the song is trapped by their place in society. They’re trapped by inequality and injustice. With a thunderous drum for company, Gil brings the lyrics to life. It’s as of he can empathise with The Prisoner and wants to give him a voice.
Although Pieces Of A Man was only Gil’s sophomore album, it’s a hugely accomplished album. Of the eleven tracks on Pieces Of A Man, there’s absolutely no filler. Each and every one of the eleven tracks have one thing in common, their quality. Considering Gil was only twenty-two when he recorded Pieces Of A Man, this is even more remarkable.
When you hear Gil’s lyrics it’s hard to believe that a twenty-two old wrote them. Similarly, Gil’s voice is much more mature. He delivers each of the songs with variously power, passion, emotion, sadness, frustration, anger and confusion. In a way, his youthfulness helps Gil brings the lyrics to life. Gil was a young man and was aware of and possibly, had experienced the inequality and injustice he sings about.
Fusing everything from jazz, blues, funk, proto-rap, rock and soul, Gil Scott-Heron highlights the social and political problems of the early seventies. Racism, poverty, corruption, inequality and drug addiction featured in Gil’s lyrics to Pieces Of A Man. Fearlessly, Gil tackled these subjects head on, delivering the lyrics with his proto-rap style. With keyboardist Brian Jackson at his side, Gil would become one of the most important artists of his generation. However, he only released one further albums for Bob Thiele’s Flying Dutchman Productions.
This was 1972s Free Will. However, the finest album of Gil Scott-Heron’s career was Pieces Of A Man which was recently rereleased by BGP Records, a subsidiary of Ace Records. It may not have enjoyed the commercial success and critical acclaim it deserved, but was later, reappraised by critics.
Somewhat belatedly, critics realised that Pieces Of A Man was a classic album. It passed by unnoticed upon its release, but a generation later, it’s one of the most important albums Bob Thiele’s Flying Dutchman Productions released. This genre-melting album, Pieces Of A Man launched the career of Gil Scott-Heron. His career lasted right through until 2010, the year before his death. During his post Flying Dutchman period, Gil released another twelve albums. However, he’ll always be remembered for one album, Pieces Of A Man.
Pieces Of A Man saw Gil Scott-Heron provide a voice for the disenfranchised. Fearlessly, Gil highlights the social and political problems that blighted America. He encouraged Americans to join together and change America for the better. This pioneering poet and protest singer made a difference politically. Gil made people aware of the problems people were facing and urged them to take action. That’s why Pieces Of A Man is Gil-Scott-Heron’s political and social Magnus Opus and the most important part of his rich musical legacy. Standout Tracks: The Revolution Will Not Be Televised, Save the Children, Home Is Where the Hatred Is and I Think I’ll Call It Morning.
GIL SCOTT-HERON-PIECES OF A MAN.
THE BLUE NILE-PEACE AT LAST (REMASTERED DELUXE SET).
THE BLUE NILE-PEACE AT LAST.
The Blue Nile were no ordinary band. They did things their way. Enigmatic, reluctant and contrarian are words that best of describe the Blue Nile, whose third album Peace At Last was released as a Remastered Deluxe Set on the 3rd March 2013. This reissue has been a long time coming.
When The Blue Nile’s first two masterpieces 1984s A Walk Across the Rooftops and 1989s Hats were reissued back in November 2012, we were told a remastered version of Peace At Last would be released soon. As any Blue Nile fans knows, time moves slowly in the world of The Blue Nile. So a gap of fifteen months isn’t excessive. After all, there was a gap of seven years between The Blue Nile’s sophomore album Hats and 1996s Peace At Last. Looking back, with the benefit of hindsight, that’s not surprising.
It’s no exaggeration to say that The Blue Nile were the complete opposite of most bands. Describing the Blue Nile as publicity shy, is an understatement. Indeed, since Paul Buchanan, Robert Bell and Paul Joseph Moore formed the Blue Nile, they’ve been one of the most low-profile bands in musical history. It seems that when they formed thirty-one years ago, the Blue Nile ticked the “no publicity” box. This has proved a double-edged sword, and resulted in the Blue Nile becoming one of the most enigmatic groups ever. This would be apparent through The Blue Nile’s career, which began back in 1981, in Glasgow, Scotland’s musical capital.
The Blue Nile were formed in 1981, when two friends Paul Buchanan and Robert Bell, met Paul Joseph Moore. They all had one thing in common, they were graduates of Glasgow University. Paul and Robert had both been in a band before, Night By Night. However, they type of music Night By Night performed was not deemed commercial enough, and they were unable to gain a recording contract. This lead to the formation of The Blue Nile
Once The Blue Nile were formed, they set up their own record label Peppermint Records. It was on Peppermint Records that The Blue Nile released their debut single, I Love This Life. This single was then picked up and re-released on the RSO label. Unfortunately for The Blue Nile RSO became part of the Polygram label and I Love This Life disappeared without trace. Despite this setback, The Blue Nile kept writing and recording music.
Following the merger of RSO with Polygram, The Blue Nile continued to hone their sound. They wrote and recorded songs. Some of that material would later be found on A Walk Across the Rooftops. Then fate intervened and The Blue Nile met the man some people refer to as the fourth member of the band, recording engineer Calum Malcolm.
When Callum heard The Blue Nile’s music, he alerted Linn Electronics. This was to prove a fortuitous break for the band. Linn gave The Blue Nile money to record a song that they could use to demonstrate the quality of Linn’s top-class stereo products. However, when Linn heard the track they were so pleased that decided to set up their own record label to release A Walk Across the Rooftops, The Blue Nile’s debut album.
Although the formation of Linn allowed the band to finally release their debut album A Walk Across the Rooftops, Paul later speculated whether Linn was the right label for The Blue Nile? Paul said that he felt that Linn did not operate like a record label. However, he conceded that, during that period, The Blue Nile were not like a band. So, essentially, this was a match made in heaven for the release of A Walk Across the Rooftops.
On the release of A Walk Across the Rooftops, it was released to critical acclaim. Critics described the album as a minor classic. A Walk Across the Rooftops was described as ethereal, evocative, soulful and soul-baring. It also featured the vocals of troubled troubadour Paul Buchanan. Despite the critical acclaim A Walk Across the Rooftops enjoyed, it wasn’t a commercial success, reaching just number eight in the UK. However, since the A Walk Across the Rooftops has been recognised as a classic album. So has the followup Hats.
Unlike most bands, The Blue Nile weren’t in any rush to release their sophomore album Hats. There was a five year gap between A Walk Across the Rooftops and Hats. It was worth the wait. The Blue Nile had done it again. Hats was a classic.
Featuring seven tracks, written by Paul Buchanan, Glasgow’s answer to Frank Sinatra He’s a tortured troubadour, whose voice sounds as if he’s lived a thousand lives. Producing Hats was a group effort, with Paul, Robert and P.J. taking charge of production duties. Guiding them, was Callum Malcolm. On the release of Hats, British and American audiences proved more discerning and appreciative of the Blue Nile’s sophomore album Hats.
On the release of Hats in the UK in 1989, it was critically acclaimed and commercial success, reaching number twelve in the UK. Then when it was released in America in 1990, audiences seemed to “get” Hats. Not only did it reach number 108 in the US Billboard 200 Charts, but The Downtown Lights reached number ten in the US Modern Rock Tracks charts. While this was a small crumb of comfort for the Blue Nile, in the UK, they remained a well kept secret.
Since the release of Hats, like their debut album A Walk Across the Rooftops it’s become a minor classic. With The Blue Nile making a breakthrough in America, most bands would’ve been keen to build on this and released another album before long. Not The Blue Nile.
Seven long years passed, where Blue Nile fans wondered what had become of Glasgow’s most enigmatic trio. However, they’d been busy. After Hats found its way onto American radio stations, The Blue Nile, who previously, had been one of music’s best kept secrets, were heard by a number of prestigious musicians. Among them were Robbie Robertson and Annie Lennox, Michael McDonald. After a decade struggling to get their music heard, The Blue Nile were big news. During this period, America would become like a second home to The Blue Nile, especially Paul.
Paul took to life in America, and in 1991, decided to make it his home. This just so happened to coincide with Paul’s relationship with actress Rosanna Arquette between 1991 and 1993. Hollywood starlets and Sunset Boulevard was a long way from Glasgow’s West End. In the midst of Paul’s relationship, disaster struck for The Blue Nile, they were dropped by their label.
Linn Records and Virgin decided to drop The Blue Nile. For some groups this would’ve been a disaster. Not The Blue Nile.
They signed to Warner Bros. While this sounded like the ideal solution for The Blue Nile, Paul made the deal without telling P.J and Robert. He later explained that “none of the others were in town at the time.” With a new contract signed, The Blue Nile began thinking about their third album.
So the band started looking for the perfect location to record their third album. They travelled across Europe looking for the right location. This location had to be private and suit their portable recording studio. Cities were suggested, considered and rejected. Among them, were Amsterdam, Copenhagen and Venice. Being The Blue Nile, things were never simple. Eventually, after much contemplation The Blue Nile ended up recording what became Peace At Last in three locations, Paris, Dublin and Los Angeles. For the first time, The Blue Nile recorded an album outside of their native Scotland.
For what became Peace At Last, Paul wrote nine tracks and cowrote God Bless You Kid with Robert Bell. When recording began, Paul played guitar and synths. Robert played bass and synths, while P.J. played keyboards and synths. Joining The Blue Nile were drummer Nigel Thomas and a gospel choir consisting of Eddie Tate and Friends. They featured on Happiness. Craig Armstrong took charge of the strings on Family Life. Peace At Last was produced by The Blue Nile, with Callum Malcolm engineering the sessions. Once Peace At Last was completed, it was released in June 1996.
On the release of Peace At Last, in June 1996, it reached just number thirteen and sold poorly. For The Blue Nile this was disappointing, given it was their major label debut. Worse was to come when the lead single Happiness failed to chart. Why was this though?
Critics remarked upon the change of sound on Peace At Last. It had a much more understated, restrained sound. Acoustic guitars and piano play important parts. The Blue Nile’s beloved synths sound like synths. Occasionally, The Blue Nile use real strings. There’s even a gospel choir on Happiness. Gone was the sound of A Walk Across the Rooftops and Hats. Peace At Last showed a different side to The Blue Nile and their music, one that divided the opinion of critics and fans. Paul, Robert and P.J. were back, but it was a different sound. One constant was Paul’s worldweary vocal. He was still the tortured soul, who wore his heart on his sleeve on Peace At Last, which I’ll tell you about.
Opening Peace At Last is Happiness, the lead single. Just a sweeping synth and acoustic guitar combine, before Paul counts himself in. After seven years, the troubled troubadour is back, laying bare his soul. As he plays his trusty acoustic guitar, you can hear him change chords. His voice his just the same. It’s world weary, one that has lived a life. However there is one change. He sounds content. That’s apparent from the lyrics. Domestically and personally, Paul has found Peace At Last. Later, the minimalist sound changes. Joining the synths, bass, keyboards and chirping guitar are a gospel choir. They transform the track. Their short performance is joyous and uplifting After that Paul forever the optimist, ponders whether the happiness will last. Quite simply, a beautiful, melancholy song.
Tomorrow Morning starts in a similar vein to Happiness. Just a briskly strummed acoustic guitar and drums accompany Paul’s vocal. Pensive becomes hopeful, as he sings: “ we could be together tomorrow morning.” Synths replicate strings, as thoughtful keyboards and acoustic guitars accompany an insecure Paul. It’s that time of the night we’ve all experienced. Lying there, unable to sleep, we wonder what tomorrow brings. That’s Paul, His emotions go from total insecurity to euphoria and happiness in the space of half a verse. The lyrics are some of the best on the album. They allow the listener to hear the range on emotions Paul experiences. With a brisk, minimalist arrangement, where the acoustic guitar, piano and synths disguised as strings combine, the result is a thoughtful, stunning soul-searching song many people will be able to empathise with.
As Sentimental Man unfolds just an acoustic guitar and drums combine, creating a moody and pensive atmosphere. Unlike the two previous albums, there’s no drum machines. Instead, Nigel’s drums, Robert’s bass and Paul’s guitar power the track along. They also add to the funk factor. Paul is in a thoughtful mood, and sings that it’s “not about money, and all about love.” His contentment shines through on this song. He is truly a man at peace with world. The sound on this track is bigger and fuller, than the previous two tracks. This is helped by the arrangement. The bass is panned hard left and the guitars hard right. Synths and Paul’s vocal fill the rest of the arrangement. As the track progresses, the sound grows, peaking towards the end. Guitars, synths and drums dominate the track, while Paul’s vocal is loud and strong. He shrieks and whoops, something unheard of before. A transformation in sound, but one thing remains the same…the quality.
Drums crack and Paul strums his guitar and delivers a needy, sincere vocal on Love Come Down. It’s as if he’s realised he’s in love and wants his partner to know it. With chirping guitars, synths and drums for company, Paul delivers a vocal tour de force. It’s one of his best vocals, growing in power, passion and joy. Drums are loud and sit at the front of the mix, while the guitars are a constant and welcome accompaniment. However, what makes the song is Paul’s vocal. It’s a dramatic and passionate reading of the intelligent and thoughtful lyrics.
From the opening bars of Body and Soul, it’s obvious that this is one of the best songs on Peace At Last. The track has a familiar theme, acoustic guitar and vocal start the song. After that, the track builds, and opens out into one of the most beautiful and heartfelt songs on the album. Strings are used to augment the sound, they are understated, sit at the back of the mix, sweeping in and out of the track. The acoustic guitar is played loudly, with confidence, accompanying Paul’s soulful rendition of the lyrics. Speaking of the lyrics, they’re evocative paean. How we feel when in love, and are an example of our feelings and hopes for the future when in love. Without are some of the best lyrics on Peace At Last.
Holy Love has a totally different sound and feel. In many ways, it owes much to the sound on previous Blue Nile albums. Just like the rest of Peace Of Last, the remastering makes the song come alive. New parts of the track shine through. In many ways, it owes much to the sound on previous Blue Nile album. Backing vocalists sing one note, synths and drums sound dark, almost dull. Synths squelch, drums have a retro sound and feel, and even Paul’s vocal style has changed. As the song progresses, you find yourself wondering what direction it’s heading. Lyrics are sparse, the vocal has an experimental sound and feel, with Paul having to almost improvise. Ethereal synths, chiming guitars, bursts of drum machines and Paul’s scatted vocal become one, on a track where Blue Nile’s past and present combine.
The Blue Nile return to a familiar theme on Family Man, contentment, contentment in your personal life. Family Man is a gentle song, one with similarities to Easter Parade on A Walk Across the Rooftops. It’s the sound and feel that make me draw this comparison. The track has a minimal sound, and starts with piano, which features heavily throughout the song. Later in the track, synths are transformed to sound like a string section. They add depth and feeling to the track. Paul’s voice is perfectly suited to deliver the heartfelt lyrics on this beautiful track.
After the minimal sounding last track, the sound changes dramatically on War Is Love. The sound is fuller, with a moody, dramatic sound. War Is Love starts with those magical strings, via the synths, drums are loud, slow and crisp. Quickly, the sounds builds, Buchanan’s voice sounds moody, perfect to deliver the lyrics, which are about the breakdown of a relationship. His voice fluctuates, getting the message over about a turbulent, troubled relationship. In contrast to the darkness, the strings sit behind his vocal, producing light to Paul’s darkness. A heartbreakingly sad song, delivered sincerely by Paul. So realistic is Paul’s cathartic outpouring of hurt and heartbreak, that it sounds as if he’s lived, loved and survived to tell the tale.
Drums and strings open God Bless You Kid, giving it a lush sound. Buchanan’s mood and vocal seem happier. The arrangement sweeps along, gradually developing. Mostly drums, strings and synths accompany Paul as the song takes on a cinematic quality. Later, a guitar can be heard in the background. As for the lyrics , they’re enigmatic, almost surreal. Especially, when Paul sings: “I never grew up, I never grew down” and “it’s like Memphis after Elvis.” Here we hear a very different side of Blue Nile, one that we never saw on A Walk Across the Rooftop or Hats. Like much of this album, it has a gentle, mellow and understated sound, quite different from their previous sound.
Peace At Last closes with Soon, another beautiful, gentle and mellow song. It starts slowly, keyboards playing, Paul sings. This is another love song. One about how can love coming soon, when we least expect it to. It can happen at given time, in even the most mundane situation. As you would expect from Blue Nile’s lyrics their clever, well constructed and the narrative is strong. You can close your eyes and imagine the scene being played out, and the characters involved. The track meanders, develops through time, building up slowly, until a great track evolves. One that Paul sings really well, behind a backdrop of sweeping strings, spacious plodding drums and percussion. It’s a lovely, soothing track, truly a thing of beauty, and the perfect way to end Peace At Last.
Although that’s the end of the remastered version of Peace At Last, there’s still disc two. It features six tracks. This includes the Lauren Canyon Mix of Soon, a New Vocal Mix of War Is Love and the Picture Mix of Holy. Then there’s Turn Yourself Around and an unreleased demo A Certain Kind Of Angel. Both of these tracks were penned by Paul and Robert Bell, who prove a potent songwriting partnership. The final track is the melancholy Paul Buchanan penned There Was A Girl. It’s a heartbreakingly beautiful song, with Paul’s lived-in, weary vocal bringing the lyrics to life. This reminds you of how good a group The Blue Nile are. Sadly, they only released four albums.
Of the quartet of albums The Blue Nile recorded, Peace At Last is their most underrated album. Peace At Last divided critics and fans. This new sound was very different from A Walk Across The Rooftops and Hats. That was then, this was now. Seven years had passed since Hats. If The Blue Nile had released an album similar to Hats, they’d have been accused of standing still. That’s one thing The Blue Nile never did.
Far from it. Constantly, The Blue Nile were on a mission to create innovative and influential music. This they succeeded in doing. From the opening bars of Happiness, right through to the closing notes of Soon, The Blue Nile create timeless, ethereal music. Here, was a very different group the one that recorded Hats.
For much of the seven years, The Blue Nile had lived separate lives. P.J. and Robert lived happily in the West End of Glasgow. Paul however, led a very different life. Based in Los Angeles, he dates Hollywood starlets and spent time on Sunset Boulevard. This was a long way from Ashton Lane, in Glasgow’s West End. However, The Blue Nile reconvened for the recording of Peace At Last. Lady Luck had smiled on them.
Having survived being dropped by Linn and Virgin, The Blue Nile signed to Warner Bros. Sadly, it was a one album deal. Following the commercial failure of Peace At Last, The Blue Nile were dropped. This wasn’t their fault. No. They’d recorded a minor classic at the wrong time.
Released in 1996, at the height of the vastly overrated Britpop boom, Peace At Last was the wrong album at the wrong time. Peace At Last took several years to record. By the 10th June 1996, when Peace At Last was released, music had changed. Britpop was King. Kinks and Beatles tribute bands were topping the charts. There was, it seems, no room for The Blue Nile, with Peace At Last only reaching number thirteen in the UK. It should’ve been a bigger commercial success.
During Peace At Last, The Blue Nile capture the listener’s attention with music that’s variously lush, atmospheric, beautiful, captivating, ethereal and lush. The Blue Nile draws the listener in, holding their attention. Before long, the listener has fallen in love. They fall in love with music that’s hauntingly beautiful, emotive, dramatic and pensive. Much of this is thanks to ten peerless vocal performances courtesy of Glasgow’s very own Frank Sinatra, Paul Buchanan. He plays the role of the troubled troubadour, to a tee. His worldweary, emotive, heartfelt and impassioned vocal sounds as if it’s lived the lyrics he’s singing about. Lived them not just once, but several times over. Paul’s vocal adds soulfulness to an album where The Blue Nile reinvent their music. The result is music that’s innovative, influential, ethereal and timeless.
With songs about love, love lost, betrayal, heartbreak, growing up and growling old, Peace At Last was a grown up album. It had a much more understated, restrained sound. Acoustic guitars and piano play important parts. The Blue Nile’s beloved synths sound like synths. Occasionally, The Blue Nile use real strings. There’s even a gospel choir on Happiness. Gone was the sound of A Walk Across the Rooftops and Hats. Peace At Last showed a different side to The Blue Nile and their music, one that divided the opinion of critics and fans. Paul, Robert and P.J. were back, but it was a different sound. One constant was Paul’s worldweary vocal. He was still the tortured troubadour, who wore his heart on his sleeve on A Walk Across The Rooftops and Hats. Sadly this new side of The Blue Nile’s music wasn’t as popular as their two previous albums A Walk Across the Rooftops and Hats. However, Peace At Last has aged well.
Whilst much is made of newly remastered albums, the remastered version of Peace At Last is truly stunning. Previously unheard subtleties, secrets and nuances. Layers, textures and hidden depths can be heard. This was the case with the remeasured versions of A Walk Across The Rooftops and Hats. Now it’s possible to hear The Blue Nile’s underrated classic Peace At Last in all its glories. This Remastered Deluxe Set on the 3rd March 2013, is worth every penny. It’s not unlike an old picture that after years covered in grime, is cleaned suddenly, a new picture emerges. That’s what remastering process has done to Peace At Last. Never again, will you reach for your original copy of Peace At Last, as the remastered version breathes new life into Peace At Last, which was The Blue Nile’s penultimate album.
Eight years later in 2004, The Blue Nile called time on their recording career, when they released High. That was their swan-song. Never again, would Paul, P.J. and Robert record another album. Their back-catalogue may only contain four albums, but it’s a rich musical legacy. The Blue Nile are one of the most innovative and influential groups in Scottish musical history. Similarly, their first two albums A Walk Across the Rooftops and Hats are two of the greatest albums released by a Scottish band. Their underrated third album, Peace At Last, is a minor classic, which shows another side to The Blue Nile and their music. Standout Tracks: Happiness, Love Come Down, Body and Soul and Soon.
THE BLUE NILE-PEACE AT LAST.
MARY LOVE-LAY THIS BURDEN DOWN-THE BEST OF MARY LOVE.
MARY LOVE-LAY THIS BURDEN DOWN: THE BEST OF MARY LOVE.
The day that Mary Love entered a talent contest in a local club was that the day that her life changed. She sang a cover of Etta James’ Somebody’s Got A Hold On Me and won. This resulted in Mary being hired to sing every Thursday.
She was paid $8 a night and accompanying Mary Love were The Vows who she had befriended. They were her friends and were protective of her.
The next big break came when Sam Cooke’s manager J.W. Alexander heard Mary sing and gave her his card. The next day, J.W. Alexander and Mary Love met. He offered Mary the chance to sing on demos. This was her opportunity to make a life for herself.
Having started singing demos, Hal Davis heard Mary. He liked what he heard and signed Mary to Modern Records. The only problem was her name. Hal though that Mary Love was a better name for a singer. So it was Mary Love that went on to record twelve tracks for Modern Records between 1965 and 1968. These twelve tracks feature on Mary Love-Lay This Burden Down: The Very Best Of Mary Love.
Of the twenty-five tracks on Lay This Burden Down-The Best Of Mary Love, twelve of them were recorded for Modern Records, between April 1965 and September 1967. This begins with You Turned My Bitter Into Sweet, which was one of Mary biggest hit singles. Released in April 1965, it sold well in and around the Los Angeles area and launched Mary Love’s career. You Turned My Bitter Into Sweet has become a favourite in the UK’s Northern Soul scene. It’s one of Mary’s finest tracks and is a Northern Soul classic.
Following Mary’s debut single, You Turned My Bitter Into Sweet, I’ve Got To Get You Back was released as Mary’s sophomore single in August 1965. Again, it sold well in the Los Angeles area. This would be a familiar story. The exception was Move A Little Closer.
Released in in October 1968, Move A Little Closer reached number forty-eight in the US Billboard 100. This was Mary’s biggest hit. Ironically, Move A Little Closer wasn’t the A-Side. This was Let Me Know. When Move A Little Closer proved more popular, Modern Records flipped the song over, and a hit was born. For Mary, she thought her career was now underway.
Sadly, Lay This Burden Down didn’t build on the success of Move A Little Closer, when was released in October 1966. Again, it failed to chart. It was a hit locally. So was the Ashford and Simpson penned Baby I’ll Come, where Mary mixes power, passion and emotion. It’s one of Mary’s best singles. Tucked away on the B-Side is the hidden gem Satisfied Feeling on the B-Side. Released in February 1967, Mary delivers a vocal tour de force on Satisfied Feeling. After this, Mary would only release one more single for Modern Records.
Talkin’ About My Man was released in July 1967. Written by Arthur Adams, here was a ballad that seemed tailor-made for Mary. Despite this, widespread commercial success and critical acclaim eluded Mary. She did release a duet with Arthur Adams, Is That You. He seems to bring out the best in Mary. Indeed, they encourage each other to greater heights. With growling horns and driving drums for company, Mary and Arthur deliver vocal powerhouses. They’re needy, and full of emotion and sass. Unfortunately, this didn’t result in a hit single to end Mary’s time at Modern Records.
During her time at Modern Records, Mary divided her time between her solo career and singing backing vocals. Everyone from The Ikettes, Vernon Garrett and Lowell Fulson were accompanied by Mary. However, Mary was determined to make a success of her solo career.
In 1968, Mary met producers Matt Hill and Skip Layne. She recorded the anthemic The Hurt Is Just Beginning and Don’t Let It Happen. The Hurt Is Just Beginning garnered radio play in Los Angeles. This just happened to be during the trial of the Black Panther’s Huey Newton. They took to singing lyrics from the song: “The Hurt Is Just Beginning and don’t let it happen.” Not long after this, the B-Side, If You Change Your Mind, started getting radio play. It was released nationally on Josie, reaching number forty-six in the US R&B Charts. For Mary this was her second most successful single. Despite this, another three years passed before Mary released her next single.
Ironically, it was back in Sacramento that Mary met John W. Cole, friends of Mary’s grandparents. He was a businessman, who ran a chain of chemist and record shops. John wanted to expand his business. Next for John was the music business, and knew Roger Spotts, who played alongside Johnny and Shuggie Otis, two hugely talented musicians, arrangers and producers. So Roger would and arrange Mary’s next single at Ray Charles’ Los Angeles studio.
The Mary Love penned There’s Someone For Me was chosen as Mary’s next single. Roger would produce There’s Someone For Me and the B-Side, Born To Live With Heartache. Ray Charles even helped out during the session. He took charge of engineering. Beautiful, cathartic and soul-baring describes There’s Someone For Me. As for Born To Live With Heartache, Mary raises the funk factor and shows another side to her music. Both sides of this 1971 single, which was released on Elco are among some of Mary’s finest work. Sadly, history repeated itself when the single flopped. This resulted in Mary taking time out from the music industry.
It wasn’t until 1975 that Mary returned to music. She’d been raising her family and singing in nightclubs. However, she’d taken a break from recording. During that time, she’d hung out with Lou Rawls, Barry White, Willie Hutch and Dennis Edwards. Through her friendship with comedian, Rudy Ray Moore, Mary landed a part in the Blaxploitation movie Dolemite. Appearing as herself, Mary sings When We Start Making Love and Power Of Love which were part of the soundtrack released on Generation Records. That would be the last we heard of Mary for a couple of years.
Again, Mary was featuring in another film. This time it was Rudy Ray Moore’s Petey Wheatstraw. Mary penned five tracks for the film soundtrack, which was released on the Magic Disc label. Two of the tracks feature on Mary Love-Lay This Burden Down: The Very Best Of Mary Love. Joy and Loving You are gospel tinged tracks, very different from the disco inspired title-track. Unfortunately, commercial success still eluded Mary. Her career as a soul singer hadn’t long to go.
Over the next few years, Mary toyed with disco. She released Dance To My Music in 1979, on Inphasion. Although it wasn’t a hit in America, it was a hit in Italy. Then Mary spent three months living in Osaka, Japan, where she was part of Ah Sweet Tastes. They released a single Keep On Dancing, where Mary sings in Japanese and English. Mary’s final two releases were a 1982 cover of Tit For Tat, which was released on Elco. Mary’s final secular single was Save Me, which was released on U-Tone in 1984. After that, Mary Love became a gospel singer. That however, isn’t the end of Lay This Burden Down: The Very Best Of Mary Love.
There are still four tracks to go. I Can`t Wait and Because Of You are from Mary’s solo album. The tape had been destroyed years ago, but the tracks were rerecorded in 1994. The other two tracks are Come Out Of The Sandbox and The Price, recorded in 1987, just as Mary became disillusioned with the music industry. Come Out Of The Sandbox was recorded by Mary as Mary Love-Comer. As for The Price, it’s a poignant way to close Lay This Burden Down: The Very Best Of Mary Love.
Turning her back on secular music, Mary Love became a successful gospel singe. Two of her gospel albums, 2002s Incredible and 2005s Mary, Mary were certified gold, while 2000s Thankful was certified platinum. Mary Love had at last enjoyed the success her voice and undoubtable talent deserved. Sadly, Mary passed away on June 23rd 2013.
She was just sixty-none and that day soul music had lost one of its greatest female singers. Although Mary Love didn’t enjoy the commercial success and critical acclaim her music deserved, her music is popular throughout the world, especially in the UK, where Mary was always a welcome visitor. Mary Love will be sadly missed.
For many people, Lay This Burden Down: The Very Best Of Mary Love which was recently released by Kent Soul, an imprint of Ace Records, will be a very welcome addition to their record collection. Mary Love-Lay This Burden Down: The Very Best Of Mary Love is the only Mary compilation you’ll ever need. Not only is Lay This Burden Down: The Very Best Of Mary Love a perfect introduction to Mary’s music, but is a fitting homage to one of soul’s finest female singers, Mary Love.
MARY LOVE-LAY THIS BURDEN DOWN: THE BEST OF MARY LOVE.
FRANK FOSTER-THE LOUD MINORITY.
FRANK FOSTER-THE LOUD MINORITY.
During a long and illustrious career that lasted over fifty years, Frank Foster played alongside everyone from Count Basie, Donald Byrd, Thelonious Monk, Kenny Burrell, Milt Jackson, Duke Pearson, Elvin Jones and Elmo Hope. Frank was the go-to-guy for anyone looking for an innovative flautist, saxophonist or clarinet player. During the fifties and sixties, Frank it seems, hardly stopped working. He was one of the busiest sidemen, composers and arrangers. Despite this, Frank Foster enjoyed a successful solo career.
This saw Frank record for some of jazz’s biggest and most prestigious jazz labels. Frank released solo albums for labels like Blue Note, Prestige and Savoy. Then in 1972, accompanied by an all-star band, Frank released The Loud Minority for the Mainstream Records. The Loud Minority has recently rereleased by BGP Records, a subsidiary of Ace Records, is one of the most innovative spiritual jazz albums. Frank accompanied by a who’s who of jazz, pushes musical boundaries to their limits. You’ll realise that, when I tell you about The Loud Minority. Before that, I’ll tell you about Franks career up until 1972.
Frank Foster was born in September 1928, in Cincinnati, Ohio. His father worked for the post office, and his mother was a social worker. Growing up, Frank was encouraged to express himself musically. He was something of a prodigy. Just like so many other children, the first instrument Frank learnt to play was the piano. Then came the clarinet and alto-saxophone. Eventually, Frank would graduate to the flute, plus the tenor and soprano saxophones. Before that, Frank would join his first group.
He was only in his mid teens when Frank joined Jack Jackson and His Jumping Jacks. Then in high school, Frank formed a big band. This was all part of his musical apprenticeship. It looked like Frank was destined to become a musician. Before that, Frank headed to University.
The Wilberforce University, Ohio was where Frank studied music. He was a member of the University big band. They won the 1947 Negro College Dance Competition. Part of the prize was the opportunity to play at the Savoy Ballroom, in Harlem, New York. For an aspiring professional musician like Frank, this was the opportunity of a lifetime. Having had a tantalising taste of what life could be like, Frank left university in 1949. However, he failed to finish his degree. This didn’t hold Frank back.
That year, 1949, Frank headed to Detroit, where he immersed himself in the local jazz scene. Then two years later, disaster struck. Frank was drafted. For two years, his career was on hold. Two years later, Frank was back on divvy street, where he caught a break for two reason.
Having left the U.S. Army, Frank joined The Count Basie Orchestra. For Count Basie, he’d not just signed a musician, but an arranger and composer. Frank would write and arrange for The Count Basie Orchestra. He was a stalwart of The Count Basie Orchestra. Right through to the late sixties, Frank was a member of The Count Basie Orchestra. However, 1953 was a special year for Frank for another reason.
1953 saw Frank released his debut album Here Comes Frank Foster on Blue Note. The following year, Frank released his sophomore album New Faces, New Sounds on Blue Note. Along with his work with The Count Basie Orchestra, Frank was kept busy. Despite this, he still found time to work as a sideman.
This included playing on Thelonious Monk’s 1954 album Monk. The same year, Frank played on Elmo Hope’s 1954 album Trio and Quintet. Frank’s reputation was growing. It seemed word was spreading fast about his talents. For the next few years, he split his time between his solo career working with The Count Basie Orchestra and working as a sideman.
1955 is an example of this. Frank recorded several albums with The Count Basie Orchestra. Then with Elmo Hope, Frank recorded Hop Meets Foster. He also played on Donald Byrd’s 1955 album Byrd’s World. This pattern continued for the next few years.
When Kenny Burrell recorded Kenny Burrell Volume 2 in 1956, Frank got the call to accompany him. Then Frank released two solo albums in 1956. Two Franks Please and No Count. For the next few years, Frank was in constant demand.
1957 saw Frank accompany Donald Byrd on All Day Long and Milt Jackson on Plenty, Plenty Soul. The following year, 1958, Frank played in Mathew Gee’s Jazz By Gee and Bennie Green and Gene Ammons’ The Swinging ‘Est. Little did anyone realise that this was jazz’s golden era.
As the sixties dawned, Frank Foster found himself working with a more eclectic selection of artists. 1961 saw him return to working with Elmo Hope on Homecoming. He accompanied Elvin Jones on Elvin, Eddie Higgins on his eponymous album and returned to working with Count Basie on Count Basie / Sarah Vaughan. The next few years, saw Frank working with some of the biggest names in music.
Working with Count Basie meant working with musical legends. This included Frank Sinatra in in 1962 and 1964. The same year, Count Basie worked with Ella Fitzgerald. They would record again in 1966. By then, Frank would be working with another legend.
This was Ray Charles. Frank got the call to play alongside a man who was without doubt, one of the most charismatic musicians ever. Jumping at the chance, Frank played on Side By Side, which closed Ray’s 1966 eponymous album. Despite playing with some of the biggest names in music, Frank hadn’t called time on his solo career.
1965 saw Frank release Fearless Frank Foster on Prestige. Then in 1966, he returned with Soul Outing. That proved to be Frank’s final album for Prestige. For his next album, 1968s Manhattan Fever, he returned to where it all began, Blue Note. Before that, Frank returned to his role as sideman.
Following a gap of six years, Frank worked with Elvin Jones again. He played on Heavy Sounds With Richard Davis, an album released on the prestigious Impulse label. This wouldn’t be the last time they’d play together. They’d reconvene in 1970, when Frank would be part of Elvin’s band until 1972. Frank played on a trio of albums, 1970s Coalition, 1971s Genesis and Merry Go Round. Before that, Frank would record one more solo album and accompany Earl Coleman, Donald Byrd and linois Jacquet.
By 1968, Frank was forty. He seemed to be enjoying splitting his time between his solo career and sideman. Frank played on Earl Coleman’s 1968 album Manhattan Serenade. 1969 saw Frank play on linois Jacquet’s The Soul Explosion. There was also the small matter of Frank’s 1969 eponymous album. Frank Foster was released on Blue Note and would his last album for three years. In the meantime, Frank played alongside Elvin Jones and Donaldy Byrd.
Although Frank was a member of Elvin Jones band, he found time to reacquaint himself with Donald Byrd. They’d known each other since the late fifties. Frank played on Donald’s 1970 album Fancy Free and 1971s Kofi, which were both released on Blue Note. Along with his work with Elvin Jones, Frank was kept busy. However, he wanted to record another solo album.
For some time, Frank had been working on the quartet of songs that became The Loud Minority. It’s a reflection of the times. Back in the late sixties, jazz had become highly politicised. Some musicians had been radicalised. This was no difference from rock music. Frank wanted his music to articulate the problems and emotions Americans were experiencing.
Among the problems that worried Americans was poverty, racism and the Vietnam War. The problem was, many people had no voice. So, Frank and his band were going to give these disenfranchised people a voice. To do this, Frank Foster was going to unleash his unique brand of cerebral, spiritual jazz. This style of jazz was now popular.
Due to the popularity of spiritual jazz, Frank was signed to Mainstream Records. His reputation preceded him. Here was a musician who’d been making records since 1953. He’d played with some of the biggest names in music. Not only that, but Frank enjoyed a successful solo career. For Mainstream Records, this wasn’t exactly a gamble.
Now signed to Mainstream Records, Frank headed into the studio. Accompanying him, was an all-star band. They played on the four songs Frank wrote. The rhythm section included bassists Stan Clarke and Gene Perla, guitarist Earl Dunbar and drummer and percussionist Elvin Jones. Dee Dee Bridgewater added vocals, Jan Hammer and Harold Mabern played piano and Airto Moreira percussion. Then there was the horn section. It featured trombonist Dick Griffin, trumpeter Marvin Peterson, plus Cecil Bridgewater and Charles McGee on trumpet and flugelhorn. Kenny Rogers played alto and baritone saxophone and bass clarinet. Frank trumped everyone, playing alto, soprano and tenor saxophone, plus alto clarinet. This was the lineup that recorded The Loud Minority which was produced by Bob Shad. The Loud Minority, which had been several years in the making, was ready for release in 1972.
On its release in 1972 The Loud Minority, wasn’t a commercial success. It was hailed a progressive, innovative and explosive album. Genres and controversy melted into one. The Loud Minority which was meant to give a voice to the disenfranchised, almost went unheard. That’s despite featuring an all-star lineup. Following the release of The Loud Minority, Frank Foster’s most ambitious album was reappraised. It was only then that The Loud Minority started established a cult status. Now, thirty-two years later, The Loud Minority has been rereleased by BGP Records. It’s a welcome rerelease of a cult classic, The Loud Minority, which I’ll tell you about.
Opening The Loud Minority is the title-track, a fifteen minute epic. Straight away, waves of drama assail you. Hissing hi-hats, washes of piano and a flugelhorn that’s played with passion and emotion. This sets the scene for the cascading horns to announce their arrival. Accompanied by the rhythm section, they reach a wistful crescendo before Dee Dee’s half-spoken vocal enters. She delivers the lyrics with passion, hope and determination. The rest of the band enthusiastically respond to her call, before getting funky. This is very different from what’s gone before. As the horns growl, rasp and protest, Stanley Clark’s prowling bass and a piano combine. As for the piano, it’s played with power, finesse and sometimes, frustration. It plays a crucial role in this horn lead opus. Having said that, there’s no passengers. Earl Dunbar lays down a peerless solo. You can only sit back and admire this all-star band become one. What follows is glorious melange of blues, free jazz, funk and spiritual jazz. By now, you hungrily await the rest of The Loud Minority.
Wistful describes the opening to Requiem For Dusty. Its horn lead sound has a New Orleans sound. It unfolds at a respectful funereal pace. Pensive strings pay tribute to Dusty as drums ominously mark time. Equally ominous are the horns, that’s until they cut loose. Rather than funereal, what follows is the funkiest wake you’ve ever attended. Earl Dunbar steps up, and unleashes blistering jazzy licks. It’s as if he’s laid down the gauntlet. The rest of the band take this as a challenge. Kicking loose, they move through the gears. Basses are slapped, drums pounded and horns bray, blaze and growl. Frank and his band proceed to give Dusty the mother of all send-offs, and in doing so, risk raising the dead.
J.P.’s Thing sees Frank’s alto clarinet set the scene. Everyone follows in his wake. Horns drench the arrangement, while the drums are panned left. They take a back seat, as Frank and the horn section struggle for supremacy. Then the electric piano and Stanley Clark’s bass go toe-to-toe. It’s a fair fight. Joining the fun and funk are percussion and drums. Still, it’s the electric piano that grabs your attention. Midway through the track, the arrangement is pared back. Just a lone wistful horn plays. Then all of a sudden, the band kick loose. Driven along by the piano, rhythm and horn sections, what follows is truly mesmeric. Not once do the band miss a beat. Then it’s time for the drums to take centre-stage. Elvin shows why he was part of Miles Davis’ band. One last time, they fuse free jazz, funk, jazz and spiritual jazz seamlessly. Quite simply, it’s a joy to behold.
E.W-Beautiful People closes The Loud Minority. The tempo drops, but the drama remains. Horns rasp, cascading before Dee Dee’s ethereal vocal enters. Flourishes of piano and jazzy guitar accompany her, before Frank unleashes one of his best solos. He plays tenderly and thoughtfully. Gradually, power and passion combine, while horns, percussion, piano and the rhythm section accompany him. His saxophone dances above the arrangement. The rest of the band are reduced to a supporting role. They must have been aware that they were playing on one of Frank’s finest tracks. So, the band pull out all the stop, ensuring they provide the perfect backdrop. That they do, taking turns to play ying to Frank’s yang. Apart from a stray note on the piano, no-one puts a foot wrong. This results in a beautiful way to close Frank’s comeback album. After three years away, Frank was back with a spiritual jazz cult classic.
Despite the commercial failure of The Loud Minority, for Frank Foster, the album would’ve been perceived as a success. That’s because sometimes, musicians and record companies perceive success differently. For Frank, recording and releasing The Loud Minority was a success.
Frank wanted his music to articulate the problems and emotions Americans were experiencing in the early seventies. Among the problems that worried Americans was poverty, racism, corruption and the Vietnam War. The problem was, many people had no voice. So, Frank and his band were going to give these disenfranchised people a voice. To do this, Frank Foster was going to unleash his unique brand of cerebral, spiritual jazz on The Loud Minority. Over the four songs on The Loud Minority, he spoke up for those who had no voice. Sadly, very few people heard The Loud Minority.
Given The Loud Minority wasn’t a commercial success, Mainstream Records saw the album as a failure. Most record companies weren’t benevolent philanthropists. No. They wanted to make money. If a record didn’t sell, they didn’t make money. Even worse, they lost money. Most record companies didn’t care about the artistic merit of an album. What mattered was the bottom line. That might sound cold hearted, but it’s reality. The Loud Minority wouldn’t make the owners of Mainstream Records rich. At least The Loud Minority was an innovative and influential album.
Thirty-two years after the release of The Loud Minority, Frank Foster’s spiritual jazz album is perceived as a cult classic. Original copies of The Loud Minority change hands for ever increasing sums of money. Despite this, every year, The Loud Minority is heard by even more people. Obviously, the advent of the internet has helped, but for most people, original copies of this spiritual jazz opus are outwit the budgets of most people. Not any more. BGP Records, a subsidiary of Ace Records recently released Frank Foster’s 1972 spiritual jazz opus recently. For that, we should be thankful.
At last, The Loud Minority can be heard by the majority, not just the minority. Take my advice and play The Loud Minority loud. Open your windows and share The Loud Minority with the world. After all, groundbreaking music that pushes musical boundaries to their limits and beyond, shouldn’t be a secret. That’s what The Loud Minority has been. It’s been one of spiritual jazz’s best kept secrets. Not any more. Hopefully, The Loud Minority, which sees Frank Foster accompanied by an all-star band will be heard by a much wider audience. Music as good as Frank Foster’s The Loud Minority deserves to be heard by the majority, not just the minority.
FRANK FOSTER-THE LOUD MINORITY.
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