VAMPS ET VAMPIRE-THE SONGS OF SERGE GAINSBOURG.
VAMPS ET VAMPIRE-THE SONGS OF SERGE GAINSBOURG.
Maverick, bon viveur, raconteur and rebel. These are just a few of the words that describe French singer, songwriter, poet, composer, artist, actor and director Serge Gainsbourg. He’s one of the most influential and controversial figures in French culture. Serge did things his way. Often that proved controversial. A master of wordplay, his lyrics are funny, provocative, satirical, subversive, shocking and thought-provoking. This was the case throughout his career. During his career, it was impossible to categorise Serge’s music. His back-catalogue is best described as eclectic. He recorded everything from chanson, disco, jazz, mambo, new wave, pop, prog rock, reggae, rock ’n’ roll and ye ye. Serge’s music was also recorded by a whole host of artists, including many female singers.
Among the artists who recorded Serge Gainsbourg’s Françoise Hardy, Marianne Faithfull, Juliette Gréco, Jane Birkin, Brigitte Bardot and Michèle Torr. They all feature on Vamps Et Vampire-The Songs Of Serge Gainsbourg. It was recently released by Ace International, a subsidiary of Ace Records. Fittingly, Vamps Et Vampire-The Songs Of Serge Gainsbourg features contributions from some of female singers who recorded Serge’s songs. They bring to life Serge’s music. Before I pick my highlights of Vamps Et Vampire-The Songs Of Serge Gainsbourg, I’ll tell you about Serge’s career.
Serge Gainsbourg was born Lucien Ginsburg in April 1928, in Paris, France. He was a twin and grew-up in a family of Russian-Jewish emigrants. His parents had fled Russia during the Russian Revolution. On his arrival in Paris, Serge’s father made a living playing piano in casinos and cabarets. He also taught his children to play piano. Little did realise that Serge would become one of France’s most famous musicians. That was still to come. Before that, the war interrupted Serge’s childhood.
As part of a Jewish family living in Nazi occupied Paris, the war years proved to be a traumatic time for Serge. He was traumatised. Paris had been his family’s safe haven. Not any more. Serge’s family fled Paris, and headed to Limoges. They travelled under false papers. Limoges was unoccupied. However, the Vichy government collaborated with the Nazis. For Jews, this wasn’t the safe haven Serge’s family had hoped for. During the war years, Serge was badly affected by what he saw and heard. Later, his music would prove cathartic, for cleansing himself of these experiences. By then, Serge Gainsbourg had been born.
Following the war, Lucien Ginsburg became Serge Gainsbourg. That wasn’t the only change in Serge’s life. He got married in 1951 and with his first wife Elisabeth had two children. The marriage only lasted six years, before the couple divorced. By the time Serge married for the second time in 1964, his musical career was underway. This time, his marriage to Françoise resulted in another two children. However, the marriage only lasted two years. By then, Serge was about to embark upon affairs with some of the most eligible women in Europe.
During the early years of his career, Boris Vian inspired Serge. Looking back, this seems ironic, given his chanson style of music was perceived as old-fashioned. However, before long, Serge couldn’t resist experimenting musically. As the sixties dawned, ye-ye swept not just France, but Europe. Originally, Serge wasn’t comfortable with this style of music. So his music headed in the direction of jazz and then pop. During this time, Serge spent time with Jaques Brel and Juliette Gréco. His solo career faltered and his early releases didn’t sell well.
During the early sixties, Serge met Elek Bacsik and Michel Gaudry. He asked if they’d collaborate with him.They agreed and the result was their 1963 album Confidentiel. It’s best described as an album the epitomes modern jazz. An innovative album, success eluded Confidentiel. It sold only 1,500 copies. Disappointed, Serge made a decision that day that changed his life.
Following the failure of Confidentiel, Serge was heard to say: ”I’ll get into hack work and buy myself a Rolls.” Despite this, his next album, 1964s Percussions was another groundbreaking album. Again, success eluded Serge. This reinforced his earlier decision to change tack.
Soon, this paid off. Serge was writing more commercial songs. These songs were performed by many artists. One of these France Gall. The French teenager sang Poupée de Cire, Poupée de Son which won Luxembourg the 1965 Eurovision Song Contest. This was just the start of a series of commercially successful songs Serge wrote. Over the next few years, Serge had the best of both worlds. Serge’s solo career continued. He was able to release groundbreaking music, knowing that the songs he wrote for other artists would become commercially successful
Over the next few years, Serge Gainsbourg penned commercially successful tracks for everyone from Françoise Hardy, Marianne Faithfull, Juliette Gréco, Marianne Faithfull, Jane Birkin, Brigitte Bardot and Michèle Torr. They’re among the twenty-four tracks which feature on Vamps Et Vampire-The Songs Of Serge Gainsbourg, which I’ll pick the highlights of.
Fittingly, Brigitte Bardot’s Harley Davidson opens Vamps Et Vampire-The Songs Of Serge Gainsbourg. This is one of two tracks on the compilation. The other is Contact. They were written for Le Brigitte Bardot Show. Having met on the set of the show, the pair embarked upon a hight-profile relationship. These two tracks feature on Brigitte’s 1968 album Show. Released on AZ Records, this was Brigitte’s fourth album. Of the two tracks, Contact is the best. Brigitte’s vocal veers between moody, defiant sultry on this slice of Euro Pop.
Françoise Hardy is one of France’s greatest singer-songwriters. One of her most memorable songs was the 1968 single Comment Te Dire Adieu. This is the definitive version of a song that was originally recorded as It Hurts To Say Goodbye by Margaret Whiting. Having heard an instrumental version, Françoise wanted to record the song. Serge was asked to write some French lyrics and the result was an evocative and beautiful song. It was the title-track to Françoise’s 1968 album. It also features Françoise’s other contribution L’Anamour, which is best described as tender, sensual and beautiful.
France Gall’s Poupee De Cire, Poupee De Son was kick-started Serge’s songwriting career. It won the 1965 Eurovision Song Contest. At first glance it sounds like many a ye-ye single. It’s not. It’s much more than that. Here, Serge showcases his ability as a wordsmith. Not for the last time, wordplay is high on the agenda. Sometimes, this got Serge into trouble. Not here. It transformed his career. The same can be said of France Gall. Poupee De Cire, Poupee De Son was the title-track to her 1965 album. A year later, Les Sucettes featured on France’s FG album. Featuring a tender, breathy vocal and understated, orchestral arrangement, it shows another side to France Gall and her music, one I’d like to hear more of.
At the start of his career, Serge worked with Juliette Gréco. So, it’s fitting that she controbutes two tracks. They’re La Javanaise and Strip Tease. Both are from her Juliette Gréco (8ème Série) album. Released in 1963, this was her fifth album. La Javanaise is the best of the two tracks. It epitomises the chanson style of music and features a pensive, heartfelt and heartachingly beautiful vocal from Juliette.
Catherine Sauvage was one of the first artists to record Serge’s songs. Previously, she’d specialised in bringing the poems of poets like Leo Ferre and Louis Aaragon to music. This was a stylistic departure. The two tracks are very different. Baudelaiire featured on her 1962 E.P. Catherine Sauvage Chante Serge Gainsbourg. It has a much more traditional chanson sound. As for Overseas Telegram, chugging guitars provide a rocky backdrop to her heartbroken vocal. It’s a track from the 2006 box set Mister Melody-Les Interprètes De Serge Gainsbourg. Both tracks have one thing in common, Catherine’s emotive vocal, which brings Serge’s songs to life.
Having written the winning entry to the 1965 Eurovision Song Contest, Serge was seen as the man with Midas touch. All of a sudden, his services were in demand. One of the artists who recorded a Serge Gainsbourg song was Michèle Torr. Non, A Tous Les Garcons is a stomping slice of irresistible Euro Pop which featured on her 1966 E.P.
In 1967, Marianne Faithfull released an E.P. Hier Ou Demain (De La Comédie Musicale Anna.) Serge penned the title-track which Marianne sings in French. This was a departure for her, as usually, she records in English. Her delivery is flawless. She gets across the song’s nuances and subtleties, with a vocal that’s full of emotion, sadness and melancholia.
When Serge and Jane Birkin first met on the set to the film Slogan, they didn’t hit it off. No wonder. Originally, Serge Marisa Bereson to star alongside him. Soon, though, things thawed out and they embarked upon a high profile relationship. This more than made up for being dropped by Brigitte Bardot. Jane was more than an actor though. She was a talented singer. They recorded an album together in 1969. Jane Birkin and Serge Gainsbourg features the sultry, sensual Jane B. and Con C’est Con Ces Consequences, a similarly sultry, seductive track featured on Jane’s 1983 album Baby Alone In Babylone. Fourteen years after Jane B. made her debut, her voice had matured like a fine wine.
My final choice from Vamps Et Vampire-The Songs Of Serge Gainsbourg is Charlotte Gainsbourg’s Elastique. Here was a woman destined to become either a singer, songwriter or actress. She was he daughter of Jane Birkin and Serge, and the granddaughter of Judy Campbell. This is a track from her 1986 debut album Charlotte For Ever. Against a new wave backdrop, Charlotte revisits the classic chanson style. This is perfect for the song. She’s her mother’s daughter, delivering a breathy, coquettish vocal. Even the rocky guitars work, bringing a new twist to her father’s song.
While I’ve only mentioned fifteen of the tracks on Vamps Et Vampire-The Songs Of Serge Gainsbourg, I could just as easily have chosen any number of the tracks. It’s a case of all killer, no filler. That’s thanks to compiler Mick Patrick. He dug deep, in his quest to find what’s essentially the perfect introduction to the music of Serge Gainsbourg. These twenty-five tracks are just the tip of the iceberg. After all, Serge was a truly prolific songwriter. It’s thought Serge penned over one-thousand tracks and released twenty solo albums. However, there was one type of artist Serge seemed to enjoy the most success with.
He seems to be at his best when writing for female singers. That’s what he became known for. Indeed, his known and most successful single was Je T’Aime, Moi Non Plus, which he wrote for and recorded with Jane Birkin on their 1967 eponymous album. When Jane asked him to write the most beautiful song, this is what he wrote. It’s a true classic and one of the most sensual songs ever recorded. Sadly, like many of Serge’s songs it provoked controversy.
Indeed, throughout his career, Serge seemed to court controversy. His lyrics weren’t the usual fare. The was more to Serge’s music that life, love, loss, heartbreak and joy. Subjects other songwriters dared to shy away from, were meat and drink for Serge. Often the way he did this was with subtlety. He used wordplay. Puns, paraprosdokians, dysphemisms and onomatopoeia were Serge’s secret weapons. With Serge’s lyrics, it was a case of listening carefully. Things weren’t necessary what they first seemed. Mind you, what did you expect from a wordsmith extraordinaire. That describes Serge Gainsbourg and is apparent when you listen to Vamps Et Vampire-The Songs Of Serge Gainsbourg, which was recently released by Ace International, a subsidiary of Ace Records.
Vamps Et Vampire-The Songs Of Serge Gainsbourg is the perfect introduction to Serge Gainsbourg’s music. It features contributions from some of the greatest French female vocalists. Among them are Françoise Hardy, Marianne Faithfull, Juliette Gréco, Marianne Faithfull, Jane Birkin, Brigitte Bardot and Michèle Torr. It’s like a who’s who of French music. Each of these songs have one thing in common, they were written by Serge Gainsbourg. He was one of the most influential and controversial figures in French culture. Serge did things his way. Often that proved controversial. A master of wordplay his are lyrics funny, provocative, satirical, subversive, shocking and thought-provoking. This was the case throughout his long and successful career. Sadly, Serge Gainsbourg passed away in March 1991. Twenty-three years ago, French music lost one of its legends. He’s sadly missed and Vamps Et Vampire-The Songs Of Serge Gainsbourg is a reminder of the man and his music.
VAMPS ET VAMPIRE-THE SONGS OF SERGE GAINSBOURG.
THE SEEDS-RAW AND ALIVE.
THE SEEDS-RAW AND ALIVE.
Originally, The Seeds started life as a garage band. That was the past. Music was changing. So were The Seeds. The Beatles’ had just released their psychedelic masterpiece Sgt. Pepper’s Lonely Heart’s Club Band. This was the way music was heading. Hearing this seminal psychedelic opus resulted in The Seeds changing direction.
Realising that psychedelia was the future, The Seeds changed tack. This was a huge risk. During the last two years, The Seeds had worked tirelessly to build a reputation as one of the most innovative bands of the era. They’d released two albums, A Web Of Sound and The Seeds, which featured Pushin’ Too Hard, the biggest single of their career. Despite this, the temptation to experiment and push musical boundaries was too much. For The Seeds, standing still wasn’t an option. Here was the dawn of a new musical era. The Seeds going to be were part of the psychedelic era in 1967. For The Seeds, resisting this temptation was impossible.
In 1967, The Seeds released their third album Future. Future didn’t see The Seeds push musical boundaries to their limits. Instead they blew these limits away. The result was a mind-blowing fusion of psychedelia, garage, rock and pop. Veering towards jazz and soul, eclectic doesn’t even come close to describing Future. This was a long way from The Seeds roots as a garage band. This was very different. Maybe too different. On its release, Future wasn’t a commercial success. It was critically acclaimed and nearly four decades later, is perceived as a psychedelic classic.
Following the commercial failure of Future, The Seeds had bills to pay, so returned to playing live. This was a steady source of income. By 1968, things weren’t going well for The Seeds. Whether the band knew it, but 1968 would see The Seeds release their musical swan-song. This was Raw and Alive and an album that captures The Seeds at their very best. It epitomises what The Seeds live sounded like. Raw and Alive was recently rereleased by Big Beat Records, a subsidiary of Ace Records. This is no ordinary live album though.
Big Beat Records’ rerelease of Raw and Alice is best described as a luxurious double album. Disc One features the original stereo version of Raw and Alive, plus the undubbed version of the concert. On the undubbed version of Raw and Alive, an added extra is a version of 900 Million People Daily All Making Love. With the original and undubbed versions of Raw and Alive, the listener is able to hear The Seeds at the peak of their powers. That’s just disc one.
Then on disc two of Raw and Alive, which is entitled Live In The Studio, which was recorded on 20th February 1968, The Seeds rattle their way through fifteen tracks. Two of these tracks, Gypsy Plays His Drums and Pushin’ Too Hard are new mixes of the track. Just like Raw and Alive, the Live In The Studio captures the very essence of The Seeds live. Telling the story of the recording of Live and Alive is Alec Palao. Just like his sleeve-notes to Future, they’re in-depth, articulate and insightful. He documents a band whose career was at a crossroads.
The Seeds weren’t used to failure. They’d released two successful albums. Their decision to experiment and change direction backfired. So had their manager Lord Tim Hudson’s hype. Hipsters turned on The Seeds. They were seen as passé. That was far from the case. They were one of the most innovative bands of the time. Surely, for The Seeds things couldn’t get worse
With The Seeds change of direction not proving a commercial success, the band needed money. One solution was to record a live album. This made perfect sense for The Seeds. Many of their fans told them that they were better live than on record. So, what they wanted to do was capture what The Seeds sound like live. There were a couple of problems. The first was that The Seeds hand’t been recorded live very often. So, they weren’t aware of the pitfalls that could cause them problems. Playing in front of 18,000 people, anything could, and would, go wrong. A favourite was for the stage to be invaded or the audience to be overcome by hysteria. After all, in some parts of California, The Seeds were treated like The Beatles. That was on a good night.
What happened if the recording was arranged for a night when the audience were less than enthusiastic? This was just as problematic. They’d end up with a recording that wasn’t a reflection on what The Seeds live sounded like. For The Seeds, what sounded a good idea was quickly getting complicated. They pressed on and eventually, Gene Norman President of GNP Records hit on a solution.
Rather than play live in an auditorium, The Seeds would play in a studio in front of an invited audience. This wasn’t new. It had been done before, resulting in mixed results. However, it was seen as the best solution. It didn’t work. It was time for take two. Without the audience, The Seeds returned to the studio to record their “live” album.
When Raw and Alive was recorded, there were no iso booths. Everyone stood together in an attempt to replicate a live sound. Unlike recording an album, the engineers didn’t worry about microphones bleeding into each other. This was all part of The Seeds live experience.
After Humble “Harve” Miller announces the arrival of “Sky Saxon and The Seeds” strut their way through ten songs. This includes Farmer and Up In Her Room from The Seeds 1966 debut album A Web Of Sound. Farmer which opens the albums sets the tone. Sky delivers a sneering, hypnotic slice of psychedelic. Then interspersed throughout Raw and Alive are a trio of tracks from The Seeds eponymous sophomore album. No Escape, Can’t Seem To Make You Mine and Pushin’ Too Hard captures The Seeds live. Bristling with electricity, energy and enthusiasm, The Seeds swagger their way through theses songs. They fuse garage, pop, psychedelia and rock. Genre melting describes The Seeds, who are on a roll. One of the highlights of Raw and Alive is Satisfy You, a fusion of psychedelia, rock and a proto-punk. It featured on The Seeds 1980 comeback album A Spoon Full Of Seedy Blues. Then before you know it, Sky is announcing Pushin’ Too Hard, the final song. Here, The Seeds are reminiscent of The Doors. It’s not just the combination of the keyboards and charismatic frontman that leads to this comparison. No, it’s the quality of The Seeds performance.
On its release in May 1968, The Seeds perceived Raw and Alive as a stopgap until they got round to writing and releasing their fourth album. That never happened. Raw and Alive wasn’t a commercial success. Soon, The Seeds were playing smaller venues. Their music then was no longer fashionable. Rock was now King, while The Seeds were yesterday’s news. Worse was to come. Drugs caused problems within The Seeds’ camp. Sky allegedly succumbed. Reports say he was constantly stoned. For Rick Andridge, this was the final straw. He packed his drums and left. Sitting around waiting for concerts to be arranged wasn’t going to pay the bills. So, he left The Seeds. Raw and Alive is The Seeds’ swan-song.
For fans of The Seeds, having the two versions of Raw and Alive sit side-by-side is fascinating. First up is the version with the overdubs. Then there’s the warts and all version. if anything, this is much more representative of what The Seeds were like live. They swagger their way through ten tracks, fusing musical genres and influences. It’s not a flawless performance. Live performances never are. However, these imperfections and flaws can be forgiven. They make The Seeds performance seem all the more real and authentic. That’s despite the lack of audience. The Seeds still played live. They plugged in and played their way through ten blistering tracks. This was “take two” though.
“Take one” took place on 20th February 1968. Watched by members of The Seeds fan club, the band were introduced by Gene Norman and laid down fifteen tracks. They were rejected and ended up lying in GNP Records’ vaults. That’s until now. For the first time in forty-six years, these fifteen tracks can be heard. They’re a reminder, if any were needed, of how good a live band The Seeds were. It’s a warts and all performance. That’s what makes this essential listening. It’s like eavesdropping on the past. You can even hear the chatter between songs. Then The Seeds showcase their inconsiderable skills. Drawing inspiration from folk, garage, jazz, psychedelia, free jazz, proto-punk and even prog rock The Seeds combine musical genres and influences. Strolling and strutting their way through fifteen tracks, The Seeds must have thought that this was the first step in their musical redemption. Sadly, it wasn’t.
Never again, did The Seeds reach the heights they’d enjoyed on their first two albums, A Web Of Sound and The Seeds. These were musical mountains they’d never climb. The Seeds moment in the sun had been fleeting. Between 1966s A Web Of Sound and 1968s Raw and Alive, The Seeds were one of the most innovative groups. Like a chameleon, they changed from a garage band into one of psychedelia’s flag bearers. They drew inspiration from disparate musical genres and influences. Everything from rock, garage rock, psychedelia, folk, jazz, doo-wop, free jazz, proto-punk and even prog rock, influenced them on their greatest studio album Future. Despite Future being perceived as a minor classic, people said The Seeds never replicated their live sound on any of their three albums. So, they tried to do so on Raw and Alive.
It took two attempts, but eventually, they managed to do so. The result was Raw and Alive, which was recently rereleased by Big Beat Records, a subsidiary of Ace Records. It harnesses The Seeds live sound. Indeed, Raw and Alive harnesses the raw power, energy and electricity of The Seeds. Hard rocking, they play with confidence and a swagger. They’re good and they know it. With a spring in their step, they try to recreate their live sound. They achieve this on Raw and Alive, which sadly, was their swan-song.
The Seeds musical legacy was a trio of studio albums and Raw and Alive. A Web Of Sound, The Seeds and Future feature the changing face of The Seeds. Their best studio album was Future, which is now a psychedelic classic. Drawing inspiration from The Beatles psychedelic masterpiece Sgt. Pepper’s Lonely Heart’s Club Band. It’s a combination of The Seeds garage band roots and psychedelia. The Seeds also were influenced by Frank Zappa, Thirteenth Floor Elevators, The Doors, The Who, the British invasion bands and jazz. All these influences can be heard on Raw and Alive, which marked the end of The Seeds story. They may not have been the most prolific band in musical history, but continue to influence another generation of musicians and music lovers. Raw and Alive is a tantalising glimpse of what The Seeds live must have sounded like.
THE SEEDS-RAW AND ALIVE.
COUNT BASIE AND HIS ORCHESTRA-AFRIQUE.
COUNT BASIE AND HIS ORCHESTRA-AFRIQUE.
By 1970, Count Basie was sixty-six and a legend of jazz. The Grammy Award winner had achieved just about everything. Count Basie had come a long way since he dropped out of school to play the piano at a silent movie theatre. Soon, he was playing regularly. Whether it was pickup bands or groups travelling through New Jersey looking for a piano player, Count Basie was their man. When he was playing, Count Basie was having to hustle for gigs. This was all part of his musical education. Competition was fierce. So only the best got hired. Count Basie was working towards the best.
Aged twenty, Count Basie left his New Jersey home and headed to Harlem. Soon, he was touring throughout America. Five years later, in 1929, Count Basie headed to Kansas City to join Bennie Moten’s band. He was a member of Bennie’s band until he died in 1935. For Count Basie, playing with Bennie taught him how to lead a band. So, the following year, Count Basie decided to form his own orchestra.
Count Basie and His Orchestra made their debut in Chicago in 1936. That was where they made their recording debut. For the next six decades, Count Basie and His Orchestra were one of jazz’s most innovative bands, Born in the swing era, they recorded for Brunswick between 1937 and 1939. After that, Columbia and RCA were home for Count Basie and His Orchestra between 1939 and 1950. During that period, Count Basie and His Orchestra survived the decline in popularity of the big band. By reinventing his Orchestra, they thrived. They went on to collaborate with everyone from Frank Sinatra, Ella Fitzgerald, Tony Bennett, Nat King Cole to Joe Williams. Then in 1969, with jazz changing, Count Basie and His Orchestra reinvented themselves once again. Count Basie and His Orchestra signed to Bob Thiele’s Flying Dutchman Productions and released their classic album Afrique, which was recently rereleased by BGP Records, a subsidiary of Ace Records.
For Bob Thiele, signing Count Basie to his newly formed label, was a huge thrill. He’d always been a fan of big bands. There was none better than Count Basie and His Orchestra. What made them stand out was their legendary rhythm section. They provided the backdrop for the horn section. The rhythm section is described as solid but flexible, while the horns played with an unbridled freedom. Remarkably, Count Basie rebuilt the Orchestra several times. They went on to win seventeen Grammy Awards and are perceived as one of the greatest bands in the history of jazz. So, signing Count Basie and His Orchestra was one of the highlights of Bob Thiele’s career.
Having signed Count Basie and His Orchestra, Bob Thiele was determined that he was going to make Count Basie relevant again. He hadn’t been relevant for the last few years. So, relevant didn’t mean covering Beatles tracks or James Bond themes. That wasn’t relevant to a new generation of music lovers, never mind jazz lovers looking for groundbreaking music. Beatles covers and James Bond themes were passé. It wasn’t even yesterday’s sound, more like last year’s sound. What Bob Thiele wanted was for his hero to record tomorrow’s music today.
To do this, Bob Thiele brought Oliver Nelson onboard. He would arrange and conduct what became Afrique. Playing on Afrique would be a studio version of Count Basie and His Orchestra. They’d record eight tracks, including Step Right Up, Hobo Flats, Afrique, Kilimanjaro and African Sunrise. Other tracks included Gabor Szabo, Albert Ayler’s Love Flower and Pharaoh Saunders’ Japan. These eight tracks were recorded on 22nd and 23rd December 1969.
When recording of Afrique began, the all important rhythm section of Count Basie and His Orchestra included electric bassist John B. Williams, drummer Harold Jones and guitarist Freddy Green. While the rhythm section played an important part in Count Basie and His Orchestra’s sound, so did the horn section. They were joined by Richard Pablo Landrum who played congas and Sonny Morgan bongos. Hubert Laws played flute, Buddy Lucas harmonica and Count Basie piano. Once the eight tracks were recorded, Afrique was released in 1970. With Bob Thiele having given Count Basie and His Orchestra a moderne makeover on Afrique, how would this be received?
On the release of Afrique, it was critically acclaimed. Critics loved the album. They said Count Basie was back and relevant. Music lovers reappraised Count Basie and His Orchestra. They’d lost their way previously, covering Beatles songs and James Bond themes. For a jazz great, this wasn’t how he’d want to be remembered. However, signing to Flying Dutchman transformed Count Basie’s fortunes.
Bob Thiele who produced Afrique, got Count Basie’s career back on track. Having chosen eight recent tracks and paired Count Basie and His Orchestra with arranger, conductor and songwriter critics hailed Afrique as a groundbreaking, classic album. So much so, that it’s one of Count Basie and His Orchestra best post big band albums. It’s also why Afrique, which I’ll tell you about, was nominated for a Grammy Award.
Step Right Up which opens Afrique, is one of five Oliver Nelson penned tracks. Count Basie draws inspiration from the past, laying down some old time piano before his Orchestra kick loose. Again, it’s very much a track with its roots in past. Propelled along by the bass, drums are played with brushes before Howard Jones mixes flamboyance and power. Then the horns are unleashed. They growl and bray, before Count Basie plays a jaunty solo. Soon, high kicking horns take centre-stage as the Orchestra hit their stride. They do what they’d been doing for thirty-four years by creating some of captivating music.
Hobo Flats first made an appearance on Jimmy Smith’s 1963 album. Here, it takes on a moody, bluesy sound. That’s thanks to the combination of bluesy harmonica and grizzled horns. They meander across the arrangement combining blues and free jazz. Meanwhile, minimalist describes Count Basie’s contribution. When he lays down a solo, it’s slinky and jazz-tinged. Mostly, he’s content to let his band shine. This includes fautist Hubert Laws shines. Mostly, though, it’s Buddy Lucas on harmonica and the horn section that take centre-stage during what’s the definitive version of Hobo Flats.
Bongos, congas and Hubert Laws’ flute combine as this Gypsy Queen reveals her secrets. As the cascading, punchy flute and probing bass intermingle, Count Basie lays down some choppy piano lines. His playing is inventive and imaginative. He may have been out of his comfort zone, but he rose to the challenge. With the bass, flute and piano, the arrangement becomes almost dissonant, then dark and dramatic. He stabs at his piano providing a contrast to the flute. Then the horns stride centre-stage. They’re bold, punchy and dramatic, unfolding in waves. They pickup the baton, totally transforming this track. It becomes melodic and the earlier darkness is gone. From the darkness comes light and joy as this Gypsy Queen reveals her secrets.
Count Basie’s tender piano playing opens Love Flower, before the sultriest of saxophone takes centre-stage. Meanwhile, the arrangement shuffles along. Bob Thiele pans the piano left, while stabs of horns assail you. They surround you, as if encouraging you to focus on this virtuoso performance from the saxophone. Right up until the track’s dramatic crescendo, Eddie “Lockjaw” Davis’ saxophone oozes emotion, beauty and later drama.
Afrique sees Count Basie and Hubert Law play the role of musical gunslingers. They go toe-to-toe during this track. Hubert’s flute and Count Basie’s piano are accompanied by a myriad of percussion, grizzled horns and urgent rhythm section. Horns and woodwind cascade, sweeping and swirling, before Hubert attempts to strike a knockout blow. He delivers a solo that’s played with power, control, speed and fluidity. Truly, it’s stunning. Horns encourage him every step of the way. They pick up the baton and help him vanquish his challenger, as he plays with style, flamboyance and passion.
The addition of Kilimanjaro is almost apt. Having gone from covering the Beatles and James Bond themes, signing to Flying Dutchman Count Basie was akin to climbing a mountain. After all, this was the home of innovators, mavericks and free spirits. Count Basie was perceived by some as the establishment. However, he surprised many people with Afrique, climbing his own mountain. With a probing bass, hissing hi-hats and percussion combining, laid-back, languid horns glide in. They grow in power, blazing urgently. They add a real sixties sound to arrangement. Playing an important role is the bass. It provides the heartbeat, while the flute flutters, floating above Kilimanjaro’s now wistful arrangement. With the bass for company, Hubert’s flute and stabs of Count Basie’s piano combine. Then from the shadows, Count Basie takes centre-stage. His playing is understated, thoughtful and melancholy. Then just as you’re enjoying a virtuoso performance, the horns blaze in, kicking loose and driving this seven-minute epic to its dramatic, wistful climax.
African Sunrise sees waves of growling and sultry horns sprayed across the arrangement. Meanwhile, the rhythm section and percussion provide the heartbeat. They then announce the arrival of Count Basie’s piano solo. It’s slow, melancholy and tender. This is easily one of his best. Complimenting his playing are the electric bass and drums that accompany him. Later, vintage horns sweep in. The modernity of earlier is gone, where free jazz combined with Count Basie’s more traditional sound. Despite the more traditional sound, this beautiful African Sunrise features a masterclass from Count Basie and His Orchestra.
Closing Afrique is a cover of Pharaoh Saunders’ Japan. Flourishes of piano are joined by dark horns and persistent percussion. Quickly, the arrangement becomes grandiose and almost ceremonial. That’s thanks to the horns, why become one. Then it’s all change, and briefly, a breezy track unfolds. Having said that, the earlier Oriental sound returns. Later, stabs of grizzled horns inject a sense of urgency, whilst a flute cascades. Count Basie stabs at his piano, repeating the same notes. it’s as if having not got the answer he wants, he repeats the same question ad infinitum. It’s as if he’s searching for an answer and is frustrated. This gives the track a left-field, avant-garde sound. After that, Count Basie allows his Orchestra to take centre-stage, enjoying playing the part of accompanist on this reinvention of Japan.
Bob Thiele was responsible not just for the reinvention of Count Basie, but his music becoming relevant again. Before Afrique, Count Basie and His Orchestra were reduced to playing covers of Beatles songs and James Bond themes. It had come to that. They weren’t going to win any Grammy’s with covers of Yellow Submarine and Goldfinger. Looking back, one of jazz’s founding fathers career was at a crossroads. Mind you, it wasn’t Count Basie’s fault. Probably, it was the brainwave of his record company. This was I’m sure, record company’s idea to make Count Basie relevant to record buyers during the swinging sixties. Instead, it the second half of the sixties saw Count Basie largely irrelevant to modern music. Then Bob Thiele entered the equation.
Luckily, Bob was a huge admirer of Count Basie and His Orchestra. He grew up listening to the big bands. Now times had changed and his idol was neither popular nor relevant. Luckily, having just founded Flying Dutchman Productions, Bob was in a position to do something to help Count Basie and His Orchestra. This meant making Count Basie and His Orchestra relevant again. To do this, Bob had to reinvent Count Basie and His Orchestra. This didn’t mean covering Beatles tracks or James Bond themes. That wasn’t relevant to a new generation of music lovers, never mind jazz lovers looking for groundbreaking music. Beatles covers and James Bond themes were passé. What Bob Thiele wanted was for his hero to record tomorrow’s music today.
He chose some of the most groundbreaking music of the past few years. This included tracks written by Gabor Szabo, Albert Ayler and Pharaoh Saunders’ Japan. These three artists were among the leading free jazz players. Then Bob chose five tracks written by Oliver Nelson, who would arrange and conduct Count Basie and His Orchestra. Bob sent Count Basie and His Orchestra into the studio and over two days, they were reborn.
The result was Afrique, a groundbreaking and urgent album where Count Basie and His Orchestra were reborn. It was akin to a musical resurrection. So much so, that Afrique was nominated for a Grammy. Count Basie and His Orchestra played with freedom and fluidity, passion and power, drive and determination. They were determined to show they were still relevant. They were. That’s despite moving in a new direction. Avant-garde, Afro-beat, blues, experimental, free jazz, soul and Count Basie and His Orchestra’s more traditional brand of jazz were combined. The result was a departure from what fans of Count Basie and His Orchestra had grown used to.
Exciting, ambitious, bold, innovative, soulful and dramatic, Count Basie and His Orchestra were back. The eight song journey that was Afrique rejuvenated not just Count Basie and His Orchestra, but his fans. Having heard Count Basie and His Orchestra on Afrique, they realised that one of jazz’s pioneers and jazz’s founding father’s was still relevant and able to create groundbreaking music. Standout Tracks: Step Right Up, Hobo Flats, Love Flower and African Sunrise.
COUNT BASIE AND HIS ORCHESTRA-AFRIQUE.
LONNIE LISTON SMITH AND THE COSMIC ECHOES-ASTRAL TRAVELLING.
LONNIE LISTON SMITH AND THE COSMIC ECHOES-ASTRAL TRAVELLING.
Bob Thiele’s Flying Dutchman was the perfect label for Lonnie Liston Smith and The Echoes’ unique brand of cosmic jazz. Through working with some of the most innovative and creative musicians in the history of jazz, Bob must have realised that often, large record companies aren’t the best environment for innovative and creative musicians. Often, these musical mavericks didn’t thrive within such an orthodox environment. Their creativity is restricted, meaning they’re unable to experiment and innovate like they’d like. 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 Lonnie Liston Smith and The Echoes would release a quintet of groundbreaking albums. Their debut was Astral Travelling, which was recently rereleased by BGP Records, a subsidiary of Ace Records. Astral Travelling is a cosmic jazz classic, which I’ll tell you about. Before that, I’ll tell you about’s Lonnie’s career.
It was almost inevitable that Lonnie Liston Smith would become a musician. He was born in December 1940, into a musical family. His father was a member of Richmond Gospel music group the Harmonising Four. During his childhood, members of The Soul Stirrers and Swan Silvertones visited the Smith household. As if inspired, Lonnie learned piano, tuba and trumpet in High School and college. Next stop for Lonnie was Morgan State University.
Inspired by Trane, Bird and Miles Davis, Lonnie embarked upon a degree in musical education. Throughout his time at University, Lonnie continued playing the pianist in local clubs and singing backing vocals. He played with alto saxophonist Gary Bartz and trombonist Graham Moncur. This was all part of Lonnie’s musical eduction. Having completed his BSc in musical education at Morgan State University, Lonnie walked straight into a job.
On leaving Morgan State University, Lonnie got a job with the Royal Theatre’s house band. For a young musician, this was would help turn them into a musical all-rounder. After all, they had to be able to accompany a wide range of artists. For Lonnie, this was the next stage in his musical education. The next part of his musical education took place in New York.
Having moved to New York, Lonnie was luck enough to get a gig playing piano in Betty Carter’s band. This helped Lonnie get his name known in the Big Apple. Then in early 1965, Lonnie caught a break. He joined Roland Kirk’s band and made his recording debut on March 14th 1965. That was when Here Comes The Whistleman was recorded live in New York Lonnie only played on the title-track, Making Love After Hours, Yesterdays and Step Right Up. Then Lonnie featured on Roland andAl Hibbler’s 1965 live album A Meeting Of The Times. After this Lonnie, joined one of jazz’s top bands.
Over the last few years, The Jazz Messengers had established a reputation for young musicians looking to make a name for themselves. Lonnie joined in 1965. He shared the role with Mick Nock and Keith Jarrett. However, with The Jazz Messengers ever evolving lineup, Lonnie only played three in concerts. These three concerts just so happened to be at the legendary Village Vanguard. For Lonnie, despite the prestigious venue, this must have been a disappointing time. Luckily, he was rehired by Roland Kirk.
Lonnie rejoined Roland Kirk’s band in time to play on his 1968 album Now Please Don’t You Cry, Beautiful Edith. This established Lonnie’s reputation as the go-to-guy for a pianist. It was the start of period where Lonnie worked with some of the most innovative and inventive jazz players. Musical boundaries were about to be pushed to their limits as Lonnie joined Pharaoh Saunders’ legendary free jazz band.
Pharaoh Saunders had worked closely with John Coltrane right up to his death in 1967. The following year, Pharaoh formed a new band. Their music is best described as free jazz. Musical boundaries were pushed to their limits and beyond. Recognising a fellow believer in free jazz, Pharaoh asked Lonnie to join his band. Lonnie went on to play on three of Pharaoh’s best albums. The first of this trio was 1969s Karma. It was followed in 1970 with Jewels of Thought and 1971s Thembi. The other Pharaoh Saunders album Lonnie played on was 1970s Summun Bukmun Umyun. which was released on Impulse. Just like the three albums Pharaoh recorded for Flying Dutchman, it was a groundbreaking album.
During this period, Pharaoh and his band were constantly pushing boundaries and rewriting the musical rulebook. Their music was truly groundbreaking. Even Lonnie was challenged. On Thembi, Pharaoh asked Lonnie to play the Fender Rhodes. This was the first time that Lonnie came across an electric piano. However, he rose to challenge and wrote Thembi’s opening track Astral Travelling. Later, Astral Travelling would become synonymous with Lonnie Liston Smith and The Echoes. Before that, Lonnie would play with some of jazz’s mavericks.
One of these mavericks was Gato Barbieri. He’d just signed to Bob Thiele’s nascent label Flying Dutchman Productions. It was establishing a reputation for providing musicians with an environment where innovative and creative musicians could thrive. Bob believed musical mavericks didn’t thrive within such an orthodox environment. Their creativity is restricted, meaning they’re unable to experiment and innovate like they’d like. So, Bob signed Gato to Flying Dutchman. Lonnie played on his 1969 debut album The Third World. Bob’s next signing was Leon Thomas and played on his debut album Spirits Known and Unknown. Soon, Lonnie was a regular at Flying Dutchman sessions.
When the time came for Gato to record his 1971 sophomore album Fenix, Lonnie was called upon. He played on Fenix and joined Gato’s band. Lonnie played on Gato’s 1972 album El Pampero. He also toured throughout Europe with Gato. Then came the opportunity of a lifetime. After El Pampero, Lonnie got the chance to work with another jazz legend.
Lonnie was a member of Gato Barbieri’s band when Miles Davis got in touch. He wanted Lonnie to join his band. At this time, Miles’ music was changing direction. The direction it was heading in was funk. Electronic instruments were the flavour of the month for Miles and he was exploring their possibilities. However, Miles was doing this outside the studio environment. That’s why there are very few recordings of Lonnie playing alongside Miles at that time. That came later, when Lonnie would later work with Miles. Meanwhile, Lonnie decided to move on with his solo career and his debut album Astral Travelling.
For Astral Travelling, Lonnie wrote four new tracks. The other track was Astral Travelling, which Pharaoh Saunders had recorded on Thembi. These five tracks were recorded by an all-star jazz band, who Lonnie christened The Cosmic Echoes.
When recording of Astral Travelling began, Lonnie had put together some of the most talented and innovative musicians. The Cosmic Echoes’ rhythm section included bassist Cecil McBee, drummer David Lee and guitarist Joe Beck. Sonrily Morgan and James Mtume played percussion and conga, Gee Vashi tamboura and Badal Roy tabla. George Barron played tenor and soprano saxophone and Lonnie played piano and electric piano on Astral Travelling. Bob Theile produced Astral Travelling, which was released in 1973.
On its release in 1973, Astral Travelling was critically acclaimed. It was as if Lonnie had drawn upon all his experience working as a sideman. He’d worked with Pharaoh Saunders, Gato Barbieri, The Jazz Messengers, Leon Thomas, Stanley Turrentine and Miles Davis. This meant he was no ordinary musician. No. Lonnie Liston Smith was an innovator, who was determined to push musical boundaries to their limits and beyond. This is apparent on Astral Travelling, which I’ll tell you about.
Opening Astral Traveling is the title-track, which first featured on Pharaoh Saunders’ Thembi album. Lonnie’s Fender Rhodes sets the scene for a myriad of percussion. Above the languid, meandering arrangement sits the alto saxophone. It’s played with power, passion and control. When it drops out the Fender Rhodes and probing bass intermingle with the percussion. The percussion provides an exotic Eastern sound. It’s a case of East meets West on this beautiful, languid, mellow and spiritual opus. It showcases Lonnie’s unique brand of cosmic jazz.
A blistering, explosive dissonant saxophone and flourishes of piano combine as Let Us Go Into The House Of The Lord unfolds. Meanwhile, percussion provides the perfect accompaniment to the piano. Together they provide flourishes of ethereal beauty. Especially when bells chime. As for the saxophone, it’s slow and soul searching. When it drops out, the piano and percussion take charge. Then later, bursts of frenzied saxophone make their presence felt. While waves of ethereal music unfold in waves, the husky saxophone is akin to an unburdening of the soul. The result is cathartic, beautiful and emotive.
Rejuvenation sees Lonnie’s band join forces to create a track that’s dramatic and emotive. That’s the case from the opening bars. The rhythm section, piano and saxophone join forces. Lonnie boldly and flamboyantly plays the piano, while a bright, airy saxophone solo soars above the arrangement. It’s powered along by the rhythm section and percussion. However, it’s Lonnie’s piano and George’s saxophone that play starring roles. Everything else plays a supporting role. Lonnie and George seem to bring out the best in each other. Spurring each other on, they both reach new heights. Each produce virtuoso performances. It’s as if the other’s presence has lead to a Rejuvenation in their powers.
Slow and dramatic describes I Mani (Faith). Playing starring roles are flamboyant flourishes of Lonnie’s piano and heartachingly beautiful saxophone solo. They’re augmented by the rhythm section and percussion. Again, they’re playing supporting roles. Later, Lonnie plays a supporting role to tenor saxophonist George Barron. He unleashes a blistering, scorching, searing saxophone solo. Unleashing power, passion and emotion, George pushes the saxophone to its limit. Inspired, the rest of the band join in. What follows is a frenzied jam session. Having reached its dramatic, explosive crescendo, a calm descends. There’s a return to the spellbinding beauty of earlier. It’s augmented by a flamboyance and drama as Lonnie Liston and The Cosmic Echoes on what’s been a captivating performance.
In Search Of Truth has a much more tranquil and spiritual sound. Lonnie unleashes flourishes of piano while percussion and the rhythm section provide a slow, thoughtful accompaniment. George adds a sultry, soul searching saxophone solo. Quickly, it drops out, the piano and plucked bass asking a series of question. You can sense their frustration, that their questions aren’t being answered. As the track progresses, this frustration grows. Later, this frustration turns to a sense resignation that they’ll forever be In Search Of Truth. This results in thoughtful, cerebral track that’s still relevant today.
Aspirations closes Astral Travelling. It’s not just slow and serene, but melodic and thoughtful. Lonnie’s Fender Rhodes reverberates, producing a melancholy sound. Percussion accompanies him, adding to the already wistful sound. Space is left within the arrangement, allowing it to breath. Flourishes of Fender Rhodes add a sense of drama to this poignant, spiritual opus where pathos is ever-present.
Innovative, influential and way ahead of the musical curve, describes Lonnie Liston Smith. So does serene and spiritual. Proof of this is the music on Astral Travelling. It shows that Lonnie Liston Smith was way ahead of his time. Here was a musician determined to push musical boundaries to their limits, and sometimes, beyond. That describes what Lonnie Liston Smith was trying to achieve. On Astral Travelling, he drew inspiration from all the jazz greats he’d worked with. Among them, were Pharaoh Saunders, Gato Barbieri, The Jazz Messengers, Leon Thomas, Stanley Turrentine and Miles Davis. He borrowed from each of these artists and the result was his unique brand of cosmic jazz. It’s gone on to influence several generations of musicians and music lovers. Despite this, Lonnie Liston Smith’s music wasn’t the huge success it deserved to be.
With its fusion of avant garde, experimental, free jazz and orthodox jazz, Lonnie Liston Smith’s music never found the wider audience it deserved. Maybe the problem people didn’t understand Lonnie Liston Smith’s music? That’s why his music has only enjoyed a cult following. He never enjoyed the critical acclaim and commercial success enjoyed that came John Coltrane and Miles Davis’ way. That’s a great shame, given the quality of Lonnie Liston Smith’s back-catalogue.
Between 1973s Astral Travelling and 1976s Reflections Of A Golden Dream, Lonnie Liston Smith released a quintet of albums for Bob Thiele’s Flying Dutchman Productions. Lonnie Liston Smith and The Cosmic Echoes’ debut album was Astral Travelling, which was recently rereleased by BGP Records. It was a tantalising taste of what Lonnie Liston Smith was capable of. With his all-star band, Lonnie released a string of truly groundbreaking, genre-melting albums. No wonder. Lonnie was a a true innovator and jazz pioneer who pushed musical boundaries to their limits and beyond. The one that started it all of for Lonnie Liston Smith was Astral Travelling, a true cosmic jazz classic.
LONNIE LISTON SMITH AND THE COSMIC ECHOES-ASTRAL TRAVELLING.
MOTORPSYCHO-BEHIND THE SUN.
MOTORPSYCHO-BEHIND THE SUN.
This year, Motorpsycho, one of Norway’s most successful bands, celebrate their twenty-fifth anniversary with the release of Behind The Sun, which will be released on 10th March 2014, on Rune Grammon. Motorpsycho were formed in Trondheim, central Norway in 1989. Since then, Motorpsycho have become a musical institution. They’ve released over twenty-albums. Their debut album was 1991s Lobotomizer. Demon Box followed in 1993, and Timothy’s Monster in 1994. Since then, Motorpsycho have averaged nearly an album a year. That’s no mean feat. Especially considering Motorpsycho have established a reputation as group who constantly reinvent themselves and their music.
That’s been the case throughout Motorpsyhco’s career. However, Motorpsycho’s two previous albums reinforce this. 2012s The Death Defying Unicorn was an ambitious and groundbreaking collaboration with Ståle Storløkken. It was nearly three years in the making. To celebrate its release, Motorpsycho took the stage at Oslo’s opera house late in 2012, accompanied by a twenty-four piece orchestra. This was a celebration of one of Motorpsycho’s most ambitious, successful and critically acclaimed albums. The only problem was, having climbed a musical mountain, where do you go now?
For Motorpsycho, the answer to that was a journey through the past. The followup to The Death Defying Unicorn was Still Life With Eggplant, which was released in 2013. It contained music that Bent Sæther refers to as “other music.” This was twenty songs that Motorpsycho had written during the last three years. These songs didn’t suit The Death Defying Unicorn. However, they were too good to ignore. So, Motorpsycho decided to record some of these songs. They headed to where it all began for Motorpsycho.
In October 2012, Motorpsycho headed Brygga Studio in Trondheim to record what became Still Life With Eggplant. This was a return to where the Motorpsycho story began. This was where they’d released some of their early albums, including Demon Box and Timothy’s Monster. However, these albums were concept albums. Still Life With Eggplant wasn’t. Instead, Still Life With Eggplant featured five standalone tracks. The recording sessions took just two weeks. During the sessions, Motorpsycho were aided and abetted by guitarist Reine Fiske. An inspired, Motorpsycho recorded five tracks, including the seventeen minute epic, Ratcatcher. Motorpsycho were on a roll, the music just flowed and after two weeks, Still Life With Eggplant was completed.
On its release in April 2013, critics reinforced what Motorpsycho already knew. The music on Still Life With Eggplant was indeed too good not to be released. Still Life With Eggplant an album of “other songs” was well received by critics. They recognised that Motorpsycho had continued to push musical boundaries and reinvent themselves. There was never any chance that Motorpsycho would stand still. However, some sharp eyed critics and fans wondered what about the rest of the “other songs?”
Having listened to the rest of the “other songs,” the three members of Motorpsycho Bent Sæther, Hans Magnus Ryan and Kenneth Kapstad decided that there was enough music for another album. They chose nine tracks and they became Behind The Sun, which again, was recorded Brygga Studio in Trondheim.
At Brygga Studio in Trondheim, Motorpsycho began laying down the nine tracks that became Behind The Sun. Bent Sæther played bass, guitar, drums, keyboards and sang lead vocals. Hans Magnus Ryan played guitar, bass, mandolin, violin and keyboards. Kenneth Kapstad played drums and keyboards. They were joined by guitarist Reine Fiske, Ole Henrik Moe on viola and violinist Kari Ronnekleiv. Producing Behind The Sun, which I’ll tell you about, was Bent Sæther.
Cloudwalker (A Darker Blue) opens Behind The Sun. It meanders into being. It’s as if Motorpsycho are just teasing you. They are. Soon, the track explodes. A thunderous, driving rhythm section, chiming, searing, sneering guitars and Bent’s vocal unite. The result is real rock music. It’s been inspired by the classic rock the of the sixties and seventies. Joining the pulsating bass, machine gun guitars and Bent’s powerhouse of a vocal are the viola and violin. They provide a contrast to the rest of the arrangement. There’s even a West Coast influence, thanks to the harmonies. Melodic, melancholy and explosive this track is all this and more, including a tantalising way to open Behind The Sun.
Quivering, shivering strings open Ghost. It’s very different to the opening track. Just an acoustic guitar is strummed and plucked, before swathes of strings and drums enter. By now, there’s a Pink Floyd influence, especially Wish You Were Here. This increases when a tender, wistful vocal enters. There’s a sense of resignation in his vocal. Especially when Bent sings the line “you have no purpose.” It’s as if he can’t bare to say this, but has to. Meanwhile, a melancholy rock symphony is unfolding. It tugs at you heartstrings, oozing emotion. It also reminds you of Pink Floyd at their very best.
On A Plate sees Motorpsycho to kick out the jams. They’re a transformed into the tightest of units, as they rediscover their heavy rock roots. Drums are pounded and punished, a bass buzzes and Magus delivers a masterclass in rock guitar. He plays with speed, precision and fluidity. His fingers flit up and down the fretboard. Bent’s vocal is delivered with power. No wonder. He’s competing with riffing guitars and a driving, stomping rhythm section as Motorpsycho pay homage to their heavy rock roots. Not only that, but they demonstrate just how talented and versatile they are.
The Promise is another blistering rock track. From the get-go, Motorpsycho kick loose and never let up. With the rhythm section driving the arrangement along, scorching guitars accompany Bent’s urgent vocal. After that, thundering drums and searing, sneering guitars take charge. They return to the heavy rock of the previous track. Right though to the track’s dramatic crescendo, Motorpsycho, never miss a beat as they deliver a virtuoso rock masterclass.
Quickly, Kvæstor (including Where Greyhounds Dare) reveals its secrets. Robotic synths, thunderous drum rolls and glistening guitars join forces. Futuristic, sci-fi sounds are gradually overpowered by blistering, scorching guitars. They’re played at breakneck speed. Despite that, they’re played with accuracy and precision. They unleash an impressive sound. Technically, it’s perfection, and a reminder of bands like Led Zeppelin. Not to be outdone, drummer Kenneth Kapstad unleashes a solo. What follows is the equivalent of a musical duel. The guitars and drums go head to head. It’s an impressive sound and results in a seven minute epic.
Hell, Part 4-6: Traitor/The Tapestry/Swiss Cheese Mountain is a trilogy, lasting twelve minutes. Wistful, almost haunting strings set the scene. They give way to a meandering acoustic guitar and bass. Bent’s vocal is pensive, melancholy and tender. Around him, the arrangement envelops him. Soon, it rocky guitars joining the mix. Later, there’s a return to wistful strings, before washes of ethereal synths enter. As they drop out, the arrangement meanders along. Its melancholy sound is then replaced by a what can only be described as an explosive rocky track. Motorpsycho’s guitars and rhythm section lock into a groove. Guitar riffs escape, climbing above the arrangement during this twelve minute eclectic Opus.
Entropy has a folk rock sound, as a semi-acoustic Motorpsycho unleash a dreamy, lysergic masterpiece. Bent’s dreamy vocal is accompanied by harmonies as a languid, laid back track unfolds. It reminds me of The Byrds and Pink Floyd. That’s how good this mellow folk rock track is. Indeed, it’s so good it’s the highlight of Behind The Sun.
On The Magic and The Wonder (A Love Theme), guitars chime as the rhythm section match each other every step of the way. They provide the heartbeat on this melodic rock track. Bent’s vocal is accompanied by soaring harmonies. When it drops out, screeching, searing guitars are unleashed. What follows are some stunning guitar licks. They’re played with speed, precision and accuracy. Blistering and scorching describes them. Along with vocals, they added to the urgency of this melodic track. Add to this some poppy hooks, and the result is a truly memorable track that showcases Motorpsycho at their best.
Behind The Sun closes on a rocky high. Hell, Part 7: Victim Of Rock is reminiscent of the type of track that would win over even the toughest Donnington Park crowd. Motorpsycho dig deep, unleashing some spiky, rocky licks. They’re dark, urgent and cascade across the arrangement at breakneck speed. Then the vocals enter, with Motorpsycho delivering some singalong vocals. Next up, are the blistering guitars, with twisted synths and pounding drums joining the fun. Drawing inspiration from Black Sabbath, Def Leopard and The Beatles’ Helter Skelter, Motorpsycho loose and show why they’ve enjoyed such a long, successful and critically acclaimed career.
Although Motorpsycho have been together since the late eighties, and have released over twenty albums, they’ve still plenty to offer. They’re still determined to reinvent themselves and their music. That’s refreshing. After all, some band, having found a successful formula, stick to it. Not Motorpsycho. They released a series of concept albums, then the critically acclaimed The Death Defying Unicorn. Next Motorpsycho decided to revisit twenty “other songs” that weren’t suitable for The Death Defying Unicorn.
Motorpsycho hit pay-dirt. These twenty “other songs” proved to be a musical treasure trove. Not only was there enough for their previous album Still Life With Eggplant, but Behind The Sun which will be released on 10th March 2014, on Rune Grammon. Behind The Sun is a fitting followup to Still Life With Eggplant. It’s an innovative and glorious fusion of classic rock, folk rock, psychedelia and psych rock. It also oozes quality. Mind you, that’s what you expect from Motorpsycho.
Ever since their debut album 1991s Lobotomizer, then 1993s Demon Box 1994s Timothy’s Monster, Motorpsycho have been establishing a reputation as one of Norway’s most successful bands. Now Motorpsycho are Norwegian rock royalty. They’re a musical institution not just in Norway, but across Europe. Over the last twenty years, word has spread about Motorpsycho. However, there are still people who haven’t heard Motorpsycho. That’s where Behind The Sun comes in.
For anyone yet to discover Motorpsycho, Behind The Sun is the perfect place to start. Behind The Sun is a reminder that there are still groups capable of making rock music. This isn’t just any rock music. No. Motorpsycho make what I’d describe as classic rock music. So much so, that Behind The Sun is an album that could’ve been recorded anytime over the last forty years. It draws inspiration from everyone from The Byrds, Led Zeppelin, Pink Floyd, Black Sabbath and Def Leopard. The result is the hard rocking Behind The Sun, where Motorpsycho keep the flag flying for classic rock in all its glories. Standout Tracks: Ghost, On A Plate, The Promise and The Magic and The Wonder (A Love Theme).
MOTORPSYCHO-BEHIND THE SUN.
GEORGE DUKE-A BRAZILIAN LOVE AFFAIR.
GEORGE DUKE-A BRAZILIAN LOVE AFFAIR.
By 1979, when George Duke released A Brazilian Love Affair, he was one of the hardest working men in music. Not only had he released fifteen solo albums, but had moved into production. Then there was George’s work as a sideman. The list of musicians George has played with reads like a who’s who of music. What’s even more remarkable is their diversity. Their music crosses the musical genres. This includes everyone from Frank Zappa, through Jean Luc-Ponty, Cannonball Adderley, Billy Cobham to Anita Baker, George Clinton and Flora Purim. Having worked with such a diverse selection of musicians, this must have influenced George’s music. Certainly working with Flora Purim, the Brazilian-born singer must have influence George, when he headed into the studio to record what would become one of his most commercially successful and critically acclaimed albums, A Brazilian Love Affair which was recently rereleased by WEA Japan. This is the copy of A Brazilian Love Affair to buy. The sound quality surpasses previous rereleases.
When George Duke came to record A Brazilian Love Affair, Brazilian music had become much more popular, and moved into the mainstream. Artists like Flora Purim, who George had worked with, plus Gilberto Gil, Ivan Lins and of course Sergio Mendes had been trailblazers. These artists had influenced European and American artists, including George Duke. On A Brazilian Love Affair, George showcased the talents of Flora Purim, Airto, Raul De Souza, Simone and Milton Mascimento. This resulted in one of George’s most successful albums.
For A Brazilian Love Affair, George wrote eight of the ten tracks. Of the other two tracks, the Brazilian influence shawn through, Ronaldo Bastos and Milton Mascimento wrote Cravo E Canela. Milton Mascimento also cowrote Ao Que Vai Nascer with Fernando Brant. These ten tracks saw George Duke fuse Brazilian music with jazz, funk and soul. Helping him to do this, was a band that included a tight and talented back of top musicians.
Recording of A Brazilian Love Affair took place in Rio De Janeiro and Los Angeles. Part of the album was recorded at Level e Hawai Recording Studio, Rio De Janeiro, and Westlake Recording Studios in Los Angeles. Additional sessions took place at Le Gonks West Studio in Los Angeles. Accompanying George Duke were musicians from America and Brazil. This included a rhythm section that variously included bassists Byron Miller and Jamii Joanes, drummers Ricky Lawson and Roberta Silva and guitarists Roland Bautista and Toninho Horto. Jerry Hey and Raul De Souza played trombone, Larry Williams’ saxophone and percussionists Airto and Chico Batera. George a true multi-instrumentalist played guitar, keyboards, synths, piano and sang vocals. With a combination of Brazilian and American musicians collaborating on A Brazilian Love Affair, the completed album was a meeting of cultures and musical genres. Would this prove successful?
A Brazilian Love Affair was released in 1979 to critical acclaim. Critics decided that this fusion of cultures and musical genres was one of George Duke’s finest albums. It was also one of George’s most successful albums, reaching number 119 in the US Billboard 200, number forty in the US R&B Charts and number four in the US Jazz Charts. The only disappointment was when the single Brazilian Love Affair failed to chart. Apart from that, A Brazilian Love Affair fusion of Brasilia, jazz, funk and soul proved popular. I’ll now tell you why.
Opening A Brazilian Love Affair is the only single released from the album, Brazilian Love Affair. Percussion, synths, keyboards and the funkiest of bass lines from Byron Miller combine before George’s light, joyous vocal soars above the arrangement. It’s like a slice of sunshine, unfolding in waves. Dramatic pauses give way to waves of uplifting music. Roland Bautista’s chiming guitar helps drive the arrangement along, while Byron’s bass provides the funk. A healthy sprinkling of percussion is added, before a flourish of electric piano sees the track head in the direction of freeform jazz. From there, jazz, funk and Brazilian music are combined by George and his multitalented band over seven scintillating minutes of dramatic and bold music.
Summer Breezin’ has a real authentic Brazilian sound from its opening bars. It has a lovely understated sound. Just acoustic guitars, percussion, bells and piano combine, before a burst of drums signals the entrance of George’s scatted vocal. Rasping horns join a funky rhythm section as drums punctuate the arrangement confidently. From there George’s band fuse jazz, funk and Brasilia. Later, the arrangement grows in power and drama. George scats while adding the unmistakable sound of the Rhodes. Horns and harmonies accompany him, as the arrangement meanders along. It combines beauty, drama and subtlety in equal measures.
Cravo E Canela sees George accompanied by a cast of Brazilian musicians. They’re key to the track’s joyful, sunshine sound that unravels at breakneck speed. You’re swept along in its wake, almost unable to keep still. Like so much Latin music, it has a feel-good sound, albeit with a twist from George. Massed vocals are joined a myriad of percussion, congas, agogos and caixas. They’re joined by the rhythm section, guitar, synths and keyboards as Latin and jazz music unite. By now the track has taken on a bold, dramatic sound, one that’s almost impossible to resist. Indeed, resistance is impossible, best to succumb to the song’s charms and delight.
Alone 6AM is just a one-minute interlude where George plays electric piano and Roland Bautista guitar. They create that veers between wistful and melancholy to a much bolder, jazzy sound. Too soon, it’s over, leaving but a memory.
Brazilian Sugar features Flora Purim’s vocal on a track where to cultures unite. Here, Brazil and America seamlessly unite through music, Flora’s joyous scatted vocal is accompanied by a jaunty arrangement where the rhythm section join vibes, percussion and keyboards. When Flora’s vocal drops out, a blazing trombone solo from Raul De Souza takes centre-stage. It’s a show-stopper, and one of the best solos on A Brazilian Love Affair. Not to be outdone, guitar and keyboards join the mix. They’re equally impressive. Then when Flora’s vocal returns, she seemingly spurs the band on to even greater heights. Her vocal is impassioned, soulful and even sultry. It proves to be just the finishing touch to George Duke and his band in full flight, on what’s one of the album’s highlights.
Chiming, jazzy guitars join a driving rhythm section and blazing horns as Sugar Loaf Mountain unfolds. It’s a sumptuous slice of driving jazz-funk. Horns growl and rasp while the rhythm section and keyboards create dramatic waves of music. George unleashes an unrivaled piano solo, playing quickly, accurately and with passion. So do the rest of the band. They take their lead from George. Bassist Byron Miller slaps his bass, producing some funky licks, while horns rasp and the rhythm section fuse jazz with funk. By now you realize this is a crack band of musicians at the height of their game. It doesn’t get much better than this, as bold, dramatic waves of music unfold. So good is this track, that you wonder whether it’s possible to better it?
Just chimes and bells open Love Reborn, one of the slowest and most beautiful tracks on A Brazilian Love Affair. From there, just keyboards accompany one of Roland Bautista’s best guitar solos. His playing is slow, spacious and very beautiful. Deservedly, he takes centre-stage. The rest of the band seem to defer to him. Keyboards, rhythm section and heartfelt harmonies accompany Roland, but it’s his searing, riffing guitar that makes this one of the best tracks on A Brazilian Love Affair.
Up from the Sea it Arose and Ate Rio in One Swift Bite opens with a frantic, frenzied combination of percussion, bongos, congas and punchy, lilting harmonies. There’s a real authentic Brazilian sound. It’s like carnival time. Soon, keyboards and the rhythm section join the fun. Byron Miller’s bass helps drive the track along, as the track heads in a jazzy direction. George’s piano give the arrangement a sense of urgency. Later, rocky guitars add another dimension to the track. With keyboards for company, they drive the track along to its dramatic crescendo, where jazz, funk, rock and Brazilian music merge.
After the drama of the previous track, I Need You Now gives the listener a welcome respite. It has a much more understated and elegant sound. Just guitars and a subtle rhythm section combine with the heartfelt vocal. Harmonies accompany it as the arrangement meanders along, gradually revealing its secrets, subtleties and not inconsiderable beauty.
Closing A Brazilian Love Affair is Ao Que Vai Nascer. Just an acoustic guitar accompanies Milton Mascimento’s melancholy vocal. His vocal is full of feeling and emotion, as it takes centre-stage. Distant harmonies accompany him, before the arrangement builds. Guitars, rhythm section, keyboards and synths create a backdrop that’s melodramatic and sometimes broody. It’s also effective, bringing out the emotion and passion in Milton’s vocal. Later, the band kick loose. Castanets join the piano, synths and rhythm section and with a dramatic flourish and sense of urgency, the track comes to an impassioned and emotive conclusion.
Although George Duke was something of a musical veteran by the time he released A Brazilian Love Affair, it became one of his most successful and critically acclaimed albums. It’s no wonder. Quite simply, A Brazilian Love Affair is a delicious fusion of jazz, funk, soul and Brazilian music. Two countries’ music unites seamlessly. George and his band of American and Brazilian musicians fuse genres, which sometimes, melts into one. Over ten tracks, drama, emotion and beauty are combined. Much of this music has an irresistibly catchy, joyous sound. Sometimes, it’s almost impossible to keep still, given the combination of irresistible rhythms and percussive delights. However, this isn’t an album of straight ahead Brazilian music. Instead, it’s Brazilian music with a twist. Funk, jazz, soul and even rocky guitars are added to the equation. The result is one of George Duke’s classic albums, where George and his band showcase their not inconsiderable skills. While A Brazilian Love Affair found commercial success and critical acclaim, it also found favor with a new generation of producers and musicians.
Sample hungry producers and musicians have looked to A Brazilian Love Affair for inspiration. Louie Vega, Jump Cutz and DJ Jorj have all sampled tracks from the album. Indirectly, this has introduced a new generations to George Duke’s music. So too will WEA Records recent rerelease of A Brazilian Love Affair. This will allow another generation of music lovers discover its delights and enjoy A Brazilian Love Affair of their own. Standout Tracks: Brazilian Affair, Summer Breezin,’ Love Reborn and I Need You Now.
GEORGE DUKE-A BRAZILIAN LOVE AFFAIR.
KATE BUSH-LIONHEART.
KATE BUSH-LIONHEART.
Kate Bush is no ordinary singer-songwriter. Far from it. She was discovered aged sixteen, by Dave Gilmour of Pink Floyd. He recommended her to EMI. They signed Kate. In 1978, aged eighteen, Kate released her debut album The Kick Inside. Some of the songs on The Kick Inside, had been written when she was just thirteen. Her debut single Wuthering Heights became a number one single, spending four weeks at number one. Obviously, this is a remarkable artists. Remarkable yes, but prolific no.
During a career that began in 1979, she has only released just ten albums.At one point, there was a twelve year gap between albums. Unlike most artists, she has only toured once, in 1979. That was the year Kate released her sophomore album Lionheart. it was the follow up to her debut album The Kick Inside. Released just nine months after her debut album, it was another hugely successful album that demonstrated how hugely talented an artist she was. Before telling you about Lionheart, which was recently rereleased by WEA Japan, I’ll tell you about Kate Bush’s career so far.
Kate Bush was born Catherine Bush in July 1958, in Bexleyheath, Kent. Her father Robert, was a physician who was a talented pianist, her Irish mother Hannah, had been an Irish folk dancer. Her two brothers Paddy and John were also artistic. Paddy made musical instruments, John was a poet and photographer. Together, the family lived in a farmhouse in East Wickam. As a child, Kate attended school at St Joseph’s Convent Grammar School, and latterly a Catholic girls school in London.
It was during that time, that Kate started writing her own songs. By the time she started sending out demo tapes they included fifty of her own songs. It was through Ricky Hopper passing a demo tape to Dave Gilmour. With his help, Kate was able to produce a more professional a much more professional demo tape.
Ricky Hopper was a friend of Dave Gilmour and the Bush family. He passed the tape to Dave Gimour, who liked what he heard, and arranged for the new demo tape to be made. Andrew Powell, a friend of Dave Gilmour, produced the demo tape. He went on to produce Kate’s first two albums. This demo tape was sent to various record companies, but in the end, Kate signed to EMI. Ironically, Kate was signed by Terry Slater, who also signed the Sex Pistols.
For the first two years of her contract with EMI, Kate continued her studies. She spent more time at school, than she did recording her album. The rationale was that if the album failed, it would have a negative impact of Kate’s career, and she might be too young to handle this. By the time these two years were up, she’s written nearly two-hundred songs. Now it was time to record her debut album, The Kick Inside.
Before she started recording her album, Kate embarked on a tour of pubs with the KT Bush Band. Instead of using her usual band members, she used experienced session musicians. A few of these session musicians stayed with her, when she brought her usual band. Recording for what would become The Kick Inside took place in June 1975 and between July and August 1977. Before the album was released, Wuthering Heights was released as her debut single.
Wuthering Heights was a huge success. It spent four weeks at number one in the UK singles charts. The Man With The Child In His Eyes arched number six in the UK. When The Kick Inside was released in February 1978, it reached number three in the UK album charts. This resulted in Kate’s first UK platinum album. Soon, it would be two.
Nine months later her second album Lionheart was released in November 1978. Kate wrote the ten tracks, although In Search of Peter Pan features an excerpt from When You Wish Upon A Star, which was written by Ned Washington and Leigh Harline. Just like Kate’s debut album The Kick Inside, it was produced by Andrew Powell. This time, Kate was assisting with the production of Lionheart. It was recorded in the French Riviera, the only album she’s recorded outside the UK. Kate wasn’t pleased that she’d been rushed into making the album so quickly. She felt that she needed more time to get the sound on Lionheart correct. This wasn’t her only concern.
By now, Kate was having to spend more time publicising her music. This included embarking upon a tour to publicise the new album. This resulted in her setting up companies to publish her music, and manage her career. After this, she and her family would have total control of her career. Kate was ahead of her time. She’d realised the importance of keeping control of her publishing rights. This included Lionheart.
When Lionheart was recorded, the band included many of the musicians that featured on The Kick Inside. The rhythm section included guitarists Ian Bairnson and Brian Bath, bassists David Palmer and David Paton, plus drummers Charlie Morgan and Stuart Elliot who also played percussion. Richard Harvey played recorder, Duncan MacKay played synths, keyboards and Fender Rhodes and Francis Monkman played harpsichord. keyboards and Hammond organ. Paddy Bush played harmonica, mandolin, pan pipes, pan flute slide guitar and mandocello, while producer Andrew Powell played keyboards. Kate played piano, keyboards and recorder. Recording of Lionheart took place between July and September 1978. Three months later, Lionheart was released in November 1978.
Lionheart was released in November 1978, and reached number six in the UK album charts. The lead single was Hammer Horror, which reached number forty-four. Then Wow reached number fourteen. Whilst the singles taken from Lionheart were’t as successful as those on The Kick Inside, at least Lionheart was certified platinum. No wonder, given the quality of music on Lionheart.
Symphony In Blue opens Lionheart. It has a lush sounding introduction, thanks to the Fender Rhodes, guitars and bass. Kate’s vocal soars above the arrangement. She accompanies herself on piano, while the bass sits way down in the mix, plodding along. They’re joined by guitars and drums. However, the focus of your attention has to be Kate. Her voice is stunning. She uses her full vocal range, mixing power and emotion. Behind her, the arrangement is full, but melodic Listening to the lyrics, they’re really mature for someone who was still only twenty-one. They describe the way she feels, her moods and thoughts about various subjects. It’s a captivating track, that sets the scene for Lionheart.
There are always numerous literary references in any Kate Bush album. On In Search of Peter Pan, Kate references JM Barrie’s classic. Just on the piano accompanies Kate. Gradually, the understated arrangement unfolds. Percussion, then the rhythm section join the arrangement. They never overpower Kate’s vocal. It’s as if everyone is taking real care to ensure that Kate’s vocal takes centre-stage. This is only right. Her vocal is spellbinding. It grows in power and drama. Despite this, Kate’s always in control. Her lyrics are sensitive, telling a story about a young girl deeply unhappy at school, unhappy about her life overall. Instead, she escapes into the make believe world of Peter Pan. Kate ensures the lyrics come to life, while a subtle arrangement allows Kate to shine. It ensures that her voice is the most important part of the arrangement.
Strings sweep in from the distance, opening Wow. After that, a synth plays and Kate sings. Her voice is slow, atmospheric, as if she’s building up the drama. By now, the track is just meandering along beautifully, Kate’s piano and a bass unite. Then Kate unleashes a powerful, soaring vocal. Behind her the arrangement grows, mandolins, drums, guitars and bass combining. As the arrangement sweeps along, you’re caught up in the sadness and pathos. You empathise with actor on stage, as one of the characters struggles with his role. Later, Kate sings: “he’ll never make “the Sweeney,” it’s a reference to a 1970s’ police drama. This reinforces the sadness as a dream is shattered. Truly, this is a timeless track full of pathos.
Don’t Push Foot Your Foot On the Heartbrake sees the tempo increase, but gives no indication of what’s to come. Again, it’s just Kate accompanied by her piano that starts the track. She’s singing melodically, before suddenly, the track bursts into life. The contrast is amazing. From a relatively understated arrangement, it becomes nearly frantic. Drums crash, guitars chime and the piano is pounded. Meanwhile, Kate unleashes that powerful voice. She’s almost screaming. It’s like Primal Scream Therapy. As if exhausted, the band and Kate slow the song down. Then having got their breath back, they return to the fuller, frantic sound. This is impressive and effective, demonstrating another side to Kate Bush.
Many song on Lionheart have a strong narrative, espeacially Oh England My Lionheart. It tells the story of a pilot whose plane has been shot down, and as he heads towards the ground and his death, contemplates his homeland. Kate sings softly as she sings and plays her piano. Quickly, she’s joined by recorders playing. Harpsichords join in accompanying Kate, giving the song an old fashioned, historical sound. As she sings, she mentions things that are quintessentially English. Backing vocalists harmonise with Kate, completing the sound. Here, Kate gives a touching and heartfelt rendition of some intelligent, thoughtful and heartbreaking lyrics.
A gentle meandering piano solo that opens Fullhouse, but when Kate sings, her voice is loud and strong, soaring high. Quickly the arrangement becomes fuller and louder. Kate’s joined by the rhythm section. They produce a powerful backdrop. Drums sometimes are pounded, guitars soar and chime. Here, the arrangement suits the lyrics. They talk about the thoughts that fill someones head, worming their way in, niggling and nagging away, telling them about things that aren’t happening, that aren’t real. In some ways, the arrangement replicates this, many things going on at one time, each seeking your attention. Whether this is intentional, or accidental, it’s certainly effective.
In A Warm Room is the polar opposite of Fulhouse. The arrangement is far more subtle, the sound neither as full nor busy. It’s just Kate and her piano. They’re a potent partnership. She uses her full vocal range well, as she delivers the lyrics. They’re sensual and seductive, describing a woman who awaits her lover. The only problem is that she may not be around long. She’s tiring of his familiarity. Although very different to many tracks on Lionheart, its simplicity is much of its appeal. It allows you to concentrate on Kate’s voice and her lyrics. They reinforce why Kate Bush is one of the great British singer-songwriters.
Kashka From Baghdad tells of the story of a same-sex couple, who are cut off from their friends and family because of their relationship. Kate deals with the subject both frankly, and sympathetically. When the track opens, Kate’s accompanied by her piano, atmospheric sounds are heard in the background. Setting the scene and mood, a bass joins the arrangement. This provides a contrast to the piano. Quickly, Kate’s powerful vocal soars. She’s joined by backing vocalists. Mostly, the arrangement is subtle. It features mandocello and panpipes. They augment the more traditional instruments. The additional of harmonies adds to the dramatic atmosphere present during the song. Both Kate’s vocals and her lyrics are excellent, her portrayal of less enlightened times both touching and sad, because of the couple’s betrayal by loved ones.
Although there are similarities between the play Arsenic and Lace, and the next Coffee Homeground, the song was actually inspired by a taxi driver who once drove Kate about. At the start, it’s almost like the music for a tango that greets you. The music is dramatic. So is Kate’s delivery of the song. Her voice veers between a restrained style, to a dramatic soaring sound. Throughout the song, her voice is strong and clear, with Kate taking care with her phrasing. Accompanied by an understated arrangement, featuring percussion, rhythms section, piano and synths, Kate demonstrates her versatility.
Lionheart closes with Hammer Horror and Kate paying homage to the old Hammer films that many people of Kate’s age remember. In keeping with the films the start has a big, bold, dramatic introduction. Then Kate sings tenderly and beautifully, accompanied by her piano. After that, things change. The arrangement gets louder, bolder. So does Kate’s voice. That’s just temporarily, as she slows things down again. Thereafter, it’s a song of peaks and troughs, stops and starts. Here, the arrangement goes between a soothing sweeping sound that’s beautifully understated, to an almost overblown, much louder, fuller sound. Much of that fuller sound is created by synths, harmonium and piano, assisted by drums and guitars. This fuller sound is spectacular in nature, and a complete contrast to the much quieter, sweeping sound. Together, they create a great track, and it’s a fitting way to end Lionheart.
Earlier in this article, I mentioned that Kate Bush was unhappy at having to rush this album, so it could be released quickly. However, Kate is very much a perfectionist. That’s why Kate’s only released eleven albums since her 1979 debut The Kick Inside. Like many artists, she would be happy to hone an album until she perceives it as perfection. That wasn’t the case with Lionheart.
Recording of Lionheart took place between July and September 1978. Three months later, Lionheart was released in November 1978. That’s no bad thing. It meant Kate and producer Andrew Powell had to work quickly. The result was an eclectic album full of quality music. There’s no filler on Lionheart. Not once does Kate let her standards drop. No wonder. Although she was only twenty-one, she’d been writing songs since she’d been thirteen. Then when she signed to EMI, they allowed her to spend nearly two years recording her debut album, The Kick Inside. So, by the time Lionheart was released, Kate was already an experienced and talented songwriter. She’d served her apprenticeship and was already a versatile singer, capable of delivering tender ballads or unleashing a vocal powerhouse. Then there’s Kate’s songwriting skills.
Lionheart features ten songs. They’re all very different. They all have one thing in common, some wonderful lyrics. Each song tells a story. They’re cerebral and literate, full of emotion, sadness, melancholia and pathos. These songs are brought to life by Kate. Her inimitable voice breathes life, meaning and emotion to the lyrics. Accompanied by a talented group of musicians, each of the songs on Lionheart, which was recently rereleased by WEA Japan, comes to life. Indeed, Lionheart is a captivating album from one of the most successful British singer songwriter ever.
Having matured as a singer and songwriter on her sophomore album Lionheart, Kate released another eight albums. Commercial success and critical acclaim were ever-present. 1985s Hounds Of Love was certified double-platinum, 1989s The Sensual World, The Red Shoes and Aerial were certified platinum, while 1980s Never For Ever and 50 Words For Snow were certified gold. Kate’s least successful albums were 1982s The Dreaming and 2011s Directors Cut. They were only certified silver. That’s another eight reasons why Kate Bush is one of the most successful British singer songwriters. Standout Tracks: Symphony In Blue, Wow, In the Warm Room and Hammer Horror.
KATE BUSH-LIONHEART.
GEORGE DUKE-DON’T LET GO.
GEORGE DUKE-DON’T LET GO.
There aren’t may artists who’ve worked with such an eclectic range of artists as George Duke. Among the artists George Duke has worked with are Frank Zappa, Anita Baker Flora Purim, right through to Jean Luc-Ponty, Cannonball Adderley, Billy Cobham and George Clinton. Whether it was jazz, rock, soul, disco, R&B or funk, George was the sideman go-to-guy. Singers, producers and musicians had his phone number and would regularly give George a call. It’s now wonder. After all how many musicians were true multi-instrumentalists like George Duke. Piano, keyboards, trombone, contrabass and synths, George could play them. He was also in demand as a producer. Then there’s George’s solo career.
By 1978, George was thirty-two, and already had recorded thirteen solo albums since his 1966 debut George Duke Presented By The Jazz Workshop. He’d signed to Epic and released his two album in 1977, From Me To You and Reach For It. 1978 saw George begin work on album number fourteen, Don’t Let Go, which was recently rereleased by WEA Japan. Joining George were a tight, funky, all-star band, who helped make Don’t Let Go one of George Duke’s most successful albums.
For Don’t Let Go, George wrote eight of the eleven tracks and cowrote two other tracks. He penned We Give Our Love with Leon Ndugu Chancier, Byron Miller and Charles Johnson. Leon Ndugu Chancier and George cowrote Yeah We Going. Pete Escovedo of Azteca and Sheila Escovedo, who later reinvented herself as Sheila E and worked with Prince cowrote Percussion Interlude. Recording of the eleven tracks would take place at Paramount Recording Studios, Los Angeles.
At Paramount Recording Studios, Los Angeles, George was joined for the recording of Don’t Let Go by some of the hottest musicians in town. The rhythm section alone, contained drummer Leon Ndugu Chancier, bassist Byron Miller and guitarists Charles Johnson and Wah Wah Watson. Carol Shive played violin and Sheila Escovedo congas and percussion. Backing vocals came courtesy of Pattie Brooks and Petsye Powell, while Josie James and Napoleon M. Brock add lead vocals. Once Don’t Let Go was recorded, George was about to enjoy one of his most successful albums.
On the release of Don’t Let Go in 1978, it reached number thirty-nine in the US Billboard 200, number five in the US R&B Charts and number seven in the US Top Jazz Albums Charts. Things got even better when the lead single Dukey Stick Pt. 1 reached number four in the US R&B Charts. Then Movin’ On reached number sixty-eight in the US R&B Charts. Don’t Let Go had proved to be one of George Duke’s most successful albums. You’ll realize why, when I tell you about the music on Don’t Let Go.
Opening George Duke’s fourteenth solo studio album Don’t Let Go, is We Give Our Love. A dramatic crash of thunder gives way to a snake like bass, frenzied percussion, keyboards and guitars. Then urgent harmonies enter, before George unleashes a keyboard solo. At breakneck speed, his keyboards weave their way across the arrangement. Percussion and harmonies reflect the sense of urgency and drama, as jazz, funk and Latin music unite. Later, a searing, sizzling rocky guitar from Wah Wah Watson and pounding bass line join the fun, playing their part in grabbing your attention. George does this dramatically, urgently and with aplomb.
Morning Sun sees a change in style, but no drop in tempo. George delivers a heartfelt vocal. It veers between tender, sassy and powerful, sung call and response style with backing vocalists. Meanwhile, crystalline, wah wah guitars dance along the arrangement while the rhythm section and keyboards drive the arrangement along. Harmonies join George, adding a joyful sound, before a ballsy vocal takes charge. It’s fiery, sassy and confident and adds the finishing touch to this explosive slice of musical sunshine.
Percussion Interlude is a two minute track where percussion and congas courtesy of Sheila Escovedo join chanted vocals. TImbales are added by drummer Leon Ndugu Chancier. The result is a track, with an authentic real Afro-Cuban sound.
It’s almost ironic that Dukey Stick, which George delivers with his tongue placed firmly in cheek, gave him one of his most successful singles. His playful, sassy vocal is delivered against an arrangement which is uber funky. A pounding, funky bass, hissing hi-hats and equally funky guitars, are joined by squelchy synths and sweet, bubblegum harmonies. The interplay between George and the harmonies playful, good natured and littered with innuendo. Although something of a novelty track, hooks and innuendo aplenty are in-store for the listener.
Starting Again sees George get back to his usual style. He delivers a tender, hopeful vocal against an understated backdrop. Just the rhythm section, percussion and melodic keyboards accompany him, as the arrangement builds. The taking their lead from George’s emotive soaring vocal, the arrangement grows. This signals the arrival of impassioned, soulful harmonies. By now, George’s vocal is needy, pleading and filled with hurt, resulting in one of the highlights of Don’t Let Go.
The tempo rises on Yeah We Going, which George and Leon Ndugu Chancier cowrote. Here, funk, jazz-funk, soul and R&B combine. George and backing vocalists soulfully and joyfully scat, as the rhythm section, keyboards and percussion provide a pounding, pulsating and action-packed backdrop. Funk later becomes jazz-funk, with the keyboards taking charge. Never does George miss a beat. Neither does he let the tempo drop. He encourages, even cajoles, his band of multitalented musicians to keep this majestic musical juggernaut en route to its destination.
Josie James takes charge of the lead vocal on The Way I Feel. The tempo drop, with the arrangement unfolding in roles. Her ethereal vocal soars elegantly above the jazzy backdrop provided by rhythm section and keyboards. Then as cascading harmonies enter, you sense things are about to change. They do, a Latin infused arrangement unfolds. Quickly, the tempo increases and the arrangement heads in the direction of jazz funk. Just as quickly, things slow way down, the arrangement meandering along Josie and punchy, then soaring, cascading harmonies combining. From there, this musical roller coaster gathers speed, taking you on a musical journey via jazz, jazz-funk, Latin and R&B.
Movin’ On has a jaunty, uptempo introduction. Just keyboards, rolls of drums and George’s vocal combine. Like other tracks, George delivers a curveball. His vocal becomes fiery, sassy and grizzled. Behind him, just the rhythm section, keyboards and harmonies combine. Soon, he’s unleashing a soaring, powerful with harmonies augmenting his lead. When Josie takes charge of the lead vocal, her vocal is a mixture of power, passion and control. It’s as this spurs the band and backing vocalists on to even greater heights. She takes the song to another level. A good song becoming a very good song, and another of Don’t Let Go’s best tracks.
Napoleon Murphy Brock takes over the lead vocal on the title-track Don’t Let Go. It’s another uptempo track, that unfolds at breakneck speed. Both Napoleon and George’s vocal are delivered rapidly. It’s like a musical duel. The band manage to keep up. They seem to rise to, and enjoy the challenge. George’s jazz-drenched keyboards are at heart of the action. Indeed, this is George Duke at his best. He gives a virtuoso performance, with the rhythm section for company. Later, George and Napoleon continue they’re musical duel, but it’s too close to call and is declared a draw.
Preface is just a ninety-second track that you wish was longer. Just keyboards, rhythm section and harmonies produce a dramatic, melancholy and pensive sounding track. It gives way to The Future, which closes Don’t Let Go. Like the preceding track, it has melancholy sound, that meanders blissfully along. Keyboards, rhythm section and crystalline guitars mix jazz and jazz funk. One last time, George and his all-star band demonstrate their talents, producing a wistful, space-age sounding track. It’s the perfect way to close Don’t Let Go.
So, Don’t Let Go was George Duke’s fourteenth solo album in a twelve year period. Given how prolific an artist George was during this time, not just as a solo artist, but as a sideman, the quality you’d expect from George Duke is there. It’s as if George set high standards, and only his best music was released. On Don’t Let Go, he fused everything from jazz, R&B, soul, funk, Afro-Cuban, Latin and his trademark jazz-funk. Much of Don’t Let Go is innovative and bold. Not for George Duke churning out album after album of similar music. Instead he was a musical pioneer, a leader not a follower. Listening to Don’t Let Go, you realize how brave, bold and innovative George Duke’s music was. He wasn’t afraid to fuse musical genres and influences. Neither was he afraid to take advantage of advances in technology. Indeed, George embraced synths and used them properly, utilizing their potential, while producing music that has aged well. With a cast of multitalented band and guest vocalists, Don’t Let Go proved to be one of George Duke’s most successful album. Now Don’t Let Go was recently rereleased by WEA Japan. My advice to anyone buying Don’t Let Go, is Don’t Let Go of what is one of George Duke’s most innovative, genre-sprawling albums. Standout Tracks: We Give Our Love. The Way I Feel, Preface and The Future.
GEORGE DUKE-DON’T LET GO.
ANN PEEBLES-I CAN’T STAND THE RAIN.
ANN PEEBLES-I CAN’T STAND THE RAIN.
Back in the early seventies, Al Green was King of Hi Records. He was Southern Soul’s superstar. His Queen was Ann Peebles. She released seven albums on Hi Records between 1969 and 1978. Her third album for Hi Records was I Can’t Stand The Rain, which was recently released by Fat Possum Records. I Can’t Stand The Rain was Ann’s most successful album of Ann’s career. The album also contained Ann’s most successful single and one of two tracks that have since become synonymous with Ann. They’re the title-track I Can’t Stand The Rain and I’m Gonna Tear Your Playhouse Down. Since 1973, when I Can’t Stand The Rain was released, mention the name Ann Peebles and most people will mention these tracks. However, there’s much more to Ann’s career that two singles. You’ll realise that when I tell you about Ann’s career and then I Can’t Stand The Rain.
Ann Peebles was born in April 1947 in St Louis, Missouri. Her father was a minister and her mother a singer. So it was inevitable that music would become part of Ann’s life. She started singing at an early age in her father’s church choir. She was also a member of the family group, the Peebles Choir. It had been founded by Ann’s grandfather and since then, was a regular fixture on the gospel circuit. Then when Ann became a teenager, she crossed over.
Like many singers before her, Ann switched from gospel to secular music. She began singing on St. Louis club circuit. Supporting and accompanying Ann was her father. It was on the St. Louis club circuit Ann met blues bandleader Oliver Sain. He was well known within St. Louis. Oliver asked Ann to join his revue. This was the break she’d been looking for.
It was during a trip to Memphis in 1968, when Ann got her big break. Trumpeter and bandleader, Gene “Bowlegs” Miller saw Ann singing in a Memphis nightclub. He was so impressed that he asked Ann to sit in with his band. This was the break Ann Peebles had been looking for.
During his career, Gene had helped many other musicians and artists get started in the music business. This just so happened to include many of the Hi Records rhythm section. Ann became the latest of Gene’s discoveries, and very soon, Ann began writing songs with Don Bryant, who was the Hi Records staff songwriter. They eventually married in 1974. A year later, in 1969, Ann was signed to Hi Records.
1969 was the year Ann had released her debut single and album. Walk Away was her debut single, which reached number twenty-two in the US R&B Charts. Give Me Some Credit then reached number forty-five in the US R&B Charts. The only disappointment for Ann was the commercial failure of Ann’s debut album This Is Ann Peebles. It failed to chart. However, Ann’s sophomore album fared better.
Her sophomore album Part Time Love, was released in 1971. It was a commercial success, reaching number forty in the US R&B Charts. Part Time Love was released as a single, reaching number forty-five in the US Billboard 100 and number seven in the US R&B Charts. Ann Peebles, it seemed, had arrived. She was establishing a reputation as Southern Soul’s next big thing.
For the followup to Part Time Live, producer Willie Mitchell and everyone at Hi Records got to work. They didn’t disappoint. Straight From the Heart, Ann’s third album, released in 1972, reached number forty-two in the US R&B Charts. It featured four hit singles. I Pity the Fool reached number eighteen in the US R&B Charts. Slipped, Tripped and Fell In Love then reached number forty-two in the US R&B Charts. Breaking Up Somebody’s Home reached number thirteen in the US R&B Charts. Finally, Somebody’s On Your Case reached number thirty-two in the US R&B Charts. Part Time Love proved to be Ann’s most successful album. She came of age musically on Part Time Love. However, things were about to get even better.
For what was her fourth album, I Can’t Stand The Rain, Hi Records’ A-Team got to work. Of the ten tracks on I Can’t Stand The Rain,. Ann cowrote seven tracks. Ann, Don Bryan and Bernard “Bernie” Miller penned I Can’t Stand The Rain, Until You Came into My Life, A Love Vibration and You Got to Feed the Fire. Don and Ann also cowrote Do I Need You and One Way Street, plus Run Run Run with Daryl Carter. Earl Randle penned If We Can’t Trust Each Other and I’m Gonna Tear Your Playhouse Down. The other tracks was a cover of Ira Allen and Buddy Mize’s (You Keep Me) Hanging On. These ten tracks became I Can’t Stand The Rain.
Producer Willie Mitchell brought in his A-Team for recording of I Can’t Stand The Rain at Royal Recording Studios, Memphis. The rhythm section included guitarist Teenie Hodge, bassist Leroy Holdge and drummer Howard Grimes. They were joined by Charles Holdges, who played organ and piano, The Memphis Horns and The Memphis Strings. Legendary backing vocalists Donna Rhodes, Charles Chalmers and Sandra Rhodes. As Rhodes, Chalmers, Rhodes, their sprinkling of musical magic was the finishing touch to what would become the most successful album of Ann Peebles’ I Can’t Stand The Rain.
On the release of I Can’t Stand the Rain, in 1973, it provided Ann with her biggest selling album and single. The album reached number twenty-five in the US R&B Charts, while the single reached number thirty-eight in the US Billboard 100 and number six in the R&B Charts. I’m Gonna Tear Your Playhouse Down then reached number thirty-one in the US R&B Charts. Then in 1974, Ann’s cover of (You Keep Me) Hanging On reached number thirty-seven in the US R&B Charts. I Can’t Stand the Rain, which I’ll tell you about, reinforced Ann’s reputation as the Queen of Hi Records.
Opening I Can’t Stand the Rain is the title track. It’s a song that’s been covered by various artists. However, none of the cover versions come close to Ann’s seminal original. It has an atmospheric opening with percussion and drums combining. Then an equally emotive, thoughtful, vocal from Ann enters. She’s accompanied by the rhythm section and blazing Memphis Horns. Together, they produce the perfect backdrop for Ann to sing lyrics laden in sadness, about the loss of her lover. Throughout the track, the Memphis Horns dramatically, interject providing the perfect contrast to Ann thoughtful and soulful vocal. Quite simply, it’s one of Ann’s best ever tracks, and a great track to open the album.
Do I Need You opens with a guitar chiming brightly, before the rhythm section enter. When Ann sings, her voice is loud, clear and full of pride, as she sings, trying to decide whether she needs her lover in her life. Behind her The Memphis Horns and rhythm section combine with guitars and Hammond organ. They produce an arrangement that laden in drama and atmosphere. When the horns and drums punctuate the track they provide the drama, a total contrast to Ann’s thoughtful, pensive and understated vocal. The Hammond organ is atmospheric, while the rasping horns and crystalline guitar are play important roles in the arrangement. However, it’s Ann’s vocal that takes centre-stage. Quite simply, it’s the highlight of the track. At times it’s calm and thoughtful, sometimes a mixture of power and passion. Always, it’s questioning whether she needs him in her life.
Ann’s vocal on Until You Came Into My Life, is much softer and tender. Likewise, the arrangement has a much more subdued feel and sound, with backing vocalists accompanying Ann. Strings, rhythm section and Hammond organ to produce a lovely understated and almost lush arrangement. Ann gives one of her best vocals on the album, as she give thanks for the love of her life. The addition of Rhodes, Chalmers and Rhodes on backing vocals, really helps, with their voices the perfect accompaniment to Ann’s tender vocal. Later, the horns enter, briefly punctuating the arrangement. They’re the finishing touch to one of the most beautiful and best tracks on I Can’t Stand The Rain,
A guitar slowly plays as (You Keep Me) Hanging On unfolds. Then Ann sings, accompanied by the rhythm and string sections. Her vocal although restrained, quiet and tender is full of drama and passion. Rhodes, Chalmers, Rhodes accompany her, their voices similarly tender as they unite. An organ plays subtly, as the strings sweep lushly, and drums sit at the front of the mix, providing the track’s heartbeat. The arrangement like Ann’s vocal, is restrained and subtle. It’s a reminder that Ann’s equally at home delivering a tender and thoughtful vocal.
Blazing horns open Run Run Run. It’s the polar opposite of the previous track. Here, Ann’s vocal is much louder and stronger, full of emotion and passion. Similarly, the arrangement is much fuller, with the rhythm and horn section combining to produce an arrangement that has Southern Soul written all over it. Horns interject throughout the track, and the drums are loud, sitting at the heart of the mix. In the background, an organ and percussion play, while guitars chime. Matching the fullness and volume of the arrangement isn’t a problem for Ann. Accompanied by some of Memphis’ top musicians, Ann unleashes a vocal powerhouse, demonstrating her versatility.
If We Can’t Trust Each Other sees the tempo increase, as the rhythm, strings and horn section combine. Stabs of braying horns announce Ann’s arrival. It’s a vocal that deserves heralded in. Her vocal is full of emotion, passion and pain as she delivers lyrics about mistrust within a relationship. Willie Mitchell’s arrangement is perfect for the song. Horns pepper the arrangement in short and bright bursts, as if in tune with Ann’s passion and pain. Meanwhile, the strings sweep and swirl as the rhythm section contribute even more drama to the arrangement. Combined with Ann’s emotion laden vocal, the result is an evocative and dramatic track.
The rhythm and string section combine with a Hammond organ, producing an introduction that’s both atmospheric and dramatic. Soon, A Love Vibration unfolds. When Ann’s vocal enters, it matches the arrangement. It’s a mixture of sadness and regret, as she sings about missing the opportunity for love and happiness. Here, the organ and later the horns, are responsible for helping to create such an emotional, dramatic and heartbreaking backdrop for Ann’s vocal. Sensing that this is one of the best arrangements on the album, Ann rises to the occasion, producing a fantastic performance, one that’s drenched in emotion, regret and sadness. Quite simply, it’s one of I Can’t Stand The Rain’s highlights.
You Got To Feed the Fire is another song about love lost. When Ann sings, her voice is loud and tinged with sadness and regret. The reason for this is her memories of the past. Behind her, the arrangement says “Made In Memphis,” and is a stunning slice of emotive Southern Soul. Horns interject, brightly and theatrically, drums provide drama and a Hammond organ provides atmosphere, while lush strings sweep in and out. Adding the finishing touch are Rhodes, Chalmers, Rhodes. They sing emotionally, but sweetly, complimenting Ann’s vocal perfectly. Together, they demonstrate what Southern Soul is about.
Another of Ann’s best known singles was I’m Gonna Tear Your Playhouse Down. It’s been covered by many artists. However, Ann’s is the definitive version. Strings and a Hammond organ combine before Ann sings accompanied by horns. Her vocal starts off gentle and thoughtful. Later it’s a combination of emotion, power and passion. Horns punctuate the track, lush strings sweep and the rhythm section provide the heartbeat. At the heart of the track, is Ann’s vocal Magnus Opus. It’s feisty and angry as she forecasts the downfall of an unfaithful playboy. Like, I Can’t Stand the Rain, this was one of Ann’s finest songs, and easily, one of the album’s highlights.
Closing I Can’t Stand the Rain is One Way Street. Strings and the rhythm section combining with piano and percussion, before Ann sings. Her vocal is gospel-tinged. Rhodes, Chalmers, Rhodes add gospel drenched backing vocals. They sing call and response, as a piano, strings and rhythm section combine beautifully. Although very different from the other songs on the album, given its gospel roots, this is an incredibly moving and beautiful song.
Between 1969 and 1978, Ann Peebles recorded seven albums and nearly twenty singles for Hi Records. Her third album for Hi Records was I Can’t Stand The Rain. It’s the best of these seven albums. From the opening bars of I Can’t Stand The Rain, right through to he closing notes of One Way street, Ann Peebles is at her very best. She brings each of the songs to life, delivering lyrics like she’d lived, loved and survived them. Seven of these songs, Ann cowrote. So she knew how to bring these songs to life. That’s one of the reasons I Can’t Stand The Rain is a Ann’s finest album.
Among the other reasons are the personnel who worked on I Can’t Stand The Rain. This included some hugely talented songwriters, musicians and backing vocalists. in the history of Southern Soul. Those who played on I Can’t Stand The Rain reads like a who’s who of Southern Soul. There’s The Hi Rhythm Section, The Memphis Horns, The Memphis Strings and backing vocalists Rhodes, Chalmers, Rhodes. Along with producer Willie Mitchell, they played their part in some of the greatest Southern Soul ever recorded. They accompanied the Queen of Hi Records on the seven albums she recorded for Hi Records.
The seven albums Ann Peebles recorded with Willie Mitchell for Hi Records contain some wonderful music. Several of these albums are hugely underrated. Sadly, many people aren’t aware of it. They’re only aware of I Can’t Stand The Rain and I’m Gonna Tear Your Playhouse Down. However, there’s much more to Ann Peebles career than two singles. Indeed, there’s more to her fourth album I Can’t Stand The Rain than two singles.
That’s why I’d suggest for anyone interested in Southern Soul, Ann Peebles’ back-catalogue is a veritable treasure trove awaiting discovery. For newcomers, the best place to start is Ann’s finest album I Can’t Stand The Rain, which was recently rereleased by Fat Possum Records. I Can’t Stand The Rain is the perfect introduction not just to Ann Peebles’ back-catalogue, but that of one of Southern Soul’s most important labels Hi Records. Standout Tracks: I Can’t Stand the Rain, A Love Vibration, I’m Gonna Tear Your Playhouse Down and One Way Street.
ANN PEEBLES-I CAN’T STAND THE RAIN.
KROKOFANT-KROKOFANT.
KROKOFANT-KROKOFANT.
What do you get if you cross a crocodile with an elephant? A Krokofant. For those not familiar with this surreal hybrid, then you’ve never heard the popular Norwegian children’s song. The Krokofant has been described as “a lumbering trumpeting beast with a fearsome array of teeth in its snapping jaws.” However, Krokofant is also the name of Norwegian jazz’s most exciting and pioneering groups. Their debut album Krokofant will be released on Rune Grammofon on 10th March 2014. Before I tell you about Krokofant, I’ll tell you about the story behind one of Norway hottest musical prospects.
Originally, Krofofant were just a duo, consisting of guitarist Tom Hasslan and drummer Axel Skalstad. Then in 2012, Tom and Alex met saxophonist Jørgen Mathisen, in a guitar shop in Kongsberg, a town in Southern Norway which is famous for its annual jazz festival. Straight away, Tom, Alex and Jørgen hit it off. Straight away, Tom, Alex and Jørgen hit it off.
When Tom, Alex and Jørgen began playing together, it quickly became apparent that Jorgen was the missing piece in the musical jigsaw. No wonder. Jorgen was already an experienced musician. He’d already played in groups like Shagma, The Core and Zanussi Five. Soon, the new lineup of Krokofant became part of an innovative musical movement that’s sweeping the Nordic region.
So much so, that Krokofant epitomise this new innovative and exciting musical movement. Part of Krokofant’s music is improvisational. They fuse improvisation with rock beats and driving rhythms. Essentially, it’s a marriage of free jazz, jazz rock and prog rock. That’s how anyone whose been lucky enough to hear Krokofant live will describe their music,
If you can imagine music that marries the Joycean prog rock of odysseys of King Crimson and Henry Cow with the free jazz of Peter Brötzmann’s ensembles and the jazz rock of early seventies pioneers like Mahavishnu Orchestra, Terje Rypdal, Ray Russell. This describes Krokofant live. A fusion of raw but refined power, discipline, energy and enthusiasm. Seamlessly, free jazz, jazz rock and prog rock becomes one. Having honed their sound by playing live, the next step for Krokofant was to record their debut album, which became Krokofant.
For the recording of Krokofant, the band headed to Engfelt and Forsgren Studio in Oslo. Alex and Tom decided that now was the time to ask Jørgen to join the band. They did, and he agreed to become a full member of Krokofant. This was the final piece in the jigsaw. As for Engfelt and Forsgren Studio, this was the perfect place to record Krokofant. It was an analogue studio. The vintage equipment would be perfect to capture Krokofant’s old school sound. After all, many of Krokofant’s influences, including free jazz, jazz rock and prog rock were recorded in similar studios. That proved to be the case. When Krokofant recorded the six songs that the band cowrote, band came to life. Looking back, Krokofant realise that’s when Krokofant came of age. That’s apparent on Krokofant, which I’ll tell you about.
Opening Krokofant is Polyfant, which meanders into being. It has a futuristic, sci-fi sound. That’s until Krokofant kick loose. A driving, thunderous rhythm section joins stabs of blazing, grizzled horns. Then sneering guitars are unleashed. They’re fired across the arrangement. The guitar and saxophone go toe to toe. It’s a case of instruments being pushed to their limits. Especially, the saxophone. Sometimes, it’s as if the saxophone has nowhere to go. However, Jørgen digs deep, spraying and unleashing more searing free jazz licks. They’re the perfect accompaniment to the driving, strutting, rocky rhythm section, as free jazz and classic rock prove a potent partnership that showcases Krokofant at their inventive best.
Supermann is aptly name, given Alex’s guitar playing. His playing is quick, fluid and precise. At breakneck speed, his fingers flit up and down the fretboard. This takes real concentration and discipline, as he unleashes some glorious riffs. Tom feeds off him. He plays with power and precision. He’s round the kit, matching Alex for speed and precision. Sometimes, he reminds me of Led Zeppelin’s John Bonham. Then when Jørgen steps up, he too kicks loose. A scatted, scratchy, punchy, rasping saxophone flits above the thunderous rhythm section. By then, Krokofant become one. They’re a power trio par excellent. With a seventies influenced sound Krokafant are a musical powerhouse. Every one of them is a Supermann.
Scorching describes the introduction to Bodega. From the get-go, Alex and Tom seem determined to carry the baton for real rock music. Blistering, driving, machine gun guitars are sprayed by Alex. Meanwhile, Tom gives a masterclass in drumming, playing with, power, passion and precision. It’s a rhythmic tour de force. He seems to be paying tribute to the legendary drummers of the seventies. This he does with aplomb. Then there Jørgen. He won’t be outdone. Like a gunslinger, he stands up and lets loose, his saxophone growling and braying. Not to be outdone, Krokofant’s rhythm section play with real ferocity and fluidity. The result is a near nine-minute epic where rock, free and jazz and even funk play their part in this Magnus Opus.
Dark and dramatic describes Thispair. Krokofant play slowly and deliberately. Searing, scorching guitars and grizzled saxophones compete for your attention. Drums provide the heartbeat to this dramatic prog rock opus. Literally, the track oozes drama and atmosphere. This is helped by the slower tempo. As the guitar and saxophone lumber along, the track takes on a cinematic sound. Pictures unfold before your eyes. Scenarios and scenes flit in and out of your mind’s eye. By the end of the track, you realise Thespian would be the perfect soundtrack to a 21st century gothic horror film.
Ejs is three minutes of mesmeric music. Krokofant are back to a duo. That doesn’t hamper them. What follows is a blistering track that showcases Alex’s guitar playing. There aren’t many guitarists that can play with the speed and precision he can. The guitar comes to life in his hands. His hands are up and down the fretboard at breakneck speed. Despite this, he plays freely and fluidly. Rock and jazz unite. Mostly, his reference point is rock. However, there’s a jazz rock influence too. Matching Alex every step of the way is Tom’s drums. It becomes like a musical duel, two master musicians going head to head. In the end, Alex’s guitar playing wins the day and plays a crucial part in one of the best instrumental rock tracks I’ve heard in many a year.
Castaway, a thirteen minute epic closes Krokofant. There’s a change in direction, with a jazz-tinged, ballad unfolding. The tempo drops and the arrangement is understated and spacious. That’s until Jørgen’s sultry saxophone makes its entrance. It takes centre-stage and plays crucial role in the track. Behind Jørgen, Tom plays his drums with subtlety while Alex’s guitar is mellow and jazzy. It’s the saxophone that’s furthest forward in the mix. That’s until Krokofant through a curveball. The track takes on an experimental, minimalist sound, as it meanders along. Pensive, mysterious, futuristic, otherworldly and hypnotic describes this track. Later, so does beautiful, ethereal, innovative and ambitious. Especially when Jørgen’s grizzled saxophone takes the track in the direction of free jazz. His playing is akin to a cathartic baring of the soul. The rest of Krokofant play their part in this sprawling musical odyssey, as they showcase their talent and versatility, whilst closing Krokofant on a high.
As debut albums go, Krokofant is one of the best I’ve heard in a long time. There’s several reasons for this. The first is that Krokofant are determined to innovate musically. This is a potent and heady brew. Krokofant combine everything from avant-garde, classic rock, experimental, free jazz, funk, jazz rock and prog rock. Much of Krookofant is essentially, a combination of a rock-influenced rhythm section and Jorgen’s free jazz saxophone. However, there’s also detours via avant-garde and experimental music on Castaway, funk on Brogeda and gothic prog rock on Thispair. When all was combined by Krokofant the result was a glorious fusion of musical genres and influences.
Interestingly, many of these musical genres were at the peak of their popularity during the seventies. Listening to Krokofant, it’s an album that’s definitely been influenced by the music of the seventies. One of the most obvious influences was the classic rock of the seventies. Krokofant sound as if they’d been influenced by groups like Led Zeppelin. Especially when you listen to Tom’s guitar playing and Alex’s drumming.
They’re two hugely talented musicians. The best way to describe them are virtuosoes. They could hold their own with some of the best musicians of the past. This takes years and years of practise and dedication. Not many people are as dedicated as that. However, the three members of Krokofant are. Classic rock wasn’t the only influence on Krokofant.
Among the other influences are prog rock. Think of glorious, sprawling Joycean odysseys of King Crimson, Soft Machine, Camel and Henry Cow. What about Peter Brötzmann’s free jazz ensembles? Then there’s the jazz rock of early seventies pioneers like Mahavishnu Orchestra, Terje Rypdal, Ray Russell. All these artists and more influenced Krokofant’s debut album Krokofant which will be released on Rune Grammofon on 10th March 2014. This marks the debut of one of the most exciting groups not just in Norway, but Europe, Krokofant who you’re sure to hear much more of.
No wonder. Krokofant create music that’s not just bold and brave, but inventive, innovative and influential. That’s why Krokofant are leaders of this new and innovative musical movement that’s sweeping the Nordic region. Word is spreading about this trio of musical pioneers. There’s a reason for this. Their music. Krokofant are determined to push musical boundaries. They’re constantly seeking to reinvent themselves and their music. That’s why Krokofant’s music can be described as variously dramatic, challenging, futuristic, moody, cinematic, understated and pensive. Every song is different and full of subtleties and nuances.
Seamlessly, Krokofant change direction, and your hear another side to their music. They play with raw but refined power, discipline, energy and enthusiasm. Then musical influences and genres melt into one thanks to one of the most talented and groundbreaking Norwegian bands, Krokofant. They come of age on Krokofant, which showcases one of the most exciting, innovative and talented groups I’ve heard in a long time.
KROKOFANT-KROKOFANT.
GATO BARBIERI-THE THIRD WORLD.
GATO BARBIERI-THE THIRD WORLD.
It was through working with Charlie Haden’s on his album Liberation Music Orchestra that Gato Barbieri first met Bob Thiele. Gato played tenor saxophone and clarinet, while Bob produced Liberation Music Orchestra. This would be one of the final albums Bob Thiele produced for Impulse. He was about to leave Impulse, the victim of the musical equivalent of a musical coup d’tat. So he was looking for innovative artists to sign to his new label, Flying Dutchman Productions. This would be no ordinary label though.
Through working with some of the most innovative and creative musicians in the history of jazz, Bob must have realised that often, large record companies aren’t the best environment for innovative and creative musicians. Often, these musical mavericks didn’t thrive within such an orthodox environment. Their creativity is restricted, meaning they’re unable to experiment and innovate like they’d like. This was the environment a musical maverick like Gato Barbieri needed. Gato Barbieri and Flying Dutchman were a match made in musical heaven.
Having watched Gato play on Liberation Music Orchestra, Bob Thiele realised here was a hugely talented artist with a big future ahead of him. Bob was familiar with Gato’s debut album In Search Of The Mystery. It had been released on ESP, who were supportive of free jazz. So would Bob’s new label Flying Dutchman. It would become synonymous with not just free jazz, but pioneering music. That was all to come. Back in 1969, Bob was starting signing artists. One thing Flying Dutchman didn’t have was a star saxophonist. This was where Gato Barbieri came in.
Bob Thiele signed Gato Barbieri to Flying Dutchman label. His Flying Dutchman debut would be The Third World, which was recently rereleased by BGP, an imprint of Ace Records. The Third World would be the first of five albums Gato Barbieri recorded for Flying Dutchman. From 1970sThe Third World, through 1971s Fenix, 1972s El Pampero and 1973s Bolivia and Under Fire, Gato was on a roll. He released some of the most ambitious and pioneering jazz music of the early seventies. The album that started this of was The Third World. Before I tell you about The Third World, I’ll tell you about Gato’s life and career.
Born in Rosaria, in the Santa Fe province of Argentina, Gato Barbieri was born into a family of musicians. With both parents talented musicians, fate dictated that Gato would follow in their footsteps. Like many other jazz musicians, Gato learnt the clarinet. He spent five years mastering the clarinet, alto saxophone and learning to write music. Ironically, the clarinet was just a gateway to the more glamorous saxophone. Especially when played by Bird.
Hearing Charlie Parker blow his saxophone was like a eureka moment. Now life and music made sense. Gato was a late starter when he switched from clarinet to tenor saxophone. He was already twenty. Other musicians were already playing professionally. No matter. These other musicians weren’t as determined as Gato.
For the next few years, determinedly, Gato set about mastering the tenor saxophone. It was all about honing his own unique sound. The one advantage Gato had, was he could already play the alto saxophone and could read and write music. His determination paid off. Soon, Gato was a member of legendary Argentinian pianist Lalo Schifrin’s band. That proved to be a stepping stone for Gato.
Soon, Gato headed for America. It was not just the land of the free, but the home of jazz. The time Gato spent here allowed him to be fluently play what he referred to as American jazz. What he meant by that, was it was what American musicians perceived as jazz. Jazz in South America or Europe was different. The jazz he played in America was “American” jazz. There was acknowledgment of South American, African or European influences. Having tasted American jazz, Gato headed to Europe.
After traveling around Europe, Gato landed in Rome. He decided that would his home for some time. During his stay in Rome, he came across a number of jazz musicians. Many of them had left America and called Europe home. This included a number of pioneers of free jazz. Among them, was Don Cherry, who was a member of the legendary Ornette Coleman’s band. Soon, Gato was a member of Don Cherry’s band and played on the sessions for his 1966 albums Symphony For Improvisers and Complete Communion, which are perceived as two of the most important free jazz albums. This was the start of Gato’s career as a musician.
The following year, Gato released his first album as bandleader. In Search Of Mystery, which was released in 1967, was the first album from The Gato Barbieri Quartet. Gato also recorded Obsession in 1967, which wasn’t released until later. Until then, Gato was busy working as a sideman and bandleader.
During 1968, Gato was a member of The Jazz Composers Orchestra. He played on their eponymous 1968 album. Innovative and groundbreaking, it took free jazz to another level. So did The Gary Burton Quartet’s 1968 album A Genuine Tong Funeral. The other album Gato played on during 1968, was Hamba Khale with Dollar Brand. As a jazz duo, they proved the perfect foil for each other. Working with different, progressive and talented artists helped improve and hone Gato’s playing.
Through 1969, Gato continued playing on other artists albums. He played on Alan Shorter’s album free jazz album Orgasm. Gato was one of the most talented musicians of his generation. His talents were always in demand. One man who gave him a call was Charlie Haden. He asked Gato to play on his album his album Liberation Music Orchestra. It just so happened to be produced by Bob Theile, who was about to leave impulse, where he’d been responsible for some of the most important and groundbreaking music of the sixties.
Bob Thiele was no stranger to Gato’s music. Working with Gato on Liberation Music Orchestra only reinforced what he knew. Gato Barbieri was a talented and innovative musician, one who was capable of pushing musical boundaries to their limits. This was apparent on Gato’s debut album In Search Of The Mystery. With Bob looking for artists for his new label Flying Dutchman, Gato fitted the bill. After all, Bon needed a superstar saxophonist. He found him in Gato Barbieri, who he signed to Flying Dutchman. Now work could begin on Gato’s debut album The Third World.
For his Flying Dutchman debut, Gato got to work. The result was The Third World, which features four tracks. Two of these tracks are entitled Medley. Opening The Third World is Medley, which features Introduction, Cancion Del Llamero and Tango. Introduction is written by Gato, Anastasia Quiroga wrote Cancion Del Llamero and Astor Plazzola wrote Tango. Next up is the Sergio Ricardo composition Zelao and then Gato’s second contribution Antonio Das Mortes. Closing The Third World is another Medley of Heitor Villa Lobos’ Bachianas Brasileiras and Dollar Brand’s Haleo and the Wild Rose. These tracks became The Third World.
Recording of The Third World took place on 24th and 25th November 1969. The band included a rhythm section of drummer Beaver Harris and bassist Charlie Haden. Percussion came courtesy of Richard Landrum, while Lonnie Liston Smith played piano and Roswell Rudd played trombone. Gato unleashed his fiery tenor saxophone,flute and added vocals. Producing this all star band on The Third World was Bob Thiele.
On the release of The Third World in 1970 it was critically acclaimed. Bob Thiele had found his saxophone superstar. Word was out and spreading about Gato’s inventive, potent and fiery playing. This was the beginning of the most productive and innovative periods in Gato’s career. The album that started this of was The Third World, which I’ll tell you about.
Opening The Third World is the three part Medley. An eleven minute epic, it features Introduction, Cancion Del Llamero and Tango. Stabs of probing piano join a reverberating, thoughtful bass on Introduction. Above a light, airy flute cascades. Then as Cancion Del Llamero unfolds, it gives way to a heartachingly beautiful vocal. It’s as if Gato’s laying bare his soul. Just a bass accompanies Gato. Despite this understated combination, it proves hugely effective. From there the piano, bass and growling horns unite. The ethereal beauty of the horn is central to Tango’s beauty and success. You can’t help but submit to its charms. As it unfolds in waves, as Gato’s playing becomes fiery, intense and emotive. What follows is an innovative free jazz tour de force. Impassioned, emotive, soul searching and beautiful are just a few ways to describe Gato’s performance.
Drums roll. They’ve an urgency. Zelao which Gato penned, is about to reveal its secrets. Hi-hats hiss before clunky percussion joins. They march towards you, before urgent stabs of piano usher in the saxophone. It’s as if everything has been building up to Gato’s grand entrance. His playing veers between mellow and thoughtful, before playing with power and passion. He toys with you, before unleashing another blistering performance. In Gato’s hands, the tenor saxophone comes alive, as he pushes the instrument to its limits and beyond. His playing is innovative, inventive and impassioned.
Just the rhythm section play a samba beat as Antonio Das Mortes unfolds. Atop the arrangement Gato unleashes a scorching saxophone. Again, he plays as if his very life depends upon it. Sometimes, though, Gato holds back. He plays with control and care. The result is beautiful and emotive. Then he kicks loose, determined to push musical boundaries to their limit and beyond. The rest of his band compliment Gato with their rhythmic delights. They play around Gato, while he takes centre-stage. Gato pushes himself to the very edge. Despite that, he never once looses control. Then towards the end, it’s all change. It’s as if a calm has descended. Granted Gato briefly Gato kicks loose. That’s akin to a burst of emotion. Mostly, however, we hear a much mellower side to Gato Barbieri, a true free jazz virtuoso.
Closing The Third World is Medley, a two part piece consisting of Bachianas Brasileiras and Haleo and the Wild Rose. Another eleven minute epic, it bookends the album perfectly. The two parts are very different. That’s apparent straight away on Bachianas Brasileiras. Flourishes of piano accompany the sultriest of saxophones. It’s one of his best performances. Seductive and heartachingly beautiful, it heads towards a dramatic climax. From there Gato weaves into Haleo and the Wild Rose. Poignant and posing questions the music is melodic and mysterious. Then for one last time, Gato unleashes another blistering performance. That’s still to come. Before that, Gato accompanied by cascading flourishes of piano, plays with finesse and subtlety. You sense what’s about to unfold and are neither surprised nor disappointed. Sheets of blazing saxophone are unleashed. Gato plays with ferocity, passion and control, before Gato clam descends and a mellow, understated arrangement reveals itself. This proves the perfect was to close The Third World.
The Third World was Gato Barbieri’s debut album for Flying Dutchman. His debut album, In Search Of Mystery, had been released on ESP, a label who were supportive of free jazz. So were Flying Dutchman. They had an advantage. Founder Bob Theile was determined to provide 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. The environment Bob Thiele was creating was what a musical maverick like Gato Barbieri needed.
With the perfect environment for creating groundbreaking music, Gato Barbieri released The Third World, which was recently rereleased by BGP, an imprint of Ace Records. Suddenly, Gato had arrived. He made the step from sideman to bandleader with ease. He did what a good bandleader does, and inspire those around him. He drove them on to greater heights. Gato was an inspirational leader, one who could command the respect of his band members. These weren’t just any musicians. No. They were some of the best jazz musicians.
This included a rhythm section of drummer Beaver Harris, bassist Charlie Haden and pianist Lonnie Liston Smith. Percussion came courtesy of Richard Landrum. They were responsible for The Third World’s glorious rhythmic delights. Throughout The Third World, Gato inspired his all-star band. After all, he was an inventive, innovative and influential musician.That describes Gato Barbieri perfectly.
Throughout The Third World, Gato combined the energy of free jazz and his Latin heritage. This may have been an unlikely pairing, but one that worked. The Third World was critically acclaimed. Critics hailed Gato as one of the most ambitious and inventive musicians. Others described his as a creative maverick. No wonder.
Throughout his time at Flying Dutchman, Gato Barbieri rewrote the rulebook. His playing style was unique, fierce, blazing and dramatic. Gone is the image of the stereotypical saxophonist. Gato Barbieri is more like a gunslinger than traditional jazz saxophonist. Playing with his inimitable style, this rebellious musical maverick got results. Proof of this is The Third World, where maverick jazzman Gato Barbieri comes alive. Gato plays as if his very life depended upon it. Playing with power, passion and emotion, The Third World is a rhythmic free jazz epic that launched the most successful, productive and innovative period in the career of a true jazz maverick, Gato Barbieri.
GATO BARBIERI-THE THIRD WORLD.
BLY DE BLYANT-HINDSIGHT BIAS.
BLY DE BLYANT-HINDSIGHT BIAS.
Bly De Blyant are the equivalent of international musical superheroes. They dare to create innovative, groundbreaking and genre-melting music. To do this, they combine musical genres and influences. This includes everything from classic rock, jazz, Krautrock and math rock. It’s an inventive and innovative combination. No wonder. This is what we’d expect from true musical mavericks like Bly De Blyant.
Since they were formed by Norwegian drummer Øyvind Skarbø, Bly De Blyant have been creating music that pushes musical boundaries to their limits and beyond. That was the case on Bly De Blyant’sdebut album ABC. It was released in February 2013, on Hubro Music. ABC was released to critical acclaim. Now people were taking notice of Bly De Blyant. Suddenly, their music was finding the wider audience it deserved. Word was out. Bly De Blyant were a band to watch. Many people in Bergen, who’d heard Bly De Blyant live knew this.
The release of ABC only reinforced this. It was obvious that Bly De Blyant had a big future ahead of them. However, many bands had been in the same situation, but struggled what’s often the most difficult album of a band’s career, their sophomore album. Will that be the case with Bly De Blyant whose sophomore album, Hindsight Bias, will be released on Hubro Music on 3rd March 2014? That’s what I’ll tell you. Before that, I’ll tell you about Bly De Blyant.
It was drummer Øyvind Skarbø, whose from Bergen, Norway, that founded Bly De Blyant. Previously, Øyvind has been a member of 1982, BMX and Stian Around A Hill. He’s also worked with Norwegian jazz saxophonist Håkon Kornstad. An experienced and talented musicians, the time was right for Øyvind to form his own band. So he started looking for like-minded musicians.
Luckily, Øyvind had worked with Brooklyn-based multi-instrumentalist Shahzad Ismaily and Icelandic guitarist Hilmar Jensson. Øyvinhad before. However, the three musicians hadn’t ever played together. This would be a first for Øyvind, Shahzad and Himar.
Shahzad was also an experienced musician. He’d released two albums with Carla Kihlstedt and worked with a wide range of artists. Among them were John Zorn, Will Oldham and Marc Ribot. The final member of Bly De Blyant was Hilmar Jensson.
Since the mid-nineties, Hilmar had enjoyed a successful solo career. He released his debut album Dofinn in 1995. After that, he released Kerfill in 1999, Tyft in 2002 and Ditty Blei. Then there were collaborations with Skúli Sverrisson and Outhouse. Hilmar also worked with Tyft, Jim Black, Trevor Dunn. It seemed that Øyvind Skarbø had found the final member of his new group, Bly De Blyant.
Soon, Bly De Blyant established a reputation as a inspirational, innovative and imaginative band. They had firm ideas about how to make music. They improvised. It seemed Can, with their spontaneous improvisation, had inspired Bly De Blyant. Along with Krautrock, classic rock, jazz and math rock would go on to inspire Bly De Blyant. Having found their sound, they began honing it.
Once Bly De Blyant began playing live, they were gaining a reputation as one of the hottest new groups. With their unique, genre-melting style, Bly De Blyant were winning friends and influencing people. Word was spreading about this innovative band of international musicians. Before long, Bly De Blyant decided the time was right to record their debut album, ABC.
ABC was recorded at Grieghallen Studio, in Skarbø’s home city of Bergen. They were helped by technician Davide Bertolini. Inspired by the old-fashioned method of recording music, Bly De Blyant were all in the same room. They’d didn’t even use headphones. No. Instead, they played as if they were playing live. It’s risky though. Sometimes, instruments “bleed” into other microphones, which makes overdubbing difficult. So, only technically proficient groups record like this. Bly De Blyant were capable of recording takes like this. They could record takes that were keepers.
These recording sessions saw Bly De Blyant use vintage equipment. The studio was full of newly restored vintage equipment. Skarbø’s drums had calfskin heads. Engineer Davide Bertolini miked the drums the old school way. He only used two microphones. Shahzad played a newly restored Hammond organ, an ancient Moog synth, and a Fender Precision bass from the early seventies that he’d borrowed from Davide. Hilmar had an innovative rig. His guitar was controlled by an array of pedals. For a group like Bly De Blyant, this vintage equipment was sure to encourage and inspire them. It did.
ABC was released in February 2013. Critically acclaimed, people were taking notice of Bly De Blyant. Suddenly, their music was finding the wider audience it deserved. Word was out. Bly De Blyant were a band to watch. So when they embarked on a tours of Europe, Canada and USA later in 2013, the word was spreading about this band of innovative, international musicians…Bly De Blyan. On their return from their tour of Canada and USA in September 2013, work began on their sophomore album Hindsight Bias.
Often, sophomore albums are described as the most difficult of a band’s career. They’re caught between two stools. If they record an album similar to their debut album, the band’s criticised as having released a derivative album. However, if they change direction musically, they risk alienating their fan-base. So, it’s about striking a balance between moving forward musically and not alienating old fans. Will Bly De Blyant be able to do this on Hindsight Bias?
When it came to recording Hindsight Bias, the three members of Bly De Blyant had written eight new tracks. So, they returned to Grieghallen Studio, in Bergen. Again, they were helped by technician Davide Bertolini. Just like ABC, they were inspired by the old-fashioned method of recording music. The three members of Bly De Blyant were all in the same room when recording began. They’d didn’t even use headphones. Øyvind Skarbø played drums and percussion. Shahzad Ismaily plays bass, banjo, Moog, organ and drum machine. Hilmar Jensson played guitar, bass and piano. The three members of Bly De Blyant added vocals. Joining them on Bunker Hill was tenor saxophonist Kjetil Moster. Producing Hindsight Bias, which I’ll tell you about, was founder Øyvind Skarbø.
Jiddu opens Hindsight Bias, and is described as Bly De Blyant “attempt to create a tune from what could’ve been an outtake from Joni Mitchell’s Hjeira.” Here, guitarist Hilmar Jensson to take centre-stage. His shimmering, glistening guitar solo is at the heart of the arrangement. Everything else plays a secondary part to his melodic opus. The rhythm section provide the heartbeat, as the arrangement variously glides and meanders along. This is possible because of the layers of music that unfold. As the arrangement reaches a crescendo, it becomes melodic, dramatic and urgent, making this the perfect start to Hindsight Bias.
Westkreuz which is a district of Berlin, sounds as if Jimi Hendrix has been reincarnated and made a fleeting visit to Grieghallen Studio, in Bergen. As Hilmar wields his guitar, washes of Hammond organ accompany the rhythm section. Together they create a classic rock influenced song. Later, a dramatic burst of vocal interjects before the tension grows. The track takes on a cinematic sound thanks to Hilmar’s guitar playing. Later, the track changes and becomes an adaption of Tjukkesokka. This works really well and is in keeping with the classic rock vibe. Add to that Krautrock and it’s a captivating combination.
When Laura recorded, it was onto cassette. Then it was recorded twice on Pro Tools to give the track an authentic cassette sound. It was well worth the effort and innovation. Especially, with Bly De Blyant changing tack and geting funky. They combine a funky, buzzing bass, hypnotic drums and chiming guitar. To that they add a banjo.This is a masterstroke. After all, when did a banjo last feature on a funk track? It works though. So do the gliding, glacial keyboards as Bly De Blyant lock into a mesmeric groove.
As Hindsight Bias begins hesitantly, a harmonium plays in the distance. Gradually, this moody, eerie and cinematic track shares its secrets. Scratchy strings, sound effects, drums and later, crystalline guitars flit in and out. Then it’s time. Hindsight Bias shares its secrets. They gradually reveal their subtleties and nuances. Tender, wistful and melancholy describes the track. So does, ethereal, mysterious and cinematic on this glorious and innovative track.
Michael Jackson Pollock is a homage that showcases Bly De Blyant’s ability to innovative. When they laid down the melody, Bly De Blyant didn’t check the time signature. Next they added a hip hop beat. This was new. The combination of blistering guitars and driving rhythm section proves a potent partnership. Crystalline, chiming guitars, broody bass and dramatic drums kick loose. They pay a fitting and inventive homage to two innovators, Michael Jackson and Jackson Pollock. Bly De Blyant give thanks to the abstract genius that was Jackson Pollock and the melodic, dance-floor friendly music of Michael Jackson.
DEFGHIJKL sees Bly De Blyant. The backdrop to the arrangement comes courtesy of a vintage drum machine. It provides a Krautrock beat. Atop it, Bly De Blyant kick loose. It’s truly innovative piece. Sometimes, it’s like standing in a station as life passes you by. Bly De Blyant are like trains bursting into life. They combine avant-garde, electronica, experimental, free jazz and prog rock. What follows is a groundbreaking musical journey, where Bly De Blyant push musical boundaries to their breaking points.
Bunker Hill sees five drums tracks combined before a buzzy bass and washes of bubbling synths combine. Then tenor saxophonist Kjetil Moster unleashes a punchy, rasping and then blistering saxophonist. This is the perfect foil as the drums gallop and gamble along. Together with the rest of Bly De Blyant a glorious, groundbreaking and genre-melting track unfolds. Futuristic and experimental, this is the future of music, where musical norms are challenged.
The Eighteen Irascibles, which closes Hindsight Bias, is another improvised track. It’s what Bly De Blyant are striving to create. There’s a noticeable country influence. That comes courtesy of Ry Cooder influenced guitars and a banjo. They’re joined by pensive, probing drums and later, sci-fi synths. Then after the track almost grinds to a halt, an evocative, atmospheric banjo solo helps the arrangement rebuild. You’re captivated given the track’s subtlety and ethereal beauty. Having said that, there’s an element of drama and danger present. Keyboards see to this and play their part in the track’s improvised sound. Right up to the closing notes, Bly De Blyant are determined to create pioneering music. This they do, ensuring Hindsight Bias is the perfect followup to ABC.
For some bands, their second album is the most difficult of their career. They’re caught between two stools. If they record an album similar to their debut album, the band’s criticised as having released a derivative album. However, if they change direction musically, they risk alienating their fan-base. So, it’s about striking a balance between moving forward musically and not alienating old fans. Bly De Blyant managed that with ease on Hindsight Bias.
From the opening bars of Jiddu, right though to the closing notes of The Eighteen Irascibles, Bly De Blyant never miss a beat on Hindsight Bias. They’re at their innovative and creative best. Just like on their debut album ABC, Bly De Blyant continue to push musical boundaries to their limit and beyond. However, neither do Bly De Blyant alienate their fans who loved their debut album ABC. After all, Hindsight Bias, just like ABC is an old school album.
Using vintage equipment, including a Hammond organ, Moog synth, and Fender Precision bass Bly De Blyant recorded eight tracks. During these eight tracks, Bly De Blyant fuse musical genres. Everything from ambient, avant-garde, blues, classic rock, electronica, experimental, free jazz, funk, jazz, Kratrock and math rock has been combined. This pot pourri of musical genres and influences became Hindsight Bias, a captivating and innovative followup to ABC.
Hindsight Bias, which will be released on 3rd March 2014, on Hubro Music, sees Bly De Blyant reinforce their reputation as an inspirational, innovative and imaginative band. Bly De Blyant are the keeper of the flame for music that’s bold, challenging, innovative, inventive and influential. It’s a case of expect the unexpected on Hindsight Bias, which is a truly genre-melting album. Bly De Blyant after all, are no ordinary band. No way. Their music is exciting, innovative and progressive, where a fusion of musical influences and genres became one. That’s the perfect description of Bly De Blyant’s sophomore album Hindsight Bias. Standout Tracks: Jiddu, Westkreuz, Laura and DEFGHIJKL.
BLY DE BLYANT-HINDSIGHT BIAS.
RHYTHM ’N’ BLUESIN’ BY THE BAYOU-ROMPIN’ AND STOMPIN’
RHYTHM ’N’ BLUESIN’ BY THE BAYOU-ROMPIN’ AND STOMPIN’
Last year was a busy year for Ian Saddler. He compiled a trio of compilations of blues, R&B and zydeco for Ace Records. The first of these was Bluesin’ By The Bayou, a compilation of “low down, dirty and greasy blues from Louisiana.” With some Zydeco thrown in for good measure, this was a heady brew. Next up was Louisiana Saturday Night Revisited. This was the long-awaited followup to Another Saturday Night which was relaxed way back in 1990. It was worth the twenty-three year wait. Ian’s final compilation of 2013 for Ace Records was Boppin’ By The Bayou-More Dynamite. It was a welcome addition to the By The Bayou series. The same can be said of Ian Saddler’s first compilation of 2014, Rhythm ’N’ Bluesin’ By The Bayou-Rompin’ and Stompin.’
Rhythm ’N’ Bluesin’ By The Bayou-Rompin’ and Stompin’ was recently released by Ace Records. It features twenty-eight tracks, including nineteen tracks that have never been released before. The twenty-eight tracks were produced by some of the most important producers in Louisiana’s musical history. This includes J.D. Miller and Eddie Shuler. Their productions featured Boppin’ By The Bayou-More Dynamite. Other tracks on Rhythm ’N’ Bluesin’ By The Bayou-Rompin’ and Stompin’ were produced by Sam Montel, Floyd Soileau and Carl Graffagnino. These producers are responsible for more “low down, dirty, greasy blues” R&B and zydeco “from Louisiana” which I’ll pick the highlights of.
Tabby Thomas has two tracks on Rhythm ’N’ Bluesin’ By The Bayou-Rompin’ and Stompin.’ Neither Teenagers nor Teenage Queen have been released before. The cover of Teenagers is a real find. It’s the best of the two tracks. It was penned by Robert Guidry and produced by J.D. Miller. Originally recorded by Bobby Charles, Tabby transforms Teenagers into a blistering slice of stomping, horn driven R&B. Teenage Queen is another slice of driving R&B. It was recorded between 1954 and 1965, when Tabby worked with J.D. They proved a successful partnership
From the opening bars of Jay Nelson’s Silly Filly Oh Baby you’re hooked. The track was written by Jay and Eddie Shuler who produced the track. Drawing inspiration from Little Richards, Jay kicks loose and vamps his way through the track. With a driving rhythm section, chiming guitar and piano for company, his band match him every step of the way on this glorious slice of R&B.
Originally from Houston, when Wonder Boy Travis arrived J.D. Miller’s studio as a member of Clifton Chernier’s band. Then when Clifton was taking a break he asked Wonder Boy to record a vocal. This was the break he was looking for. The next thing he knew, he was embarking on a a recording career. One of his singles She’s Got Eyes Like A Cat. The version on Rhythm ’N’ Bluesin’ By The Bayou-Rompin’ and Stompin,’ is an alternate version. It brings a new twist to a familiar track. His other contribution is She Went Thataway. It has a much more bluesy sound, but also has a zydeco influence. These two tracks unreleased demonstrate Wonder Boy Travis’ versatility and undoubted talent.
Lester Robertson was from the New Orleans area. He took over the reins of Little Richard’s band The Upsetters. Little Richards had decided to become a minister. Lester was looking for a backing band. He realised that here was a crack band of musicians without a leader. This was what he’d been looking for. They accompanied him on the two singles he released. One of them was My Girl Across Town. It was released on Montel Record Co. It’s a fusion of R&B and rock ’n’ roll. So too, is Lester’s other contribution, Schooldays Schooldays. I actually prefer this track. Incredibly, this hook-laden, hidden gem has never been released before. So, Ian Saddler deserves our thanks for unearthing it.
Lonesome Sundown was born Cornelius Green, and grew up just outside Baton Rouge, the capital of Louisiana. His career lasted over thirty years. This included releasing four solo albums between 1969 and 1988. His 1976 sophomore album was Bought Me A Ticket. It was produced by J.D. Miller. It featured California Blues and What You Wanna Do It For. They’re the perfect introduction to one Louisiana blues music’s best kept secrets.
Sometimes, you come across a track and having heard it, you want to hear more from them. That was the case with Johnny Sonnier. Sad Lover is a truly heartbreaking R&B track. It toys with your emotion. Slow, moody and beautiful it’s a trip back to another musical era. Produced by J.D. Miller, this track was found by compiler Ian Saddler in J.D. Miller’s vaults. What a find it was. Ian it seems, has hit the jackpot.
Leroy Washington may have lived a short life, but it was an eventful one. He recorded blues and R&B cuts for labels like Excello, Rocko and Zynn. His best known single was Wild Cherry. There’s more to Leroy than one track. Much more. Learn To Treat Me Better and You Can’t Trust Nobody are proof of this. The highlight of the two tracks is the despairing You Can’t Trust Nobody. It’s a piano driven blues where Leroy lays bare his soul. A guitar answers his call as Leroy realises at last: “You Can’t Trust Nobody.”
After embarking upon a solo career in 1952, James Sugar Boy Crawford and His Canecutters enjoyed a successful career. He released singles for labels like Chess, Checker and Imperial. His biggest hit was Round and Round, which he released on Montel Record Co. in early 1960. It’s an infectiously catchy R&B track that showcases James vocal skills. Sadly, his career ended when he was attacked by what Dr. John described as “rednecks” when he was playing a gig on the Louisiana and Mississippi border. So, Round and Round is a poignant reminder of Sugar Boy’s biggest hit.
Little Victor’s You Done Me Wrong is another of the unreleased tracks. Again, you wonder why it’s lain unreleased for nearly fifty years. Produced by J.D. Miller, it has a late night, bluesy sound. No wonder. Little Victor unleashes a soul-baring vocal. His vocal sounds as if he’s lived, loved and just about survived to tell the tale.
There’s only one artist on Rhythm and Bluesin’ By The Bayou-Rompin’ and Stompin’ whose worked with J.D. Miller and Eddie Shuler. That’s Classie Ballou, who contributes two tracks. They’re Oh Mama (Cajun Blues) and Lucille. Neither track has been released. The best of the two tracks is Lucille. Classie breathes new life, energy and emotion into the lyrics. Accompanied by cascading horns, handclaps and meandering guitars, Classie delivers a needy, vocal powerhouse. This transforms a familiar track.
My final choice from is Rhythm and Bluesin’ By The Bayou-Rompin’ and Stompin’ Ivory Jackson’s I’m A Country Boy. Ivory was a drummer who worked with vocalist Hop Wilson. Here, Hop unleashes a raw, grizzled vocal. He doesn’t hold back. Neither does the band. They go toe to toe on a track that’s the perfect way to close this latest instalment in the By The Bayou series.
Rhythm ’N’ Bluesin’ By The Bayou-Rompin’ and Stompin’ picks up where Boppin’ By The Bayou-More Dynamite left off. This means more “low down, dirty and greasy blues from Louisiana.” There’s also rockabilly, country, rock ‘n’ roll, zydeco and swamp pop. Just like the five previous instalments in this series, Rhythm ’N’ Bluesin’ By The Bayou-Rompin’ and Stompin’ is the perfect introduction to Louisiana’s music.
Just like previous volumes, Rhythm ’N’ Bluesin’ By The Bayou-Rompin’ and Stompin’ reinforces that Louisiana has a rich and eclectic musical history. Rhythm ’N’ Bluesin’ By The Bayou-Rompin’ and Stompin’ compilation reinforces this. It features twenty-eight tracks, including nineteen that have never been released before. That’s a great shame, as the music oozes quality. Listening to Rhythm ’N’ Bluesin’ By The Bayou-Rompin’ and Stompin’ is a compelling, enthralling, eclectic and mesmeric musical journey. That’s thanks to Ian Saddler’s crate-digging skills.
Ian’s dug deep into the vaults of five of Louisiana best known producer’s vaults. These are J.D. Miller, Eddie Shuler, Sam Montel, Floyd Soileau and Carl Graffagnino. He must have been spoiled for choice. For a music fan, this is the equivalent to a fat boy in a sweet shop. Somehow, Ian has setter on twenty-eight tracks. They’re mixture of familiar faces, rarities and hidden gems, it’s a journey back to another musical era, where the music of Louisiana comes to life.
Sadly, nineteen tracks have never seen the light of day before. That’s a great shame. Music deserves to be heard, not lie unloved in a record company’s vaults. Instead, it should be where people can enjoy. That’s where compiler Ian Saddler and Ace Records come in. They’re responsible for Rhythm ’N’ Bluesin’ By The Bayou-Rompin’ and Stompin’ the latest in the critically acclaimed By The Bayou compilation series.
Rhythm ’N’ Bluesin’ By The Bayou-Rompin’ and Stompin’ is just like its predecessors. They’re the perfect introduction to the music of Louisiana during the late-fifties and early sixties. They conjur up images of Louisiana, during another musical era. This means music that’s emotive, evocative and atmospheric. It paints pictures of what life was like in Louisiana, back then. Now you don’t need to go to Louisiana to hear this music. No. All you need to do, is head to your local record shop where you’ll find a copy of Rhythm ’N’ Bluesin’ By The Bayou-Rompin’ and Stompin’ waiting for you. Standout Tracks: Jay Nelson Silly Filly Oh Baby, Lonesome Sundown California Blues, James “Sugar Boy” Crawford and His Canecutters Round And Round and Classie Ballou Lucille.
RHYTHM ’N’ BLUESIN’ BY THE BAYOU-ROMPIN’ AND STOMPIN’
BAMALOVESOUL PRESENTS ON DECK 2.
BAMALOVESOUL PRESENTS ON DECK 2.
For anyone in Alabama who loved their music music soulful, there was no alternative to the steady diet of mainstream R&B local radio stations fed them. It was a case of Hobson’s choice. That’s until Roderick Moody decided to shake things up. Roderick, whose better known as DJ Rahdu is known as a musical tastemaker. He’s a man with his finger on America’s musical pulse. Not only that, but Roderick is also the host of the Diamond Soul Xxxperience Show. Alabama was the next state to hear the Diamond Soul Xxxperience Show.
Once a week, for two hours, citizens of Alabama could listen to the Diamond Soul Xxxperience Show. This meant all things soulful. It didn’t matter whether it was Caribbean, funk, hip hop, house or jazz as long as it was soulful DJ Rahdu would give it a spin. There was only one musical no-go area….R&B. DJ Rahdu figured that other stations were catering for the needs of fans of R&B. This has proved a successful formula. What started in a small way, is a worldwide phenomenon.
Having established a reputation as a purveyor of all things soulful, DJ Rahdu decided to hit the streets. He began holding open mic events. Then in 2012, DJ Rahdu launched his BamaLoveSoul.com website. It’s been discovered by over one-million music fans worldwide. Then in 2012, DJ Rahdu released BamaLoveSoul Presents On Deck. Released to critical acclaim, the compilation proved a commercial success. So much so, that on BamaLoveSoul Presents On Deck 2 will be released by BBE Music on 10th February 2014.
For BamaLoveSoul Presents On Deck 2 DJ Rahdu asked artists to submit a new track. The response was overwhelming. So, he spent time working his way through this mountain of soulful music. Eventually, he managed to settle on a dozen “future soul classic for the new b-boy generation.” This includes contributions from Rippy Austin featuring Stephanie Nicole, James Tillman, Jevon Reynolds, Fayth Hope, J Finesse and Aisha Mars. There’s more than a few hidden gems on BamaLoveSoul Presents On Deck 2, which I’ll tell you about.
Opening BamaLoveSoul Presents On Deck 2 is Fallen. This is a track from Rippy Austin featuring Nathan Pittmon and Robert Casey. Rippy may be a new name for many people, but looks like a singer with a big future. He he released his debut E.P. Patiently Waiting in 2013. It was well received, especially in electro soul circles. No wonder. Fallen is perfect start to the compilation. It’s best described as mellow, ethereal and dreamy, to soulful and jazz-tinged.
Joomanji featuring Joseph Mark’s Intoxicated is very different from the previous track. Everything from Nu-Soul, funk, jazz and hip hop is combined by the San Diego collective. They were founded by producer and San Diego native Jonah Christian. He describes their music as a fusion of “crisp horns, smooth vocals, and groovy vinyl samples with drums and bass you’ll never forget.” This is a heady brew that results is a track that’s smooth, sassy, sensual and soulful.
From the opening bars of Diligence, it’s apparent Stephanie Nicole is a diva in waiting. The only way to describe her vocal is feisty and emotive. She delivers lyrics that are full of social comment. This she does against an arrangement that’s a fusion of cosmic funk, soul, jazz and drama. It’s ying to Stephanie’s yang.
James Tillman’s Shangri La is a captivating track. It’s a glorious combination of Nu-Soul, jazz and drama. The arrangement is jazz-tinged, growing in power and drama. By now you’re captivated. Crisp drums, washes of synths and Fender Rhodes combine with James vocal. It’s been described as “ethereal.” To that I’d heartfelt and soul-baring.
Hot on the heels of Hames Tillman’s vocal, comes Jevon Reynolds’ vocal on Silence. James is a real find. He draws inspiration from the past, and specifically, jazz and soul. That describes his style. His delivery is tender, sincere and impassioned. The arrangement is understated. That’s perfect. It allows James’ vocal to take centre-stage, where it belongs.
GDNA’s Calm is best described as an ethereal soundscape. It meanders into being, before hissing hi-hats and the rhythm section take charge. Soon, jagged synths, glistening guitars and handclaps join in. Everything is dropped in at just the right time. What follows is a fusion of musical influences and genres. Everything from ambient, experimental, house and jazz are combined. This results in a mesmeric and innovative slice of soulful house.
Just like so many of the tracks on Bama LoveSoul Presents On Deck 2, Hummus’ I Do (I Do) is a real pot pourri of influences. Influences include classic soul, Nu Soul, jazz and hip hop. Hummus’ vocal veers between Nu Soul to jazz tinged. Accompanied by harmonies, strings and horns, Hummus reminds me of Erkay Badu and India Arie. Her vocal oozes emotion, sincerity and quality.
Fayth Hope, a singer-songwriter, whose a native of Alabama, may be a new name to some people. Maybe not for much longer? Recently, she’s been establishing a reputation as an artist whose going places. Warrior is proof of this. It allows Fayth to showcase her vocal prowess. She combines two of her musical loves…soul and jazz. Like a diva in waiting, Fayth literally struts her way through this fusion of Nu Soul, jazz and funk.
Another of the collaborations on BamaLoveSoul Presents On Deck 2 is Anu~Sun featuring Augi. Where Did We Go Wrong is a mixture of the music of the past and present. Vintage jazz , Nu Soul and hip hop might seem unlikely bedfellows. They’re not. Proof of this is Where Did We Go Wrong. Jazz-tinged and featuring a tender, mellow female vocal it’s all change. As the vocal drops out, a rapped vocal picks up the baton. This works. Then the vocal makes a welcome return. With its fusion of Nu Soul, jazz and hip hop, the result is a slice of musical sunshine.
Slow and spacey describes J Finesse’s Drums, Claps and Snaps… Ya Dig. It has an old school hip hop influence. As drums, claps and snaps provide a hypnotic backdrop keyboards meander across the arrangement. It’s best described as jazz-tinged. Especially when the guitar is added. It plays an important part in a mesmeric, jazz-tinged and soulful track that wouldn’t sound out of place on a 21st Century Blaxploitation soundtrack.
Buscrates 16-Bit Ensemble’s In The Distance sees the tempo drop and a futuristic slice of space-age music unfold. Its roots are in hip hop, jazz, ambient and electronica. Straight away, the arrangement takes on a hypnotic sound. This comes courtesy of the beats and keyboards. Then there’s the bubbling synths. Together they play their part in this robotic, hypnotic and futuristic nu-electronic soundscape.
Aisha Mars’ Ultraviolet closes BamaLoveSoul Presents On Deck 2. It’s a light, airy and spacey track. This jazzy track literally floats along. That’s down to the flute, reverberating guitars and galloping drums. They’re a potent and successful combination. The result is a track that’s lush, dreamy, ethereal, lysergic and futuristic. It seems the best has been kept until last.
The twelve tracks on BamaLoveSoul Presents On Deck 2 are the result of six months hard work by the twelve artists. That’s how long they had to come up with a track that would feature on BamaLoveSoul Presents On Deck 2. These twelve will restore many people’s faith in modern music. Why? Well I constantly hear people say that there aren’t any artists producing groundbreaking music. Bama LoveSoul Presents On Deck 2 proves them wrong. In fact, there’s twelve reasons why they’re wrong.
Bama LoveSoul Presents On Deck 2 allows a new generation of artists to have their music heard by a wider audience. They’ve drawn inspiration from the music of the past to create the music of the future. Listen carefully, and you’ll hear the twelve artists have been influenced by everything from ambient, Blaxploitation, electronica, funk, hip hop, jazz, Nu Soul, soul and soulful house. As a result, the music they’ve produced is funky, jazz tinged and soulful. I’d also describe the music on Bama LoveSoul Presents On Deck 2 as lush, dreamy, ethereal, heartfelt, hypnotic, lysergic and futuristic. Importantly, the music on Bama LoveSoul Presents On Deck 2 is also innovative and groundbreaking.
Many of the artists on Bama LoveSoul Presents On Deck 2 are determined to innovate and become a success on their own terms. That’s no bad thing. After all, there’s far too much music that’s anodyne and derivative. There’s no way you could accuse any of the music on Bama LoveSoul Presents On Deck 2 of that. No. This is music for the 21st Century, from twelve artists who have a big future ahead of them. BamaLoveSoul Presents On Deck 2, which will will be released by BBE Music on 10th February 2014, is a chance for these artists to showcase their inconsiderable skills.
Who knows, maybe a couple of years from now and one of the artists on Bama LoveSoul Presents On Deck 2 may have made a commercial breakthrough? They’re certainly not lacking in skill. Often what it comes down to is breaks. Time and time again, I’ve written about talented artists failing to get the breaks that would’ve transformed their careers. Let’s hope that the artists on Bama LoveSoul Presents On Deck 2 get the breaks their music deserves and that commercial success and critical acclaim comes their way.
BAMALOVESOUL PRESENTS ON DECK 2.
DUSTY HEARD THEM HERE FIRST.
DUSTY HEARD THEM HERE FIRST.
For the latest instalment in Ace Records’ Heard Them Here First compilation series, compiler Mick Patrick has turned to the music that influenced Dusty Springfield. Dusty Heard Them Here First was recently released by Ace Records and features twenty-four tracks. Fittingly, each of these tracks are the US versions. Why is this so fitting? Well American music influenced and inspired Dusty Springfield. This includes the music on Dusty Heard Them Here First,
Dusty Heard Them Here First’s track-listing reads like a who’s who of music. There’s contributions from some of the biggest names in music. Among them are Aretha Franklin, Marvin Gaye, The Miracles, Carla Thomas, Dionne Warwick, Betty Wright and Gladys Knight & The Pips. All of these artists influenced and inspired Dusty Springfield as a singer. So much so, that Dusty covered each of the twenty-four tracks on Dusty Heard Them Here First. Before I pick the highlights of Dusty Heard Them Here First, I’ll tell you about Dusty Springfield.
Dusty Springfield was born Mary Isobel Catherine Bernadette O’Brien, in West Hampstead, North London, in April 1939. She was brought up in a middle class family, that loved music. During her childhood she was exposed to a wide range of music. This included Count Basie, Rogers and Hammerstein, George Gershwin, Count Basie and Glenn Miller. Dusty Springfield loved American jazz vocalists, including Peggy Lee and Jo Stafford. It was her ambition to sound like them. Little wonder that on leaving school she would become a singer, such was her love of music.
Her first job in music was as one of The Lana Sisters. They were already established as a group, and Dusty was recruited in 1958, as a new member. Whilst a member, she received a crash course in the music industry. She recorded with them, appeared on television and in concert. During her time with them, she learned to harmonise and how to use a microphone properly. She left The Lana Sisters in 1960.
Her next venture in music was when she formed a pop-folk trio The Springfields wth her brother Don, and Reshad Field, who would later be replaced by Mike Hurst. It was here that she adopted the stage name Dusty Springfield. The Springfields recorded an album Folk Songs From The Hills, in Nashville, Tennessee. They’d travelled to Nashville intending to record an authentic American album. It was during this trip that Dusty’s musical tastes changed.
She started to love pop music that had its roots in rhythm and blues music. Although the group were reasonably successful, winning the New Musical Express’ Best Vocal Group award in 1961 and 1962 they split up in 1963. Their final single was Say I Won’t Be There, gave the group their first top five hit. The last concert they played was in October 1963. After that, the group split up. It was now time for Dusty’s solo career to begin.
Now a solo artist, success came quick to Dusty. Her first solo single I Only Want To Be With You, sold over one million copies, and she received a gold disc. Ivor Raymomde’s production on the single owed much to Phil Spector. Having said that, his arrangement was fantastic, featuring vocals that were double-tracked, a horn section and a string section. This single was the perfects start to her solo career.
Her first album A Girl Called Dusty, was released in 1964. It was an album featuring Dusty Springfield covering some of her favourite songs. This album featured her first collaboration with two hugely important songwriting partnerships, Burt Bacharach and Hal David, and Gerry Goffin and Carole King. The latter partnership were a huge influence on Dusty, and she recorded their songs throughout her career.
In 1965 Everything’s Coming Up Dusty was released. The album sold quite well, and Dusty ended up the top selling female singer on her record label Philips Records. Everything’s Coming Up Dusty contained many show tunes, as well as some soul songs. Her next two albums would see Dusty cover a variety of styles.
When Dusty released Where Am I Going in 1967, it wasn’t as successful as her previous two albums. It contained a wide variety of styles of music. Fans and critics liked the album. They enjoyed hearing Dusty singing different styles of music. Where Am I Going was followed up by Dusty…Definitely in 1968. It was the first album that Dusty co-produced with John Franz. The album was split into one side of the album with faster songs, the other with slower songs. On each side the mood is very different. Although Dusty…Definitely marked the end of an era, Dusty’s next album surpassed everything that had preceded it.
1968 also saw Dusty sign a contract with Atlantic Records for the US. This was to have a huge impact on her career. she ended up heading to Memphis to record Dusty In Memphis with producers Jerry Wexler and Arif Mardin, and engineer Tom Dowd. Dusty in Memphis was an attempt to relaunch her career. After her first two albums had proved successful, Dusty’s career had stalled. By heading to Memphis, it was hoped that her credibility as an artist would receive a boost. She’d never recorded an album of rhythm and blues music before, this would be a first.
Dusty was joined in the studios with some of Memphis’ best musicians and backing singers. She would be backed by the Memphis Cats, a fantastic group of musicians, and backing vocalists the Sweet Inspirations. This was truly the creme de la creme of the Memphis music scene. She was noted as a perfectionist. Nothing less would suffice. This would prove a huge challenge for produced Jerry Wexler.
Another problem was her insecurity, she was a hugely insecure artist, and this wasn’t helped by working with such talented musicians, singers and producers. However, the sessions were fruitful, and produced one of the greatest albums of all time. Dusty In Memphis, which was released in 1969, is widely accepted as a musical masterpiece, and is to be found in any list of the greatest albums of all time. However, little did Dusty realise she’d released the greatest album of her career.
As the 1970s’ dawned, Dusty was still a big name in music. She released her second, and final album for Atlantic Records A Brand New Me in 1970. In the UK, the album was released as From Dusty…With Love. It was recorded at the Sigma Sound Studios in Philadelphia. M.F.S.B. accompanied Dusty, while Gamble and Huff produced A Brand New. They also wrote many of the songs on A Brand New Me. It only reached number thirty-five in the UK and one hundred and seven in the US. This was to be the start of the decline in her record sales and popularity.
Between 1972 and 1995 Dusty would only record seven further albums, one of which Longing, recorded in 1974, was never released at the time. During that time, her record sales slumped. Although some albums were reasonably well received by critics it seemed Dusty’s career had stalled. During this period, her personal life was scrutinised by the press and media. So Dusty headed to the US, where she lived quietly, away from the spotlight.
Whenever Dusty made a comeback, and was still popular in concert. The problem was her albums didn’t sell. Dusty it seemed had had her day. She never recovered her midas touch as a solo artist. Then 1987 she collaborated with the Pet Shop Boys on their single What Have I Done To Deserve This? This introduced her to a new generation of fans. Despite this brief resurgence of interest in Dusty’s career, she never recaptured the commercial success of the early years of her career. Sadly, with a new millennia about to dawn, tragedy struck for Dusty.
In March 1999, Dusty Springfield died of cancer. Since her death, she has become something of an icon. There’s been another resurgence of interest in her music. The album that Dusty Springfield is always remembered for in Dusty In Memphis. It’s a classic album and along with A Brand New Me, is part of Dusty Springfield’s musical legacy. Fifteen years after Dusty’s death, Ace Records’ Dusty Heard Them Here First is a fitting tribute to Dusty Springfield.
My first choice from Dusty Heard Them Here First is the opening tracks, The Velvettes’ Needle In A Haystack. It was written by William Stevenson and Norman Whitfield, who produced the track. Released on Motown in 1964, it’s not only instantly recognisable, but a minor Motown classic. A year later, Dusty covered Needle In A Haystack on her 1965 album Everything’s Coming Up Dusty.
While other vocalists have tried to claim Aretha Franklin’s crown, Aretha will forever be known as the Queen Of Soul. Wont’ Be Long marked Aretha’s US Billboard debut. It featured on her 1961 debut album Aretha Franklin With The Ray Bryant Combo. Produced by John Hammond, it’s a fusion soul, gospel and jazz combines. Aretha unleashes a vocal powerhouse that’s needy, sassy and emotive. The result is a tantalising taste of what Aretha was capable of. Again, Dusty covered this track on Everything’s Coming Up Dusty.
Can I Get A Witness is one of the finest singles Marvin Gaye recorded during the sixties. It was penned by Brian Holland, Lamont Dosier and Eddie Holland. Marvin released his version in 1963. Five years later, Dusty covered this classic. It featured on a 1968 E.P. However, Marvin delivers the definitive version. Literally, his vocal oozes emotion and sincerity.
Back in 1962, The Miracles released You’ve Really Got A Hold On Me. Written and produced by Smokey Robinson, it featured on their 1963 album The Fabulous Miracles. That describes The Miracles performance on You’ve Really Got A Hold On Me perfectly. Especially given Smokey’s soul-baring lead vocal which is accompanied by heartfelt harmonies. This resulted in one The Miracles’ finest moments. Seventeen years later, Dusty released a cover of this track on her 1979 album Living Without Your Love.
Carla Thomas’ Every Ounce Of Strength was released on Stax in 1965. It was the B-Side to Stop! Look What You’re Doing. Written by Steve Cropper, Isaac Hayes and David Porter, it features a vocal powerhouse from Carla. She was now twenty-three and had matured as a singer. She’d come a long way since her 1960 debut single Gee Whiz (Look At His Eyes). One listen to this track and you’ll realise this.
During the sixties, Dionne Warwick was one of the most successful female vocalists. She enjoyed a successful partnership with songwriters Bacharach and David. Just like Dionne, they were enjoying the most successful period of their career. They wrote Another Night, which was released as a single on Specter Records in 1966. Although it wasn’t Dionne’s biggest hit single, it allows her to demonstrate her versatility. Dionne combines power, emotion, anger and frustration. This results in the definitive version of this track. That’s despite Dusty covering Another Night on her 1968 album Dusty….Definitely album.
Betty Wright is one of the most underrated soul singers. That’s depute a career as a singer, songwriter and producer that spans nearly fifty years. The dramatic and emotive opus, Girls Can’t Do What The Guys Do was her first hit single. It was produced by Brad Shapiro and Steve Alaimo and released on Alston Records. Girls Can’t Do What The Guys Do featured on Betty’s 1968 debut album. For anyone yet to discover one of soul’s best kept secrets, this is the perfect starting place.
Gladys Knight and The Pips covered Ain’t No Sun Since You’ve Been Gone twice. The first time was on their 1967 album Everyone Needs Love. They later gave the track a psychedelic twist on 1969s Nitty Gritty. The version on Dusty Heard Them Here First is the 1967 version. Feisty and sassy describes Gladys’ vocal. Accompanied by a dramatic, stomping beat and harmonies, Gladys Knight and The Pips make the song their own. A year later, Dusty covered the track on 1968s Dusty…Definitely.
Evie Sands her third and final album Suspended Animation in 1979. It was released on RCA Victor. This was sixteen years after she released her debut single. On Suspended Animation was You Can Do It. With a sultry, funky arrangement, Evie’s vocal is sassy and sensual. However, this wasn’t the first time Evie recorded You Can Do It. She released the song in 1976. Since then, other artists had covered this track. One of them, was Dusty, who covered You Can Do It on her 1978 album Living Without Your Love.
Chi Coltrane’s Turn Me Around Chi Coltrane is my final choice from Dusty Heard Them Here First. It featured on Chi’s 1972 eponymous debut album. Her vocal is tender and impassioned, growing power and emotion. The same can be said of the arrangement. With piano and strings at its heart, this is the perfect accompaniment to Chi as she lays bare her soul for all to hear. Two years after Chi recorded this track, Dusty covered it. It was meant to feature on her 1974 album Longing. Sadly, the album was abandoned and Dusty’s version wasn’t heard until it featured on a compilation released in 2001. However, Chi’s version is the definitive version of this beautiful paean.
Whilst I’ve only picked my top ten tracks from Dusty Heard Them Here First, there’s plenty more quality music. I could’ve just as easily have mentioned contributions from The Chiffons, Baby Washington, Garnet Mimms, Norma Tanega, The 5th Dimension or Barbara Acklin. Quite simply, Dusty Heard Them Here First, which recently released by Ace Records, is all killer no filler. It’s a very welcome addition to the Heard Them Here First series. No wonder. Compiler Mick Patrick has chosen well. He’s dug deep into the vaults of labels like Atlantic, Alston, Motown, RCA Victor, Specter, Stax and Tamla. Having dug deep, he’s chosen a mixture of old friends and hidden gems.
Many of these tracks on Dusty Heard Them Here First were recorded by some of the biggest names in soul music. Aretha Franklin, Marvin Gaye, The Miracles, Carla Thomas, Dionne Warwick, Betty Wright and Gladys Knight and The Pips. They were musical giants, capable of making a song come alive. That’s the case here. Time and time again, spine-tingling music toys with your emotions. They’ve all one thing in common. Each track was covered by Dusty Springfield during her long career.
Often, Dusty covered the track not long after it had originally been a hit. It was as if she was hoping some of the success would rub off. No wonder. Dusty didn’t enjoy prolonged success. It was a fleeting visitor. Her first two albums, 1964s A Girl Called Dusty and 1965s Everything’s Coming Up Dusty were successful. Then 1968s Dusty In Memphis proved to be the highlight of her career. That’s despite only reaching number ninety-nine in the US Billboard 200 Charts. After that, Dusty’s career stalled.
Even with Gamble and Huff producing 1970s A Brand New Me, which was Dusty’s final album for Atlantic Records, success continued to elude Dusty. It only reached number thirty-five in the UK and 107 in the US Billboard 200. After that, none of Dusty’s albums charted in America. Things got so bad that Dusty’s 1974 Longing album was abandoned. For the next twenty-five years, Dusty was more popular live. Her albums never sold in great amounts. Only three albums, 1978s It Begins Again, 1980s Reputation and 1995s A Very Fine Love charted in the UK. However, despite her lack of chart success during the latter part of her career, Dusty Springfield is still perceived as a musical legend.
With six top twenty-singles in the US Billboard 100 and sixteen UK hit singles, Dusty Springfield is one of Britain’s most successful female vocalists. The sixties were Dusty’s heyday. She was a musical icon and part of British popular culture. Now nearly fifteen years after her death, Dusty Springfield’s music is still popular. With each passing year, more and more music lovers discover her music. Dusty Heard Them Here First will allow the same music lovers to hear the music that inspired and influenced Dusty. She covered the twenty-four songs on Dusty Heard Them Here First. The songs on Dusty Heard Them Here First are part of Dusty Springfield’s rich musical legacy. They’re part of the life and times of Dusty Springfield and are where Dusty Heard Them Here First. Standout Tracks: Marvin Gaye Can I Get A Witness, The Miracles You’ve Really Got A Hold On Me, Betty Wright Betty Wright and Evie Sands You Can Do It.
DUSTY HEARD THEM HERE FIRST.
KENT’S CELLAR OF SOUL VOLUME 3.
KENT’S CELLAR OF SOUL VOLUME 3.
Eight years after the release of Kent’s Cellar Of Soul Volume 2, Kent Soul have belatedly released the followup, Kent’s Cellar Of Soul Volume 3. It’s been well worth the wait. The Kent’s Cellar Of Soul seems to mature like a fine wine. That’s thanks to the two men behind this compilation series.
For Kent’s Cellar Of Soul Volume 3 compilers Ady Croasdell and Tony Rounce have been on another successful crate-digging expedition. They’ve dug deep into the vaults of Atlantic,Bell, Dynamo, Goldwax, Kent, Mirwood, Musicor, Swan and Vee-Jay. The result is Kent’s Cellar Of Soul Volume 3, a compilation that features contributions from everyone from some of the biggest names is soul music.
There’s contributions from James Carr, Fred Hughes, Ruby Andrews, Clarence Carter and Lowell Fulsom right through to The Platters, Thelma Jones, The Inspirations and The Ikettes. Then there’s contributions from Brenton Wood, Cliff Nobles & Co, Clarence Carter and Jesse James and The Dynamic Four. In total, there are twenty-six slices of soul music on Kent’s Cellar Of Soul Volume 3. With a compilation that features some of soul’s biggest names, choosing the highlights isn’t going to be easy. However, here goes.
My first choice is Brenton Wood’s Gimme Little Sign. Written by Jospeh Hooven, Alfred Smith and Hal Winn it was released as a single in 1967, on the Double Shot label. It reached number nineteen in the US Billboard 100 and number eight in the UK. Gimme Little Sign also featured on Brenton’s 1967 debut album Oogum Boogum. This was the first of two albums Brenton released on Double Shot. One of his most memorable releases is Gimme Little Sign. A poppy slice of soul, that’s full of hooks, Brenton’s vocal is needy and hopeful.
Anytime I see Bobby Martin’s name on a record, I’ve got to investigate. Bobby was the man behind many Philly Soul classics. He never received the credit he deserved and belatedly, is being recognised as one of the architects of Philly Soul. Cliff Nobles & Co’s The Horse was arranged by Bobby Martin and produced by Jesse James. This was Cliff Nobles & Co’s 1968 debut single. It featured on their 1968 debut album, released on the Phil. L.A. of Soul label. Written by Cliff, this is a blistering instrumental that features many of the original members of M.F.S.B. So, it’s no surprise the single reached number two in the US Billboard 100 and US R&B Charts.
There aren’t many artists who record singles for seventeen labels over a twenty-four year career. J. J. Barnes did. In 1967, he released his biggest hit single Baby Please Come Back Home. It was written by J.J. and Don Davis. Released on Don Davis’ Grooveville label in 1967, it reached number nine in 1967. Accompanied by swathes of the lushest stings, J.J’s delivers a heartachingly beautiful vocal. Oozing with emotion insecurity, it’s no wonder J.J. enjoyed such a long and successful career. Incidentally, listen to the arrangement and it sounds not unlike People Get Ready?
That Thelma Jones wasn’t a huge star is a musical injustice. Just listening to her vocal powerhouse on The House That Jack Built and you wonder why she didn’t enjoy critical acclaim and commercial success? Her vocal is combination of power, passion and frustration. Bobby Lance and Fran Robbins’ lyrics come to life, as she sings call and response with backing vocalists The Sweet Inspirations. They add urgent harmonies while the Muscle Shoals Rhythm Section add a pulsating heartbeat on The House That Jack Built which was one of the last records Thelma released on Barry. This is another hidden soulful gem from an artist who should’ve been a huge star.
Without a doubt, James Carr was one of the greatest soul singers ever. Some people consider him the best soul singer ever. No wonder when you listen to Freedom Train. Produced by Quinton Claunch and Rudolph Russell, Freedom Train released on Goldwax in 1968. What follows is an irresistible soulful stomper with a message. James unleashes a vocal masterclass, encouraging you to “get onboard the Freedom Train.”
Originally, Gladys Knight and The Pips recorded Giving Up. It wasn’t a commercial success. Nor was The Ad Libs 1969 cover version. Released on Share Records, its laden with drama. That comes courtesy of the cascading strings and cooing, sometimes urgent harmonies. Then there’s a vocal that’s dramatic, emotive and full of heartache and heart. Arranged and produced by Van McCoy it’s another of the hidden gems on Kent Cellar Of Soul Volume 3.
Fred Hughes’ biggest hit single was his debut single Ooh Wee Baby, I Love You. Released on Vee-Jay in 1965, this sultry, sensual and soulful single reached number three in the US R&B Charts. Written and produced by Richard Parker, this was the single that launched the career of Fred Hughes. No wonder. Accompanying Fred were some of Los Angeles’ top session players. This was the start of a career that lasted right through until the late seventies.
When you first hear The Inspirations’ Touch Me, Kiss Me, Hold Me (Goose Pimples), it sounds like a single released on Motown. It’s not. Instead it was released on Black Pearl. Inspired by The Supremes, The Inspirations mix sixties pop and soul. Sweet, soulful and dance-floor friendly, hooks certainly haven’t been rationed. As the lead vocal changes hands, it’s accompanied by horns, harmonies, dancing strings and Motown-esque rhythm section. Later, this track went on to become one of the rarest soul singles in the UK at one time.
From the opening bars, Clarence Carter’s Funky Fever has you hooked. Released on Atlantic in 1968, Clarence penned this track with Rick Hall, Marcus Daniel and Joe Wilson. Rick Hall arranged and produced what was originally a single. A couple of weeks after the release, Atlantic decided to flip the track. Slip Away, which was the B-Side became the single. The decision was vindicated. It reached number six in the US Billboard 100 and number one in the US R&B Charts. Eventually, the single sold over a million copies in the UK and was certified platinum. Despite this Funky Fever is still an infectiously catchy track. Accompanied by a driving rhythm section, rasping horns, Hammond organ and harmonies, Clarence struts his way through this track. The Funky Fever is the only fever you’ll ever want to catch.
Ruby Andrews’ Casanova (Your Playing Days Are Over) was released in 1967 on Zodiac. It was written by Josephine Armstead and Milton Middlebrook. This was the original version of the track, where Ruby accompanied by swathes of cascading strings delivers a scathing vocal. As she warn her “Casanova (Your Playing Days Are Over),” frustration, anger and hurt fill her voice. Although this is a good version of this track, Loleatta Holloway’s version of the song is the definitive version.
The last track I’ve chosen from Kent’s Cellar Of Soul Volume 3 is Baby It’s Over. For those unfamiliar with Bob and Earl, their biggest hit was Rockin’ Robin, released in 1958, Eight years later, Bob and Earl, a.k.a. Bobby Day and Robert Day released Baby It’s Over in 1966. It was arranged by none other than Gene Page and produced by Fred Smith. It’s the perfect track to close Kent’s Cellar Of Soul Volume 3. Quite simply, it’s oozing with heartache, hurt and emotion.
Although there’s been a gap of eight years between Kent’s Cellar Of Soul Volume 2 and Kent’s Cellar Of Soul Volume 3, which was recently released by Kent Soul, it’s been well worth the wait. Compilers Ady Croasdell and Tony Rounce surpassed themselves, as Kent’s Cellar Of Soul Volume 3 surpasses the quality of the two previous volumes. They were good, but Kent’s Cellar Of Soul Volume 3 is even better. That’s saying something, given the quality of music on Kent’s Cellar Of Soul and Kent’s Cellar Of Soul Volume 2. That’s down to Ady and Tony’s crate-digging exploits.
They’ve been on another successful crate-digging expedition. They’ve dug deep into the vaults of Atlantic,Bell, Dynamo, Goldwax, Kent, Mirwood, Musicor, Swan and Vee-Jay. Unlike other compilations, they’ve not eschewed some familiar faces. Indeed, Ady and Tony have picked contributions from everyone from some of the biggest names is soul music.
There’s contributions from James Carr, Fred Hughes, Ruby Andrews, Clarence Carter and Lowell Fulsom right through to The Platters, Thelma Jones, The Inspirations and The Ikettes. Then there’s contributions from Brenton Wood, Cliff Nobles & Co, Clarence Carter and Jesse James and The Dynamic Four. In total, there are twenty-six slices of soul music on Kent’s Cellar Of Soul Volume 3. Many of these artists you’ll be familiar with. Others may be new to you. However, you’ll be glad to have heard these singers for the first time. Just like so many compilations, Kent’s Cellar Of Soul Volume 3 is a musical voyage of discovery.
Kent’s Cellar Of Soul Volume 3 is a musical journey I’d recommend you embark on. You’ll music recorded by some of the legends of soul music. Other artists may not have enjoyed the same success, but they certainly weren’t lacking in talent. Thelma Jones is an example of this. So, with a combination of music from old friends and some hidden gems, Kent’s Cellar Of Soul Volume 3 is a welcome addition to Kent’s Cellar Of Soul compilation series. Kent’s Cellar Of Soul Volume 3 will also be a welcome addition to any record collection. Standout Tracks: Brenton Wood Gimme Little Sign, Cliff Nobles & Co. The Horse, Thelma Jones The House That Jack Built and James Carr Freedom Train.
KENT’S CELLAR OF SOUL VOLUME 3.
HALL OF FAME VOLUME 3.
HALL OF FAME VOLUME 3.
Eventually, when someone decides to write a definitive history of Southern Soul, Fame Records name will loom large. There’s two reasons for this. The first is the music released on Fame Records. Then there’s the artists who recorded at Fame Recording Studios, Muscle Shoals.
Back in the sixties, Fame Recording Studios was the place record companies sent their artists to work with producer Rick Hall and the legendary Muscle Shoals Rhythm Section. The artists who headed to Fame Recording Studios is like a who’s who of soul music. Everyone from Arthur Alexander, Arthur Conley, Candi Staton, Etta James, Otis Redding and Wilson Pickett. These artists are just a few of the names who recorded at Fame Recording Studios, Muscle Shoals. Then there’s What Clarence Carter, George Jackson, Otis Clay, Dan Greer and Prince Phillip Mitchell. They all feature on Hall Of Fame Volume 3, which was recently released by Kent Soul, a subsidiary of Ace Records. Hall Of Fame Volume 3 is a welcome addition to the Hall Of Fame series. You’ll realise why, when I tell you about Hall Of Fame Volume 3. Before that, I’ll tell you about the history of Fame Records.
The story starts during late fifties when Rick Hall, Tom Stafford and Billy Sherill founded a record label, and built their first studio above the City Drug Store in Florence, Alabama. However, by the early sixties, this nascent partnership would split-up, resulting in Tom Stafford and Rick Hall needing a new studio.
They decided to move to what had been a tobacco warehouse in Muscle Shoals, Alabama. As if by magic, Rick Hall soon recorded what would be his first hit single, Arthur Alexander’s You Better Move On. Wisely, he decided to invest the profit in a better studio, and moved to their current location Avalon Avenue in Muscle Shoals, Alabama. The first hit single Rick Hall recorded in his new studio was Jimmy Hughes’ Steal Away. Little did Rick Hall know it back then, but soon his new studio would see artists coming from far and wide to record at Fame.
After Rick’s success with Jimmy Hughes, word got out that Fame was the place to go to record a new single or album. Quickly, everyone from Tommy Roe to The Tams, and from Joe Tex, Joe Simon, George Jackson and Clyde McPhatter right through to Irma Thomas, Etta James and Mitty Collier. Even Aretha Franklin recorded at Muscle Shoals. Indeed, it was at Muscle Shoals that Jerry Wexler brought Aretha Franklin, to record her 1967 album I Never Loved A Man the Way I Loved You. However, why did all these artists choose to head to Muscle Shoals to Fame?
Part of the reason was the session musicians that worked with Rick Hall. This included the legendary Muscle Shoals Rhythm Section and Muscle Shoals Horns. They were some of the hottest and tightest musicians of that era. This included drummer Rodger Hawkins, bassist David Hood, guitarist Jimmy Johnson and keyboardist Barry Beckett. When they recorded together, they were one of the finest backing bands ever. Between 1961 and 1969, when they departed from Fame to found the rival studio Muscle Shoals Sound Studio. However, for eight years, they helped make Fame Records Southern Soul’s greatest label. They can be heard on numerous singles and albums. The Muscle Shoals Rhythm Section and Muscle Shoals Horns can also be found on many of the tracks on Hall Of Fame Volume 3.
Hall Of Fame Volume 3 features another twenty-four tracks from Fame Records illustrious back-catalogue. This includes twenty-two previously unreleased tracks. They’re a fascinating insight into the music being made in Muscle Shoals between 1965 and 1970. Just like the previous instalments in the Hall Of Fame series, Hall Of Fame Volume 3 features a whole host of hidden gems, emotive epics and tear jerkers. No wonder. With contributions from Clarence Carter, George Jackson, Joe Simon, Otis Clay, Dan Greer, Billy Young, Big Ben Atkins and Prince Phillip Mitchell. Some artists feature more than once. That’s no bad thing. These artists played a huge part in the Fame Records story. You’ll realise that when I tell you about Hall Of Fame Volume 3.
Billy and Clyde’s A World Of My Own opens Hall Of Fame Volume 3. It’s a real stomper. with a lead vocal that’s reminiscent of Billy Stewart. The Muscle Shoals Rhythm Section and Muscle Shoals Horns drive the arrangement along, braying horns and thunderous drums providing the backdrop to a stomper which Northern Soul fans will love.
Deservedly, Clarence Carter features three times on Hall Of Fame Volume 3. After all, Clarence played an important part in Fame’s success. He wasn’t just a singer, but a songwriter. Clarence released four singles on Fame. Hey Man, I Done Run Out and I Feel A Burning have never been released before. Given their quality that seems strange. The best of the three tracks is Hey Man. It epitomises everything that’s good about Southern Soul. Especially a soul baring vocal from Clarence. He’s torn and tormented, as the lyrics comes to life. I Done Run Out features a vocal that oozes emotion. Rasping horns are a constant companion as Clarence tells it like it is. Then there’s the mid-tempo I Feel A Burning. Clarence kicks loose, reminding me of Otis Clay and O.V. Wright. His lived-in, worldweary vocal is a full regret at the love he lost.
Dan Greer is better known as a songwriter that singer. He only released a handful of singles and one album. However, he wrote songs for Candi Staton, Spencer Wiggins, Wilson Pickett, Chaka Khan and The Ovations. Don’t Let A Good Thing Go To Waste is another of Dan’s composition. He delivers a sassy, strutting vocal where Southern Soul and funk unite. Truly, this is a real hidden gem. Compiler Tony Rounce deserves our thanks for including this track.
Ben and Spence released two singles for Atlantic in 1968. I Do and I Can’t Stop were the only singles they released for Atlantic. However, they were a talented duo, who feature three times on Hall Of Fame Volume 3. Their contributions include the slow,beautiful, bluesy paean L-O-V-E Love. You’re The One For Me is best described as tender ballad, featuring a needy, pleading vocal. Briefly, A Stone Loser reminds me of Sam and Dave’s Soul Man. It has a slow and bluesy sound. As for the vocal, it’s a fusion of emotion, power and soulfulness.
Billy Young’s You’re Too Much is easily one of the highlights of Hall Of Fame Volume 3. It’s a joyous explosion of soulfulness. Written by his hero Otis Redding, Billy pays homage to the King of soul. Accompanied by a stomping beat and blazing horns he creates a blistering track fans of Northern Soul will adore. Why Don’t You Care features a very different side to Billy Young. Here’s he’s transformed into a balladeer. As he delivers a vocal that’s tender, heartfelt and beautiful Billy demonstrates his versatility and ability to make lyrics come to life.
Roy Lee Johnson’s career began back in 1966, when he released So Anna Just Love Me on Josie Records. His career has spanned nearly fifty years. Despite this longevity, Roy never enjoyed the commercial success his talented deserves. He features twice on Hall Of Fame Volume 3. What Your Love’s Gonna Turn Out To Be, a tale of tumultuous relationship, demonstrates Roy’s undoubted talent as a singer and songwriter. The lyrics come to life, thanks to his feisty, emotive and grizzled vocal. Sometimes, despair fill his vocal on this dance-floor friendly track. Love Is Calling On Me is Roy’s other contribution. It’s very different. A slow, heartachingly beautiful ballad, Roy reminds me of Otis Redding as he breathes life, meaning and emotion into the lyrics.
Herman Moore is one of Southern Soul’s best kept secrets. Just one listen to Come On Home and Love Light and that’s apparent. Again, Come On Home epitomises everything that’s good about Southern Soul. Sadness, heartache and regret fills Herman’s needy vocal. Listening to the track, it’s as if Herman has been inspired by Otis Redding. Love Light is quite different. It’s a jaunty dance track. Pounding beats and stabs of braying horns accompany Herman as he shows us another side to his music.
George Jackson played huge part in the success of Fame Records. He was a singer and songwriter. Despite his undoubted talent as a singer, George is better known as a songwriter. Listening to I Don’t Want To Know, he brings the lyrics to life. Wistful and melancholy describes his delivery, while the legendary Muscle Shoals Rhythm Section provide the backdrop for George’s pensive vocal masterclass.
Prince Phillip Mitchell was signed to some of soul music’s biggest labels. Among them are Atlantic, Hi and Fame, who he recorded a handful of singles for. One track that’s lain unreleased is Prince Phillip Mitchell’s cover of Hail! Hail! The Gang’s All Here. This is a traditional track that’s given a makeover by producer Rick Hall. Here, Prince Phillip Mitchell accompanied by the Muscle Shoals Rhythm Section Mk. II prove a potent partnership, matching each other every step of the way, as old track takes on new life and meaning.
My final choices from Hall Of Fame Volume 3 come from Otis Clay. He’s an artist whose music I’ve been championing for more years than I can remember. He’s another case of an artist who commercial success eluded him. When you hear the delicious, hook-laden dance track She’s About A Mover you’ll wonder why? Quite simply, Otis delivers a vocal powerhouse on this alternate version of his 1968 single on Cotillion. The same year, Otis released You Don’t Miss Your Water as a single. It’s a soul searching ballad where Otis vocal literally oozes emotion, sadness and regret. This is one of two reasons to discover the music of Otis Clay, one of the soul music’s best kept secrets.
Whilst I’ve only mentioned seventeen of the twenty-four tracks on Hall Of Fame Volume 3, I could just as easily have mentioned any of the tracks. That’s how good the music is. From the start of Billy and Clyde’s World Of My Own, right through to Otis Clay’s You Don’t Miss Your Water, the twenty-floor slices of Southern Soul ooze quality. No wonder.
Some of the most talented Southern Soul singers make an appearance. This includes old friends like Clarence Carter, George Jackson, Otis Clay, Dan Greer and Prince Phillip Mitchell. They make a welcome return. Then there’s contributions from Billy and Clyde, Ralph Soul Jackson, Billy Young, Herman Moore and Roy Lee Johnson. Quite simply, there’s not a bad track on Hall Of Fame Volume 3.
Compiler Tony Rounce has dug deep and discovered a whole host of hidden gems. That’s why Hall Of Fame Volume 3, which was released by Kent Soul, a subsidiary of Ace Records, is the best instalment in the Hall Of Fame series. For anyone with an interest in either Fame, Records, Southern Soul, soul music or just good music, then Hall Of Fame Volume 3 is an essential purchase. It’s also the perfect addition to the two previous volumes in the Hall Of Fame series. Just like much of the music on the two previous volumes, Hall Of Fame Volume 3 features timeless Southern Soul. They’ve all got one thing in common.
Each of the twenty-four tracks were recorded at Fame Recording Studios, Muscle Shoals. The artists who feature on Hall Of Fame Volume 3 were accompanied by some of the greatest session musicians of all time. These musicians, the legendary Muscle Shoals Rhythm Section, played Arthur Alexander, Arthur Conley, Candi Staton, Etta James, Otis Redding and Wilson Pickett. That’s how good they were. That’s apparent from the music on Hall Of Fame Volume 3. The twenty-four tracks on Hall Of Fame Volume 3 ooze quality, emotion, heartbreak and joy. They’re a poignant reminder of Fame Records’ glory days, when they were one of the most important labels in history of soul music. Their legacy is the music they recorded released, including the music on Hall Of Fame Volume 3. Standout Tracks: Billy and Clyde A World Of My Own, Clarence Carter Hey Man, Billy Young You’re Too Much and Otis Clay She’s About A Mover.
HALL OF FAME VOLUME 3.
MICHAEL BLOOMFIELD-FROM HIS HEAD TO HIS HEART TO HIS HANDS.
MICHAEL BLOOMFIELD-FROM HIS HEAD TO HIS HEART TO HIS HANDS.
Michael Bloomfield was an unlikely candidate to become one of the finest blues guitarists of his generation. He was born in Chicago in 1943. His family were a wealthy Jewish-American family who lived in the north side of Chicago. His family hoped he’d join the family catering business. That wasn’t for Michael. He’d other plans. Ever since he’d been interested in music his first love was the blues. This is apparent on the box set of Michael Bloomfield’s music From His Head To His Heart To His Hands, which was released by Song on 3rd February 2014.
His Head To His Heart To His Hands is the perfect introduction to Michael Bloomfield’s career. It’s a four disc set. The first three discs feature a combination of Michael’s collaborations and solo work. Disc one is entitled Roots, disc two Jams and disc three Last Licks. On these three discs are forty six tracks, which feature Michael’s collaborations with Muddy Waters, Janis Joplin, Bob Dylan, The Electric Flag and The Paul Butterfield Blues Band. There’s also nine unreleased tracks on the three discs. This makes His Head To His Heart To His Hands a veritable musical treasure trove. An added bonus is disc four, a documentary about Michael’s life. Entitled Sweet Blues: A Film About Michael Bloomfield, is the finishing touch. For the newcomer to Michael Bloomfield, this is the perfect place to start. Why? I’ll tell you that after I’ve told you about Michael Bloomfield and his music.
Growing up, the young Michael Bloomfield literally lived for blues music. By the time Michael was a teenager, he was a regular fixture at Chicaago’s south side blues’ clubs. Already, Michael was playing alongside blues legends like Sleepy Johns Estes, Little Brother Montgomery and Yank Rachell. For a blues fan like Michael, he was living the dream. Here he was playing alongside some of the greatest blues musicians. Whether he realised it, this was Michael’s musical apprenticeship.
By the time Michael was twenty-two, he was well on the way to establishing a reputation as one of the best guitarists of his generations, Michael had met first Paul Butterfield and Elvin Bishop when he was doing the rounds of Chicago’s blues clubs. By then, Michael had recorded a few sessions as a solo artist for Columbia. Despite that, he decided he’d rather join The Paul Butterfield Blues Band.
Michael was a member of The Paul Butterfield Blues Band when they recorded their 1965 eponymous debut album. It reached number 123 in the US Billboard 200 and is perceived as a classic album. No wonder. Look at the rhythm section. Accompanying Michael and Elvin Bishop on guitar were Howlin’ Wolf’s bassist Jerome Arnold and veteran blues drummer Sam Lay. Later in 1965, Michael played on another classic album.
Bob Dylan had been an admirer of Michael’s guitar playing. He’d been aware of Michael from his early years playing in Chicago. So, he made the call to Michael and asked him to play on his forthcoming album. This would be Bob Dylan’s seminal classic Highway 61 Revisited. Recording took place over nine days in June, July and August 1965. Highway 61 Revisited reached number three in the US Billboard 200 and number three in the UK. It featured the classic song Like A Rolling Stone. Michael had played his part not just in a classic album, but one of the most memorable songs in the history of modern music. However, this was just the top of the musical iceberg.
In 1966, Michael returned to playing with The Paul Butterfield Blues Band. He played on their sophomore album East-West. It was recorded at the legendary Chess studios. The magic rubbed off and East-West reached number sixty-five in the US Billboard 200 Charts. This proved to the last album Michael recorded with The Paul Butterfield Blues Band. He’d grown disenchanted with The Paul Butterfield Blues Band. Part of the problem was the gruelling tours The Paul Butterfield Blues Band headed out on. So, Michael formed his own band The Electric Flag.
With drummer Buddy Miles and keyboardist Barry Goldberg, Michael founded The Electric Flag. They were joined by a variety of well known musicians. Their music is best described as a fusion of blues, rock and soul. Having made their debut at the Monterrey Pop Festival in 1967,The Electric Flag went on to release three albums. Their debut was 1967s soundtrack to the move The Trip. This was followed by 1968s A Long Time Coning and The Electric Flag: An American Music Band. Sadly, The Electric Flag was a short-lived band, who never quite filled their potential. They literally fell apart amidst tales of drug abuse, poor management and disagreements between band members. Things go so bad, that Michael left his own band and began working with Al Kooper.
Along with Al Kooper and Stephen Stills, Michael released the first of what would be several collaborations. He released Super Sessions on Columbia in 1968. Then a year later, Michael released his debut solo album.
It’s Not Killing Me, Michael’s debut album was released in 1969, which showcased Michael’s fluid guitar playing. This had become Michael’s trademark style. It featured on three other albums Michael played on that showcased Michael’s guitar playing. This includes Live At Bill Graham’s Fillimore West and The Live Adventures of Mike Bloomfield and Al Kooper. The other release was Fathers and Sons, a collaboration with Muddy Waters, Otis Spann, Sam Lay and Donald “Duck” Dunn. Remarkably, this wasn’t the only albums where Michael Bloomfield’s guitar playing can be heard.
Before the sixties were over, Michael had played alongside The Chicago Loop Band band on their 1966 album. Michael played on Grape Jam, Moby Grape’s 1968 sophomore album. However, Michael didn’t play guitar. Instead he played piano. The same year, Michael credited as Mukal Blumfield played on Mother Earth’s Living With Animals album. Then in 1969, the busiest year of Michael’s career so far, Michael played on Muddy Waters’ Fathers and Sons. For a blues lover like Michael, this must have been one of the highlights of his career. Another album Michael played on, was Janis Joplin’s I Got Dem Ol’ Kozmic Blues Again Mama! Released in June 1969, the album was certified platinum. If only Michael could release such a successful album? Maybe his luck would change in the seventies?
For the first half of the seventies, Michael concentrated on session work and collaborations. Michael and Nick Gravenites provided the soundtrack to Steel Yard Blues in 1972. Then in 1973, Michael, John Paul Hammond and Dr. John joined forces on Triumvirate. While this wasn’t the most successful album ever released, it showcased three hugely talented musicians at the peak of their powers. So did the solo albums Michael released in the second half of the seventies.
1976 saw Michael release If You Love These Blues, Play ‘Em As You Please. His previous album, Try Before You Buy was recorded in 1973, but wasn’t released until the eighties. So, If You Love These Blues, Play ‘Em As You Please wasn’t just Michael’s first solo album of the seventies, but only his sophomore album. His third album was 1977s Analine. Then in 1978, Michael released two albums. They were Michael Bloomfield and Count Talent and The Originals. Michael’s final album of the seventies was 1979s Between A Hard Place And The Ground. Bloomfield-Harris a collaboration with Woody Harris was also released in 1979. Having released five solo albums since 1976, little did anyone know that Michael would only release one more solo album.
Cruisin’ For A Bruisin’ was recorded before Michael’s death in February 15th 1981. Nobody has ever got to the bottom of the circumstances surrounding Michael’s death. He was found dead in his car. The cause of death was a drug overdose. However, it’s thought Michael died elsewhere, possible at a party and was moved after his death. That day, music lost one of its most talented guitarists. Michael had packed a lot of living into his forty-seven years. He’d lived his life hard and fast. There was never any danger of Michael Bloomfield fading away. Instead, he burnt out and left behind a rich musical legacy. A tantalising taste of Michael Bloomfield’s musical legacy can be found on the From His Head To His Heart box set, which I’ll tell you about.
DISC ONE-ROOTS.
On disc one of His Head To His Heart To His Hands, which is entitled Roots, there are sixteen tracks. This includes seven previously unreleased tracks. I’m a Country Boy, Judge, Judge and Hammond’s Rag are previously unreleased tracks from Michael’s audition for Columbia. Even aged twenty-one, which Michael was then, he’s a prodigious talent. I’ve Got You in the Palm of My Hands and I Got My MoJo Working were also recorded in 1964. They were produced by none other than John Hammond. These two blistering blues demonstrate what Michael was capable of.
Three tracks from The Paul Butterfield Blues Band feature on disc one. Born in Chicago and Blues with a Feeling are from the 1965 debut album The Paul Butterfield Blues Band. The other track, East-West is the title-track to the 1966 album. It’s thirteen minute Magnus Opus which reminds you how good a band The Paul Butterfield Blues Band were. These three tracks are a reminder that The Paul Butterfield Blues Band’s first two albums were their best.
For Bob Dylan fans, the instrumental version of Like a Rolling Stone and the Alternate Chambers Brothers Version of Tombstone Blues will make From His Head To His Heart, essential listening. The instrumental version of Like a Rolling Stone is a laid-back jam where Michael’s fluid guitar playing and the piano are the perfect foil for the Hammond organ. Remixed by Al Kooper and Magic Dave Roberts, new life is breathed into a classic track.
There’s five tracks from The Electric Flag on disc one. Killin’ Floor, Texas and Easy Rider are taken from the group’s 1968 sophomore album A Long Time Coming. Susie’s Shuffle and Just a Little Something demonstrate just how good a live band The Electric Flag were.
DISC TWO-JAMS.
Disc Two of His Head To His Heart To His Hands, which is entitled Jams, features fourteen tracks. The first three track are from Super Session, a collaboration between Michael and Al Kooper. Albert’s Shuffle and His Holy Modal Majesty were penned by Michael and Al. The other track was Stop. They’re a reminder of the quality of music on Super Session, which features two blues virtuosos showcasing their wares. Quite simply, Michael and Al were a potent partnership. Thankfully, that’s not the end of this partnership.
During 1969, Michael and Al featured on two live albums. They were The Live Adventures of Mike Bloomfield and Al Kooper and Live At Bill Graham’s Fillimore West. The Weight, Her Holy Modal Highness, Fat Grey Cloud and Mary Ann are all taken from The Live Adventures of Mike Bloomfield and Al Kooper. Al rejoins Michael on Live At Bill Graham’s Fillimore West. They’re at the top of their game. Proof of this is 59th Street Bridge Song (Feeling Groovy), Don’t Throw Your Love on Me So Strong, Santana Clause, Opening Speech, One Way Out and That’s All Right. The eleven live tracks on disc two, feature Michael Bloomfield guitar virtuoso at his blistering, bluesy best.
DISC THREE-LAST LICKS.
The third and final disc of music on His Head To His Heart To His Hands is entitled Last Licks. It features another sixteen tracks, fifteen of which are live tracks. The exception is Don’t Think About It Baby. It’s taken from Michael’s debut album It’s Not Killing Me. It’s a tantalising taste of one of the finest albums Michael released as a solo artist. Then there’s the live tracks,
This is where Michael’s at his best. I’m Glad I’m Jewish, Men’s Room, Don’t You Lie to Me, Darktown Strutters Ball, Jockey Blues/Old Folk’s Boogie, A-Flat Boogaloo and Hymn Time were recorded in 1977 and feature on the 1987 album I’m With You Always
Nick Gravenites adds vocal on a trio of tracks. This includes Gypsy Good Time from My Labors. It’s About Time and Carmelita Skiffle see Nick feature on the 1969 album Live At Bill Graham’s Fillimore West. Accompanied by a band at the top of their game, Nick’s vocal is the finishing touch to theses tracks.
Can’t Lose What You Never Had is a track from Muddy Waters’ 1969 album Father and Sons. For Michael, playing alongside a true blues legend must have been a dream come true. This seems to encourage him to even greater heights.
One Good Man is a track from Janis Joplin’s 1969 album I Got Dem Ol’ Kozmic Blues Again Mama! It features Janis Joplin at her best. No wonder the album sold over one million copies.
Among the other tracks on disc three are previously unreleased tracks. This includes Glamour Girl, Spoken Intro and The Groom’s Still Waiting at the Altar. Their addition is to be welcomed. They allow is to hear the listener to hear another side to Michael Bloomfield and his music. That’s often the case with live tracks. The listener is able to hear an artist in their natural environment. This means they’re relaxed and at ease. You can hear that on Spoken Intro, where Michael’s obviously enjoying himself. He’s a natural raconteur, toying with the audience. They’re enthralled, spellbound by the maverick bluesman at his best. Michael shines during these live performance, proving why he’s one of the greatest guitarists in musical history.
Adding the finishing touch to the His Head To His Heart To His Hands box set is Sweet Blues: A Film About Michael Bloomfield this is the finishing touch. For the newcomer to Michael Bloomfield, this will tell give them an overview of the life and times of Michael Bloomfield. It’s best described as a moving and poignant tribute to an artist whose career was cut tragically short.
Tragedy intervened in Michael Bloomfield’s career on 15th February 1981. Aged just forty-seven, he died of a drug’s overdose. That day, music lost one of its most talented sons. Despite his recording career spanning just fifteen years, Michael released eight solo albums. Then there’s the two albums he recorded with The Paul Butterfield Blues Band and a trio of albums with The Electric Flag. Then there’s collaborations with Al Kooper, Dr. John and Nick Gravenites. He also accompanied Bob Dylan, Moby Grape, Janis Joplin and Muddy Waters. Michael Bloomfield was the go-to-guy for an artist looking for a guitarist for hire.
Back in the sixties, there were plenty guitarists for hire, but not many who played with the same fluidity as Michael. In Michael’s hands, the guitar came alive. It spoke, cried and wept. Emotions came to life via Michael’s guitar playing. That’s why some of the biggest names in music asked Michael to accompany them. Along with his work as a solo artist, Michael Bloomfield is remembered as one of the greatest blues guitarists of his generation.
Truly, Michael Bloomfield was a blues great, one who helped repopularise the blues during the sixties. Michael Bloomfield helped introduce a new generation of music lovers to blues music. In doing so, blues players like Sleepy Johns Estes, Little Brother Montgomery and Yank Rachell, who Michael once played alongside, found a new generation discovering their music. That’s quite fitting, given Michael as a teenager, lived and breathed blues music. Having helped introduce blues to another generation, Michael became one of the genre’s most popular players.
Even today, nearly thirty-three years after his death, Michael Bloomfield is revered as a musician. He’s remembered as a blues fan who lived the dream. Having grownup playing alongside some of the greatest blues musicians ever, he became a keeper of blues music’s flame. During his recording career, which tragically, only lasted fifteen years Michael Bloomfield recorded some of the best blues music of the sixties and seventies. A reminder of this is the music on the His Head To His Heart To His Hands box set which celebrates the life and times of Michael Bloomfield.
MICHAEL BLOOMFIELD-FROM HIS HEAD TO HIS HEART TO HIS HANDS.
BOBBY CHARLES-BOBBY CHARLES.
BOBBY CHARLES-BOBBY CHARLES.
Bobby Charles will always be remembered as one of the pioneers of swamp pop. He played a huge part in popularising swamp pop, not just in Louisiana, but much further afield. However, there’s more to Bobby Charles’ career than that. Much more. Bobby was also a successful songwriter. The story begins in 1955.
In 1955, Bobby Charles signed to Chess Records. His debut single was Later Alligator. Although it wasn’t a commercial success, it gave another artist one of the biggest hits of their career.
Later Alligator would later be released by Bill Haley and The Comets as See You Later Alligator. It also featured in the film Blackboard Jungle. This wasn’t the only Bobby Charles song recorded by major artists. Fats Domino recorded Walking To New Orleans and Clarence “Frogman” Henry covered (I Don’t Know Why) But I Do. Bobby’s songs were also covered by everyone from Paul Butterfield, Wilson Pickett, Muddy Waters, Joe Cocker, Bo Diddley and Tony Joe White. These are just a few of the musicians who recorded Bobby Charles’ songs. Bobby also worked with some of the biggest names in music, including The Band.
In 1972, there weren’t many bands bigger than The Band. Since 1969, they’d just a quartet of albums. This began with 1969s Music From The Big Pink, 1969s The Band, 1970s Stage Fright and 1971s Cahoots. Before that The Band had accompanied Bob Dylan between 1965 and 1972. So, they were at the peak of their popularity. This meant having The Band accompany Bobby Charles on his 1972 eponymous debut album was something for a coup for Bobby. With The Band accompanying Bobby on his 1972 debut album Bobby Charles, which was recently rereleased by Light In The Attic Records, surely the album was bound to be a hit? Especially given Bobby wasn’t exactly a rookie.
No. Bobby’s career began back in 1955. He was only seventeen. Bobby was born Robert Charles Guidrin in Abbeville, Louisiana in1938. He’d grownup listening to Cajun and country and western music. Hank Williams was one of Bobby’s favourites. That’s until he heard Fats Domino. That was a game-changer. For Bobby, this “changed his life forever.” Little did Bobby realise that in 1960, he’d cowrite Walking To New Orleans with Fats Domino and Dave Bartholomew. By then, Bobby’s career was well underway.
It was in 1955 that a seventeen year old Bobby Charles released Later Alligator for Chess Records. He’d spend the next two years signed to Chess. In 1956, Bobby released Laura Lee, Why Can’t You and Take It Easy. The following year, 1957, Bobby released three further singles on Chess, No More (I Ain’t Gonna Love You No More) and One Eyed Jack. That was the end of Bobby’s time at Chess. It wasn’t the most successful period of his career. After that, Bobby split his time between songwriting and singing live.
During that period, Bill Haley and The Comets covered Later Alligator as See You Later Alligator in 1960. It also featured in the film Blackboard Jungle. The same year, Clarence “Frogman” Henry covered (I Don’t Know Why) But I Do. It gave him one of the biggest hits of his career. Then in 1994, it featured on the soundtrack to Forrest Gump. Then in 1963 Bobby cowrote Walking To New Orleans with Fats Domino and Dave Bartholomew. Given the influence Fats Domino had on Bobby Charles, this must have been one of the highlights of his career so far.
1964 saw Bobby return to the recording studio. He recored Everybody’s Laughing, a song he penned with Stan Lewis. It was released on Jewel Records. Just like his previous singles, commercial success eluded Bobby. So he returned to playing live and writing songs. He was happy doing this for the next few years. Then Bobby had the chance of lifetime.
Having signed to Bearsville in 1972, at last, Bobby had the opportunity somewhat belatedly, to record his debut album. Bobby wrote eight tracks and cowrote two other tracks. He penned Small Town Talk with Rick Danko who co-produced the album with Bobby. Grow Too Old was a track Bobby penned with Fats Domino and Dave Bartholomew. These ten tracks became Bobby Charles which saw Bobby accompanied by none other than The Band.
Accompanying Bobby on Bobby Charles four out of five members of The Band. Only Robbie Robertson was absent. The band backing Bobby included some of the most talented musicians of the early seventies. The members of The Band were multi-instrumentalists. Rick Danko, who played bass, guitar and violin. Levon Helm played drums, mandolin, guitar and bass. Garth Hudson played keyboards, saxophone, accordion, pedalboard, woodwinds and horns. Richard Manuel played piano, drums, organ, marimba, lap slide guitar. Other musicians included guitarists
Geoff Muldaur Amos Garrett, Ben Keith and Rob Neuwirth plus drummer Billy Mindi. Adding horns were trumpeter Joe Newman and saxophonist David Sanborn. They were joined by pianist Dr. John and violinist Harry Lookofsky. This was the band that recorded Bobby Charles, which was released in 1972.
Despite the presence of The Band on Bobby Charles, the album wasn’t a commercial success. It failed to chart. That’s despite what’s essentially a genre-melting musical journey with Bobby Charles as your tour guide. Everything from Americana, country, pop, R&B, rock and and soul shines though on Bobby Charles, which I’ll tell you about.
Opening Street People is Street People. Hissing hi-hats, hesitant bluesy guitars and a probing bass provide the backdrop for Bobby’s worldweary vocal. He seems destined to be a drifter. Despair and resignation fill his voice as he sings about” “hanging out with the Street People, drifting from town to town.” Meanwhile, the band play around Bobby’s vocal. They frame Bobby’s vocal. It’s a mixture of bravado, resignation and irony given the situation he finds himself in.
As Long Face unfolds, the unmistakable sound of Dr. John can be heard on the piano. He adds a New Orleans’ R&B sound, while the rhythm section provide the heartbeat. Washes of Hammond organ give way when Bobby’s tender vocal enters. It’s heartfelt and full of concern. Behind him, the band provide a delicious backdrop. Everything from jazz, R&B, rock and soul is combined. When Bobby’s smoke hued vocal is added this proves a potent partnership.
Just a piano and reverberating guitar combine as I Must Be In A Good Place Now unfolds. They set the scene for Bobby’s wistful vocal. Memories come flooding back, as Bobby reflects. He’s accompanied by a laid-back, jazz-tinged arrangement. Partly, this comes courtesy of drummer Levon Helm. His playing is subtle and sparse. Never once does he come close to overpowering the vocal. As for the piano, it’s the perfect accompaniment, to Bobby’s tender, pensive vocal. He sounds like J.J. Cale in his prime. That’s how good this track is.
Save Me Jesus marks a change in style. Gone is the balladry of the previous track. Replacing it is a track with a much stronger country influence. This comes courtesy of the rhythm section and guitars. Bobby’s vocal is different too. It’s husky and delivered with a twang. Despairing and needy describes his vocal. He pleads “Save Me Jesus, Save Me Jesus, for this godforsaken place.” Bobby’s rails against greed and avarice. His lyrics are full of social comment and he delivers them with power, emotion and hope. This results in a moving and powerful song, one that’s still relevant today.
Bobby scats before All The Money decides to reveal its secrets. It’s shaping up to be a fusion of jazz, blues and gospel. That proves to the case. The track has a loose, laid-back sound. You can imagine Bobby and The Band jamming, as they perfect this track. Horns rasp, while the rhythm section and handclaps accompany Bobby’s grizzled vocal. He sings with frustration “he got all the money, he got all the women…he got all the power, but he give me none.” The result is a fusion of blues, gospel, jazz and rock that demonstrates Bobby’s versatility.
Small Town Talk meanders into being. Bobby whistles, while the rhythm section, guitars and Hammond organ provide a backdrop for Bobby’s tender vocal. He sounds weary as sings about “Small Town Talk.” You sense he’s been a victim of “Small Town Talk” far too often and he’s drawing upon experience. Wistful, weary and melancholy describes Bobby’s lived-in, languid vocal.
Let Yourself Go has a glorious country sound. This comes courtesy of the honky tonk piano, weeping guitars and rhythm section. Then there’s Bobby’s needy, tender and seductive vocal. His vocal is needy as he sings “come on, lay down, right hear beside me.” The band raise their game. They play their part in what’s one of the best arrangements on Bobby Charles. No wonder. That’s what I’d expect from a combination of Bobby Charles and The Band.
Blistering guitars and honky tonk piano open Grow Too Old. With the rhythm section adding the heartbeat, this sets the scene for Bobby’s vocal. It’s a fusion of power, passion and joy. Later, blazing horns are unleashed. They soar above the arrangement as blues, country and rock are combined to create a slice of good time music.
I’m That Way sees the good time music continue. Bobby’s all-star band deliver a musical masterclass. Dr. John plays piano and is joined by country-tinged guitars. They’re joined by the rhythm section and Bobby’s vocal. It’s feisty and sassy. He tells his partner he’s leaving and looking for someone new. Guitars answer his call, while the band enjoy some grandstanding. This is a reminder, if any was needed, of just how good they are.
Closing Bobby Charles is Tennessee Blues. Just a thoughtful, chiming guitar and gently strummed acoustic guitar combine. They’re joined by an accordion. This results in a melancholy backdrop. It’s perfect for Bobby’s heartbroken vocal. Hurt and despair fills his voice. When he sings: “if I had my way, I’d leave here today, I’d leave in a hurry” it’s obvious he means every word. With a vocal oozing emotion, Bobby sings about being unable to shake the “Tennessee Blues.” So, realistic is Bobby’s delivery, it’s as if he’s lived, loved and survived to tell the tale.
Listening to Bobby Charles, which was recently rereleased by Light In The Attic Records, which was released forty-two years ago, the best way to describe the album is a timeless, classic in-waiting. Despite being accompanied by most of The Band, plus some of the best session players of the day, Bobby Charles wasn’t a commercial success. Granted working with The Band lifted Bobby’s profile. More people heard his music. Sadly, not enough to make the album a hit. As a result, Bobby Charles didn’t chart. Since then, it’s remained one of music’s best kept secrets.
Those in the know talk about Bobby’s debut album Bobby Charles in hushed tones. It’s given the reverence it deserves. It was as if everything Bobby had done since his 1955 single Later Alligator, had been building towards this. He’d waited long enough to release his debut album. So he wasn’t going to blow it. Like a prize fighter belatedly getting a title fight, Bobby Charles grabbed the opportunity. He penned eight tracks and cowrote the two other tracks. Then with The Band in tow, recorded a genre-melting epic. Everything fro, Americana, blues, country, pop, R&B, rock, soul and swamp pop shines through on Bobby Charles.
On Bobby Charles, Bobby should’ve made the step from contender to champion. It’s an album that oozes quality. From the opening bars of Street People, right through to the closing notes of Tennessee Blues, it’s akin to jumping onboard a musical roller coaster. Musical genres and influences melt into one. So do emotions as Bobby sings about betrayal, heartbreak and hurt. It’s as if he’s experienced the hurt and heartache he’s singing about. Despite that, Bobby’s capable of delivering vocals with tenderness and emotion Other times, Bobby happiness and joy fills Bobby’s voice. Each of the ten tracks tells a story, which Bobby brings to life. It’s as if he’s lived and survived the lyrics. Bobby Charles it seems is a survivor.
Following the commercial failure of his debut album Bobby Charles in 1972, Bobby went on to enjoy a long and successful career. While chart success eluded Bobby as a singer, other singers made his songs a hit. Meanwhile, Bobby released another six albums before his death in 2010. By then, he’d established a reputation as one of the founding father’s of swamp pop. However, his debut album, Bobby Charles, which is a classic in-waiting, shows there’s more to Bobby Charles than swamp pop. Much more. Standout Tracks: Street People, I Must Be In A Good Place, Let Yourself Go and I’m That Way.
BOBBY CHARLES-BOBBY CHARLES.
STUDIO ONE ROCKSTEADY.
STUDIO ONE ROCKSTEADY.
Soul Jazz Records’ latest compilation Studio One Rocksteady, which was released on 3rd February 2014, sees compiler Lloyd Bradley return to the vaults of Studio One Records. Previous visits to the Studio One vaults have resulted in rich pickings for Soul Jazz Records. No wonder. Studio One Records was one of reggae legendary labels. Comparisons have been drawn with both Motown and Stax. Indeed, Studio One Records was once described as the Motown of Jamaica. That’s why Soul Jazz Records have released a string of compilations of music released by Studio One Records.
This includes everything from ska, dub, lovers rock and roots reggae. However, Studio One Records is still a veritable gold mine awaiting discovery. Proof of this is Studio One Rocksteady. It features not just some of the biggest names in rocksteady, but reggae. This includes The Heptones, Dennis Brown, Marcia Griffiths, John Holt, Jackie Mittoo and Ken Boothe. Each of these artists feature on Studio One Rocksteady.
Studio One Rocksteady is described as not a compilation or rocksteady. No. It’s much more than that. It’s described as: “a compilation of rocksteady, soul and early reggae recorded at Studio One.” That’s apparent from the first time you listen to Studio One Rocksteady. Compiler Lloyd Bradley, the author of Dub Culture, which is the ultimate history of reggae, has chosen well. You’ll realise that when I tell you about Studio One Rocksteady. Before that, I’lll tell you about Studio One Records and rocksteady.
Although Studio One was founded in 1954, it wasn’t until October 1963 that Coxsone Dodd recorded his first single. This took place at the Jamaica Recording and Publishing Studio, at 13 Brentford Road, Kingston. What was a former jazz club The End, would become a one-stop musical shop. Musicians could head to what became known as Studio One, to write and record music.
Soon, Studio One Records would become a meeting place for musicians and songwriters from all over Jamaica. They could meet with other songwriters and musicians, and work on songs. Soon, some of the biggest names in Jamaican music were meeting at Studio One Records. They could write and then record a song at Studio One. Essentially, it was a one stop musical shop. This lead to comparisons with American soul labels like Motown. At Studio One, some of the best reggae music to come out of Jamaica was recorded. Part of the Studio One success story was the house band, The Skalites.
In the early days, the artists that recorded at Studio One Records were accompanied by one of reggae’s legendary studio bands The Skalites. It was during May 1964 that The Skalites were formed by Coxsone Dodd. His idea, was to bring the best musicians together to play on his own recordings. The man given the job of putting together this group of top musicians was Tommy McCook. He turned down this chance, but eventually, agreed to join what became The Skalites.
Eventually, the lineup of The Skalites was like a who’s who of reggae. This includes the rhythm section of bassist Lloyd Brevett, drummer Lloyd Knibbs and guitarist Jah Jerry Hinds. They were augmented by pianist Jackie Mittoo and a horn section of tenor saxophonist Tommy McCook, trumpeter Johnny Moore, alto saxophonist Lester Sterling. This was the lineup of The Skalites that played on some of the best music recorded at Studio One Records. This includes some of the tracks on Studio One Rocksteady. However, what’s rocksteady?
Rocksteady was born around 1966. It picked up the baton from ska, which had dominated reggae since the fifties. The name rocksteady came from an Alton Ellis track Rock Steady. However, Rock Steady may not have been the first rocksteady single. That could either be Derrick Morgan’s Tougher Than Tough, Roy Shirley’s Hold Them or Hopeton Lewis’ Take It Easy. One of these singles resulted in the birth of of rocksteady. Soon, rocksteady was being popularised by Jamaican vocal harmony groups. This includes The Heptones and The Gaylads. They both feature on Studio One Rocksteady. However, it wasn’t until 1968 that rocksteady became popular overseas.
This was when American soul sing Johnny Nash enjoyed a hit single with Hold Me Tight. Johnny Nash then headed to Jamaica to record reggae music. He became the first non-Jamaican singer to record reggae music. After this, Johnny Nash became synonymous with reggae music, especially. No wonder. There are several similarities between soul and rocksteady.
Everything from soul, R&B, jazz and ska influenced rocksteady. So did African and Latin drumming. Just like its predecessor ska and its successor reggae, was built around what’s known as the one drop drum beat. However, what makes rocksteady so instantly recognisable is the offbeat rhythms and staccato chords. They’re usually played by a guitar and piano on the second and fourth beat of the bar. Then there’s the tempo of rocksteady. It’s usually between 80 and 100 beats per minute. This was much slower than ska. For two years, rocksteady provided the soundtrack to Jamaican life.
It was around the spring of 1968 that rocksteady was usurped in popularity by an early version of reggae. This was a reaction to the social problems that were affecting Jamaica. Many people from rural Jamaica were flooding into Kingston’s ghettoes. Although people were still optimistic after the country’s independence, poverty was rife. Especially in areas like Trenchtown and Greenwich Town.
Within these areas the younger generation were angry and disaffected. These young men were referred to as rude boys. They couldn’t relate to rocksteady. What they wanted was music that spoke to, and for them. This was the beginning of an important part of youth culture. However, it was the end of the line for one of the first genres of modern Jamaican music, rocksteady. Rocksteady had replaced ska as the most popular musical genre in Jamaica. Over forty years later, and rocksteady is just as popular. Proof of this is Studio One Rocksteady, a compilation of seventeen rocksteady tracks, which I’ll pick the highlights of.
My first choice from Studio One Rocksteady is The Eternals’ Stars. It was released in 1969. By this time, rocksteady was no longer as popular. Maybe that’s why this was the only single The Eternals released for Studio One? Mind you if you’re only going to release one single for Studio One, make it one as good as Stars. Stars was written by Cornell Campbell, who takes charge of lead vocals. Horns drive along the languid, light, bright meandering arrangement. That sets the scene for Cornell’s tender, heartfelt vocal. Accompanied by harmonies
John Holt enjoyed a long and successful career and is one of the best known artists on Studio One Rocksteady. He enjoyed a string of hit singles and released the classic album 1,000 Volts of Holt in 1973. His contribution to Studio One Rocksteady is Fancy Make Up, which he wrote and Coxsone Dodd produced. With a vocal full of frustration, he delivers a vocal full of frustration and bitterness. He’s angry at the women who’ve “robbed and cheated” him. This he does against a horn driven arrangement which epitomises what rocksteady is all about.
The Heptones feature twice on Studio One Rocksteady. That’s only fair, given how important a part they played in Jamaican musical history. They spent five years signed to Studio One, releasing their eponymous debut album in 1967. Some of the best music The Heptones recorded was produced by Coxsone Dodd. Proof of this is Party Time and Love Won’t Come Easy, which was released in 1973. It was penned and produced by Coxsone Dodd. Party Time was written by The Heptones and produced by Coxsone Dodd. Released in 1974, just like Love Won’t Come Easy it’s slow, sensual and quite beautiful.
It was in 1968 that The Gaylads released Joy in the Morning on Coxsone Records. Rocksteady was about to be usurped in popularity by reggae. However, the group formerly known as Bibby and The Astronauts had something up their sleeve. This was Joy in the Morning. Magical, melodic and mesmeric, this was musical perfection. Whether it was the vocal, cascading harmonies or the chugging rhythm section, this is a beautiful and flawless example of rocksteady.
Marcia Griffiths career began in 1964, when she was a vocalist for Byron Lee and The Dragonaires. Not long after this, Marcia started working with Coxsone Dodd. This was the start of a long and successful career for one of Jamaica’s most talented and underrated female vocalists. On My Ambition, Marcia delivers a soulful masterclass. She mixes elements of soul, jazz and gospel, bringing the lyrics to life. This is the perfect introduction to one of Jamaican music’s best kept secrets…Marcia Griffiths.
Not only was Jackie Mittoo was The Skalites’ pianist, but he enjoyed a successful solo career. During his career, he worked with a number of producers. However, Coxsone Dodd played an important role in Jackie’s career. After being a member of The Skalites, he embarked on a solo career. His debut album was 1967s In London. Two years later, Jackie released the Coxsone Dodd produced Our Thing. Featuring a soulful, vampish vocal, the horn driven arrangement skanks along. Throughout the track Jackie is forever the showman vamping his way through the lyrics mixing power, drama and soulfulness.
Dennis Brown is yet another legend of Jamaican music that features on Studio One Rocksteady. Throughout his career, Dennis’ music constantly evolved. In 1972, when he released Take It Easy as a single, his music is best described as roots reggae. Later, his music took on a more militant and then spiritual sound. For some, Dennis Brown was the voice of a generation. He gave a voice to those who had none. Take It Easy has a much more mellow, laid-back vibe, that shows another side to Dennis Brown.
Ken Boothe features twice on Studio One Rocksteady. He contributes Home, Home, Home and Moving Away. Home, Home, Home was released in 1967, and features a soul-baring vocal. Tired and missing home, Ken pictures the sights and sounds. This homecoming comes to life thanks to Ken’s delivery of the lyrics. Moving Away was released a year later in 1968. Soulful, heartfelt and full of sadness describes Ken’s vocal. That’s because his partner is “Moving Away.” His voice is needy and emotive as Ken sings the lyrics as if he’s lived, loved and survived them.
Whist I’ve only mentioned ten of the seventeen tracks on Studio One Rocksteady, I was totally spoiled for choice. Really, I could just about have picked any of the seventeen tracks. That reflects the quality of music on Studio One Rocksteady. The best way to describe Studio One Rocksteady is all killer, no filler. That’s no surprise. After all, look at that the man behind Studio One Records. Coxsone Dodd was a producer and songwriter with exacting standards. Quality control was important to Coxsone. Inferior music didn’t get to bare the Studio One logo. No chance. He only worked with the creme de la creme of Jamaican music. This includes The Heptones, Dennis Brown, Marcia Griffiths, John Holt, Jackie Mittoo and Ken Boothe. Each of these artists feature on Studio One Rocksteady, which was released by Soul Jazz Records on 3rd February 2014.
Ever since they released their first compilation, Soul Jazz Records have concentrated on quality over quantity. They’re like Analog Africa, another of my favourite labels. Neither label churn out compilations. No. They leave that to inferior labels. Instead, Soul Jazz Records almost ration themselves. Each of their releases must meet their exacting standards. That’s why it’s so fitting that Soul Jazz Records are the keeper of the flame for Studio One Records. Both companies have the same standards. Neither would dare release second rate music. Instead, it’s got to be the creme de la creme. That’s no bad thing.
That’s why if you’re a newcomer to rocksteady, then Studio One Rocksteady is the perfect place to start. Indeed, for anyone wanting to discover the music Studio One Records released, the Soul Jazz Records’ series of compilations is a perfect starting place. Just like Analog Africa’s compilations, you can risk buying Soul Jazz Records’ Studio One compilations blind. You can be rest assured they ooze quality. That’s the case with Studio One Rocksteady, which is another lovingly compiled, quality compilation from Soul Jazz Records. Standout Tracks: The Eternals Stars, The Heptones Love Won’t Come Easy, Marcia Griffiths My Ambition and Dennis Brown Take It Easy.
STUDIO ONE ROCKSTEADY.
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