NEW YORK DOLLS-TOO MUCH TOO SOON.
NEW YORK DOLLS-TOO MUCH TOO SOON.
Never in the history of music has an album title proved to be so prophetic than the New York Dolls’ sophomore album Too Much Too Soon. Released in 1974, Too Much Too Soon features one of the hardest rocking and hardest living bands in musical history. Unfortunately, The New York Dolls were music’s equivalent to Icarus. They literally flew too close to the sun. Having released Too Much Too Sun, which reached a disappointing number 167 in the US Billboard 200, Mercury sent the New York Dolls out on an American tour.
That would’ve been okay for an ordinary band. The New York Dolls were no ordinary band. Far from it. Best described as dysfunctional, it’s no surprise what happened next. During what was a chaotic, problematic tour, the New York Dolls literally imploded. Amidst a backdrop of alcohol and drug abuse, and general chaos, the New York Dolls were dropped by Mercury in 1975. This lead to them splitting up. By then, the New York Dolls had lived life to the fullest. Since their debut album, they’d lived the rock ‘n’ roll lifestyle. Remarkably, most of them survived to tell the tale. Somehow, during that time, they’d spawned a thousand imitators and released two classic albums.
Their second classic album Too Much Too Soon, was recently released by the Get On Down on pink vinyl. Described as an audiophile recording, it’s the best sounding version of Too Much Too Soon I’ve heard. This should be the standard other labels aspire to. If only all rereleases sounded this good. The same could be said of the New York Dolls. if only every band sounded as good as the New York Dolls, music would be a better place. One of the New York Dolls finest moments was Too Much Too Soon, which I’ll tell you about, once I’ve told you about their career.
Founded in 1971, the original lineup of the New York Dolls included vocalist David Johansen, guitarist Johnny Thunders and Rick Rivets, bassist Arthur Kane and drummer Billy Murcia. A year later, came the first on countless changes in the New York Dolls’ lineup. Out went Rick Rivets and Billy Murcia. Their replacements were Jerry Nolan and Sylvain Sylvain a pianist and guitarist. This would be the lineup the played on their debut album.
Released in 1973 on Mercury, New York Dolls divided opinion. Some critics hailed New York Dolls as a stonewall classic, others deemed it a parody of a rock album. It certainly took the world by storm, spawning a million imitators. Strangely, on its release, sales of New York Dolls were disappointing. It only reached number 167 in the US Billboard 200. Mercury had hoped that the album would be one of their big sellers of 1973. It certainly captured the attention of critics and music lovers, it was voted both the best and worst album of 1973. It seems that New York Dolls was an enigmatic album and one that divided opinion. Forty years later, history has been rewritten.
Nowadays, New York Dolls is now perceived as a classic album. The New York Dolls fusion of glam rock, proto-punk and hard rock is perceived as Innovative and ahead of the musical curve. The New York Dolls are credited as one of the founding fathers of punk rock. Since then, many groups have imitated the New York Dolls swaggering brand of good time music. Nobody comes close. No ifs, no buts. Having released a career defining album, the New York Dolls never bettered. If ever there’s a case of a band peaking to soon, this was it.
A year after the release of New York Dolls, the band headed back into the studio. Todd Rungren was replaced as producer by Shadow Morton. Unlike their debut album, Too Much Too Soon comprised a combination of cover versions and original songs. David Johansen and Johnny Thunders cowrote Babylon, Who Are The Mystery Girls, It’s Too Late and Human Being. David Johansen and Sylvain Sylvain penned Puss ‘N’ Boots, while Johnny Thunders wrote Chatterbox. Cover versions included Kenny Lewis’ Bad Detective, Sonny Boy Williamson’s Don’t Start Me Talkin, ’Gamble and Huff’s (There’s Gonna Be A) Showdown and Stranded In The Jungle, a James Johnson, Ernestine Smith and Al Curry composition. These ten tracks were recorded at A&R Studios, New York.
Replacing Todd Rundgren as producer, was Shadow Morton, an experienced and enigmatic producer. He seemed to get the best out of the New York Dolls. Their lineup included vocalist David Johansen, plus a rhythm section of guitarist Johnny Thunders, bassist Arthur Kane and drummer Jerry Nolan. Sylvain Sylvain played piano and guitar, while David Johansen added gongs. This was the lineup that played on what should’ve been the New York Dolls’ breakthrough album, Too Much Too Soon.
On the release of Too Much Too Soon, in May 1974, critics hailed the addition of Shadow Morton. He they thought, had harnessed the raw power and energy of the Dolls and added a sheen of refinement. With backing vocals and a myriad of sound effects featuring on Too Much Too Soon, it was a very different band, one that should’ve made their breakthrough. They didn’t. Sadly, Too Much Too Soon wasn’t a commercial success. It stalled at number 167 in the US Billboard 200. Worse was to come.
The New York Dolls headed out on a tour. It was an unmitigated disaster. By now, the band were constantly arguing. Drug and alcohol use was rife on the tour. Performances varied. One night the Dolls were on their game, the next the concert descended into a chaotic shambles. That was part of the charm of the band. It was like a rock ‘n’ circus, with the band unravelling before the audience’s eyes. Mercury watched all this unfold. They felt the band had no future, and dropped them in 1975. Later in 1975, the band split. This was only temporary. Little did they realize, that Too Much Too Soon, which I’ll tell you about, would be the last album the classic lineup of the New York Dolls released.
After a wolf-whistle and a shout of “come on boys,” the New York Dolls explode into action on Babylon, which opens Too Much Too Soon. Driven along by a powerhouse of a driving, rhythm section, scorching, screaming, rocky guitar licks accompany David’s strutting vocal. A mixture of machismo and drama, soaring, coquettish harmonies accompany him. By then the Dolls have hit their stride. Like a well oiled machine, they seamlessly fuse genres. Everything from classic rock, glam rock, proto-punk and blues are thrown into the mix, as the track reaches its dramatic crescendo.
Stranded In The Jungle was recorded by The Cadets in 1959. Here, the Dolls breath new life and energy into the track. Thunderous drums, sound effects, scatted vocals and machine gun guitars accompany David’s vocal is a tongue-in-cheek vamp. Soon, they get down to their hard rocking best. David’s vocal is throaty roar, while punchy, sweet, female harmonies answer his call. Then just as you’re enjoying the Dolls kicking loose, it’s all change, and a return to the earlier slower, dramatic style. Criticized by critics, as a novelty track, it’s more a case of the Dolls experimenting and toying with you, seeing whether you’ve a sense of humour.
Pounding drums and searing, screaming, scorching guitars combine as David struts his way through Who Are The Mystery Girls. Mixing power, bravado and sass, he questions and probes, delivering a vocal masterclass. As for the rest of the Dolls, they create an arrangement that’s best described as raw, refined power. Guitars assail you, as seamlessly, fingers fly up and down the fretboard. The rhythm section provide the heartbeat, never once missing a beat, the Dolls are at their very best. They’re so good, that they sound better than the Rolling Stones did during 1974.
(There’s Gonna Be A) Showdown is a track Gamble and Huff wrote for Archie Bell. Although it’s one of his best known tracks, it’s nowhere near as good as the Dolls’ version. Somehow, they’ve the ability to sound sloppy and tight simaltaneously. Shadow Morton’s influence is apparent from the opening bars, as David’s half-spoken vocal sounds draws inspiration from The Shangri Las. Then machine gun guitars are unleashed and drums punished, while David’s vocal is a sassy, feisty vamp. When his vocal drops out, the Dolls kick loose and demonstrate just why, they’ve spawned countless imitators and are regarded as rock ‘n’ roll royalty.
As drums pound, a bluesy harmonica enters, before machine gun drums and the bass set the scene for David’s vocal on It’s Too Late. It’s the template for punk. Best described as proto-punk in style, I can hear where Johnny Rotten amongst numerous wannabe punks got their inspiration from. Unlike most punk bands, the Dolls were talented musicians. Here, effortlessly, they fuse rock, blues, proto-punk and glam rock. As guitars pogo across the arrangement, a mesmeric bluesy harpsichord solo is unleashed. That’s sheer genius, and adds the finishing touch to a track that inspired a musical revolution.
Raw, refined and controlled power describes the New York Dolls on Puss ‘N’ Boots. They unleash a blistering performance, which features some of the best guitar playing on Too Much Too Soon. That’s saying something. Peerless, scorching, blazing guitar licks join a rhythm section that’s like a well oiled machine. They provide the backdrop for David’s raucous, boisterous vocal and add cooing, coquettish, soaring harmonies. Best described as a fusion of raw power and musical genres, the Dolls sounding like this, have no equals.
David counts the band in on Chatterbox and immediately, there’s an edgier, innovative sound. The band aren’t as tight, as a myriad of searing guitar licks are unleashed. That suits the song, where feisty female vocals deliver a proto-punk vocal. As for the Dolls, they spray machine gun licks above their vocal. Then when the vocals drop out, continue to develop what was the template for punk.
Bad Detective, where David pays homage to Charlie Chan, sees the New York Dolls sound not unlike Talking Heads. Again, here was a band who were way ahead of their time. They would go on to influence future generations of musicians. With a driving rhythm section, searing guitar licks and singalong harmonies, for company, David’s vocal is vampish.He mixes humor and drama, rock, proto-punk and glam rock unite.
Don’t Start Me Talking explodes into being. With an explosive cocktail of machine gun guitars, bluesy harmonica and honky-tonk piano, the Dolls kick loose. This what they were born to do. David struts his way through the track. He’s in his element, with his band at the top of their game, behind him. Rock and blues melt into one, as the New York Dolls must have looked like serious contenders to the Rolling Stones and Led Zeppelin. It’s a heady cocktail of blues rock, that represents the Dolls at their best on Too Much Too Soon.
Human Being picks up where the previous track left off. This makes it the perfect way to close Too Much Too Soon. A hard rocking New York Dolls is a tantalizing prospect. For six minutes the rhythm section, and screaming, rocky guitars lock horns. Feeding of each other, they lock into the tightest of grooves. Above the arrangement, sits David’s proto-punk vocal. It’s an outpouring of frustration anger, and angst, which proves prophetic, given what would happen in 1976.
Too Much Too Soon, the New York Dolls’ sophomore album, is an iconic, innovative album. Ironically, Too Much Too Soon almost passed unnoticed. It hardly troubled the American charts. After its release, Mercury sent the New York Dolls on an American tour. It proved chaotic and almost broke the band. On their return from the ill-fated tour, Mercury dropped the Dolls. Later in 1975, they split up, against a backdrop of rancour, drug abuse and hedonism. The hardest living party band were no more…briefly.
Soon, the band were back together and playing some of the best shows of their career. Then later in 1975, Johnny Thunders and Jerry Nolan left the band. Their replacements were drummer Tony Machine and keyboardist Chris Robinson. This was just the latest change in lineup. It proved to be one of the most successful lineups of the band. They played some of their best concerts and were hailed as one of the hottest bands of the mid-seventies. Nothing lasted long as far as the New York Dolls were concerned. The band broke up and in the last four decades have continued to reform and split up.
Despite reforming, the New York Dolls never reached the heights of Too Much Too Soon which was recently rereleased by Get On Down on pink vinyl. It’s their finest moment. Innovative, groundbreaking and ahead of its time, this fusion of rock, proto-punk, blues and glam rock, helped inspire punk and spawned a thousand imitators. None came close to replicating the New York Dolls at their best. For two albums, the New York Dolls were one of the best bands of that time. Innovative, inventive and determined to rewrite the musical rulebook, there was one problem, the New York Dolls were fundamentally flawed. Their downfall was their penchant for the rock ‘n’ roll lifestyle and hedonism. Just like Icarus, they flew to close to the sun. Before flying to close to the sun, the New York Dolls released their 1974 Magnus Opus, Too Much Too Soon. Standout Tracks: Babylon, Who Are The Mystery Girls, Don’t Start Me Talking and Human Being.
NEW YORK DOLLS-TOO MUCH TOO SOON.
DERECHO-COFFEE AND DISRUPTION.
DERECHO-COFFEE AND DISRUPTION.
Late in 2013, Cambridge based rock band Derecho released their sophomore album Coffee and Disruption. This only reinforced what people knew about Derecho. Here was a band going places. They’d come a long way since forming in late 2010. It was definitely a case of three years well spent.
Derecho had spent much of the three years, gigging all over the UK. This was all about Derecho honing and refining their sound. It’s what previous generations of bands have done. Among them, are the bands that influenced Derecho. Everything from sixties pop, punk, post rock and 21st Century rock have influenced Derecho, who over the last three years, have been winning friends and influencing people.
This includes anyone whose seen Derecho. Once you’ve heard Derecho live, you’ll never forgot it. That’s why Derecho played main stage slots at The Willow Festival in Peterborough and appeared at the 100 Club in London. That’s just two of Derecho’s biggest gigs. There’s much more to Derecho than that. This includes their back-catalogue.
Back in 2011, Derecho released their debut album Nowhere To Hide. This showcased the Cambridge quartet’s musical prowess. Fronted by lead singer and songwriter-in-chief Jo Ash, Nowhere To Run was released in December 2011. Their E.P. Roasted Butterfly was released in January 2013. Then the Change Of Season E.P was released in May 2013. By now, Derecho were enjoying commercial success. Not only had they enjoyed local success, reaching number one in the local charts. Derecho also broke into the top one-hundred in the UK. Things were looking good for Derecho. So, this was the perfect time to release their sophomore album Coffee and Disruption.
For Coffee and Disruption lead singer Jo Ash penned ten tracks. Derecho then headed into the studio. Jo sang lead vocals and played keyboards. The rest of Derecho were drummer Mike Elis, bassist Marc Zyngier and guitarist Mike Wheatley. Once the ten tracks were recorded, Coffee and Disruption was released on December 2013.
On its release, Coffee and Disruption was well received by critics. Reviews were positive. Derecho had come a long way since their debut album Nowhere To Run. The last two years, had been two years well spent. Especially when you listen to the fusion of musical influences and genres on Coffee and Disruption, which I’ll tell you about.
Remembered bursts into life, opening Coffee and Disruption. It’s a fusion of punk and rock. Lead singer Jo Ash’s vocal is a reminder of the spirit of ’76. Unlike many punk vocalists, she’s a talented singer. She delivers the lyrics with power and control. Behind her, the rest of Derecho deliver no frills rock. It’s an impressive sound. The driving, pounding rhythm section are accompanied by searing, screeching guitars. Later guitarist Mike Wheatley delivers a blistering guitar solo. That’s the finishing touch, and leaves you wanting to hear more from Derecho.
As Perfect, Like You begins to unfold, Jo begins to sound like Kate Bush. She’s no ordinary vocalist. She sounds classically trained. Combining drama, power and emotion, she delivers a vocal powerhouse. Meanwhile, Derecho create a slice of nineties rock. It has a big, bold, dramatic sound. Jo adds flourishes of keyboards. They add a contrast, while a machine gun guitar is unleashed. Later, the rhythm section go from mixing drama and power, to helping create a melancholy backdrop. This is the perfect accompaniment to Jo on this evocative, cinematic track.
Stabs of guitar accompany Jo’s tough vocal on Bystander. As she struts her way through the lyrics, you wonder if it’s bravado? A fusion of punk and rock, ratty drums and machine gun drums accompany Jo. Bassist Marc Zyngier is Derecho’s Harry Potter. Again, his bass cast a spell over listeners. With its tough, edgy, everyman sound, this anthemic track is bound to be a crowd pleaser.
Chiming, funky, wistful guitars join meandering, slapped bass on Void. Jo’s voice is tender, full of emotion, frustration and confusion. Soon, like the arrangement, Jo’s vocal grows in power. Thunderous guitars drive the arrangement along to a crescendo. Then when things calm down, Derecho mix funk and soul. The soul comes courtesy of Jo’s breathy vocal, which sounds not unlike Sharleen Spitteri of Texas. Good as this track is, and I like it a lot, I’d like to her the thunderous guitars taken out. Then the track would become much more laid-back, mellow and soulful.
December sees Derecho kick loose. They unleash blistering guitars, while the rhythm section drive the arrangement along. Jo’s vocal is best described as powerhouse. It’s no hold barred. That’s the case with every member of the band. Especially guitarist Mike Wheatley. He’s like a gunslinger. In his hands, the guitar comes to life. He unleashes its potential. With a bit of stray feedback thrown in, he’s ying to Jo’s yang. They’re a formidable partnership, as December shows.
Lonely Girl sees a change in sound. Just a lone acoustic guitar accompanies Jo. Her pensive, wistful vocal allows us to hear another side of Jo, as she sings some of her best lyrics. They’ve a strong narrative and a cinematic quality. The arrangement meanders along, the lyrics coming to life. Jo paints pictures. They unfold before your eyes. With an understated sound, Lonely Girl is Cofffee and Disruption’s highlight. It’s also a side of Derecho I’d like to hear more of.
Crash and Burn sees yet another side of Derecho. It’s almost folk rock. The arrangement gradually unfolds. Just a piano, meandering bass, guitar and drums accompany Jo’s heartfelt, urgent vocal. Emotion fills her vocal as she sings “I’ll Crash and Burn like a car.” With the rhythm section providing a 4/4 beat, intricate chiming guitars weave in and out of the arrangement. What captures your attention is Jo’s vocal. It’s at the heart of this hook-laden track’s success.
This Mask sees a return to the sound of Lonely Girl. The tempo is slower and a piano plays a more prominent role. I’m reminded of Kate Bush again. Drums keep the beat, while the probing bass cuts through the arrangement. Some rocky guitars are added. Their raison d’être is dramatic effect. After that, Jo’s thoughtful, tender vocal takes charge of the drama. That’s before a blistering guitar solo is unleashed. Mike Wheatley sets the scene for Jo’s vocal, as the track heads to its wistful ending.
Alibi sees the bass and guitar go toe-to-toe before Jo’s coquettish, breathy vocal enters. Her vocal is enveloped by guitars and the rhythm section. Again, Jo’s vocal reminds me of Kate Bush as it veers between tender, feisty and sassy. Meanwhile, the arrangement has a classic rock sound. Later, Jo’s cooing and scatted vocal soars above the rocky arrangement. The result is a dramatic and melodic slice of classic rock where Derecho don’t ration the hooks.
The Silence closes Coffee and Disruption. From an understated arrangement, quickly, a pounding, melodic rock track unfolds. Flourishes of keyboards provide the perfect foil to Derecho, who become a power trio. Mike unleashes machine gun guitar licks. The drums have a “ratty” nineties sound and provide the heartbeat. Then there’s Jo’s vocal. It’s a mixture of emotion, energy and enthusiasm. She’s determined to close Coffee and Disruption on a high, and does so, with a slice of indie rock.
Derecho’s sophomore album, Coffee and Disruption, is an old school album. It features just ten tracks. They’d fit on an old vinyl album. That’s fitting, given Derecho are old school band. Their music is a fusion of classic rock, indie rock, post punk and punk. That describes most of the music on Coffee and Disruption. Sometimes, classic rock and punk collides head on. An example of this is the album opener Remembered. This is a sound Derecho return to. However, they’re no one trick pony.
There’s also brief diversions down avenues marked funk and soul. Then there’s Lonely Girl. It shows a side of Derecho I’d like to hear much more of. During that track, Jo’s vocal and piano playing takes centre-stage. She delivers a mesmeric and captivating performance. Lonely Girl reinforces how important Jo is to Derecho. First of all, there’s that voice. Jo sounds like a modern day Kate Bush. The songs she wrote come to life. Their subtleties and nuances unfold. Soon, you’re spell bound and captivated. Especially on tracks like Lonely Girl, Crash and Burn and This Mask. She comes into her own. Having said that, Derecho aren’t a one man band.
There’s guitar hero Mike Wheatley. He’s the perfect foil for Jo’s vocal. In his hands, the guitar comes to life. He unleashes some blistering licks that are an important part of Derecho’s sound. Then there’s Derecho’s Harry Potter, Marc Zyngier. He casts spells with his bass. Finally, there drummer Mark Ellis. Whether its classic rock or a ratty nineties sound, he can make it happen. Together, the four members of Derecho are like a musical A-Team. They too, love it when a plan comes together. That was the case with Derecho’s sophomore album Coffee and Disruption.
DERECHO-COFFEE AND DISRUPTION.
BOB FRANK-BOB FRANK.
BOB FRANK-BOB FRANK.
In 2007, Jim Dickinson described Bob Frank as: “the best songwriter you never heard.” That’s no surprise. Jim Dickinson first met Bob Frank way back in the summer of 1963. Back then, Bob was part of a group of singers and songwriters hanging out in an old butcher’s shop in Crosstown Farmer’s Market. Bob was different from the rest of the group though. Aged just nineteen, the Memphis born singer had graduated in 1962. Now he was already writing his own songs. They were different from much of the music around in ’63.
Bob drew inspiration from American history. Heroes, anti-heroes and tragedies peppered Bob’s songs. His worldweary, lived-in voice brought the lyrics to life. He was a cross between a wizened sage and troubled troubadour. Given his undoubted talent, the future looked bright for Bob. It wasn’t. Nine years passed before Bob released his eponymous debut album Bob Frank, which was rereleased by Light In The Attic Records on 24th February 2014. Before I tell you about Bob Frank, I’ll tell you about Bob’s life and career between 1963 and 1972.
When Jim Dickinson and Bob Frank first met, it was in a Memphis coffee shop. They were both part of Memphis folk scene. Bob was nineteen. He was born in Memphis in February 1944, and had graduated in 1962. Now he was devoting his life to music, folk music in particular. Having met Jim Dickinson, Bob Frank came to regard him as a friend. Bob looked up to Jim. He was a multi-instrumentalist, who back in 1963, was like a one-man band. Jim was also a natural and talented guitarist, who drew inspiration from the old blues players. The pair played together in coffee shops and house parties. Bob would also write songs. This was how he made his living for a couple of years.
Over the next few years, Bob and Jim’s fortunes varied. During the sixties Bob worked at Chips Moman American Studios. Dickinson recorded what has been described as the last great single released by Sun Records, Cadillac Man. Then by the late sixties, Bob was a member of the Memphis’ based band The Dixie Flyers. They’d work with some of the biggest names in music, and in the early seventies, were Atlantic Records’ house band. While Jim’s career was going from strength to strength, Bob’s career had stalled.
While his old friend’s career was progressing nicely, Bob had headed to Vanderbilt University in Nashville. During his time in Nashville, Bob made ends meet by writing songs. Essentially, he was a hired gun, tasked with writing commercially successfully popular country music. However, disaster struck for Bob. In his second year, he was kicked out of University for playing his guitar in his dormitory. The University authorities gave Bob an ultimatum, either stop playing guitar or leave. So Bob picked up his guitar and left, heading home to Memphis in 1964. Then second time lucky, Bob graduated.
Having returned home, Bob got a job for a couple of years. His luck changed, and he got into Southwestern University. After two years, he graduated in early 1966. Then later in 1966, Bob met an old friend.
That old friend was Jim Dickinson. Bob was still playing in clubs. That was where he met Jim. The pair caught up and Jim asked Bob to play a couple of songs. Jim told Bob he was going to record him. Sadly, Bob lucked out. He was drafted in the summer of 1966. It would be another five years before Bob entered a recording studio.
Having been drafted in the summer of ’66 Bob spent the next couple of years in Vietnam. He left the army in 1968. His luck hadn’t changed though. He returned to university in Memphis through the G.I. Bill. After a year Bob dropped out and headed to Nashville. Through an old friend Jerry Thompson, a journalist, Bob got a job at Tree Publishing. History was repeating itself.
Yet again, Bob was a hired gun. He was a songwriter for hire. By day, he wrote throwaway country tracks. Having fought in Vietnam, now Bob was a contract songwriter in Nashville. Jim Dickinson joked: “he didn’t know which was worse.” There’s more than a grain of truth in that. And irony. After six months, Bob hitchhiked to California.
Having followed the sun to California, Bob spent six months there. He hung out with other musicians. They wrote songs, sang and played live. In some ways, this was a reaction to Bob’s structured life. He’d been at University, fought in Vietnam and worked in Nashville. Now he was being himself and finding himself. He also found his future wife Deirdre.
The trips to California became a regular occurrence. Bob spent six months in California and six months in Nashville. During one of these trips, he met Deirdre. They lived together, had children and got married. Over forty years later, they’re still together. This pattern of spending time in California and Nashville was interrupted in 1971.
Although Bob was still a songwriter for hire, none of the songs he’d written were being picked up by record companies. For Bob, this must have made his job something of a thankless task. So he quit. Then he caught a break. Vanguard Records, who’d been a big company in the late-fifties and sixties, wanted to sign Bob.
Bob’s songs were pitched to Atlanta based Lowery Publishing by Cletus Haegart. Gary Walker who worked for Lowery Publishing liked what he heard. So a deal was struck with Vanguard Records for an album. Twelve songs were chosen for what became Bob Frank. All of the songs were written by Bob. He co-produced Bob Frank with Cletus Haegart. Recording took place in two studios.
The first recording sessions took place at Woodland Studios, Nashville in late 1971. Bob played guitar, Charlie McCoy harmonica and Buddie Spicher fiddle. The next sessions took place at Vanguard Studios in New York. Russell George’s bass and Eric Weissberg’s guitar were over-dubbed. Both were veteran of Vanguard sessions, so knew what was necessary. Once the over-dubbed parts were laid down, Bob Frank was ready for release.
There was a problem though. Bob wasn’t happy about a photograph on the album, plus a guitar double on one of the songs. The photograph on the album wasn’t even Bob. It featured someone who’d just walked out one of the houses on the cover. Rather than the photo, Bob wanted Vanguard Records to use a picture a friend of Bob’s had drawn. The other problem was Bob didn’t like Eric’s double on Judas Iscariot. Vanguard said they wouldn’t release Bob Frank unless was Bob approved the album. He didn’t. Despite this, Vanguard went back on their word. Bob Frank was released.
At Bob Frank’s release party, Bob wasn’t happy. Rather than play songs from his album, he played a bunch of new songs. They reflected his new lifestyle. He was living an alternative lifestyle. His home was in the woods, where he lived with his wife, family and newly born baby. That Bob wasn’t playing his new songs, didn’t please the Vanguard people. When Maynard Solomon asked Bob to play songs from his new album, Bob suggested that they: ” buy the f***ing album.” That was the last Bob heard from Vanguard.
On its release Bob Frank wasn’t a commercial success. It sunk without trace. Despite this, a small group of people realised that Bob Frank was a very special album. The problem was, it was released at the wrong time. Bob Frank was the wrong album at the wrong time. Despite this, it’s gained cult status. Original copies of Bob Frank, which I’ll tell you about, now change hands for huge sums of money. No wonder.
Opening Bob Frank is Wino, where Bob’s worldweary, languid vocal is accompanied by his trusty guitar. Bob tells the story about a down and out, who lives of cheap wine he buys with quarters he’s bummed of working men. As Bob delivers his lyrics, they come to life. You imagine the scenes. The poverty, squalor and hopelessness of the situation seems very real. Wino lives in he bottle he’s crawled into, but can’t crawl back out of.
She Pawned Her Diamond For Some Gold is the story of a woman who pawned her wedding ring for some dope. Bob’s vocal is a mixture of admiration, bravado and guilt. Accompanying him is an arrangement straight out of Nashville. Just fiddles, acoustic guitar and bass accompany Bob. There’s a twist in the tale though, as Bob sings: “just as my stash was running low.”
Waitsburg sees Bob draw inspiration from the music Ian Tyson and a true story. The song sounds as if it was recorded in the fifties. Especially, when you listen to the America Bob describes. It’s fifties America, not seventies America. Bob seems out of step with the times. As the lyrics unfold, they’re like a tragicomedy, as he tells the story of a “relationship” that ends up going badly wrong.
Cold Canadian Pines is one of the most poignant songs on Bob Frank. His heartfelt vocal quivers, as the song takes on a country sound. He sings about a young man dodging the draft. You can picture him as his father: “puts a bible in my hand, and told me not to kill.” Despite that, his father can’t understand why his son doesn’t want to go to war. With just a wistful fiddle, guitars and harmonica, this a truly beautiful, poignant song.
Judas Iscariot was probably the most controversial song on Bob Frank. Think about it, here’s a song about a soldier making a $30 bet with a guy called Judas that Jesus Christ is invincible. The song ends with Jesus hanging dead from a cross and Judas laying dead in a tree. In some Southern states, this would be enough to get the album banned. Having said that, Bob’s lyrics are cerebral evocative. Whether by design or accident, he reminds me of Bob Dylan on what’s another of the album’s highlights.
Before The Trash Truck Comes is a throwaway track. Bob remembers that when he write this song, he was just “clowning around.” That’s apparent. His lyrics are tinged with a dark humour, as sings about man dying on the ground looking for a quarter or two. That’s all he needs for his last meal.
Way Down In Mississippi sees Bob change direction. He plays this track like a blues. It’s maybe his homage to the blues greats he met in Memphis coffee shops. His lyrics are almost surreal, and tinged with humour. Especially, when he describes teaching a woman to swim. He sings: “I took her down to the river, she sank all the way to bottom, I never saw that girl again.” After that, he proceeds to seduce her sister. Bob’s vocal is accompanied by a wailing blues harmonica, which is the perfect foil for Bob’s vocal.
Jones And Me is a song about two old friends meeting and talking about their hopes and dreams, then how life really turned out. Bob and his old friend and talk about things that you both wanted to do but never did. It’s a tale of broken dream, regrets and two friends who grew apart. Listen carefully to the melody, and it’s Loch Lomond.
Return to Skid Row Joe is a song Bob wrote after a heavy night. It’s based upon what happened. When he woke up the next day, he sat down and wrote the lyrics about a poet, songwriter and down-and-out. Bob’s lyrics are vivid and evocative. The character comes to life. His life unfolds and we hear what’s caused him to fall so far. This is a woman and a bottle. Then comes the sting in the tale. Skid Row sells some pills which must be taken with alcohol. The person he’s pouring his heart out to, reluctantly agrees and when they went home passed out. It’s only then the listener realises Skid Row isn’t really a victim of circumstances. The result is a poignant track with a twist.
The Deer Hunter is a song about looking for love. It’s not a straightforward love song. No. Bob Frank doesn’t do songs like that. This is much more grownup. Full of symbolism, Bob’s voice is full of longing, as he yearns for love which has eluded him so far.
Memphis Jail closes Bob Frank. It’s the type of song everyone from early blues singers to Johnny Cash have written and sung. It’s all about getting drunk, stealing a car and ending up in a Memphis Jail. Weeping guitars and harmonica accompany Bob’s vocal, which is rueful and full of regret at his newfound plight.
Looking back at Bob Frank with the benefit of hindsight, there’s several reasons why the album wasn’t a commercial success. The main reason was it’s the wrong album at the wrong time. By 1972, singers like Bob Frank had been usurped by men in matching suits singing about Backstabbers. Bob however, was a real artist though. Here was an artist who had everything. He was a singer, songwriter and musician who wrote the twelve songs on Bob Frank. Not only that, but Bob produced his debut album Bob Franks. The only problem was, that Bob Franks was an album that was released too late. Folk, country and blues music wasn’t as popular in ’72. That’s what Bob Frank contains. Then there was the fact that neither Bob nor Vanguard promoted the album.
This all stems to the launch party. At Bob Frank’s release party, Bob wasn’t happy. Rather than play songs from his album, he played a bunch of new songs. They reflected his new lifestyle. That Bob wasn’t playing his new songs, didn’t please the executives from Vanguard. When Maynard Solomon asked Bob to play songs from his new album, Bob suggested that they: ” buy the f***ing album.” That was the last Bob heard from Vanguard. After that, Bob Frank sank without trace.
Since then, Bob Frank which was released by Light Of The Attic on 24th February 2014, has been reappraised. It’s become something of a cult album. So much so, that original copies of Bob Frank, now change hands for huge sums of money. It’s very much a collector’s piece where one of music’s best kept secrets made his musical debut. As Jim Dickinson described Bob Frank he’s: “the best songwriter you never heard.” Standout Tracks: She Pawned Her Diamond For Some Gold, Way Down In Mississippi, Return to Skid Row Joe and The Deer Hunter.
BOB FRANK-BOB FRANK.
NEU-NEU 2.
NEU-NEU 2.
Although Neu never enjoyed the commercial success their music deserved, they’re without doubt, one of the most influential groups in musical history. They’re perceived as one of the founding father’s of Krautrock. They’ve influenced everyone from Brian Eno, David Bowie, Iggy Pop, Radiohead, Primal Scream and a generation of electronic music producers. That’s despite only releasing a trio of albums between 1972 and 1975. Their eponymous debut was released in 1972. Only 30,000 copies of Neu were sold. Despite that, it’s perceived as one of the most influential albums released during that period. A year later, Neu returned with their sophomore album Neu 2. It too, is perceived as one of the most innovative and influential albums in musical history. You’ll realise why, when I tell you about Neu 2. Before that, I’ll tell you about Neu and the making of Neu 2.
It was 1971 when Klaus Dinger and Michael Rother decided to form Neu. Both had been members of Kraftwerk, but not for any length of time. Klaus, a drummer, joined midway through the recording of Kraftwerk’s eponymous debut album. Michael, a bassist, joined Kraftwerk after the album was finished. When Kraftwerk was released in 1971, it wasn’t a commercial success. It only sold 30,000 copies. For the founder of Kraftwerk Ralph Hutter, this was too much. He left the band for six months. Kraftwerk carried on though.
Kraftwerk were reduced to a trio of Wolfgang Scheider, Klaus Dinger and Michael Rother. They played a few concerts, and even appeared on German television program Beat Club. However, concerts were becoming few and far between. For two members of Kraftwerk, this was becoming frustrating. Klaus Dinger and Michael Rother decided to leave Kraftwerk and form a new band.
When they founded his new band, which was based in Dusseldorf, there were debates about the band’s name. Michael though the band should have an organic name. Klaus however, had hit on the name Neu! So, the new band became Neu! To go with the new name, a pop art logo was designed and copyrighted. This new logo was seen as a comment and protest against the modern consumer society. Just like contemporaries Can, Neu weren’t afraid to combine social comment and art. Having settled on a name, Neu! headed to the recording studio.
Recording of what became Neu! took place in December 1971, at Windrose-Dumont-Time Studios, in Hamburg. Four days had been booked to record the six songs that Klaus and Michael cowrote. Conny Plank, who’d produced Kraftwerk’s debut album would act as producer. He also acted as a go-between, when it came to differences of opinion between Klaus and Michael.
For the first two days, it was slow going. Nothing much was achieved. It was only only when Klaus brought along his Japanese banjo that they began to make progress. That seemed to act as a catalyst. Not long after this, Klaus first played his trademark motorik beat. That’s where Klaus plays a 4/4 drum beat with only very occasional interruptions. The effect is hypnotic and mesmeric. It can be heard on Hallogallo and Negativland. Klaus didn’t realise how influential the motorik beat would become. The sessions carried on and once they were finished, Conny Plank mixed Neu! at Star Musik Studio, in Hamburg. Now Neu! was ready for release.
On its release by Brain Records in 1972, Neu! wasn’t a commercial success. In total, it sold only 30,000 records. For Klaus and Michael this must have been hugely disappointing. They must have felt history was repeating itself again. After all, Kraftwerk’s debut album hadn’t been a commercial success.
Despite the lack of commercial success, Neu! was critically acclaimed. It was described as an influential and innovative album. This resulted in Neu being hailed as one of the founding father’s of Krautrock. Along with Can, they were credited as the founding fathers of Krautrock. Now the pressure was on for Neu to create the followup to their debut album. This would become Neu 2.
When work began on Neu’s sophomore album Neu 2, everything seemed to go wrong. It wasn’t Neu’s fault. Brain Records schedule and budget was tight. Recording had to take place during January 1973. There was no other option. That was all that had been budgeted for.
For Neu 2, Klaus Dinger and Michael Rother eventually, cowrote eleven tracks. Neu headed to Windrose-Dumont-Time Studios, in Hamburg. Recording took place during January 1973. Klaus played Japanese banjo, guitar, percussion, electric piano, electronics and turntables. Michael played guitar, bass, piano, violin, zither, percussion, electronics and effects. Neu and Conny Plank produced what became Neu 2. Things didn’t go smoothly though.
Unfortunately, Neu ran out of money in the middle of recording of Neu 2. Try as they may, Brain Records wouldn’t give Neu any more money. This presented a problem. They hadn’t enough songs for their sophomore album. Then they hit on idea. Why not remix the two singles and use them to fill up the rest of side two of Neu 2. At last Neu 2 was finished. Just like many bands before them, Neu’s sophomore album had proved problematic. How would Neu 2 be received though?
On its release Neu 2 critics realised this was a truly groundbreaking album. Critics were fascinated by the album. It was described as inventive, innovative and influential. Others hailed the album as ambitious, chaotic and experimental. Despite being released to critical acclaim, Neu 2 wasn’t a commercial success. Financially, this was a disaster for Neu. They couldn’t afford another commercial failure. As a result, Klaus and Michael put Neu on hold. Michael joined Harmonia, a Kraturock supergroup. Neu wouldn’t release another album until 1975, when they released ’75. Just like Neu 2, which I’ll tell you about, ’75 is an important album in the history of Krautrock.
Für Immer which translates as Forever, opens Neu 2. It’s not just an epic track, but a Neu classic. Eleven minutes long, the track hesitantly unfolds. Soon, Neu lock into a groove, showcasing their trademark motorik beat. This comes courtesy of the rhythm section who provides the heartbeat. They create the hypnotic beat. Meanwhile guitars chime, reverberate and snarl. Feedback and distortion are tamed by Michael. Using his trusty effect boxes. He unleashes big, bold chords, while white noise makes you recoil. Adding a myriad of effects and percussion Neu augment their trademark motorik beat. The result is a track that’s not just innovative, experimental and pioneering, but epitomises what Neu’s music is about.
White noise recreates the sound of gusting winds or waves crashing on a beach. Then as Spitzenqualität unfolds, thunderous drums pound. The white noise assails you, before the tempo drops and the drums plod along. As effects recreate the sound of traffic, I’m reminded of Kraftwerk’s Autobahn. Both tracks are atmospheric, ambitious and memorable.
Moody describes the gothic sounding Gedenkminute (Für A+K). Wind gusts. It howls as bells chime. The result is a soundscape that’s eerie, gothic and broody.
Neu unleashes screaming, screeching rocky guitars and effects on Lila Engel (Lilac Angel). Then there’s the scatted vocal and mesmeric motorik beat. Soon, machine gun guitars are being sprayed across the arrangement. As for the drums, Michael pounds them. Later, It’s as if Neu have asked the New York Dolls to add the guitars as Krautrock, jazz, proto punk and good time rock ’n’ roll combine. Gnarled chainsaw guitars cut through the raucous arrangement on a track that must have influenced punk pioneers.
The unmistakable sound of crackling vinyl opens Neuschnee 78. That’s before a myriad of instruments are deployed. Everything from a zither, percussion and flute combine. It’s a compelling combination. Especially when played at breakneck speed. Avant-garde, classical, experimental, folk and rock combine during this multi-textured, genre-melting melange.
Super 16 is another track with an experimental sound. Clocks tick, doors shut, vinyl clicks, gongs chime and what sounds like a futuristic army marches towards you. Soon, the track become eerie and haunting. It takes on a cinematic sound. It’s as if Neu have been asked to provide the soundtrack to a gruesome Hammer House of Horror film, and let their imagination run riot.
Neuschnee sees a return to a much more traditional side of Neu. Their motorik beat is augmented by chiming, crystalline guitars, keyboards and violin. Gradually, instruments are added and what follows is a driving slice of Krautrock. Neu are at their most melodic and don’t spare the hooks.
Cassetto is best described as a a sonic experiment. It sounds as if Neu have combined outtakes of The Beatles’ Sgt. Peppers’ Lonely Heart Club Band and Pink Floyd’s Meddle. Add to that, some of Jimi Hendrix’s feedback. Walls and washes of music assail and surround you. You fear for your speaker’s safety. Then all of a sudden the sound cuts out. It’s as if Neu are either toying with you, as they push musical boundaries to their limits and beyond.
Super 78 is another short track. Again, it has an experimental sound. Guitars are played at breakneck speed and drive the arrangement along. Effects are added to the vocal. So much so, that it sounds as if the LGM from Toy Story are supplying the cartoon vocals.
Lysergic, psychedelic and experimental describes Hallo Excentrico! It’s one of the remixes that was used to complete Neu 2. Best described as a sonic experiment, it’s truly innovative. Neu’s rhythm section provide the heartbeat, before effects are added to the track. They mask much of the arrangement and add an experimental sound. What follows is proof of this. Needles are dropped on vinyl, tapes are played at varying speeds. One minute the tempo drops, the next it increases. The result is a track that’s a fusion of avant-garde, electronica, experimental, free jazz and Krautrock.
Closing Neu 2 is Super, where Neu kick loose, combining Krautrock, pro to punk and good time rock ’n’ roll. It’s a heady brew. While the rhythm section drive the arrangement along, machine gun guitars are unleashed. There’s no vocal as such, just hoops, hollers and scats. Neu even add some of their favoured effects. Mostly though, it’s just Neu kicking loose and creating some glorious rock music.
Neu 2 saw Neu build upon their debut album. They took things further than many groups would’ve dared. This was during their sonic experiments. It seemed Neu trod a line between their trademark Krautrock and what might be described as experimental or avant-garde music. Many groups would’ve been scared to go this far. After all, some critics described Neu 2 as disturbing and chaotic. Other critics described Neu 2 as innovative and groundbreaking. They also describe Neu 2 as essential Krautrock. So would I. Just like Neu, Neu 2 belongs in any self-respecting record collection. Why though?
Well, Neu 2 is one of the most innovative Krautrock albums ever released. It’s also an album that’s ambitious, challenging, difficult, experimental, melodic and pioneering. I’d also suggest that Neu 2 is a case of what might have been. What would Neu 2 have sounded like if Neu hadn’t run out of money? Who knows what the result might have been? As a result, Neu had to make do and mend. They remixed two tracks to ensure Neu 2 was completed. This saw Neu 2 head in the direction of experimental music.
With Brain Records telling Neu there was no more money, Klaus and Michael had to think on their feet. It was a case of working with what they had. Following in the footsteps of other innovators, including Pink Floyd, Jimi Hendrix and The Beatles Neu used effects, including white noise. Then there was needles dropped on vinyl and tapes are played at varying speeds. All this makes Neu 2 a compelling album. It’s an album to listen to carefully. The more you listen, the more you hear. Truly, Neu 2 is a genre-melting album.
Everything from ambient, avant-garde, classical, electronica, experimental, folk, Krautrock, prog rock and rock is combined by Neu on their sophomore album Neu 2. The result is an album that’s inventive, influential and innovative. Neu 2 is a classic album that contains truly groundbreaking music. In fact I’d go further, and say that Neu 2 is essential listening for anyone interested in Krautrock, and without doubt, is a true Krautrock classic. Standout Tracks: Für Immer, Lila Engel, Super 16 and Neuschnee.
NEU-NEU 2.
LADY DAISEY-IN MY HEADPHONES.
LADY DAISEY-IN MY HEADPHONES.
Previously, Lady Daisey’s music has been described as: “sunshine for your soul.” That might seem like hype or hyperbole. It’s not. From the moment you press play On Lady Daisey’s new album In My Headphones, you’re captivated. Powerful, sultry, seductive, soulful and sassy, describes Lady Daisey’s voice. The thirteen tracks on In My Headphones, which will be released on BBE Music, on 24th February 2014, come to life. No wonder. From an early age, Lady Daisey’s life has revolved around music. She’s almost a musical veteran.
The Lady Daisey story begins back in Brooklyn. That’s where Daisey Traynham the future Lady Daisey was born. Her parents were both musicians and were in a band. So, Lady Daisey grew up on the road. She was covering everyone from Prince, Michael Jackson and Sister Sledge. Then Lady Daisey had a eureka moment. She realised that she wanted to be a singer. That’s what she did.
Since then, Lady Daisey has toured the world. She travels light. Her motto is to keep life simple. What’s important to Lady Daisey are “love, life, inspiration and peace.” Another thing that’s important to Lady Daisey is “music.” Whether it’s been clubs, concert halls or festivals, Lady Daisey has won friends and influenced people. Travelling light, she’s spread her message of love and inspiration. She delivers it soulfully while her husband Batsauce lays down the beats.
Batsauce and Lady Daisey are a team. They met through music. They’re both members of the hip hop group The Smile Rays. They’ve released two albums, Party Place and Smilin’ On You. Since then, Batsauce has become an important part of Lady Daisey’s team.
When Lady Daisey released her 2010 debut album, In My Pocket, Batsauce played an important part in the album’s success. Batsauce arranged, mixed produced In My Pocket, which was released on BBE Music. He also supplied the beats for Lady Daisey. This is the case with Lady Daisey’s sophomore album In My Headphones.
For In My Headphones, Lady Daisey penned seven tracks. She also cowrote Thank You With Batsauce. He contributed Showdown, Love Is and To Find You and cowrote two other tracks. One was Get Got, which he wrote with George Clinton, who features on Get Got. So Boog Brown on Kiss My Grits and Paten Locke of The Smile Rays on Thank You. These thirteen tracks were recorded in a rather unorthodox way.
Rather than head into a studio, Lady Daisey recorded In My Headphones on a small portable studio. They carry the portable studio everywhere they go. So, whenever they’ve an idea for a song, they can record it. This is what Lady Daisey has been doing during her travels around America, Asia and Europe. Just like with In My Pocket, Batsauce also arranged, mixed and produced In My Headphones. Four years after her debut album, Lady Daisey returns with her sophomore album In My Headphones, which I’ll tell you about.
Without doubt, the most important track on any album is the opening track. Lady Daisey realises this and has chosen Ready. It’s the perfect introduction to her unique fusion of hip hop and Nu Soul. The first thing that strikes you, is Lady Daisey’s sweet, sultry vocal. Sometimes, she reminds me of Minnie Riperton. Batsauce supplies the hip hop. This means thunderous beats, meandering keyboards and soaring harmonies. They provide the perfect backdrop to Lady Daisey’s coquettish vocal. You’re now anticipating the rest of In My Headphones.
Kiss My Grits sees a sassy Lady Daisey strut centre-stage. Growling horns signal her arrival. They join crisp drums and stabs of keyboards. Joining Lady Daisey is Boog Brown, who lays down a feisty rap. She’s the perfect foil to Lady Daisey. Together they create a track that’s feisty, witty, sassy and soulful.
Sci-fi synths open For You before the thundering beats accompany Lady Daisey’s tender, seductive vocal. She delivers the lyrics as if she’s lived them. This she does against a hip hop arrangement. Scratches, beats and bursts of a rap accompany her. However, it’s Lady Daisey that plays the starring role.
What sounds like a clavinet opens The Way You Do. It was a favourite of Stevie Wonder in the early seventies. It’s tough sound suits the track. A feisty Lady Daisey struts her way through the arrangement. Accompanied by flute, beats, sultry saxophone and harmonies, she showcases her versatility. Veering between Nu Soul, R&B, urban and hip hop, she delivers a vocal powerhouse.
Showdown has a vintage R&B sound. Driven along by grizzled, swinging horns and drums, Lady Daisey delivers her vocal at breakneck speed. She draws inspiration from sixties soul right through to R&B, urban and Nu Soul. Using these influences, Lady Daisey makes the song her own. Power, control, and sass are her secret weapons. So are her impressive vocal range and her vast experience.
She Got sees Lady Daisey joined by former Funkadelic star George Clinton. She’s not nervous. Far from it. This seems to bring out the best in Lady Daisey. Her vocal veers between tender, coquettish and sensual. Then when George enters, his grizzled vocal is powerful and full of character. It’s as if he’s lived a thousand lives. They prove a potent partnership. Especially, with bursts of horns punctuating the arrangement and the fact the drums aren’t as loud. Later, George vamps above Lady Daisey’s vocal, reminding us of what’s he’s capable of. Soulful, funky and dance-floor friendly, it would make a good single.
Tender and breathy describes Lady Daisey’s vocal on We Will. The arrangement features just a standup bass and drums. They provide an understated backdrop to Lady Daisey’s tender, seductive vocal. Mostly, it’s jazz-tinged and soulful. Briefly, her vocal become a mini rap, as she demonstrates not just her versatility, but her ability to bring a song to life.
The arrangement to Fruit almost marches along to the tune of the drums. The rest of the arrangement is best described as dramatic and hypnotic. Lady Daisey’s vocal soars. It’s wistful and mysterious. Horns, percussion and rolls of drums accompany her. So do harmonies. They’re the finishing touch to this mini soap opera.
Stabs of growling horns open Love Is. They’re joined by harmonies and bursts of drums. They signal the arrival of Lady Daisey’s breathy, lovestruck vocal. She brings the lyrics to life. The rest of the band compliment her vocal. However, you’re captivated by her heartfelt, tender vocal.
To Find You finds Lady Daisey fusing hip hop and Nu Soul. Her vocal is best described as a soulful rap. She draws inspiration from Erkah Badu and India Arie. With crisp drums and keyboards for company Lady Daisey delivers a needy, soulful vocal. Full of sadness and longing, she paints pictures with her lyrics. All the time, she’s combining Nu Soul, hip hop, urban and electronica.
From the creaky door that opens Attic, it’s obvious Lady Daisey is going to tell us a story. Just like on other tracks, her lyrics have a strong narrative. She paints pictures, so much so, that you can imagine her “dancing in my attic, drowning out the traffic.” With piano, beats and percussion for company, Lady Daisey delivers a vocal masterclass, where jazz and soul combine seamlessly. The addition of the trombone proves the finishing touch to the track.
Cascading harmonies, crunchy beats and effects accompany Lady Daisey on Full Circle. A melancholy piano line and cooing harmonies prove the perfect accompaniment to Lady Daisey. They seem to drive each other to greater heights. The sound effects, including what sounds like waves breaking on a beach work well.
Thank You closes In My Headphones and sees Lady Daisey take her bow. It’s a fusion of R&B, urban, hip hop and Nu Soul. Lady Daisey unleashes a celebratory vocal. Accompanying her is Paten Locke. This seems to spur her on. She goes on to deliver a joyful vocal, combining power, passion and soulfulness.
So, that’s the story of Lady Daisey’s In My Headphones. It features thirteen tracks, where Lady Daisey fuses Nu Soul and hip hop. She also adds to her musical mixing pot jazz, R&B, soul and urban. This demonstrates just how versatile a vocalist she is. She’s just as comfortable singing other styles of music. If her brand of hip hip and soul was ever to fall out of fashion, then Lady Daisey could change direction. That’s something many artists have struggled to do.
Previously, when Nu Soul was flavour of the month, once the genre’s popularity fell, artists were left high and dry. That won’t happen to Lady Daisey. If her hip hop infused brand of soul falls out of fashion, another career awaits. She could sing other styles of music, including classic soul or jazz. Indeed, I’d like to hear Lady Daisey with an old school band behind her. Especially, with strings, horns and backing vocalists accompanying her. So in a way, Music In My Headphones is just a taste of what Lady Daisey is capable of. She’s a versatile singer. Her CV demonstrates this.
Indeed, Lady Daisey could have a long and successful career ahead of her. Proof of this is her CV. In My Headphones is her second solo album. She’s also released two albums with The Smile Rays. Her voice can be heard on recordings with Qwazaar, Typical Cats, Asamov and Marc Hype. Lady Daisey has opened for Sharon Jones, Mayer Hawthorne, Chali 2na, Roxanne Shante, Bahamadia, The Perceptionists. Then there’s appearances at festivals around the world, where Lady Daisey has played alongside The Roots, Method Man, Atmosphere, Muse, Typical Cats, and Souls of Mischief. That’s quite a CV. For Lady Daisey the future looks bright. The next chapter in her career begins on 24th February 2014, when her sophomore album In My Headphones is released by BBE Music.
LADY DAISEY-IN MY HEADPHONES.
STEIN URHEIM-STEIN URHEIM.
STEIN URHEIM-STEIN URHEIM.
Last year, 2013, Stein Urheim’s collaboration with Mari Kvien Brunvoll, Daydream Twin was nominated for a Spellemannprisen, the Norwegian equivalent of a Grammy Award. No wonder. Over the last few years, Stein has established a reputation as one of Norwegian music’s most innovative artists. The story begins back in 2009.
That’s when Bergen based guitarist released his debut album Three Sets of Music. Released to widespread critical acclaim, it was no surprise that in 2010, Stein won the Voss Jazzfestival-Award. The following year, 2011, Stein released Daydream Community, his first collaboration with vocalist Mari Kvien Brunvoll. After that, the pair headed out on tour to celebrate the start of a fruitful and successful musical partnership. Throughout this period, Stein had been working on his sophomore album, Kosmolodi.
Unlike other artists, Stein had recorded Kosmolodi over a period of time and at different studios. It was then released in 2012 on Hubro Music as a limited edition vinyl only release. On its release, critics sat up and took notice of Kosmolodi. They hailed its release and soon word was out, Stein was a musician with a big future ahead of him. The followup to Kosmolodi was highly anticipated. However, critics and music lovers have had to wait patiently on Stein Urheim, which will be released in 24th February on Hubro Music.
In between the release of Kosmolodi and Stein Urheim, Stein recorded and released his second collaboration with Mari Kvien Brunvoll, Daydream Twin. It was so well received, that it was nominated for a Spellemannprisen, the Norwegian equivalent of a Grammy Award. For any Norwegian artist, this is one of the highest musical accolades. Sadly, Stein and Mari Kvien Brunvoll didn’t win. However, maybe his third album Stein Urheim will be nominated next year? Before I tell you about Stein Urheim, I’ll tell you a bit more about Stein and the background to the album.
Stein was born in 1979, and is based in the beautiful coastal city of Bergen. Although he’s a guitarist, he’s best described as a multi-instrumentalist. He plays a wide variety of stringed instruments from different corners of the world. This brings an exotic sound to him music. On Stein Urheim, he plays everything from guitars, flutes, harmonica, slide tamboura, fretless bouzouki, gu qin, mandolin, langeleik, charango, banjo, analog synths and effects. Not only is Stein a multi-instrumentalist, but he’s an experienced and talented musician.
Stein’s worked with some of the biggest names in Norwegian music. One of his first appearances was on Unge Frustrerte Menn’s 2001 album Dronningen Av Kalde Føtter. Three years later, Stein played on Barabass & The Happy Few’s 2004 album Rali Rei. Then in 2009, Stein accompanied Sergeant Petter on his Sgt. Petter album. Other appearances include on Sigrid Moldestad’s 2010 album Sandkorn and Gabriel Fliflet Åresong. Indeed, Stein was a member Gabriel Fliflet’s band Åresong and HP Gundersen’s drone band The Last Hurrah. As you can see, Stein is an experienced, versatile and talented musician. His talents are highly in demand. It’s a wonder he has the time for a solo career. Somehow, he finds time and is about to release his eponymous third album.
For his third album Stein Urheim, Stein wrote five tracks. He then decided to take a different approach to the recording process. Unlike his sophomore album Kosmolodi which was recorded in several places, Stein and sound technician Audun Strype headed to Lysøen. Their destination was the magnificent home of the legendary violinist Ole Bull. It’s on the outskirts of Bergen. Recording got underway in January 2013. Although the wooden houses was incredibly cold, it was atmospheric and had fantastic acoustics. This brought a warmth to the music when recording began.
As the tapes began to roll, Stein literally became a one-man band. He played everything from guitars, flutes, harmonica, slide tamboura, fretless bouzouki, gu qin, mandolin, langeleik, charango, banjo, analog synths and effects. Accompanying him was Jørgen Træen, who played modular synth and added effects. Once most of the five tracks were recorded in Ole Bull’s house, they headed to the Duper Studio, Bergen. That’s where recording was completed and the mixing took place. In charge of that was technician and producer Jørgen Træen. Once Stein Urheim was completed, the released date was scheduled by Hubro Music for 24th February 2014. However, what can you expect? is Stein Urheim a groundbreaking, genre-melting album where Stein comes of age? That’s what I’ll tell you.
Atmospheric and melancholy describes the introduction to Kosmoloda. It ebbs and flows. Gradually, a darker sound threatens to descend. A droning synth, quivering stringed instruments. They produce a hypnotic, experimental sound that veers towards ethereal. Then Stein lays down a slide guitar solo atop the arrangement. It wouldn’t sound out of place on one of the soundtracks Ry Cooder wrote for Wim Wenders movies. Rather than slide along, the slide guitar glides and meanders along. By now layers of music are revealing their secrets. Subtly, they tease, assail and surround you. Wistful, ethereal, languid and atmospheric describes this sonic opus.
After The Festival is an epic track. Eleven minutes long, its bubbling introduction meanders into being. Synths provide a backdrop, their understated, almost futuristic sound unfolding. Slowly and deliberately, strings are plucked, before flitting up and down the fretboard. They scamper up and down before hesitantly, a guitar is played thoughtfully. It takes on a Spanish sound. Melancholy and pensive describes the arrangement, as instruments arrive and leave. Folk, free jazz, world music, rock and blues shine through. Stein is responsible for the blues influence. His bluesy slide guitar weeps, like a cry for help. Later, the track takes on a frenzied, experimental sound. There’s a real fusion of influences. They’re all fighting for your attention. The more you listen, the more you hear, the more you realise that Stein Urheim is one of most ambitious, innovative and pioneering musicians. He’s determined to push boundaries to their limits.
Just a distant, lone guitar draws nearer on Watch The View. Meanwhile, a tender crystalline guitar is played thoughtfully. Eventually, it takes centre-stage where it belongs. It quivers and shivers, while the earlier droning guitar returns. This prompts Stein to play louder. Power and passion are ever-present as he delivers some strident, thoughtful licks. They veer between languid and expressive. Stein fuses an Eastern influence with blues and country. They all melt into one beautiful fusion of musical influence.
A bluesy harmonica and gently plucked guitar combine on Beijing Blues. It’s another fusion of musical genres and influences. Blues is the main influence. So are Chinese gu qin, country and folk. This proves a potent combination. An understated bluesy arrangement unfolds. Stein plays slowly and deliberately, concentrating on every note. Accompanying the weeping bluesy guitar are flourishes of guitar. Gradually, the arrangement unfolds in waves, cascading. Later, the arrangement grows in power and drama. As Stein plays, he marks time and blows his blues harmonica. He’s in a groove and unleashes some delicious bluesy licks, which shows yet another side the the versatile Stein Urheim.
Closing Stein Urheim is Great Distances. Again, it has an atmospheric, understated sound. Stein’s unleashes flourishes of his guitar. It reverberates into the distance, weeping. Just like before, Stein’s playing reminds me of Ry Cooder. Especially, on soundtrack albums like Paris Texas. He’s a virtuoso guitarist, who’s capable of switching between genres. One minute he’s playing blues, the next minute jazz or folk. The guitar comes alive in his hands. He gives it a voice. Mostly, it’s just Stein. Sometimes, though, he’s accompanied by a myriad of stringed instruments. They add to what’s best described as atmospheric, evocative, haunting and cinematic sounding track. Quite simply, Stein has kept the best until last.
While Stein Urheim contains just five tracks and is only forty-one minutes long, it’s virtually flawless. Over the five tracks, Stein fuses Afro-blues, avant-garde, blues, country, experimental, folk, jazz, Chinese gu qin music with langeleik, Norwegian zither music. Add to this the free jazz of Ornette Coleman and the music of American composers Lou Harrison and Steve Reich. The result is an eclectic and potent mix. This heady brew is best described as atmospheric, beautiful, ethereal, haunting, hypnotic, melancholy, sparse, thoughtful and wistful. I’d also described Stein Urheim as an ambitious, groundbreaking and minimalist genre-melting album.
Here is a album where less is more. Stein resists the temptation to overload the mix. Sometimes, only a few instruments are deployed. The result is music that’s sparse and minimalist. Sometimes, I’m reminded of Brian Eno and Ry Cooder. Indeed, on some tracks, it’s as if Brian Eno and Ry Cooder are collaborating. That’s one way of describing the music on Stein Urheim. However, there’s much more to Stein Urheim which will be released in 24th February on Hubro Music, than that.
Stein Urheim has been described as cohesive, unique and understated. On Stein Urheim takes not just instrumental music, but his music in a new and unheralded direction. It’s a direction that it’s never headed before. No worries though. Stein is the equivalent to a swashbuckling musical pioneer. Helped along by his collection of eclectic and exotic stringed instruments from the four corners of the world, Stein created some of the most ambitious, exciting and innovative music of his career. Not only is Stein Urheim the best album of Stein’s career, but it sees him coming of age musically. Indeed, Stein Urheim is well on his way to becoming one of Norway’s most talented and pioneering musicians, whose capable of crafting music that’s not just eclectic, but thoughtful, cerebral and beautiful.
STEIN URHEIM-STEIN URHEIM.
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.
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