HALL OF FAME VOLUME 3.
HALL OF FAME VOLUME 3.
Eventually, when someone decides to write a definitive history of Southern Soul, Fame Records name will loom large. There’s two reasons for this. The first is the music released on Fame Records. Then there’s the artists who recorded at Fame Recording Studios, Muscle Shoals.
Back in the sixties, Fame Recording Studios was the place record companies sent their artists to work with producer Rick Hall and the legendary Muscle Shoals Rhythm Section. The artists who headed to Fame Recording Studios is like a who’s who of soul music. Everyone from Arthur Alexander, Arthur Conley, Candi Staton, Etta James, Otis Redding and Wilson Pickett. These artists are just a few of the names who recorded at Fame Recording Studios, Muscle Shoals. Then there’s What Clarence Carter, George Jackson, Otis Clay, Dan Greer and Prince Phillip Mitchell. They all feature on Hall Of Fame Volume 3, which was recently released by Kent Soul, a subsidiary of Ace Records. Hall Of Fame Volume 3 is a welcome addition to the Hall Of Fame series. You’ll realise why, when I tell you about Hall Of Fame Volume 3. Before that, I’ll tell you about the history of Fame Records.
The story starts during late fifties when Rick Hall, Tom Stafford and Billy Sherill founded a record label, and built their first studio above the City Drug Store in Florence, Alabama. However, by the early sixties, this nascent partnership would split-up, resulting in Tom Stafford and Rick Hall needing a new studio.
They decided to move to what had been a tobacco warehouse in Muscle Shoals, Alabama. As if by magic, Rick Hall soon recorded what would be his first hit single, Arthur Alexander’s You Better Move On. Wisely, he decided to invest the profit in a better studio, and moved to their current location Avalon Avenue in Muscle Shoals, Alabama. The first hit single Rick Hall recorded in his new studio was Jimmy Hughes’ Steal Away. Little did Rick Hall know it back then, but soon his new studio would see artists coming from far and wide to record at Fame.
After Rick’s success with Jimmy Hughes, word got out that Fame was the place to go to record a new single or album. Quickly, everyone from Tommy Roe to The Tams, and from Joe Tex, Joe Simon, George Jackson and Clyde McPhatter right through to Irma Thomas, Etta James and Mitty Collier. Even Aretha Franklin recorded at Muscle Shoals. Indeed, it was at Muscle Shoals that Jerry Wexler brought Aretha Franklin, to record her 1967 album I Never Loved A Man the Way I Loved You. However, why did all these artists choose to head to Muscle Shoals to Fame?
Part of the reason was the session musicians that worked with Rick Hall. This included the legendary Muscle Shoals Rhythm Section and Muscle Shoals Horns. They were some of the hottest and tightest musicians of that era. This included drummer Rodger Hawkins, bassist David Hood, guitarist Jimmy Johnson and keyboardist Barry Beckett. When they recorded together, they were one of the finest backing bands ever. Between 1961 and 1969, when they departed from Fame to found the rival studio Muscle Shoals Sound Studio. However, for eight years, they helped make Fame Records Southern Soul’s greatest label. They can be heard on numerous singles and albums. The Muscle Shoals Rhythm Section and Muscle Shoals Horns can also be found on many of the tracks on Hall Of Fame Volume 3.
Hall Of Fame Volume 3 features another twenty-four tracks from Fame Records illustrious back-catalogue. This includes twenty-two previously unreleased tracks. They’re a fascinating insight into the music being made in Muscle Shoals between 1965 and 1970. Just like the previous instalments in the Hall Of Fame series, Hall Of Fame Volume 3 features a whole host of hidden gems, emotive epics and tear jerkers. No wonder. With contributions from Clarence Carter, George Jackson, Joe Simon, Otis Clay, Dan Greer, Billy Young, Big Ben Atkins and Prince Phillip Mitchell. Some artists feature more than once. That’s no bad thing. These artists played a huge part in the Fame Records story. You’ll realise that when I tell you about Hall Of Fame Volume 3.
Billy and Clyde’s A World Of My Own opens Hall Of Fame Volume 3. It’s a real stomper. with a lead vocal that’s reminiscent of Billy Stewart. The Muscle Shoals Rhythm Section and Muscle Shoals Horns drive the arrangement along, braying horns and thunderous drums providing the backdrop to a stomper which Northern Soul fans will love.
Deservedly, Clarence Carter features three times on Hall Of Fame Volume 3. After all, Clarence played an important part in Fame’s success. He wasn’t just a singer, but a songwriter. Clarence released four singles on Fame. Hey Man, I Done Run Out and I Feel A Burning have never been released before. Given their quality that seems strange. The best of the three tracks is Hey Man. It epitomises everything that’s good about Southern Soul. Especially a soul baring vocal from Clarence. He’s torn and tormented, as the lyrics comes to life. I Done Run Out features a vocal that oozes emotion. Rasping horns are a constant companion as Clarence tells it like it is. Then there’s the mid-tempo I Feel A Burning. Clarence kicks loose, reminding me of Otis Clay and O.V. Wright. His lived-in, worldweary vocal is a full regret at the love he lost.
Dan Greer is better known as a songwriter that singer. He only released a handful of singles and one album. However, he wrote songs for Candi Staton, Spencer Wiggins, Wilson Pickett, Chaka Khan and The Ovations. Don’t Let A Good Thing Go To Waste is another of Dan’s composition. He delivers a sassy, strutting vocal where Southern Soul and funk unite. Truly, this is a real hidden gem. Compiler Tony Rounce deserves our thanks for including this track.
Ben and Spence released two singles for Atlantic in 1968. I Do and I Can’t Stop were the only singles they released for Atlantic. However, they were a talented duo, who feature three times on Hall Of Fame Volume 3. Their contributions include the slow,beautiful, bluesy paean L-O-V-E Love. You’re The One For Me is best described as tender ballad, featuring a needy, pleading vocal. Briefly, A Stone Loser reminds me of Sam and Dave’s Soul Man. It has a slow and bluesy sound. As for the vocal, it’s a fusion of emotion, power and soulfulness.
Billy Young’s You’re Too Much is easily one of the highlights of Hall Of Fame Volume 3. It’s a joyous explosion of soulfulness. Written by his hero Otis Redding, Billy pays homage to the King of soul. Accompanied by a stomping beat and blazing horns he creates a blistering track fans of Northern Soul will adore. Why Don’t You Care features a very different side to Billy Young. Here’s he’s transformed into a balladeer. As he delivers a vocal that’s tender, heartfelt and beautiful Billy demonstrates his versatility and ability to make lyrics come to life.
Roy Lee Johnson’s career began back in 1966, when he released So Anna Just Love Me on Josie Records. His career has spanned nearly fifty years. Despite this longevity, Roy never enjoyed the commercial success his talented deserves. He features twice on Hall Of Fame Volume 3. What Your Love’s Gonna Turn Out To Be, a tale of tumultuous relationship, demonstrates Roy’s undoubted talent as a singer and songwriter. The lyrics come to life, thanks to his feisty, emotive and grizzled vocal. Sometimes, despair fill his vocal on this dance-floor friendly track. Love Is Calling On Me is Roy’s other contribution. It’s very different. A slow, heartachingly beautiful ballad, Roy reminds me of Otis Redding as he breathes life, meaning and emotion into the lyrics.
Herman Moore is one of Southern Soul’s best kept secrets. Just one listen to Come On Home and Love Light and that’s apparent. Again, Come On Home epitomises everything that’s good about Southern Soul. Sadness, heartache and regret fills Herman’s needy vocal. Listening to the track, it’s as if Herman has been inspired by Otis Redding. Love Light is quite different. It’s a jaunty dance track. Pounding beats and stabs of braying horns accompany Herman as he shows us another side to his music.
George Jackson played huge part in the success of Fame Records. He was a singer and songwriter. Despite his undoubted talent as a singer, George is better known as a songwriter. Listening to I Don’t Want To Know, he brings the lyrics to life. Wistful and melancholy describes his delivery, while the legendary Muscle Shoals Rhythm Section provide the backdrop for George’s pensive vocal masterclass.
Prince Phillip Mitchell was signed to some of soul music’s biggest labels. Among them are Atlantic, Hi and Fame, who he recorded a handful of singles for. One track that’s lain unreleased is Prince Phillip Mitchell’s cover of Hail! Hail! The Gang’s All Here. This is a traditional track that’s given a makeover by producer Rick Hall. Here, Prince Phillip Mitchell accompanied by the Muscle Shoals Rhythm Section Mk. II prove a potent partnership, matching each other every step of the way, as old track takes on new life and meaning.
My final choices from Hall Of Fame Volume 3 come from Otis Clay. He’s an artist whose music I’ve been championing for more years than I can remember. He’s another case of an artist who commercial success eluded him. When you hear the delicious, hook-laden dance track She’s About A Mover you’ll wonder why? Quite simply, Otis delivers a vocal powerhouse on this alternate version of his 1968 single on Cotillion. The same year, Otis released You Don’t Miss Your Water as a single. It’s a soul searching ballad where Otis vocal literally oozes emotion, sadness and regret. This is one of two reasons to discover the music of Otis Clay, one of the soul music’s best kept secrets.
Whilst I’ve only mentioned seventeen of the twenty-four tracks on Hall Of Fame Volume 3, I could just as easily have mentioned any of the tracks. That’s how good the music is. From the start of Billy and Clyde’s World Of My Own, right through to Otis Clay’s You Don’t Miss Your Water, the twenty-floor slices of Southern Soul ooze quality. No wonder.
Some of the most talented Southern Soul singers make an appearance. This includes old friends like Clarence Carter, George Jackson, Otis Clay, Dan Greer and Prince Phillip Mitchell. They make a welcome return. Then there’s contributions from Billy and Clyde, Ralph Soul Jackson, Billy Young, Herman Moore and Roy Lee Johnson. Quite simply, there’s not a bad track on Hall Of Fame Volume 3.
Compiler Tony Rounce has dug deep and discovered a whole host of hidden gems. That’s why Hall Of Fame Volume 3, which was released by Kent Soul, a subsidiary of Ace Records, is the best instalment in the Hall Of Fame series. For anyone with an interest in either Fame, Records, Southern Soul, soul music or just good music, then Hall Of Fame Volume 3 is an essential purchase. It’s also the perfect addition to the two previous volumes in the Hall Of Fame series. Just like much of the music on the two previous volumes, Hall Of Fame Volume 3 features timeless Southern Soul. They’ve all got one thing in common.
Each of the twenty-four tracks were recorded at Fame Recording Studios, Muscle Shoals. The artists who feature on Hall Of Fame Volume 3 were accompanied by some of the greatest session musicians of all time. These musicians, the legendary Muscle Shoals Rhythm Section, played Arthur Alexander, Arthur Conley, Candi Staton, Etta James, Otis Redding and Wilson Pickett. That’s how good they were. That’s apparent from the music on Hall Of Fame Volume 3. The twenty-four tracks on Hall Of Fame Volume 3 ooze quality, emotion, heartbreak and joy. They’re a poignant reminder of Fame Records’ glory days, when they were one of the most important labels in history of soul music. Their legacy is the music they recorded released, including the music on Hall Of Fame Volume 3. Standout Tracks: Billy and Clyde A World Of My Own, Clarence Carter Hey Man, Billy Young You’re Too Much and Otis Clay She’s About A Mover.
HALL OF FAME VOLUME 3.
MICHAEL BLOOMFIELD-FROM HIS HEAD TO HIS HEART TO HIS HANDS.
MICHAEL BLOOMFIELD-FROM HIS HEAD TO HIS HEART TO HIS HANDS.
Michael Bloomfield was an unlikely candidate to become one of the finest blues guitarists of his generation. He was born in Chicago in 1943. His family were a wealthy Jewish-American family who lived in the north side of Chicago. His family hoped he’d join the family catering business. That wasn’t for Michael. He’d other plans. Ever since he’d been interested in music his first love was the blues. This is apparent on the box set of Michael Bloomfield’s music From His Head To His Heart To His Hands, which was released by Song on 3rd February 2014.
His Head To His Heart To His Hands is the perfect introduction to Michael Bloomfield’s career. It’s a four disc set. The first three discs feature a combination of Michael’s collaborations and solo work. Disc one is entitled Roots, disc two Jams and disc three Last Licks. On these three discs are forty six tracks, which feature Michael’s collaborations with Muddy Waters, Janis Joplin, Bob Dylan, The Electric Flag and The Paul Butterfield Blues Band. There’s also nine unreleased tracks on the three discs. This makes His Head To His Heart To His Hands a veritable musical treasure trove. An added bonus is disc four, a documentary about Michael’s life. Entitled Sweet Blues: A Film About Michael Bloomfield, is the finishing touch. For the newcomer to Michael Bloomfield, this is the perfect place to start. Why? I’ll tell you that after I’ve told you about Michael Bloomfield and his music.
Growing up, the young Michael Bloomfield literally lived for blues music. By the time Michael was a teenager, he was a regular fixture at Chicaago’s south side blues’ clubs. Already, Michael was playing alongside blues legends like Sleepy Johns Estes, Little Brother Montgomery and Yank Rachell. For a blues fan like Michael, he was living the dream. Here he was playing alongside some of the greatest blues musicians. Whether he realised it, this was Michael’s musical apprenticeship.
By the time Michael was twenty-two, he was well on the way to establishing a reputation as one of the best guitarists of his generations, Michael had met first Paul Butterfield and Elvin Bishop when he was doing the rounds of Chicago’s blues clubs. By then, Michael had recorded a few sessions as a solo artist for Columbia. Despite that, he decided he’d rather join The Paul Butterfield Blues Band.
Michael was a member of The Paul Butterfield Blues Band when they recorded their 1965 eponymous debut album. It reached number 123 in the US Billboard 200 and is perceived as a classic album. No wonder. Look at the rhythm section. Accompanying Michael and Elvin Bishop on guitar were Howlin’ Wolf’s bassist Jerome Arnold and veteran blues drummer Sam Lay. Later in 1965, Michael played on another classic album.
Bob Dylan had been an admirer of Michael’s guitar playing. He’d been aware of Michael from his early years playing in Chicago. So, he made the call to Michael and asked him to play on his forthcoming album. This would be Bob Dylan’s seminal classic Highway 61 Revisited. Recording took place over nine days in June, July and August 1965. Highway 61 Revisited reached number three in the US Billboard 200 and number three in the UK. It featured the classic song Like A Rolling Stone. Michael had played his part not just in a classic album, but one of the most memorable songs in the history of modern music. However, this was just the top of the musical iceberg.
In 1966, Michael returned to playing with The Paul Butterfield Blues Band. He played on their sophomore album East-West. It was recorded at the legendary Chess studios. The magic rubbed off and East-West reached number sixty-five in the US Billboard 200 Charts. This proved to the last album Michael recorded with The Paul Butterfield Blues Band. He’d grown disenchanted with The Paul Butterfield Blues Band. Part of the problem was the gruelling tours The Paul Butterfield Blues Band headed out on. So, Michael formed his own band The Electric Flag.
With drummer Buddy Miles and keyboardist Barry Goldberg, Michael founded The Electric Flag. They were joined by a variety of well known musicians. Their music is best described as a fusion of blues, rock and soul. Having made their debut at the Monterrey Pop Festival in 1967,The Electric Flag went on to release three albums. Their debut was 1967s soundtrack to the move The Trip. This was followed by 1968s A Long Time Coning and The Electric Flag: An American Music Band. Sadly, The Electric Flag was a short-lived band, who never quite filled their potential. They literally fell apart amidst tales of drug abuse, poor management and disagreements between band members. Things go so bad, that Michael left his own band and began working with Al Kooper.
Along with Al Kooper and Stephen Stills, Michael released the first of what would be several collaborations. He released Super Sessions on Columbia in 1968. Then a year later, Michael released his debut solo album.
It’s Not Killing Me, Michael’s debut album was released in 1969, which showcased Michael’s fluid guitar playing. This had become Michael’s trademark style. It featured on three other albums Michael played on that showcased Michael’s guitar playing. This includes Live At Bill Graham’s Fillimore West and The Live Adventures of Mike Bloomfield and Al Kooper. The other release was Fathers and Sons, a collaboration with Muddy Waters, Otis Spann, Sam Lay and Donald “Duck” Dunn. Remarkably, this wasn’t the only albums where Michael Bloomfield’s guitar playing can be heard.
Before the sixties were over, Michael had played alongside The Chicago Loop Band band on their 1966 album. Michael played on Grape Jam, Moby Grape’s 1968 sophomore album. However, Michael didn’t play guitar. Instead he played piano. The same year, Michael credited as Mukal Blumfield played on Mother Earth’s Living With Animals album. Then in 1969, the busiest year of Michael’s career so far, Michael played on Muddy Waters’ Fathers and Sons. For a blues lover like Michael, this must have been one of the highlights of his career. Another album Michael played on, was Janis Joplin’s I Got Dem Ol’ Kozmic Blues Again Mama! Released in June 1969, the album was certified platinum. If only Michael could release such a successful album? Maybe his luck would change in the seventies?
For the first half of the seventies, Michael concentrated on session work and collaborations. Michael and Nick Gravenites provided the soundtrack to Steel Yard Blues in 1972. Then in 1973, Michael, John Paul Hammond and Dr. John joined forces on Triumvirate. While this wasn’t the most successful album ever released, it showcased three hugely talented musicians at the peak of their powers. So did the solo albums Michael released in the second half of the seventies.
1976 saw Michael release If You Love These Blues, Play ‘Em As You Please. His previous album, Try Before You Buy was recorded in 1973, but wasn’t released until the eighties. So, If You Love These Blues, Play ‘Em As You Please wasn’t just Michael’s first solo album of the seventies, but only his sophomore album. His third album was 1977s Analine. Then in 1978, Michael released two albums. They were Michael Bloomfield and Count Talent and The Originals. Michael’s final album of the seventies was 1979s Between A Hard Place And The Ground. Bloomfield-Harris a collaboration with Woody Harris was also released in 1979. Having released five solo albums since 1976, little did anyone know that Michael would only release one more solo album.
Cruisin’ For A Bruisin’ was recorded before Michael’s death in February 15th 1981. Nobody has ever got to the bottom of the circumstances surrounding Michael’s death. He was found dead in his car. The cause of death was a drug overdose. However, it’s thought Michael died elsewhere, possible at a party and was moved after his death. That day, music lost one of its most talented guitarists. Michael had packed a lot of living into his forty-seven years. He’d lived his life hard and fast. There was never any danger of Michael Bloomfield fading away. Instead, he burnt out and left behind a rich musical legacy. A tantalising taste of Michael Bloomfield’s musical legacy can be found on the From His Head To His Heart box set, which I’ll tell you about.
DISC ONE-ROOTS.
On disc one of His Head To His Heart To His Hands, which is entitled Roots, there are sixteen tracks. This includes seven previously unreleased tracks. I’m a Country Boy, Judge, Judge and Hammond’s Rag are previously unreleased tracks from Michael’s audition for Columbia. Even aged twenty-one, which Michael was then, he’s a prodigious talent. I’ve Got You in the Palm of My Hands and I Got My MoJo Working were also recorded in 1964. They were produced by none other than John Hammond. These two blistering blues demonstrate what Michael was capable of.
Three tracks from The Paul Butterfield Blues Band feature on disc one. Born in Chicago and Blues with a Feeling are from the 1965 debut album The Paul Butterfield Blues Band. The other track, East-West is the title-track to the 1966 album. It’s thirteen minute Magnus Opus which reminds you how good a band The Paul Butterfield Blues Band were. These three tracks are a reminder that The Paul Butterfield Blues Band’s first two albums were their best.
For Bob Dylan fans, the instrumental version of Like a Rolling Stone and the Alternate Chambers Brothers Version of Tombstone Blues will make From His Head To His Heart, essential listening. The instrumental version of Like a Rolling Stone is a laid-back jam where Michael’s fluid guitar playing and the piano are the perfect foil for the Hammond organ. Remixed by Al Kooper and Magic Dave Roberts, new life is breathed into a classic track.
There’s five tracks from The Electric Flag on disc one. Killin’ Floor, Texas and Easy Rider are taken from the group’s 1968 sophomore album A Long Time Coming. Susie’s Shuffle and Just a Little Something demonstrate just how good a live band The Electric Flag were.
DISC TWO-JAMS.
Disc Two of His Head To His Heart To His Hands, which is entitled Jams, features fourteen tracks. The first three track are from Super Session, a collaboration between Michael and Al Kooper. Albert’s Shuffle and His Holy Modal Majesty were penned by Michael and Al. The other track was Stop. They’re a reminder of the quality of music on Super Session, which features two blues virtuosos showcasing their wares. Quite simply, Michael and Al were a potent partnership. Thankfully, that’s not the end of this partnership.
During 1969, Michael and Al featured on two live albums. They were The Live Adventures of Mike Bloomfield and Al Kooper and Live At Bill Graham’s Fillimore West. The Weight, Her Holy Modal Highness, Fat Grey Cloud and Mary Ann are all taken from The Live Adventures of Mike Bloomfield and Al Kooper. Al rejoins Michael on Live At Bill Graham’s Fillimore West. They’re at the top of their game. Proof of this is 59th Street Bridge Song (Feeling Groovy), Don’t Throw Your Love on Me So Strong, Santana Clause, Opening Speech, One Way Out and That’s All Right. The eleven live tracks on disc two, feature Michael Bloomfield guitar virtuoso at his blistering, bluesy best.
DISC THREE-LAST LICKS.
The third and final disc of music on His Head To His Heart To His Hands is entitled Last Licks. It features another sixteen tracks, fifteen of which are live tracks. The exception is Don’t Think About It Baby. It’s taken from Michael’s debut album It’s Not Killing Me. It’s a tantalising taste of one of the finest albums Michael released as a solo artist. Then there’s the live tracks,
This is where Michael’s at his best. I’m Glad I’m Jewish, Men’s Room, Don’t You Lie to Me, Darktown Strutters Ball, Jockey Blues/Old Folk’s Boogie, A-Flat Boogaloo and Hymn Time were recorded in 1977 and feature on the 1987 album I’m With You Always
Nick Gravenites adds vocal on a trio of tracks. This includes Gypsy Good Time from My Labors. It’s About Time and Carmelita Skiffle see Nick feature on the 1969 album Live At Bill Graham’s Fillimore West. Accompanied by a band at the top of their game, Nick’s vocal is the finishing touch to theses tracks.
Can’t Lose What You Never Had is a track from Muddy Waters’ 1969 album Father and Sons. For Michael, playing alongside a true blues legend must have been a dream come true. This seems to encourage him to even greater heights.
One Good Man is a track from Janis Joplin’s 1969 album I Got Dem Ol’ Kozmic Blues Again Mama! It features Janis Joplin at her best. No wonder the album sold over one million copies.
Among the other tracks on disc three are previously unreleased tracks. This includes Glamour Girl, Spoken Intro and The Groom’s Still Waiting at the Altar. Their addition is to be welcomed. They allow is to hear the listener to hear another side to Michael Bloomfield and his music. That’s often the case with live tracks. The listener is able to hear an artist in their natural environment. This means they’re relaxed and at ease. You can hear that on Spoken Intro, where Michael’s obviously enjoying himself. He’s a natural raconteur, toying with the audience. They’re enthralled, spellbound by the maverick bluesman at his best. Michael shines during these live performance, proving why he’s one of the greatest guitarists in musical history.
Adding the finishing touch to the His Head To His Heart To His Hands box set is Sweet Blues: A Film About Michael Bloomfield this is the finishing touch. For the newcomer to Michael Bloomfield, this will tell give them an overview of the life and times of Michael Bloomfield. It’s best described as a moving and poignant tribute to an artist whose career was cut tragically short.
Tragedy intervened in Michael Bloomfield’s career on 15th February 1981. Aged just forty-seven, he died of a drug’s overdose. That day, music lost one of its most talented sons. Despite his recording career spanning just fifteen years, Michael released eight solo albums. Then there’s the two albums he recorded with The Paul Butterfield Blues Band and a trio of albums with The Electric Flag. Then there’s collaborations with Al Kooper, Dr. John and Nick Gravenites. He also accompanied Bob Dylan, Moby Grape, Janis Joplin and Muddy Waters. Michael Bloomfield was the go-to-guy for an artist looking for a guitarist for hire.
Back in the sixties, there were plenty guitarists for hire, but not many who played with the same fluidity as Michael. In Michael’s hands, the guitar came alive. It spoke, cried and wept. Emotions came to life via Michael’s guitar playing. That’s why some of the biggest names in music asked Michael to accompany them. Along with his work as a solo artist, Michael Bloomfield is remembered as one of the greatest blues guitarists of his generation.
Truly, Michael Bloomfield was a blues great, one who helped repopularise the blues during the sixties. Michael Bloomfield helped introduce a new generation of music lovers to blues music. In doing so, blues players like Sleepy Johns Estes, Little Brother Montgomery and Yank Rachell, who Michael once played alongside, found a new generation discovering their music. That’s quite fitting, given Michael as a teenager, lived and breathed blues music. Having helped introduce blues to another generation, Michael became one of the genre’s most popular players.
Even today, nearly thirty-three years after his death, Michael Bloomfield is revered as a musician. He’s remembered as a blues fan who lived the dream. Having grownup playing alongside some of the greatest blues musicians ever, he became a keeper of blues music’s flame. During his recording career, which tragically, only lasted fifteen years Michael Bloomfield recorded some of the best blues music of the sixties and seventies. A reminder of this is the music on the His Head To His Heart To His Hands box set which celebrates the life and times of Michael Bloomfield.
MICHAEL BLOOMFIELD-FROM HIS HEAD TO HIS HEART TO HIS HANDS.
BOBBY CHARLES-BOBBY CHARLES.
BOBBY CHARLES-BOBBY CHARLES.
Bobby Charles will always be remembered as one of the pioneers of swamp pop. He played a huge part in popularising swamp pop, not just in Louisiana, but much further afield. However, there’s more to Bobby Charles’ career than that. Much more. Bobby was also a successful songwriter. The story begins in 1955.
In 1955, Bobby Charles signed to Chess Records. His debut single was Later Alligator. Although it wasn’t a commercial success, it gave another artist one of the biggest hits of their career.
Later Alligator would later be released by Bill Haley and The Comets as See You Later Alligator. It also featured in the film Blackboard Jungle. This wasn’t the only Bobby Charles song recorded by major artists. Fats Domino recorded Walking To New Orleans and Clarence “Frogman” Henry covered (I Don’t Know Why) But I Do. Bobby’s songs were also covered by everyone from Paul Butterfield, Wilson Pickett, Muddy Waters, Joe Cocker, Bo Diddley and Tony Joe White. These are just a few of the musicians who recorded Bobby Charles’ songs. Bobby also worked with some of the biggest names in music, including The Band.
In 1972, there weren’t many bands bigger than The Band. Since 1969, they’d just a quartet of albums. This began with 1969s Music From The Big Pink, 1969s The Band, 1970s Stage Fright and 1971s Cahoots. Before that The Band had accompanied Bob Dylan between 1965 and 1972. So, they were at the peak of their popularity. This meant having The Band accompany Bobby Charles on his 1972 eponymous debut album was something for a coup for Bobby. With The Band accompanying Bobby on his 1972 debut album Bobby Charles, which was recently rereleased by Light In The Attic Records, surely the album was bound to be a hit? Especially given Bobby wasn’t exactly a rookie.
No. Bobby’s career began back in 1955. He was only seventeen. Bobby was born Robert Charles Guidrin in Abbeville, Louisiana in1938. He’d grownup listening to Cajun and country and western music. Hank Williams was one of Bobby’s favourites. That’s until he heard Fats Domino. That was a game-changer. For Bobby, this “changed his life forever.” Little did Bobby realise that in 1960, he’d cowrite Walking To New Orleans with Fats Domino and Dave Bartholomew. By then, Bobby’s career was well underway.
It was in 1955 that a seventeen year old Bobby Charles released Later Alligator for Chess Records. He’d spend the next two years signed to Chess. In 1956, Bobby released Laura Lee, Why Can’t You and Take It Easy. The following year, 1957, Bobby released three further singles on Chess, No More (I Ain’t Gonna Love You No More) and One Eyed Jack. That was the end of Bobby’s time at Chess. It wasn’t the most successful period of his career. After that, Bobby split his time between songwriting and singing live.
During that period, Bill Haley and The Comets covered Later Alligator as See You Later Alligator in 1960. It also featured in the film Blackboard Jungle. The same year, Clarence “Frogman” Henry covered (I Don’t Know Why) But I Do. It gave him one of the biggest hits of his career. Then in 1994, it featured on the soundtrack to Forrest Gump. Then in 1963 Bobby cowrote Walking To New Orleans with Fats Domino and Dave Bartholomew. Given the influence Fats Domino had on Bobby Charles, this must have been one of the highlights of his career so far.
1964 saw Bobby return to the recording studio. He recored Everybody’s Laughing, a song he penned with Stan Lewis. It was released on Jewel Records. Just like his previous singles, commercial success eluded Bobby. So he returned to playing live and writing songs. He was happy doing this for the next few years. Then Bobby had the chance of lifetime.
Having signed to Bearsville in 1972, at last, Bobby had the opportunity somewhat belatedly, to record his debut album. Bobby wrote eight tracks and cowrote two other tracks. He penned Small Town Talk with Rick Danko who co-produced the album with Bobby. Grow Too Old was a track Bobby penned with Fats Domino and Dave Bartholomew. These ten tracks became Bobby Charles which saw Bobby accompanied by none other than The Band.
Accompanying Bobby on Bobby Charles four out of five members of The Band. Only Robbie Robertson was absent. The band backing Bobby included some of the most talented musicians of the early seventies. The members of The Band were multi-instrumentalists. Rick Danko, who played bass, guitar and violin. Levon Helm played drums, mandolin, guitar and bass. Garth Hudson played keyboards, saxophone, accordion, pedalboard, woodwinds and horns. Richard Manuel played piano, drums, organ, marimba, lap slide guitar. Other musicians included guitarists
Geoff Muldaur Amos Garrett, Ben Keith and Rob Neuwirth plus drummer Billy Mindi. Adding horns were trumpeter Joe Newman and saxophonist David Sanborn. They were joined by pianist Dr. John and violinist Harry Lookofsky. This was the band that recorded Bobby Charles, which was released in 1972.
Despite the presence of The Band on Bobby Charles, the album wasn’t a commercial success. It failed to chart. That’s despite what’s essentially a genre-melting musical journey with Bobby Charles as your tour guide. Everything from Americana, country, pop, R&B, rock and and soul shines though on Bobby Charles, which I’ll tell you about.
Opening Street People is Street People. Hissing hi-hats, hesitant bluesy guitars and a probing bass provide the backdrop for Bobby’s worldweary vocal. He seems destined to be a drifter. Despair and resignation fill his voice as he sings about” “hanging out with the Street People, drifting from town to town.” Meanwhile, the band play around Bobby’s vocal. They frame Bobby’s vocal. It’s a mixture of bravado, resignation and irony given the situation he finds himself in.
As Long Face unfolds, the unmistakable sound of Dr. John can be heard on the piano. He adds a New Orleans’ R&B sound, while the rhythm section provide the heartbeat. Washes of Hammond organ give way when Bobby’s tender vocal enters. It’s heartfelt and full of concern. Behind him, the band provide a delicious backdrop. Everything from jazz, R&B, rock and soul is combined. When Bobby’s smoke hued vocal is added this proves a potent partnership.
Just a piano and reverberating guitar combine as I Must Be In A Good Place Now unfolds. They set the scene for Bobby’s wistful vocal. Memories come flooding back, as Bobby reflects. He’s accompanied by a laid-back, jazz-tinged arrangement. Partly, this comes courtesy of drummer Levon Helm. His playing is subtle and sparse. Never once does he come close to overpowering the vocal. As for the piano, it’s the perfect accompaniment, to Bobby’s tender, pensive vocal. He sounds like J.J. Cale in his prime. That’s how good this track is.
Save Me Jesus marks a change in style. Gone is the balladry of the previous track. Replacing it is a track with a much stronger country influence. This comes courtesy of the rhythm section and guitars. Bobby’s vocal is different too. It’s husky and delivered with a twang. Despairing and needy describes his vocal. He pleads “Save Me Jesus, Save Me Jesus, for this godforsaken place.” Bobby’s rails against greed and avarice. His lyrics are full of social comment and he delivers them with power, emotion and hope. This results in a moving and powerful song, one that’s still relevant today.
Bobby scats before All The Money decides to reveal its secrets. It’s shaping up to be a fusion of jazz, blues and gospel. That proves to the case. The track has a loose, laid-back sound. You can imagine Bobby and The Band jamming, as they perfect this track. Horns rasp, while the rhythm section and handclaps accompany Bobby’s grizzled vocal. He sings with frustration “he got all the money, he got all the women…he got all the power, but he give me none.” The result is a fusion of blues, gospel, jazz and rock that demonstrates Bobby’s versatility.
Small Town Talk meanders into being. Bobby whistles, while the rhythm section, guitars and Hammond organ provide a backdrop for Bobby’s tender vocal. He sounds weary as sings about “Small Town Talk.” You sense he’s been a victim of “Small Town Talk” far too often and he’s drawing upon experience. Wistful, weary and melancholy describes Bobby’s lived-in, languid vocal.
Let Yourself Go has a glorious country sound. This comes courtesy of the honky tonk piano, weeping guitars and rhythm section. Then there’s Bobby’s needy, tender and seductive vocal. His vocal is needy as he sings “come on, lay down, right hear beside me.” The band raise their game. They play their part in what’s one of the best arrangements on Bobby Charles. No wonder. That’s what I’d expect from a combination of Bobby Charles and The Band.
Blistering guitars and honky tonk piano open Grow Too Old. With the rhythm section adding the heartbeat, this sets the scene for Bobby’s vocal. It’s a fusion of power, passion and joy. Later, blazing horns are unleashed. They soar above the arrangement as blues, country and rock are combined to create a slice of good time music.
I’m That Way sees the good time music continue. Bobby’s all-star band deliver a musical masterclass. Dr. John plays piano and is joined by country-tinged guitars. They’re joined by the rhythm section and Bobby’s vocal. It’s feisty and sassy. He tells his partner he’s leaving and looking for someone new. Guitars answer his call, while the band enjoy some grandstanding. This is a reminder, if any was needed, of just how good they are.
Closing Bobby Charles is Tennessee Blues. Just a thoughtful, chiming guitar and gently strummed acoustic guitar combine. They’re joined by an accordion. This results in a melancholy backdrop. It’s perfect for Bobby’s heartbroken vocal. Hurt and despair fills his voice. When he sings: “if I had my way, I’d leave here today, I’d leave in a hurry” it’s obvious he means every word. With a vocal oozing emotion, Bobby sings about being unable to shake the “Tennessee Blues.” So, realistic is Bobby’s delivery, it’s as if he’s lived, loved and survived to tell the tale.
Listening to Bobby Charles, which was recently rereleased by Light In The Attic Records, which was released forty-two years ago, the best way to describe the album is a timeless, classic in-waiting. Despite being accompanied by most of The Band, plus some of the best session players of the day, Bobby Charles wasn’t a commercial success. Granted working with The Band lifted Bobby’s profile. More people heard his music. Sadly, not enough to make the album a hit. As a result, Bobby Charles didn’t chart. Since then, it’s remained one of music’s best kept secrets.
Those in the know talk about Bobby’s debut album Bobby Charles in hushed tones. It’s given the reverence it deserves. It was as if everything Bobby had done since his 1955 single Later Alligator, had been building towards this. He’d waited long enough to release his debut album. So he wasn’t going to blow it. Like a prize fighter belatedly getting a title fight, Bobby Charles grabbed the opportunity. He penned eight tracks and cowrote the two other tracks. Then with The Band in tow, recorded a genre-melting epic. Everything fro, Americana, blues, country, pop, R&B, rock, soul and swamp pop shines through on Bobby Charles.
On Bobby Charles, Bobby should’ve made the step from contender to champion. It’s an album that oozes quality. From the opening bars of Street People, right through to the closing notes of Tennessee Blues, it’s akin to jumping onboard a musical roller coaster. Musical genres and influences melt into one. So do emotions as Bobby sings about betrayal, heartbreak and hurt. It’s as if he’s experienced the hurt and heartache he’s singing about. Despite that, Bobby’s capable of delivering vocals with tenderness and emotion Other times, Bobby happiness and joy fills Bobby’s voice. Each of the ten tracks tells a story, which Bobby brings to life. It’s as if he’s lived and survived the lyrics. Bobby Charles it seems is a survivor.
Following the commercial failure of his debut album Bobby Charles in 1972, Bobby went on to enjoy a long and successful career. While chart success eluded Bobby as a singer, other singers made his songs a hit. Meanwhile, Bobby released another six albums before his death in 2010. By then, he’d established a reputation as one of the founding father’s of swamp pop. However, his debut album, Bobby Charles, which is a classic in-waiting, shows there’s more to Bobby Charles than swamp pop. Much more. Standout Tracks: Street People, I Must Be In A Good Place, Let Yourself Go and I’m That Way.
BOBBY CHARLES-BOBBY CHARLES.
STUDIO ONE ROCKSTEADY.
STUDIO ONE ROCKSTEADY.
Soul Jazz Records’ latest compilation Studio One Rocksteady, which was released on 3rd February 2014, sees compiler Lloyd Bradley return to the vaults of Studio One Records. Previous visits to the Studio One vaults have resulted in rich pickings for Soul Jazz Records. No wonder. Studio One Records was one of reggae legendary labels. Comparisons have been drawn with both Motown and Stax. Indeed, Studio One Records was once described as the Motown of Jamaica. That’s why Soul Jazz Records have released a string of compilations of music released by Studio One Records.
This includes everything from ska, dub, lovers rock and roots reggae. However, Studio One Records is still a veritable gold mine awaiting discovery. Proof of this is Studio One Rocksteady. It features not just some of the biggest names in rocksteady, but reggae. This includes The Heptones, Dennis Brown, Marcia Griffiths, John Holt, Jackie Mittoo and Ken Boothe. Each of these artists feature on Studio One Rocksteady.
Studio One Rocksteady is described as not a compilation or rocksteady. No. It’s much more than that. It’s described as: “a compilation of rocksteady, soul and early reggae recorded at Studio One.” That’s apparent from the first time you listen to Studio One Rocksteady. Compiler Lloyd Bradley, the author of Dub Culture, which is the ultimate history of reggae, has chosen well. You’ll realise that when I tell you about Studio One Rocksteady. Before that, I’lll tell you about Studio One Records and rocksteady.
Although Studio One was founded in 1954, it wasn’t until October 1963 that Coxsone Dodd recorded his first single. This took place at the Jamaica Recording and Publishing Studio, at 13 Brentford Road, Kingston. What was a former jazz club The End, would become a one-stop musical shop. Musicians could head to what became known as Studio One, to write and record music.
Soon, Studio One Records would become a meeting place for musicians and songwriters from all over Jamaica. They could meet with other songwriters and musicians, and work on songs. Soon, some of the biggest names in Jamaican music were meeting at Studio One Records. They could write and then record a song at Studio One. Essentially, it was a one stop musical shop. This lead to comparisons with American soul labels like Motown. At Studio One, some of the best reggae music to come out of Jamaica was recorded. Part of the Studio One success story was the house band, The Skalites.
In the early days, the artists that recorded at Studio One Records were accompanied by one of reggae’s legendary studio bands The Skalites. It was during May 1964 that The Skalites were formed by Coxsone Dodd. His idea, was to bring the best musicians together to play on his own recordings. The man given the job of putting together this group of top musicians was Tommy McCook. He turned down this chance, but eventually, agreed to join what became The Skalites.
Eventually, the lineup of The Skalites was like a who’s who of reggae. This includes the rhythm section of bassist Lloyd Brevett, drummer Lloyd Knibbs and guitarist Jah Jerry Hinds. They were augmented by pianist Jackie Mittoo and a horn section of tenor saxophonist Tommy McCook, trumpeter Johnny Moore, alto saxophonist Lester Sterling. This was the lineup of The Skalites that played on some of the best music recorded at Studio One Records. This includes some of the tracks on Studio One Rocksteady. However, what’s rocksteady?
Rocksteady was born around 1966. It picked up the baton from ska, which had dominated reggae since the fifties. The name rocksteady came from an Alton Ellis track Rock Steady. However, Rock Steady may not have been the first rocksteady single. That could either be Derrick Morgan’s Tougher Than Tough, Roy Shirley’s Hold Them or Hopeton Lewis’ Take It Easy. One of these singles resulted in the birth of of rocksteady. Soon, rocksteady was being popularised by Jamaican vocal harmony groups. This includes The Heptones and The Gaylads. They both feature on Studio One Rocksteady. However, it wasn’t until 1968 that rocksteady became popular overseas.
This was when American soul sing Johnny Nash enjoyed a hit single with Hold Me Tight. Johnny Nash then headed to Jamaica to record reggae music. He became the first non-Jamaican singer to record reggae music. After this, Johnny Nash became synonymous with reggae music, especially. No wonder. There are several similarities between soul and rocksteady.
Everything from soul, R&B, jazz and ska influenced rocksteady. So did African and Latin drumming. Just like its predecessor ska and its successor reggae, was built around what’s known as the one drop drum beat. However, what makes rocksteady so instantly recognisable is the offbeat rhythms and staccato chords. They’re usually played by a guitar and piano on the second and fourth beat of the bar. Then there’s the tempo of rocksteady. It’s usually between 80 and 100 beats per minute. This was much slower than ska. For two years, rocksteady provided the soundtrack to Jamaican life.
It was around the spring of 1968 that rocksteady was usurped in popularity by an early version of reggae. This was a reaction to the social problems that were affecting Jamaica. Many people from rural Jamaica were flooding into Kingston’s ghettoes. Although people were still optimistic after the country’s independence, poverty was rife. Especially in areas like Trenchtown and Greenwich Town.
Within these areas the younger generation were angry and disaffected. These young men were referred to as rude boys. They couldn’t relate to rocksteady. What they wanted was music that spoke to, and for them. This was the beginning of an important part of youth culture. However, it was the end of the line for one of the first genres of modern Jamaican music, rocksteady. Rocksteady had replaced ska as the most popular musical genre in Jamaica. Over forty years later, and rocksteady is just as popular. Proof of this is Studio One Rocksteady, a compilation of seventeen rocksteady tracks, which I’ll pick the highlights of.
My first choice from Studio One Rocksteady is The Eternals’ Stars. It was released in 1969. By this time, rocksteady was no longer as popular. Maybe that’s why this was the only single The Eternals released for Studio One? Mind you if you’re only going to release one single for Studio One, make it one as good as Stars. Stars was written by Cornell Campbell, who takes charge of lead vocals. Horns drive along the languid, light, bright meandering arrangement. That sets the scene for Cornell’s tender, heartfelt vocal. Accompanied by harmonies
John Holt enjoyed a long and successful career and is one of the best known artists on Studio One Rocksteady. He enjoyed a string of hit singles and released the classic album 1,000 Volts of Holt in 1973. His contribution to Studio One Rocksteady is Fancy Make Up, which he wrote and Coxsone Dodd produced. With a vocal full of frustration, he delivers a vocal full of frustration and bitterness. He’s angry at the women who’ve “robbed and cheated” him. This he does against a horn driven arrangement which epitomises what rocksteady is all about.
The Heptones feature twice on Studio One Rocksteady. That’s only fair, given how important a part they played in Jamaican musical history. They spent five years signed to Studio One, releasing their eponymous debut album in 1967. Some of the best music The Heptones recorded was produced by Coxsone Dodd. Proof of this is Party Time and Love Won’t Come Easy, which was released in 1973. It was penned and produced by Coxsone Dodd. Party Time was written by The Heptones and produced by Coxsone Dodd. Released in 1974, just like Love Won’t Come Easy it’s slow, sensual and quite beautiful.
It was in 1968 that The Gaylads released Joy in the Morning on Coxsone Records. Rocksteady was about to be usurped in popularity by reggae. However, the group formerly known as Bibby and The Astronauts had something up their sleeve. This was Joy in the Morning. Magical, melodic and mesmeric, this was musical perfection. Whether it was the vocal, cascading harmonies or the chugging rhythm section, this is a beautiful and flawless example of rocksteady.
Marcia Griffiths career began in 1964, when she was a vocalist for Byron Lee and The Dragonaires. Not long after this, Marcia started working with Coxsone Dodd. This was the start of a long and successful career for one of Jamaica’s most talented and underrated female vocalists. On My Ambition, Marcia delivers a soulful masterclass. She mixes elements of soul, jazz and gospel, bringing the lyrics to life. This is the perfect introduction to one of Jamaican music’s best kept secrets…Marcia Griffiths.
Not only was Jackie Mittoo was The Skalites’ pianist, but he enjoyed a successful solo career. During his career, he worked with a number of producers. However, Coxsone Dodd played an important role in Jackie’s career. After being a member of The Skalites, he embarked on a solo career. His debut album was 1967s In London. Two years later, Jackie released the Coxsone Dodd produced Our Thing. Featuring a soulful, vampish vocal, the horn driven arrangement skanks along. Throughout the track Jackie is forever the showman vamping his way through the lyrics mixing power, drama and soulfulness.
Dennis Brown is yet another legend of Jamaican music that features on Studio One Rocksteady. Throughout his career, Dennis’ music constantly evolved. In 1972, when he released Take It Easy as a single, his music is best described as roots reggae. Later, his music took on a more militant and then spiritual sound. For some, Dennis Brown was the voice of a generation. He gave a voice to those who had none. Take It Easy has a much more mellow, laid-back vibe, that shows another side to Dennis Brown.
Ken Boothe features twice on Studio One Rocksteady. He contributes Home, Home, Home and Moving Away. Home, Home, Home was released in 1967, and features a soul-baring vocal. Tired and missing home, Ken pictures the sights and sounds. This homecoming comes to life thanks to Ken’s delivery of the lyrics. Moving Away was released a year later in 1968. Soulful, heartfelt and full of sadness describes Ken’s vocal. That’s because his partner is “Moving Away.” His voice is needy and emotive as Ken sings the lyrics as if he’s lived, loved and survived them.
Whist I’ve only mentioned ten of the seventeen tracks on Studio One Rocksteady, I was totally spoiled for choice. Really, I could just about have picked any of the seventeen tracks. That reflects the quality of music on Studio One Rocksteady. The best way to describe Studio One Rocksteady is all killer, no filler. That’s no surprise. After all, look at that the man behind Studio One Records. Coxsone Dodd was a producer and songwriter with exacting standards. Quality control was important to Coxsone. Inferior music didn’t get to bare the Studio One logo. No chance. He only worked with the creme de la creme of Jamaican music. This includes The Heptones, Dennis Brown, Marcia Griffiths, John Holt, Jackie Mittoo and Ken Boothe. Each of these artists feature on Studio One Rocksteady, which was released by Soul Jazz Records on 3rd February 2014.
Ever since they released their first compilation, Soul Jazz Records have concentrated on quality over quantity. They’re like Analog Africa, another of my favourite labels. Neither label churn out compilations. No. They leave that to inferior labels. Instead, Soul Jazz Records almost ration themselves. Each of their releases must meet their exacting standards. That’s why it’s so fitting that Soul Jazz Records are the keeper of the flame for Studio One Records. Both companies have the same standards. Neither would dare release second rate music. Instead, it’s got to be the creme de la creme. That’s no bad thing.
That’s why if you’re a newcomer to rocksteady, then Studio One Rocksteady is the perfect place to start. Indeed, for anyone wanting to discover the music Studio One Records released, the Soul Jazz Records’ series of compilations is a perfect starting place. Just like Analog Africa’s compilations, you can risk buying Soul Jazz Records’ Studio One compilations blind. You can be rest assured they ooze quality. That’s the case with Studio One Rocksteady, which is another lovingly compiled, quality compilation from Soul Jazz Records. Standout Tracks: The Eternals Stars, The Heptones Love Won’t Come Easy, Marcia Griffiths My Ambition and Dennis Brown Take It Easy.
STUDIO ONE ROCKSTEADY.
ALGEBRA BLESSETT-RECOVERY.
ALGEBRA BLESSETT-RECOVERY.
It was six years ago, that Atlanta born soul singer Algebra Blessett released her debut album Purpose. It was produced by Kedar Massenburg who previously, produced India Arie and D’Angelo. On its release in 2008, Purpose was released to critical acclaim. Comparisons were drawn with India Arie and Erykay Badu. Critics forecast great things for Algebra. Described as a charismatic and versatile singer-songwriter, Algebra Blessett was hailed as the most talented singer to come out of Atlanta in a long time. The future, critics said, looked bright for Algebra. However, why has it taken six years for Algebra to released the followup to Purpose, Recovery which will be released by BBE Music on 3rd February 2014?
Since the release of Purpose in 2008, Algebra has been busy collaborating with other artists. This includes Monica, Bilal, India Arie, Esperanza Spalding and Anthony David. For Algebra this has been expanded her musical horizons and helped establish her reputation as one of the best up-and-coming soul singers. It’s also resulted in Algebra having a number one single.
One of the artists Algebra has collaborated with is Anthony David. Just like Algebra, Anthony is a native of Alabama. He too is one of the best up-and-coming soul singers. So the combination of Anthony and Algebra would be a successful partnership. Algebra sang on three of Anthony’s four albums. They also released the duet 4Evermore. It reached number on Billboard’s R&B Adult Contemporary chart in 2011. This wasn’t the only successful collaboration Algebra enjoyed.
Algebra cowrote and sang on Esperanza Spalding’s hit single Black Gold. It’s a track from from Esperanza’s 2012 Grammy Award winning album Radio Music Society. As you can see, collaborations have played an important part in Algebra’s career recently. This extends to her forthcoming album Recovery.
Although Algebra wrote the fourteen tracks on Recovery, she decided to collaborate with one of the most successful production teams. Bryan-Michael Cox, Kwamé Holland and Shannon Sanders have established a reputation as the go-to-guys for urban artists. They would be crucial to getting the best out of Algebra Blessett. After all, Algebra describes herself as “work in progress” as an artist.
Although anyone whose heard Purpose or a sneak preview of Recovery, will take issue with that, Algebra is determined to make what she describes as “classic music.” This she describes as music that’ll affect people’s lives. Algebra wants her music reach people and touch their lives in “a positive, healing way.” Essentially, Algebra wants to communicate with people at an emotional level. Her way of doing this is through music. On Recovery, Algebra does this and showcases her versatility.
During Recovery we hear different sides to Algebra Blessett. Essentially, Recovery is a journey through musical genres. There’s everything from Nu-Soul, funk, R&B, urban and classic soul. Whether she’s a strutting diva or balladeer, Algebra is equally comfortable. That’s apparent throughout Recovery. However, Algebra is at her best delivering as a song oozing emotion and sadness. Where she comes into her own, is when Algebra becomes a storyteller. Several songs on Recovery demonstrate that.
This includes Exordium To Recovery (Give My Heart A Chance) which opens Recovery. It’s less that a minute long and is a tantalising taste of what Algebra’s capable of. Her vocal’s needy and full of hurt and longing. She delivers it against a dramatic backdrop. This sets the scene for Recovery, where Algebra tells the story of a woman “on the road to Recovery.” As she delivers the lyrics, you can sense her pain, heartbreak and hurt. Accompanying the vocal is a dramatic arrangement. It’s the perfect accompaniment to Algebra’s vocal as she brings the lyrics to life.
Right Next To You is a delicious fusion of R&B and Nu-Soul. It also demonstrates Algebra’s skills as a songwriter and storyteller. Again, Algebra’s vocal oozes emotion and heartache from the opening bars. Whatever she does she can’t forget him. “No matter what I do, I wanna be Right Next To You.” With a classy Nu-Soul arrangement, it’s one of the highlights of Recovery. Nobody But You features a heartfelt, emotive vocal. She lays bare her soul during this soulful paean.
Struggle To Be which features Q. Parker has a vintage sound. That’s the case on several songs on Recovery. Elements of Nu-Soul, R&&, electronica and hip hop unite. Accompanied by backing vocalists, Algebra delivers a sweet, soulful and impassioned vocal. Drums crack, while a sample repeats constantly. It plays an important part in the track’s success. So does Q. Parker’s heartfelt vocal, as he and Algebra prove to be ying to the other’s yang.
Augment To Recovery (Give My Heart A Chance) picks up where the opening track left off. It’s a bit like meeting an old friend. Heartfelt, emotive and deeply soulful describes Algebra’s vocal. With its confessional quality, it’s akin to a cathartic cleansing of her soul.
Forever is another of the ballads on Recovery. It’s full of poppy hooks. Dramatic drums provide the backdrop to Algebra’s vocal as she vows to love her partner “Forever.” Sweet, soulful and sincere describes this slice of poppy soul.
On Writer’s Block Algebra delivers the lyrics with a sense of urgency. It’s as if she’s been there and experienced the frustration of “Writer’s Block.” Emotion and frustration fills her vocal as she describes being blocked. Accompanied by harmonies, keyboards, rhythm section and handclaps, Algebra delivers a track that’s full of emotion and slick hooks.
Paper Heart has a jazz-tinged sound, before Nu-Soul, R&B and hip hop is combined. Against a crackly backdrop that reminds me of an old vinyl record, Algebra’s vocal takes centre-stage. It’s wistful, melancholy and full of frustration. Drums crack while guitars, keyboards and harmonies accompany Algebra. She goes on to deliver one of her most soulful vocals on Recovery. The soul continues on Danger Zone. A meandering bass, crisp drums and keyboards accompany Algebra’s tender, heartfelt vocal. Harmonies accompany her, as her vocal grows in power and emotion. It also becomes needy, as a lovelorn Algebra’s sings about being ready to “enter the Danger Zone.” She lays bare her soul, and delivers a vocal tour de force What follows is an outpouring of emotion and neediness.
Flourishes of keyboards give way to cascading harmonies and blazing horns as Mystery unfolds. Algebra delivers a sultry, sensual vocal. The cascading harmonies, keyboards and horns are the perfect foil to Algebra’s vocal. They play their part in this sensual slice of Nu-Soul. It’s by far the highlight of Recovery.
Regret fills Algebra’s vocal on Another Heartache, a tale of love lost. It could be, as it tells the story of someone heading off to further their career, only to return and find their partner has left them. Whether this song is autobiographical, I don’t know. However, writers are always told to write about what they know and have experienced. Maybe that’s why this is one of Algebra’s best songs. Full of remorse and regret, she’d do anything to turn back the clock and do things differently.
Better For Me has an understated arraignment. Having said that, the arrangement still manages to be dramatic. That’s down to the drums and percussion. They’re in the background. At the front and grabbing your attention is the vocal. Again, Algebra thinks about what might have been. Accompanied by harmonies, she sings about the perfect life, with the perfect family. It was within her grasp, yet she let it slip. Rueful, regret and sadness fills her voice as she thinks about how differently her life might have been.
I’ll Be Ok closes Recovery. Just a lone piano accompanies Algebra. This is a perfect combination. It’s old school and very different from much of Recovery. Then strings sweep in, before horns add a touch of melancholia. Algebra reassures us “I’ll be okay.” She delivers the lyrics with power, passion and feeling. You want to believe her, but can’t quite. There’s a fragility in her vocal, that one setback and she’d be back where she started. This proves a moving way to close Recovery.
So that’s the story of Algebra Blessett’s sophomore album Recovery, which will be released by BBE Music on 4th February 2014. Recovery will be released six years after Purpose, Algebra Blessett’s debut album. Algebra’s proved the critics right. She was described as a charismatic and versatile singer-songwriter. That’s not all. Algebra Blessett was hailed as the most talented singer to come out of Atlanta in a long time. The future, critics said, looked bright for Algebra. It is.
Angela’s a hugely talented singer-songwriter. She has the uncanny ability to make a lyrics come to life. It’s as if she’s lived and survived the lyrics. Whether any of the lyrics are autobiographical, I don’t know, but the pain and hurt Algebra sings about seems very real. Maybe Algebra has suffered the heartache and disappointment she sings about on Recovery? If she has, I hope this proves cathartic for her. Should she not have experienced the heartache and disappointment, she’s obviously able to bring other people’s pain and problems to life. That’s not easy to do, because you’ve not suffered like they have. Whatever the truth is, Recovery is an emotional roller coaster.
Hurt and heartache sit side-by-side with regret and remorse on Recovery. It’s an album that many people will be able to relate to. Another theme Algebra touches on, is wishing she could do things differently. Another Heartache and Better For Me are two examples of this. Just like many people, the benefit of hindsight is a wonderful thing. Algebra wonders how different her life might have been? There will always be that nagging doubt that she could’ve been happier and had a better life. Again, that’s something many people will relate to. This makes Recovery a very human album. The songs are about people and their problems. For some people, they’ll be able to relate to this. Recovery isn’t the type of album other artists will even try to make.
Many other artists write music that allows people to escape from reality. It’s about allowing the listener to forget their problems. Escapism is the key. So an album by an artist that deals with the problems ordinary people experience is refreshing. Especially, when recorded by such a talented as Algebra Blessett.
She follows in the footsteps of Nu-Soul singers like India Arie, Angie Stone, Jill Scott and Erykay Badu. They were the musical pioneers, who were at the forefront of the Nu-Soul movement. Now it’s Algebra Blessett’s turn to pick up the baton and enjoy the commercial success and critical acclaim they enjoyed. It should come Algebra Blessett’s way. She’s certainly not lacking in talent. Indeed, Algebra Blessett is one of the most talented and underrated Nu-Soul singers of her generation. Proof of this is Algebra Blessett’s sophomore album Recovery. Standout Tracks: Exordium To Recovery (Give My Heart A Chance), Mystery, Another Heartache and Better For Me.
ALGEBRA BLESSETT-RECOVERY.
TERRY CALLIER-FIRE ON ICE
TERRY CALLIER-FIRE ON ICE.
For many years, I’ve championed the music of Terry Callier. I’ve often described Terry Callier as one of music’s best kept secrets. That’s despite enjoying a recording career which saw him releasing ten studio albums. Sadly, Terry Callier is better known in the UK than America. Indeed, Terry Callier only ever enjoyed one hit single in America. This was Sign Of The Time, a track from Terry’s 1978 album Fire On Ice, which will be rereleased by WEA Japan on 4th February 2014.
Sign Of The Times was used by disc jockey Frankie Crocker as the theme tune on his radio program. Such was the popularity of the track, that Elektra released it as a single. It reached number seventy-eight in the US R&B Charts, and saw Terry invited to perform at the prestigious Montreux Jazz Festival. Sadly, that was Terry’s only chart success in his home country. However, Sign Of The Times was Terry’s only American hit single. However, there’s more to Fire On Ice than one track. You’ll realise that when I tell you about Fire On Ice. Before that, I’ll tell you about Terry’s career.
Terry Callier was born in Chicago, in 1945, growing up in the North Side of Chicago. Among his friends, were other giants of soul music, including Jerry Butler, Curtis Mayfield and Major Lance. Soon, Terry was singing in neighborhood doo wop group. Then, aged just seventeen, Terry auditioned for Chess Records, recording his debut single Look At Me Now. After that, Terry started playing folk clubs and coffee houses, before falling under the spell of legendary jazz musician John Coltrane’s music.
By 1964, Samuel Charters of Prestige Records met Terry. Samuel was so impressed by Terry’s music and talent, that he encouraged Terry to record an album. Terry headed into the recording studio and recorded what became The New Folk Sound of Terry Callier. Aged nineteen Terry had recorded his debut album and it was ready for release. Then disaster struck. For some inexplicable reason Samuel Charters, decided to take the tapes of the album to the Mexican desert. This delayed the release of the album until 1968. When The New Folk Sound of Terry Callier was belatedly released, music had changed. Sadly, it failed to give Terry the commercial breakthrough his talent deserved. The next time Terry released his second album, it a new decade had dawned.
It was at Cadet Records, a subsidiary of Chess Records that Terry Callier released a trio of minor classics. For fans of Terry Callier, these three albums are quite simply, amongst Terry Callier’s finest work. The first of these albums were Occasional Rain was released in 1972, which featured the classic tracks Ordinary Joe and the elegant, beautiful and moving title-track Occasional Rain. Sadly, commercial success eluded Terry. What Color Is Love followed in 1973 and saw Terry at his very best. Dancing Girl, Just As Long As We’re In Love and the seminal title-track What Color Is Love. Still the commercial success and critical acclaim the Terry’s music deserved, eluded him. When the last of this trio of albums, I Just Can’t Help Myself, released in 1974 and failed to catch the public’s attention, Terry’s career at Cadet was over. These three albums remained hidden gems, cherished by a small band of dedicated followers of Terry’s music. It would be over twenty-five years later, that they were rediscovered by a new generation of music lovers.
After being dropped by Cadet Records, Terry Callier signed for Elektra four years later. He recorded two albums for Elektra. Fire On Ice, released in 1978, was the first of these two albums. Fire On Ice featured nine tracks and Terry wrote Be A Believer, Butterfly, I Been Doin’ Alright (Everything’s Gonna Be Alright) and African Violet. Terry and Larry Wade penned Holding On (To Your Love), Street Fever, Disco In The Sky and Martin St. Martin. Larry also wrote Love Two Love. These tracks were recorded by an all-star band of session musicians.
Accompanying Terry was a band that featured some of the top session players of the seventies. This included bassist Scott Edwards, drummers James Gadson and Paul N. Humphrey, plus guitarists Philip Upchurch, Danny Leake, Charles Fearing and W. Ross Trout. They were joined by keyboardist Reginald Burke, percussionists Derf Reklaw and Morris Jennings plus Michael Boddicker on synths. Minnie Ripperton, Cynthia White, Ellis Willis, Jyean Bell and Sidney Barnes sang backing vocals. The finishing touches were the string and horn sections. Once Fire On Ice was recorded, it was released in 1978.
On the release of Fire On Ice, it was well received by critics. It was a case of deja vu. Fire On Ice failed to chart. It neither troubled the US Billboard 200 nor US R&B Charts. At least it reached number thirty-seven in the US Jazz Charts. Sign Of The Times reached number seventy eight in the charts. That was a small crumb or comfort. Fire On Ice deserved to fare better. You’ll realise why, when I tell you about Fire On Ice.
Fire and Ice opens with Be A Believer. It has lovely, positive lyrics. The track opens gently, with acoustic guitar and subtle strings sweeping, before Terry’s vocal enters. It’s strong and confident, as he sings about how belief can help you achieve what we want from life and overcome the obstacles that we face each day. Believe, and “most things in your life (will work out”). Meanwhile, the arrangement is unfolding and growing. The rhythm section and guitars combine to up the tempo, producing a much fuller sounding arrangement. Backing vocalists accompany Terry, their voices uniting joyously, matching the positivity and joy of Terry’s vocal, before horns interject beautifully, adding to the joyful, uptempo sound. A saxophone solo drifts over the top of the arrangement adding the finishing touches to a quite brilliant track, one that’s a paean to belief and faith, that’s catchy, hook laden and utterly joyous.
Holding On (To Your Love) is a track that also featured on Terry’s 1999 album Lifetime. A guitar plays the introduction, with a buzzing bass, slow drums and keyboards quickly joining in. The tempo is slow, space is left within the arrangement, allowing the music to breathe. When Terry sings the lyrics about love, his voice is gentle and thoughtful. Lush strings sweep behind him, while guitars, rhythm section, keyboards and horns combine. Again, swooning and joyous backing vocalists unite. They’re the perfect accompaniment to Terry’s vocal which is now louder and full of passion. As the song progresses, both Terry’s vocal and the arrangement just gets so much better. The arrangement features some great interplay between the rhythm section, guitars and horns, when Terry’s vocal drops out. However, one thing that really makes this such a great song are the lyrics. They’re some of the best on the album. Terry delivers them beautifully, with a combination of tenderness, passion and power. Together with a rich, joyful sounding arrangement, it’s the highlight of Fire On Ice.
When Street Fever opens, the track has a very different sound to the two preceding tracks. The track is fusion of styles and influences, with soul, funk and rock all influencing the sound. When the track opens, guitars chime and soar, repetitively, before heading off in the direction of funk with a sprinkling of rock, with Terry’s voice louder, nearly roaring, against a backdrop of dramatic, slightly dark and angry guitars and rhythm section. However, quickly, the track changes turning into a much more soulful, sweeping sound, only to return to whence it came. This veering between two styles works, and is an interesting and intriguing contrast. Terry’s almost snarling vocal is a departure from what we’ve come to expect. Here his frustration and maybe even anger, suits the lyrics. They’re about a woman whose addicted to drugs, and whose life is quickly is unravelling. Although very different from other tracks on the album, this rockier delivery of the lyrics, and faster, dramatic arrangement, works really well and suits the story behind the lyrics.
Butterfly is a lovely, slow and tender song, with a much more understated and lush arrangement. The arrangement floats into being. A synth, acoustic guitar and piano combine before Terry’s tender and considered vocal enters. He sings the song thoughtfully, as the arrangement meanders slowly along, with splashes of piano, lush, subtle strings, a gentle bass and chiming guitars. Subtle, brief bursts of rasping horns, interject while gently, reverberating strings slowly unwind, accompanying Terry as the song ends. This is quite simply a beautiful song, full of symbolism, about someone who like a butterfly, needs to spread their wings and fly away from the city.
Like other tracks on this album, I’ve Been Doin’ Alright (Part II) (Everything’s Gonna Be Alright) opens with the familiar sound of Terry gently strumming his trusty acoustic guitar. After that, the rhythm section, distant strings, brief bursts of horns, guitars and piano all join in, accompanying Terry. His voice soars high, soulfully, as a deeply melodic arrangement unfolds. Backing vocalists sweetly sing, while a piano, bursts of horns, driving rhythm section and chiming guitars combine masterfully, creating an arrangement that swings along, with a fuller, hugely melodic and catchy sound. This is the perfect backdrop for Terry’s vocal, which is emotive, full of passion, yet considered, as he confidently predicts things will turn out fine. Both this swinging, uplifting arrangement and Terry’s quite beautiful vocal combine to make this a joyous sounding, catchy track.
When I see the word disco in a track by an artist like Terry Callier, I always fear the worst. This time, I needn’t have worried. Back in 1977, many artists like Terry were suffering because of the popularity of disco. Some artists went disco, but thankfully, Terry resisted the temptation. Instead, he purloined the word disco for the track’s title. A combination of gently plucked acoustic guitar, rasping, soaring horn open the track before Terry sings, his vocal starting off quietly, before quickly growing stronger and louder. Meanwhile, a fast, funky rhythm section and lush strings combine as the tempo quickens. Backing vocalist interject, their voices soaring high, in contrast to Terry’s vocal, while the arrangement’s tempo changes. Unlike other artists who used the word disco to gain the attraction of record buyers, Terry has pulled it off. Although it isn’t vintage Terry Callier, it’s far from being a poor track.
African Violet is the polar opposite of Disco In the Sky, and is a much more thoughtful track, with a spiritual sound. Acoustic guitar, woodwind, and percussion combine subtly before Terry’s equally subtle and gentle vocal enters. The tempo is slow, the arrangement meandering along, when Terry’s voice drops deeper, only to quickly grows in strength, as does the arrangement. It grows to a dramatic sound, with grand, sweeping strings, percussion, rhythm section and chiming, shimmering guitars combining. A horn sweetly and melodically, sweeps over the arrangement, while a dark, moody bass and keyboards accompany Terry’s powerful and passionate vocal. He delivers moving lyrics, about the hardships and injustices suffered by both the African and Afro-American people throughout history. Like Holding On (To Your Love), African Violet features some of the best lyrics on the album.
A lush sounding arrangement opens Love Two Love, which features Minnie Riperton on backing vocals, singing quite beautifully. The track opens with the lushest of strings, and Minnie’s voice soaring sweetly, before a tender and thoughtful vocal from Terry enters. He’s accompanied by the rhythm section, chiming guitars and keyboards, which together with the strings, combine beautifully, producing a faster arrangement. It’s one of the best sounding arrangements on the album, made all the better by Terry’s considered and emotive delivery of the lyrics about love and being in love. Here, the addition of Minnie on backing vocals is a masterstroke, her unmistakable voice gracing the track wonderfully, helping make this such a beautiful sounding track.
Fire On Ice closes with Martin St Martin, a tribute to Dr. Martin Luther King. Fittingly, the track has a dramatic, sometimes almost grandiose sound, thanks to the addition of a choir. This seems a fitting. Bells chime as the track opens, before the young choir enter, singing angelically. It’s only when guitars combine with the bells and choir, that Terry’s vocal enters. His vocal is slow at first, full of passion and emotion, but quickly, accompanied by the rhythm section, grand sweeping strings and guitars Terry’s voice quickens. Throughout the track, the tempo, like the drama, rises and falls. Peaks and troughs of powerful music unfold, as Terry sings some beautiful, thoughtful and powerful lyrics. This seems like a fitting and perfect way to end the album, with powerful, waves of sweeping, joyful music unfolding, giving thanks to Dr. King.
For many years I’ve loved the music on Fire and Ice. The music Terry recorded on Elektra was quite different from the music he recorded on Cadet. Many people believe his Cadet years produced some of his best work, but the two albums he produced for Elektra are very different in sound and style, and have much to commend them. On Fire and Ice, Terry delivers nine songs with his usual combination of thoughtfulness, emotion and passion. He brings the lyrics to life, through the emotion he expounds, choosing the perfect delivery for each song. Some songs see him sing gently and thoughtfully, others powerfully with passion. Regardless of the style he uses, you can always be assured he gives everything he has on each song.
Fire and Ice features nine songs written by Terry or with Larry Wade. Terry and Larry were a potent songwriting partnership. Proof of this is Holding On (To Your Love), Street Fever and the hugely powerful Martin St. Martin. Of the songs Terry wrote himself, Be A Believer, Butterfly and African Violet demonstrate Terry’s huge talents as a songwriter. These three songs feature some beautiful, thoughtful and intelligent lyrics. Terry was joined on the album by a number of well known artists.
Among the guest artists on Fire On Ice are Minnie Riperton. Her backing vocals on Love Two Love play a huge part in the track’s success. Apart from Minnie, Cynthia Wright, Philip Upchurch, Eddie Harris and Larry Wade are just a few of the guest artists. All of them play their part in helping Terry to record an album that sees him pick up where he left of on 1974s I Just Can’t Help Myself. Four years later, Terry was back with a band. Fire On Ice, which will be rereleased by WEA Japan on 4th February 2014, was a welcome addition to his back-catalogue. Indeed, I’d go as far as to say that Fire On Ice is a hidden gem of an album. The same can be said of the albums be released at Cadet.
The three albums Terry Callier released on Cadet Records include some of the best music Terry released. These three Cadet albums, Occasional Rain, What Color Is Love and I Just Can’t Help Myself are Terry Callier at his best. Fire On Ice saw Terry return to the studio after a four year absence. He still had the ability to write songs featuring lyrics that were either beautiful or full of social comment. This he continued to do throughout his career. Following the release of the followup to Fire On Ice, Turn You To Love, Terry took a sabbatical from music and didn’t release another album for twenty years.
Although Terry Callier continued to tour until 1983, he didn’t release any further studio albums. It was that year that he was given custody of his daughter. Determined to bring his daughter up properly, Terry retired from music. He took classes in computer programming and got a job at the University of Chicago. In his spare time, he studied for a degree in sociology. During this period, only one album was released, TC In DC, a live album recorded in Washington in 1982, before his retirement. It was released in 1996.
In the late 1980s’ UK DJs started playing Terry Callier’s music in clubs. This led to Acid Jazz Records releasing I Don’t Want To See Myself (Without You), a track Callier recorded in 1983. From then on, Terry made trips to the UK to play concerts during his holidays from work.
After a prolonged absence for music, Terry Callier began to make a comeback in the late 1990s. He recorded a track with Beth Orton on her Best Bit EP, which was later on her Trailer Park album. Then in 1998, he recorded Timepeace, which was the album that marked the second coming of Terry Callier. It seemed Terry hadn’t lost any of his talent as a songwriter or singer. Soon, a new generation of music lovers discovered Terry’s music. His Cadet and Elektra albums became prized possessions of this new generation of music lovers. Rounding off Terry Caliier’s comeback, Timepeace received an award from the United Nations for outstanding artistic achievement and his contribution towards world peace.
Following 1998s Timepeace, Terry released Lifetime in 1999. Lifefime was vintage Terry Callier. It was as if after all these years away from music, he was on a creative roll. Somehow, Terry managed to surpass thee quality of Timepeace. Lifetime seemed to feature one great track after another. This included When My Lady Danced, Sunset Boulevard, When The Music Is Gone, Nobody But Yourself and the title-track Lifetime. Terry it seemed, was back for good. Sadly, Terry Callier would only release three further studio albums.
At the dawn of the new millennia, Terry Callier signed to a new label Mr. Bongo Records. For Mr. Bongo Records, Terry would release three further studio albums, plus two live albums, 2001s Alive and 2008s Welcome Home. The three studio albums started with 2002s Speak Your Peace, followed by 2004s Lookin’ Out and what proved to be Terry Callier’s swan-song, Hidden Conversations, released in 2009. Following the release of Hidden Conversations, nothing further was heard from Terry Callier. What many people didn’t realize, that Terry was bravely battling cancer.
Three years after the release of what was Terry Callier’s final studio album Hidden Conversations, Terry Callier lost his brave battle with throat cancer. Music lost one of the most talented singer and songwriter of his generation. Sadly, music was a much poorer place for Terry’s passing. Not only was Terry Callier a hugely talented singer and songwriter, but a man who was truly humble and unassuming. He leaves behind a back-catalogue of some stunning music. For anyone whose yet to discover Terry’s music, his three Cadet albums Occasional Rain, What Color Is Love and Just As Long As We’re In Love are a good place to start. Add to this, his two Elektra albums Fire On Ice and Turn You To Love and then finally, the best albums from Terry Caliier’s second coming, Timepeace and Lifetime. These seven albums will allow you to hear what is, quite simply, the best music of Terry Callier’s near fifty-year career. Standout Tracks: Be A Believer, Holding On (To Your Love), African Violet and Love To Love.
TERRY CALLIER-FIRE ON ICE.
CURTIS MAYFIELD-CURTIS.
CURTIS MAYFIELD-CURTIS.
In 1970, Curtis Mayfield decided to leave The Impressions to pursue a solo career. Curtis had been a member of The Impressions since 1958. That was when Curtis was discovered singing gospel. He was in the same choir as Jerry Butler. Both Jerry and Curtis were asked to join a doo woo group The Roosters, who later, became The Impressions. Curtis was still in school when he was asked to join The Roosters. So, he dropped out and became their lead singer and principal songwriter. However, after eleven albums, Curtis decided to leave The Impressions. It was the time for Curtis to launch his solo career.
That wasn’t the only change in Curtis Mayfield’s life. He decided to form his own independent record company, Curtom Records. Over the next few years, Curtom Records would go on to release albums by everyone from Leroy Hutson, The Impressions, Donny Hathaway and The Staple singers. Curtom also released Curtis Mayfield’s debut album Curtis. Released in 1979, Curtis, which will be rereleased by WEA Japan on 4th February 2014. Curtis vindicated Curtis Mayfield’s decision to become a solo artist.
For his debut album Curtis, Curtis Mayfield penned eight tracks. This includes Moving On Up and (Don’t Worry) if There’s A Hell Below, We’re All Going To Go and Move On Up. Recording took place at RCA Studios, Chicago. Curtis put together a band that included some of the Chi Town’s top session musicians. They recorded eight tracks between May and July 1970. The music was very different to the pop-soul of The Impressions.
Curtis was a fusion of soul, funk and psychedelia. This was music with a social conscience. Curtis featured songs about the politic and social problems of that time. Much of the music on Curtis, reflected the problems that black America was facing politically and socially and how they could unite to solve these problems. This was a new direction for Curtis, one he’d wanted to move his music towards. Although the album was very different to the music The Impressions released, Curtis was both critically acclaimed and a huge commercial success.
On the release of Curtis in September 1970, Curtis reached number nineteen in the US Billboard 200 and number one on the US R&B Charts. Curtis spent five weeks at number one. Two singles were released from Curtis. The lead single was (Don’t Worry) if There’s A Hell Below, We’re All Going To Go. It reached number twenty-nine in the US Billboard 100 and number three in the US R&B Charts. Remarkably, Move On Up, one most memorable songs Curtis recorded as a solo artist failed to chart. At least it reached number twelve in the UK Charts. However, since then, Move On Up has been reappraised and is perceived as a soul classic. The same could be said of Curtis, which I’ll tell you about.
Curtis opens with (Don’t Worry) if There’s A Hell Below, We’re All Going To Go a track that showcases Curtis’ new funk based sound. It’s an eight minute epic which opens with muted conversation and a woman talking about religion. She’s accompanied by a buzzing bass, before Curtis, like a prophet of doom forecasts our collective descent into hell. This announcement is all encompassing, regardless of race or religion. Soon, it’s all change. The arrangement is quick, sounding like something from a Blaxploitation soundtrack. A funky rhythm section, bursts of bright, blazing horns, lush sweeping strings, chiming guitars and keyboards create a dramatic, funky backdrop for Curtis’ lyrics. They’re bleak as he forecasts our demise and decent into the pits of hell. As the track progresses, and the arrangement builds. The result is a hugely powerful, dramatic almost prophetic track with lyrics full of social comment. Curtis’ brings them to life acting as a nation’s social conscience.
When The Other Side of Town opens, the sound is grandiose and dramatic, with a cinematic sound. A sweeping piano, combines with dramatic drums, lush strings, blazing horns and guitars before Curtis’ tender vocal enters. Behind him, the powerful and dramatic arrangement provides a total contrast to his vocal. It’s humble and thoughtful, full of sadness and regret as he sings about poverty, and all the things he missed out on or never knew about. Angry horns interject, blazing, while strings sweep grandly. They play their part in a dramatic arrangement that’s sympathetic to the bitterness, anger and regret that Curtis must feel.
There’s a slightly theatrical, yet dramatic sound to The Makings of You, with piano, harp, rhythm section then dramatic blazing interjections of horns make their presence felt. This seems a fitting introduction to Curtis’ hugely tender, gentle and thoughtful vocal, as he sings a song about love, against a sweeping backdrop of strings, horns, rhythm section, harp and chiming guitars. Together, they produce an arrangement that one minute has a gentle and understated strings and a harp central to the sweeping sound, the next it’s loud and powerful with horns blazing and interjecting. Together, they produce a beautiful and fitting backdrop for an equally beautiful and gentle vocal from Curtis, on one of Curtis’ highlights.
On We Are the People Who Are Darker Than Blue, Curtis addresses the problems of racism and who best to deal with it. In the song, he says that what people say, mustn’t become a self fulfilling prophecy. Accompanied by a slow arrangement, where horns, strings, piano and rhythm section combine, Curtis’ vocal is emotive and dramatic. This is perfect for Curtis’ thoughtful and intelligent lyrics. His voice is full emotion, rising as anger and annoyance simmers just below the surface. The arrangement reflects this. Later the arrangement veers between funky to slow, before a frantic funky workout unfolds. Curtis joins in, his voice almost an early rap, as he gets across the problems and his feelings about them. After this, the track slows down, to its former tempo and sound. Like other tracks, it’s deeply moving and hugely powerful, with Curtis again, using his music to become spokesman for those effected by these problems.
Move On Up has almost become synonymous with Curtis. It’s a joyous explosion of uptempo, feel-good music. The rhythm section, horns and strings accompany a joyous Curtis. Horns interject, while strings sweep and swirl as frantic drums and percussion combine. A piano plays subtly in the background. However, it’s Curtis vocal that steals the show, That’s despite his band fusing soul, funk and jazz unite. The band demonstrate just how talented and tight they are. Proof of this is the funk workout. They showcase their individual and collective talents. By the end of the track, you’ve been swept along by some joyous music, celebratory music that’s laden with hooks.
Miss Black America opens with a slow piano solo, accompanied by gentle drums and percussion provides the backdrop for a telephone conversation between a father and his young daughter, who wishes to become Miss Black America when she grows up. When the conversation ends, the arrangement changes drastically, bright, blazing horns, piano, rhythm section and guitars combining to accompany Curtis, who is accompanied by backing vocalists. They soulfully unite, providing a perfect accompaniment to Curtis vocal that celebrates Miss Black America, her beauty, talent, and intelligence. The arrangement has an equally, joyous, celebratory sound, full of grand, bright horns, driving rhythm section and sweet, soulful backing vocals. Together with Curtis’ tender, yet joyful vocal, they combine to produce a hugely melodic and dramatic track, that celebrates the accomplishment of Miss Black America.
Wild and Free dramatically bursts into life, a blaze of horns, quick, driving rhythm section, harp and guitars, accompanying a powerful, emotive vocal from Curtis. Later strings sweep, grandly in, adding to the drama of this fulsome arrangement. It unfolds in waves of dramatic music. Horns and strings are at the heart of the arrangement, while the rhythm section that power the arrangement along, providing its heartbeat. Guitars chime, while a harp sweeps elegantly in. All of these instruments contribute to one of the best arrangements on Curtis. As for Curtis, he delivers lyrics about one of nature’s free spirits with combination of emotion and power, demonstrating his talent and versatility as a vocalist.
Curtis closes with Give It Up, another dramatic track. Waves of emotive, soulful music unfolds. Horns, strings, keyboards and the rhythm section accompany Curtis tender, thoughtful and sometimes, powerful vocal. His vocal is full of emotion, sadness and regret, as horns, strings and guitars provide an arrangement that veers between subtle and melodic to dramatic and powerful. This matches the emotion of Curtis’ lyrics, and his delivery of them. Here, Curtis does what he does best, sings soul music. For some reason, this seems a fitting end to his debut album, Curtis.
Curtis was a result of three months hard work. Along with some of Chicago’s best session players, Curtis recorded eight songs. The result was an album that’s very different to music Curtis recorded with The Impressions. Gone is the soul-pop of The Impressions. Curtis sees Curtis Mayfield reinvent himself. There are parallels with both Marvin Gaye and Stevie Wonder. Just like Curtis, they came of age in the seventies. These three artists music matured and they released what was not just some of the best music of their respective careers, but some of the best soul music released during the seventies. This includes Curtis Mayfield’s 1970 debut Curtis.
Whilst the music on Curtis was totally different from the music The Impressions released. Curtis is Curtis Mayfield’s Magnus Opus. The eight tracks ooze social comment. They’re are cerebral and a reflection on the problems facing America. Racism, religion, poverty and love songs sit side-by-side. Curtis breathes life, meaning and emotion into the eight songs he wrote. Each of these tracks is of the highest standard, featuring powerful, poignant and intelligent lyrics. Curtis also produced Curtis and played several instruments. This includes guitar, bass, drums, piano and saxophone. In some ways, Curtis Mayfield came of age on Curtis. He was able to fulfil his potential. As the new decade dawned, Curtis became the spokesman and social conscience for a generation of people
The music on Curtis may have been totally different from The Impressions music, but it was hugely powerful and intelligent music. Curtis’ music dealt with the political and social problems of 1970. He became the spokesman and social conscience of a generation of people. His music spoke for, and represented people who didn’t have a voice, and couldn’t make their feelings, protests or presence felt. In a way, Curtis’s music was like a conduit for them. Through him and his music, their worries, fears and anger was heard, not just in America, but worldwide. This demonstrates the power and potency of music, and how music can cause debate and even, cause change. On Curtis, not only did the music have a message, but it was among the best music Curtis ever recorded.
Although Curtis Mayfield’s solo career spanned two decades, he never surpassed Curtis, which will be rereleased by WEA Japan on 4th February 2014. Having said that, between 1970s Curtis and 1974s Sweet Exorcist, Curtis Mayfield released the best music of his career. Ironically, the most successful album of Curtis Mayfield’s career was Superfly, the soundtrack to a Blaxploitation movie. It reached number one in the US Billboard 200 and US R&B Charts in 1972. Superfly also spawned two million-selling singles, Freddie’s Dead and Superfly. A groundbreaking concept album, Superfly was the most successful album of Curtis Mayfield’s career. However, the best album Curtis Mayfield released was his debut album Curtis. Along with Superfly, Curtis is the perfect introduction to Curtis Mayfield’s career. Standout Tracks: (Don’t Worry) if There’s A Hell Below, We’re All Going To Go, The Makings of You, We Are the People Who Are Darker Than Blue and Move On Up.
CURTIS MAYFIELD-CURTIS.
AIR-MOON SAFARI.
AIR-MOON SAFARI.
Enigmatic describes Air, one of the most innovative European electronic bands of the past twenty years. Air were formed in 1995, in Versailles, France. Originally, Nicholas Godin, a former architecture student was the only member of Air. He was later joined by former maths student Jean-Benoit Dunckel. They’d previously been members of Orange, which included Alex Gopher. Three years after Air were formed in 1995, they released their debut album Moon Safari.
Moon Safari, which will be rereleased by WEA Japan on 4th February 2014, epitomises what Air’s music is about. It’s genre-melting music which was been influenced by numerous musical genres and influences. Everything from ambient, dance, electronica, folk, funk, reggae, rock and soul music influenced the making of Moon Safari which was released in January1998. On its release, Moon Safari was a success throughout Europe and launched the career of Air, one music’s most cerebral and elusive bands.
From what we already know about Air, they are an intelligent duo. This extends to their name. When the group were formed, many people were unaware that Air was backronym, which is a phrase that is formed so that an acronym can be formed. Air’s backronym is Amour, Imagination, Reve, which means love, imagination dream. This intelligence extends to their music, music which people have sought to pigeon hole. So far, they’ve failed to do so, referring to it as electronica.
Various styles of music, and musicians have influenced Air. Listen carefully to their music, and you can hear the influence of Vangelis and Jean Michel Jarre and the synthesizer based music they helped popularize. 1960’s psychedelic rock groups like Pink Floyd, and progressive rock bands like Tangerine Dream. The godfathers’ of electronic music, Kraftwerk, have also influenced their sound. Air, like Kraftwerk, use many electronic instruments. Both groups use a vocoder when performing live.
Closer to home two French artists have influenced Air’s music. Space were one of the pioneers of electronic music. Originally from Marseilles, France, they started making electronic music in 1977 until 1980. During this period, they released four albums. They reformed in 1992, and have sold over twelve million albums worldwide during their career. The other French artist to influence Air is the legendary Serge Gainsbourg. He was a singer-songwriter, who between 1958 and his death in 1991, released a wide variety of albums, which cross the musical boundaries. Gainsbourg was never afraid to experiment, and sometimes, this caused him problems. His music has influenced almost two generations musicians, and is as popular today, as it has ever been.
Since forming in 1995, Air have released a number of studio albums. The first album they release was a compilation, Premiers Symptomes. It’s a compilation of singles released by the band between 1995 and 1997. However, Moon Safari was Air’s debut album.
The ten tracks on Moon Safari were written by Air. Three tracks see them collaborate. This includes All I Need and New Star in the Sky, which Air cowrote with Beth Hisch. Patrick Woodcock cowrote Ce Matin Là. Recording took place between April and June of 1997, in Paris. The two members of Air proved to be multi-instrumentalists. Jean played keyboards, synths, organ, vocals, piano, pan pipes and glockenspiel. Nicholas played bass, synths, percussion, vocals, guitar, harmonica, glockenspiel, piano, organ, pan pipes and drums. Beth Hirsch added vocals on two tracks, Eric Regert played organ and Patrick Woodcock guitar and tuba. Once Moon Safari was recorded, it was released in January 1998.
On its release in January 1998, Moon Safari was well received and a huge commercial success. Moon Safari was a success throughout Europe. Ironically, it only reached number twenty-one in Air’s native France. Meanwhile, Moon Safari reached number six in the UK. Moon Safari, which I’ll tell you about, launched Air’s career.
Opening Moon Safari is La Femme D’Argent. In the distance water runs, then drums play, quietly at first, then loud and crisp. A keyboard joins the arrangement, forcing it way to the front of the mix. Quickly the sound builds, a melange of sounds, some sharp, some deeply melodic. This is joined by sweeping synths, producing otherworldly sounds. The overall effect is a mixture or retro and futuristic sound. They come together to produce a large soundscape, one that grabs your attentions. It’s impossible to ignore. Air have produced a track that veers between glacial and rhapsodic, and is an impressive start to Moon Safari.
Sexy Boy is a track thats roots’ are firmly in the past. The vocal is sung through a vocoder, the synths sound very old school. They squelch, sweep, squeak and beep throughout the track. Layer upon layer of sound is emitted from your speakers, surrounding, and almost overpowering you. There is sweetness present in the track, saccharine sweet. So sweet is this track, it’s like the biggest sugar rush you can safely experience. The track is hook laden, to say it’s catchy is an understatement. It’s an infectious, slice of retro-sounding Euro pop.
All I Need is a very different sounding track. Synths reverberate, wobbling like a jelly at a child’s birthday party. Suddenly, they stop. The track then opens out, a guitar plays, a metronome clicks, a synth sneaks a look in again, then Beth Hirsch sings the vocal. This transforms the track, totally. Her voice is strong and clear, perfectly suited to deliver the lyrics. For most of the vocal, a metronome and guitar are her only accompaniment. Later, occasionally, a keyboard flits in and out of the track, and a synth drones, then sweeps. When this happens, it slightly overpowers her vocal. This doesn’t detract from this track.
When I listen to Kelly Watch the Stars, two things come to mind. The first is the soundtrack to a sci-fi movie, the second is the old Heaven 17 track Temptation. When I hear that part of the track towards the start, it sounds like Temptation’s little brother. This repeats during the track. What Air have ended up with is a sweeping, new wave influenced track, with more than a little influence from space and sci-fi.
Talisman has a brooding, atmospheric start. Keyboards play, the sound is dark. It meanders, at a pedestrian pace. After just over a minute the mood lightens, the darkness lifts, the sound changes to different keys. Drums crisply and briskly play. Swathes of sound sweep, brightly. They wash over you. A mini symphony, plays before you. It’s a 21st century symphony, that transports you through different galaxies. The journey may not be long, but it’s one you’ll enjoy, and one you can go on time and time again.
The lyrics to Remember are sung through a vocoder. Here, the sound is loud, too loud. So much so it reverberates. This sound is very much, in your face. It gets close up and personal. Then an amalgamation of synths sweep in. They’re akin to a mini-orchestra. Some are dull, others sharp. Some sweep, some squelch. The sound is almost overpowering, This is purely because one of the synths. They’re too loud, and too far forward in the mix. Although this a decent song, the production could be better.
The start of You Make It Easy, reminds me of the start of a Kraftwerk’s Autobahn. Both tracks begin with the sound of a car traveling along a road. After that, the similarities end. You Make It Easy has a brighter sound. Beth Hirsch sings vocals again on this track. Her voice is light and bright. She’s accompanied by piano, synths and percussion. The longer the track progresses, the more the sound builds. By the end of the track, a multitude of instruments surround her vocal, contributing to an intriguing track.
Ce Matin La begins with a synth swooping, echoing distantly, gradually moving closer. It creeps up on you, catches you unaware. For an instant, your thrown, no idea what will happen next. Then, some pleasant surprises await. A rhodes keyboard and clavinet combine, the sound becomes much more pleasing. It’s sweet, almost symphonic, sweeping, massaging at your weary, troubled soul. The next surprise is when a tuba plays a solo. Surprisingly, it’s effective. After that, you’re hooked, fascinated by the variety of sounds that make an appearance. All you can do is sit back, relax and enjoy this track. Like other tracks on Moon Safari, this one has a real retro cinematic sound.
There is a much different sound on New Star In the Sky than the previous tracks. An acoustic guitar strums gently, then a harmonica plays, with just a bit of reverb changing the sound. The sound is quiet, gentle and meanders slowly, gradually getting louder, the sound filling out, expanding gently. When it does, it’s a lovely track, one that is spacious, allowing the song to breath. Synths whoosh and sweep, they enter, and leave the track. They combine with a multiplicity of musical instruments to produce a stunning track, one of Moon Safari’s highlights
Moon Safari closes with La Voyage De Penelope. It has a hesitant start, frantic discordant sounds play quietly in the distance. As the sound gets closer, the chaotic sound gets clearer. Not totally clear though. Reverb is use heavily on the track. This detracts somewhat from the track. When keyboards and synths play, the sound reverberates. Personally, this muddies the sound on track. It might work on some tracks, but this track would be a much better track with a cleaner sound, it would transform the track, from a good one to a very good one.
I’ve thoroughly enjoyed revisiting Moon Safari. It’s an eclectic and intriguing album. Unlike many albums that fall into the electronica or dance genres, the sound on Moon Safari doesn’t sound dated. It still sounds fresh and innovative. This was Air’s debut studio album, and as such, is a very good debut album. Many artists or groups would take two or three albums to reach this standard. However, Air were talented musicians, who could play a multitude of instruments. This played an important part in Moon Safari’s sound and success.
If Air had relied purely on drum machine and synths, Moon Safari might not have stood the test of time. Instead they combined traditional and electronic instruments. This ensured Moon Safari proved to be an album that aged well. There’s a warmth to the music which is absent on many electronic albums. However, Moon Safari isn’t a perfect album. It’s has its faults. Mind you, this was Air’s debut album, so Moon Safari was part of Air’s learning process. One important thing that Air learnt was always to push musical boundaries. There was no point in their next album being Moon Safari 2.
After Moon Safari, Air ensured their music continued to evolve. They’re not content to find a sound that’s successful, and stick with it, no, they want to reinvent themselves, experiment, and push the musical boundaries. That is what they continued to do during their career. This maybe cost Air. After all, sometimes, if they’d stuck with the same sound, they’d have enjoyed even more commercial success. However, that wasn’t for Air, whose career began with Moon Safari.
Moon Safari is a compelling and innovative album. The music on Moon Safari is a fusion of musical influences and genres. Listen carefully and you’ll hear music that’s complex, multilayered and sophisticated. It’s also very listenable. If you’ve never heard Moon Safari, I’d recommend WEA Japan’s reissue, which will be rereleased on 4th February 2014. Moon Safari is an album full of subtleties and nuances. Many of them aren’t apparent when you first hear Moon Safari, but through time, they will reveal themselves to you. Standout Tracks: La Femme D’Argent, Talisman, Ce Matin La and New Star In the Sky.
AIR-MOON SAFARI.
GEORGE MCCRAE-ROCK YOUR BABY.
GEORGE MCCRAE-ROCK YOUR BABY.
Imagine an artist could record a single in an hour, costing them just $15 or $20 and that single went on to reach number one in the US Billboard and US R&B Charts. While that might sound far fetched, it actually happened. Back in 1974 George McCrae recorded Rock Your Baby in less than an hour, with the track costing between $15 or $20 to record. On its release, not only did it reach number one in the US Billboard 100 and US R&B Charts, but in eight other countries. Having recorded such a hugely successful single, George recorded his debut album Rock Your Baby, which will be rereleased on 4th February 2014 by WEA Japan. However, Rock Your Baby nearly never happened.
George was about to head back to college, to study law enforcement. Luckily, Richard Finch and Harry Wayne Casey of KC and The Sunshine Band brought a song for George’s wife Gwen McCrae to record, and the fickle finger of fate intervened. Unfortunately for Gwen, but luckily for George, Gwen was late for the recording session, so George stepped into the breach. He recorded the vocal after Richard and Harry spent forty-five minutes recording the backing track. Two takes later, the song was recorded and the course of musical history was forever changed. Rock Your Baby was released, becoming a worldwide hit. Then came George’s debut album Rock Your Baby, which I’ll tell you about.
Although Rock Your Baby was George McCrae’s breakthrough single and lead to him recording his debut album, he was an experienced singer. He’d started his career when he formed the Jivin’ Jets. A spell in the US Navy lead to a four year break from music.
By 1967, when he left the navy, George decided to reform the Jivin’ Jets, with his wife Gwen joining the group. Quickly, they decided that they’d become a duo, then signing for the Alston label, owned by Henry Stone. Then, when Gwen got a solo contract, George became her manager, while working as a session singer and singing in clubs. When success wasn’t arriving, George decided on a change of career. George was nearly through with music. Instead, he saw a career in law enforcement as a steady alternative. Before that, he’d to head to college.
Just before George was about to head to college, Richard Finch and Harry Wayne Casey of KC and The Sunshine Band arrived with Rock Your Baby for Gwen to record. George was going along to the Gwen’s recording of Rock Your Baby as an onlooker. Richard Finch and Harry Wayne Casey laid down the backing track in just forty-five minutes. Then a problem occurred. Gwen was late. George stepped in, singing the song in two takes. After the session, Jerome Smith was paid $15 to add guitar. With a McCrae having recorded Rock Your Baby, pretty soon, George’s plans for a career in law enforcement would be a thing of the past.
Rock Your Baby was released by T.K. Records in April 1974, with the single entering at number ninety-three in the US R&B Charts. Even then George mustn’t have thought the song would change his life. Over the next seven weeks, Rock Your Baby rose up the chart, reaching number one in the US Billboard 100 in July 1974, spending three weeks there. The single also reached number one in the US R&B Charts, while reaching number one in over eighty countries worldwide. It became the song of the summer of 1974. Whether it was clubs, cafes or car-radios the song was everywhere, on radio playlists everywhere. Given the success of Rock Your Baby, an album was needed. That meant a return to the studio for George.
For George’s debut album, Richard Finch and Harry Wayne Casey cowrote seven new tracks. They were recorded in less than two weeks, with Richard and Harry playing on and producing the album. Along with drummer Robert Johnson, guitarists Phillip Wright and Jerome Smith who’d played on Rock Your Baby the album was soon finished.
No sooner was the album Rock Your Baby completed, George started touring. He was the opening act for James Brown, The Jackson 5 and was on American Bandstand. Later, he’d accompany Rufus and Chaka Khan and Billy Preston on Soul Train. George must have been unable to believe his good luck. However, what must have Gwen felt like? What if she hadn’t been late? Would it be her that was appearing on American Bandstand and Soul Train?
After the success of Rock Your Baby, George released the followup single I Can’t Leave You Alone in September 1974. It reached number fifty in the US Billboard 100, number ten in the US R&B Charts and number nine in the UK. While this hadn’t matched the success of Rock Your Baby, it couldn’t have been expected to. After all, Rock Your Baby was a classic. Two months later in November 1974, George’s debut album Rock Your Baby was released, reaching number thirty-eight in the US Billboard 200 and number seven in the US R&B Charts. Meanwhile, over in the UK, the album number thirteen. In December 1974, I Get Lifted became the third single released by George, reaching number thirty-seven in the US Billboard 100 and number eight in the US R&B Charts. One year after the release of Rock Your Baby, came the release of Look At You in April 1975. Look At You reached number ninety-five in the US Billboard 100 and number thirty-one in the US R&B Charts. This brought a quite remarkable year for George McCrae to an end. He’d gone from future policeman to worldwide star, with a number one single in over eighty countries and released his debut album Rock Your Baby, which I’ll tell you about.
Opening Rock Your Baby is Rock Your Baby, the single that sold two-million copies and launched George’s career in the process. This isn’t the original version, but a six minute version, where the song is extended from under three minutes. To do this, a series of breaks are added. This allows you to revel in the song’s familiar strains even longer. What makes the track such a success is the original song’s simplicity. Just flourishes and cascades of organ, combine with the unmistakable drum sound. It gives the track its Miami rhythm shuffle. Add to that are with tambourine and overdubbed guitar by Jerome Smith. The finishing touch is George’s soaring, joyous falsetto, full of sensuality. Taken together, the result is a genuine classic, that nearly forty years later, sounds just as good.
Following the classic Rock Your Baby, is I Can’t Leave You Alone (I Keep Holdin’ On), which has some similarities with its predecessor. It’s not immediately apparent. as the rhythm section drive the track along, with George’s emotive vocal riding atop the arrangement. As the rhythm section build up the drama, flourishes of organ are unleashed. Just for a moment the similarity is apparent, but it’s hugely effective. From there, George’s vocal is impassioned and powerful, accompanied by a hard driving, pounding rhythm section. They combine with George to play their part in this emotive, dramatic track, that gave George his second hit single.
Stabs of Hammond organ and a pounding rhythm section accompany George as You Got My Heart begins. It’s almost as if George has grown in confidence, reveling in his roll. His vocal is confident, joyous and sassy, while flourishes of Hammond organ, piano and a hard driving rhythm section accompany him. The result is track with a lovely loose, but joyous sound.
As You Can Have It All opens, it nods its head to Rock Your Baby. There’s a similar sound and feel to the sound. That’s no bad thing, given how good the original is. The rhythm section, guitars and waves of Hammond organ accompany George’s cascading vocal. Sometimes, when delivers a line, he pauses, almost answering his own call. Then he unleashes his falsetto vocal, allowing it to soar, displaying an impressive range. His vocal plays an important part in the track’s catchy, hooky sound. Although best described as a cousin of Rock Your Baby, the song comes from a good family.
When You Can Have It All opens George’s vocal is half-spoken, accompanied by the rhythm section and reverberating guitars that drift into the distance. By then, you’ve no idea of the secrets the song has in store. A grand flourish from the organ, still gives no clue. What follows is an arrangement where George’s band explore the song’s subtleties. Flourishes of chiming guitar and piano, drift in and out, as waves of the arrangement replace George’s vocal. Meanwhile the rhythm section provide the track’s heartbeat, while the guitars duel and the waves of organ and piano are unleashed. Although the sound is soulful, it’s almost a jazz-tinged exploration of the song. Even George enjoys this, almost ad-libbing his vocal. After nearly five minutes, where George and his band kick loose, George’s soaring falsetto drifts into the distance. Both he and his band have demonstrated a quite different, looser but still soulful side to their sound, one I’d like to hear much more of.
Make It Right sees the rhythm section, guitars and organ combine, creating a sound that takes its lead from Rock Your Baby. George’s vocal soars atop the arrangement, which shuffles along, with its familiar sound. Later, when waves of organ are unleashed, George unleashes his falsetto vocal. It’s then that the similarities with Rock Your Baby become even more apparent. However, that doesn’t matter. Not when you hear the emotion, passion and power in George’s vocal, set against an arrangement where waves of glorious music arrive, before departing all too soon.
I Need Somebody Like You has a quite different sound from the other tracks on Rock Your Baby. It’s just guitar, drums and then piano that combine as the track begins to reveal its secrets. A flourish of piano, signals the arrival of George’s tender vocal, which sits back in the mix. The band don’t overpower or overcrowd his vocal. They do play in a way that’s quite different to other tracks. It suits the song and George’s tender, gentle vocal.
Another of the singles released from Rock Your Baby was I Get Lifted. The song has a sultry sound. George’s breathy, needy vocal is accompanied by an arrangement that arrives in waves. Just the rhythm section, complete with hissing hi-hats, piano and guitars accompany George. He unleashes a vocal that’s full of desire and sensuality, which is perfect for the arrangement. That’s why the song was so successful when released as a single, reaching number eight in the US R&B Charts and number thirty-seven in the US Billboard 100.
Closing Rock Your Baby is Rock Your Baby (Reprise), where you hear two more minutes of the song’s familiar strains. Listening to it, you can’t help be hooked by the song and its sheer simplicity. There’s no strings or horns, unlike what Gamble and Huff were doing in Philly. Just a great song, with a simple arrangement, recorded in two takes and sung by a legendary singer Mr. George McCrae.
The story of Rock Your Baby and how it transformed George McCrae’s career from almost quitting music for to study law enforcement, to an artist who sold two-million singles in the US alone and had a number one in over eighty countries is quite remarkable. It’s almost like the stuff of a low-budget movie, that usually, can be seen on rainy Sunday afternoons. For once, though it happened in real life, kick-starting a career that would span five decades for George McCrae. Fourteen further albums followed, one of those Together, with wife Gwen. His last album was 2009s Time For A Change.
Even today, George is still touring, thirty-eight years after Rock Your Baby and the album that followed, Rock Your Baby were released. Listening to the album, it’s as if at last, after seven years in the music industry, George’s talent was unleashed. He’s been given a chance, after years of struggling, and nearly giving up. There’s no way he’s going to blow this chance, so gave everything. He knew that having given his all, he’d have no regrets. So, he unleashed his talent during the nine tracks that makeup Rock Your Baby, which will be rereleased by WEA Japan on 4th February 2014.
Rock Your Baby launched George McCrae’s career worldwide, proving there was much more to him than one song. Although George found fame with Rock Your Baby, you can’t help feel sorry far Gwen, his wife. If she hadn’t been late for the recording session, maybe musical history would be very different. Maybe I’d be writing about Gwen McCrae and George would a successful law enforcement officer, rather than the man who recorded that classic disco track Rock Your Baby? Standout Tracks: Rock Your Baby, I Can’t Leave You Alone (I Keep Holdin’ On), You Can Have It All and Make It Right.
GEORGE MCCRAE-ROCK YOUR BABY.
DISCO RECHARGE-THE DUNCAN SISTERS.
DISCO RECHARGE-THE DUNCAN SISTERS.
It’s been a while since the last instalment of the Disco Recharge series. That was when Tantra’s The Collection was released in July 2013. Since then, releases have been scheduled, but cancelled at the last minute. Meanwhile, readers have constantly emailed me asking what was happening with the Disco Recharge series? Despite contacting the record company, I was none the wiser. The whereabouts of the Disco Recharge series was quickly becoming the eighth wonder of the world.
Then on the 27th January 2014, three instalments of the Disco Recharge series were scheduled to be released. We’d been here before with the same releases. Try as I may, I couldn’t find out any details. Then a couple of days ago, a friend sent me a belated Christmas present. This included some CDs. One of these CDs was the much delayed Disco Recharge-The Duncan Sisters rerelease. So, given its been a while since I’ve reviewed a disco album, I thought I’d review Disco Recharge-The Duncan Sisters.
Released in 1979, The Duncan Sisters’ debut eponymous album was produced by Canadian based production team of expat Scot Willi Morrison and Ian Geunther. Together, they formed the THP Orchestra in 1976, who released a quartet of albums between 1976 and 1979. Two of their other projects were Grand Tour and Southern Exposure. By 1979, Willi and Ian added another signing to their roster, The Duncan Singers.
Will and Ian were familiar with The Duncan Sisters. They’d been introduced to them when they were asked to produce some jingles for Ontario radio station OKOC. The station director told Will and Ian that previously, they’d used Memphis based Pete Pedersen to arrange the jingles. He was older and had more experience. Pete, Willi and Ian were told, might make a useful addition to their team. It was through Pete that Willi and Ian met The Duncan Sisters.
Soon, The Duncan Sisters were singing lead vocals for the THP Orchestra on their Tender Is The Night album. They also made an appearance on the Sticky Fingers project. This is no surprise given The Duncan Sisters’ pedigree. Phyllis and Helen Duncan had sung backing vocals for Al Green, Ann Peebles and other artists signed to the legendary Hi Records. Then in 1976, with the musical landscape changing and disco surpassing soul in popularity, The Duncan Sisters released their debut single.
They jumped onto the disco bandwagon and released It’s You That I Need. On its release in 1976, the single flopped. It wasn’t a commercial success. Despite receiving a few favourable reviews, it didn’t look like The Duncan Sisters would make a career as disco divas. Then three years later, Willi and Ian decided to take a chance on The Duncan Sisters.
So much so, that Wili and Ian decided to risk their own money on The Duncan Sisters. Usually, when Willi and Ian produced an album, there was always a distribution deal in place. The only exception was the THP Orchestra’s Good To Me album. This set a precedent for The Duncan Sisters. Willi and Ian decided they’d finance their debut album The Duncan Sisters. That was how much they believed in The Duncan Sisters. They were sure they’d be able to sell The Duncan Sisters debut album.
For what became The Duncan Sisters, Willi Morrison penned Sadness In My Eyes and Love Is On The Way. He cowrote Outside Love with Bruce Ley. Sypora Azizollah wrote Rock Along Slowly and John Shand wrote Love Is On The Way. The other tracks was Boys Will Be Boys which was written Charles Cochran and Roger Cook. These six tracks were recorded at Phase One Studios, Toronto.
At Phase One Studios, Willi and Ian produced The Duncan Sisters. Accompanying Phyllis were accompanied by a rhythm, horn and string section. The rhythm section included bassist Errol Thomas, drummer Barry Keane and guitarists Brian Roles and Michael Toles. Carl Marsh played synths and keyboards, while Dick Smith added congas and Peter Appleyard vibes. Along with a full string and horn section, no expense was spared on The Duncan Sisters. However, was it money well spent?
Having struggled to get a record deal for The Duncan Sisters, eventually, Willi and Ian signed a deal with Earmarc Records, a subsidiary of Casablanca. On its release in 1979, The Duncan Sisters wasn’t a commercial success. Two singles were released from The Duncan Sisters. Neither Sadness In My Eyes nor Boys Will Be Boys charted. Despite Willi and Ian’s belief in The Duncan Sisters, success eluded them. Maybe this wasn’t helped by the demise in disco’s popularity.
Disco died in in July 1979. The rise of the Disco Sucks movement hastened its demise. After Demolition Derby Night in Comiskey Park, Chicago, suddenly, disco sucked. For disco labels and artists, this was a disaster. Suddenly, disco labels folded, disco artists were dropped and disco albums shelved. 1979 was the year zero for disco. For The Duncan Sisters they couldn’t have picked a worse time to release an album. A year earlier, who knows, maybe The Duncan Sisters would’ve been a commercial success? Maybe, The Duncan Sisters is a case of an album being released at the wrong time? Is that the case though?
Opening The Duncan Sisters is Sadness In My Eyes. Bubbling synths, pounding drums and meandering, wistful keyboards give way to a rueful half-spoken vocal enters. It’s inspired by The Shangri Las’ Leader Of The Pack. As the vocal drops out, rocky guitars, a pounding, funky bass and swathes of sweeping, swirling strings join forces. They set the scene for The Duncan Sisters urgent, heartbroken and soulful vocals. Behind them, crystalline guitars, buzzing synths, handclaps and hypnotic rhythm section provide the backdrop for their vocals on this genre-melting track. Everything from disco, Euro Disco, funk, pop and soul is combined to create a track that’s poppy, dance-floor friendly, slick and soulful.
Just like the opening track, Outside Love has a Euro Disco influence. This is apparent from the opening bars. The drums create a thunderous 4/4 beat, while a hesitant bass, dramatic synths and cascading strings combine with rasping horns. Having set the scene, The Duncan Sisters take centre-stage. They strut through the track, mixing power, sass and drama. It’s a diva-esque performance. Meanwhile, strings sweep and swirl, guitars sneer, horns blaze and the rhythm section provide the heartbeat. They play supporting roles to The Duncan Sisters’ urgent, dramatic, strutting vocals.
Rock Along Slowly sees the tempo drop and the lushest of strings set the scene for The Duncan Sisters. They deliver tender, heartfelt and beautiful vocals. The lead vocal is shared. Helen and Phyllis both getting the opportunity to showcase their talent and versatility. The arrangement grows in power and drama. So does the vocal which is full of drama, emotion and passion. Adding the finishing touch is a wistful harmonica. This sets the scene for the track as it heads towards its melancholy, dramatic finish.
Boys Will Be Boys is another fusions of styles. Euro Disco, Hi-NRG, funk and rocky guitars combine. A thunderous beat, hissing hi hats, congas and uber funky bass are joined a stuttering guitar. Then stabs of blazing horns, Shadow-esque guitars and bubbling synths set the scene for The Duncan Sisters. They deliver a confident, feisty vocal. Their harmonies sit atop the pounding rhythm section before a blistering horn solo is unleashed. Drums crack, strings sweep and a myriad of percussion is added before the blistering horn solo returns. It’s almost show stealer. That’s until The Duncan Sisters and raise their game, mixing sass and slick hooks.
Love Is On The Way explodes into life. Handclaps, pounding drums, growling horns and swirling strings give way to The Duncan Sisters. They remind me of The Ritchie Family. Their vocals are a combination of power and passion. Heartfelt and needy, a myriad of punchy horns, handclaps, keyboards, rhythm section and percussion create a backdrop that’s briefly reminiscent of Stevie Wonder’s Sir Duke. By now, sassy and soulful describes the vocal. They inspire the band to even greater heights. Kicking loose they surpass everything that’s gone before, to create a hook-laden, timeless dance track.
You Give Me Such A Feeling closes The Duncan Sisters. A coquettish vocal is enveloped by a braying horns, chiming guitars, sweeping strings and the rhythm section. It’s an impressive sound what’s essentially the THP Orchestra in full flight. Even better, is when The Duncan Sisters are delivering a soulful, powerhouse of a vocal. Accompanied by cooing harmonies, thunderous drums, dancing string and grizzled horns it’s an impressive sound. Especially, with a vocal masterclass from The Duncan Sisters. They’re soulful, seductive, sassy and needy while the band ensure The Duncan Sisters ends on a glorious high.
Listening to The Duncan Sisters thirty-five years after its release, it’s stood the test of time. Maybe, that’s because The Duncan Sisters isn’t just a disco album. It’s more than that. There’s everything from disco, Euro Disco, funk, jazz, pop, rock and soul. Granted the first two tracks on The Duncan Sisters, Sadness In My Eye and Outside Love are a fusion of disco and Euro, albeit with a twist of funk, pop and rocky guitars. Then Rock Along Slowly showcases another side of The Duncan Sisters. We hear a much more understated, tender and soulful side of their music. Boys Will Be Boys is a return to the Euro Disco, with Hi-NRG, funk and rocky guitars thrown into the mix. Things get better on the two closing tracks. Love Is On The Way is a timeless dance track and You Give Me Such A Feeling features a vocal powerhouse from The Duncan Sisters. That was the perfect way to close The Duncan Sisters.
Although The Duncan Sisters consists of just six songs, that’s no bad thing. Nowadays, quantity seems more important than quality. Back in 1979, artists and producers were restricted by the fact that a vinyl album could only hold a certain amount of music. This meant we only heard the best music an artist had. With the advent of the CD, artists started releasing sprawling albums. As a result, the quality suffered. Not in 1979. Willi Morrison and Ian Geunther picked the six songs that best suited The Duncan Sisters. They then took them into Phase One Studios with a rhythm, horn and string section. No expense it seems, was spared. Sadly, this gamble never paid off.
Released in 1979 on Earmarc Records, The Duncan Sisters wasn’t a commercial success. That’s nothing to do with the music. It’s to do with the death of disco. Disco died in in July 1979. The rise of the Disco Sucks movement hastened disco’s demise. It didn’t fade away. Disco burnt out. After Demolition Derby Night in Comiskey Park, Chicago, suddenly, disco sucked. For disco labels and artists, this was a disaster. Suddenly, disco labels folded, disco artists were dropped and disco albums shelved. 1979 was the year disco died. For The Duncan Sisters they couldn’t have picked a worse time to release an album. A year earlier maybe The Duncan Sisters would’ve been a commercial success? Especially, given the quality of music on The Duncan Sisters. Sadly, The Duncan Sisters is yet another example of an album being released at the wrong time? Lady Luck didn’t shine on The Duncan Sisters. They were a victim not just of fate, but in changing musical tastes. Sadly, The Duncan Sisters career was almost over before it began. Although they released two more albums, their debut album The Duncan Sisters was the best of their career.
DISCO RECHARGE-THE DUNCAN SISTERS.
KC AND THE SUNSHINE BAND-PART 3.
KC AND THE SUNSHINE BAND-PART 3.
Imagine you’re a member of a band whose just released a triple-platinum album. Not just any triple-platinum album, but one featured two number one singles. How do you follow this up? This was the problem facing Harry Wayne Casey and Richard Finch, or as they’re better known, KC and The Sunshine Band. The success of KC and The Sunshine Band marked a turnaround in fortunes for Harry and Wayne. Their 1974 debut album Do It Good had failed to chart, but after noticing a change in the musical landscape, decided to change tack musically.
R&B was no longer as popular, with disco becoming the most popular musical genre. Artists who previously, had made their reputation as soul or R&B singers or groups decided to jump on disco’s bandwagon. Realising disco was the future, KC and The Sunshine Band decided to do likewise. Disco was the future, and between 1975 and 1979, KC and The Sunshine Band would become one of the most successful purveyors and practitioners of disco. They’d released five albums, two of which were certified platinum and two which were certified triple-platinum. KC and The Sunshine Band released in 1975, was the album that started this run of commercially successful albums. It proved their most successful album, reaching number four in the US Billboard 200 and number one in the US R&B Charts. Add to that two number one singles in the US Billboard 100 in That’s the Way I Like It and Get Down Tonight. By the time KC and The Sunshine Band hit record shop’s shelves, work began on the followup, Part 3 which will be rereleased by WEA Japan on 4th February 2014. Part 3 proved that lightning could strike twice in the same place. Not only would Part 3 be certified triple-platinum, but featured three number one singles. Soon, KC and The Sunshine Band would become disco Kings.
For Part 3, Harry Wayne Casey and Richard Finch set about writing the eight tracks that became Part 3. These eight tracks were written by Harry and Richard, and contained a plentiful supply of poppy, memorable hooks. Disco, soul, funk, R&B and Latin music was combined with the sound of the Caribbean during the eight tracks. These eight tracks would be recorded at TK Records Miami studios, with Harry and Richard joined by the session musicians that made up KC and The Sunshine Band.
When Harry “Wayne” Casey and Richard Finch started recording what became Part 3, they were joined by the a number of session players. Harry sang lead vocal, Richard played bass, drums and percussion, with guitarist Jerome Smith and drummer Robert Johnson key to the band’s sound. Beverley Champion, Margaret Reynolds and Jeanette Williams added backing vocals. Together with a horn section of trumpeters Ken Faulk and Vinnie Tanno, tenor saxophonist Mike Lewis and baritone saxophonist Whit Sidener, the eight tracks were recorded, with Harry and Richard arranging and producing Part 3.
Before the release of Part 3, (Shake, Shake, Shake) Shake Your Booty was released as the lead single in June 1976, it gave KC and The Sunshine Band a dual number one single, reaching number one in the US Billboard 100 and US R&B Charts. Over the Atlantic in the UK, it reached number twenty-two in the UK. KC and The Sunshine Band were on a roll. When Part 3 was released in October 1976, it reached number thirteen in the Us Billboard 200 and number five in the US R&B Chart. Snap. Part 3 gave KC and The Sunshine Band their second triple-platinum album. The next single was I Like To Do It, which reached number thirty-seven in the US Billboard 100 and number four in the US R&B Charts in November 1976. While 1976 would prove successful for KC and The Sunshine Band, so would 1977.
I’m Your Boogie Man saw KC and The Sunshine Band start 1977 with a number one single. It reached number one in the US Billboard 100, number three in the US R&B Charts and number forty-one in the UK in January 1977. Keep It Coming saw the hits keep on coming for KC and The Sunshine Band during the summer of 1977. This gave them their third number one single from Part 3. The fourth single reached number two in the US Billboard 100, number one in the US R&B Charts and number thirty-one in the UK in June 1977. Wrap Your Arms Around Me was released in November 1977, reaching number forty-eight in the US Billboard 100 and number twenty-four in the US R&B Charts. KC and The Sunshine Band were by now, one of disco’s biggest success stories. Part 3, which I’ll now tell you about, proves just why.
Opening Part 3 is Baby I Love You (Yes I Do). Chiming guitars drive the arrangement along, while keyboards and the rhythm section create a slice of good-time funky music. Harry’s vocal is delivered with sass, while the rest of the band lock into a mesmeric, joyous groove. It’s impossible to resist the track’s poppy hooks and rhythmic delights. Later, bursts of horns and harmonies are the icing on this slice of joyful, good-time funky music.
Wrap Your Arms Around Me has a heavier, funkier side. Punchy, blazing horns join the rhythm section and percussion as KC and The Sunshine Band pick up where they left off on Part 3’s opener. Harry’s vocal is filled with joy and promise. A slapped bass, pounding drums and stabs of grizzled horns all play their part in the track’s sound and success. So too does Harry’s sassy, vampish vocal,
I Like To Do It sees a hint of Latin and Caribbean music unite with KC and The Sunshine Band’s usual fusion of soul, funk and disco. From the get-go, the track bursts into life, spreading its joyous sound. Chiming guitars, percussion and a funky rhythm section join braying horns and handclaps. Harry’s vocal has a laid-back, lazy sound that’s perfect for the track. Handclaps and harmonies join the stabs of horns as KC and The Sunshine Band spread their unique sunshine sound.
As (Shake, Shake, Shake) Shake Your Booty begins, you immediately hear similarities with George McCrae’s Rock Your Baby. That’s no surprise, given Richard and Harry also cowrote this. Of the eight tracks on Part 3, this is the catchiest of lot. It’s full of memorable, poppy hooks. Just keyboards, rhythm section and chiming guitars, accompany Harry’s foxy, sassy vocal. Blazing horns are key to the track’s sound, reinforcing the hooks. They also add to the track’s hook-laden, good-time, funky sound. By the end of the track, you’ve succumbed to the track’s irresistible charms and realised just why, it reached number one in the US.
Although the tempo drops as Let’s Go Party opens, the funk quotient increases. Big style. Keyboards, rhythm section, and guitars unite with growling horns and percussion. They create a backdrop that’s full of glorious rhythms and percussive delights. Harry whoops and hollers during the track, driving the band to greater heights of funkiness. This they do, whilst creating the perfect soundtrack to any party, one that will be funky with a capital F.
Come On In sees elegant, soulful, sweeping harmonies provide a contrast to the power, drama and sheer funkiness provided by KC and The Sunshine Band. Guitar licks, stabs of keyboards and a powerhouse of a rhythm section are joined by rasping horns. Soon, the drama and power build. Harry’s vocal is filled with happiness and joy. He becomes like a cheerleader, encouraging and rousing the band. Bursts of growling horns, a pounding and funky rhythm are joined by keyboards as KC and The Sunshine Band provide a rousing, uplifting slice of dramatic, funky music.
When I’m Your Boogie Man was first released, people thought Harry was singing about the bogey man. Thankfully, it was the boogie man. The track has an understated sound before bursting into life. Stabs of dramatic, blazing horns, a thunderous, funky rhythm section and melodramatic keyboards combine as Harry becomes the boogie man. Stabs of horns accompany his vocal, adding drama and proving crucial to the sound and success of the track. Later, during a breakdown, when the horns drop out, the piano and guitar take charge. When they return, they drive what is one of the highlights of Part 3, to dramatic, horn laden crescendo.
Closing Part 3 is Keep It Comin’ Love, which gave KC and The Sunshine Band a number one US R&B single. As often proves to be the case, the last track on the album is one of the best. This is the case. From the opening bars, when piano and chiming guitars combine with a pounding, rhythm section, you realize something special is about to unfold. When Harry’s hopeful, joyous vocal enters, this proves to be the case. High kicking, blazing horns and harmonies accompany him as he unleashes a heartfelt vocal. With a plentiful supply of poppy hooks combining with the track’s joyous, sweet sound Part 3, closes with the highlight of the album. It’s one of these track’s that once you’ve heard it, won’t forget in a hurry.
Part 3 is best described as good time, funky music with a healthy sprinkling of disco added. It’s joyous music designed for the dance-floor. For any party, it’s the perfect soundtrack. Even though it’s twenty-six years since Part 3 was released, Part 3 has aged well. Indeed, like so much good music, it has a timeless sound. Unlike other albums from this era, it’s stood the test of time. Eight tracks filled with a plentiful supply of memorable, poppy hooks follow hot on the heels of the previous one. Part 3 proved lightning can strike twice in the same place.
Like their sophomore album KC and The Sunshine Band, Part 3 was certified triple-platinum. As if that wasn’t success beyond Harry Wayne Casey and Richard Finch’s wildest dreams, Part 3 featured three number one singles. It seemed Harry and Richard could do know wrong. Part 3 which will be rereleased by WEA Japan on 4th February 2014, saw KC and The Sunshine Band join disco’s royalty. They went from being Princes of disco, to disco Kings. The music on Part 3, KC and The Sunshine Band’s third album, includes some of the best music of their career. Indeed, the eight tracks that comprise Part 3, are packed full of poppy hooks aplenty and perfectly showcase KC and The Sunshine Band’s good-time, funky sound, which is still guaranteed to get keep any party going. Standout Tracks: Baby I Love You (Yes I Do), (Shake, Shake, Shake) Shake Your Booty, I’m Your Boogie Man and Keep It Comin’ Love.
KC AND THE SUNSHINE BAND-PART 3.
CESAR 830-CESAR.
CESAR 830-CESAR.
Originally, Cesar Ascarrunz came from Bolivia to California to study economics and psychology. Caesar wanted to continue his education and the University of California, in Berkeley seemed the perfect place. When he arrive in California in 1960, he was twenty-five. Although interested in music, he couldn’t play an instrument. This changed in 1961, when Cesar was at a student party and nobody could play the piano. So, Cesar sat down and with one finger, played Besame Mucho. That was it, Cesar was hooked. Music became Caesar’s first love.
Within a week, Caesar had picked up another nine songs. Soon, he became more proficient and by October 1961, was playing professionally. Cesar was soon winning over audiences in local venues. Before long, Cesar had taught himself to play everything from vibes, organ, guitar and Latin percussion instruments including timbales and congas. In the space of just a few months, Cesar became a multi-instrumentalist. Usually, this takes most people a lifetime. Not Cesar. What’s even more remarkable, is that Cesar managed this whilst studying economics and clinical psychology. Quickly, Cesar became a musical phenomenon.
Around the San Francisco bay area, Cesar was one of the most popular musicians. Music lovers flocked to his own room, Cesar’s Latin Club. If strangers arrived there, they couldn’t believe the scenes. Literally, the room was packed. Describing it as standing room only is almost an exaggeration. People were packed in cheek by jowl. Then when Cesar took the stage he unleashed a glorious melange of Latin music. The rhythm section and percussion drove the audience into a frenzy. Soon, the word was out. For discerning lovers of Latin music, the place to be was Cesar’s Latin Club.
People came from far and wide to Cesar’s Latin Club. This included Mexico and Europe. That’s how far word had spread about Cesar. That’s no surprise though. Not only was Cesar a musical phenomenon, but a budding entrepreneur.
His time spent at the University Of California was well spent. Caesar realised the importance of raising his profile. Soon, he had a radio and television show. For him and his new band, this allowed people out-with California to hear about Cesar. This included the owner of one of the most innovative labels, Bob Thiele.
Bob had spent his like working in the music industry. He’d spent eight years transforming Impulse Records into a musical powerhouse. It gained a reputation for releasing groundbreaking music. During that time, Bob Thiele enjoyed the busiest period of his career. Bob, he was hardly away from the studio, producing over 150 albums in eight years. This included John Coltrane’s seminal album A Love Supreme. During his time 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.
Soon, Bob Thiele, would be able to create an environment where this would be possible. By 1969, Bob had been at Impulse for eight years. He’d been responsible for producing some of the most important jazz music of the sixties. However, there’s no sentiment in music. In the musical equivalent of a musical coup d’tat, Bob Thiele was ousted from his role at Impulse. This proved to the start of the next chapter in his career.
Leaving Impulse in 1969, Bob founded Flying Dutchman Productions. This would become home to everyone from Ornette Coleman, through Gil Scott Heron, Leon Thomas, Eddie “Cleanhead” Vinson and Louis Armstrong. Another artist signed to Flying Dutchman was Lonnie Liston Smith and His Cosmic Echoes. They’d just enjoyed commercial success with their 1975 album Expansions. This vindicated Bob’s belief that within the right environment, innovative musicians could thrive, creating music that’s influential and forward-thinking. Bob Thiele’s label was on a roll, so they signed Cesar’s band Cesar 830 to Flying Dutchman.
Now signed to Flying Dutchman, Caesar 830 began work on their debut album Cesar. Eight tracks, which were a mixture of new songs and cover versions were chosen. They became Cesar 830. Cesar wrote Descarga and Teo Macero who arranged Cesar wrote three tracks. They were The Devil and Montezuma, Navidad Latino and Bridges. P.E. Smith penned See Saw Affair and Louis Ramirez wrote Azucar. Angelo, Benny Velarde and Jim Vincent wrote Gotta Get Away, while Tomas Gutierrez, Eddie Palmieri and Ismael Quintana wrote The Lady In My Life. These eight tracks became Cesar.
When recording of Cesar began, Bob Thiele would produce the album and Teo Macero arranged it and conducted the band. The band included a rhythm section of drummer Tony Smith, bassists Harold Martin and Thomas Rutley plus guitarists Jim Vincent, Joe Jammer and Steven Busfield. Caesar, Mark Levine and Merl Saunders played piano and Hadley Caliman flute. Adding Latin percussion were Benny Velarde on timbales and Will Collon on bells and bongos. The horn section included alto saxophonist Martin Fierro, soprano saxophonist Steve Marcus, trombonist Jules Rowell, trumpeter Joseph Ellis Jr, tenor saxophonist Hadley Caliman and Martin Fierro. Backing vocalists came from Benny Velarde. Francis Aquabella, Tony Smith and Wills Colon. Once Cesar was recorded, the album was released later in 1975.
Given how successful Cesar 830 were, with their live shows, plus their television and radio shows, many people thought that their debut album Caesar would be a commercial success. On its release in 1975, it failed to chart. Caesar didn’t enjoy the commercial success other albums of Latin music enjoyed. Sadly, Cesar which I’ll tell you about, proved to be the only album Cesar 830 released.
Opens Cesar is Descarga, which means an expression of the soul. It’s a joyous track that literally, bursts into life. With the piano, rhythm section, growling horns and a myriad of percussion, the arrangement is driven along. It sashays joyously along, with Cesar 830 in the tightest of grooves. A vocal escapes from the arrangement before trombone solo sores above the arrangement. It’s enveloped by percussion and sets the bar high. When it’s time for the next solo, it has a lot to live up t0. That’s no problem. The saxophone does. So does a searing, psychedelic guitar solo. Not only does it provide the icing on the cake, but the cherry too. Quite simply, this is an irresistible and joyous irresistible fusion of Latin jazz, funk and even a twist of rocky guitars.
Straight away, See Saw Affair, the best known track from Caesar, reminds me of Santana in their prime. It’s the crystalline, glistening rock-tinged guitars that lead to this comparison. They’re accompanied by a funky rhythm section and percussion as Latin jazz, salsa, rock and two step soul combine. The soul comes courtesy of Linda Tillery’s heartfelt and sensual vocal. She struts her way through the track, adding whoops and hollers, while braying horns and drums add to the drama.That’s why this has track has long been a favourite of clubbers. No wonder. Soulful, jazz-tinged and dance-floor friendly describes this track.
The Devil and Montezuma is a dramatic, cinematic track. It’s reminiscent of the type of track that would feature on a Blaxploitation soundtrack. Rolls of drums, a blistering saxophone solo, reverberating guitars and percussion unite. Thunderous rhythms are the order of the day. Stabs of grizzled horns compete with the alto-saxophone and guitars. In the midst of the mix Cesar’s piano competes for your attention. Mostly, it’s the blazing, blistering horns that take centre-stage. Everything else plays a supporting role on this dramatic, cinematic opus. It’s a track that would be perfect for the dramatic scenes in the next Tarantino movie.
Navidad Latino you think, is a much more laid-back affair. With a wistful sound that meanders into being, Cesar 830 throw a curveball. Horns blaze, while the rhythm section, piano and percussion drive the arrangement along. It unfolds in waves, revealing its secrets and beauty. A horn rasps and floats above the arrangement, which sashays along, sweeping you in its wake. While not as dramatic as other tracks it has one thing in common, it’s quality.
Azucar is a cover of Louie Ramirez track. It featured on Louis and Pete Bonet’s 1971 album Pete and Louie. It’s an explosive fusion of musical genres. Dramatically bursting into life, thunderous drums join percussion and Santana-esque guitars. Bursts of braying horns add to the drama as everything from funk, jazz, Latin and rock combines. Later, harmonies usher in Linda’s sassy vocal. She sings call and response, before Cesar 830 kick loose. In full flow, it’s an impressive sound. For the fifth time, I’m left asking myself one question, why wasn’t Caesar a hugely successful album? After all it’s shaping up to be a lost classic?
Gotta Get Away sees Cesar transformed into big band. They unleash a storming slice of Latin jazz. Oozing drama from the opening bars, it’s as if vocalist Linda Tillery is making her escape. There’s an urgency in her vocal. The rest of Cesar 830 pickup on this. Blistering guitar solos, a funky bass, braying, blazing horns and a myriad of percussion provide the dramatic backdrop as Linda sings she’s “Gotta Get Away.”
After the drama and urgency of Gotta Get Away, Bridges sees a change in style. For the moment, the drama and urgency dissipates. The arrangement is driven along by a melancholy saxophone which takes centre-stage. Everyone else plays a supporting role.This includes revving guitars, percussion, keyboards and the rhythm section the drives the arrangement along. The drama, urgency and power of earlier tracks returns. This allows Cesar 830 to showcase their talent and versatility, as they create a delicious fusion of funk, jazz and Latin music.
The Lady In My Life closes Caesar. It was written by Eddie Palmieri. Stabs of horns and bursts of drums announce the arrival of Cesar 830 for the last time. The arrangement sashays along, percussion, piano and vocal uniting. The vocal carries the melody, while drums add occasional bursts of drama. Horns add a sultry Latin sound. Then with two minutes to go, Cesar 830 decide to kick loose. Blistering rocky guitars, galloping percussion and bongos join the rhythm section combine. Having stretched their legs, the track returns to its earlier sound. The arrangement sashays its way to a joyous and dreamy close, bookending the Caesar perfectly.
Earlier, I said that throughout Cesar, I’d wondered why the album wasn’t a huge commercial success? After all, there’s not a poor track on the album. From the open ing bars of Descarga, right through to The Lady In My Life, Cesar oozes quality. It’s an album that’s all killer no filler. Despite this, Cesar was a commercial failure. That was the end of Cesar 830’s recording career. Abruptly, it came a halt. Since then, Cesar has lain unreleased and unloved. That’s apart from a discerning group of music lovers. They recognised the importance of Caesar and the music released by Flying Dutchman.
Bob Thiele was a musical maverick and visionary. Often, these musical innovators didn’t thrive within such an orthodox environment. Their creativity is restricted. This means they’re unable to experiment and innovate like they’d like. So Bob Thiele was determined to give innovative and creative musicians an environment where they could thrive. The result was Flying Dutchman.
By 1975, his label was six years old and had just enjoyed commercial success with Liston Smith and His Cosmic Echoes’ 1975 album Expansions. Buoyed by this success, Bob realised that Latin music was enjoying a resurgence in popularity. With Cesar 830 a successful act around San Francisco, and thanks to television and radio shows, further afield signing them seemed a no-brainer.
Sadly, despite providing Cesar 830 the environment and freedom to create groundbreaking music their 1975 debut album wasn’t a commercial success. That’s despite Caesar being a delicious and irresistible fusion of funk, jazz, Latin, psychedelia, rock samba and soul. Dance-floor friendly, jazz-tinged and soulful, Cesar 830 were one of the top Latin bands. However, still commercial success and critical acclaim eluded them. Why?
Maybe the problem was, that Flying Dutchman wasn’t a big enough label for Cesar 830? They were popular throughout Europe and South America. Possibly, Flying Dutchman weren’t big enough to promote them throughout three continents, North America, South America and Europe? A major label would’ve been able to do this. Sadly, major labels weren’t the right place for artists to experiment and innovate. Majors wanted success and wanted it quickly. Smaller labels like Flying Dutchman nurtured artists like Cesar 830 before they released an album.
Sadly, despite this nurturing Cesar 830’s only album for Flying Dutchman Caesar wasn’t a commercial success. Instead, Cesar was a victim of circumstances and is best described as a lost Latin classic. Thankfully, Cesar made a welcome return last year when BGP Records, a subsidiary of Ace Records, rereleased Cesar. Standout Tracks: Descarga, The Devil and Montezuma, Gotta Get Away and The Lady In My Life.
CESAR 830-CESAR.
KRAFTWERK-TRANS-EUROPE EXPRESS.
KRAFTWERK-TRANS-EUROPE EXPRESS.
In the history of electronic music, one of the most important and influential, groups are Kraftwerk. From their formative years, and their eponymous debut album Kraftwerk, released in 1970, they’ve constantly reinvented their music, using the latest technology. In the early years, they were one of first groups to realize the potential of synthesisers, sequencers and drum machines, utilizing them in their music. Later, they’d be one of the first groups to introduce computers into their own recording studio, Kling Klang, where they recorded many of their albums. Throughout their career, Kraftwerk, were ahead of their time, pioneers who were unafraid to experiment musically. Their music has influenced much of the electronic and dance music that would be released during the next four decades.
Kraftwerk’s music has influenced several generations of musicians. This includes electronic groups during the eighties including Depeche Mode, Orchestral Manoeuvres In the Dark and Gary Numan. Post-punk and indie groups like Joy Division and New Order have said that Kraftwerk were a major influence on their music. Later, they influenced new genres of music like hip-hop, electro, house music and drum and bass. It isn’t an exaggeration to say that Krafwerk are one of the most important, influential and innovative groups in the history of music. When they released their 1977 album, Trans-Europe Express, they were determined to continue to be innovative and utilize the potential of the new equipment that they had just acquired, and in the process, they recorded one of the greatest and most influential albums of the 1970s, Trans-Europe Express. Before I tell you what the album sounds like, I’ll tell you the background to Trans-Europe Express which will be rereleased by WEA Japan on 4th February 2014.
When Kraftwerk set about recording Trans-Europe Express they had just received one of the most sophisticated pieces of technology available then. This was the Synthanorma Sequencer which was custom made by the manufacturers for the band. It was a 32-step, 16 channel, analogue synthesizer, custom built by the manufacturers Matten and Wiechers. This allowed them to introduce even more complicated synthesiser lines into their music, that wouldn’t have been possible before. On the album, this synthesizer is used on several of the tracks, including Europe Endless, Frans Schubert and Endless Endless.
Like their previous albums, the music on the album was much more melodic than their earlier material. Gone was improvisational styles, of their earlier albums, which sounded as if it been influenced by free jazz. Similarly, Trans-Europe Express like earlier albums, has several themes. Friends of Kraftwerk had suggested they write songs about a journey on the Trans-Europe Express Railway. Other themes include a celebration of Europe, and the differences and inconsistencies between the reality and image of countries within Europe. So, Trans-Europe Express was an important album, not only musically, but because of the themes that ran through it.
Kraftwerk wrote eight tracks that became Trans-Europe Express. Ralph Hutter wrote the music to seven tracks and cowrote Endlos Endlos with Florian Schenieder. When it came to writing the lyrics to Europa Endlos, Schaufensterpuppen and Endlos Endlos Ralph and Florian cowrote them. They also cowrote Spiegelsaal with Emil Schult. These eight tracks were recorded at Kraftwerk’s legendary Kling Klang studios.
When recording began at Kling Klang Ralph Hutter contributed vocals, played synths, orchestron and synthanorma-sequenzer. Florian Schneider added vocals, vocoder, votrax and played synths. Karl Bartos and Wolfgang Flur added electronic percussion. Ralph and Florian produced Trans-Europe Express which was released in 1977.
Trans-Europe Express was released in March 1977, to critical acclaim. Critics loved the album, immediately, realised that this was a hugely important album. It was hailed a classic. Futuristic, innovative and groundbreaking, electronica came of age. Lush melodic, hypnotic, minimalist and imaginative Trans-Europe Express would’ve a lasting effect on music.
Since then, critics have reappraised Trans-Europe Express. Now they realise how important Trans-Europe Express has been on the development of both electronic and dance music. However, when the album was released, it wasn’t the huge commercial success it should’ve been.
In the US, Trans-Europe Express only reached number 117 in the US Billboard 200. The two singles from the album fared better. Over the Atlantic, Trans-Europe Express stalled at number forty-nine. Even in Kraftwerk’s native Germany, it reached just number thirty-two. Two singles were released Trans-Europe Express and Showroom Dummies. Only Trans-Europe Express entered the US Billboard Hot 100, reaching number sixty-seven. In the UK, both singles charted, and reentered the charts during the eighties, when electronic music became much more popular. Once again Trans-Europe Express is another example of a hugely important and influential album failing to be the huge commercial success it should’ve been. Although the album sold well, it should’ve been a much bigger success. Maybe however, Trans-Europe Express was ahead of its time. Thirty-seven years later, and Trans-Europe Express is perceived as a timeless classic, which I’ll tell you about.
Trans-Europe Express opens with Europe Endless which opens with a repetitive melody, played on a keyboard, the sound slightly sharp. It’s followed momentarily, by a dark broody synth, which gives way to a brighter, glistening sound, which is higher, and cascades high in the mix. Straight away, it seems like Kraftwerk are taking you on a journey using the medium of music, one that sees layer upon layer, of music unfold, and a multitude musical textures reveal themselves to you. The sound is moderne, still contemporary. Even when the inexpressive vocal enters, occasionally transformed by a vocoder, with vocals echoing behind it, the sound remains contemporary. The track chugs along, the rhythm reminding me of a train journey, albeit one with a space age, sonic, soundtrack. Constantly, melodies are repeated, the same themes, appear, disappear and reappear. This repetition leads to familiarity, and when the melodies reappear, it’s like meeting an old friend. Here though, that old friend is courtesy of Kraftwerk’s bank of synths and drums machines.
The Hall of Mirrors opens with synths echoing and reverberating, loud footsteps gradually getting nearer, before a tinkling, crystalline synth plays. The echoey synth sounds like a spaceship circling overhead. Meanwhile a keyboards plays thoughtfully, notes gradually revealing themselves. In the lyrics, Kraftwerk effectively deal with the subject of famous people perceive themselves. Here, the lyrics are cutting, uncomplimentary and delivered with a voice drained of emotion and almost life itself. The combination of the vocal and arrangement which features a constant space-age synth, with a tinkling, metallic sound interjecting occasionally, it’s a potent combination. By now, the arrangement is dark, almost morose sounding, drenched in atmosphere, and thanks to clever repetition of melodies, continues until the track’s end. As the track ends, you can’t help but admire the combination of eery, atmospheric, soundtrack and emotionless lyrics that are a cutting indictment on fame, and how those who achieve it perceive themselves.
When Showroom Dummies begins, it’s immediately apparent how different this track is to the previous one. It opens with a spoken word vocal, then a slow, bright and spacious keyboard plays, before synths sweep in, their sound almost crystalline or ethereal vocals. Later, a window smashes, the lyrics sound somewhat paranoid, as the sound takes a sharper turn. Quickly, normality returns, and the same repetitive melody reappears, complete with that crystalline sound. This is one important feature of the music on Trans-Europe Express, how melodies are constantly, repeated throughout a track. This has a hypnotic effect. It’s as if they’ve decided that having discovered a really good melody, that they’ll exploit it fully. Here they do this brilliantly, with the constant repetition being broken by the interjection of various rhythms, effects and of course the pokerfaced vocal.
The title track Trans-Europe Express begins with what sounds like a train chugging along a track. Here, it’s as if we’re going on a journey, and Kraftwerk will provide the soundtrack. Vocals are manipulated, drum beats replicate the sound of the train and synths sweep in. Their sound varies, one minute sharp, the next bigger, louder, fatter and much more melodic. A vocoder is used to manipulate the vocal, and the lyrics are half-spoken, half-sung, as the destinations for the journey become apparent. During the track, synths and drum machines are used to good effect, recreating quite realistically, a journey through the capitals of Europe. It’s a combination of drum beats, sweeping sometimes, grandiose synth lines, plus a combination of manipulated and expressionless vocals that take us on this masterful and magical musical journey.
Metal On Metal has a similar feel to the previous track. It still seems like we’re on a journey, a train sweeping along. However, it’s a very different journey, one where it’s booming and metallic, like a trip through Europe’s industrial heartland. Drums boom, synths sound metallic and sharp and overall, the sound is much more overpowering. As the song progresses, the similarity between a train journey increases, with Kraftwerk using synths and drum machines to recreate the landscape that you’d have experienced in1977. Again, melodies emerge, and like before, they’re constantly repeated, but in doing so, they recreate the environment you’d have experienced on that journey. Later, a vocal is sung through a vocoder, constantly repeating the “route” Trans-Europe Express. This melts into what is like the sound of the train that’s previously been recreated. Overall, it’s a highly effective track, that succeeds in taking you further on your trip through seventies’ Europe thanks to Kraftwerk.
Franz Schubert is a track that ebbs and flows. Waves of music rise and fall, while a melody is constantly played. Soon, synths sweep in, rising and falling. The repetition and variety created is both intriguing and hypnotic. Here, the arrangement is nether as full nor complex as previous tracks. Despite this, it’s one of the highlights of Trans Europe Express. That’s because of the constant repetition of the melody, and the variety provided by the rise and fall, of the sweeping synths.
Trans-Europe Express closes with a short reprise from the central theme to Europe Endless, entitled Endless, Endless. It’s a mixture of vocals sung through a vocoder accompanied by a synth that produce a sound that’s both dark and bright. Darkness is provided by the vocal sung through the vocoder and the light by the meandering, repetitive synths. Although, it’s just a short reprise of the theme it’s an effective reminder of the melodic beauty and glorious repetition of the album’s opening track.
Just like their two previous albums, 1974s Autobahn and 1975s Radio-Activcity, Trans-Europe Express, is a hugely important, innovative and influential album. Trans-Europe Express demonstrate Kratwerk’s willingness to become musical pioneers, willing to reinvent their music, and use technology to improve, and make even more, complicated music. Like Autobahn, Trans-Europe Express has a theme behind it. In some ways, they’re both like concept albums. Here, they take us on musical a journey on the Trans-Europe Express Railway. During that journey, they celebrate Europe, examining the differences and inconsistencies between the reality and image of European countries. This was a major challenge for any artist or group, but attempting to do so with synths and drum machines was especially brave.
As you listen to Trans-Europe Express which will be rereleased by WEA Japan on 4th February 2014, you go on a very realistic journey, and while on that musical journey, I found myself thinking about the themes on the album. This demonstrates the power of Trans-Europe Express, and the music on it. Not only was the album important as a concept, it was hugely important in the development of electronic and dance music. Kraftwerk’s music was hugely influential in the development of hip-hop, electro, techno and house music. So if you enjoy any of these musical genres, you should give thanks to Kraftwerk, for their music and the influence they had on future generations of musicians. Standout Tracks: Europe Endless, The Hall of Mirrors, Showroom Dummies and Trans-Europe Express.
KRAFTWERK-TRANS-EUROPE EXPRESS.
JETHRO TULL-BENEFIT.
JETHRO TULL-BENEFIT.
If I was to ask what group had nine albums certified gold, and one certified triple-platinum, between 1969 and 1979, how many people would say Jethro Tull? That’s because most people forget how successful Jethro Tull were. They were one of the most successful, groundbreaking and innovative of the prog rock bands in musical history. Several times, Jethro Tull reinvented themselves musically. Jethro Tull weren’t content to stand still. Far from it. In their early years, Jethro Tull were experimenting musically, so they could come up with their trademark sound and style. This saw Jethro Tull become one the most groundbreaking and inventive bands of the prog rock era. Despite having sold over sixty-million albums, Jethro Tull never receive the credit they deserve. Mind you, none of the prog rock bands did.
Nowadays, prog rock has almost been airbrushed from musical history. When it’s mentioned, it’s always a sideways snipe from Napoleonic critics. That means the careers of some of the most talented, innovative and creative musicians are overlooked. Instead, overrated and overhyped musical genres are given undue prominence. These musical genres are seen as more significant and culturally important than prog rock. That’s despite it being some of the most successful and complex released in the last fifty years.
A fusion of art rock, avant-garde, baroque, classical, folk, free jazz, jazz, pop and psychedelia, prog rock is a melting pot of musical influences and genres. Innovative and groundbreaking, it was a move away from the throwaway pop songs that had dominated music until then. Prog rock was cerebral, intelligent music. Sadly, for many years, prog rock has fallen out of favor. Now, thankfully, the tide is turning, and gradually, prog rock is receiving the credit it deserves. This includes a rerelease of Jethro Tull’s 1970 album Benefit by WEA Japan on 4th February 2014. Before I tell you about the music on Benefit, I’ll tell you about Jethro Tull’s musical career up until then.
The origins of Jethro Tull can be traced to Blackpool, in 1962, That’s when Ian Anderson formed his first group The Blades. Originally a four piece, featuring Ian Anderson on vocals and harmonica, they became a quintet in 1963 and septet in 1964. By that time, they were a blue eyed soul band. After three years, the band decided to head to London.
Having moved to London, the band split-up within a short time. Just Ian Anderson and bassist Glen McCornick were left. This proved a blessing in disguise. They were soon joined by blues guitarist Mick Abrahams and drummer Clive Bunker. This was the lineup that featured on their debut album This Was. That was still to come.
Before that, the band had to settle on a name. Various names were tried. Then someone at a booking agent christened them Jethro Tull, after the eighteenth century agriculturalist. Not long after that, Ian Anderson acquired his first flute.
Up until then, Ian Anderson played just harmonica and was trying to learn to play the guitar. He realized wasn’t a great guitarist though. So, decided the world had enough mediocre guitarists, decided to expand his musical horizons. So he bought his flute. Little did he realize this would be one of Jethro Tull’s trademarks. After a couple of weeks, Ian had picked up the basics of the flute. He was learning as he played. Not long after this, Jethro Tull released their debut single.
Sunshine Day was penned by Mick Abrahams, with Derek Lawrence producing the single. On its release, the single was credited to Jethro Toe. It seemed thing weren’t going right for Jethro Tull. The single wasn’t a commercial success and failed to chart. Despite this disappointment, thing got better when they released their debut album This Was.
Having released their debut album This Was in October 1968, it reached number ten in the UK. Then when This was released in the US in February 1969, it reached just number sixty-two in the US Billboard. Critics praised This Was, which cost just £1,200 to record. Featuring mostly original material, which was penned by members of Jethro Tull, This Was a fusion of blues rock, folk, jazz and prog rock. This Was was a successful start to Jethro Tull’s career, which was about to enter a period where critical acclaim and commercial success were almost ever-present.
Prior to the recording of Stand Up, Jethro Tull’s sophomore album, Mick Abrahams left the band. Mick and Ian Anderson disagreed over the future direction of Jethro Tull. The problem was, Mick wanted Jethro Tull to stick with blues rock. Ian Anderson realised there was no real future in blues rock. He wanted to take Jethro Tull in different directions, exploring a variety of musical genres. So Mick left Jethro Tull and was replaced by Michael Barre. Little did either Mick nor Michael realise that Stand Up marked the start of a period where Jethro Tull sold over sixty-million albums.
Drawing inspiration from everything from blues rock, Celtic, classical, folk and rock work began on Stand Up. With Mick Abraham having left Jethro Tull, Ian Anderson was the primary songwriter. He penned nine of the ten tracks. They became Stand Up, which was released in August 1969 in the UK, where in reached number one. A month later, in September 1969, Stand Up reached number twenty in the US Billboard 200 Charts. This resulted not just in the start of Jethro Tull’s first gold disc, but the beginning of a golden period in their career. The next album in this golden period was Benefit.
For what became Benefit, Ian Anderson had written ten tracks. These ten tracks were recorded at Morgan Studios, London, during December and January 1970. Ian played flute, keyboards, guitar and sang lead vocals. The rest of Jethro Tull included Clive Bunker, who played drums, guitarist Martin Barre and bassist Glen Cornick who also played Hammond organ. John Evan, who’d later become a member of Jethro Tull, played piano and organ. David Palmer took charge of the orchestral arrangements, while Ian Anderson produced Benefit. It was released in April 1970.
Unlike Jethro Tull’s two previous albums, Benefit was released simultaneously in the US and UK and was well received by critics. Upon its release in April 1970, Benefit reached number three in the UK and number eleven in the US Billboard 200 Charts. This meant another gold disc for Jethro Tull. Not only were they were on a roll, but as Benefit shows, continually reinventing their music.
Opening Benefit is With You There to Help Me. Straight away, there’s some studio trickery at work, with a flute played backwards. Then, Jethro Tull remind me somewhat of The Moody Blues. Ian’s earnest, heartfelt vocal is enveloped by harmonies, while searing, scorching guitars answer his call. Soon, we hear a different side to Jethro Tull. They’re rocking, and rocking hard. Driven along by the rhythm section and bursts of scorching, sizzling guitars, while flourishes of flute cascade above the arrangement. They prove a foil for the vocal and guitar, on a track where folk, blues, jazz and rock intertwine seamlessly and mesmerically.
Despite being recorded in 1970, Nothing To Say sounds way ahead of its time. It sounds more like a track recorded around 1973 or 1974. Again musical genres are fused. Rock becomes prog rock and then thanks to Ian’s wistful vocal and the languid arrangement, almost pastoral and then rocky. Then thanks to echo and filters, a lysergic, psychedelic sound can be heard. With Jethro Tull’s rhythm section joining forces with fiery guitars and piano, they provide a fitting backdrop for Ian’s dramatic, hurt-filed and defiant vocal. Shrouded in echo, it takes on an almost mysterious sound. From there, harmonies combine with the band as a timeless track unfolds where Jethro Tull, musical visionaries, showcase their inconsiderable skills.
A piano sets the scene for Ian’s vocal on Alive And Well And Living In. Stabs of piano are matched by the bass before Ian’s vocal enters. It’s deliberate and definite. He seems to be taking care as he articulates the lyrics. Meanwhile flourishes of flute and bursts of guitar are fired off. By now we’re hearing a harder rocking side of Jethro Tull. Then the arrangement is stripped back to the piano and bursts of flute which accompany Ian’s dramatic, powerful vocal. A fusion of blues, orchestral, classical, prog rock and rock it’s a continuation of Jethro Tull’s reinvention.
Son is a stomping, hard rocking number. Here, Ian Anderson reminds me of Alex Harvey, of the Sensational Alex Harvey Band. His vocal is almost a theatrical sneer. Strutting his way through the track, machine gun guitars accompany him, while the rhythm section provide the heartbeat. Midway through the track, it’s all change. The tempo drops and Ian’s vocal becomes pensive, probing and questioning. Then the drama returns as the track heads to its glorious hard rocking crescendo.
Crystalline, chiming guitars join Ian’s tender vocal on For Michael Collins, Jeffrey and Me. The meandering guitars and vocal are a potent partnership. You’re drawn to them. Soon, you’re enchanted. Then with a burst of guitar the tempo picks up and Jethro Tull combine folk, blues, rock, classical and Celtic music. Just like what’s gone before, what follows is enthralling, beguiling and enchanting. It also shows another side to Jethro Tull.
To Cry You A Song sees a return to Jethro Tull’s blues rock sound. Driven along by a powerhouse of a rhythm section and dual guitars, it’s Jethro Tull at their best. Ian’s vocal is a mixture of power and emotion. When it drops out, Jethro Tull concentrate on mixing blues rock with prog rock. A captivating combination the music of the past, present and future collides head on. Later, Ian’s vocal is enveloped by harmonies and bursts of guitar, showcasing Jethro Tull at their hard rocking, bluesy best.
A Time For Everything bursts into life. It’s best described as a fusion of rock, Celtic and folk. Scorching guitars, boron, flute and acoustic guitar create a wall of dramatic, rocky music. As if inspired, Ian launches himself into the lyrics. He becomes a seer or philosopher, as he delivers the lyrics. A wash of feedback envelops a vocal that’s pensive, thoughtful and dramatic. Later, as the track heads towards a sudden and poignant ending Ian’s vocal is akin to an unanswered question. It’s as if he’s asking is there: “A Time For Everything?”
Inside is one of the highlights of Benefit. A rousing, anthemic combination of folk, rock and blues music. Meandering gently, there’s a slight Eastern influence. That’s maybe down to Ian’s flute. His vocal has a folk influence. Tender, veering between wistful and joyously, his vocal is crucial to the song’s success. Behind him, the rest of Jethro Tull combine musical genres on this breezy, joyous and irresistibly catchy track.
The rhythm section are at the heart of this hard rocking, bluesy Play In Time. Ian adds a grizzled vocal and plays the flute. Again, there’s some studio trickery, with the piano and guitars speeded up. This works, adding a psychedelic influence on this driving, dramatic and genre-melting track. Cascading flute, thunderous drums and wizened guitars provide the backdrop for what’s one of Ian’s best vocals. Strident and confident he struts his way through the track, as Jethro Tull kick loose. They’re a tight and talented unit who never miss a beat. As they jam, the earlier psychedelic influence adds the finishing touch.
Sossity You’re A Woman which closes Benefit, is very different from any of the other tracks. It’s like something from an other age. It’s as if Ian Anderson has been transported back in time as has been given the job of entertaining at a medieval feast. Just acoustic guitars accompany him, before later an organ adds an almost gothic sound. Later, the arrangement is a mass of acoustic guitars, tambourine, shakers and organ, before reaching its melancholy, thoughtful ending.
Benefit was just the second album in the most successful and productive period of Jethro Tull’s career. Between 1969 and 1979, nine of Jethro Tull’s albums were certified gold. Aqualung, Jethro Tull’s 1971 Magnus Opus was certified triple-platinum. It seemed Jethro Tull could do no wrong. That was the case. Sadly, Jethro Tull never received the recognition they deserved.
After the advent of punk, critics and music lovers shied away from prog rock. Confessing to liking prog rock wasn’t the done thing. No. It wasn’t fashionable. Critics who previously, had championed prog rock, referred to prog rock groups like Jethro Tull as dinosaurs. Despite that, Jethro Tull gold discs kept coming Jethro Tull’s way. Right through to 1979s Stormwatch, Jethro Tull were hugely successful. The reason for that was their music never stood still. It constantly evolved. Jethro Tull’s music was groundbreaking, genre-melting and innovative. That’s why Jethro Tull enjoyed so much critical acclaim and commercial success.
Having released their debut album This Was in 1968, Jethro Tull went on to release another twenty studio albums. Their final album was 2003s The Jethro Tull Christmas Card. Over five decades, where they released twenty-one albums, Jethro Tull were more successful in the US than the UK. Ten of their albums were certified gold and one triple-platinum. Over in the UK, five of Jethro Tull’s albums were certified silver. Worldwide, Jethro Tull sold over sixty-million albums, making them one of the most successful prog rock bands ever. Despite that, Jethro Tull haven’t received the critical acclaim and recognition their music deserves.
Hopefully, that’s starting to change, especially with the rerelease of Jethro Tull’s third album Benefit, which will be rereleased by WEA Japan on 4th February 2014. Benefit is the perfect introduction to Jethro Tull’s music. Along with Benefit, I’d recommend EMI’s 2011 rerelease of Aqualung. They’re the perfect starting point to Jethro Tull, one of the most innovative, groundbreaking, commercially successful and critically acclaimed prog rock bands of all time, whose music is truly timeless. Standout Tracks: With You There to Help Me, To Cry You A Song, A Time For Everything and Play In Time.
JETHRO TULL-BENEFIT.
THE SOULJAZZ ORCHESTRA-INNER FIRE.
THE SOULJAZZ ORCHESTRA-INNER FIRE.
Back in 2012, The Souljazz Orchestra celebrated their tenth anniversary with the release of their fifth album Solidarity. Less than two later, The Souljazz Orchestra will release their sixth album inner Fire on 24th February 2014. Just like their previous albums, Inner Fire is a compelling fusion of musical influences and genres. That’s no surprise.
The Souljazz Orchestra absorb influences like a sponge. This is apparent on Inner Fire, and there’s a reason for this. Since the release of Solidarity, The Souljazz Orchestra have continued their musical voyage of discovery. Members of The Souljazz Orchestra have worked with some of the most talented musicians in Cuba, Haiti, Nigeria and Rwanda. These master musicians have influenced The Souljazz Orchestra. Their influence can be heard on the ten tracks that comprise Inner Fire. Add to this Afro-beat, Egyptian jazz, Latin and spiritual music. This results in a musical melting pot. Once it’s given a stir by The Souljazz Orchestra. it’s a tantalising tasting dish, best tasted often. before I tell you about Inner Fire, I’ll tell you about the background to the album.
Inner Fire features ten tracks nine of which were written by The Souljazz Orchestra. Celestial Bluese is the exception. It was written by Gary Bartz. The tracks were recorded at The Souljazz Orchestra’s studio in Ottawa. This is no ordinary studio. No. It’s an analogue studio full of what’s described as an eclectic selection of instruments. Many of these are instruments are long lost, sometimes unloved junk shop finds. A transistor organ, cheap guitars, reverb and echo units, an electric piano rescued from a dumpster and the crowning glory, an old eight-track Tascam tape machine, that was bought at a yard sale by the Royal Canadian Mounted Police. Incredibly, the ten tracks on Inner Fire were recorded on this old eight-track Tascam, which is described by The Souljazz Orchestra as temperamental. This gives Solidarity a really raw lo-fi, analogue sound. At their Ottawa studio, the familiar lineup of The Souljazz Orchestra got to work.
This included keyboardist Pierre Chretien, tenor saxophonist Steve Patterson, baritone saxophonist Ray Murray and drummer and conguero Philippe Lafreniere. Zakari Frantz plays flute and alto saxophone and Marielle Rivard percussion. That’s the personnel that played on The Souljazz Orchestra’s forthcoming album Inner Fire, which I’ll now tell you about.
Initiation which opens Inner Fire is best described as a curveball. It’s a tantalising taste of what The Souljazz Orchestra are capable of. Braying, blazing, sultry horns combine and reach a dramatic crescendo. Then after seventy-five seconds the track is over. Dramatic, emotive and evocative describes this cinematic sounding track.
A piano opens Kingdom Come before a glorious melange of growling horns, pounding drums and percussion combine. It’s an irresistible call to dance. What follows is a delicious example of Afro-beat. Other influences include the North African big bands, jazz and New Orleans’ R&B. The arrangement flows along joyously, with pregnant pauses, thunderous drums and vibes adding to the drama of this melodic stomper.
One Life To Live is a track with an important message, seize the day. We’re only here for a visit, so enjoy yourself. The Souljazz Orchestra do just that. Drawing inspiration from highlife, rasping horns, percussion, driving guitar and drums join forces. Soon, a flute solo helps drive the arrangement along. It’s then replaced by joyful vocal who remind you you’ve only: “One Life To Live.” As they do this, a searing saxophone solo cuts through the arrangement. Accompanied by the horns, percussion and drums the track becomes a celebration of life. Then when a vocal warns: “tomorrow may be your last,” this comes as a wakeup call. Variously, haunting, celebratory and joyous, The Souljazz Orchestra are at their very best as they remind us we’ve: “One Life To Live.”
As The Crow Flies sees a change in style to bossa nova. This allows The Souljazz Orchestra to showcase their versatility. With a shuffling beat, horn drive the cinematic arrangement along. Harmonies drift above the arrangement whilst drums, percussion and horns add an element of drama. Then a sultry saxophone solo emerges. It’s played with power, passion and accuracy. The rest of the band feed off this solo. Spurred on, they reach even greater heights, as they take you on another musical journey to a place where the music is glorious and irresistible.
Black Orchid has a pensive, thoughtful sound. Just vibes, piano and bas combine, before growling horns join in. Still the track has a wistful sound. However, it’s also melancholy. That’s the best way to describe this wistful and beautiful slice of soul-jazz, where The Souljazz Orchestra showcase their ability to seamlessly, flit between musical genres. That’s not easy and demonstrates just how talented they are.
You sense that Agoya is about to burst into life. It does. What follows is an explosive and irresistible slice of salsa. A fusion of braying horns, percussion, drums and bursts of vocals combine. Then a flute escapes from the arrangement, while a rasping saxophone helps drive the arrangement along. By then, you’ll have realised it’s impossible to keep still. It’s as if The Souljazz Orchestra are taunting you, saying dance. The only option is to submit to its charms and dance like you’ve never danced before.
East Flows The River is described as a ritual chant. Harmonies float above the arrangement while the rhythm section and percussion provide the track’s heartbeat. This results in a hypnotic, mesmeric and spiritual sound. It’s irresistible. It envelops you, and quickly, wins you over. Then things get even better when a saxophone solo is unleashes. It’s akin to a cathartic cleansing of a the soul and is the finishing touch to what’s the highlight of Inner Fire.
Sommet En Sommet is an Afro jazz track where the time signature changes. Rather than the usual 4/4, the time signature is 12/8. Again this shows that The Souljazz Orchestra are versatile and talented musicians. They’re just as comfortable playing in 12/8 as 4/4. What follows is four minutes of musical magic. Dramatic and jaunty describes the start of the arrangement. Then braying horns, percussion and the rhythm section join forces. They create a broody, dramatic backdrop. Adding to the drama and beauty is a heart-achingly beautiful alto saxophone solo. It gives way to a piano, while the rest of the band combine drama, emotion and beauty.
Celestial Blues is a track many people will be familiar with. Its the title-track from Gary Bartz’s 1971 album. Here, percussion Marielle Rivard steps forward and sings lead vocal. Her jazz tinged vocal suits the song. Horns answer her call, while the drums and piano provide the backdrop. Jazz tinged describes the piano and horns, while the drums are hypnotic. When all this is combined, The Souljazz Orchestra pay homage to Gary Bartz with a blistering version of Celestial Blues.
Closing Inner Fire is Completion. It’s just a short track that bookends the album. Vibes, piano, standup bass and drums played with brushes combine to create a wistful, melancholy track. This bookends Inner Fire perfectly, closing the album as it began.
Without a doubt, Inner Fire is the best album The Souljazz Orchestra have ever released. I’ll go even further than that. Inner Fire which will be released on 24th February 2014 will be one of the best albums of 2014. That’s how good Inner Fire is. It’s The Souljazz Orchestra’s Magnus Opus. They’ve come of age. Everything that’s gone before has been leading up to this moment.
During the last twelve years, The Souljazz Orchestra have come a long way, with their compelling fusion of musical influences and genres. Having released their debut album Uprooted in 2005, three further albums were released in the next five years. Freedom Must Die was released in 2007, with Manifesto following in 2008 and Rising Sun in 2010. For their fifth album, The Souljazz Orchestra have changed direction from the acoustic style of Rising Sun to an electric, vocal driven style on Solidarity. Then after a gruelling touring schedule, The Souljazz Orchestra returned to their beloved analogue studio in Ottawa and recorded Inner Fire.
Inner Fire should be the album that sees The Souljazz Orchestra music reach a much wider audience. They’re guaranteed to get any party started. No wonder. With its fusion of Afro-beat, Afro-jazz, bossa nova, Egyptian jazz, funk, jazz, Latin, samba and soul jazz Inner Life is The Souljazz Orchestra’s finest moment. It’s variously celebratory, irresistible, joyous, melancholy, melodic, pensive, thoughtful and wistful. Just like previous Souljazz Orchestra albums, Inner Fire is akin to a journey on a musical roller coaster.
Having climbed onboard The Souljazz Orchestra’s musical roller coaster, they introduce you to music that’s celebratory, joyous and irresistibly catchy. Other times, it’s melancholy, wistful and spiritual. Always, the music on Inner Fire is a reflection of the music that’s influenced The Souljazz Orchestra.
Since their last album Solidarity, members of The Souljazz Orchestra have been lucky enough to work with some of the most talented musicians in Cuba, Haiti, Nigeria and Rwanda. These master musicians have influenced The Souljazz Orchestra. Their influence can be heard on the ten tracks that comprise Inner Fire. They’ve played their part in what’s essentially a musical melting pot of influences and genres. Once it’s given a stir by The Souljazz Orchestra, Inner Fire is a tantalising tasting dish, best tasted often. Standout Tracks: Kingdom Come, One Life To Live, Black Orchid and Sommet En Sommet.
THE SOULJAZZ ORCHESTRA-INNER FIRE.
THE BEATLES-RUBBER SOUL.
THE BEATLES-RUBBER SOUL.
It was fifty years ago, The Beatles made a breakthrough in America. This was when they released Introducing…The Beatles on 20th January 1963. It reached number two in the US Billboard 200. The Beatles had arrived. Ironically, Introducing…The Beatles proved to be the least successful album The Beatles released in America. After that, everything they touched turned to either gold or platinum.
1964 was a huge year for The Beatles. They released a quartet of albums that reinforced them as the world’s most successful band. Just over a year after the release of Introducing…The Beatles, The Beatles’ Second Album was released in April 1964. It reached number one in the US Billboard 200 and was certified double platinum. Two months later, A Hard Day’s Night was released in 1964. It reached number one and was certified four times platinum. A month later, Something New was released in July 1964. Reaching number two in the US Billboard 200 charts resulted in the album being certified double platinum. The Beatles could do no wrong. Proof of this was Beatles ’65. On its release in December 1964, it reached number one in the US Billboard 200 and was certified triple platinum. That meant The Beatles had released four albums during 1964 and sold over eleven-million albums. There was only one problem for The Beatles, how do you better 1964? That was going to be hard. After all, The Beatles set the bar high? However, they’d release a landmark album in December 1965, the US version of Rubber Soul. It was recently rereleased by UMC and features the mono and stereo versions of this classic album.
Before The Beatles released Rubber Soul, they released two further albums. Beatles VI was released in June 1965. It reached number one and was certified platinum. Help was released in August 1965, and reached number one in the US Billboard 200 charts. It was certified double platinum. Good as that was, it would be dwarfed by the sales of The Beatles’ next album Rubber Soul, which marked a change in direction from The Beatles.
Rubber Soul was the first album that The Beatles recorded during one recording session. Recording took place between 12th October to 11th November 1965. This was unlike previous albums. They’d been recorded quickly during a number of sessions. Not Rubber Soul. The new approach worked and resulted in a much more focused album which flowed. Another change was the music.
On Rubber Soul, The Beatles moved away from the three-chord pop of their previous albums. Everything from doo wop, folk-rock, garage, Indian rock, pop, psychedelia, soul-influenced Rubber Soul. It was a much more sophisticated and grow- up album of eclectic music. In some ways, Rubber Soul marked a coming of age for The Beatles. Some of the songs on Rubber Soul prove this.
Previously, many of The Beatles’ songs had been simplistic love songs, along the lines of boy meets girl and lives happily ever after. This changed on Rubber Soul. The songs are much more complex and have a depth that was previously lacking. Slick, sophisticated, pensive, wistful and xmelancholy describes these songs. Norwegian Wood is proof of the grownup Beatles. It’s an evocative, melancholy and mysterious tale of love gone wrong. There’s also nostalgia for simpler times on In My Life. Maybe by the time they recorded Rubber Soul John Lennon, who wrote the song, realised life would never be the same again. Rubber Soul also showcases a negativity that hadn’t been heard before. For some people, this wasn’t something they liked. For them, The Beatles were escapism from reality. However, Rubber Soul marked a coming of age for the Beatles.
Just like their previous albums, most of the songs were penned by Lennon and McCartney. The exception was Think For Yourself, which George Harrison wrote and sang. The other vocals were split between John and Paul. They shared the lead vocal on The Word, In My Life and Wait when recording took place at Abbey Road studios, London.
At Abbey Road, George Martin produced Rubber Soul and played piano on In My Life and harmonium on The Word. Mel Evans played Hammond organ on You Won’t See Me. Paul played bass, lead and acoustic guitar plus piano. John played rhythm and acoustic guitar and piano. George played bass, sitar and acoustic guitar. Ringo played drums, percussion and Hammond organ. Together, they recorded the twelve songs that became Rubber Soul. It was released just in time for Christmas 1965.
On its release in December 1965, Rubber Soul proved to be The Beatles’ most successful album. In the first nine days since its release in the US, Rubber Soul sold over 1.2 million copies. It’s no surprise that Rubber Soul reached number one in the UK and US. Rubber Soul stayed at number one in the US for six weeks and has sold six million copies. The new grownup Beatles were even more popular than before. Proof of this was Rubber Soul, which I’ll tell you about.
I’ve Just Seen A Face which opens Rubber Soul, has a slight country sound. It’s an uptempo track that’s driven along by acoustic guitars. Paul takes charge of the lead vocal, delivering the lyrics with a sense of urgency. The lyrics are essentially rhyming couplets. However, they ensnare you. Their sheer simplicity has you captivated. Ringo plays the snare drum with brushes. Meanwhile the rest of The Beatles add harmonies. It’s as if they’ve been inspired by the Beach Boys, and their harmonies are tighter and sweeter than ever.
Norwegian Wood (The Bird Has Flown) showcases the new Beatles. The lyrics John Lennon said, were autobiographical and about an affair he was having. He delivers the lyrics and his vocal was double-tracked. The lyrics veer between descriptive, evocative and surreal. There’s a strong Indian influence in the song. That comes courtesy of George’s sitar, while percussion, acoustic guitar, bass and harmonies accompany him. They’re the perfect backdrop for John’s pensive, melancholy vocal as folk, Indian rock, pop and psychedelia unite. This results in one of the highlights of Rubber Soul.
While You Won’t See Me was credited to Lennon and McCartney, it was later claimed that Paul penned this track. It’s about problems he was having in his relationship. His girlfriend wasn’t answering his phone calls and letters. There’s a vulnerability and bitterness in the lyrics. With the lyrics being personal, he makes them come to life. A chugging rhythm section, jangly piano and cooing harmonies accompany Paul. Confusion, sadness and bitterness fills his voice as hooks and heartbreak sit side-by-side.
Think For Yourself has a rockier, psychedelic sound. Lysergic describes the track. George sings lead vocal. His vocal his lazy, lysergic and dreamy as he warns against listening to people telling you lies. He’s taking a swipe at governments and authority figures. A double-tracked fuzzy bass, drums and shakers are accompanied by piano. Then there’s The Beatles’ trademark harmonies. They accompany George on this innovative, genre-melting track where pop, psychedelia and rock combine seamlessly.
The Word might be a love song, but is very different to the girl meets boy songs they used to pen. This is a much more sophisticated, grownup track. The lyrics are abstract, with love equating to freedom. Jangling Byrdsian guitars, close harmonies, piano and the rhythm section combine to create a choppy arrangement. John and Paul who cowrote the track, share the lead vocals as The Beatles music moves in a new direction. This is one of the tracks that marked The Beatles’ coming of age.
Michelle won a Grammy Award for the best song in 1967. No wonder. It’s a timeless classic. Ironically, the song is simplicity itself. With an understated arrangement. The rhythm section and sweeping harmonies accompany Paul’s needy, heartfelt vocal. Sincere, soulful and impassioned, he even delivers part of this beautiful paean in French. Quite simply, this is one of the best songs The Beatles ever wrote and reinforced the fact that they were growing and maturing as a band.
Although Rubber Soul was released in December 1965, the introduction to It’s Only Love is reminiscent of their early work. That’s the case with much of the song. The lyrics are simplistic rhyming couplets. John Lennon later described the lyrics as “abysmal.” Paul too, realised this wasn’t their finest hour. Granted they’re not the greatest lyrics they wrote, but John seems determined to make the lyrics work. His vocal is a mixture of power and passion. Even that doesn’t stop the track rising above average.
After the disappointment of It’s Only Love, Girl more than makes up for it. The arrangement is melancholy and wistful. Acoustic guitars are at the heart of the arrangement, which has a Greek influence. John’s vocal takes centre-stage, as he delivers some of the finest lyrics on Rubber Soul. This includes: “was she told when she was young that pain would lead to pleasure” and “that a man must break his back to earn his day of leisure.” John Lennon later said this was a comment about Christianity. With lyrics that are cerebral, scathing and full of social comment, plus cooing, swooping harmonies, this is a mini musical masterpiece.
I’m Looking Through You is another relationship song. The lyrics were written by Paul and again, were personal. They dealt with his failing relationship and how his partner had changed and this he wasn’t happy about this. Acoustic guitars, handclaps and harmonies accompany Paul’s vocal. Power, frustration, sadness and anger shine through as he unleashes a cathartic, cleansing vocal.
In My Life finds The Beatles in a reflective mood. At first glance, they sound not unlike their earlier albums. However, listen carefully and the music is much more sophisticated. Paul and John share the vocal, remembering “people and places.” Cooing harmonies accompany their vocals. Sometimes, they’re wistful as if thinking things were simpler. The instrument bridge is a game changer. Listen carefully and the piano solo sounds like a harpsichord. It’s played by George Martin and has a Bach influence. This sets the song up for its wistful finale, which poses more questions than it answers.
Wait was originally meant to have been on the Help soundtrack. It didn’t make the cut, but was used as a makeweight on Rubber Soul. The Beatles were one track short for Rubber Soul. Overdubbing was used so that the song would flow with the rest of the album. The lyrics are about a couple being apart. This is a familiar theme for Lennon and McCartney. Their lyrics bring to life the longing, loneliness and temptation. This is apparent when they sing: “I’ve been good, good as I can be.” Whilst not originally written for Rubber Soul, this track works, just, and doesn’t interrupt the flow of Rubber Soul.
Run For Your Life closes Rubber Soul, and is a track John Lennon regretted writing. Partly, this is because of the lyrics. This includes: “I’d rather see you dead, little girl, than to be with another man.” There’s an edge to John’s voice. It’s almost menacing. He’s accompanied by the rhythm section, while Byrdsian guitars jangle. Harmonies provide a foil for John’s vocal, as jealous and frustration oozes out of John’s every pore.
I’ve always thought that there are two chapters to The Beatles recording career. The second chapter begins with Rubber Soul which was rereleased by UMC on 20th January 2014. This is the US version of the album. Rubber Soul features a much more sophisticated and grownup Beatles. Gone was the three chord pop of their previous albums. Everything from classical, country, doo wop, folk rock, garage, Greek, Indian rock, pop, psychedelia, raga rock and soul influenced Rubber Soul. It was a coming of age for The Beatles. They’d returned from a tour of North America inspired.
During their time in North America, The Beatles had heard Bob Dylan and The Byrds’ unique brand of folk rock. They’d also heard the Beach Boys, who many people perceived as The Beatles rivals. A rivalry existed between both groups, but there would only be one winner…The Beatles. Both groups would influence each other. Indeed, The Beach Boys’ harmonies would influence The Beatles. This shines though on Rubber Soul. So can Eastern influences, including the raga and Indian rock which would from Rubber Soul. Both would infuse The Beatles’ music for the rest of their career. The Beatles were introduced to these Eastern influences by courtesy David Crosby of The Byrds and Ravi Shankar. However, The Beatles weren’t the first British group to pioneer an Eastern influences. That was The Kinks. They used guitars to create a droning sound that can be heard on some of their mid-sixties’ albums. All these new influences made Rubber Soul a very different Beatles album.
Listening to the album that preceded Rubber Soul, Help, which was released in July 1965, it’s like listening to two different groups. Rubber Soul was a much more sophisticated and grown up album of eclectic music. In some ways, Rubber Soul marked a coming of age for The Beatles. That’s no bad thing. After all, if The Beatles had continued to release the same type of music, they’d quickly have become irrelevant. With their music beginning to evolve, there was never any chance that would happen. Not at all. From Rubber Soul onwards, The Beatles become one of the most innovative and progressive groups in musical history. Their career took off.
Yesterday and Today was released in June 1966 and reached number one in the US Billboard 200 Charts. This resulted in the album being certified double platinum. Then Revolver was released in August 1966, reaching number one in the US Billboard 200 and sold over five million copies. This was nothing. 1967 was going to be the most successful career in The Beatles’ career so far.
Sgt. Pepper’s Lonely Heart’s Club Band was released in June 1967. It reached number one in the US Billboard 200 and became The Beatles’ most successful album. Eventually, it sold eleven million copies. Five months later, in November 1967, Magical Mystery reached number one in the US Billboard 200 and was certified six time platinum. Good as 1967 had been, 1968 was even better.
When The Beatles was released in November 1968, what became known as The White Album reached number one and sold over nineteen million copies. This was unheard of. The Beatles would never surpass this.
During 1969, The Beatles released a trio of albums. Yellow Submarine was released in January and “only” reached number two. It was certified platinum. Normal service was resumed with Abbey Road. Not only did it reach number one, but was certified platinum twelve times. Then in May 1970, The Beatles released their swan-song, Let It Be. Their career ended on a high, with a number one album that sold four million copies. This brought to an end a run of innovative and influential albums that began with 1965s Rubber Soul.
Rubber Soul is quite simply one of the finest albums The Beatles recorded. That’s saying something given the quality of music they released. Their American career began in 1963 and lasted until 1970. However, Rubber Soul saw The Beatles come of age. The music on Rubber Soul is slick, sophisticated, pensive, wistful and melancholy. This marked the start of the second chapter in The Beatles career. During the next five years, they released the best music of their career. From Rubber Soul, The Beatles went on to release classic albums like Revolver, Sgt. Peppers Lonely Heart’s Club Band and The White Album. However, without Rubber Soul, The Beatles would never have released these albums. Rubber Soul was a stepping stone in their career and is one of the most important, innovative and influential albums of The Beatles career. Standout Tracks: Norwegian Wood (The Bird Has Flown), Michelle, Girl and In My Life.
THE BEATLES-RUBBER SOUL.
BREAKAWAY-BREAKAWAY AND STRAIGHT TO THE TOP.
BREAKAWAY-BREAKAWAY AND STRAIGHT TO THE TOP.
BBE Music’s latest release sees two of the rarest albums make their CD debut. For years, both of Breakaway’s two albums have been prized assets among record collectors. Copies have exchanged hands for ever increasing sums of money. Despite this, no record company decided to take the plunge and release the two albums Breakaway released in the late-seventies. Their 1977 debut was Breakaway, with Straight To The Top following in 1978. Two years later, Breakaway split-up. The two albums they’d released represented their entire discography and will be rereleased on one album by BBE Music on 27th January 2014. Now another generation have the opportunity to discover Breakaway.
For some people, the name Breakaway will ring a bell. There’s a reason for this. Breakaway featured on the two compilations of blue eyed soul BBE Music have released. Americana-Rock Your Soul was released back in 2011, with Americana 2 released in 2013. Both compilations featured a whole host or rarities and hidden gems. Previously, many of these tracks, including the two from Breakaway would’ve passed most people by. Not any more.
Partly, that’s to do with the internet. Nowadays, due the the advent of the internet, a whole generation of music lovers are discovering long-lost albums. As a result, a whole industry has grown up reissuing music. Now albums that never found an audience the first time round, are being released. Belatedly, these albums are receiving the attention and plaudits they deserved. Sometimes, careers have been relaunched and artists rescued from the 9-5 grind. For other artists and groups, they’re content to be vindicated that the music they released thirty or forty years ago was variously innovative, influential, ahead of its time or timeless. Is that the case with the two albums Breakaway released?
The story behind Breakaway began back in the early seventies in The Turquoise Lounge, Portland, Oregon. That’s where David L. Taylor David L. Taylor and Bill Montgomery met Dale Sweetland. Having heard Dale play, David and Bill decided to draft him into their band. This wasn’t easy. It took a year of phone calls before Dale joined the band in 1972. However, this lead to the trio forming a new band in late 1972.
There was a reason for this. Their new manager wanted them to form a Las Vegas Show band and play on the lucrative club circuit. Now a seven-piece band, they rehearsed in Las Vegas, before heading out on the road. The lineup included David L. Taylor, Bill Montgomery, Dale Sweetland, and Terry McCoy from South Carolina. This lineup lasted a year. Then they returned to Vegas and formed a new band with Terry Richards.
Terry had been a member of Chase, a band from Cleveland, Ohio, who’d enjoyed some commercial success. The tragedy struck. Chase were involved in a plane crash and the only survivor was Terry. For the next year Terry was a member of the band. That’s until he was replaced by Corky Blake, a native of St. Louis. Now the group was a six piece. However, this would’t be the final change in the lineup.
No. Kathy Newbry-Taylor a native of Las Vegas was recommended by to the band by their manager Joe Zito. This was the lineup that lasted right through until 1976. Then there was another change. Manager Joe Zito was replaced and the band became a quartet who called themselves Breakaway. It had taken over four years, but at last, Breakaway was born.
Having settled on the name Breakaway, the nascent band moved to St Louis. That’s where Breakaway met Art Risavy. He owned a record shop in Collinsville, Illinois. Art assured them that he could provide them with enough work in the Midwest for Breakaway to base themselves in Collinsville. Now they begin work on their debut album. However, they didn’t have a record contract. So, they had to play live to pay for the recording sessions for what became their debut album Breakaway.
BREAKAWAY.
Most of Breakaway was written by David L. Taylor. He wrote four tracks and cowrote Understudy DJ and Love My Eyes with Kathy Newbry-Taylor. She also penned There’s A New Group In Town. These seven tracks became Breakaway. It was recorded at Technosonic Studios, St. Louis by a lineup featuring David L. Taylor, Bill Montgomery, Dale Sweetland and Kathy Newbry-Taylor. Producing Breakaway was Bill Schulenberg and Breakaway. Once Breakaway was recorded, it was released later in 1977.
Breakaway was released in 1977, on the band’s own label Breakaway Records. However, they didn’t have a sufficient promotional budget, and Breakaway wasn’t a commercial success. Sadly, despite the undoubted quality of the music, Breakaway didn’t even trouble the charts. A genre-melting mixture blue eyed soul, disco, funk, soul and even rock, Breakaway deserved a better fate. You’ll realise that when I tell you about the highlights of Breakaway.
Understudy DJ, which opens Breakaway is one of Breakaway’s best known tracks. It’s an underground anthem. A funky, dance-floor friendly arrangement grabs your attention, The rhythm section are at the heart of the action before Kathy struts centre-stage. Urgent, punchy and powerful, her sassy vocal is enveloped by a funk masterclass from Breakaway’s rhythm section
Love My Eyes sees a very different side to Breakaway. They drop the tempo on this slow, beautiful ballad. Kathy’s vocal is accompanied by keyboards, strings and a subtle rhythm section. Her vocal is tender and heartfelt. Meanwhile, a jazz guitar and strings provide the backdrop to her soul-baring vocal on this beautiful paean.
Who Was It This Time begins slowly, and gradually reveals its secrets. Breakaway combine musical genres. Elements of blue eyed soul, disco, funk and jazz shine through. The rhythm section keep things funky, while disco strings and a jazzy guitar combine. Kathy’s vocal is a mixture of power and passion. It’s drops out an is replaced by a jazz-tinged keyboard solo. This demonstrates Breakaway’s versatility before Kathy returns and picks up where she left off, playing a starring role.
Everybody Loves The Singer sees another change in direction. It’s a fusion of country, funk, rock and soul. The arrangement is driven along by the rhythm section and guitars. Kathy delivers one of her best vocals. It soars above the arrangement, a mixture of power and soulfulness. She’s accompanied by cooing harmonies. They’re the perfect accompaniment to her vocal powerhouse, as Breakaway demonstrate their versatility.
Funky, soulful and rock-tinged describes Everything’s Been Said About You. The rhythm section provide the funk, while rocky guitars and a soulful, vocal powerhouse from Kathy combine. She uses her full vocal range. Searing, chiming guitars and harmonies accompany her, as we hear another side of Breakaway.
My Symphony is another ballad. It has an understated, piano lead arrangement. This allows Kathy’s vocal to take centre-stage. Gradually, the arrangement builds and grows, enveloping Kathy’s emotive vocal. She’s accompanied by sweeping harmonies. They compliment Kathy’s heartfelt, impassioned vocal, which is one of the highlights of Breakaway.
There’s A New Group In Town closes Breakaway. It’s one of Breakaway’s best known tracks and reminds me somewhat of Sister Sledge. It’s dramatic and urgent. A pounding, funky and rocky rhythm section give way to soaring harmonies. Then Kathy delivers a strutting, diva-esque vocal. She combines drama, sass and power. Handclaps, rocky guitars, washes of synths and the funky rhythm section unite, ensuring Breakaway ends on a high.
Breakaway is best described as a journey through musical genres. You never know what direction the album is heading. Everything from blue eyed soul, country, disco, funk, R&B, rock and soul is combined. Listeners are kept on their toes. Quickly, you learn to expect the unexpected. Ballads and dance tracks side-by-side. One minute Kathy’s laying bare her soul, the next she’s a strutting diva. The rest of Breakaway take this in their stride. It doesn’t seem to matter what type of music they’re asked to play, they carry it of. You want funk, soul or country, Breakaway can play it. Maybe this is a remnant to their days as a showband?
With music that was variously, funky, dance-floor friendly, hook-laden, slick and soulful, Breakaway should’ve been a commercial success. Sadly, it wasn’t. That’s not a surprise. Breakaway was independently released. Without a decent budget, the album never even dented the Billboard Charts. This meant a return to playing live. That’s until they had enough money to record their sophomore album Straight To The Top.
STRAIGHT TO THE TOP.
After the disappointment of Breakaway, the band returned to playing live. Art had guaranteed that he could provide them enough live work. This meant that it would be worth their while basing themselves in Collinsville. He was as good as his word. Breakaway continued to be busy with live work. This allowed them to finance the recording of their sophomore album Straight To The Top.
Again, Breakaway wrote the eight tracks on that became Straight To The Top. Producing Breakaway was Bill Schulenberg and Breakaway. Once Straight To The Top was recorded, it was released later in 1978 on their own label Breakaway Records.
Just like their debut album Breakaway, Straight To The Top wasn’t a commercial success. Another similarity was that Straight To The Top was a fusion of musical genres. There was everything from blue eyed soul, disco, funk, rock and soul on the seven tracks. Soulful, funky, dance-floor friendly and not short of hooks, Straight To The Top didn’t head Straight To The Top. Maybe if it had been released on a bigger label, it might have been commercial success. Sadly, it wasn’t to be. Instead, Straight To The Top was Breakaway’s swan-song, which I’ll tell you about.
Straight To The Top opens with the title-track. Lone drums give way to a disco-tinged arrangement. Bubbling synths, funky rhythm section and Kathy’s seductive vocal combine. Searing guitars and buzzing synths join in as disco, Euro Disco and rock combine. It’s a potent and heady brew, with genres and hooks becoming one.
Empty Love is another disco track. Driven along by percussion, rhythm section and keyboards, the arrangement is a fusion of disco, drama and jazz. Kathy’s tender, needy vocal is soulful and jazz-tinged. Harmonies accompany her as she delivers an emotive and dramatic vocal.
It seems Straight To The Top was Breakaway’s disco album. Back ’N’ Forth sees the disco influence continue. It’s a fusion of disco, Euro Disco and funk. Squeaky, synths play an important part in the arrangement, while hypnotic, pounding drums provide the backdrop for Kathy’s coquettish vocal. It delivers the simple, but infectiously catchy lyrics.
You Are Love sees the tempo drop. It’s the first ballad on the album. Just like other tracks, synths play an important part in the arrangement. What plays the most important part, is Kathy’s vocal. Tender, heartfelt and ethereal, it’s captivating. You’re truly spellbound by its emotion and beauty.
Straight away, you realise Breakaway is one of the highlights of Straight To The Top. That’s because of Kathy’s powerhouse of a vocal. It’s a mixture of power, passion and emotion. She’s accompanied by blistering, rocky guitars, keyboards and percussion. Providing the heartbeat is the rhythm section. They play their part in this track’s dramatic sound.
Oh Darlin’ Oh Baby sees Breakway return to the ballads they do so well. With an understated, thoughtful late-seventies arrangement, Kathy delivers a vocal that veers between tender and powerful. It’s thoughtful, emotive and needy. Meanwhile, keyboards, percussion and a meandering rhythm section provide the backdrop to what’s easily the highlight of Straight To The Top.
Work With The Music bursts into life, a fusion of rock and funk. Driving the arrangement along is the rhythm section, while bubbling, searing synths and sneering guitars join forces. Kathy’s vocal is urgent, rocky and powerful. Later, the track takes on an experimental, sci-fi sound. After that, it’s funky, rock-tinged, urgent and dance-floor friendly.
Closing Straight To The Top is A New Tree In The Forest. The understated arrangement meanders into being. Just washes of synths, pensive drums and piano combine as Kathy’s tender, beautiful vocal slowly delivers the vocal. Gradually, the arrangement reveals its secrets and subtleties. It grows in power. So does Kathy’s vocal. She demonstrates how versatile a vocalist she is. She has the ability to make lyrics come to life, breathing meaning and emotion into them. That’s what she does here, closing the album on a beautiful high.
Straight To The Top, Breakaway’s sophomore album is both different and similar to their eponymous debut album. The main difference is that there’s more disco tracks on Straight To The Top. Breakaway seem to have decided make the album even more dance-floor friendly. Four of the tracks see Breakaway fuse disco and sometimes, Euro Disco. There’s also a funky influence in these tracks. This was the case on their debut album. It’s more apparent on Straight To The Top. That’s not surprising, given disco was at the height of its popularity. Maybe Breakaway felt this would lead to the commercial breakthrough their music deserved. Straight To The Top, like Breakaway, was another eclectic album.
Apart from the four dance tracks, Breakaway included three ballads and Work With The Music, a fusion of funk and rock. However, on Breakaway, there was everything from blue eyed soul, country, disco, funk, R&B, rock and soul. It was a real fusion of influences and genres. Straight To The Top was essentially, an album where blue eyed soul, disco, funk, rock and soul combined. Breakaway were at their best on the dance tracks and ballads. Indeed, Kathy comes alive during the ballads. Good as she is on the other tracks, she’s transformed during the ballads. She’s very much Breakaway’s secret weapon.
While the rest of Breakaway provided the backdrop for her vocals on Breakaway and then Straight To The Top, Kathy veered between diva to soul-baring balladeer. They were a perfect match. If only Breakaway had been signed to a major label. instead, the financed their own albums and released them on Breakaway Records. This meant they were always behind the black ball. Breakaway Records didn’t have the budget needed to promote either Breakaway or Straight To The Top. As a result, both album failed commercially. This wasn’t because of the music. No. It was all down to economics.
Two years after the release of Straight To The Top, Breakaway split up. Straight To The Top was their final album. In the post-disco musical landscape gigs were hard to come by in St. Louis. Especially, when the economy was going through a downturn. Breakaway went their separate ways. David and Kathy, however, spent fifteen years as a duo and enjoyed a successful career touring and writing. In the following thirty-six years, Breakaway’s two albums were fondly remembered by discerning record collectors.
Both Breakaway and Straight To The Top became collectors items. They began changing hands for ever increasing sums of money. Despite this, neither Breakaway nor Straight To The Top found their way on to CD. Tracks did find their way onto the occasional compilation, including BBE Music’s Americana-Rock Your Soul which was released back in 2011, and Americana 2 released in 2013. Then just a few weeks ago, BBE Music announced they would release both Breakaway and Straight To The Top on 27th January 2014. For the first time, these two collector’s albums will be available on CD. Now these two hidden gems, Breakaway and Straight To The Top are within the budget of record buyers everywhere. No longer will you need a second mortgage to buy a copy of Breakaway or Straight To The Top. No. These hidden gems are at last, affordable and will allow everyone to hear a band who could’ve and should’ve enjoyed a successful career, Breakaway.
BREAKAWAY-BREAKAWAY AND STRAIGHT TO THE TOP.
HARDCORE TRAXX: DANCE MANIA RECORDS 1986-1997.
HARDCORE TRAXX: DANCE MANIA RECORDS 1986-1997.
Whilst Traxx and DJ International dominated Chicago house in the mid-eighties, a whole host of smaller labels were being founded. Some of these labels were releasing innovative and influential music. One of these labels was Dance Mania Records. It was founded in 1986 by Ray Barney and offered an innovative alternative to the Chicago house being released by other labels. This was ghetto house. It was raw, raunchy and understated. This was very different to the music other labels were releasing. That’s why, for fifteen years, Dance Mania Records was one of the most influential and innovative house labels.
So it’s no surprise that Strut Records will release a compilation of tracks released by Dance Mania Records. Hardcore Traxx: Dance Mania Records 1986-1997. This is no ordinary compilation though. No. This is one of the most comprehensive retrospectives of the music released by Dance Mania Records. It features twenty-four tracks on two discs, three LPs or digital download. These twenty-four tracks are akin to a who’s who of the music released by Dance Mania Records. This includes tracks from Hercules, Vincent Floyd, Tyree, Strong Souls, Rhythm II Rhythm, DJ Funk, Paul Johnson, DJ Deeon, Robert Armani and Top Cat. This makes Hardcore Traxx: Dance Mania Records 1986-1997 the perfect introduction to Dance Mania Records. Whether you’re a veteran of Dance Mania Records, or a newcomer to one of the most innovative and influential labels in the history of Chicago House. The story of Dance Mania Records begins in 1986, when Ray Barney founded Dance Mania Records. However, the story starts back in the early sixties.
That’s when a twenty-five year old Willie J. Barney founded Barney’s Record Shop. This was the ideal time to found a record shop. After all, soul has hugely popular. So, Willie had a captive audience. Then in the early sixties, Willie J. Barney expanded his business. He founded a distribution business One Stop Records and opened another shop. Now Willie was able to not distribute records to all the smaller record shops in the Chicago area. The only thing Willie didn’t have within his empire was a record label. That was all about to change.
In 1965, Willie founded a record label, Four Brothers Production with one of his employees Jack Daniels. The nascent label enjoyed a number ten US R&B hit with C.L. Crockett’s It’s A Man Down There. Another record company Bright Star was founded, but within two years, both labels were wound up. This was the last label the company wound found until Willie J. Barney’s family were working in the business.
Willie always encouraged his sons to work with the business. Then in 1980, having graduated from Bradley University, Illinois with a degree in business studios, Willie’s son Ray took over the management of the distribution company. He was only twenty-two and was taking over a company who distributed mostly throughout the Midwest, but much further afield. One Stop Records were now distribution throughout America. Six years later, Ray decided the time was right for the family business to reenter the record business.
It was in 1986 when Ray Barney founded Dance Mania Records in Chicago. Back then, Chicago house was providing the soundtrack to dance-floors not just in Chicago, but worldwide. House was now a musical phenomenon. Two labels, Traxx Records and DJ International Records were already dominating house music. However, there was plenty room within the market. Especially with various sub-genres of house music evolving. Dance Mania Records would forever be synonymous with one sub-genre of house music, ghetto house.
Described as raw, raunchy and lean, ghetto house proved an alternative to the type of music most labels were releasing. This is apparent when you listen to the two discs that comprise Hardcore Traxx: Dance Mania Records 1986-1997. From their first release Dance Mania Records were a pioneering label. You’ll realise this when I tell you about some of the highlights from Hardcore Traxx: Dance Mania Records 1986-1997.
DISC ONE.
Dance Mania Records’ first release was from one of Chicago house’s pioneers Duane Buford. This was Duane and Co’s J.B. Traxx. It features on disc One of Hardcore Traxx: Dance Mania Records 1986-1997. Suddenly, there was an alternative the music that was dominating dance-floors. With its raw, raunchy and lean sound, this grabbed the attention of dancers and discerning record buyers. The same can be said of Hercules’ 7 Ways. Produced by Marshall Jefferson, who cowrote the track with Hercules this was a landmark release which marked the evolution of Chicago house. So does The House Master Boyz and The Rude Boy Of House’s House Nation. It was a worldwide hit and helped spread the Dance Mania Records gospel. These three tracks helped establish Dance Mania Records’ reputation as an innovative and influential labels.
Proof of this was one of the tracks Dance Mania Records released in 1988. This was Lil Louis’ The Original Radio Clash. Quite simply, The Original Radio Clash is a classic track. It’s one of the most innovative and influential tracks in the history of dance music. Sadly, it doesn’t feature on Hardcore Traxx: Dance Mania Records 1986-1997. However, another track released by Dance Mania Records in 1988 was Victor Romeo featuring Leatrice Brown’s Love Will Find A Way. It has a leaner, meaner arrangement. That’s before the soulful vocal enters. Together they play their part in the evolution of Dance Mania Records’ music.
Three years after releasing their first single, Dance Mania Records released Da Posse featuring Martell’s Searchin’ Hard. Produced by Hula and K. Fingers, it has a sultry, jazz-tinged and understated sound. This is quite different from the label’s early releases. I’d suggest it has a much more commercial sound. However, Dance Mania Records never latched onto musical trends. No. They were more interested in starting musical trends, than following them.
Rhythm II Rhythm – A Touch Of Jazz demonstrates this. It was released in 1991 and mixed by Victor Romeo, who played a huge part in the rise and rise of Dance Mania Records. He played an important role in the label’s constant reinvention. With a jazz-tinged sound, a myriad of beeps, squeaks and washes of vocals drift in and out of this track. Add to this maundering jazzy keyboards and the result is one of the finest tracks Dance Mania Records released in the early nineties.
By 1994, when Club Style released Crazy Wild and Jammin’ The House Gerald released Black Women Dance Mania Records’ releases continued to evolve. They seemed to have realised the secret to longevity was not standing still. So, they constantly sought to keep ahead of musical trends. Club Style’s Crazy Wild demonstrates this. It’s hypnotic and mesmeric thanks to the pounding beats, while a myriad of percussion and Eastern influences play their part in the track’s success. It’s no wonder Dance Mania Records had established a reputation as a successful and pioneering label.
DISC TWO.
Between 1991 and 1997, Dance Mania Records was a prolific label. This six year period saw Dance Mania Records reinforce their reputation as innovators. The label was influencing another generation of producers and record buyers. They also provided the soundtrack to many dance-floors. That’s obvious on disc two of Hardcore Traxx: Dance Mania Records 1986-1997 which I’ll pick the highlights of.
Ambulance was Robert Armani’s sophomore single. It was released in 1991 and was the followup to 1990s Armani Trax. This was the start of Robert Woods career. He went on to release seven albums, six of which were released on ACV. His debut album was the aptly titled Muzik Man. The Muzik Man’s career began at Dance Mania Records, where he released influential tracks like Armani Trax and Ambulance.
Tim Harper’s debut single was Toxic Waste. It was released on Dance Mania Records in 1992. Produced by Glen Underground and Tim Harper the drama builds before the arrangement unfolds. Crisp beats percussion and washes of disco-tinged strings sweep in. There’s only one city this captivating track could’ve been recorded in…Chicago.
In 1993 DJ Funk released his debut single House the Groove. This was the start of a long and successful career. It’s a hypnotic, jacking track. Despite this, House the Groove didn’t feature on DJ Funk’s 1995 debut album Pumpin’ The Trax. It was released on Dance Mania Records and is the only album DJ Funk released. That year, DJ Funk released The Original Video Clash E.P. A fusion of Acid House, ghetto house and techno, this showcased DJ Funk’s considerable talents.
1994 was one of Dance Mania Records’ most productive years. That year, Parris Mitchell released Parris Mitchell Presents Life On Th Underground E.P. It featured twelve tracks, including Ghetto Shout Out. Wax Master featured on this track that showed the direction ghetto house was heading. Full of hooks the lyrics were uncompromising as ghetto house meets hip hop and funk.
The same year Ghetto Shout Out was released, DJ Deeon released the Funk City. It features Da Bomb and House-O-Matic. Both see a return to the eighties. Especially House-O-Manic, which is full of beeps and squeaks. It’s akin to a homage to classic Chicago house. As for Da Bomb, it’s hypnotic and references early Chicago house and Kraftwerk.
Traxmen and Eric Martin’s Hit It From The Back is my final choice from disc two of Hardcore Traxx: Dance Mania Records 1986-1997. This is a track from an E.P. released in 1994. 1994s House Trax’s Volume 1 features six tracks. A fusion of ghetto house and techno. One of the highlights was the hypnotic, retro sounding Hit It From The Back. It too, sounds as if it’s a track release in the eighties and sounds as if Traxmen and Eric Martin have sought inspiration from the past.
Although I’ve only mentioned fourteen of the twenty-four tracks on Hardcore Traxx: Dance Mania Records 1986-1997, there’s much more to discover on the compilation. This includes contributions from Vincent Floyd, Strong Souls, 326 and Top Cat. These tracks are indicative of the quality of music that features on Hardcore Traxx: Dance Mania Records 1986-1997. Throughout the two discs, the quality of music is consistent, as you’re taken on a musical journey through the history of Dance Mania Records.
Over this eleven year period, the music Dance Mania Records released never stood still. Instead, it constantly evolved. Just like any innovative label, Dance Mania Records with their unique brand of ghetto house were determined to constantly reinvent themselves. That’s apparent throughout the two discs. They’re like a voyage of musical discovery.
Everything from Acid House, disco, electronica, experimental, Krautrock and techno has influenced the music on Hardcore Traxx: Dance Mania Records 1986-1997, which will be released on 10th February 2014. Known as ghetto house, this was the music that Dance Mania Records became known for. Dance Mania Records became synonymous with ghetto house. Ironically, whilst the music was commercially successful, Dance Mania Records didn’t follow musical trends. Instead, they were trendsetters and trailblazers. They lead the way. Other labels followed in their wake. That’s why when the history of house music is written, Dance Mania Records name will loom large. Proof of this is the music on Hardcore Traxx: Dance Mania Records 1986-1997.
HARDCORE TRAXX: DANCE MANIA RECORDS 1986-1997.
MOGWAI-RAVE TAPES BOX SET.
MOGWAI-RAVE TAPES BOX SET.
Nowadays, it’s a common occurrence for bands to release their new albums in a variety of formats. Usually, this includes CD, vinyl and MP3. Sometimes, there’s also a box set available. This is the case with Mogwai’s eighth studio album Rave Tapes. It’s a limited edition of 4,000 which was released on 20th January 2014 on Rock Action Records. Quite simply, is one of the best box sets I’ve come across.
I realised this when I first opened up the Rave Tapes box set. Included is a heavyweight vinyl album, CD and cassette version of Rave Tapes. A download code of Rave Tapes is also included in the box set. Then there’s twelve inch single and seven inch singles. Both feature tracks not on Rave Tapes. This includes Bad Magician 3 and Die 1 Dislike! on the twelve inch single and Tell Everybody That I Love Them on the seven inch single. There’s three 12″x12″ artwork art prints. They’re printed on 400 grams matt art paper and will look fantastic framed. Finally, there’s a forty page buckram wrap 12″x12″ hardback photograph book. It has a silver foil blocked cover design featuring exclusive images. They’re printed on 170 grams art paper. These photographs are taken by the legendary rock photographer, Steve Gullick, during the Rave Tapes album sessions in 2013. Essentially, the best way to describe the Rave Tapes box set is luxurious and lovingly compiled. However, what about the music on the Rave Tapes?
Rave Tapes features ten tracks, which were written by Mogwai. Recording took place at Castle Of Doom Studios, Glasgow. Producing Rave Tapes was ex-Delgado Paul Savage. He’s produced previous Mogwai albums and knew how the band worked. This was important, given Mogwai were at last, enjoying the critical acclaim and commercial success their music deserved. Work began on Rave Tapes back on the 28th August 2013.
This was like the first day back at school. Mogwai were ready to begin recording what was their eighth studio album. The lineup of Mogwai has been settled for a few years. This included a rhythm section of bassist and guitarist Dominic Aitchison, drummer Martin Bulloch and guitarists Stuart Braithwaite and John Cummings who also played piano. Barry Burns plays organ, piano and guitar at Castle Of Doom Studios, Glasgow, Mogwai recorded the ten tracks that became Rave Tapes, which was released on 20th January 2014.
Rave Tapes was one of the most anticipated albums of recent months. The big question was, what direction Mogwai’s music would head? After all, Mogwai’s music never stands still. It’s in a constant state of evolution. That’s no bad thing. Standing still is akin to going backwards in Mogwai’s book. On Rave Tapes, Mogwai’s music continues to evolve. Musical genres and influences melt into one. One of the most prominent influences was Krautrock. Add to this ambient, avant-garde, electronica, experimental, indie rock and rock. We hear different sides to Mogwai on Rave Tapes. Whether it’s fuzzy soundscapes or kicking out the jams, Mogwai don’t disappoint on Rave Tapes, which I’ll tell you about.
Heard About You Last Night opens Rave Tapes. It has an ambient sound, with keyboards and broody bass prowling along. The keyboards remind me of a setting in Ableton 9. Then as the bass and keyboard meander along, sneering guitars take centre-stage. Along with the drums, this transforms the track. Post rock, ambient and indie combine. Guitars reverberate, washes of synths sweep in and the bass pulsates, as the drama grows and builds. After reaching a crescendo, the arrangement takes on an understated sound as Mogwai settle into a groove. They’ve picked up where they left off on Les Revenants, by producing music that’s variously atmospheric, dramatic and ethereal.
Simon Ferocious sees a change in style. It’s best described as a fusion of post rock, electronica and Krautrock. Buzzing synths, pounding rhythm section and chiming, snarling guitars combine. The synths are at the heart of the arrangement, while everything revolves around them. Mogwai dig deep, drawing inspiration from Can, Harmonia, Neu and Kraftwerk. There’s also a nod to classic sixties and seventies rock when Mogwai kick loose on this genre-melting track. Mogwai are inspired by the music of the past, to create the music of the future
Remurdered is a track that gradually reveals its secrets. Mogwai throw a few curveballs in the process. An understated ethereal synth and pulsating bass are joined by keyboards before it’s all change. Having built up the drama, Mogwai take the track in the direction of post rock. There’s still a Krautrock influence in the groove. A combination of blistering post rock guitars and Krautrock drums and synths prove a potent combination. Especially with the electro influence. It gives the track an early eighties New York sound. That’s before Mogwai kick out the jams as they showcase their versatility and ability to constantly innovate and reinvent themselves and their music.
Briefly, Hexon Bogon has a nineties guitar sound. That’s before Mowai join forces and jam. Their rhythm section are at the heart of the track’s success. They’re augmented by keyboards and drive the arrangement along, fusing classic rock and post rock. It’s a glorious combination. Mogwai prove their doubters wrong by proving they were born to rock.
Repelish is one of the most captivating tracks on Rave Tapes. Against a moody, broody and eerie backdrop a speech by the Reverend Lee Cohen is played. This is the perfect foil for the dramatic backdrop of washes of synths, drums and guitars. They play their part in a haunting, menacing and dramatic soundscape which finds Mogwai experimenting and pushing musical boundaries.
Master Card is four minutes of swaggering rock. It’s as if Mogwai are paying their own unique homage to groups like the New York Dolls and Led Zeppelin. However, they’re doing it their way. Blistering, sneering guitar solos, washes of Krautrock synths and pounding drums combine. Later, machine guitars are unleashed. All the time, synths add drama and darkness. Right up until the track reaches its dramatic and rocktastic crescendo.
Deesh sees the tempo drop and Mogwai combine post rock, electronica and Krautrock. Driven along by the hypnotic rhythm section, banks of keyboards add drama and darkness. They’re aided and abetted by blistering guitars. This results in a soundscape that’s variously dark and dramatic, but also hypnotic, mesmeric and sometimes, ethereal.
Blues Hour has a mysterious, understated introduction. You wonder which direction it’s heading? What follows is a beautiful, wistful soundscape. Just a lone piano and acoustic guitar accompany Stuart’s vocal. It’s melancholy and accompanied by harmonies as the arrangement grows. Having reached a crescendo, the understated sound returns. This results in a wistful, melancholy fusion of ambient, electronica and post rock.
No Medicine For Regret has a Neo Gothic introduction. Played on an organ, this not only is dramatic but grabs your attention. Having gotten your attention, Mogwai don’t let go. Guitars, keyboard and rhythm section play their part in this track’s dramatic, cinematic sound.
Closing Rave Tapes is The Lord Is Out Of Control. Keyboards and guitars combine before a vocoder makes its entrance. This is really effective. In the wrong hands, i.e. Daft Punk, a vocoder can be annoying. Used properly and sparingly it can transform a track. Here, it adds drama and body to this soundscape. It’s a vital part of Mogwai’s futuristic orchestral sound. Just like so many tracks on Rave Tapes this reinforces that Mogwai are still one of the most innovative bands in music.
Rave Tapes is best described as a groundbreaking, genre-melting musical journey from Mogwai. They’ve been together for nineteen years and still, are creating music that’s influential, innovative and inventive. This is what they’ve been doing since 1997, when they released their debut album Mogwai Young Team. Sixteen years later, Mowai are still striving to reinvent their music. They’re not content to stand still. After all, what would the fun in that that be? Mogwai leave that to stadium rock groups and has-been remixers. They’re not the future. Mowai are. Why?
Well, Mogwai have just released Rave Tapes, another album of ambitious, bold, challenging, influential and innovative music. This is music full of nuances, subtleties and surprises. During a ten track journey through ambient, avant garde, classic rock, electronica, experimental, indie rock and Krautrock, Mogwai push musical boundaries to their limits and beyond. During these ten tracks, the music constantly changes. You never know what’s about to happen. The only thing you can expect, is the unexpected. That’s no bad thing though. After all, we’d be complaining if Rave Tapes was full of predictable music. It’s not. Far from it.
Throughout Rave Tapes, Mowai’s music constantly changes. Sometimes, it’s hard to believe it’s the same band. The music veers between wistful, melancholy and pensive, to dark, dramatic and disturbing. It’s also eerie and moody. Sometimes, it’s beautiful and melancholy. The music on Rave Tapes is always ambitious, bold, challenging, influential and innovative as Mogwai take you on a genre-hopping musical journey that is Rave Tapes. It was released on Rock Action Records on 20th January 2014 and is a must have album. However, which version should you buy?
Having looked at all the versions of Rave Tapes, my suggestion is, if you can afford it, buy the box set. It’s a luxurious and lovingly compiled limited edition box set. No expense has been spared. The very best in materials has been used. There’s vinyl, CD and cassette version of Rave Tapes, plus a download code in the box. Then there’s the twelve inch and seven inch. Both feature tracks not on Rave Tapes. There are three art prints included in the box set. They feature Rave Tapes’ artwork and will look fantastic framed. Finally, there’s a forty page hardback photograph book. The photographs are taken by the legendary rock photographer, Steve Gullick, during the Rave Tapes album sessions in 2013. It’s the icing on Mogwai’s cake.
Quite simply, the best way to describe the Rave Tapes box set is luxurious and lovingly compiled. It’s worth every penny and is the way to buy the Mogwai’s eighth album Rave Tapes. However, you’ll need to be quick, as Mogwai decided the box set would be a limited edition of 4,000 Rave Tapes box sets and they’re selling fast. Standout Tracks: Heard About You Last Night, Remurdered, Deesh and Blues Hour.
MOGWAI-RAVE TAPES-BOX SET.
BODDHI SATVA FEATURING GAME WALLA-APAGA O FOGO.
BODDHI SATVA FEATURING GAME WALLA-APAGA O FOGO.
It was back in early in 2012 during a tour of Angola, that Boddhi Satva first came across Game Walla. Djeff Afrozilla, a producer friend of Boddhi’s, recommended that he have a listen to Game Walla. Boddhi wasn’t disappointed. Far from it. Game Walla is one of the top Kuduro musicians in Angola. That’s apparent on his Boddhi Satva’s latest E.P. for Offering Recordings, Apaga O Fogo, which will soon be released on Offering Records. Apaga O Fogo, features the vocal prowess of Game Walla.
Apaga O Fogo, which translates as Stop The Fire, is a heartfelt plea for social awakening. Game Walla addresses his plea not just to his fellow Angolans, but the whole of Africa. The lyrics to Apaga O Fogo, were written by Game Walla. They’re intelligent and full of social comment. They were inspired the effects of globalisation, where the superpowers and the stronger countries survive and the smaller, weaker countries are left behind. Some of the countries left behind, include part of Africa. Things could be very different though. Especially if there was the social awakening Game Walla sings about on Apaga O Fogo.
Having been introduced to Game Walla by Djeff Afrozilla, Boddhi decided to record the vocal to Apaga O Follo in Angola. Recording took place in the Kazukuta Studio Facility in Luanda. Accompanying Game Walla was guitarist Alex Samba. Boddhi Satva arranged and produced Apaga O Fogo, which will soon be released by Offering Recordings.
Apaga O Fogo, which is Game Walla’s debut E.P. features seven tracks. This includes the Main Mix and Radio Edit. There are also five other remixes of Apaga O Fogo. The remixes include the Instrumental Mix plus the Ancestral Dub and Ancestrumental versions. Two of the remixes are from one of South Africa’s top remixers, Uhuru. He contributes the Uhuru Remix and the Uhuru Instrumental. These five remixes bring something new to the original track. You’ll realise that, when I tell you about the Apaga O Fogo, E.P.
On the Main Mix of Apaga O Fog, drums are panned right to left, their powerful and deliberate sound grabbing your attention. They’re joined by shakers, before a heartfelt, impassioned and dramatic vocal enters. It pleads for the social awakening Game Walla believes Africa needs. Soon, the drama builds. Banks of keyboards, searing, blistering guitars and drums that crack combine. As for Game Walla’s vocal, it grows in power and passion. Frustration, sincerity and hope fill his vocal as he delivers lyrics full of poignant social comment. During five minutes, not only to we hear a plea for social awakening, but the debut of Game Walla who we’ll hear a lot more of.
Unlike the Main Mix, The Radio Mix of Apaga O Fogo is only three minutes long. Losing two minutes, doesn’t detract from the song. Instead, Game Walla is able to get his message across succinctly. He’s enthusiastic and passionate about social awakening. Game Walla is a man with a mission. This Radio Edit will help him get across his plea for a social awaking to a wider audience. The result is a track that’s both powerful and poignant.
Although the vocal plays a huge part in the success of Apaga O Fogo the Instrumental Mix still works. Based around the drums, instruments are dropped in at just the right time and create a hypnotic and mesmeric mix.
The Ancestral Dub Mix is one of my favourite mixes. It too has a hypnotic sound, before joyously bursting into life. It’s a call to dance. Dance-floor friendly and hooky, the vocal arrangement are like ying and yang and play their part in the track’s celebratory sound.
Gradually, the Ancestrumental Dub reveals its charms. You’re teased and tantalised as the mix unfolds. Thunderous drums dominate the mix, while bursts of vocal are constantly repeated. They give the track a hypnotic quality. Then midway through the track, the arrangement is stripped bare, before rebuilding and once again, revealing its hidden secrets.
Getting Uhuru one of South Africa’s top producers to remix Apaga O Fogo was something of a coup. It doesn’t take long before you realise why Uhuru’s talents are in such demand. The Uhuru Remix breathes new life and meaning into the track. He adds a myriad of percussion, harmonies and horns. No longer do the synths play such an important role. Uhuru adds to the Afro-beat influence. Quite simply, his remix is a revelation. The same can be said of Uhuru’s instrumental remix. Even without the vocal Uhuru transforms the track. It becomes hypnotic, mesmeric and irresistible.
Boddhi Satva’s latest E.P. Apaga O Fogo is a truly compelling project. The basic premise is simplicity itself. Take the one of Africa’s most talented vocalists, record a track, then remix it, and in doing so, transform it. It’s like a musical makeovers, where one track is transformed into five new tracks. Each one is unique, bringing something new and innovative to the track. It’s comparable to a musical journey, that soon, becomes an adventure, an adventure where anything’s possible and can happen. Not only is it compelling, but captivating. Sometimes, you wonder where a track is heading, then just at the right moment, a curveball is thrown. This curveball not only sees the track take on new life and energy, but new direction.
Comparing the five remixes of Apaga O Fogo to the original version is fascinating. You hear something new in each remix. Subtleties, secrets and surprises are sprung. These five remixes breath new life, meaning and energy into Apaga O Fogo, which reinforces the fact that Boddhi Satva is one of the most innovative producers around. It’s also the perfect introduction to Game Walla.
Apaga O Fogo which introduces the wider world to Game Walla, one of the top Kuduro musicians in Angola, is a tantalising taste of one of music’s best kept secrets. A huge star in Angola, Game Walla’s music is yet to find an audience elsewhere. Hopefully, with the help of Boddhi Satva, one of the most talented and innovative producers, a whole new audience will discover Game Walla’s music, and he’ll no longer be one of African music’s best kept secrets. His music deserves to be heard by a much wider audience. After all, he’s a hugely talented singer and songwriter. An example of this is Apaga O Fogo. Game Walla wrote the lyrics and delivers them with real passion. His lyrics are cerebral and full of social comment. I just hope that we’ll hear much more from Boddhi Satva and Game Walla. Who knows, maybe Apaga O Fogo E.P. will be the start of a long and fruitful relationship between Boddhi Satva and Game Walla?
BODDHI SATVA FEATURING GAME WALLA-APAGA O FOGO.
dereksmusicblog
dereksmusicblog 