T-CONNECTION-T-CONNECTION.
T-CONNECTION-T-CONNECTION.
By December 1978, disco was at the peak of its popularity. So should T-Connection. They should’ve been riding the crest of the disco wave. They weren’t. That age old problem, the difficult second album had tripped them up. Their had career started so well. Magic released in April 1977 reached number 109 in the US Billboard 200 and number thirty-two in the US R&B Charts. It featured two hit singles, including Do What You Wanna, which reached number one in the US Disco Charts. Then came the difficult second album On Fire.
On Fire proved to be a somewhat ironic title for T-Connection’s sophomore album. T-Connection weren’t On Fire. Released in 1978, On Fire stalled at number 139 in the US Billboard 200 and number forty in the US R&B Charts. They’d failed to build on the momentum of Magic. Instead, they’d changed direction musically. Whereas Magic was a delicious fusion of disco, funk and soul, full of social comment and love songs, T-Connection was a much more lightweight, commercial album. Here, was another case of second album syndrome. T-Connection’s career was at a crossroads. Their third album T-Connection, which will be rereleased by WEA Japan on 4th February 2014, could make or break the band. Which was it?
For T-Connection, the band’s founder Theophilus T. Oakley wrote four songs and cowrote three songs. He penned Coming Back For More, Funky Lady, Saturday Night and Love Supreme. Guitarist David Mackey and Theophilus cowrote At Midnight and Midnight Train, while Theophilus and Montgomery Kemp wrote Funkannection. Kurt Oakley contributed Don’t The Stop The Music, the other track on T-Connection. These eight tracks were recorded at Studio Sound Center Recordings in Miami, Florida.
At Studio Sound Center Recordings T-Connection were joined by producer Cory Wade. Theophilus T. Oakley sang lead vocals and played keyboards. He was joined by the rest of T-Connection. This included the rhythm section of bassist Kurt Oakley, drummer Berkeley Van Byrd and guitarists Monty Brown and David Mackey. Tony Flowers the other member of T-Connection added percussion. Strings and horns were arranged by Bert Dovo. Once the eight songs were recorded, T-Connection was released in December 1978. Would T-Connection revive the group’s ailing fortunes?
When T-Connection was released in December 1978, it reached number fifty-one in the US Billboard 200 and number twenty in the US R&B Charts. Chosen as the lead single was At Midnight. Released in December 1978, it reached number fifty-six in the US Billboard 100, number thirty-two in the US R&B Charts and number three in the US Disco Charts. In the UK, At Midnight reached just number fifty-three. Saturday Night was then released as a single in February 1979. It reached number twenty-eight in the US R&B Charts and number forty-one in the UK. T-Connection had transformed the group’s career. Not only was it their most successful album, but featured two hit singles in the US and UK. What made T-Connection such a successful album? That’s what I’ll now tell you.
Opening T-Connection is the mid-tempo, uber funky Funkannection. It’s similar to a couple of tracks on Magic. There’s P-Funk and proto-rap influences to the track. Here, T-Connection’s rhythm section get busy. Along with chiming guitars, they produce the funkiest of licks. Theophilus’ vocal veers between proto-rap and a sultry vamp. Urgent bursts of harmonies and handclaps accompany him. As searing guitars, slap bass and keyboards provide the backdrop, to this slice of good time funky music.
Coming Back For More is the first of four tracks Theophilus T. Oakley wrote. Driven along by a bounding, bubbling bass line, funk and soul meet head on. This is what T-Connection do so well. Their rhythm section, keyboards and percussion provide a funky backdrop for Theophilus’ sultry, soulful vamp. He sings call and response. Soaring, soulful harmonies accompany him. As he struts his way through this tale of love gone wrong, you’d think he hadn’t a care in the world.
Funky Lady sees T-Connection up the ante. This track surpasses everything that’s gone before. Tough and funk, T-Connection showcase their inconsiderable skills. Referencing Parliament, Funkadelic, The Temptations and Isley Brothers a vintage slice of funk unfolds. As usual, the rhythm section are at the heart of the action. They up the funk factor to eleven. Joining them are chiming guitars, clavinet and bursts of blazing horns which punctuate the arrangement. As for Theophilus, he struts his way through the track. His vocal is feisty and sassy, as soulful, sweeping and sometimes sassy harmonies respond to his call. When all this is combined, it’s one of the funkiest ladies you’ll met.
Don’t Stop The Music picks up where Funky Lady left off. Driven along by the bass, stabs of growling horns, chiming guitars and piano provide the backdrop to Theophilus’ vocal. This is his best vocal so far. He seems to sing within himself. His vocal is heartfelt and soulful. So too are the harmonies, which are reminiscent of The Temptations. They’re smooth and soar above the arrangement. Stabs of horns, piano and the funky rhythm section join forces, bringing back memories of The Commodores, Isley Brothers and Earth Wind and Fire at their best.
Saturday Night sees Kirkwood Oakley unleash a peerless slap bass solo before Chic style guitars and the lushes of disco strings sweep in. They too, have a Chic “sound.” At last, T-Connection are revisiting the disco of Magic. As Theophilus delivers a vocal that’s full of sass and bravado, a bubbling bass provides the heartbeat. Stabs of braying horns, quivering strings and bursts of harmonies accompany him. Later, cooing, oohing harmonies add an unforgettable reminder of the heady, hedonistic days of disco.
At Midnight is another slice of Disco Magic from T-Connection. It literally bursts into life. Disco strings and urgent bursts of rasping horns are joined by a pulsating, funky heartbeat. Add to that a sprinkling of percussion and Theophilus’ emotive vocal. Mixing power and passion, he vamps his way through the track. Providing a perfect foil are sweeping, soaring harmonies. They rise like a phoenix from the ashes. During a breakdown the arrangement is pared back to just the percussion and rhythm section. From there, the arrangement rebuilds. Later, the arrangement is stripped bare again. Just the rhythm section and piano deliver a funk masterclass, before this opus heads to its dramatic crescendo.
Midnight Train is a fusion of musical genres. Everything from funk, pop, soul and disco combine. It’s a track that’s more in common with On Fire than Magic. Having said that, it’s not short of poppy hooks. Driven along by Kirkwood Oakley’s bass, drums pound and swathes of lush strings sweep and swirl. Theophilus’ vocal is tender and pensive, referencing soul and pop. As for the arrangement, it’s a fusion of disco and funk. Dance-floor friendly, poppy and soulful, hooks certainly aren’t in short-supply.
Closing T-Connection is Love Supreme, the only ballad on the album. This is a shame, as T-Connection do ballads really well. Just melancholy keyboards are joined by lush strings, crystalline guitars and the rhythm section. They set the scene for Theophilus’ tender, impassioned vocal. Accompanied by tight, heartfelt harmonies, T-Connection sounding not unlike Earth, Wind and Fire, close T-Connection on a soulful high. Indeed, so good is this track, that I’d say it’s the highlight of the album.
Having started their career on a high with Magic, T-Connection’s career stalled with their second album. Sophomore albums are notoriously hard. The temptation is to try something new. That’s what T-Connection did. It didn’t work. Whereas Magic was a delicious fusion of disco, funk and soul On Fire was a much more commercial sounding album. A collection of pop, rock, disco and soul, On Fire smoldered its way to number 139 in the US Billboard 200 and number forty in the US R&B Charts. For T-Connection, this was a disaster. They were left looking like another one trick pony. Their career was at the crossroads. If their third album flopped, it was game over for T-Connection.
Luckily for T-Connection, they returned to what they did so well. They fused disco, funk and soul. Of the eight tracks, there’s three funk and three disco tracks. Midnight Train is a fusion of musical genres. Love Supreme which closes T-Connection, is a beautiful ballad, one of the best the group recorded. Drawing inspiration from Chic, Funkadelic, Parliament, The Temptations and Earth Wind and Fire T-Connection released the most successful album of their career so far. Then there was the small matter of two hit singles in the US and UK. T-Connection’s comeback was complete. They weren’t out of the woods yet.
Just seven months later, the disco bubble burst. Suddenly, disco was as welcome as rattlesnake in a lucky dip. For a group who part of their success was down to disco, things weren’t looking good for T-Connection. However, T-Connection didn’t crash and burn. Instead, they adapted and released four further albums. Sadly, they never scaled the heights that T-Connection, which will be rereleased by WEA Japan on 4th February 2014 reached. T-Connection was T-Connection’s most successful album. Along with their debut album Magic, T-Connection finds T-Connection On Fire. Standout Tracks: Don’t Stop The Music, Saturday Night, At Midnight and Love Supreme.
T-CONNECTION-T-CONNECTION.
ECSTASY, PASSION AND PAIN-ECSTASY, PASSION AND PAIN.
ECSTASY, PASSION AND PAIN-ECSTASY, PASSION AND PAIN.
The maxim that Good Things Don’t Last Forever proved to be true for Ecstasy, Passion and Pain. They released just one album, Ecstasy, Passion and Pain in 1974. Featuring just ten songs, Ecstasy, Passion and Pain was a tantalizing taste of what might have become for Barbara Roy’s group. The lineup featured a rhythm section of guitarist Jimmy Clark, bassist Joseph Williams and drummer Althea “Cookie” Smith, plus percussionist Carl Jordan and keyboardist Ronnie Foster. Barbara Roy sang lead vocals and was the voice of Ecstasy, Passion and Pain. On the release of their debut album Ecstasy, Passion and Pain, which will be rereleased by WEA Japan on 4th February 2014, they looked to have a great future ahead of them. With Philly Soul and disco about to dominate the seventies, their 1974 debut album couldn’t have been released at a better time.
Joining Ecstasy, Passion and Pain for the recording of their debut album, would be some of the most talented musicians of the time. The result would be Ecstasy, Passion and Pain, the one and only album from Barbara Roy’s innovative supergroup.
Barbara Roy’s first introduction to the music business was recording a series of singles with her niece Brenda Gaskins, as Barbara and Brenda. The released singles that included 1963s Let’s Get Together released on Avanti, plus 1967s If I’m Hurt You’ll Feel the Pain and Never Love A Robin on Dynamo Records. After her niece Brenda retired from music, Barbara played guitar for Inez and Charlie Fox. Barbara played on their biggest hit single, Mockingbird. Session work and songwriting was how Barbara earned a living. That was until 1973, when Ecstasy, Passion and Pain were formed in 1973.
Having formed Ecstasy, Passion and Pain, Barbara’s manager Phil Braxton got the group a recording contract with Roulette Records. Now that the deal was signed, work began on Ecstasy, Passion and Pain’s debut album, Ecstasy, Passion and Pain. For Ecstasy, Passion and Pain, Barbara penned seven of the ten songs under her real name, Barbara Gaskins. These were Ask Me, Let’s Love. I Wouldn’t Give You Up, I’ll Take The Blame, Try To Believe Me, Don’t Burn Your Bridges Behind You and Born To Lose You. The songwriting team of Norman Harris, Allan Felder and Bunny Sigler penned two tracks, Somebody’s Loving You and Good Things Don’t Last Forever. I’ll Do Anything For You was written by Melvin and Mervin Steals, fresh from the success of their million-selling single Could It Be I’m Falling In Love, which gave The Detroit Spinners a number one single. These tent tracks became Ecstasy, Passion and Pain, which was recorded at Philly’s Sigma Sound Studios, with an all-star band.
Accompanying Ecstasy, Passion and Pain for the recording of Ecstasy, Passion and Pain at Philly’s Sigma Sound Studios were the classic lineup Philadelphia International Records’ legendary house-band M.F.S.B. This included the Baker, Harris, Young rhythm section and guitarists Bobby “Electronic” Eli and Roland Chambers. Vince Montana Jr, played vibes, Larry Washington percussion and keyboards came courtesy of Lenny Pakula and Ron “Have Mercy” Kersey. They were joined by Don Renaldo’s Strings and Horns, plus backing vocalists The Sweethearts of Sigma, Barbara Ingram, Carla Benson and Evette Benton. Arranging, conducting and producing Ecstasy, Passion and Pain was the legendary Bobby Martin. Once the recording of Ecstasy, Passion and Pain was completed, it was released in 1974.
On the release of Ecstasy, Passion and Pain in 1974, the album reached number thirty-eight in the US R&B Charts. I Wouldn’t Give You Up was the lead single, released in 1974, reaching number seventeen in the US R&B Charts. Ask Me then reached number fifty-two in the US Billboard 100, number nineteen in the US R&B Charts, number four in the US Disco Singles Charts and number two in the US Dance Music/Club Play Charts. Ecstasy, Passion and Pain’s debut album Ecstasy, Passion and Pain had proved a commercial success. However, little did anyone realize that there would be no followup to Ecstasy, Passion and Pain. This would be a missed opportunity, as you’ll realize, when I tell you about Ecstasy, Passion and Pain.
Opening Ecstasy, Passion and Pain is Ask Me, one of six tracks lead singer Barbara Roy wrote, under her real name Barbara Gaskins. Just a moody Baker, Harris, Young rhythm section give way to swathes of lush strings, growling horns and Hammond organ. Straight away, Barbara’s strident, joyous vocal takes charge Power and passion are combined, while The Sweethearts of Sigma urgently answer her call. Meanwhile, Baker, Harris, Young provide the track’s pulsating heartbeat. Ron Baker’s bass helps drive the arrangement along, as strings dance and horns growl. Throughout the track, Barbara’s powerful, pleading vocal is at the heart of the track’s success, holding you in its spell.
The tempo drops on Let’s Love. Just an understated rhythm section, Vince Montana Jr’s vibes and lush strings sweep slowly. When Barbara’s vocal enters, it’s tender and thoughtful. Immediately, the arrangement and vocal become one. Cooing, sweeping harmonies from The Sweethearts accompany her. Later, they grow in power, urgency and soulfulness, matching Barbara every step of the way. They taking their signal from Baker, Harris, Young. The Sweethearts of Sigma and M.F.S.B. provide the perfect accompaniment for Barbara, as she delivers a tender, beautiful and emotive vocal Magnus Opus.
I Wouldn’t Give You Up sees Ecstasy, Passion and Pain and M.F.S.B. kick loose. The tempo increases from the get-go. Larry Washington’s percussion and congas are joined by Baker, Harris, Young, growling horns, keyboards and cascading strings. Together, they ensure the arrangement bursts into life. Soon, Barbara climbs onboard. Her vocal is urgent, defiant and confident, with The Sweethearts of Sigma adding soaring harmonies. Meanwhile, Norman Harris’ chiming guitar, Earl Young’s pounding drums and Don Renaldo’s dancing strings combine to create an arrangement that straddles the sixties and seventies in sound and influence. Having said that, it’s a hook-laden track, driving, dance-floor friendly track.
Just Ron Baker’s bass and sweeping swirling strings combine as I’ll Take The Blame unfolds. A burst of Earl Young’s drums injects a sense of urgency. It also acts as your signal to pay attention, as Barbara unleashes a soul-baring vocal. Her voice fills with emotion and hurt, as tender harmonies from The Sweethearts of Sigma enter. They’re joined by sweeping, swirling strings, bursts of dramatic drums and a prowling bass. An added bonus is melancholy guitar line. The longer the track progresses, the better Barbara’s vocal and The Sweethearts of Sigma’s sweeping, cooing harmonies get. Filled with emotion, sadness and heartache, they drive each other to greater heights, resulting in a heartachingly beautiful, soul-baring song.
Try To Believe Me closes Side One of Ecstasy, Passion and Pain. It has a tougher sound. Barbara’s vocal is fiery, sassy and powerful, while The Sweethearts of Sigma add cascading, gospel-tinged harmonies. For their part, M.F.S.B. combine elements of funk, Philly Soul and jazz. This means blazing horns, searing guitars and a sometimes, dramatic Baker, Harris, Young rhythm section. Both The Sweethearts of Sigma and M.F.S.B. play their part in setting the scene for Barbara’s fiery, sassy and strident vocal, which when it grabs your attention, just won’t let go.
I’ll Do Anything For You was written by Melvin and Mervin Steals, who had recently written the million selling Could It Be I’m Falling In Love for The Detroit Spinners. It seems the Steals’ brothers were on a roll. Straight away, two things strike you. This track has Philly Sound written all over it. The other is just how hook-laden a song it is. It’s like a slice of musical sunshine. The Baker, Harris, Young rhythm section join the lushest of dancing strings and keyboards, producing the mainstay of the arrangement. Barbara scats and The Sweethearts of Sigma add the sweetest, tenderest of harmonies. From there, the arrangement allows Barbara and The Sweethearts of Sigma to take centre-stage. Spurring each other on, they drive, cajole and encourage each other to deliver some of the most heartbeat, impassioned and emotive vocals and harmonies on Ecstasy, Passion and Pain.
Waves of atmospheric Hammond organ, percussion and a broody bass open Don’t Burn Your Bridges Behind You. They join Barbara’s half-spoken sincere vocal. Then she scats, her vocal soulfully soaring, with just an understated arrangement accompanying her. Just Baker, Harris, Young with slow, lush strings and Vince Montana Jr’s vibes. Norman Harris’ adds a pensive guitar solo, while pizzicato strings and emotive, heartfelt harmonies from The Sweethearts of Sigma. By now, Barbara’s husky vocal is filled with emotion, veering towards gospel in her delivery. So moving, emotive and soulful is Barbara’s vocal, you’re spellbound and captivated.
Somebody’s Loving You is the first of two Norman Harris, Allan Felder and Bunny Sigler penned tracks. Piano and Baker, Harris, Young combine with rasping horns and dancing strings to drive the arrangement along. Barbara’s vocal is urgent and filled with hurt and heartache. Sensing this is one of Barbara’s best vocals, The Sweethearts of Sigma add dramatic, urgent soaring harmonies. Lush strings float above the arrangement, while the rhythm section, keyboards and harmonies inject urgency and drama. While Barbara displays her considerable vocal prowess, Norman Harris, Allan Felder and Bunny Sigler demonstrate just how talented a songwriting team they were.
Born To Lose You is the last of seven tracks Barbara wrote for Ecstasy, Passion and Pain. It’s another slow song, with an understated arrangement. Just a meandering bass, atmospheric Hammond organ and bursts of dramatic drums combine. They set the scene for Barbara’s heartbroken, hurt-filled vocal. She lays bare her hurt, sounding rueful, wistful and melancholy. The Sweethearts of Sigma add tender, sweeping harmonies, as if wanting to sooth Barbara’s hurt. Meanwhile, the arrangement veers between understated to dramatic. String frantically sweep and swirl, drums pound and horns rasp. This is the perfect accompaniment for one of Barbara’s most moving, emotive and hurt-filled vocals.
Good Things Don’t Last Forever, closes Ecstasy, Passion and Pain. It’s the second Norman Harris, Allan Felder and Bunny Sigler penned track. Just like I’ll Do Anything For You, this delicious slice of Philly Soul grabs your attention and won’t let go. From the opening bars, the track bursts into life. Strings cascade, their lush sound accompanied by growling horns, chiming guitars and Baker, Harris, Young who provide the track’s pulsating heartbeat. Spurred on By M.F.S.B, Barbara unleashes a wistful vocal, where power and passion combine. Matching her every step of the way are The Sweethearts of Sigma. They add soaring, cascading vocals. By now, Ecstasy, Passion and Pain, M.F.S.B. and The Sweethearts of Sigma are in the groove, determined to bring Ecstasy, Passion and Pain to a memorable high. This they do, mixing Philly Soul and disco seamlessly.
Released in 1974, Ecstasy, Passion and Pain sees Ecstasy, Passion and Pain fuse Philly Soul and disco, with elements of jazz and funk Over ten tracks, seven penned by lead singer Barbara Roy. In some ways, Ecstasy, Passion and Pain is a tantalizing taste of what might have been. Ecstasy, Passion and Pain was their only album. Granted they released a few more singles and enjoyed chart success during the seventies. Singles like 1975s One Beautiful Day and 1976s Touch and Go gave Ecstasy, Passion and Pain top ten singles in the US Disco Charts. Further singles were released on Roulette, including 1976s Passion and 1977s Dance The Night Away. By then, the lineup of Ecstasy, Passion and Pain had changed. One constant was Barbara Roy. Ecstasy, Passion and Pain was her group after all.
Following 1977s Dance The Night Away, 1981 saw the release of If You Want Me on Barbara’s Roy B Records. By then, disco was no longer King. It was the post-disco age, after all. Disco had to evolve and reinvent itself, with boogie picking up the baton from disco. However, during the disco age, Ecstasy, Passion and Pain were one of the genre’s success stories. Similarly, so was their only album, 1974s Ecstasy, Passion and Pain which will be rereleased by WEA Japan on 4th February 2014.
Sadly, Ecstasy, Passion and Pain was the only album Ecstasy, Passion and Pain released. Who knows what might have happened if they’d released further albums? Listening to Ecstasy, Passion and Pain, they weren’t wanting when it came to talent. Especially with M.F.S.B. providing the musical backdrop, The Sweethearts of Sigma adding their deliciously soulful harmonies and of course, Bobby Martin arranging and producing Ecstasy, Passion and Pain. Although Ecstasy, Passion and Pain contained just ten songs, from the opening bars to the closing notes, it’s a deliciously soulful and often, dance-floor friendly album, with Barbara Roy’s vocal key to Ecstasy, Passion and Pain’s sound and success. For anyone yet to discover the Philly Soul and disco of Ecstasy, Passion and Pain, then a veritable musical treat is in-store for you. Standout Tracks: Let’s Love, I’ll Take The Blame, I’ll Do Anything For You and Somebody’s Loving You.
ECSTASY, PASSION AND PAIN-ECSTASY, PASSION AND PAIN.
LOLEATTA HOLLOWAY-QUEEN OF THE NIGHT.
LOLEATTA HOLLOWAY-QUEEN OF THE NIGHT.
Having signed Loleatta Holloway to Gold Mind Records in 1976, Loleatta’s producer and mentor Norman Harris set about giving Loleatta a makeover. He started transforming the Southern Soul singer in the a disco diva on her debut album Loleatta. After her Sasloul debut Loleatta was released, Loleatta Holloway’s makeover to disco diva and the Undisputed Queen of Salsoul was underway. On Loleatta’s second album Queen of The Night, Loleatta’s transformation would be completed. Soon, Loleatta Holloway would be one disco’s greatest divas. However, Norman Harris’ role in Loleata’s makeover shouldn’t be underestimated. He transformed Loleatta Holloway from a Southern Soul singer, not just to the disco diva that can be heard on the four albums Loleatta released for Salsoul Records, but the the real Queen of Disco.
Along with some of the greatest musicians of the seventies, Norman Harris set about transforming Loleatta’s career on 1977s Loleatta, her first album for Salsoul. Having started this transformation from Southern Soul singer to the undisputed Queen of Salsoul, on 1977s Loleatta, Loleatta Holloway and her mentor at Salsoul, Norman Harris set about recording the followup album Queen of The Night which was rereleased by BBR Records. Together, Loleatta and Norman Harris would complete Loleatta’s transformation, resulting in her becoming the undisputed Queen of Disco after Queen of The Night was released in 1978. Before I tell you about the music on Queen of The Night, I’ll tell you about how Norman Harris, with the help of everyone at Salsoul, completed Loleatta’s transformation to disco diva and ultimately, the rightful heir to disco’s crown.
After the success of the singles released from Loleatta, especially Hit and Run, which sold 300,000 copies when remixed by Walter Gibbons, Loleatta and her mentor at Salsoul set about recording the followup Queen of The Night. For Queen of The Night, eight tracks were chosen. Norman Harris cowrote two tracks, Catch Me On the Rebound and Good, Good Feeling with Ron Tyson, who also cowrote Two Sides To Every Story with Edward Moore. Bunny Sigler wrote two tracks, I May Not Be There When You Want Me (But I’m Right On Time) and Only You, which he produced and adds guest vocals on. The other three tracks were written by non-Salsoul personnel, and included cover versions of Bobby Womack’s I’m In Love and Joe Brooks classic You Light Up My Life. These tracks would be recorded at Sigma Sound Studios in Philadelphia and New York, with The Salsoul Orchestra accompanying Loleatta.
By the time Loleatta came to record Queen of The Night, she was accompanied by many of the classic lineup of The Salsoul Orchestra. Sadly, one man was absent, vibes virtuoso Vince Montana Jr. He’d split with The Salsoul Orchestra, after a dispute about money. While Vince played a hugely important part in The Salsoul Orchestra’s sound, three other men played an equally important part ,the legendary Baker, Harris, Young rhythm section. Among the other familiar faces were guitarist T.J. Tindall, bassist Jimmy Williams and drummer Scotty Miller, along with percussionist and conga player Larry Washington and keyboard players Ron “Have Mercy” Kersey and Bunny Sigler. Adding backing vocals were the The Sweethearts of Sigma, Barbara Ingram, Evette Benton and Carla Benson. It seemed things were changing at Salsoul, with people leaving and new faces joining the label. This included some new faces, who’d play a part in the production of Queen of The Night.
Norman Harris, who’d played such an important part on Loleatta, produced four of the tracks on Queen of The Night. Bunny Sigler and Ron Tyson, who both played an important role in the sound and success of Loleatta both produced tracks. They were all familiar Salsoul faces. So was Jack Faith, who arranged three tracks on Queen of The Night. Floyd Smith and Arthur Jenkins produced the Bobby Womack penned I’m In Love. The other track You Light Up My Life was mixed and produced by Tom Moulton. This was one of Tom Moulton’s first production jobs for Salsoul. He’d later go on to play an influential role, as would Thor Baldursson who arranged You Light Up My Life. Times were indeed changing at Salsoul. Hopefully this wouldn’t affect the success of Loleatta Holloway’s second album for Salsoul Queen of The Night?
When Queen of The Night was released in 1978, the album failed to chart. Two of the singles fared much better, one of them giving Loleatta Holloway her biggest chart hit single. Catch Me On the Rebound reaching number sixteen in the US Dance Charts. I May Not Be There When You Want Me (But I’m Right On Time) was then released as a single, but failed to chart. Then when Only You, featuring Bunny Sigler was released as a single, it reached number eighty-seven in the US Billboard 100 and number eleven in the US R&B Charts. While things were changing at Salsoul, so was Loleatta Holloway and on Queen of The Night, her transformation from Southern Soul singer to disco diva was complete, as you’ll realize when I tell you about the music on Queen of The Night.
Opening Queen of The Night is Catch Me on the Rebound, arranged and produced by Norman Harris, who cowrote the track with Ron Tyson. The track literally bursts into life, with the chugging Baker, Harris, Young rhythm combining with blazing horns and sweeping, swirling strings. When Loleatta’s vocal enters, it’s a mixture of power, passion and sassiness. Norman Harris arrangement is peerless. He combines a backdrop that has made in Philly stamped all over it, with Loleatta’s sassy vamp. Her vocal soars above the arrangement, feisty and fiery. She starts off Queen of The Night where she left off on Loleatta. As the strings cascade, horns growl and flourishes of keyboards, the Sweethearts of Sigma add equally powerful, impassioned harmonies. All the time, Earl Young’s drums, Ron Baker’s bass and Norman Harris guitar provide the track’s pounding dynamic heartbeat. By the end of this classic track, Loleatta, transformation to disco diva by Norman Harris is complete.
Only You gave Loleatta her most successful single in the US Billboard 100 and US R&B Charts. She returns to her soulful roots, with Bunny Sigler joining her on vocal. It’s a very different track from the previous track, bristling with chemistry between Loleatta and Bunny. Just a piano, the lushest of strings and a sprinkling of percussion combine with Norman Harris jazz-tinged guitar. With a burst of Earl Young’s drums, Loleatta kicks loose. Her vocal is soulful and heartfelt, with Bunny matching her every step of the way. The Baker, Harris, Young rhythm section and braying horns provide the track’s dramatic sound, while lush strings add to the emotion and beauty thanks to Jack Faith’s arrangement. For over six minutes, Loleatta and Bunny give a quite beautiful, romantic and soulful masterclass, while Loleatta shows she wasn’t going to forget her soulful roots in a hurry.
Good, Good Feeling is another of the uptempo, dance tracks on Queen of The Night. It’s the second track that Ron Tyson and Norman Harris, who produced the track cowrote. This is a track that would prove influential to a new generation of house producers and has such a timeless sound, that it’s hard to believe it was recorded over thirty years ago. With a punchy, driving Baker, Harris, Young rhythm section, strings dance while horns rasp and Loleatta embarks upon one of her trademark vamps. Her vocal is a mixture of controlled power and raw emotion, as the Sweethearts of Sigma add tight, testifying harmonies. They’re harmonies are crucial to the track’s sound and without them, Loleatta’s impassioned vocal wouldn’t be as effective. Norman Harris jazz-tinged guitar is contrasted by rocky guitars, as The Salsoul Orchestra give a peerless performance, as if spurred on by the energetic and dynamic performance of Loleatta and of the Sweethearts of Sigma.
Mama Won’t, Papa Won’t produced by Norman Harris closes Side One of Queen of the Night. It’s another track that could only have been produced in Philly. With its combination of sweeping, swirling strings, growling horns, pounding Baker, Harris Young rhythm section and percussion from Larry Washington, Loleatta produces another gut wrenching vocal. Her vocal’s full of hurt, emotion and frustration while the Sweethearts of Sigma add soaring harmonies. Ron Baker’s bass and Earl Young’s drums provide the tracks pounding, pulsating heartbeat, as Loleatta unleashes one of her most emotive, powerful vocals. Tracks like this prove just why Loleatta Holloway is the true and rightful heir to disco’s crown, someone whose music we “Never Can Say Goodbye” to.
I May Not Be There When You Want Me (But I’m Right On Time) was another of the singles released from Queen Of The Night. It was written by Bunny Sigler, arranged by Jack Faith and produced by Norman Harris. Tom Moulton was given the job of mixing the track. Here Loleatta’s vocal is a mixture gospel, Southern Soul and disco. These three genres meet head on, with Jack Faith’s arrangement having a real Philly influence. The track bursts into life, sweeping you along atop the cascading strings, blazing horns and pounding piano and rhythm section. Loleatta testifies her way through the track with the Sweethearts of Sigma adding equally impressive and powerful soaring harmonies. When the glorious combination of strings, horns and the Baker, Harris Young rhythm section is added to the fusion of gospel, Southern Soul and disco this is a hugely powerful and moving piece of music, and quite definitely, an underrated track from Loleatta’s back-catalogue.
You Light Up My Life is a cover of the Joe Brooks standard, with Tom Moulton mixing and producing a track which Thor Baldursson arranged. The track is slowed way down, maybe too much even, and given a real Southern Soul and bluesy makeover by Tom and Thor. Tom Moulton places the piano at the track, gradually building the track up. He drops in the rhythm section, Hammond organ as Loleatta throws herself headlong into the track. She delivers the ballad with a mixture of power, passion and emotion, while slow, lush strings and the Sweethearts of Sigma accompany her, adding gloriously soulful harmonies. With the Sweethearts of Sigma’s help Loleatta transforms an old standard, bringing out the beauty and emotion of the track’s lyrics.
Two Sides To Every Story sees ex-Temptation Ron Tyson take over the producer’s chair, while Jack Faith arranges the track. It’s an uptempo dance track, with Loleatta delivering the lyrics in a way that makes you believe she’d lived them. The Salsoul Orchestra kick loose, producing the perfect backdrop for Loleatta. As the track opens, the Baker, Harris, Young rhythm section combine with cascading strings, blazing horns and piano. Loleatta’s vocal is full of anger and frustration with the Sweethearts of Sigma adding punchy, soaring backing vocals, that are crucial to the track’s success. Later, a sultry saxophone solo is added at just the right time, and towards the end of the track, Loleatta embarks on an angry, fiery vamp, at her wandering husband. That’s just the finishing touch to a track that shows Loleatta at her sassy, vampish best.
Closing Queen of The Night is a cover of the Bobby Womack penned I’m In Love, produced by Floyd Smith and Gordon Edwards. Of all the Bobby Womack tracks that could’ve been chosen, this is perfect for Loleatta. It allows her to showcase her considerable vocal talents. The arrangement is quite different, much looser and more spacious. Here lush strings, growling horns and piano accompany the rhythm section, who leave space for Loleatta’s joyous vocal. Backing vocalists accompany Loleatta, as her vocal grows in power and joy, while horns punctuate the arrangement effectively. Although quite different from other tracks on Queen of The Night, it demonstrates Loleatta Holloway’s versatility and ability to interpret a track in such a way that she makes it her own.
Queen of The Night sees Loleatta Holloway picking up where she left off on Loleatta. Queen of The Night bursts into life with a true classic from Loleatta’s back-catalogue, Catch Me on the Rebound. From there, Loleatta variously combines power, passion and her feisty sassiness with emotion, beauty and gut wrenching soulfulness. She continues this throughout the other seven tracks on Queen of The Night. Loleatta makes tracks like Good, Good Feeling, Mama Won’t, Papa Won’t and I May Not Be There When You Want Me (But I’m Right On Time) her own. These tracks were produced by Norman Harris, Loleatta’s mentor. Norman seemed to bring out the best in Loleatta, spurring her on to greater heights. During these tracks, Norman combines Loleatta’s soulful roots with disco. On other tracks some familiar faces join forces with Loleatta.
Only You sees Loleatta joined by another Salsoul stalwart, Bunny Sigler, and together, they create a track bristling with chemistry. On Queen of The Night, Loleatta is introduced to Tom Moulton who produced and mixes You Light Up My Life and mixes I May Not Be There When You Want Me (But I’m Right On Time). This is the start of a changing of the guard at Salsoul Records. Tom was joined by Thor Baldursson, who arranged You Light Up My Life. While both men would go on to play bigger roles at Salsoul, Vince Montana Jr. had left Salsoul over a dispute with royalties. Vince signed a contract with Atlantic Records in 1978, and given how important a role he played at Salsoul, was sorely missed. Even The Salsoul Orchestra were changing, with new faces joining the lineup. Thankfully, with musicians like the Baker, Harris, Young rhythm section, percussionist Larry Washington and of course, The Sweethearts of Sigma all featuring on Queen of The Night, these changes didn’t affect the quality of music.
Along with her mentor Norman Harris, who guided her through this transformation, Loleatta Holloway became one of biggest stars of Salsoul Records. After the release of Queen of The Night, Loleatta Holloway’s transformation from Southern Soul singer to the Undisputed Queen of Salsoul, and in my opinion, the true and rightful heir to disco’s crown was complete. Following Queen of The Night, Loleatta Holloway was crowned the new Queen of Disco. Standout Tracks: Catch Me On the Rebound, Good, Good Feeling, Mama Won’t, Papa Won’t and I May Not Be There When You Want Me (But I’m Right On Time).
LOLEATTA HOLLOWAY-QUEEN OF THE NIGHT.
THE THREE DEGREES-MAYBE.
THE THREE DEGREES-MAYBE.
Way before Gamble and Huff sprinkled their magic over The Three Degrees, they were signed to Roulette Records, where they a series of singles and their 1970 album Maybe. Then, five years later, when The Three Degrees were at the height of their popularity, Roulette released So Much Love, a collection of tracks which had been recorded between 1971 and 1973. With covers of Bill Withers’ Who Is She (and What Is She To You), Jimmy Webb’s If You Must Leave My Life and the Stephen Stills’ classic Love the One You’re With, this showcased The Three Degrees vocal talents. Since the release of Maybe and So Much Love, neither album has been rereleased. Now WEA Japan will rectify this, rereleasing Maybe which will be rereleased on 4th February 2014. Maybe marks the start of The Three Degrees journey to one on the most successful female groups of the seventies. The story start at Roulette Records in 1970.
By the time that The Three Degrees signed to Roulette Records in 1970, they were already an established and accomplished group, who’d already honed their vocal style.They’d previously been signed to Swan Records, where Richard Barrett started guiding their career. He was a veteran of the music business, who’d produced and managed artists and groups. A years after forming in 1963, The Three Degrees released singles Gee Baby (I’m Sorry) in 1964, which gave them a minor pop hit, reaching number eighty in the US Billboard 100. Look In My Eyes was then released in 1965. Again, it gave The Three Degrees a minor pop hit, reaching number ninety-seven in the US Billboard 100. Just a year later, Swan folded and was dissolved in 1966. This left The Three Degrees without a label. With Richard Barrett guiding them, The Three Degrees went in search of a new label.
Over the next few years, The Three Degrees released singles for various labels. One of these was Kenny Gamble’s Neptune Records. It released What I See in 1969. Other labels released singles by The Three Degrees, including Bellaphon Records. They released You’re the Fool in 1970, but like What I See, failed to chart. Then in 1970, The Three Degrees landed a contract with Roulette Records.
Now signed to Roulette Records in 1970, there was a minor problem for The Three Degrees. Janet Harmon left just the group. Her replacement was Valerie Holiday. Unfortunately for Janet, it would be her replacement Valerie Holiday who’d enjoy their commercial success three years down the line. Guiding them to success would be Richard Barrett, who would prove a demanding taskmaster. Anything less than perfection wouldn’t do.
With The Three Degrees signed to Roulette Records, Sheila Ferguson, Fayette Pinkney and new member Valerie Holiday began recording material for their new label. The result of these sessions would be their 1970 album Maybe, which features on covers of familiar tracks, including Jimmy Webb’s MacArthur Park, Lynn Anderson’s Rose Garden, and Collage which Joe Walsh cowrote. There was also the Hoagy Carmichael classic Stardust. Another cover was a song made famous by The Chantels, Maybe. The Three Degrees version of Maybe would give them their biggest hit so far.
When a new version of Maybe was released as a single, it reached number twenty-four in the US Billboard 100 and number four in the US R&B Charts. Then when their debut album was released, also entitled Maybe, it reached number 136 in the US R&B Charts and number sixteen in the US R&B Charts. It seemed The Three Degrees’ career after seven years of trying, was at last, going places. This was the case, with You’re the One reaching number seventy-seven in the US R&B Charts and number nineteen in the US R&B Charts. The only blip was that Melting Pot failed to chart when released as a single. However, listening to Maybe forty-two years later, it’s no surprise it fared so well. Why was that?
Maybe allows listeners to hear a glimpse of what was still to come from The Three Degrees. The album is a mixture of beautiful ballads and more uptempo numbers. Of the ballads, The Three Degrees version of Stardust is quite simply, breathtakingly beautiful. Their reading of MacArthur Park complete with birdsong and an understated arrangement showcases their considerable vocal talents, with the tightest of heartfelt harmonies. So too does Sugar On Sunday, which The Three Degrees breathe life, meaning and beauty into. Other tracks on Maybe are quite different.
Collage which opens Maybe, has an almost psychedelic sound. It’s quite unlike what you’d expect from The Three Degrees. Then there’s You’re the One. It’s a much more uptempo track with blazing horns accompanying punchy harmonies and later, an almost rapped vocal. Following a similar pattern, but with more drama is You’re the Fool. Growling horns combine with the tight, dramatic harmonies that soar powerfully and effectively.
The Three Degrees’ cover of Lynn Anderson’s Rose Garden is a revelation. They reinvent the track, resulting in it losing its twee, MOR sound. This is much more like it. Urgent three-part harmonies, rasping horns, wah-wah guitar and even a touch of sass from The Three Degrees. Truly, Maybe features an eclectic selection of quality music, that shows different sides to The Three Degrees. Given the quality of music, it’s neither a surprise that Maybe proved so successful, nor that The Three Degrees reached the heights of critical acclaim and commercial success that they did. However, after the success of Maybe the hits kept coming for The Three Degrees.
The following year, 1971, The Three Degrees were back with a new single Do I Take You. It have The Three Degrees another hit single, reaching number forty-eight in the US Billboard 100 and number seven in the US R&B Charts. There’s So Much Love All Around Me was The Three Degrees next single, but it didn’t fare so well, stalling at number ninety-eight in the US Billboard 100 and number thirty-three in the US R&B Charts. Ebb Tide, which had been covered by The Righteous Brothers. was The Three Degrees only single of 1971 that failed to chart. Despite that, they were making progress. This progress included making a guest appearance in the movie The French Connection, where they appeared as themselves. Indeed, things were looking up for The Three Degrees. Little did they know, that they’d only spend one more year on a smaller label. After that, their fortunes would be transformed.
1972 would be The Three Degrees final full year with Roulette. Two of the singles they released in 1972 included I Wanna Be Your Baby and I Won’t Let You Go. Neither of these singles charted, nor did Roulette get The Three Degrees to record their second album. The reason for this was that Roulette were very much a label who released singles. Given that it’s less expensive and not as time consuming, this makes sense. This must have frustrated The Three Degrees. So when The Three Degrees contract with Roulette ended a year later in 1973, they signed to a label in their home town of Philly, Philadelphia International Records.
Having signed to Philadelphia International Records in 1973, The Three Degrees had a number one single later that year with M.F.S.B. They were Philadelphia International Records’ legendary house band and a successful group in their own right. The number one single was T.S.O.P. (The Sound of Philadelphia). M.F.S.B. would accompany The Three Degrees on classics like Dirty Ole Man, Year of Decision and When Will I See You Again. During their spell with Philadelphia International Records, The Three Degrees released two successful albums. These were 1973s The Three Degrees, which reached number twenty-eight in the US Billboard 200 and number thirty-three in the US R&B Charts. Two years later, in 1975, came International, which reached number ninety-nine in the US Billboard 200 and number thirty-one in the US R&B Charts. It was when The Three Degrees released International, that Roulette Records sprung a surprise.
As if attempting to cash-in on the success of The Three Degrees, Roulette released So Much Love. This was an album of The Three Degrees’ music from their time Roulette. It was never meant to be an album. Rather it was a collection of singles, B-sides and unissued tracks. It wasn’t a commercial success and failed to chart in the US. In the UK, So Much Love was released as With Love. Elsewhere, Roulette released So Much Love in an attempt to piggyback on the success of International. Having two albums out at the same time, might have confused record buyers and affected sales of International, which didn’t sell as well as The Three Degrees. People who bought So Much Love, were in for another album like Maybe, where ballads and uptempo tracks sat side by side. Although So Much Love was a good album, it didn’t quite match the quality of Maybe. Similarly,
Maybe is a it’s a collection of tracks that sit together well. They’re a taste of what was to come from The Three Degrees. Whether it was delivering ballads or more uptempo tracks, they were equally at home. Listening to Maybe, the album shows a group that over the past few years had matured. Through hard work and persistence, The Three Degrees had honed their style. What’s more they’d found what was the classic lineup. Everything was in place for The Three Degrees to enjoy commercial success and critical acclaim.
Looking back at Maybe, it’s no surprise that The Three Degrees would go on to enjoy the success they did. They were ready to make the next step. That meant signing to Philadelphia International Records, where they released the two best and most successful albums of their career, The Three Degrees and International. Gamble and Huff, like they’d done with so many acts that struggled to make a commercial breakthrough, transformed The Three Degrees’ career. Critical acclaim and commercial success worldwide had come their way and they were now enjoying the fruits of their labor, struggle and effort. Maybe which will be rereleased by WEA Japan on 4th February 2014, showcases a group on the verge of greatness, commercial success and critical acclaim.
THE THREE DEGREES-MAYBE.
CHARO AND THE SALSOUL ORCHESTRA-CUCHI-CUCHI.
CHARO AND THE SALSOUL ORCHESTRA-CUCHI-CUCHI.
Having been discovered by bandleader Xavier Cugat Maria del Rosario Mercedes Pilar Martinez Molina Baeza, or Charo as she became, went on to become one of the highest paid performers in America during the early seventies. Reputedly, actress, singer and guitarist Charo was paid as much as Rat Pack members Frank Sinatra, Dean Martin or Sammy Davis Jr. Charo made her debut on American television on The Today Show, before becoming a regular on shows like The Love Boat, The Mike Douglas Show and a variety of chat shows. It was during this time that Charo’s catchphrase cuchi cuchi was first heard. By 1976, Charo signed to Salsoul Records and would release her debut album Cuchi-Cuchi which was recently rereleased by BBR Records.
Cuchi Cuchi was a collaboration with the legendary Salsoul Orchestra and the first of three albums Charo recorded for Salsoul. Ole Ole was then released in 1978 with Dancing With Charo following in 1981. However, the album that launched Charo’s career was Cuch-Cuchi by Charo and The Salsoul Orchestra, which features The Salsoul Orchestra at the peak of their powers.
By the time Charo signed to Salsoul, she’d established herself as a talented singer and flamenco guitarist. For her debut she couldn’t have picked a better label than Salsoul, as some of the most talented songwriters, arrangers, producers and musicians called Salsoul home. This included Vince Montana Jr., who’d write two of the tracks on Cuchi-Cuchi and cowrote three other tracks. The two tracks Vince Montana Jr, wrote would become synonymous with Charo, Dance A Little Bit Closer and You’re Just the Right Size. Vince cowrote More of You and Only You (Can Make My Life Worthwhile) with Ronnie James and the title-track Cuchi-Cuchi with Ronnie Walker. The other five tracks were cover versions, including a cover of the Rolling Stone’s Let’s Spend the Night Together and Speedy Gonzales, originally recorded by Pat Boone. Charo and The Salsoul Orchestra would transform these tracks at Philadelphia’s Sigma Sound Studios.
When Charo and The Salsoul Orchestra headed to Philly’s Sigma Sound Studios, it was with some of the Americas best musicians. This included drummer Earl Young of Baker, Harris, Young rhythm section, bassist Michael “Sugar Bear” Foreman and guitarists Bobby “Electronic” Eli and T.J. Tindall. Ron “Have Mercy” Kersey and Cotton Kent played keyboards and Bill O’Brian played synths. Vibes supremo Vince Montana Jr, also played tympani, chimes, bells, vibraharp and marimba, while Larry Washington and Crusher Bennet played congas, timbales and bongos. Among the woodwind section was Jack Faith, playing flute and piccolo, while violist Don Renaldo was part of the string section. Adding backing vocals were the legendary Sweethearts of Sigma, Carla Benson, Barbara Ingram and Evette Benton. Arranging, conducting and producing Cuchi-Cuchi was Vince Montana Jr. Given how multi-talented the personnel accompanying Charo on Cuchi-Cuchi, would the album be a commercial success?
On the release of Charo and The Salsoul Orchestra’s Cuchi-Cuchi, the album reached number 100 in the US Billboard 200. Dance A Little Bit Closer was released as a single, reaching number eighteen in the US Dance Charts and number forty-four in the UK and in the process, becoming something of a Salsoul classic. However, what are the rest of the songs on Cuchi-Cuchi like? That’s what I’ll now tell you, when I tell you about the music on Cuchi-Cuchi.
Cuchi-Cuchi opens with one of the songs that have become synonymous with Charo’s time on Salsoul. Drums pound, before keyboards, a pounding bass line, lush strings and growling horns signal the arrival of Charo’s breathy vocal. She’s accompanied by blazing horns, vibes and swathes of lush strings that glide elegantly into the arrangement. Earl Young’s drums provide the track’s heartbeat, while backing vocalists accompany Charo. Later, her vocal becomes much more flamboyant, as disco and Latin music are fused seamlessly. By the end of this irresistible track, you realize a little Charo will brighten up your life.
On Let’s Spend the Night Together, Charo and The Salsoul Orchestra transform the old Rolling Stones track into something very different. There’s an easy listening feel to the arrangement, with congas, rasping horns and the rhythm section combining with Charo’s slow, sultry vocal. The Sweethearts of Sigma add tender backing vocals, as Latin percussion, jazz-tinged guitars and the lushest of strings combine. Earl Young’s drums add bursts of drama, as a myriad of Latin percussion is added to the arrangement. As easy listening and Latin music unite, and The Salsoul Orchestra are transformed into a lounge band, Charo’s delivers a breathless, sultry and needy vocal, that makes the track.
Borriquito see Charo and The Salsoul Orchestra combine flamenco and disco. As strings sweep and swirl, horns growl and the rhythm section provide the track’s Latin heartbeat, percussion and backing vocalists accompany Charo. She delivers an enthusiastic and rousing vocal in her native Spanish. This is uplifting and catchy, and something of a curveball after the previous two tracks.
More of You is one of two tracks Vince Montana Jr. and Ronnie James cowrote. It sees Cuchi-Cuchi head back to more familiar territory. The tempo is slower as strings cascade, while guitars, bongos, congas and a punchy rhythm section combine with rasping horns. Charo’s vocal is sassy and emotive, with The Sweethearts of Sigma adding tight, soulful harmonies. Meanwhile, a pounding rhythm section, swathes of quivering strings and braying horns provide the backdrop for Charo. This is a much better track than Borriquito, with Charo and The Salsoul Orchestra combining to create one of Cuchi-Cuchi’s highlights.
El Reloj (The Clock) sees Charo deliver a heartfelt, impassioned vocal, against a dramatic, string-drenched backdrop from The Salsoul Orchestra. Charo’s vocal is tinged with sadness and regret, at the thought of being parted from the man she loves. Providing the perfect backdrop, The Salsoul Orchestra combine percussion, piano and congas with the rhythm section, rasping horns and strings. This emotive arrangement works beautifully with Charo’s heartfelt, impassioned and emotive vocal on this moving, melancholy ballad.
Speedy Gonzales was previously recorded by Pat Boone, but not this way. Charo and The Salsoul Orchestra combine vibes and percussion with a punchy, pounding rhythm section. Together, they make the track swing, adding flourishes of dancing strings and soaring backing vocalists that are just the finishing touches to the Vince Montana Jr.‘s arrangement. Although this is just a throwaway slice of bubblegum pop, you can’t help but enjoy it, and anyway, it puts a smile on your face.
So good was Chora’s catchphrase, they named it twice and Vince Montana Jr. and Ronnie Walker wrote a song named after it, Cutchi-Cutchi. Earl Young’s pounding drums open the track, before strings sweep and swirl, horns growl and Spanish guitars combine. Chora’s dramatic, punchy vocal is joined by woodwind, percussion and tight, soaring harmonies from the Sweethearts of Sigma. By now The Salsoul Orchestra is in full flight, mixing disco, funk and Latin music. It’s an impressive sight and sound, with Charo’s vocal drifting in and out of the track, as horns blaze and strings cascade. Key to the track’s success is Vince Montana Jr,‘s arrangement and The Salsoul Orchestra’s performance.
Cookie Jar is another track that’s best described as throwaway bubblegum pop. The lyrics are probably the weakest track on Cuchi-Cuchi, but the track is saved by The Salsoul Orchestra’s performance. They provide a backdrop where strings dance, horns rasp and growl, while the pounding rhythm section and cooing harmonies from the Sweethearts of Sigma accompany Charo sultry, vampish vocal.
You’re Just the Right Size was written, arranged and produced by Vince Montana Jr. and gets the album back on track. Charo is at her sultry, sensuous best, accompanied the pounding, dramatic rhythm section, growling horns and lush strings. Soon, The Salsoul Orchestra have klcked loose and are in full flight, showing why they were the best house-band of the seventies. The bass anchors the track, as swathes of the lushest strings, keyboards and blazing horns provide the backdrop to Charo’s sensual, sultry vamp. This results in one of Charo’s best ever Salsoul recordings.
Closing Cuchi-Cuchi is Only You (Can Make My Life Worthwhile), written by Vince Monatan Jr, and Ronnie Walker. Layers of sad strings sweep and swirl, while congas, bongos and percussion combine with the dramatic rhythm section and Charo’s emotive, heartfelt vocal. As strings quiver and shiver, bursts of blazing horns, Spanish guitars and the Sweethearts of Sigma accompany what is Charo’s most moving and emotive vocals. It’s the perfect way to end Cuchi-Cuchi, where drama, emotion and beauty combine.
Cuchi-Cuchi, with its combination of disco, easy listening and Latin music, is an album that’s one that’s guaranteed to brighten your life. The Salsoul Orchestra don’t disappoint, weren’t in the habit of recording bad albums. Hearing The Salsoul Orchestra in full flight, like you do on Cuchi-Cuchi is a joy to behold. With their combination of the tightest of rhythm sections, blazing horns, lush dancing strings, Vince Montana Jr.’s vibes and guitarists like Bobby “Electronic” Eli T.J. Tindall you get the chance to hear the greatest house-band of the disco era. Add to this the Sweethearts of Sigma accompanying Charo and it’s no wonder that Cuchi-Cuchi is such an enjoyable album. Having said that, Cuchi-Cuchi will never be seen as a Salsoul classic.
Cuchi-Cuchi is a good album, but not a great album. Among the highlights of Cuchi-Cuchi are Dance A Little Closer, More of You, Cutchi-Cutchi, You’re Just the Right Size and the beautiful Only You (Can Make My Life Worthwhile) which closes Cuchi-Cuchi. After Cuchi-Cuchi Charo would release other albums, but Cuchi-Cuchi was the highlight of her career and features two songs that would become synonymous with Charo Dance A Little Closer and You’re Just the Right Size. For anyone who hasn’t heard Charo and The Salsoul Orchestra’s Cuchi-Cuchi, then it’s an album that’s quite different from much of the music Salsoul were releasing at this time, but is an album that contains some great music. Take my advice, Cuchi-Cuchi and a little Charo will brighten up your life. Standout Tracks: Dance A Little Closer, More of You, Cutchi-Cutchi and You’re Just the Right Size.
CHARO AND THE SALSOUL ORCHESTRA-CUCHI-CUCHI.
CANDI STATON-YOUNG HEARTS RUN FREE.
CANDI STATON-YOUNG HEARTS RUN FREE.
Having released a trio of albums of Southern Soul for Rick Hall’s Fame Records, Candi Staton signed to Warner Bros,where she released a song that’s become synonymous with her, Young Hearts Run Free. Released in 1976, Young Hearts Run Free saw Candi Staton transformed into a disco diva. This was very different to the Southern Soul Candi had recorded at Fame. This saw her establish a reputation as one of the finest Southern Soul singers. This had been the case since her 1969 debut album, I’m Just A Prisoner.
It epitomised what Southern Soul was all about. Its hybrid of blues, country and R&B struck a chord, reaching number thirty-seven in the US R&B Charts. Two years later, Candi would enjoy the most successful album of her career, Stand By Your Man. Released in 1971, Stand By Your Man reached number 188 in the US Billboard 200 and number twelve in the US R&B Charts. The partnership of producer Rick Hall and Candi Staton was proving a successful one. Her third album Candi Staton reached number seventy in the US R&B Charts. Following the release of Candi Staton, Candi signed to Warner Bros, where she was reinvented.
Having signed to Warner Bros. Candi released her Warner Bros. debut in 1974. This was Candi, which was another album of Southern Soul which reached number fifty-four in the US R&B Charts. Candi also featured the biggest single of Candi Staton’s career. A Little Taste Of Love reached number fifty-one in the US Billboard 100 and number nine in the US R&B Charts. However, commercial success and critical acclaim wasn’t far away for Candi Staton.
Two years later, in 1976, Candi Staton was transformed. That’s when she released her fifth album Young Hearts Run Free, which will be rereleased by WEA Japan on 4th February 2014. The title-track, Young Hearts Run Free, transformed Candi int a disco diva and is a a song that’s become synonymous with her. However, there’s more to Young Hearts Run Free than just one song. You’ll realise that when I tell you about Young Hearts Run Free.
For Young Hearts Run Free, which was Candi’s fith album, some of the best songwriters of the day were brought onboard. This included Dave Crawford who penned five tracks, Run To Me, Destiny, What A Feeling, Young Hearts Run Free and I Know. Kenny O’Dell contributed You Bet Your Sweet Sweet Love and Ollie E. Brown wrote Summer Time With You. The other track was a cover of Al Green’s Living For You. These eight tracks became Young Hearts Run Free, which was recorded at Sound City Studios, Los Angeles.
When recording of Young Hearts Run Free began at Sound City Studios, Los Angeles there was no sign of the Muscle Shoals Rhythm Section. However, the band still contained some top class session players. This included a rhythm section of drummer Ollie E. Brown, basist Scott Edwards and guitarists Jay Graydon and Ray Parker Jr. Congas came courtesy of Eddie Bongo, Jack Ashford added percussion, Monty Clark played synths, Victor Feldman vibes and Michael Boddicker, Sonny Burke and Sylvester Rivers keyboards. Backing vocalists included Jim Gilstrap, Angie Johnson, June D. Williams, Fleming Williams, Lonnie Groves and Rochelle Runnells. Producing Young Hearts Run Free was Dave Crawford. This was the first time a Candi Staton album hadn’t been produced by Rick Hall? Would this affect the success of Young Hearts Run Free?
Before the release of the title-track was released as a single. It reached number twenty in the US Billboard 200 and number one in the US R&B Charts. Over the Atlantic, the single reached number two. The only other single was Run To Me, which reached twenty-six in the US R&B Charts. On the release of the album, it failed to chart. However, did Young Hearts Run Free deserve to fare better? Is Young Hearts Run Free something of a hidden gem in Candi Staton’s back-catalogue? That’s what I’ll tell you.
Run To Me which opens Young Hearts Run Free sounds not unlike the title-track. That’s no surprise, given it was written by Dave Crawford. Having said that, it’s an hook-laden track. Dave Crawford doesn’t spare the hooks. His all-star band provide the heartbeat, while disco strings dance and horns rasp. Next comes Candi’s vocal. It veers between feisty, sassy and needy. Meanwhile, harmonies sweep in, guitars chime, horns blaze and a myriad of percussion punctuates the arrangement. What holds your attention is Candi’s vocal, especially when she sings call and response with her backing vocals. Her Southern Soul roots shine through on this
Again, Destiny sounds similar to Young Hearts Run Free. Four of the songs written by Dave Crawford, it’s written in the key of F. They all sound generic. This was also the case with George Mcrae’s album Rock Your Baby. The songs are a variation on a theme. That’s one reason why disco had so many critics. Despite the similarities to other tracks, Destiny is almost anthemic. Dave it seems, realises the importance of a hook. Literally, the track bursts into life, the rhythm section, braying horns and disco strings sweeping Candi Staton disco diva along. She delivers a vocal powerhouse, whilst harmonies, percussion and synths accompany her as she struts her way through the song. Clever chord changes add to the impact and drama. So do the stabs of horns. Although slightly generic in sound, it’s hard to resist the song’s charms.
What A Feeling sees a change in style and key. As the tempo drops, the key changes to C. Candi makes a return to her soulful roots. Accompanied by Ray Parker Jr’s wah-wah guitar, lush strings and drums Candi delivers a tender, heartfelt vocal. It becomes sultry and seductive, while swathes of strings prove a perfect accompaniment to her vocal. They seem more suitable than the guitar. Later, as guitars chime, strings sweep and guitars wah-wah Candi unleashes a vocal powerhouse. Her signal to do so, is a sudden chord change. It’s a poignant reminder of Candi’s Southern Soul roots.
As You Bet Your Sweet Sweet Love opens, bursts of horns signal the arrival of Candi’s heartfelt vocal. Behind her, drums crack, horns rasp and harmonies sweep in. As the rhythm section drive the arrangement along, Candi, delivers a vocal masterclass. She breathes life, meaning and emotion into the lyrics. Backing vocalists provide a perfect foil for Candi during this beautiful paean.
Without doubt, Young Hearts Run Free is the highlight of the album. It sees Candi transformed into a disco diva. Horns blaze, strings sweep and swirl and the rhythm section create a pulsating heartbeat. Add to this a myriad percussion and bongos and the scene is set for Candi Staton disco diva. She struts and swaggers her way through the lyrics. Her vocal enveloped of by punchy rasping horns, percussion, swathes of lush strings and harmonies. Along with Candi’s diva-esque vocal, they’re key to track’s success. Does disco get better than this?
Living For You was originally a hit for Al Green. Here, Candi Staton decides to reinvent the song. Just the rhythm section, keyboards and melancholy horns set the scene for Candi’s vocal. It veers between husky tender and powerful. Candi’s vocal is variously melancholy, dreamy, hopeful and heartbroken. It’s a cathartic outpouring of emotion, made all the better by gospel-tinged harmonies and horns. All this makes this one of the highlights of Young Hearts Run Free.
Sultry and sensual describes Candi’s half-spoken vocal on Summer Time With You. Then when her vocal becomes coquettish and later, a sultry vamp. Behind her, the band provide a dance-floor friendly backdrop. This includes a pounding rhythm section providing the heartbeat. Crystalline guitar, swathes of sweeping, swirling strings and rasping horns accompany cooing harmonies. They play their part in this attempt to further reinvent Candi Staton.
Closing Young Hearts Run Free is I Know. It’s written by Dave Crawford and has a tough, funky, dance-floor friendly sound. Dancing strings, a funky rhythm section, blazing horns and punchy harmonies accompany Candi. She delivers a sassy, soulful vocal. The combination of Candi’s vocal and an arrangement that’s funky and dance-floor friendly proves a potent partnership and closes the album on something of a high.
Earlier I wondered if Young Hearts Run Free was something of a hidden gem in Candi Staton’s back-catalogue? The answer to that is yes and no. That might seem like I’m avoiding answering the question I posed earlier. I’m not. There are a few hidden gems on Young Hearts Run Free. One of the real hidden gems, is Candi’s interpretation of Al Green’s Living For You. Then there’s You Bet Your Sweet Sweet Love, which is a beautiful love song. What A Feeling is a welcome return to Candi’s Southern Soul roots. Run To Me and Destiny may not be short of hooks, but both sound not unlike Young Hearts Run Free. This is obvious from the opening bars. They’re rather generic sounding. Obviously, the highlight of Young Hearts Run Free is the title-track. However, some tracks are disappoint.
While Run To Me and Destiny may not be short of hooks, but both sound not unlike Young Hearts Run Free. That’s wasn’t unusual during the disco era. An example is George McRae’s Rock Your Baby album. Writers found a successful formula and stuck to it. Having said these two tracks had a generic sound, neither are short of hooks. That’s their saving grace. Summer Time With You may have been a decent dance track, but it tried to transform Candi into something she wasn’t. Her vocal is restrained and sometimes, isn’t recognisable. The coquettish style doesn’t suit Candi. It’s just another reason why Young Hearts Run Free isn’t a hidden gem in Candi Staton’s back-catalogue. It comes close, but no cigar.
Don’t get me wrong, Young Hearts Run Free isn’t a bad album. No. Far from it. It’s just not a cohesive album.That’s not Candi’s fault. She could only sing what she was told to. Her record company were looking for hits and weren’t going to say no to a hook-laden track, even if it sounds like two other tracks on Young Hearts Run Free. That’s why I’d suggest that Young Hearts Run Free was two tracks away from being a very good album. That could’ve and would’ve made all the difference. Who knows, maybe Young Hearts Run Free would’ve been the most successful album of Candi Staton’s career? Instead, 1971s Stand By Your Man was Candi’s most successful album. Why?
Producing Stand By Your Man was Rick Hall. He was the man with Midas touch. He’d produced Candi’s first four albums and made Candi the Queen of Southern Soul. However, Dave Crawford replaced Rick for Young Hearts Run Free. Maybe Warner Bros. though Rick Hall couldn’t produce an album that was on message. By that, I mean disco. Rick Hall wasn’t a one trick pony though. He proved that time and time again. The absence of Rick Hall meant The Memphis Shoals Rhythm Section and some of the most talented songwriters of the sixties and seventies were absent. They’d proved their worth on Candi’s 1974 album. By 1975, when Young Hearts Run Free was being recorded, they were nowhere to be seen. Young Hearts Run Free was very much the Dave Crawford show.
Dave had established a career as a successful songwriter and producer. He proved this by writing Young Hearts Run Free. A stonewall disco classic, it gave Candi the biggest hit single of her career. However, the album Young Hearts Run Free failed to chart. This was a first for Candi Staton. It must have come as a huge surprise, given the success of the single Young Hearts Run Free. Since then, that single, Young Hearts Run Free has become synonymous with Candi Staton. However, there’s much more to Candi Staton than Young Hearts Run Free. Much more.
This includes the three album Candi recorded for Fame Records. 1969s I’m Just A Prisoner, 1971s Stand By Your Man and 1972s Candi feature the best music Candi Staton ever recorded. Back then, way before Young Hearts Run Free which will be rereleased by WEA Records on 4th February 2014, transformed Candi Staton into a disco diva, she was Queen of Southern Soul. Proof of this are these three albums. They’re the perfect introduction to the real Candi Staton. After that, Candi and then Young Hearts Run Free are the best of the six albums Candi Staton recorded for Warner Bros. These five albums are all you’ve ever wanted to know about Candi Staton, but were afraid to ask.
CANDI STATON-YOUNG HEARTS RUN FREE.
AFRO-BEAT AIRWAYS-WEST AFRICAN SHOCK WAVES 1972-1978.
AFRO-BEAT AIRWAYS-WEST AFRICAN SHOCK WAVES 1972-1978.
Without doubt, one of the best compilations of 2013 was Analog Africa’s Afrobeat Airways Return Flight To Ghana 1974-1983. It was the perfect introduction to Ghanaian music and featured thirteen slices of Afrobeat and highlife. This was music that’s irresistible. Uplifting, joyous, spiritual and infectiously catchy, it’s also funky, jazz-tinged, soulful and lysergic. It’s music that has a foot in three decades. It’s influenced by fifties and sixties jazz, sixties psychedelia plus seventies funk. There’s also a twist of rock, gospel and soul. All these influences play their part in some glorious music, music that truly deserves a wider audience. That’s why I decided to Afro-Beat Airways-West African Shock Waves 1972-1978.
Released back in 2010, Afro-Beat Airways-West African Shock Waves 1972-1978 features fourteen tracks. This includes music from not just Ghana, but Togo. Among the artists on Afro-Beat Airways-West African Shock Waves 1972-1978 are Uppers International, K. Frimpong And His Cubanos Fiestas, Ebo Taylor And The Sweet Beans, Itadi, The Apagya Show Band, De Frank Professionals and African Brothers Band. With familiar faces sitting side-by-side with hidden gems, Afro-Beat Airways-West African Shock Waves 1972-1978 is something of a musical treasure trove of West African music. What’s more, Afro-Beat Airways-West African Shock Waves 1972-1978 sets the standard for compilations.
Just like Analog Africa’s previous other compilations, Afro-Beat Airways-West African Shock Waves 1972-1978 is a lovingly compiled compilation. It’s obvious that the compilations Analog Africa release are a labour of love for Sammy Ben Redjeb. The best way to describe Afro-Beat Airways-West African Shock Waves 1972-1978 is a luxurious and lovingly compiled compilation. It’s contained in a heavyweight cardboard slipcase. Within it are a forty-four page book and separate slipcase which contains the CD. Everything about Afro-Beat Airways-West African Shock Waves 1972-1978 oozes quality. Why though?
Within the forty-four page compilation that accompanies Afro-Beat Airways-West African Shock Waves 1972-1978, there are detailed biographies of the artists. These essays are informative and tell you everything you could ever want to know about the artists. Then there’s an interview with Gerard Akueson, who founded Akue, Togo’s biggest record label. He gives a detailed history of Togo’s musical scene, especially between 1972 and 1978. The other thing that makes the sleeve-notes stand out, are the photographs. They’re evocative and give you a sense of the people behind the music. These essays and photographs are part of what makes Analog Africa one of the best reissue companies. Their way of producing compilations should become industry standard. Similarly, Analog Africa dig deeper than other reissue companies. Proof of this is the music on Afro-Beat Airways-West African Shock Waves 1972-1978, which I’ll tEll you about.
Opening Afro-Beat Airways-West African Shock Waves 1972-1978 is a familiar face to anyone whose familiar with Analog Africa’s releases, Uppers International. They’re from Bolgatanga in Ghana, and originally, were a covers band. Then gradually, they began to explore Ghanian regional music. Eventually, they were singing in the Dagbani, Huasa and Gurundi dialects. By 1973, Uppers International signed to Polydor, where they released their best known single Dankasa. Both Dankasa and the B-Side Neribe Lanchina feature on the compilation. Dankasa is an Afro-beat classic. It features the vocal of bandleader Chester Adams, waves of Ray Hayford’s Hammond organ, percussion and harmonies. The result is a track that’s funky, jazz-tinged, soulful and dance-floor friendly.
The Apagya Showband were innovators. So much so, that they were so far ahead of their time. People didn’t understand their unique brand of Ghana-Funk. Two examples of this feature on Afro-Beat Airways-West African Shock Waves 1972-1978. They’re Ma Nserew Me and Mumunde. Both tracks were recorded between 1973 and 1974. The best of the two tracks is Ma Nserew Me. It’s a slice of organ driven funk, with a vampish, James Brown influenced vocal. During four minutes of uber funky music, The Apagya Showband throw elements of funk, soul and psychedelia into the mix. Forty years after they recorded their lost album, The Apagya Showband’s music is finding the audience it deserves.
K. Frimpong And His Cubanos Fiestas recorded two albums. Both were entitled K. Frimpong And His Cubanos Fiestas. Neither album features Me Yee Owu Den. It’s a glorious fusion of highlife, Afro-Cuban, funk and jazz. That’s no surprise. Sometimes, it’s reminiscent of a track from a Blaxploitation soundtrack. The guitars lead to this comparison. Then there’s the blazing, braying horns. They assail you and drive this nine-minute epic along. Along with the vocal and a myriad of percussive delights, this hidden gem reveals its delights.
Marijata were a Ghanian band. I’d describe them as a power trio. That’s the case on Break Through, a track from their 1970 debut album This Is Marijata. Released on Gapaphone Records, Break Through features some of the best guitar playing on the compilation. Then there’s the horns and vocal. Along with the rhythm section, they drive this fusion of Afro-beat, funk, jazz, rock and soul along. It’s joyous, uplifting and hook-laden music that’s one of the highlights Afro-Beat Airways-West African Shock Waves 1972-1978.
Ebo Taylor isn’t just a giant of Ghanian music, but African music. On Afro-Beat Airways-West African Shock Waves 1972-1978 there’s contributions from two bands he played with. The first is Odofo Nyi Akiyiri Biara from Ebo Taylor and The Sweet Beans. It’s a delicious, dramatic and pulsating fusion of Afro-beat, funk, jazz and rock. His other contribution is Ebo Taylor and The Pelicans’ Come Along. This is a track from their eponymous album. Released on the Abookyi label, it funky, soulful and dramatic, as it unfolds in waves. Sometimes, there’s even a similarity in the vocal to Bob Marley. Both have a similar heartfelt delivery.
Orchestre Abass released three singles in Togo during the early seventies. One of them was Awula Bo Fee Ene. It’s a fusion of Afro-beat, funk, jazz and soul. Driven along by the rhythm section and Hammond organ, this is the perfect backdrop for an impassioned, vampish vocal. This is an irresistible combination and is typical of the music being released in Togo during the seventies. Why? Back then, Togo was part of the Islamic funk belt. Sadly, after the release of this track, disaster struck for Orchestre Abass. Members of the band were involved in a car crash, where lead singer Iddy died. However, their legacy is the glorious music they recorded.
Live In Other World was the title-track to Itadi’s 1977 album. It’s quite different from other tracks. It has a much more understated sound. That allows the funky wah-wah guitars to take centre-stage. They’re joined by percussion and Hammond organ and drive the arrangement along. Later, a tender, heartfelt and needy vocal enters. Combined with funky, pulsating arrangement, this a heady brew that shows another side to Togolese music.
More, which is a track from Rob (With Mag-2), could easily be a track from a Blaxploitation soundtrack. That’s ironic, because Mag-2 were the army band of Takoradi’s second battalion. They play their part in the track’s funky, cinematic sound. Similarities can be drawn with James Brown, when the vampish, ad libbed vocal enters. Stabs of braying, blazing horns join the wah-wah guitars and percussion, playing their part in one of the funkiest arrangements on Afro-Beat Airways-West African Shock Waves 1972-1978.
Cos-Ber-Zam released their single Ne Noya in 1973. It was released on the Editions Makossa label and was a huge hit in Togo. No wonder. It’ a real fusion of musical influences and genres, including funk, soul, Afro-beat and even reggae. This was also the only release from Cos-Ber-Zam. Following the success of Ne Noya, Quenum Kokou emigrated to Germany and has never been heard of since.
De Frank Professionals released a trio of albums between 1976 and 1978. Afe Ato Yen Bio is a track from their eponymous third album. Released in 1978, it’s one of the highlights of Afro-Beat Airways-West African Shock Waves 1972-1978. With a grinding, funky arrangement and soulful, impassioned vocal, this proves a potent partnership.
The only other track I’ve still to tell you about on Afro-Beat Airways-West African Shock Waves 1972-1978 is African Brothers Band’s Ngyegye No So. Formed in 1963, they’ve just celebrated their fiftieth anniversary. No wonder. One listen to the irresistibly catchy Ngyegye No So and you’ll realise why the African Brothers Band have enjoyed such longevity. They’re also one of the most successful Ghanian groups, releasing over thirty albums.
So that’s the story of Afro-Beat Airways-West African Shock Waves 1972-1978. Fourteen tracks from Islamic funk belt of Togo and Ghana. This includes contributions from familiar fames like the African Brothers Band, Ebo Taylor and De Frank Professionals. Then there’s hidden gems from Marijata, Orchestre Abass, Itadi and Rob (With Mag-2), the funkiest army band in history. Never before has an army band sounded so funky. It’s one of fourteen reasons why this irresistible genre-melting melange of music deserves a place in your record collection.
Everything from funk, gospel, jazz, psychedelia, rock and soul melts into one on Afro-Beat Airways-West African Shock Waves 1972-1978. The result is fourteen delicious and irresistible slices of Afrobeat and highlife. This is music that’s uplifting, joyous, spiritual and infectiously catchy. It’s also funky, jazz-tinged, soulful and lysergic. All these influences play their part in some glorious music, music that truly deserves a wider audience.
Thankfully, reissue labels like Analog Africa are doing everything they can to bring African music to a wider audience. This time, it’s West African music and specically, the music of Ghana and Togo. These fourteen tracks are just the tip of the iceberg. There’s so much more music awaiting discovery. That includes the thirteen tracks on Afrobeat Airways Return Flight To Ghana 1974-1983, which was one of the best compilations of 2013. The same can be said of Afro-Beat Airways-West African Shock Waves 1972-1978, which was released in 2010.
Analog Africa never let their standards slip. No. Each if their fifteen releases are of the highest quality. Lovingly compiled and luxurious, this is the standard all reissue labels should aspire to. These releases are a labour of love and do justice to the music that Analog Africa’s founder Sammy Ben Redjeb is so passionate about. That shines through on Afro-Beat Airways-West African Shock Waves 1972-1978, which along with Afrobeat Airways Return Flight To Ghana 1974-1983 are the perfect introduction to West African music. Standout Tracks: Uppers International Kankasa, Ebo Taylor and The Sweet Beans Odofo Nyi Akiyiri Biara, Orchestre Abass Awula Bo Fee Ene and De Frank Professionals Afe Ato Yen Bio.
AFRO-BEAT AIRWAYS-WEST AFRICAN SHOCK WAVES 1972-1978.
MOGWAI-LES REVENANTS.
MOGWAI-LES REVENANTS.
Next week, Glasgow’s very own Mogwai will release their eighth studio album Rave Tapes. This will be their first album in three years, since the release of Hardcore Will Never Die, But You Will. However, during that three year period, Mogwai have been busy. They contributed the soundtrack to the French television series Les Revenants. This wasn’t the first soundtrack Mogwai had written. No. Quite the opposite.
Previously, Mogwai provided the soundtrack to the 2006 movie Zidane: A 21st Century Soundtrack. The same year, Mogwai collaborated with Clint Mansell on the soundtrack to The Fountain. Les Revenants was just latest project Mogwai had been involved with during their nineteen year career. So, before I tell you about Les Revenants, I’ll tell you about one of Scotland’s biggest and best bands Mogwai.
Mogwai’s roots can be traced to Glasgow in April 1991. That’s where guitarist Stuart Braithwaite and Dominic Aitchison first met. Four years later, they met drummer Martin Bulloch and formed Mogwai, which film buffs will remember, is a character from the movie Gremlins. Mogwai was always meant as a temporary name, but it stuck and was on the label of their 1996 debut single Tuner. It was released to critical acclaim and the NME awarded it their single of the week award. Two other singles were released during 1996 Angels v. Aliens and Summer. By then Mogwai were a quartet.
Guitarist John Cummings joined the band in 1995. He’s also something of a maestro when it comes to all things technical and is described as playing “guitar and laptop.” He was part of one of the hottest bands of the late nineties, Mogwai who released two more singles in 1997.
These two singes were New Paths To Helicon Pt. 1 and Club Beatroot. Just like their debut single Tuner, New Paths To Helicon Pt. 1 was won NME’s single of the week award. This was the perfect time for Mogwai to record their debut album, Mogwai Young Team.
For Mogwai Young Team, Mogwai brought onboard Brendan O’Hare the Teenage Fanclub’s drummer. Another guest artist was Aidan Moffat of Falkirk based band Arab Strap. He added the vocal to R U Still In 2 It. The rest of Mogwai Young Team consisted of instrumentals. Mogwai Young Team was recorded at Chem 19 studios and produced by ex-Delgado Paul Savage and Andy Miller, one of Scotland’s top producers. Once Mogwai Young Team was completed, it was released on Scotland’s biggest record label, Chemikal Underground.
On its release in October 1997, critics were one over by Mogwai Young Team. Mogwai were hailed Mogwai as a band with a big future. Mogwai Young Team was a groundbreaking album of post-rock, which sold over 30,000 copies and reached number seventy-five in the UK. The Mogwai Young Team were on their way. However, a few changes were about to take place.
A year later, Mogwai were back in the studio recording their sophomore album Come On Die Young. Much had changed. A new member had joined the band. Barry Burns a flautist and sometimes pianist, had played a few gigs with the band. They then asked him to become the fifth member of Mogwai. Violinst Luke Sutherland joined Mogwai, but not on a full-time basis. This wasn’t the only change.
Recording was split between New York and Glasgow. This time, they’d forsaken Chem 19 in Blantyre and recorded parts of the album in Tarbox Road Studios, New York. Some sessions took place in Glasgow’s Cava Studios. Producing Come On Die Young was Dave Fridman. Some critics felt his production style resulted in a much more orthodox sounding album. However, I’d argue that Come On Die Young was part of Mogwai discovering their “sound” and direction. Come On Die Young is a much more understated, but also ambient, experimental, multi-textured and melodic. There’s a fusion of ambient, grunge and post rock on Come On Die Young, which was released in March 1999. It reached number twenty-nine in the UK. Mogwai it seemed were now on their way to finding their sound and fulfilling the potential evident on their debut album.
Mogwai’s music continued to evolve on their third album 2001s Rock Action. More use was made of electronics on Rock Action. This was part of a process that would continue over the next few albums. There were even more layers and textures on Rock Action. It was as if Mogwai had expanded their palette. Seven of the songs were instrumentals, while Dial Revenge featured Gruff Rhys of Super Furry Animals.
Again, Rock Action was produced by Dave Fridman, while recording took place in New York and at Glasgow’s Cava Studios. Once Rock Action was completed, it became Mogwai’s first album to be released on Play It Again Sam.
Rock Action was released in April 2001, and proved to be Mogwai’s most successful album. It reached number twenty-three in the UK. Critics remarked upon how Rock Action wasn’t as dark an album as its predecessors. That didn’t mean that Mogwai’s view of the world had changed. They were still worldweary. Soon, they’d be happy people writing happy songs and making a breakthrough into the American market.
Happy Songs For Happy People was released in 2003. Mogwai’s evolution continued. Their music continued further down the electronic road. Yes, electric guitars and a drummer were used, but synths were playing a more important role in Mogwai’s music. So were the addition of strings and a piano. They played their part in what was a much more understated album. Part of this change in style was a change of producer.
Tony Doogan was brought onboard as producer. He replaced Dave Fridman. Gone were transatlantic recording sessions. Happy Songs For Happy People was recorded at Cava Sound Studios, Glasgow. On its release in June 2003, Happy Songs For Happy People was well received by critics. They welcomed the change in style. So did record buyers. While Happy Songs For Happy People only reached number forty-seven in the UK, it spent a week in the American charts, reaching number 182 in the US Billboard 200. After four albums, Mogwai had broken into the American market. Happy Songs For Happy People it seemed, was a landmark album.
Having made inroads into the lucrative American market, Mogwai didn’t rush their fifth album. It was released three years after Happy Songs For Happy People. There’s a reason for this. They were working on tree separate projects. The first was their fifth album Mr. Beast. Then there was the first soundtrack they’d written and recorded. This was for the 2006 movie Zidane: A 21st Century Soundtrack. Mogwai also collaborated with Clint Mansell on the soundtrack to The Fountain. Although soundtracks were a nice sideline for Mogwai, their fifth album Mr. Beast was of huge importance. Especially, if it was a commercial success in America.
Mr. Beast was released in March 2006. It had been recorded at Mogwai’s new studio, Castle Of Doom Studios in Glasgow. Recording took place between April and October 2005, with Tony Doogan and Mogwai producing Mr. Beast. On its release, it was mostly, to critical acclaim. Critics were fascinated at how Mogwai’s music continued to evolve. For Mogwai, standing still was going backwards. Ever the innovaors, they were rewarded by an album that reached number thirty-one in the UK and number 128 in the US Billboard 200. Mogwai were now one of Scotland’s most successful musical exports. They were certainly Scotland’s most innovative band. This was a title they weren’t going to give up without a fight.
To ensure they kept their title of Scotland’s most innovative bands, Mogwai returned to the studio where it all began, Chem 19 in Blantyre. Andy Miller who’d co-produced Mogwai Young Team, Mogwai’s debut album was chosen to produce what became The Hawk Is Howling. This was Mogwai’s sixth album and marked a first. It was Mogwai’s first album to consist of just instrumentals. Once The Hawk Is Howling was recorded, Garth Jones mixed the album at Castle Of Doom Studios in Glasgow. After that, The Hawk Is Howling was ready for release.
The Hawk Is Howling was released in September 2008. Critics were won over by The Hawk Is Howling. There were no dissenting voices. This was one of Mogwai’s best albums. So, it’s no surprise it sold well in the UK and America, reaching number thirty-five in the UK and number ninety-seven in the US Billboard 200. It seemed with each album, Mogwai’s music evolved and matured. This resulted in even more success coming their way. Would this continue with Hardcore Will Never Die, But You Will?
For their seventh album, Mogwai returned to Chem 19 Studios in Blantyre, where they hooked up with ex-Delgado Paul Savage. Since he’d produced Mogwai’s debut album, Mogwai Young Team Paul had established a reputation as one of Scotland’s best producers. He’d worked with everyone from Franz Ferdinand, Admiral Fallow and Camera Obscura to R.M. Hubbert. However, it was a very different Mogwai Paul encountered. They were very different to the band who recorded Mogwai Young Team. Their music had evolved and was continuing to do so. They’d matured as musicians and embraced the new technology. Hardcore Will Never Die, But You Will was proof of this.
Here was an album of groundbreaking, genre-melting post-rock with attitude. Hardcore Will Never Die, But You Will was also an album not short on humour. Especially, with tracks about poppy soulster Lionel Ritchie and Scotland’s nemesis Margaret Thatcher. With a combination of pioneering, post rock music crammed full of hooks, humour and attitude, surely Hardcore Will Never Die, But You Will couldn’t fail?
Yet again, Mogwai had won over critics with Hardcore Will Never Die, But You Will. It reached number thirty-five in the UK and number ninety-seven in the US Billboard 200. For Mogwai, they were now into their third decade as band and had just enjoyed their biggest album to date. What next?
The answer to that was Les Revenants, a soundtrack to a French television series. Les Revenants or The Returned is essentially a television program about zombies. Unlike similar programs, when the “undead” return to the town they lived in, it’s as they were, not how most films portray zombies. Another difference was the way Mogwai were commissioned.
Usually, someone writing a soundtrack can see the film they’re writing music to. Not Mogwai. They were just shown a few scripts. Then they were given an overview of what the series was about. From there, Mogwai wrote thirteen tracks. The other track they chose was What Are They Doing In Heaven Today, which was written by Charles Elbert Tilney. These fourteen tracks were recorded by Mogwai, who produced Les Revenants with Neil MacMenamin. Once Les Revenants was finished, it was released in February 2013.
Before Les Revenants was released an E.P. was released. It featured four tracks. That was a tantalising taster of what was to come. After all, Mogwai would approach a soundtrack like Les Revenants in a different manner. They wouldn’t do anything predictable. Les Revenants was a case of expect the unexpected. Critics loved Les Revenants and hailed the album as one of the best albums Mogwai had released. However, why was that?
Earlier, I described Mogwai’s music as multi-textured. That’s the case on Les Revenants. It’s an album of constantly shifting moods, full of nuances, subtleties and surprises. I’d also describe the music as dramatic and disturbing, right through to melancholy and menacing. Having said that, it’s also music that has a warmth and is ethereal. Another important way to describe Les Revenants is cinematic.
Here is music that paints pictures. Close your eyes, allow your imagination to run riot and Les Revenants appear before your eyes. This is the case from the moody drama of Hungry Face. It’s a fusion of ambient, electronica, indie rock and post rock. You can imagine the opening titles to Les Revenants rolling as the tension and drama builds. This drama continues on Jaguar. It builds and grows, washes of synths and piano joining a pulsating beat. It’s moody, dark and most importantly dramatic.
The Huts is very different to the previous tracks. It has a much more understated, spacious sound. Just pensive, tender driven post rock guitar and melancholy piano play their part in an ethereal, cinematic track. Kill Jester is another understated track. It’s a piano driven track, that builds and grows. Again it has an ethereal and melancholy quality. Then later, the track takes on a celestial quality.
There’s a change in style on This Messiah Needs Watching. Menacing, moody and dramatic, it’s a track that builds. Feedback is sprayed across the arrangement while a meandering piano and keyboards combine. Searing guitars add to the tension. One wonders what scene this accompanies, given the tension that’s building?
Thoughtful and spacious describes Whisky Time. It’s one of the shortest tracks on Les Revenants and has a pensive and contemplative quality. So does Special N. That’s partly because of the melancholy strings and chiming guitar. Drums provide a thoughtful heartbeat before the drama and tension builds. Still it’s a beautiful, ethereal track. Just like Whisky Time, Relative Hysteria is another track that’s slow, spacious and thoughtful. Just chiming guitars, keyboards and beats combine, before shimmering guitars glisten. They play their part in an atmospheric, evocative soundscape. Minimalist and moody describes Fridge Magic. Percussion, synths and cinematic string create a multilayered arrangement. It meanders dramatically along proving captivating. The cinematic synths make a reappearance on Portugal. So do droning synths and a keyboards. Soon, the track veers between understated to dramatic and disturbing, but is always cinematic.
Eagle Tax is played on a Fender Rhodes, producing a wistful introduction. Soon, guitars reverberate, reminding me of the soundtrack to a Wim Wenders film. That can only mean two men, Ry Cooder or Irmin Schmidt of Can. There’s even a similarity to Angelo Badalamenti’s Twin Peaks’ soundtrack. Soon, the Fender Rhodes and guitar are joined by drums as one of the most evocative, atmospheric and dramatic tracks unfolds.
Modern is totally unlike anything that’s gone before. Buzzing, droning synths and searing guitars join forces, while melancholy strings and meandering keyboards compete for your attention. Somehow, the track is dramatic, understated and ethereal simultaneously.
There’s a country sound to What Are They Doing In Heaven Today? Just a piano, guitars and steady beat provide the backdrop for a melancholy, pensive vocal. It’s tender, emotive and full of pain and frustration. This results in a truly beautiful, soul-searching song.
Wizard Motor closes Les Revenants and sees Mogwai throw another curveball. After the droning, dramatic and then melancholy introduction, drums pound and scorching, machine gun guitars are unleashed. Mogwai decide now’s the time to combine post-rock, grunge and indie rock as they close Les Revenants on a high. Seamlessly, the fuse musical genres and drama. There’s even avant-garde, electronica, experimental and folk thrown into the mix, as Mogwai, forever the innovators close Les Revenants on a dramatic, rocky high.
Ever since they released their debut album Mogwai Young Team in 1996, Mogwai have established a reputation as one of the most innovative groups of the past thirty years. During this period, Mogwai had sought to constantly reinvent themselves. Standing still it seems, isn’t an option. As a result, with each album Mogwai’s music evolves. Sometimes, it’s as if you’re listening to another band. That’s the case on Les Revenants.
Les Revenants is best described as a cinematic Magnus Opus. It’s an album of ambitious, bold, challenging, influential and innovative music. This is music full of nuances, subtleties and surprises. During fourteen tracks the mood constantly shifts. One minute, the music is wistful, melancholy and pensive, the next dark, disturbing, eerie and moody. By the same token, Les Revenants is sometimes, beautiful and melancholy. The music on Les Revenants tugs at your heartstrings, poses questions and paints pictures. The music is also ambitious, bold, challenging, influential and innovative. Quite simply, Mogwai take you on genre-hopping musical journey.
Over fourteen tracks, Mogwai combine everything from ambient, avant-garde, classical, experimental, folk, grunge, indie-rock and post-rock. This resulted in a genre-melting album, Les Revenants. It’s a mesmeric fusion that captivates and compels. You’re taken on a musical journey, one that veers between dramatic, dreamy, surreal and trippy, to beautiful, pensive, understated and melancholy Other times the music is dramatic, moody and broody. One thing the music never is, is boring.
Not at all. Certainly not with Mogwai providing the soundtrack to Les Revenants. Subtleties and surprises are sprung, while Mogwai aren’t afraid of changing direction. Using the musical equivalent of a handbrake turn, the Mogwai Young Team perform a volte face. That’s what makes Les Revenants such a captivating and refreshing soundtrack. Les Revenants is also one of the best albums Mogwai have recorded. However, that may change soon, when Mogwai release their ninth album Rave Tapes on 20th January 2014. Until then, enjoy Mogwai at their innovative best on Les Revenants. Standout Tracks: The Huts, Whisky Time, Eagle Tax and What Are They Doing In Heaven Today?
MOGWAI-LES REVENANTS.
BLO-CHAPTER ONE.
BLO-CHAPTER ONE.
The first thing that strikes you about BLO’s Chapter One, the latest vinyl rerelease from Mr. Bongo Records, is the cover. Naive, psychedelic, lysergic and surreal, it’s a min-masterpiece. It’s up there with some of the best album covers in music history. So good is the album cover, that I’m sure many people will buy the album just because of the cover. I genuinely hope that’s the case, because BLO’s Chapter One is an important album in African music. BLO are regarded as the first African rock band, while Chapter One is seen as the first African rock album. Released in 1973, by Lagos City EMI, Chapter One should’ve been the start of a brilliant career. Was that the case?
BLO’s roots can be traced to The Clusters, a late-sixties, Nigerian band. Their music was a fusion of Afrobeat, psychedelia, rock and funk. Seamlessly, the music of two continents became one. African and Western became one. A glorious pot pourri of musical genres and influences, The Clusters couldn’t survive playing their own music. As a result, they’d to moonlight playing covers of The Beatles and Rolling Stones. Soon, The Clusters were being called the African Beatles. Despite this, The Clusters were struggling to survive. So, it’s no surprise that the group eventually split-up. From the ashes of The Clusters, BLO rose like a Phoenix.
Following the demise of The Clusters, three former members of The Clusters founded BLO. They were guitarist and songwriter Berkeley Jones, drummer Laolu Akintobi and bassist Mike Odumosu. When it came to naming the new group, they decided to call it BLO, an acronym of their surnames. Having formed BLO, the nascent group’s career would start at one of Nigeria’s most prestigious venues.
Rather than play a low key concert, whilst honing their sound, BLO decided to start as they meant to go on. Their debut took place around Christmas 1972, at the Lagos City Stadium. They were meant to be supporting Osibisa, who were touring Nigeria. It looked like the other way around. BLO meant to be the warmup, blew their Osbisa away. They’d ten-thousand people eating out of the palms of their hand. When Osbisa took the stage, they’d no chance. All the audience wanted, was more from BLO. Their fusion of Afrobeat, funk, rock and psychedelia caught the audience’s imagination. Buoyed by this success of supporting Osbisa on tour, BLO set about recording their debut album, Chapter One.
Fresh from supporting Osbisa, BLO were signed to EMI. For their debut album Chapter One, BLO headed to EMI’s studios in Apapa. They’d written eight songs. Vocalist Berkeley Jones, was the principal songwriter. He penned five tracks, Preacher Man, Time To Face The Sun, Don’t We Are Out Together and the instrumental, Miss Sagit. Mike Odumosu wrote We Gonna Have A Party and Chant To Mother Earth, while Laolu Akintobi contributed Beware. These eight tracks became Chapter One, which was released in 1973.
On the release of Chapter One, BLO proved to be an African phenomenon. Chapter One wasn’t a success outside Africa. Despite being seen as the first African rock album, with BLO being Africa’s first rock group, neither Europe nor America “got” BLO. Since then, and somewhat belatedly, Chapter One has been recognized as an important album. It’s also become something of a collectable, with original copies prized possessions of African music. No wonder, when you hear Chapter One.
Preacher Man opens Chapter One. It has a somewhat understated sound. Drums mark time, guitars chime and the bass meanders along. It’s as if BLO are stretching their legs. Bursts of searing guitar riffs, are the signal for Berkeley Jones vocal to enter. He sings call and response, frustration and anger filling his vocal. Behind him, machine gun guitars and pounding drums take turns to drive the arrangement along. Soon, musical genres and influences melt into one. Afrobeat, rock, psychedelia and jazz melt into one, while elements of Can, Jethro Tull and Jimi Hendrix shine through. Later, BLO kick loose, demonstrating just why they’re regarded as Africa’s first rock group. Never missing a beat, they deliver some sizzling, searing guitar licks, before a thunderous drum solo marks the arrival of BLO.
Time To Face The Sun has a languid, lysergic sound. Wah-wah guitars and percussion join the jaunty rhythm section, before a roll of drums sees the track head in the direction of rock and reggae. A heartfelt, impassioned lilting, reggae-tinged vocal is accompanied by mesmeric, then riffing, rocky guitars. From there, it’s rock all the way. It’s as if BLO have awaked out of their slumber. Now it’s time for them to unleash their magic. Like a shaman Berkeley casts a spell with his guitar. Locking into the tightest of grooves, BLO show just what they’re capable of. It’s no wonder they had ten-thousand people spellbound. This produce a truly spellbinding, enthralling opus, that deserves to be heard by a much wider audience.
Funky. That describes Beware. Chiming, crystalline guitars and the rhythm section lock into the groove, while the languid vocal is reminiscent of Jimi Hendrix. It’s half sung, half chanted. The guitar solo is Hendrix-esque. It’s as if the ghost of Jimi Hendrix has wandered into EMI’s studios in Apapa, and laid down a blistering guitar solo. Instead it’s Berkeley Jones. His fingers flying nimbly up and down the fretboard. Not once does he miss a note. Behind him, Mike and Laolu provide the track’s heartbeat. Stealing the show is Berkeley, with a mesmeric guitar solo.
We Gonna Have A Party sounds as if the party’s already started. Just a minute long, joyous, celebratory vocals are accompanied by percussion, resulting in a slice of good time music.
Don’t is driven along by the deliberate bass. Meanwhile chiming guitars accompany the vocal. Needy and pleading, harmonies accompany the vocal, as the song heads in the direction of Jimi Hendrix’s Stone Free. By now the guitars and rhythm section have conjured up a hypnotic groove. Later, they shake loose, shakers encouraging Berkeley to unleash another of his solos. This time duelling guitars take the song in he direction of classic rock. BLO are in their element, exploring every nuance and subtly of this genre-melting track, where rock, psychedelia and Afrobeat combine.
Chant To Mother Earth reminds me of Fleetwood Mac in their prime. Then it’s all change, as the chanted vocal takes the track in the direction of Arabic, Afrobeat and reggae. Here, Berkeley becomes a soothsayer, as his vocal ensures the track melts into a mesmeric groove. Later, having awoken from his procrastination, he lays down a stunning guitar solo. Somehow, this beats everything that’s gone before. Like a swaggering gunslinger, he lays down a captivating guitar solo. With the pounding rhythm section keeping him company, the solo seems to go on forever. All you can do, is kick back and enjoy the ride. Towards the end, Berkeley returns to his role as soothsayer, having produced another bewitching performance.
We Are Out Together has an almost mystical sound. A myriad of percussion sees to that. Then it’s all change. The bass and searing guitar take charge. They become one. With a crash of a cymbal, BLO threaten to kick loose. Drums pound, guitars chime and a rubbery bass solo accompanies the vocals. They’re impassioned and hopeful. Then, it’s time for the main event. Dueling guitars join forces. This time, the rhythm section want in on the act. They won’t be outdone. Everyone has to play nicely, it seems. Not everyone seems to agree. The three members of BLO seem to compete to have the last word.
Closing Chapter One is Miss Sagitt, an Instrumental, written by Berkeley Jones. Percussion then a psychedelic guitar is panned left as the rhythm section provide a pensive heartbeat. In the distance, guitars chime. They draw nearer, and trippily, are panned right to left. This gives the song an exotic, Eastern sound. Importantly, space is left within the arrangement, allowing the song to breath. A muted guitar and drums rolls join a meandering bass and percussion. Together, they play their parts in an experimental sounding song where East, West and Africa unite.
Chapter One was just the first of five albums BLO released between 1973 and 1979. A genre-melting album, Chapter One matches the quality of Terry Eze’s album cover. An eight track musical adventure, genres and influences seamlessly, melt into one. Everything from rock, Afrobeat, psychedelia, funk and jazz can be heard on Chapter One. Sometimes, there’s brief bursts of Indian and Arabian music. It’s a multicultural musical journey, where BLO showcase their considerable skills during the eight songs.
Each member of BLO is a talented musician. However, guitarist and songwriter Berkeley Jones steals the show. Not only is he a talented songwriter, but capable of unleashing mesmeric, blistering guitar solos. Sometimes, he’s transformed into a musical shaman, his guitar playing blessed with magical properties. Having said that, BLO isn’t a one man band. Berkeley Jones needed bassist Mike Odumosu and drummer Laolu Akintobi. Mike and Laolu the rhythm section, provided BLO’s heartbeat. Without them, BLO wouldn’t have existed. BLO were stronger together than apart, weaving their mesmeric musical spell. Sadly, BLO’s music never found the audience it deserved.
Hugely enjoyed commercial success and critical acclaim in Africa, they never enjoyed they never enjoyed the same commercial success and critical acclaim further afield. Neither Europe nor America discovered BLO’s fusion of rock, Afrobeat, psychedelia, funk and jazz. Like so much great music, BLO’s music, including Chapter One, was lost to a wider audience, with only a small number of enthusiasts flying the flag for one of Africa’s lost bands. Not only were BLO one of Africa’s lost bands, but they were Africa’s first and best rock band. Proof of this was BLO’s first album, and Africa’s first rock album, Chapter One, which was released by Mr. Bongo on vinyl on 1st January 2014. Standout Tracks: Preacher Man, Beware, Don’t and Chant To Mother Earth.
BLO-CHAPTER ONE.
DAN HARTMAN-RELIGHT MY FIRE.
DAN HARTMAN-RELIGHT MY FIRE.
Nostalgia it seems is the future. Everyone it seems wants to relive the music of their youth. So a few years ago, major record companies started releasing classic albums. Now it’s no longer just classic albums being released. A whole host of new reissues labels have been founded. They’re digging deep, deeper than before. Every month, they release reissues of albums from the past forty years. However, sometimes, more that one label reissues the same album. I’ve noticed that during the last year or so. This is the equivalent of two bald men fighting over a comb. The latest example of this, is Dan Hartman’s Relight My Fire, which was recently released by BBR Records. However, it was also released by Purpose Music Vaults last year. This poses two questions. Is Relight My Fire worth buying and if so, which version should you buy? Before that, I’ll tell you about Dan Hartman’s career.
During his career, Dan Hartman wrote almost 250 songs and appeared on over one-hundred albums and worked with everyone from Loleatta Holloway, Dusty Springfield, Little Richard, Diana Ross, James Brown, Tina Turner and the Average White Band. Dan also released eight solo albums between his 1976 debut album Images and his final album Keep the Fire Burning in 1994. Despite such a prolific career, many people will forever remember Dan Hartman for one song, Relight My Fire. Ironically, when Relight My Fire was released back in 1979, it wasn’t a huge commercial success. Many people think that because the song was so popular and became a timeless, dance classic that it was one of Dan’s biggest hits. Sadly, that wasn’t the case. Not by a long chalk.
Relight My Fire wasn’t even one of Dan Hartman’s top ten biggest hits. Featuring the unmistakable voice of the Queen of Disco, Loleatta Holloway and with strings and horns arranged by the legendary Norman Harris formerly of M.F.S.B. and in 1979, a member of The Salsoul Orchestra, Relight My Fire should’ve been a huge hit. The only small crumb of comfort for Dan and everyone involved was it reached number one in the US Dance Charts and lit up dance floors worldwide, which it continues to do. Relight My Fire was also the title of Dan’s 1979 album, until 2o12 has been unavailable on CD. Now we’ve two versions of the album available. However, what about the man behind the music?
Dan Hartman was something of a musical prodigy. He was born in 1950 in Harrisburg, Pennsylvania. By aged thirteen, Dan was a classically trained pianist and managed to persuade his brother to let him join his band The Legends. Soon, Dan was writing most of the songs, which ranged from soul to rock and everything in-between. The Legends couldn’t attract the interest of record labels until Blue Sky Records, a subsidiary of Epic Records heard their demos. Steve Paul at Blue Sky Records’ previous group White Trash had recently split. He was in the process of putting together a new group, The Edgar Winter Group. Success was just round the corner for Dan.
Soon, Dan had auditioned and joined the group, playing bass, guitar and keyboards as well as co-writing half of the songs on The Edgar Winter Group’s 1972 debut album They Only Come Out At Night. It was a huge commercial success, resulting in it being certified double-platinum. Two further albums followed, 1974s Shock Treatment and 1975s The Edgar Winter Group With Rick Derringer. Three years later, The Edgar Winter Group spilt and Dan was offered a solo deal by Blue Sky Records.
A year after The Edgar Winter Group split, Dan Hartman released his 1976 debut album Images. Images was quite different from Dan’s music with The Edgar Winter Group, given its much more poppy sound. By the time he released his sophomore album Instant Replay in 1978, Dan Hartman had dived headfirst into disco, which resulted in top twenty singles in the UK with Instant Replay and This Is It. In the US, both Instant Replay the single and album were both commercial success. The album reached number eighty in the US Billboard 200, while the single reached number twenty-nine in the US Billboard 100 and gave Dan his first number one in the US Dance Charts. Having established what was his sound and style, Dan Hartman decided that his third album Relight My Fire would feature more of the same.
For Relight My Fire , Dan wrote six tracks, with poppy hooks aplenty and a dance-floor friendly sound. He enlisted a few special guests for the recording of Relight My Fire, with one track reserved for one of his favorite vocalists Loleatta Holloway. This was the title-track, Relight My Fire. Having spoked to Loleatta’s husband Floyd Smith, and Ken Cayre one of the co-owners of Salsoul Records an agreement was reached. Loleatta would sing Relight My Fire and Dan would produce Love Sensation in 1980. To arrange the song Norman Harris of the legendary Baker, Harris, Young rhythm section and a member of M.F.S.B. and in 1979, a member of The Salsoul Orchestra would arrange the track. Norman would bring in many members of M.F.S.B. for the recording of Relight My Fire. With M.F.S.B. accompanying Loleatta, including the percussive skills of Larry Washington an eight-minute Magnus Opus took shape. However, Loleatta Holloway wasn’t the only big-name to feature on Relight My Fire.
Among the other big-names to feature on Relight My Fire. Stevie Wonder, who plays harmonica on Hands Down, which opens Relight My Fire. Edgar Winter an old colleague of Dan’s from The Edgar Winter Band plays alto saxophone. The other personnel that appear on Relight My Fire include drummer Brian Blake, Craig Peyton on electric vibes, conga player Jimmy Maelens and guitarists G.E. Smith and Phil Houghton. Dan a true multi-instrumentalist plays keyboards, bass, guitar, drums and sings lead and backing vocals. Once Relight My Fire was recorded the whole album was remixed was remixed by John Luongo and Michael Barbiero. Their Progressive Mix of Relight My Fire, which features on this rerelease is perceived as the classic mix. This was after all, the era of the DJ-remixer and they were now remixing not just single tracks, but whole albums. Now that Relight My Fire was recorded and remixed, it was ready for release. Before that, this hugely innovative single Relight My Fire had to be promoted.
With Relight My Fire recorded and the title-track remixed, the single was heavily promoted in clubs. DJs like Larry Levan and Frankie Crocker instantly, saw that this was an innovative track and one that could be huge. Suddenly, DJs wanted to remix the track. So did John Luongo who’d mixed Relight My Fire with Michael Barbiero. He decided he’d like to remix Relight My Fire and came up with another classic mix that features on the rerelease the Historical 1979 remix. Like the original version of Relight My Fire it would prove to be huge, but sadly, not the huge commercial success that people thought. Lady Luck decided to intervene and suddenly disco sucked.
By the time Relight My Fire was ready for release, disco’s popularity was waning. The backlash of the Disco Sucks’ movement was being felt. Disco was no longer flavor of the month, with many record companies not even releasing disco music, and disco artists’ releases selling badly. It seemed Relight My Fire was the wrong album at the wrong time. What didn’t help was that many radio DJs had loved Dan’s work with The Edgar Winter Group and felt he’d sold out by releasing disco music. Relight My Fire didn’t get the airplay it deserved. On the release of Relight My Fire as a single, it failed to chart in both the UK and US. Its only success was in the US Dance Charts, where the original and John Luongo’s Historical 1979 remix both reached number one on the US Dance Charts. The only single from Relight My Fire to chart was Hands Down, which reached number twenty-six in the US Dance Charts. On the release of the album in 1979, Relight My Fire only reached number 189 in the US Billboard 200 and number sixty-seven in the US R&B Charts. For everyone concerned, this must have been a crushing blow. After all, here was Dan Hartman’s disco epic, derailed by the Disco Sucks backlash. Despite that, Relight My Fire has since become a true, timeless disco classic. Similarly, Dan Hartman has quite rightly become a legend of disco, as you’ll realize when I tell you about the music on Relight My Fire.
Opening Relight My Fire is Hands Down, which features none other than Stevie Wonder on harmonica and Edgar Winter on alto saxophone. From the opening bars, this is joyous, good-time party music, with poppy hooks in plentiful supply. Pounding drums, percussion and a blazing saxophone usher in Dan’s joyful vocal as this hook-laden track gets underway. Dan’s accompanied by joyous harmonies and handclaps accompanying him. This punchy arrangement is musical perection. Chiming guitars help the pounding rhythm section drive the arrangement along, as they provide the track’s heartbeat. They’re helped by dramatic bursts of keyboards, percussion, harmonies and handclaps that help create the track’s good-time party sound. It’s just an irresistible explosion of happiness. Stevie’s harmonica and Edgar’s saxophone trade musical blows towards the end of this track. They help add the icing to this delicious musical cake, which has poppy hooks aplenty.
As Love Strong opens, it’s to applause, as if Dan’s still basking in the acclaim of the opening track. The track is made to sound as if it’s recorded live. Dan becomes a preacher, the audience his believers. His voice is higher, sounding not unlike Michael Jackson. Indeed, the whole song sounds like something Michael Jackson should’ve recorded. With a thunderous beat, rock tinged guitars, soaring harmonies and banks of keyboards accompanying him, Dan fuses rock, disco and drama. It’s one of these tracks where you’re swept along by the arrangement. Gradually, it reveals its charms and subtleties, the drama growing and the song getting better over the four minutes. That pounding beat is omnipresent, while harmonies sweep in, rocky guitars, keyboards and Dan’s vocal add to the theatre and spectacle of this musical soundscape, where genres and influences are seamlessly fused.
Quite simply, Relight My Fire is Dan’s Magnus Opus. This is a near ten-minute innovative masterpiece arranged by Norman Harris and featuring Loleatta Holloway’s vocal prowess. From the opening bars, the tension builds. Philly’s finest musicians do what they’re so good at, making great music. With a meandering piano opening the track, you’ve no idea what’s about to unfold. The pulsating beat joins the mix. Soon, an explosion of synths, percussion, vibes, dancing strings and rasping horns unite. They build and build the drama for over three minutes, becoming like an unstoppable, melodic, musical juggernaut. Guitars and a pounding rhythm signal the arrival of Dan’s powerful vocal. As it reaches a crescendo, he’s joined by lush, shivering strings, harmonies and growling horns. Soon, it’s like riding a joyous, dramatic, musical roller-coaster. All you can do is sit back and enjoy the ride. The only problem is keeping still. It’s impossible. You can’t. You’re swept away amidst the shivering strings, pounding beat, cascading harmonies and rasping horns. Then there’s Loleattta’s sassy, vampish vocal that accompanies Dan. Does disco get any better or more dramatic? That’s just the finishing touch to this timeless, multi-layered disco classic, that’s been lighting up dance-floors since 1979 and will continue to do so.
After a true epic track like Relight My Fire, it’s almost as if anything else will be an anticlimax. Dan doesn’t disappoint though. He unleashes Just For You, another slice of good-time, party music and becomes like a one-man band, playing every instrument except the congas. Like other tracks, a pounding rhythm section and piano are at the heart of the action, while congas, harmonies and Dan’s powerful, uplifting vocal drives the arrangement along at breakneck. Backing vocalists answer his call, while flourishes of piano add to the track’s uplifting, good-time party sound. This is definitely the album you want as the soundtrack for your next party. Making a good thing even better, is Dan’s virtuoso, jazzy performance on the piano, with punchy harmonies accompanying him. Again, poppy hooks are in plentiful supply, while Dan’s joyous, good-time, party music is guaranteed to make put a smile on your face and make your party swing.
I Love Makin’ Music could be Dan Hartman’s theme tune, given how prolific an artist he was. The tempo drops slightly, but Phil Houghton’s wah-wah guitar, Larry Washington’s congas and Craig Peyton’s electric vibes ensure this is another slice of joyful, good-time music. Dan’s vocal is sultry and sassy, with the constant pounding beat and growling horns accompanying him. Phil adds the unmistakable sound of his wah-wah guitar, while soulful harmonies interject. Later, Larry Washington’s congas and Craig’s vibes punctuate the arrangement as disco, funk and soulful harmonies are fused. This results in another hook-laden slice irresistibly catchy music from Dan Hartman.
Closing Relight My Fire is Free Ride a track that instantly grabs your attention. Guitars licks that sound as if they belong on a Chic album are joined by dramatic bursts of drums and with that, the track bursts into life. Dan’s lead vocal is accompanied by backing vocals while a driving, dance-floor arrangement unfolds. Searing, sizzling guitar, percussion and congas accompany his vocal, while electric vibes add to the drama. Rocky guitars and piano both play their part in the dramatic, pounding arrangement as soaring harmonies join the fray. It’s another breathtaking musical roller-coaster ride, one that lasts seven-minutes, with twists and turns aplenty in-store. During that journey, Dan fuses rock, funk, soul and of course disco, adding in plenty of poppy hooks and powerful, joyous vocals.
Although Dan Hartman’s third album Relight My Fire only lasts six songs, they’re six slices of pop perfection set to a pulsating disco beat. It’s uptempo, uplifting and joyous music, designed to put a smile on your face and get you up on your feet dancing. Sadly, Dan was just a year too late in releasing Relight My Fire. If he’d released Relight My Fire in 1978, not 1979, then we’d be talking about Relight My Fire as one of disco’s Magnus Opus’. Unfortunately, disco’s bubble had burst by the time Relight My Fire was released. By then, disco had lost its popularity and disco was something of a musical pariah. So, when Relight My Fire was released, it wasn’t to critical acclaim and commercial success, it was into a very different musical landscape. Now thirty-three years later, we’ve the opportunity to reassess Relight My Fire and give it the critical acclaim it quite rightly deserves.
Each of the six tracks are packed full of poppy hooks and designed to stick in your memory. Opening with Hands Down, Relight My Fire continues on its journey through good-time, party music. Love Strong sees Dan the preacher basking in deserved applause, before the album’s centrepiece and masterpiece Relight My Fire. It’s a complex, multilayered track which is like a musical roller-coaster featuring Loleatta Holloway and Dan vamping their way through the ten-minute track. After that comes three more hook-laden slices of good-time, party music, Just For You, I Love Makin’ Music and Free Ride, which closes Relight My Fire. However, that isn’t the end of both versions of Relight My Fire.
Both BBR Records and Purpose Music Vaults versions of Relight My Fire have the same six bonus tracks. This includes the Historical 1979 remix and the Progressive Remix of Relight My Fire. These six tracks and Relight My Fire. So there’s nothing between them. It’s literally a toss of the coin. The sound quality is good on both versions. They bring to life Dan Hartman’s disco Magnus Opus, and its timeless, joyous good-time music, which is full of poppy hooks aplenty. Thirty-three years after its original release in 1979, Dan Hartman’s Relight My Fire is back and sounds better than ever and is perfect music for your next party. Just remember to clear your floor beforehand, as Dan Hartman’s Relight My Fire will get your party started and make sure it goes with a swing. Standout Tracks: Hands Down, Relight My Fire, Just For You and Free Ride.
DAN HARTMAN-RELIGHT MY FIRE.
LIGHTNIN’ SLIM-HIGH AND LOW DOWN.
LIGHTNIN’ SLIM-HIGH AND LOW DOWN.
When Lightnin’ Slim recorded his 1971 album High and Low Down, it only took three days to record the album. There’s a good reason for this. Three days holidays was all Lightnin’ Slim could get from the lock factory he was working in, in Pontiac, Michigan. However, for three days in Muscle Shoals, Lightnin’ Slim was back doing what he was born to do, play the blues.
Accompanied by the legendary Muscle Shoals Rhythm Section and what became The Muscle Shoal Horns, the sixty-one year old Lightnin’ Slim recorded his comeback album. His career had stalled and Lightnin’ Slim was reduced to the 9 to 5 grind of working in a lock factory. That’s until Swamp Dogg decided to rejuvenate his career.
By the early seventies, it was apparent Swamp Dogg had the Midas touch. Previously, he’d rejuvenated the career of several artists. Swamp Dogg was a songwriter, musicians and producer, who’d established a reputation as one of the most talented producers of that time. So, Swamp Dogg was the perfect producer to rejuvenate the career of Louisiana Slim, the Godfather of the gutbucket blues. However, would High and Low Down, which was recently rereleased by Alive Natural Sound Records rejuvenate Lightnin’ Slim’s career? That’s what I’ll tell you, after I’ve told you about Lightnin’ Slim’s career.
It was March 1913, that Lightnin’ Slim was born Otis V. Hicks. He was born and grew up on a farm on the outskirts of St. Louis, Missouri. Lightnin’ Slim lived on the farm until he was thirteen, when his family moved to Baton Rouge. By then, Lightnin’ Slim had been taught to play guitar by his elder brother, Layfield. This lead to Lightnin’ Slim playing in bars in the Louisiana area. It wasn’t until 1954 that Lightnin’ Slim made his debut.
That was in 1954, when Lightnin’ Slim released Bad Luck Blues for Jay D. Miller’s Excello Records. This was the label Lightnin’ Slim called home for the next twelve years. Essentially, he was with Excello Records for the majority of his career. That’s where he released his 1960 debut album Rooster Blues. Five years later, in 1965, Lightnin’ Slim released his sophomore album Bell Ringer. Then a year later, Lightnin’ Slim left Excello Records and his career stalled.
For the next four years, Lightnin’ Slim dropped out of music. When he was discovered by Fred Reif in 1970, Lightnin’ Slim was down on his luck. Lightnin’ Slim was renting a room from Slim Harpo’s sister and working in a foundry in Pontiac, Michigan. This wasn’t good for his hands. He was in constant pain when he made his comeback.
This comeback took place at the University of Chicago Folk Festival in 1971. Accompanying Lightnin’ Slim was Lazy Lester, who Lightnin’ Slim had collaborated with in the past. The comeback concert lead to Lightnin’ Slim resigning to Excello Records. So, Lightnin’ Slim took three days off from his job in the foundry and headed to Muscle Shoals, where he’d record an album with a crack band of musicians and producer Swamp Dogg.
For High and Low Down, Lightnin’ Slim penned four songs, Bad Luck Blues, G.I. Blues, That’s All Right and Voodoo Blues. Lightnin’ Slim covered three Willie Dixon songs, My Babe, Oh Baby and Crazy ‘Bout You Baby. He covered Chuck Berry’s Things I Used To Do and Jerry West’s Rooster Blues. The other track was the Swamp Dogg penned Good Morning Heartaches. These ten tracks became High and Low, which was recorded in Muscle Shoals.
In the studios in Muscle Shoals, the legendary Muscle Shoals Rhythm Section and what became the Muscle Shoal Horns accompanied Lightnin’ Slim. His rhythm section included bassist Bob Wary, drummer Fred Proudly and guitarist Jesse Carr. Tippy Armstrong played harmonica and Clayton Ivy piano and organ. The horn section included Charles Rose, Mike Stough, Sonny Royal and Stacy Goss. Lightnin’ Slim played guitar and sang lead vocals, while Swamp Dogg produced what became High and Low Down. It was released in 1971.
On the release of High and Low Down, the album opinions were divided about the album. Maybe they didn’t understand that Swamp Dogg was reinventing Lightnin’ Slim. He was a delta blues singer, and the delta blues was no longer as popular. So, unless Lightnin’ Slim’s music evolved, it risked becoming irrelevant. Ironically, Lightnin’ Slim’s makeover wasn’t a commercial success. The reinvention of Lightnin’ Slim hadn’t worked. After that, Lightnin’ Slim returned to work in the foundry and died three years later. This makes High and Low Down a poignant swan-song, which I’ll tell you about.
Opening High and Low Down is Rooster Blues, which literally bursts into life. Accompanied by stabs of blazing horns, the tightest of rhythm sections and a blistering guitar solo, Lightnin’ Slim unleashes a vocal full of innuendo. Then some honky tonk piano is thrown into the mix. Soon, the band unleash a glorious bluesy arrangement. A melange of horns, rhythm section, driving piano and guitars accompany Lightnin’ Slim. This seems to spur him on, before the track reaches a glorious crescendo.
Slow, moody and bluesy describes Things I Used To Do. A melancholy piano is joined by a shuffling rhythm section and reverberating guitar. Lightnin’ Slim’s vocal is despondent and full of misery. Heartbroken, he pleads “please don’t go.” Stabs of braying horns, shimmering guitar and a piano masterclass from Clayton Ivy provide the the perfect backdrop to Lightnin’ Slim’s heartbroken vocal.
Bad Luck Blues sees Lightnin’ Slim return to the first song he ever recorded. It’s given a makeover. The rhythm section provide a moody, broody, pulsating backdrop. Clayton Ivy’s piano is panned left and the guitar panned right. Smack bang in the middle is Lightnin’ Slim’s lived-in, worldweary vocal. With a sense of resignation as he sings “if it wasn’t for bad luck, I wouldn’t have no love at all.” At just the right time, washes of Hammond organ are unleashed. This is perfect accompaniment to Lightnin’ Slim. He sounds as if he’s lived the lyrics, and somehow managed to survive them.
My Babe is a rocking bluesy track that many people will be familiar with. It was written by Willie Dixon. The band are determined to make the song swing. They unleash the blazing horns, a driving rhythm section and crystalline guitars. This should be the perfect backdrop for Lightnin’ Slim. He throws himself into the song. He tries to mix power and sass, and make the song swing. However, is voice isn’t as strong as it once was. There’s a fragility there. The result is a good version of a familiar track. Ten years before and Lightnin’ Slim would’ve strutted his way through the track.
G. I. Blues is one of three tracks Lightnin’ Slim wrote. As it begins, Lightnin’ Slim briefly returns to his delta blues’ roots. That’s until his band plug in. They provide a steady heartbeat, while chiming and searing, blistering guitars accompany Lightnin’ Slim’s despairing vocal. The cause of his despair is his partner who’s got the “G.I. Blues.” With a voice full of longing, his parting shot is I’m going to pray to Uncle Sam, give me some place in this army please.”
From the get-go, Lightnin’ Slim’s band unleash some moody, bluesy licks on Oh Baby. Providing the heartbeat are the rhythm section, while the horns bray and blaze. What’s different is the guitar. It’s fuzzy, wah-wahing its way across the arrangement. Some critics felt its inclusion was a mistake and it continues to divide opinion. Lightnin’ Slim delivers a sassy, needy vocal. This is what was needed on My Babe. Here, Lightnin’ Slim has dropped his vocal and is singing within himself. It’s one of his best efforts and spurs the band on. Horn and guitar solos play important parts in the track’s success.
That’s All Right was written by Lightnin’ Slim. Slow, moody and bluesy, describes this track, and Lightnin’ Slim’s vocal. He’s accompanied by a grinding rhythm section, rocky guitars and a harmonica solo from Tippy Armstrong. Later, a Hammond organ is dropped in as Swamp Dogg helps Lightnin’ Slim to give this familiar track a blues rock makeover.
The band build the drama as Crazy ‘Bout You Baby reveals its secrets. The rhythm section, growling horns and crystalline guitars set the scene for Lightnin’ Slim’s vocal. It’s frustrated, angry and heartbroken. Bursts of drums, stabs of horns and searing guitars match the anger and frustration in Lightnin’ Slim’s vocal. Just like other tracks, he gives vocal and guitar masterclasses. It’s as of he’s realised his future depended on the success of High and Low Down, so was playing and singing as if his future depended upon this album.
Good Morning Heartaches was the only track on High and Low Down that Swamp Dogg wrote. Having briefly drawn inspiration from the delta blues, a glorious slice of electric blues unfolds. A grinding rhythm section, searing guitars and harmonica join grizzled horns in driving the arrangement along. With the band in the groove, Lightnin’ Slim feeds of their energy. Sadness and despair fill his vocal, before the waking harmonica answers his call. Everything just falls into place and Lightnin’ Slim and his band create what’s the highlight of High and Low Down.
Voodoo Blues written by Lightnin’ Slim closes High and Low Down. The tempo is slow, with a despondent Lightnin’ Slim accompanied by piano, crystalline, chiming guitars and the rhythm section. His soul-baring vocal is full of emotion and heartbreak. Later, Jesse Carr and Lightnin’ Slim unleash some of the best guitar licks on the album. They take centre-stage,while the rhythm section mark time. You can only marvel at their playing which seems a fitting way to close High and Low Down.
While Lightnin’ Slim’s comeback album High and Low Down wasn’t a commercial success, it was proof that he still was one the most talented blues players in America. Sadly, Lady Luck hadn’t smiled upon him. He wasn’t even making a living playing the blues. Instead, he’d been working in a foundry since leaving Excello Records. This was hot, hard and dangerous work and affected Lightnin’ Slim’s health. His hands ached, which was a disaster for a guitarist. So when he was rediscovered by Fred Reif it must have been the answer to his prayers.
Accompanied by Lazy Lester, Lightnin’ Slim made his comeback at the University of Chicago Folk Festival. This lead to Lightnin’ Slim resigning to Excello Records. They brought in one of the hottest producers of the time, Swamp Dogg. He brought onboard some of the best musicians in Muscle Shoals. Accompanied by the legendary Muscle Shoals Rhythm Section and what became the Muscle Shoal Horns, the sixty-one year old Lightnin’ Slim recorded his comeback album High and Low Down which was recently rereleased by Alive Natural Sound Records. It saw Swamp Dogg reinvent Lightnin’ Slim.
High and Low Down was a fusion of delta and electric blues with jazz and rock. It saw Lightnin’ Slim follow in the footsteps of B.B. King. Lightnin’ Slim was able to showcase his lived-in, worldweary voice and his unmistakable guitar playing. Before the release of High and Low Down, great things were expected of the album. B.B. King who wrote the original sleeve-notes, sang High and Low Down’s praises. He was speaking as musician, music lover and former DJ. Sadly, he was wrong. High and Low Down sank without trace. Worse was to come for Lightnin’ Slim.
After the commercial failure of High and Low Down, Lightnin’ Slim continued to make a comeback. He continued playing live and toured America and Europe for the next three years. Then in 1974, aged just sixty-one Lightnin’ Slim died of stomach cancer. That day, one the five greatest blues musicians died. Lightnin’ Slim is up there with blues greats like Muddy Waters, Howlin’ Wolf, Little Walter and Sonny Boy Williamson. Sadly, Lightnin’ Slim didn’t enjoy the commercial success they did.
Despite his lack of success Lightnin’ Slim recorded some of the best blues music of the fifties and sixties at Excello Records. His back-catalogue is a musical treasure trove awaiting discovery. Part of that treasure trove is Lightnin’ Slim’s 1971 album High and Low Down, which is a hidden gem from the Godfather of the gutbucket blues. Standout Tracks: Things I Used To Do, Bad Luck Blues, Good Morning Heartaches and Voodoo Blues.
LIGHTNIN’ SLIM-HIGH AND LOW DOWN.
HARMONIA-MUSIK VON HARMONIA.
HARMONIA-MUSIK VON HARMONIA.
Forty years ago this month, German supergroup Harmonia released their debut album Musik Von Harmonia in 1974. It was released to critical acclaim and hailed a groundbreaking, genre-melting album. Musik Von Harmonia saw Harmonica fuse ambient music and Krautcock. This was unheard of, and akin to a musical revolution. Mind you, that’s not surprising, when you look at Harmonca’s personnel
Harmonia were founded in 1973, when members of two Krautrock giants, Cluster and Neu joined forces. Hans-Joachim Rodelius and Dieter Moebius had founded Cluster in 1971. Since then, they’d released two albums, 1971s Cluster and 1972s Cluster II. Both albums were a fusion of ambient, avant-garde, experimental and what became known as Krautrock. Although both albums were released to critical acclaim, like a lot of groundbreaking music, it wasn’t a commercial success. This was the same for the third member of Harmonia, Michael Rother, a member of Neu, another musical Pioneer.
By 1973, Klaus Dinger and decided to put their band on hold for a while. Neu! had just released their sophomore album Neu 2 in 1973. Just like their eponymous debut album, it wasn’t a commercial success. Whilst it too was released to critical acclaim, and perceived as groundbreaking, it wasn’t a commercial success. This was the final straw for Neu. It was just the latest setback.
Things had got so bad for Neu! that they’d run out money halfway through recording Neu 2. Necessity being the mother of invention, Neu took the songs they’d already recorded, and reworked them. Essentially, these tracks were some of the earliest remixes. These tracks were added to the ones Neu had already recorded and became Neu 2. Released in 1973, it was a case of a group being ahead of their time. So, Klaus Dinger and Michael Rotherd decided to put Neu on the back burner. This allowed Klaus and Michael to build their own studio in Forst, a small village in rural Germany. This was where Michael met Hans-Joachim Rodelius and Dieter Moebius.
Hans-Joachim and Dieter had been living in Forst for some time. They’d recorded their third album Zuckerzeit, but it wasn’t released until 1974. Cluster were establishing a reputation as a pioneering group. So were Neu! They were one of the founding father’s of Krautrock. So when Hans-Joachim and Dieter of Cluster decided to work with Michael Rother of Neu this was a tantalising prospect.
They called their new group Harmonia and began playing live. German music fans were won over by this new supergroup. Packed concert halls awaited Harmonia every night. Having played live and gotten to know each other as musicians, Harmonia began work on their debut album Musik Von Harmonia.
For their debut album Musik Von Harmonia the three members of Harmonia cowrote eight tracks. Recording of Musik Von Harmonia took place between June and November 1973. The three members of were multi-instrumentalists. Hans-Joachim played organ, piano, guitar and electric percussion. Dieter played synths, guitar and electric percussion. Michael played guitar, organ, piano and electric percussion. Harmonia was produced by the band and once it was completed, was released in January 1974.
On the release of Musik Von Harmonia in January 1974, critics realised that this was an important album. Critically acclaimed upon its release, Brian Eno was also a fan of Musik Von Harmonia. He called Harmonia “the world’s most important rock band.” Despite critics and artists realising that Musik Von Harmonia was a minor classic, the album wasn’t a commercial success. The problem was, Musik Von Harmonia wasn’t a commercial album. Just like Neu and Cluster’s first two albums, Musik Von Harmonia didn’t sell well. However, since then, just like Neu and Cluster’s first two albums, Musik Von Harmonia is perceived as classic album, one that’s influenced several generations of musicians. You’ll realise why when I tell you about Musik Von Harmonia.
Opening Musik Von Harmonia is Watussi. Rhythmic and hypnotic describes this track. Drums crack like pistols joining banks of synths. This is classic Krautrock, albeit with a twist. The twist is the ambient influence. In the background, ambient and experimental music are fused. Washes of synths, percussion and searing, blistering guitar combine with effects. This results in a mesmeric and innovative fusion of classic Krautrock with ambient, avant-garde and experimental music.
Sehr Kosmisch has a much more understated, subtle sound. It’s best described as an ambient soundscape. The music unfolds in waves, growing ever closes. The drama grows, as drums steadily pulsate. They’re akin to an army marching. Washes of synths are variously ethereal and jagged, meandering as their eerie, broody sound grows. As the arrangement progresses, the drama builds. Gone is the understated sound. There’s a still a hypnotic, pulsating sound to the dramatic arrangement. It still unfolds in waves as it builds to its crescendo, as Harmonia reinvent Krautrock with a groundbreaking track.
Sonnenschein explodes into life. Guitars reverberate, sound effects surround you and Harmonia are on the march again. As they march along, they continue to rewrite Krautrock’s rulebook. To do this, they draw inspiration from ambient, avant-garde, classical, experimental, Krautrock and world music. Hypnotic, grandiose, experimental, dramatic and impressive describes Harmonia as they continue their pioneering journey.
Dino is driven along by the drums, while guitars wah-wah and synths buzz and beep. Straight away, I can hear a similarity to Neu’s debut album. That’s thanks to the hypnotic groove created by the motorik beat which became a trademark of Kraurock. Although only half of Neu play on this track, Harmonia seem to be able to recreate classic Neu almost as good as the original group can.
Swathes of eerie, haunting synths open Ohrwurm. Add to this pizzicato strings and experimental guitar. Feedback hangs in the air, as the track takes on an avant-garde sound. It’s as if Harmonia are just jamming, seeing where this leads. This was what Can did. They called this spontaneous composition. By now, fuzzy guitars are sprayed across the arrangement. Menacingly, they hang in the air. So do the the jagged synths. It all becomes very avant-garde and experimental, but strangely melodic and compelling. Harmonia it seems, are determined to constantly reinvent their music.
Ahoi has an spacious, ambient sound. Just a melancholy keyboard and chiming guitar combine. They meander along, seemingly in no hurry. Space is left, as the keyboards and guitar keep each other company. The guitar reverberates into the distance, while a wistful piano poses questions that are never answered. Later, it’s all change. Waves of dramatic music threaten to assail you. Urgent strings, hypnotic keyboards and a myriad of percussion swagger along. By then, the arrangement veers towards discordant and disturbing, but instead, remains the rights side of dramatic. A song of two parts, it shows two equally enthralling sides to Harmonia’s music.
Veterano is a dramatic, driving fusion of Krautrock, psychedelia and rock. Synths, crunchy, punchy drums and mesmeric keyboards unite. They drive the arrangement along. Meanwhile guitars drift in and out. They’re panned hard right, and sometimes, sound hesitant. Other times they’re responsible for some peerless solos. A myriad of percussion adds to the hypnotic nature of this driving, urgent arrangement that forty years later, is truly timeless.
Hausmusik closes Musik Von Harmonia. A vintages sounding keyboard plays in the distant. It sounds like a reminder of another age. Gradually, it draws closer. Washes of synths, percussion and wailing guitars are panned right to left assailing and surrounding you. It’s as if Harmonia are determined to close their debut album on a high. This they do, mixing vintage and space-age sounds to create a soundscape that’s innovative, ethereal, multilayered and full of nuances and subtleties.
With Cluster and Neu on hold, three of the most innovative musicians of a generation joined forces to create Harmonia. Having played live, they set about recording their debut album Musik Von Harmonia. On its release, Musik Von Harmonia was critically acclaimed, but wasn’t commercially successful. For the members of Cluster and Neu, they must have been used to this. Both groups had released two albums, and although they were groundbreaking classics, weren’t commercially successful. The problem was Cluster, Neu and Harmonia were ahead of their time. People neither understood, nor appreciated these albums. Musik Von Harmonia was just the latest album to suffer this fate. Belatedly, these albums have received the credit they deserved.
Forty years after its release, Musik Von Harmonia is perceived as a groundbreaking album that’s a Krautrock classic. Harmonia fused ambient and Krautrock on Musik Von Harmonia. They also added elements of avant-garde, classical, experimental, psychedelia and rock. The result was an ambitious groundbreaking, genre-melting album, Musik Von Harmonia. It’s best described as broody, moody, eerie, ethereal, space-age, cinematic, mesmeric and hypnotic. Musik Von Harmonia is a multilayered album full of nuances, subtleties and secrets. That’s just a few of the reasons why Musik Von Harmonia is a Krautrock classic, that was way ahead of its time and belongs in any record collection. Standout Tracks: Watussi, Sehr Kosmisch, Ahoi and Veterano.
HARMONIA-MUSIK VON HARMONIA.
LOUISIANA RED-DEAD STRAY DOG.
LOUISIANA RED-DEAD STRAY DOG.
When eventually, the history of the blues is written, Louisiana Red’s name will loom large. His career began in 1949, when when he first recorded for Chess Records. Then in 1963, Louisiana Red released his debut album The Lowdown Back Porch Blues. That was the first of over fifty albums Louisiana released during the next five decades. One of these albums was Dead Stray Dog, which was released in 1976 on the Blue Labor label. Dead Stray Dog was released on 6th January 2014 by Fat Possum Records. Before I tell you about Dead Stray Dog, I’ll tell you about Louisiana Red’s career.
Louisiana Red was born Iverson Minter, in March 1932, in Bessemer, Alabama. Tragedy struck early in Louisiana Red’s life. His mother died of pneumonia not longer after giving birth. Then when Louisiana Red was five, his father was lynched by the Klu Klux Klan. After the death of his father, Louisiana Red lived with a variety of relations. This meant moving throughout America. During this period, Louisiana Red learnt to play guitar and harmonica. By 1949, he made his recording debut for Chess Records.
Having made his recording debut, Louisiana Red decided to join the army. He trained with the 82nd Airborne and became a paratrooper. By 1951, Louisiana Red was sent to Korea as part of the 3rd Infantry Division. A year later, Louisiana Red return homed and continued his career as a musician.
After leaving the army, Louisiana Red recorded another single in 1952. This time, when he recorded a single for Checker Records, Louisiana Red was billed as Rocky Fuller. Then towards the end of the fifties, Louisiana was part of John Lee Hooker’s band. He spent two years touring with John Lee Hooker. This was good experience when Louisiana Red recorded his debut album.
It was 1963 when Louisiana Red recorded his debut album Lowdown Back Porch Blues. Little did anyone realise that this was the first of over fifty albums Louisiana Red would record. He would become one of the most prolific blues artists. Later in 1963, Louisiana Red released his sophomore album Seventh Son. A year later, Louisiana Red enjoyed a his single with I’m Too Poor To Die, which reached number thirty in the US R&B Charts. Throughout the rest of the sixties Louisiana Red was just as busy, constantly touring and recording. There was no letup as the seventies dawned.
By 1972, Louisiana Red was signed to Atco Records, a subsidiary of Atlantic Records. That year, Louisiana Red released Louisiana Red Sings The Blues. It was the only album he released for Atco. A years later, Louisiana Red’s career had stalled.
After Louisiana Red Sings The Blues, Louisiana Red’s career seemed to be going nowhere. So he contacted Kent Cooper at Blue Labor Records in 1973. Things had got so band for Louisiana Red, that he wasn’t even making a living as a musician. He was working in a factory making barrels in New Jersey. That’s when Louisiana Red decided he call Kent Cooper.
When Kent heard Louisiana Red, he realised that he sounded similar to Muddy Waters. The similarities were uncanny. However, the problem was getting Louisiana Red to find his own voice. Kent wanted Louisiana Red to forget about sounding like Muddy Waters. That would allow Louisiana Red to enjoy a long and successful career. So, Kent gave Louisiana Red a pile of songs he’d written, and encouraged him to find his own voice. This was important. Louisiana Red’s career was at stake. Eventually, they found real Louisiana Red and he signed to Blue Labor Records.
This was the perfect place for Louisiana Red. Here was a label run by two musicians. Kent Cooper was a jazz arranger and Helner Stadler was a composer. They realised that Louisiana Red was underrated blues player. John and Kent felt Louisiana Red was as good as John Lee Hooker. So, they were determined to get the best out of him for his Blue Labor debut. This they did. Sweet Blood Call, sees Louisiana Red at his very best, breathing life and meaning into the music. All the time, his ability to improvise makes Louisiana Red stand out from the rest. The title-track would go on to be the song that’s synonymous with Louisiana Red. It seemed at last, Louisiana Red had realised his potential. Would he do it again on Dead Stray Dog, his second album for Blue Labor.
For Dead Stray Dog, Kent Cooper played a huge part in the album. He cowrote nine of the twelve tracks with Louisiana Red, while Don Jonson and Kent penned Going Train Blues. Louisiana Red wrote Caught My Man and Gone and Kent wrote Riding On A Tall White Horse. Recording took just two days. The first session was on February 10th 1975 and the second and final session was on 13th March 1975. During these two sessions, it was just Louisiana Red with his acoustic and slide guitar. Producing Dead Stray Dog was Kent and Heiner. Once it was completed, Dead Stray Dog was released in 1976.
On its release in 1976, Dead Stray Dog wasn’t a commercial success. It was well received, with the real Louisiana Red shining through. The only problem was, blues music was no longer as popular. Since then, Dead Stray Dog has never been rereleased on CD. That’s until Fat Possum Records rereleased it recently. Is Dead Stray Dog a hidden gem from Louisiana Red? That’s what I’ll tell you.
Dead Stray Dog opens with the title-track. Delta and country blues are combined as Louisiana Red unleashes a powerful, frustrated vocal. He’s accompanied by his trusty slide guitar, as Louisiana Red makes the lyrics sound very personal. Especially when he sings: “if you’ve got nowhere to go, how can you call that being free?” It’s as if he can relate to the broken promises and having nothing and nowhere to go. This results in a powerful slice of vintage blues, that comes to life thanks to Louisiana Red’s despairing vocal.
As New Jersey Women unfolds, Louisiana Red’s fingers glide up and down the fretboard, making his guitar sing. That sets the scene for Louisiana Red’s angry vocal. He sings about a New Jersey Woman who mistreated him. So vivid are the pictures Louisiana Red paints that you can picture them unfolding before your eyes.
Slow and moody, Held Up In One Town features just the slide guitar before Louisiana Red unleashes a vampish vocal. He mixes drama and power, as the real Louisiana Red shines through. He sounds quite different from his early recordings. His gravelly vocal sings of escaping town, but there’s a woman who he keeps coming back to. It’s one of his best vocals, matched by a slide guitar masterclass.
A meandering, pensive guitar opens Bad Case Of The Blues. Then Louisiana Red’s powerhouse of a vocal enters. It rasps and has a lived-in, all seeing quality. That’s fitting, given Louisiana Red’s singing about a cheating woman, whose betrayed him leaving him with a Bad Case Of The Blues. Anger, emotion and frustration shine through in Louisiana Red’s vocal.
While the guitar weaves its way across the arrangement to Caught My Man And Gone. Louisiana Red gets the chance to unleash some glorious bluesy licks. As a guitar player, he’s often underrated. Here, his talent shines through. During his solo, he replicates the sound of a train. Then his playing matches the anger and frustration in his vocal. He’s angry because his partner’s left him alone. His pride’s been hurt, but by the end of the track, bravado shines through as Louisiana Red doesn’t want people to realise he’s been hurt. This says much about how in years gone by, men weren’t “allowed” or “meant” to show their feelings.
The guitar licks that open My Heart’s A Loser could just as easily come from an early blues record. What differs is the quality of the recording. Here, the quality is stunning. This allows the listener to hear a despairing, frustrated Louisiana Red. He’s got the shakes, because he’s trying to give up the whiskey he loves. His vocal is a powerful roar, while his guitar playing is peerless. Seamlessly, he switches between strumming, plucking and playing the slide. Quite simply, Louisiana Red is one of the most underrated guitarists in the history of blues music.
Riding On A Tall White Horse sees Louisiana Red’s vocal dominate the arrangement. His guitar takes back seat, as he plays sparse, repetitive licks. Later, as his vocal drops out, he unleashes some of his trademark slide guitar. That’s just an irresistible taste of what Louisiana Red’s capable of. Soon, his vocal returns and Louisiana Red unleashes another vocal powerhouse.
Moody and broody describes the introduction to Cold White Sheet. There’s a sense of melancholy and longing as Louisiana Red sings: “ I’m going back to the country, where the women wear their dresses long.” It’s as if Louisiana Red is looking for a rural idyl. Looking back to America in 1975, that rural idyl didn’t exist. It probably didn’t exist even when Louisiana Red was young. Having said that, it makes for an evocative, if controversial song. After all, the times Louisiana Red is singing about was a time of poverty, racism and disease.
Train songs have long been a favourite of blues singers. So it’s no surprise there’s one on Dead Stray Dog, Going Train Blues. Louisiana Red is accompanied by a driving guitar. He plays it at lighting speed, replicating the sound of a train, while unleashing a vocal that’s a mixture of power and emotion. All the time, he’s contemplates leaving “this town.”
Back To The Road Again finds a restless Louisiana Red thinking of leaving town. He’s discovered his partner has been cheating on him. Anger, frustration and sadness fill his vocal. It’s loud and emotive, while his chiming guitar is subtle. What follows is a soul-baring vocal and blues guitar masterclass from Louisiana Red.
Just a lone guitar sets the scene for Louisiana Red’s vocal on My Baby’s Coming Home. His partner has been gone for two weeks, due to his cheating ways. Now he realises he loves her, he doesn’t if she’ll stay. As he tells this tale, worry and emotion are ever-present. He realises he might just be about to loose her. Sadly, only now does he appreciate what he had and what he could’ve lost.
Cold Feeling closes Dead Stray Dog. This track could be the followup to the previous one. A mournful, heartbroken Louisiana Red realises he’s lost the one he loves. She’s cheated on him and their relationship is over. Accompanied by his trusty guitar, what follows in an outpouring of emotion at the love he’s lost. This seems to spur Louisiana Red on to unleash some peerless bluesy licks, closing Dead Stray Dog on an emotive high.
Whilst Dead Stray Dog didn’t enjoy the commercial success or critical acclaim of his previous album Blood Sweet Call. It’s a hidden gem that features the real Louisiana Red. With a little help from Kent Cooper, Louisiana Red found his own voice. Previously, he’d sounded just like Muddy Waters. It was as if Louisiana Red was copying Muddy Waters. That wasn’t going to result in a long and successful career for Louisiana Red. So, down on his luck, he called Kent Cooper and the pair started working together.
Dead Stray Dog was the second in a quartet of albums Louisiana Red recorded for Blue Labor Records. The music was a combination of delta and country blues. Many of the songs were about betrayal or love gone wrong. Some songs harked back to a simpler time. This includes Cold White Sheet, where Louisiana Red sounds like he’s in the wrong movie. He sounds as if modern life isn’t for him. Life’s no longer what it used to be. Others songs are hard luck stories, featuring characters whose lives had taken a wrong turning. This was ironic. Before signing to Blue Labor Records, Louisiana Red wasn’t even working as a musician. He was working in a factory. Thankfully, Kent Cooper rescued Louisiana Red and maybe even his career.
It marked a resurgence in Louisiana Red’s career. He recorded four albums for Blue Labor Records, and after that, enjoyed a long and successful career. Louisiana Red toured and recorded right up until his death in 2012, aged eighty. By then, Louisiana Red had been recognised as one of the legends of blues music. Dead Stray Dog which was rereleased by Fat Possum Records, is just one of over fifty albums Louisiana Red recorded, and is the perfect introduction to his sixty-three year career.
LOUISIANA RED-DEAD STRAY DOG.
THE BLUE NILE-HIGH.
THE BLUE NILE-HIGH.
Previously, I’ve described The Blue Nile as enigmatic, reluctant and contrarian. They could’ve and should’ve been the biggest band of their generation. However, The Blue Nile were always determined to do things their way. The Blue Nile are the complete opposite of most bands. They’re publicity shy. Describing the Blue Nile as publicity shy, is an understatement.
Indeed, since Paul Buchanan, Robert Bell and Paul Joseph Moore formed the Blue Nile in 1981, they’ve been one of the most low-profile bands in musical history. It seems that when they formed thirty-three years ago, the Blue Nile ticked the “no publicity” box. This has proved a double-edged sword, and resulted in the Blue Nile becoming one of the most enigmatic groups ever. They released just a quartet of albums during their career. Their finale was High, which saw The Blue Nile call time on their career. Even then, The Blue Nile never knew it was farewell. That proved to be the case. Before I tell you about High, I’ll tell you about The Blue Nile’s career.
The Blue Nile were formed in 1981, when two friends Paul Buchanan and Robert Bell, met Paul Joseph Moore. They all had one thing in common, they were graduates of Glasgow University. Paul and Robert had both been in a band before, Night By Night. However, they type of music Night By Night performed was not deemed commercial enough, and they were unable to gain a recording contract. This lead to the formation of The Blue Nile
Once The Blue Nile were formed, they set up their own record label Peppermint Records. It was on Peppermint Records that The Blue Nile released their debut single, I Love This Life. This single was then picked up and re-released on the RSO label. Unfortunately for The Blue Nile RSO became part of the Polygram label and I Love This Life disappeared without trace. Despite this setback, The Blue Nile kept writing and recording music.
Following the merger of RSO with Polygram, The Blue Nile continued to hone their sound. They wrote and recorded songs. Some of that material would later be found on A Walk Across the Rooftops. Then fate intervened and The Blue Nile met the man some people refer to as the fourth member of the band, recording engineer Calum Malcolm
When Callum heard The Blue Nile’s music, he alerted Linn Electronics. This was to prove a fortuitous break for the band. Linn gave The Blue Nile money to record a song that they could use to demonstrate the quality of Linn’s top-class stereo products. However, when Linn heard the track they were so pleased that decided to set up their own record label to release A Walk Across the Rooftops, The Blue Nile’s debut album.
Although the formation of Linn allowed the band to finally release their debut album A Walk Across the Rooftops., Paul later speculated whether Linn was the right label for The Blue Nile? Paul said that he felt that Linn did not operate like a record label. However, he conceded that, during that period, The Blue Nile were not like a band. So, essentially, this was a match made in heaven for the release of A Walk Across the Rooftops.
On the release of A Walk Across the Rooftops, it was released to critical acclaim. Critics described the album as a minor classic. A Walk Across the Rooftops was described as ethereal, evocative, soulful and soul-baring. It also featured the vocals of troubled troubadour Paul Buchanan. Despite the critical acclaim A Walk Across the Rooftops enjoyed, it wasn’t a commercial success, reaching just number eight in the UK. However, since the A Walk Across the Rooftops has been recognised as a classic album. So has the followup Hats.
Unlike most bands, The Blue Nile weren’t in any rush to release their sophomore album Hats. There was a five year gap between A Walk Across the Rooftops and Hats. It was worth the wait. The Blue Nile had done it again. Hats was a classic. featuring seven tracks, written by Paul Buchanan, Glasgow’s answer to Frank Sinatra He’s a tortured troubadour, whose voice sounds as if he’s lived a thousand lives. Producing Hats was a group effort, with Paul, Robert and P.J. taking charge of production duties. Guiding them, was Callum Malcolm. On the release of Hats, British and American audiences proved more discerning and appreciative of the Blue Nile’s sophomore album Hats.
On the release of Hats in the UK in 1989, it was critically acclaimed and commercial success, reaching number twelve in the UK. Then when it was released in America in 1990, audiences seemed to “get” Hats. Not only did it reach number 108 in the US Billboard 200 Charts, but The Downtown Lights reached number ten in the US Modern Rock Tracks charts. While this was a small crumb of comfort for the Blue Nile, in the UK, they remained a well kept secret. Since the release of Hats, like their debut album A Walk Across the Rooftops it’s become a minor classic. With The Blue Nile making a breakthrough in America, most bands would’ve been keen to build on this and released another album before long. Not The Blue Nile.
Seven long years passed, where Blue Nile fans wondered what had become of Glasgow’s most enigmatic trio. Then the unthinkable happened. The Blue Nile signed a million Dollar deal with Warner Bros. and along came Peace At Last, released in 1996. Gone was the sound of A Walk Across the Rooftops and Hats, with the America-influenced Peace At Last showing a different side to the Blue Nile and their music. Paul, Robert and P.J. were back, but it was a different sound. One constant was Paul’s worldweary vocal. He was still the tortured soul, who wore his heart on his sleeve. Opinions were divided among fans and critics, although it reached number thirteen in the UK. Little did anyone know that Peace At Last was their penultimate album. However, High, The Blue Nile’s final album was a long time coming.
It was eight years before The Blue Nile released another album. High was released in 2004. By then, many people had given up hope that we’d ever hear from The Blue Nile again. The band had been leading separate lives. While P.J. and Robert were content with their lives in the West End of Glasgow, while Paul had been spending his time between Glasgow and Hollywood. Now they were back and ready to record their fourth album, High.
High features nine songs written by Paul. P.J. played keyboards and synths, Robert bass and synths and Paul guitar. Callum Malcolm was the engineer and The Blue Nile produced High, which was released in August 2004.
Eight years after Peace At Last, High was a much more grownup album. Songs of family life and heartbreak sat side-by-side. Paul’s vocals were worldweary and knowing, while the music is emotive, ethereal and evocative. Critics love High. So did music lovers. High reached number ten in the UK, proving their most successful album, which I’ll tell you about.
Opening High is The Days Of Our Lives. Stabs of hypnotic, melancholy keyboards are repeated throughout the track. They provide the backdrop to Paul’s worldweary vocal. Soon, washes of synths, swathes of string and the occasional bursts of funky bass can be heard. Later, drums crack, adding to the drama, while Paul’s vocal is wistful and full of pathos. Just like he’s done so often, he makes the lyrics come alive, as he looks backwards at the past. This proves fitting, as High was their swan-song.
I Would Never was the first released from High. It has an understated, lush arrangement. That comes courtesy of washes of crystalline synths, acoustic guitar and pulsating bass. Then there’s Paul’s vocal. Glasgow’s troubled troubadour delivers a heartfelt vocal as he assures his partner “I Would Never turn my back on.” Quite simply, this is a beautiful ballad from a grown up Blue Nile.
Broken Loves opens with Paul’s half-spoken vocal accompanied by stabs of urgent keyboards. Frustration and emotion fill his voice as it grows in power and despair. The despair is caused by a relationship that’s all but over. This results in some soul searching from Paul. He paints pictures, reminiscing about their pasts. Memories from childhood seem to trigger an outpouring of emotion. His vocal becomes needy, and he’s determined they don’t give up on their relationship. Dramatic, emotive and heartbreaking, it’s an evocative description of a relationship gone wrong.
Just a lone acoustic guitar opens Because Of Toledo, as Paul delivers a world-weary vocal. Heartbroken and despondent, his life’s lost meaning and direction, because his relationship has ended. Again, Paul makes the lyrics come to life. They take on a cinematic quality. Soon, pictures unfold before your eyes, a heartbroken Paul sitting despondent, in the motel he sings about during this heartbreakingly beautiful breakup song.
Ethereal describes the introduction of She Saw The World. That’s before the tempo and drama increases. Driven along by drums, keyboards and washes of synths Paul delivers an urgent emotive vocal. Memories come flooding back as he reminisces about two people who drifted apart. Sadness fills his voice as he sings: “ She Saw The World and wanted it all.” Paul he remembers what he once had and lost. Oozing emotion, Paul’s lived-in, weary vocal and one of the best arrangements on High, result in one of the album’s many highlights.
Washes of synths shimmer, while a lone piano provides a contrast as High unfolds. Paul’s vocal is tender, but with a sense of resignation at the relationship that’s gone wrong. A drum machine provides the heartbeat as Paul’s vocal becomes a cathartic outpouring of emotion. Mixing power, passion and drama Paul lays bare his weary soul for all to hear.
As Soul Boy unfolds, drums crack and are matched by a pulsating bass and meandering guitar. Paul’s vocal is tender and needy. He delivers the some of the best lyrics on High. This includes: “let me be the one, there’s been no other one, trusted and true, for so long…I just want to be loved by you.” With an arrangement that’s reminiscent of vintage Blue Nile and Paul’s needy seductive, vocal this is The Blue Nile back to their best.
Everybody Else is quite different from the previous track. It shows The Blue Nile are determined their music stays relevant. It’s an uptempo track that’s the nearest thing to a dance track The Blue Nile produced. Paul’s vocal is accompanied by swathes of sweeping strings, pounding bass and hypnotic drums. He’s plays the role troubled troubadour to perfection, as The Blue Nile demonstrate another side to their music, on a track that’s not short of poppy hooks.
Stay Close closes High and sadly, the recording career of The Blue Nile. The tempo is dropped, a drum machine, crystalline guitar and washes of synths providing a melancholy backdrop for Paul’s vocal. He’s saved the best to last. It’s as if he knew this was farewell. Digging deep, he unleashes a soul-baring Magnus Opus. His vocal is needy as he pleads, “Stay Close to me.” However, he knows though, “you’ll go your own way.” You’re drawn into this scenario, feel and share Paul’s pain and heartache. He’s not giving up though, and delivers a heartachingly beautiful vocal on this heartbreaking paean. What a way for The Blue Nile to call time on their recording career?
Although The Blue Nile only recorded four albums in a twenty year period, it’s the quality of music that matters. These four albums were almost flawless. Certainly A Walk Across The Rooftop and Hats are classics. Peace At Last is probably the most underrated album in The Blue Nile’s back-catalogue. That brings us to High.
Having not released an album for eight years. During that period, The Blue Nile had been living separate lives. P.J. and Robert were living in the West End of Glasgow, while Paul lived a nomadic existence, flitting between Hollywood, Europe and Glasgow. He’d been involved in some high profile relationships, and by 2004, just when everyone thought The Blue Nile were no more, rose like a Phoenix from the ashes. They didn’t even have a record deal, so agreed a deal with Sanctuary Records to release High. It proved to be the most successful album of their career.
During the time they’d been away, The Blue Nile had matured as a band. Some people said they’d grownup. What had happened was life. Having been outside the bubble that was Blue Nile, P.J. and Robert had to get on with life. The Blue Nile was on a hiatus, maybe a permanent one. As for Paul, he was leading a very different life. This gave him the material for High.
On the nine songs that comprise High, you’re drawn into the album’s lush, atmospheric sound. Having captured your attention, The Blue Nile don’t let go. Before long, the listener has fallen in love. They fall in love with music that’s hauntingly beautiful, emotive, dramatic and pensive. Much of this is thanks to peerless vocal performances of Glasgow’s very own Frank Sinatra, Paul Buchanan. He plays the role of the troubled troubadour, to a tee. His worldweary, emotive, heartfelt and impassioned vocal sounds as if it’s lived the lyrics he’s singing about. Lived them not just once, but several times over. Paul’s vocal adds soulfulness to an album that references Brian Eno, Kraftwerk, Tim Buckley, classic soul and seventies funk. The result is a compelling, innovative album, High.
After High, people thought that The Blue Nile would return, possibly after another lengthy break. Sadly, that wasn’t to be. The Blue Nile were no more. At least they’d did things their way. Right up until the release of High, The Blue Nile were enigmatic, almost reclusive and publicity shy. The Blue Nile weren’t exactly your normal band. Not for them the rock “n” roll lifestyle favoured by other bands. In many ways, musical fashions and fads didn’t affect them. Their attitude was almost contrarian. Albums were recorded slowly and methodically as the Blue Nile strived for musical perfection. This wasn’t a group willing to jump onto a musical bandwagon in pursuit of fame, fortune or starlets. Quite the opposite. It seemed to be their way or no way in the pursuit of musical perfection. The Blue Nile achieved that perfection four times, and ended their career on a High. Standout Tracks: I Would Never, Because Of Toledo, She Saw The World and Stay Close.
THE BLUE NILE-HIGH.
HALL OF FAME-RARE AND UNISSUED GEMS FROM THE FAME VAULTS.
HALL OF FAME-RARE AND UNISSUED GEMS FROM THE FAME VAULTS.
There aren’t many recording studios that play such an important part in their town’s history as Fame Records. It was added to the list of local landmarks and designated part of the town’s heritage. That’s what happened to the Fame Recording Studios in December 1997, when the recording studios were added to the Alabama Register of Landmarks and Heritage. For anyone not familiar with the history of Southern Soul, you may be wondering what makes this particular studio so important?
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 studio 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 graced numerous hit singles and album. The Muscle Shoals Rhythm Section and Muscle Shoals Horns can also be found on many of the tracks on Hall Of Fame-Rare and Unissued Gems From The Fame Vaults.
Kent Soul, an imprint of Ace Records released Hall Of Fame-Rare and Unissued Gems From The Fame Vaults in February 2011. It featured twenty-four tracks, including twenty-one tracks which had never been released before. This includes unreleased tracks from James Barnett, Jimmy Hughes, Joe Simon, Marjorie Ingram, Clarence Carter, Otis Clay and George Jackson. Most of the tracks were produced by Rick Hall, co-founder of Fame Records. The exception is Travis Wammack’s Let’s Do It Over, which was produced by George Jackson. Many of the tracks on Hall Of Fame-Rare and Unissued Gems From The Fame Vaults feature The Muscle Shoals Rhythm Section and Muscle Shoals Horns in their prime. Back then, they when they were the hottest backing band in soul music. That’s obvious on The Muscle Shoals Rhythm Section and Muscle Shoals Horns which I’ll pick the highlights of.
James Barnett’s You’re So Fine opens Hall Of Fame-Rare and Unissued Gems From The Fame Vaults. This track was written by Lance Finney, Willie Schofield and Robert West. Originally, it was a hit for The Falcons and was meant to be the followup to his debut single Keep On Talking, which is a favourite amongst the Northern Soul community. Sadly, You’re So Fine was never released. Hook-laden, soulful and dance-floor friendly describes this hidden gem.
Jimmy Hughes enjoyed a successful spell at Fame Records before he signed for Atlantic Records. However, before he signed to Fame, he released an album in 1964 ,for Vee Jay, Stay Away. The title-track which Jimmy penned, was released as a single in 1964. It launched Jimmy’s career. In 1967, Jimmy rerecorded the single as Stay Away Pt. 1, but it was never released. Since the, the tape for Stay Away Pt. 1 couldn’t be found. Thankfully, it was found and features on Hall Of Fame-Rare and Unissued Gems From The Fame Vaults. Why? Well, it features a needy, pleading and soul baring vocal from Jimmy. Then on Spooner Oldham and Dan Penn’s I Worship The Ground You Walk On, which was made famous by Etta James, breathes new emotion and meaning into the track. Both tracks see Jimmy demonstrate why he enjoyed such a long and successful career.
Most people remember Big Ben Atkins for the singles he recorded for Goldwax and Josie. He never released any singles on Fame Records. Tell It Like It Is was recorded at Fame but never released. A fusion of R&B, soul and blues, Ben’s rasping, worldweary, lived vocal and blues horns prove a potent partnership. This results in one of compiler Tony Rounce’s best finds.
Joe Simon is another artist who enjoyed a long and successful career. Back in 1964, as he career began, Vee Jay sent Joe to Fame to record four tracks. This included the single Let’s Do It Over. Two of the tracks were never relaxed. One of these tracks was When It Comes To Dancing, which was written by Donnie Fritts and Dan Dan Penn. An uptempo dancer, where horns, harmonies and handclaps accompany Joe, it’s another track the Northern Soul fraternity will love.
Prince Phillip played his part in the Fame Records success story. Mostly, this was through the songs he wrote. He did enjoy a career as a singer, but only recorded one session at Fame. One of the tracks he recorded was Keep On Talking, which was written by Dan Penn and Spooner Oldham. Rick Hall, who produced the single, leased the single to the Smash label. It epitomises everything that’s good about Southern Soul and showcases one of Southern Soul’s best kept secrets Prince Phillip.
James Gilreath enjoyed a hit single with Why Not Tonight, which was written by Jimmy Hughes. The followup was meant to be a song James wrote, Meet Me Tonight. He recorded this demo version of the song with the classic lineup of The Muscle Shoals Rhythm Section. Their performance spurs James on, as he deliver a heartachingly beautiful slice of country soul.
Clarence Carter enjoyed two spells at Fame Records. They were before and after his time at Atlantic Records. His two contributions on Hall Of Fame-Rare and Unissued Gems From The Fame Vaults are both demos. The first is Tell Daddy which he wrote with Marcus Daniel and Wilbur Terrell. On this version, the lyrics differ from those on the B-Side of Clarence’s 1996 Fame single I Stayed Away Too Long and Etta’s versiom. Clarence’s other contribution is Too Weak To Fight, which he wrote with George Jackson, Rick Hall and John Keyes. Despite only being a demo, Clarence’s vocal oozes emotion and passion, as the lyrics come to life. No wonder Clarence Carter is so fondly remembered by connoisseurs of Southern Soul.
Otis Clay is one of the most underrated Southern Soul singers. His career started in 1965 at One-Derful, before he headed to Cotillion. Next at Hi Records, where he released 1972s Trying To Live My Life With You and 1977s Can’t Take It. Both are hidden gems. So are the two tracks Otis contributes to Hall Of Fame-Rare and Unissued Gems From The Fame Vaults. They’re from Otis’ time at Cotillion. The first track is the 1970 single I’m Qualified which was written by Rick Hall Quin Ivy. Here, Otis swaggers his way through the song, delivering a needy, impassioned vocal. Then on the Mickey Buckins penned ballad Your Helping Hand, Otis’ gospel roots shine through. These two track show two sides to one of Southern Soul’s best kept secrets.
My final choice from Hall Of Fame-Rare and Unissued Gems From The Fame Vaults is George Jackson’s For You. It was written by George and recorded at his home. While the sound quality isn’t as good as other tracks, George accompanied by a lone piano, delivers a heartfelt and beautiful, coo-wop tinged version of this track.
Hall Of Fame-Rare and Unissued Gems From The Fame Vaults was the first instalment in what’s become one of Kent Soul’s most successful compilation series. The followup, Hall Of Fame Volume 2 was released in February 2013, with Hall Of Fame Volume 3 due out in February 2014. This shows how much quality music is still awaiting discovery in Fame Records’ vaults. For compilers like Tony Rounce, Fame Records is the musical equivalent to King Solomon’s Mines. Who knows how many more instalments there will be of the Hall Of Fame series. This series started back in 2011, with Hall Of Fame-Rare and Unissued Gems From The Fame Vaults.
It featured twenty-four tracks, and is just a taster of the music recorded at Fame Recording Studios, Muscle Shoals. Between 1961 and 1972, it was one of the busiest studios in America. Especially between 1961 and 1969, when the legendary Muscle Shoals Rhythm Section and Muscle Shoals Horns were in their prime. Many of the tracks on Hall Of Fame-Rare and Unissued Gems From The Fame Vaults feature the finest studio band of the sixties at their very best. They play their part in many of the song’s success. That’s why record companies sent their artists to record at Fame. The combination of producer Rick Hall and The Muscle Shoals Rhythm Section and Muscle Shoals Horns was a potent one. They played on a string of hit singles and many of the tracks on Hall Of Fame-Rare and Unissued Gems From The Fame Vaults, some of the unreleased tracks.
Twenty-one of the tracks have never been released before and in some cases, are a glimpse of what might have been. Some of the tracks, the quality is indisputable. You wonder why the songs never saw the light of day? Thankfully, through the efforts and persistence of compiler and crate-digger Tony Rounce, they’re at last being heard by a wider audience. After all, music as good as this deserves to be heard, not lie unloved in the vaults of a record company. Even if that record company is one of the greatest in the history of Southern Soul…Fame Records
Most of the tracks on Hall Of Fame-Rare and Unissued Gems From The Fame Vaults were recorded Fame Studios, Avalon Avenue in Muscle Shoals, Alabama. It’s now a local landmark. Nowadays, Fame Recording Studios is an important part in Muscle Shoals’ history. It was added to the list of local landmarks and designated part of the town’s heritage. For anyone interested in Southern Soul, Fame Records, is synonymous with quality Southern Soul. This will be apparent when you listen to Hall Of Fame-Rare and Unissued Gems From The Fame Vaults. Standout Tracks: Jimmy Hughes I Worship The Ground You Walk On, Big Ben Atkins Tell It Like It Is, Clarence Carter Too Weak To Fight and Otis Clay Your Helping Hand.
HALL OF FAME-RARE AND UNISSUED GEMS FROM THE FAME VAULTS.
SWAMP DOGG-RAT ON!
SWAMP DOGG-RAT ON!
It’s not the music that Swamp Dogg’s 1971 sophomore album Rat On! is remembered for. Instead, it’s remember for having one of the worst album covers of all time. Rat On! features Swamp Dogg sitting on the back of an oversized white rat. That epitomises Swamp Dogg since his lysergic awakening.
As the sixties drew to a close, Jerry Williams dropped acid. It was a life changing experience. The Doors of Perception, as Aldous Huxley said, had been well and truly opened. Jerry Williams changed. Psychedelics became his drug of choice. This stimulated his creativity. However, he desperately needed an outlet for this heightened creativity. So he adopted an alter ego Swamp Dogg. He was obsessed by sex, drugs, politics, culture and class. All these subjects came out in his music. His music was funny, prickly, gritty, acerbic and angry. Often, politicians felt the wrath of Swamp Dogg. The newly enlightened Jerry Williams made his debut on his 1970 album Total Destruction Of Your Mind.
When Total Destruction Of Your Mind was released in 1970, it wasn’t a commercial success. Only the single Mama’s Baby, Daddy’s Maybe charted, reaching number thirty-three in the US R&B Charts. For the newly enlightened Swamp Dogg, this was disappointing. Despite Total Destruction Of Your Mind being a groundbreaking album, it passed almost unnoticed. So Swamp Dogg set about working on his sophomore album Rat On! which was recently rereleased by Alive Naturalsound Records. Would Rat On!
For Rat On!, ten songs were written. Eight of these songs Swamp Dogg a.k.a. Jerry wrote or cowrote. He penned Predicament #2 and with Troy Davis, cowrote Do You Believe, Remember I Said Tomorrow, God Bless America For What and Do Our Thing Together. Jerry and Gary U.S. Bonds cowrote Creeping Away and I Kissed Your Face and with Charlie Whitehead, penned That Ain’t My Wife. The other two tracks were cover versions. This included Douglas Gilmore and Mickey Newbury’s She Even Woke Me Up To Say Goodbye and the Gibb brother’s Got To Get A Message To You. These ten tracks became Rat On!
Recording of Rat On! took place at the familiar surroundings of Quinvy Recording Studios, Muscle Shoals, Alabama. Just like with the recording of Total Destruction Of Your Mind, Swamp Dogg brought together a band featuring some top session musicians. This included a rhythm section of drummer Jasper Guarino, guitarist Pete Carr and bassist and percussionist Robert Popwell. Stan Goss and Mike Stough played trumpet and flugelhorn, while Sonny Royal played baritone and tenor saxophone plus clarinet. Once Rat On! which was produced by Swamp Dogg, was recorded, it was released in 1971. Would this mark a change of fortune for Swamp Dogg?
No, it didn’t. Rat On! failed to chart. Just like Total Destruction Of Your Mind, Swamp Dogg’s unique brand of gonzo soul failed to chart. That’s despite Swamp Dogg proving he was one of the most creative and innovative musicians in America. You’ll realise that, when I tell you about Rat On!
Opening Rat On! is Do You Believe, an uptempo track where Swamp Dogg combines gonzo soul, funk and social comment. The rhythm section providing a pounding, funky backdrop, while guitars wah-wah. Swamp Dogg’s vocal is a fusion of power, passion and frustration as he sings about belief. Stabs of horns interject, adding bursts of drama. Later, as Swamp Dogg scats, this is the signal for his band to kick loose. They seamlessly fuse elements of funk, jazz, rock, soul and social comment. Swamp Dogg it seems, is picking up where he left off on Total Destruction Of Your Mind.
Predicament #2 sees the tempo drop as Swamp Dogg delivers a pensive, thoughtful vocal against a Southern Soul arrangement. His predicament is being torn between his wife and the “other woman.” He doesn’t know which way to turn. His lived-in, worldweary vocal is full of confusion. Someone’s heart is going to be broken, he knows that. Horns rasp and growl, as Swamp Dogg lays bare his soul, trying to work out which way to turn. Truly Swamp Dogg sings the lyrics like he’s lived them.
Remember I Said Tomorrow is another song full of social comment. Grizzled horns, rhythm section and hypnotic guitar line accompany Swamp Dogg. He sings about equality and bringing the American troops home from Vietnam. Passion, hope and anger fill his voice, Harmonies and honky tonk piano drift in and out. They play their part in the song’s success, as hooks and social comment collide head on.
Crystalline, chiming guitars open Creeping Away, while the rhythm section keep the tempo slow. Swamp Dogg delivers a sultry seductive vocal. Horns bray and blaze, adding to the drama. As for Swamp Dogg, he sings about “Creeping Away to see my faraway woman, she’s in Tennessee.” You can picture him catching the Greyhound bus and making the trip to Tennessee. That’s because Swamp Dogg paints pictures during this sultry slice of Southern Soul.
Got To Get A Message To You has an understated, wistful arrangement. Just the rhythm section provide a slow, melancholy backdrop before horns rasp. Having set the scene for Swamp Dogg, accompanied by backing vocalists, he breathes life, meaning and much needed soul into the Gibb brother’s track.
God Bless America For What sees Swamp Dogg tap into how many American people felt as the seventies dawned. Swamp Dogg poses the question: “is this the land of the free?” Anger, frustration and sadness fills his voice, as he combines social comment, pathos, humour and sarcasm. The lyrics are cutting, speaking for the disenfranchised and marginalised. Sadly, forty-two years later, they’re just as relevant in many countries.
Just a lone, meandering guitar panned left opens I Kissed Your Face. It’s joined by Swamp Dogg’s impassioned vocal and a clarinet. Memories come flooding back. He can remember where he was and what he saw when “I Kissed Your Face.” Poetic, evocative and beautiful describes the lyrics, while Swamp Dogg’s vocal is best described as heartfelt and wistful. Quite simply, this is a beautiful ballad, that Swamp Dogg brings to life.
That Ain’t My Wife is another heart-wrenching ballad. Stabs of growling horns and guitar punctuate the arrangement, while piano and rhythm section combine. A heartbroken Swamp Dogg sings about finding his wife in the arms of another man. With a heavy heart “he turns right around and walks out the door…That Ain’t My Wife,” he sings on this tale heartbreak and betrayal.
She Even Woke Me Up To Say Goodbye is another tale of love gone wrong. Here, Swamp Dogg delivers the lyrics as if he’s loved, lost and lived to tell the tale. This is another cover version but Swamp Dogg, brings new life to it. Accompanied by rasping horns, clarinet, piano and rhythm section, he unleashes a vocal is full of despair and heartbreak. It’s as of his world has ended. Adding insult to injury, is that “She Even Woke Me Up To Say Goodbye.” Just like the previous track, Swamp Dogg brings the song to life.
Closing Rat On! is Do Our Thing Together. After several ballads, it’s a bit more uptempo. Funky and soulful, chiming, crystalline guitars ring out while the rhythm section provide a pulsating heartbeat. Swamp Dogg’s vocal veers towards a vamp on this slice of gonzo soul. With lyrics full of social comment, It’s as if he’s determined to end Rat On! on a high. This he does, vocally drawing inspiration from James Brown and Sly Stone.
Rat On! saw Swamp Dogg pick up where he left off on Total Destruction Of The Mind. Just like his debut album, Rat On! was another fusion of gonzo soul and funk, albeit with diversions into jazz, psychedelia and rock. Best described as funky and soulful, Rat On surpasses the quality of Total Destruction Of The Mind. Especially the ballads. Swamp Dogg breathes life, meaning and emotion into the ballads. It’s as if he’s lived, loved and survived to tell the tale. Then when it comes to the uptempo tracks, Swamp Dogg struts and vamps his way through the lyrics. Songs come to life, as Swamp Dogg showcases his versatility as a singer and musician. The other thing Rat On! showcases is Swamp Dogg’s talents as a songwriter.
Following his psychedelic awakening, Swamp Dogg’s music were full references to sex, drugs, politics, culture and class. All these subjects came out in his music. His music was funny, prickly, gritty, acerbic and angry. Full of humour and social comment, Swamp Dogg became the spokesman for a newly enlightened generation. Then there’s his relationship songs. Songs about betrayal, making up and breaking up, it quickly becomes apparent that Swamp Dogg’s one of the most talented and underrated songwriters of the early seventies. Sadly, commercial success eluded him.
Just like Total Destruction Of The Mind, Rat On! which was recently rereleased by Alive Naturalsound Records, failed to chart. Since then, Rat On! has remained a hidden gem, better known for its record sleeve than its music. Rat On! reinforces that Swamp Dogg was one of the creative and groundbreaking musicians of the seventies. Comparisons have been drawn with Sly Stone. No wonder. Swamp Dogg, just like Sly Stone, could fuse musical genres and social comment, creating some of the most innovative music of the early seventies.
Sadly, Swamp Dogg neither enjoyed the commercial success nor critical acclaim his music deserved. Instead, Swamp Dogg’s music remained one of music’s best kept secrets. Thankfully, that’s no longer the case. Belatedly, Swamp Dogg is receiving the recognition his music deserves. Rat On! his sophomore album, like Total Destruction Of The Mind, finds Swamp Dogg at his creative zenith, producing music other musicians could only dream of. Standout Tracks: Predicament #2, God Bless America For What That Ain’t My Wife and She Even Woke Me Up To Say Goodbye.
SWAMP DOGG-RAT ON!
LEO WELCH-SABOUGLA VOICES.
LEO WELCH-SABOUGLA VOICES.
There aren’t many artists who release their debut album at the age of eighty-one. Leo Welch has just done that. He released Sabougla Voices on 6th January 2014, on Big Legal Mess Records. Sabougla Voices is a glorious fusion of blues and gospel. Listening to Sabougla Voices, is a bit like discovering a lost classic. You wonder where Leo Welch has been the past sixty years? Moreover, you wonder where Sabougla Voices has been? Has it lain unreleased in the vaults of a record company for many years? That’s not the case though.
If Leo Welch hadn’t decided to get in touch with Big Legal Mess Records, his debut album would never have been recorded. It was only with the support of Big Legal Mess Records, that Leo Welch was belatedly, able to record his debut album. Having supported Leo and made his dream possible, Leo repaid their faith. Sabougla Voices is like a journey back in time.
The music on Sabougla Voices is a mixture of vintage blues and stripped down gospel. For part of Sabougla Voices, it’s like turning back the clock and wandered into a post war juke joint. There, Leo and his band create blues music that’s reminiscent of Magic Slim, Big Jack Johnson, Booker T. Laury and a whole host of blues greats. That’s no surprise. Leo began his career playing the blues. Later, as blues fell from favour, Leo started singing gospel. However, Leo still loved the blues and on Sabougla Voices, gets the opportunity to showcase the musical loves of his life, blues and gospel. Before I tell you about Sabougla Voices, I’ll tell you about Leo Welch’s life and career.
Leo Welch was born in Sabougla, Mississippi, in 1932, where he’s lived all his life. He was born into a large family, growing up alongside seven sisters and four brothers. It was only when Leo and his cousin Alandus borrowed their older cousin’s guitar that Leo’s musical ability became apparent.
Soon, Leo and Alandus were able to play the guitar better than its owner, R.C. Welch. They were able to play songs that were playing on the radio and entertaining their family. Gradually, Leo graduated to the fiddle and harmonica. Eventually, whenever there was a party, picnic or family gathering, Leo along his cousin R.C. Welch and Otis McCain would provide the entertainment. From there, Leo got the chance to play with professional musicians.
Whenever professional blues musicians swung through Sabougla, Leo got the chance to sit in with them. Although he more than held his own during these jam sessions, nothing ever came of them. This was the same with auctions. Always, come Monday morning, Leo was back at work. This meant logging or working at the local farm. It seemed, music wasn’t going to provide Leo with escape from the daily grind of 9pm to 5pm.
While Leo looked like he never was destined to get a break, he absorbed music. Whatever was on the radio, Leo listened to. It didn’t matter if it was soul, blues or gospel, Leo listened intently. He loved music. It was one of his passions. This was lucky, as music was changing. Blues was no longer as popular. So around 1975, Leo switched to singing gospel.
Leo had first heard gospel music at church. He also listened to gospel on the Nashville radio station WLAC. Gospel was enjoying something of a renaissance. Even better, there were plenty of venues spread across Mississippi. For Leo’s new group, Leo Welch and The Rising Souls, this meant new opportunities for Leo. He modified the blues music that he’d been playing and embarked upon a new chapter of his career. Maybe this was the break he’d been looking for?
Since then, Leo has played in two gospel groups, based in the Bruce area of Mississippi. These groups are The Spiritualaires of Bruce, Mississippi and Leo Welch and the Sabougla Voices. Away from playing live, Leo has been the host of The Black Gospel Express TV program. Then in 2013, out of the blue, Leo decided to get in touch with Big Legal Mess Records.
That was the start of the journey that lead to Leo recording his debut album Sabougla Voices. Big Legal Mess Records provided Leo with the funds to record Big Legal Mess Records. Then in summer 2013, Leo and his band headed into Dial Black Sound’s recording studios. That’s where Leo and his crack band of musicians laid down the ten tracks that became Sabougla Voices.
For the recording of Sabougla Voices, Leo and his band headed to Dial Black Sound’s recording studios. Leo’s band featured a rhythm of bassist Bronson Tew, guitarist Jimbo Malhus and drummer and organist Andrew Bryant. They were joined by Matt Patton who played bass and guitar, while Eric Carlton played piano and organ. Adding backing vocals, were The Sabougla Voices, Martha and Laverne Conley. Bruce Watson produced Sabougla Voices which I’ll tell you about.
Opening Sabougla Voices is Praise His Name, a fusion of blues and gospel. From the get-go, there’s a glorious vintage blues sound. While the rhythm section provide a driving, pounding heartbeat, guitars trade searing, crystalline licks. Leo’s at the heart of the action, unleashing his trademark guitar licks. He puts his seventy years of experience to good use as his band fuse, bluesy, funky licks. Then Leo sings call and response with The Sabougla Voices, who provide the gospel influence. His vocal is gnarled but impassioned and emotive. The harmonies provide a contrast, and are heartfelt and soulful. As Leo and the The Sabougla Voices provide joyous gospel, his band provide some blistering blues. This potent fusion ensures Sabougla Voices gets off to a storming start.
From the opening bars, You Can’t Hurry God bursts into life, proving the devil doesn’t always have the best tunes. What follows is a track whose roots are in the church. It’s a hook-laden fusion of gospel and blues. Accompanied by a honky tonk piano, handclaps and good-time, pounding beat, Leo delivers a swinging vocal that oozes sincerity and emotion. Uplifting, joyous and spiritual, it might even make a believer out of you.
Me and My Lord has a much more understated, traditional blues sound. It has more of a delta blues influence than previous tracks. That’s no bad thing. This suits the song, allowing the lyrics to take centre-stage. Again, they’ve a spiritual quality. With just acoustic guitars and understated rhythm section, Leo sings call and response with The Sabougla Voices adding sweeping harmonies. Leo is like a preacher, and The Sabougla Voices his congregation. They feed off each other giving thanks, which we should do, for music as good as this.
Take Care of Me Lord sees Leo and his band plug in, and the a rocking slice of blues unfolds. The track reminds me of the blues being released during the fifties. Just like previous tracks, the arrangement has an authentic blues sound, but the vocal is gospel-tinged. Leo’s blistering guitar is accompanied by a pounding, 4/4 beat. His vocal is worldweary and powerful, as he sings call and response as Leo confesses his sins. Meanwhile, The Sabougla Voices provide the perfect foil, as Leo lays bare his soul.
Mother Loves Her Children sees Leo slow the tempo, as he reveals his soulful side. It’s easy to imaging Leo recording the track. I can picture him sitting in the studio with just an acoustic guitar and deliberate rhythm section for company. He then delivers a slow, soulful and heartfelt vocal, as he sings about a mother’s ability to forgive the sins of her children. Leo’s vocal isn’t judgmental. No. It’s as if he finds this only natural. Emotive, powerful and cerebral, it’s also deeply moving.
Praying Time reminds me of You Can’t Hurry God. It has a similar joyous sound as it bursts into life. As Leo’s band drive the arrangement along, he sings call and response. Leo give thanks during what’s essentially a call to prayer. He ensures the song swings. Helping him every step of the way are The Sabougla Voices. They fuse soul and gospel during this hook-laden song of praise.
Somebody Touched Me is a mid-tempo track driven along by a blistering, guitar solo. Behind the guitar, the rhythm section provide the heartbeat, before Leo delivers a vocal about a religious experience. His vocal is heartfelt and sincere, as he deals with what for many people, is a very personal experience. Accompanying him are The Sabougla Voices. He sings call and response, and just like other tracks, they prove the perfect foil for Leo, helping make this song come to life.
A Long Journey has a slow, moody, bluesy sound. Leo and his band deliver a heartbreakingly beautiful track. Leo’s vocal is full of sadness and uncertainty, as he considers “A Long Journey” everyone takes. To quote Jim Morrison, “no one here gets out alive. His vocal is weary and lived-in. Guitars chime, answering his call, while drums mark time, as a maudlin, melancholy Leo contemplates that final journey.
His Holy Name is another track that sounds as if it was recorded sixty years ago. The guitars have a lo-fi sound, while pounding, rocky rhythm section almost pogo their way across the arrangement. Leo’s vocal is raw and impassioned, as shredded guitars are unleaded and the band find the groove. As for Leo, his vocal veers between gospel, funk and soul, his vocal veering between a vamp and his usual style. Quite simply, Leo and his band play their part in one of Sabougla Voices’ highlights. However, I’d have changed the running order and made this track the final track on Sabougla Voices.
Closing Sabougla Voices is The Lord Will Make A Way. It’s very different from the previous track. It’s an acoustic gospel track with a delta blues influence. Here Leo reaffirms his belief in the Lord’s ability to guide him through life. Just like so many of the tracks on Sabougla Voices Leo’s vocal is sincere, heartfelt and impassioned.
Everything they say, comes to he who waits. That’s the case with Leo Welch. That includes releasing his debut album, Sabougla Voices. He’s certainly waited long enough. Leo is now eighty-one year old, and has only just released his debut album on Big Legal Mess Records. At last, Leo Welch Mississippi music’s best kept secret made can be heard by a wider audience. Previously, Leo’s music was only heard in churches in the Mississippi area. So it’s fitting for his debut album Sabougla Voices, the music reflects Mississippi’s musical heritage.
Mostly, Sabougla Voices is a fusion of blues and gospel. This includes both delta and electric blues. Then there’s the gospel music on Sabougla Voices. It’s stripped down and understated. Just Leo and his backing vocalists The Sabougla Voices deliver some of the most joyous, uplifting and celebratory gospel music. However, during Sabougla Voices Leo takes detours via soul, funk and even rock. The result is a genre-hopping musical journey.
During the musical journey that’s Sabougla Voices, the music is variously hook-laden, joyous, celebratory, cerebral, uplifting, thoughtful and spiritual. Seamlessly Leo Welch and his band fuse musical genres. The result is Sabougla Voices, which includes music for the heart, soul and feet from the man who was once Mississippi music’s best kept secret Leo Welch. Standout Tracks: You Can’t Hurry God, Take Care of Me Lord, Praying Time and His Holy Name.
LEO WELCH-SABOUGLA VOICES.
BRIAN ENO-AMBIENT 1/MUSIC FOR AIRPORTS.
BRIAN ENO-AMBIENT 1/MUSIC FOR AIRPORTS.
After leaving Roxy Music in 1973, Brian Eno’s career changed direction. Instead, his attention turned to ambient and electronic music. This was a controversial decision, given Roxy Music were one of the most successful British bands of the early seventies. Brian Eno’s creativity was being stifled. He felt he’d much more to offer music. So, he made the decision to leave Roxy music and change direction musically. Whilst he didn’t enjoy the commercial success he enjoyed with Roxy Music, Brian Eno released a string of critically acclaimed albums. Some of his most critically acclaimed music was released between 1974 and 1983. During that period, Brian Eno could do no wrong. One of the finest albums he produced during this period, was Ambient 1/Music For Airports. It was released in 1978 and is an ambient classic, which I’ll tell you about. Before that, I’ll tell you about Brian Eno’s career up until then.
As Brian Eno’s solo career began, it was apparent he hadn’t turned his back on glam rock entirely. His 1974 debut album, Here Come The Warm Jets was a fusion of art rock, avant garde, experimental and glam rock. Here Come The Warm Jets was recorded in just twelve days in September 1973, with the help of some of rock music’s luminaries. This included Robert Fripp of King Crimson and Phil Manzqnera of Roxy Music. On its release in January 1974, Here Come The Warm Jets was well received, reaching number twenty-six in the UK and number 151 in the US Billboard 200. After Here Come The Warm Jets, Brian Eno’s music changed direction again.
Just ten months after the release of his debut album, Brian Eno returned with his sophomore album, Taking Tiger Mountain (By Strategy). It was a concept album, where Brian had been inspired by a series of postcards of a Chinese revolutionary opera, entitled Taking Tiger Mountain (By Strategy). That’s why the subject matters included revolution in China and espionage. This was what Brian Eno did so well, create cerebral, experimental music. Accompanied by a band that featured Robert Wyatt and Phil Manzqnera, with Andy McKay of Roxy Music one of the guest artists, recording took place in September 1974. The result was an album of contrasts. Somehow, the music manages to be upbeat and dark. Essentially, Taking Tiger Mountain (By Strategy) was a concept album. Released in November 1974, Taking Tiger Mountain (By Strategy) failed to chart. Critics, however, hailed the album. They approved this progressive concept album. For Brian Eno, the lack of commercial success was surely just a minor blip. Things would improve with his third album? Surely?
Another Green World which was released in September 1975, saw a change in direction from Brian Eno. He moved further towards the ambient sound he became known for. There were less songs with lyrics. Most of the songs were ambient instrumentals. When there were songs with lyrics, they were lush, lysergic and dreamy. They were more like sonic experiments. With a band featuring John Cale and Robert Fripp, Brian Eno recorded what was undoubtably his best solo album. Critics realised this and hailed Another Green World a minor classic. Despite being critically acclaimed, Another Green World failed to chart. It seemed Brian Eno was enjoying the most creative period of his career, but apart from critics, nobody realised this. Maybe his next album Discreet Music, would mark a change in fortune for Brian Eno.
Discreet Music saw Brian Eno release what many critics describe as his first ambient albums. Previous albums were hybrids, while Discreet Music was purely an ambient album. Brian drew inspiration from Erik Satie and recorded an album of what was described as “furniture music.” This meant the music was designed to blend into the ambient atmosphere of room. You didn’t need to concentrate or focus on it to the exclusion of everything else. Side one, which features the title-track, was a thirty-minute movement designed for Robert Fripp to play against in concerts. On the second side, were Three Variations on the Canon in D Minor, by Johann Pachelbel. Brian gave the Cockpit Ensemble parts of the score and asked them to repeat these parts several times. Brian also gave them the freedom to alter the tempo and improvise. This was truly groundbreaking. Critics realised this, and plaudits came Brian’s way. His ambient debut Discreet Music was released in 1975, but failed to chart. Following the disappointing sales of Discreet Music, Brian decided to change direction again.
Just over two years later, in December 1977, Brian Eno released his fifth album, Before and After Science. It saw Brian make a brief and final return to rock music. With an all-star cast, including members of Fairport Convention, King Crimson, Roxy Music, Free, Can and Cluster, ten songs were recorded in Berlin and London. Having taken two years to make and with Bhrett Davies co-producing Before and After Science, great things were expected of the album. Especially when critics referred to the album as one of Brian’s finest albums. Sadly, that didn’t translate to album sales. Before and After Science failed to chart in the UK and reached just number 171 in the US Billboard 200. Brian’s return to rock music hadn’t worked. So his next album Ambient 1/Music For Airports was a return to ambient music.
Ambient 1/Music For Airports would prove to be the first in a quartet of the “Ambient” series. Brian came up with the Ambient term to differentiate his music from what many people referred to as “canned music.” Originally, Brian perceived the music on Ambient 1/Music For Airports as being played continually at airport to calm people down and defuse tension. This idea came to Brian when he was waiting for a plane at Bonn airport in the mid-seventies. Brian found the lack of a soundtrack uninspiring. Music like that on Ambient 1/Music For Airports was the answer. So, he recorded what he’d have liked to hear in Bonn airport.
For Ambient 1/Music For Airports four tracks were penned. Co-producer Rhett Davies, Robert Fripp and Brian wrote the opening track 1/1. Brian wrote 1/2, 2/1 and 2/2. These four tracks were recorded by a small band in London and Cologne. Robert Wyatt played acoustic piano and Brian played synths and electric piano. Vocalists included Christe Fast, Christine Gomez and Inge Zeininger. Engineers included Dave Hutchins, Conny Plank and Rhett Davies, who co-produced Ambient 1/Music For Airports with Brian Eno. Once Ambient 1/Music For Airports was completed, it was released in 1978.
When critics heard Ambient 1/Music For Airports they realised that Brian Eno had just recorded one of the best albums of his career. Some described Ambient 1/Music For Airports as a classic. They described it as innovative due to its use of tape loops and its ambient quality. Despite the reception Ambient 1/Music For Airports received, it wasn’t a commercial success. Indeed, it failed to chart. However, since then, Ambient 1/Music For Airports is seen as a classic album, which deserves to be in any self-respecting record collection. I’ll tell you why, once I’ve told you about Ambient 1/Music For Airports.
Ambient 1/Music For Airports opens with 1/2. Just a slow, spacious and pensive piano are played deliberately. Synths drone in the background, as if posing a question. This piano melody is constantly repeated. as instruments fade in and out. Chimes, synths and acoustic piano played by Robert Wyatt. Ethereal, dreamy, becalming and thoughtful, the music washes over you. It’s like a balm that massages your very soul. There’s a hypnotic and mesmeric quality to the music. You’re drawn to the music, become part of it, focusing on its hidden secrets and subtleties. Sometimes, there’s a zen like quality to the music as ambient, avant garde and experimental music combine to create a soundtrack to calm any travellers weary soul.
A celestial choir opens 1/2, their voices cascading above the arrangement. Accompanying what sounds like a choir of angels are washes of synths. They too have an elegant, ethereal sound as the arrangement unfolds in waves. Again, it washes over. It’s akin to waves washing up on a deserted beach. Both have the same relaxing and becalming quality and are nine of the best minutes of minimalist music Brian Eno ever recorded. This track is also proof that sometimes, less is more.
Just a thoughtful, pensive piano opens 2/1. Soon, ethereal harmonies descend. They’re celestial and tender, drifting in and out of the arrangement. Accompanying them are a lone piano and occasional plucked bass. It’s played slowly, deliberately and as if every note has been considered with care. Space is left within the arrangement, as if mindful of Miles Davis’ comment about the space between two notes being as important as the notes them-self. The space only heightens the anticipation of the swathes of harmonies that swoop in. Tender, beautiful and otherworldly, they’re the perfect accompaniment to Brian’s piano. Ying and yang describes them as they play their part in this ethereal celestial symphony.
2/2 closes Ambient 1/Music For Airports. This ten minute track is quite different from the previous tracks. It has a cinematic sci-fi sound. A synth creates a droning, atmospheric sound. Squelchy, spacious, dubby synths prove an atmospheric, evocative and dramatic soundscape. It brings to mind a spacecraft sailing towards a distant galaxy, going where no man has gone before. Whilst the music is still minimalist, it lacks the ethereal quality. That’s no bad thing. It offers variety, and demonstrates Brian Eno’s versatility and ability to paint pictures with music.
It’s no exaggeration to say that Brian Eno’s Ambient 1/Music For Airports, his sixth solo album, is an ambient classic. I’d go further and say that Ambient 1/Music For Airports is a classic album. Minimalist, understated, spacious, ethereal, haunting and becalming, it was an ambient Magnus Opus. That’s quite fitting. Back in 1975, Brian drew inspiration from Erik Satie for his fourth album Another Green World. On Ambient 1/Music For Airports Brian took this concept further. Much further.
Rather than record what Erik described as “furniture music,” Brian Eno expanded this concept. He recorded an album that could and would provide the soundtrack to everyday life. He envisaged this providing the backdrop at airports, becalming the weary traveller and diffusing tension. In some ways, Brian music is utilitarian. Brian also envisaged the music as providing a constant backdrop to art installations. So, Ambient 1/Music For Airports could be all things to all people. Ambient 1/Music For Airports also marked the blossoming of Brian Eno’s creativity.
A lifelong musical pioneer, Ambient 1/Music For Airports was the start of the most creative period of Brian Eno’s long career. He released another three albums in the “Ambient” series. From 1978s Music For Films, which is another classic album, Brian embarked upon a string of innovative albums. This includes 1982s Ambient 4: On Land, 1983s Apollo: Atmospheres and Soundtracks and then 1983s More Music For Films. These albums, plus Another Green World, Discreet Music and of course, Ambient 1/Music For Airports feature the Godfather of ambient music at his creative zenith. Since then, Brian Eno has continued to release ambitious, challenging, groundbreaking and innovative music. However, one of the finest albums of Brian Eno’s solo career has to be Ambient 1/Music For Airports, a truly groundbreaking classic album.
BRIAN ENO-AMBIENT 1/MUSIC FOR AIRPORTS.
NEU-NEU!
NEU-NEU!
There aren’t many artists who after leaving one of the most pioneering groups in musical history, end up founding another groundbreaking group. That’s what happened to Klaus Dinger and Michael Rother. They had both been members of Kraftwerk, but left in 1971. After leaving Kraftwerk, they founded Neu, another German Kratrock band.
Neu went on to be one be one of the most influential groups in musical history. They’re one of the founding father’s of Krautrock. They’ve influenced everyone from Brian Eno, David Bowie, Iggy Pop, Radiohead, Primal Scream and a generation of electronic music producers. However, Neu only released a trio of albums between 1972 and 1975. Their debut album was Neu!, released in 1972. It was followed by Neu! 2 in 1973 and then Neu! ’75 in 1975. These three albums were among the most influential albums released during that period. Despite being innovative and influential, Neu’s three albums weren’t particularly successful.
Just like so many other musical pioneers, Neu didn’t enjoy the success their music deserved. Maybe Neu were ahead of their time? Possibly, people didn’t understand what was essentially, a new musical genre, Krautrock. This was the case for Neu’s contemporaries Can, Cluster and to some extent, even Kraftwerk. Since then, a new generation of musicians and music lovers have discovered Krautrock. Its influence can be heard in modern music. Indeed, many musicians refer to Neu as one of the groups that have influenced them. One of the most influential albums Neu released was their debut album Neu!, which I’ll tell you about.
It was 1971 when Klaus Dinger and Michael Rother decided to form Neu. Both had been members of Kraftwerk, but not for any length of time. Klaus, a drummer, joined midway through the recording of Kraftwerk’s eponymous debut album. Michael, a bassist, joined Kraftwerk after the album was finished. When Kraftwerk was released in 1971, it wasn’t a commercial success. It only sold 30,000 copies. For the founder of Kraftwerk Ralph Hutter, this was too much. He left the band for six months. Kraftwerk carried on though.
Kraftwerk were reduced to a trio of Wolfgang Scheider, Klaus Dinger and Michael Rother. They played a few concerts, and even appeared on German television program Beat Club. However, concerts were becoming few and far between. For two members of Kraftwerk, this was becoming frustrating. Klaus Dinger and Michael Rother decided to leave Kraftwerk and form a new band.
When they founded his new band, which was based in Dusseldorf, there were debates about the band’s name. Michael though the band should have an organic name. Klaus however, had hit on the name Neu! So, the new band became Neu! To go with the new name, a pop art logo was designed and copyrighted. This new logo was seen as a comment and protest against the modern consumer society. Just like contemporaries Can, Neu weren’t afraid to combine social comment and art. Having settled on a name, Neu headed to the recording studio.
Recording of what became Neu! took place in December 1971, at Windrose-Dumont-Time Studios, in Hamburg. Four days had been booked to record the six songs that Klaus and Michael cowrote. Klaus played drums, guitar and Japanese banjo, while Michael played guitar and bass. Conny Plank, who’d produced Kraftwerk’s debut album would act as producer. He also acted as a go-between, when it came to differences of opinion between Klaus and Michael.
For the first two days, it was slow going. Nothing much was achieved. It was only only when Klaus brought along his Japanese banjo that they began to make progress. That seemed to act as a catalyst. Not long after this, Klaus first played his trademark motorik beat. That’s where Klaus plays a 4/4 drum beat with only very occasional interruptions. The effect is hypnotic and mesmeric. It can be heard on Hallogallo and Negativland. Klaus didn’t realise how influential the motorik beat would become. The sessions carried on and once they were finished, Conny Plank mixed Neu! at Star Musik Studio, in Hamburg. Now Neu! was ready for release.
On its release by Brain Records in 1972, Neu! wasn’t a commercial success. In total, it sold only 30,000 records. For Klaus and Michael this must have been hugely disappointing. They must have felt history was repeating itself again. After all, Kraftwerk’s debut album hadn’t been a commercial success. However, there was another thing the two albums had in common, they were influential and innovative albums from two of the founding fathers of Krautrock. You’ll realise that, when I tell you about Neu!
Opening Neu ! is Hallogallo, a ten minute epic. Chiming guitars, funky bass and driving drums unite as the tempo increases. It’s a track to loose yourself in. At the heart of the arrangement is Klaus’ drumming. He creates a hypnotic groove, thanks to the motorik beat. It hardly changes, except for occasional crashing cymbals. Crystalline guitars escape from the arrangement, wah-wahing into the distance. Washes of guitar create an atmospheric, ambient sound. It’s a counterpoint to mesmeric rhythm section, where the bass and drums are one. They match each other every step in the way. Later, blistering guitars and thunderous drums see the arrangement head in the direction of rock and psychedelia, as this groundbreaking, hypnotic and genre melting track introduces musical pioneers Neu!
An eerie vocal is panned right and the sound of a plane descending from the sky opens Sonderangebot. This gives the arrangement a cinematic sound. It reappears, adding to the drama of this experimental sounding track. Sound effects are utilised, before gongs and cymbals crash. Somewhere in the distance water runs, while a droning sound makes its presence felt. The moody arrangement assails you. You’re surrounded by it, unable to escape it. Cinematic, disturbing, eerie and experimental, Sonderangebot is all this and more, including innovative.
From the opening bars, Weissensee has a moody sound. It reminds me of Pink Floyd. The tempo is slow, just Klaus’ drums providing the hypnotic heartbeat. Guitars wah-wah, as if speaking in some unknown language. Together, they march along purposefully, as elements of rock, psychedelia, funk, Krautrock and ambient music create a dramatic, cinematic opus.
Side two of Neu! was entitled Jahresübersicht and is a three part piece. The first past is Im Gluck (Lucky). Straight away, it has an experimental sound. What sounds like people in a boat, chatting and laughing can be heard. This gives the track an avant-garde, ambient sound. Droning guitars arrive from faraway. Gradually, they drift in, taking centre-stage. They’re alone, wah-wahing and recreating the sound of wistful strings. Above the arrangement, birds can be heard as a boat is rowed. You wonder where to? Here, Neu draw inspiration from ambient, avant garde, classical and experimental music, creating a wistful soundscape that’s atmospheric and cinematic.
Negativland” (Negative Land) is the second track in the three part movement. It features Klaus’ trademark motorik beat. The sound of pneumatic drills, applause and a discordant symphony assail you. It has a psychedelic sound, reminiscent of Sgt. Peppers Lonely Heart’s Club Band. Then it’s all change. A bubbling bass combines with Klaus’ motorik beat. Shredded guitars spraying feedback add a free jazz sound. There’s an avant-garde influence as sound effects are unleashed. Neu use panning effectively, meaning the music surrounds you. By now they’re in a groove, and are exploring it fully. Rock, funk, jazz and psychedelia are combined as the Krautrock pioneers become one. It’s as if Klaus and Michael know what the other is about to do, as they create an uber funky, hypnotic, groove-laden track.
Closing Neu! is Lieber Honig” (Dear Honey). This was the final piece in this groundbreaking movement. It has pensive, spacious and melancholy introduction. Space is left, before a tender, fragile and ethereal vocal makes its entrance. Just like the arrangement, it spacious and wistful. It’s akin to a stream of consciousness, or a cathartic confessional cleansing. When the vocal drops out, a droning noise drifts in. This is the polar opposite to the rest of the arrangement. After that, the track reminds me of Im Gluck, as someone rows a boat across. That’s all you can hear, apart from the droning noise heading into the distance. The result is an enigmatic, ethereal and experimental track which poses more questions than answers.
Having left Kraftwerk to found a new band, Neu, Klaus Dinger and Michael Rother began as they meant to go on, by creating music that was pioneering. This began with their debut album Neu! Recorded over just four days in Hamburg, Klaus and Michael, with Conny Plank producing and acting as referee, created one of the most important and influential albums in the history of not just Krautrock, but music per se. Quite simply, Neu’s importance can’t be underestimated. It went on to influence everyone from Brian Eno, Iggy Pop and Brian Eno right through to Primal Scream and Radiohead. Even forty-two years after the release of Neu! it’s still cited as album that influenced the latest generation of musicians. So, you’d think that Neu! sold millions of copies?
Sadly, that wasn’t the case. When Neu! was released, it sold just 30,000 copies. Since then, Neu! has been released several times, allowing several generations of musicians and music lovers to hear the album. This includes several generations of electronic music producers. Just like Brian Eno, Can, Cluster and Kraftwerk, Neu’s music has influenced electronic music. There’s a reason for this. The music these artists produced was groundbreaking.
When Neu! was released in 1972 it was an album that was innovative, groundbreaking and totally unique as they combined disparate musical genres. They drew inspiration from ambient, avant garde, electronic, experimental, funk, psychedelia and rock to create their unique brand of Krautrock. This is no different to how a painter uses his palette to create paintings. Neu’s musical experiments were groundbreaking and unique. Proof of this was Klaus’ trademark motorik beat. That’s where Klaus played a 4/4 drum beat with only a very occasional interruption. The effect is hypnotic and mesmeric. It can be heard on Hallogallo and Negativland. This helped Neu to stand out from other Krautrock groups.
It’s also why Neu, along with Can, Cluster and Kraftwerk, are seen as the founding fathers of Kraftwerk and why forty-two years after its release, Neu! is perceived as a classic album. Indeed, just like Can’s Tago Mago and Ege Bamyasi, Neu’s debut album Neu! belongs in any self-respecting record collection.
NEU-NEU!
LARAAJI-CELESTIAL MUSIC 1978-2011.
LARAAJI-CELESTIAL MUSIC 1978-2011.
Although Laraaji is one of the most innovative musicians of his generation, he remains one of music’s best kept secrets. That’s despite releasing nearly thirty albums. Many of these albums showcase Laraaji’s unique ambient sound. Best known for playing the zither, Laraaji’s music is best described as a fusion of ambient, experimental and psychedelia. Hypnotic, mesmeric and meditative also describes Laraaji’s music. That includes the music that features on Celestial Music 1978-2011, a which was recently released by All Saints Records.
Celestial Music 1978-2011 is a double album, featuring twenty tracks. Disc one is entitled Cosmic Tape Experiments and features nine groundbreaking tracks. They were recorded between 1979 and 1987, and document how Laraaji’s music evolved. On disc two, which is entitled Music Of The Spheres, it features another eleven tracks. These tracks were recorded between 1978 and 2011. There’s even collaborations with Jonathan Goldman, Audio Active, Bill Laswell and Blues Control. Quite simply, Celestial Music 1978-2011 is the most in-depth retrospective of Laraaji’s music. It’s the perfect introduction to a musician who pushed musical boundaries to their limits, and sometimes, beyond. Before I tell you about some of the music on Celestial Music 1978-2011, I’ll tell you about Laraaji’s life.
It was in Philadelphia in 1943, that Edward Larry Gordon was born. At an early age, Edward and his family moved to New Jersey, where he studied violin, piano, trombone and singing. At high school, Larry was playing in the school band and orchestra. Music was part of Larry’s life. He was exposed to an eclectic range of music. His family attended the local Baptist church, so Larry heard choral and gospel music, as well as negro spirituals. Then at home, he listened to everything from jazz, R&B and rock ’n’ roll. The great piano players inspired Larry. This included Oscar Peterson, Fats Domino and Ahmad Jamal. So it was no surprise that having graduated from high school, Larry decided to study music.
Having won a scholarship to study piano and composition, Larry headed to one of the most prestigious universities in America, Howard University, in Washington D.C. He spent the next few years immersed in music. It seemed that Larry was destined to pursue a career in music. That wasn’t the case.
After graduating from Howard University, Edward decided not to pursue a career in music. Instead, Larry decided to pursue a career as a standup comic. His love of comedy began in college. Then when he left University, Larry and his comedy partner decided to head to New York, to audition at the Bitter End, who regularly held talent shows. This was where Bill Cosby’s comedy career began. For an aspiring comedian, this seemed the perfect place to launch their new career. However, the night Larry and his comedy partner were meant to make their debut, his partner never turned up. Having been left in the lurch, he had to make his debut as a solo artist. He was well received. That was the start of Larry’s comedy career. Soon he became a regular on the New York comedy circuit. Comedy wasn’t the only career Larry had.
Through his exploits as a comedian, Larry came to the attention of Ernestine McClendon, who was a respected theatrical agent. She took Larry under her wing and guided his nascent career. Larry was sent to auditions, and soon, was appearing on television commercials, in theatre and even in films. One of these films Putney Swope. Much of the film was improvised. When it came out, it inspired Larry to look at the role of the mass media. Looking for answers, Larry read books and learnt to meditate.
To help him, he turned to teachers who taught Larry how to mediate. He soon was practising meditation and calisthenics. Larry was also using piano exercises as an outlet. This is how he discovered spontaneous music. Everything was improvised, off-the-cuff and experimental. Straight away, Larry realised the possibilities were endless. However, meditation was key to this. He could do with music and art now he’d discovered meditation. Discovering meditation was akin to a spiritual awakening. Before long, the next part of Larry’s Meditation spiritual awakening took place.
Around 1974 or 1975, Larry was living near JFK airport. One night he had been out walking, and on his return home, he started hearing what he describes as “the music of the spheres.” This was akin to a cosmic symphony. The music was joyous and celebratory. Larry became part of the music. He was at one with the music. The whole experience had a lasting effect. It was a spiritual and cosmic awakening. Suddenly, he understood things that had puzzled him. Things made sense after what Larry refers to as “a trigger for a cosmic memory.” It was as if Larry had been enlightened. However, he wanted to know more about what had happened. So, he embarked on a course of study.
To further understand what had happened to him, Larry embarked upon a study of Vedic teachings. Part of the Vedic teachings is that the yogis hear music in layers. This is what Larry had experienced, and why he was able to describe the music so vividly. His teachers told him he’d reached such a high level of consciousness that he was able to see things differently from most people. It seemed his spiritual and cosmic awakening was almost complete. Now he wanted to recreate the music he’d heard.
At last, Larry was able to put his musical education to good use. He’d always played music, even when he was working as a comedian and actor. Latterly, he’d been playing the Fender Rhodes. However, Larry was fed up having to transport such a heavy instrument. One night as he was preparing to go onstage, he told his “cosmic ear” he’d “like a lighter instrument to share his musical consciousness with the world.”
A few days later, Larry found himself in a pawn shop, ready to pawn his guitar, when out of nowhere, a voice told Larry to swap his guitar for a stringed instrument in the shop window. This was an autoharp. Now all Larry had to do was master this new instrument.
When Larry took the instrument home, he tuned it to his favourite piano chords and open guitar tunings. The effect this had, was to return it to what was essentially a zither, whose roots can be traced back the the ancient, traditional instrument the kithara. Gradually, through a process of experimentation, Larry discovered what the autoharp was capable of. Then when he added an electric pickup, this was a game-changer. The possibilities were endless. He was able to begin creating the music he’d heard that fateful night, albeit with a little help from a friend.
Not long after Larry begin playing the autoharp, he was strumming and plucking it like a guitar. That seemed the way to play the autoharp. That’s until he met Dorothy Carter. She was hammered dulcimer artist and encouraged Larry to play his autoharp with hammers. The other thing Dorothy did, was invite Larry to the Boston Globe Music Fest. That’s where Larry met another innovator.
At the Boston Globe Music Fest, Larry met Steven Halpern. It’s no exaggeration to say, that he is a pioneer of new age music. Meeting Steven exposed him to music that he never new existed. It changed Larry’s way of thinking. He realised that music didn’t need to follow the structures that he’d been taught. Music didn’t need to have a beginning, end or even a melody. Instead, it could be a freeform stream of consciousness. There was room for experimentation and improvisation within music. For Larry this changed his approach to music. Inspired and confident in his ability to play the autoharp, Larry was ready to make his debut.
They say all the world is a stage, well that proved to be the case for Larry. He made his debut as a busker on the streets of New York in 1978. A year later, Larry was playing in Washington Square Park. Sitting on top of a blanket, cross-legged and with his eyes closed, Larry played his zither using the open tunings he favoured. So he never saw Brian Eno standing watching him. The Godfather of ambient music was transfixed. He’d been walking through the park with Bill Laswell and came across a fellow innovator. Recognising the potential that Larry had, Brian Eno wrote a message to Larry on a piece of paper.
This message asked whether Larry would be interested in working with him on a recording project. For Larry this was kismet. A few weeks previously, people watching Larry play suggested Larry might like Brian Eno and Robert Fripp’s music. Here, lying at his feet when he opened his eyes after playing, was a message from Robert Eno. This Larry felt was an example of cosmic synchronicity. So he contacted Brian Eno.
The next day they met and spoke about ambient music and electronics. Straight away, they got on. Three weeks later, Larry now calling himself Laraaji, headed to Apple Studios, in Green Street, New York. That was where the five tracks that became Day Of Radiance, Laraaji’s debut album was recorded. A groundbreaking and progressive fusion of ambient, electronica, folk and world music, Day Of Radiance, was critically acclaimed upon its release in 1980. This was the first of nearly thirty albums Laraaji recorded.
Most of the albums recorded and released by Laraaji, were released independently. Granted a few were released on record labels, including collaborations with artists like Jonathan Goldman, Audio Active, Bill Laswell and Blues Control. These collaborations meant Laraaji’s music was heard be a wider audience. However, mostly, he remained one of the best kept secrets in music. Not any more. All Saints Records recently released Celestial Music 1978-2011, which I’ll pick the highlights of.
DISC ONE-COSMIC TAPE EXPERIMENTS.
Disc one of Celestial Music 1978-2011 is entitled Cosmic Tape Experiment. It features nine groundbreaking tracks. They were recorded between 1979 and 1987, which is at the start of Laraaji’s long career. This document how Laraaji’s music evolved. if you listen to the music on disc one, you’ll hear Laraaji evolve and mature as an artist. He blossoms as a musician, during the nine tracks which I’ll pick the highlights of.
Lotus Collage opens disc one of Celestial Music 1978-2011. Recorded in 1979, Laraaji plays his zither with hammers. There’s a sense of urgency in his playing. Indeed, he’s playing as if his very life depends upon it. He creates a hypnotic, mesmeric and celestial symphony. It sounds like a reflection of modern day society, everyone rushing to get somewhere. Later, the tempo slows. Space is left within the music. The music resonates into the distance. It takes on a meditative quality. It’s captivating. A zen like calm descends, as waves of music wash over you, calling and soothing you. From there the music veers between urgent and tranquil. Always, the music is captivating and enthralling.
I Am Ocean, which was recorded in 1981, has an understated blissful sounds. As Laraaji plucks the strings of his zither, the music is like ripples on a pond. Gradually the music unfolds, sharing its secrets and inner beauty. Ambient, electronica and dub are combined during two ethereal and beautiful minutes of music.
Rhythm ‘N’ Bliss is another short track. Just ninety seconds long, it was recorded in 1982. Here, drama and ethereal beauty unite. Laraaji draws inspiration from ambient, electronica, folk and rock to create a hypnotic, intriguing and irresistible track.
Sun Zither shimmers and quivers, as it meanders into being. Filters are used effectively. It’s as if they’re hiding part of the arrangement. It builds and builds, and eventually, it’s as if a cloud that was blocking the sun has moved. The filters are gone and we can hear the whole of the arrangement. It veers between melodic to discordant and experimental. Always, it’s enthralling as Laraaji innovates. After, ascending and descending scales, the tempo speeds up, as Laraaji experiments with the tape. This adds a new dimension. So does when an ambient, zen like calm descends. It’s only disturbed by Laraaji trailing his hammers across the zither’s strings. This results in a wistful, melancholy, melodic and poignant sounding track.
Choosing the highlights of disc one of Celestial Music 1978-2011 wasn’t easy. The quality of music is of the highest standard. There’s no filler whatsoever. Each track is a captivating. It’s pioneering, groundbreaking music from one of the forgotten musical innovators. That’s despite releasing nearly thirty albums. These nine tracks are just a taste of the music Laraaji recorded during the past thirty-six years. Luckily, to do Laraaji’s music justice, Celestial Music 1978-2011 is a double album.
DISC TWO-MUSIC OF THE SPHERES.
On disc two of Celestial Music 1978-2011, which is entitled Music Of The Spheres, it features another eleven tracks. These eleven tracks tracks were recorded between 1978 and 2011. Four of the tracks are collaborations, This includes collaborations with Jonathan Goldman, Audio Active, Bill Laswell and Blues Control. The other seven tracks are Laraaji pushing musical boundaries in his pursuit of creating the Celestial Music he heard that night in New York.
The Dance No.3 was recorded in 1980. Dramatically bursts into life. Confidently, Laraaji hammers the strings of his zither while an ethereal, celestial sound accompanies. Drama, beauty and seraphic, an otherworldly symphony unfolds, leaving a lasting impression.
Space Choir has an elegant, ethereal sci-fi sound. It was recorded in 1992. Here, a choir of angelic bodies cascade, whilst a droning sound challenges it for supremacy. They compete for your attention. As the angelic choir leaves space within the arrangement, bubbling synths and the ever-present drone fill the spaces in this moody, celestial and cinematic arrangement.
Staccato was recorded in 2008, and has Laraaji’s trademark ambient sound. That’s before thunderous drums enter. Thankfully, they don’t overpower the tender, melancholy sound of Laraaji’s zither. As the drums reverberate and resonate, the track is full of contrasts and polar opposites. Whilst the zither is subtle and understated, the thundering, cracking drums make their presence felt. Despite that, they prove a perfect foil for each other, playing their part in a track where the music of the past and present, results in the music of the future. This fusion of ambient and electronica results in music that’s timeless.
The final track from Celestial Music 1978-2011 I’ve chosen is As Light. It’s another track recorded in 2008. It has an experimental, ambient sound. As usual, Laraaji sets out to create groundbreaking music. It could be described as cinematic, ethereal, experimental, discordant or space-age. The arrangement shimmers, quivers as it meanders. Given the track’s moody, broody, cinematic sound, it would make the perfect soundtrack to a sci-fi film.
Disc two of Celestial Music 1978-2011, picks up where disc one left off. Right through the eleven tracks, the quality never drops. Laraaji continues to push musical boundaries to their limits, and sometimes, beyond. To do this, he combines musical genres. Just like on disc one, ambient, electronica, psychedelia and rock are combined during the eleven tracks. Four of these tracks are collaborations. Fittingly, they’re with fellow innovators, including Jonathan Goldman, Audio Active, Bill Laswell and Blues Control. These collaborations seem to inspire Laraaji to even greater heights of creativity as he creates music that’s innovative, spiritual and multilayered.
That’s fitting. After all, through his study of Vedic teachings Laraaji learnt how the yogis were able to hear music in layers. Larry himself had experienced that, back in the mid-seventies. The music he heard, he was able to describe it vividly. Fittingly, now he was creating similar cosmic symphonies. These cosmic symphonies were multilayered, and full of subtleties and nuances. This isn’t orthodox music. No. The music on Celestial Music 1978-2011 improvised and spontaneous. Sometimes, the music grows legs, heading in unexpected directions. It’s as if Laraaji has decided to through a curveball. Other times it’s a double bluff. That’s why the music music Laraaji created is best described as cinematic, space-age and celestial. It’s lush, dreamy, understated, moody, broody, trippy and lysergic. Just like Brian Eno’s music, this is music that you’ll never tire of.
Quite simply, Laraaji has created music that’s timeless. Even though some of the music was recorded in 1978, it still has a contemporary sound. It has stood the test of time and remains relevant. That will always be the case. Maybe that’s partly down to the simplicity of the music? It’s created by Laraaji with an instrument whose origins date back to the ancient Greeks. Laraaji is keeper of the flame for the zither and has taken it in a new direction. That’s why Laraaji, one of American music’s best kept secrets, will forever be perceived as a musical pioneer.
Just like numerous pioneers who’ve preceded him, Laraaji created music that many people didn’t understand. Like his mentor Brian Eno, he was ahead of his time. Only now, are people able to understand and appreciate his music. A snapshot of his music can be found on Celestial Music 1978-2011. The twenty tracks on Celestial Music 1978-2011 remind me of the changing of the seasons. Each offers something new and different. Every track toys with your emotions. It takes you on a journey, painting pictures in your mind. Sometimes, you’re taken places you never expected to go. All you need to do to enjoy this journey, is immerse yourself in the music, close your eyes and embark upon this musical journey. It’s variously melancholy, wistful, challenging, beautiful, elegant, ethereal and always, innovative. Celestial Music 1978-2011 which was recently released by All Saints Records, also features music I’d describe as meditative, mesmeric and hypnotic. This makes Celestial Music 1978-2011 the perfect introduction to Laraaji and his cosmic symphonies. Standout Tracks: Lotus Collage, Sun Zither, The Dance No.3 and Space Choir.
LARAAJI-CELESTIAL MUSIC 1978-2011.
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