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.
THISELL-I.
THISELL-I.
Never before have I reviewed an album that had been recorded in a disused school. That’s until I came across Swedish band Thisell’s debut album, I. I was recorded in a disused school during a seven day period in August 2010. For seven days, Thisell, their friends, family and even pets ate, lived, slept and recorded an album in Lur village hall. Three years later, Thisell’s debut album, I, was released by German label, JellyFant Records in October 2013. This marked the final part in a story that began three year earlier in August 2010.
That’s when Thisell, a band founded by Peter Thisell, a songwriter and musician, headed to the village of Lur, in Southern Sweden. Accompanied by their friends, family and even pets, Thisell’s destination was a disused village school. It had lain unused and unloved since the sixties, when the Swedish government closed the school. Since then, the large red wooden building, had lain empty. However, although no longer any use for educational purposes, Lur village school could be transformed into a makeshift recording studios.
With a little imagination and effort, Thisell transformed Lur village school into a recording studio. Instruments and equipment filled part of the building. That was where the album would be recorded. Peter realised that this was the perfect space to record the album. The acoustics were good. It didn’t matter what the makeshift studio looked like. No What mattered what the music Thissell recorded sounded like. Other parts of the school were turned into a living space. That’s where Thisell and their friends and family ate and slept. As for Lur, it proved an inspirational plea. That was part of Peter Thisell’s plan.
Peter liked the idea of the band and their friends and family all living side-by-side. This was how albums used to be recorded. He wanted to return to this way of making an album. Lur was part of this plan. Recording an album in Lur, one of Sweden’s best kept secrets proved a stroke of genius. Near the makeshift recording studio was a lake, where members of the band could go and swim. In the evenings, having enjoyed home cooked meals, the band relaxed. They drank, swan in the lake or played played corrone. It was relaxed and informal atmosphere. This wan’t a rigid, regimented way of making an album. As a result, the album just evolved.
Over a seven day period, the eight songs that became I, were recorded. The relaxed atmosphere meant the album was recorded quicker. The session just flowed. Recording an album in such beautiful surroundings proved a masterstroke. Gradually, the songs evolved. Like a sculptor working with clay, songs took shape in the studio. Thisell worked away, gradually perfecting the songs. They took breaks for meals, returning refreshed and added the finishing touches to the eight songs. Then once this seven day period, the eight songs that became I were finished. Everyone thought that I would be released before long.
Sadly, that wasn’t the case. I wasn’t released until October 2013, when a small German vinyl only label JellyFant Records, released I. At last, Thisell’s debut album was released. It was critically acclaimed upon its release. By October 2013, the members of Thisell were living all over Sweden. They’d not seen much of each other since that week in August 2010. That would change though.
The only time the members of Thisell had spent any time together, was when they recorded the follow up to I, which is entitled II. This is the second part in what will be a trilogy of albums from Thisell. The first part in this trilogy is I, which I’ll tell you about.
Opening I is A Town Full Of Windows, which like the other tracks, is written by Peter Thisell. Wistful, melancholy and dramatic describes the arrangement. It’s slow, veering between ethereal and moody. Keyboards combine with drums. They provide the heartbeat while a cascading piano and melancholy strings tug at your heartstrings. Peter’s vocal is heartfelt, emotive and needy. He delivers the lyrics as if he’s lived them, and survived them. Full of imagery and emotions, ethereal, melancholy and beautiful describes this dramatic opus as folk and alt country unite.
Straight away, Bad Time has an authentic country sound. It sounds as if it was recorded in Nashville, not Sweden. Guitars weep, while the wistful rhythm section provide the backdrop to Peter’s vocal. With a pedal steel, fiddle and cooing harmonies for company, Peter’s delivers a weary and troubled vocal. No wonder. He’s confused, having spent time thinking. “What if love ain’t for me” Peter sings? Quite simply, Bad Time is one of the highlights of I. Not only does it showcase Peter’s skill as a singer and songwriter, but demonstrates how talented the rest if Thisell are.
Could You has a much more, understated and ethereal sound. That’s down to the guitars, strings and tender harmonies. They produce a heartachingly beautiful sound. Then when Peter’s vocal enters, it sounds not unlike Neil Young. His vocal veers between pensive and thoughtful to impassioned and heartfelt. With the strings and tender, cooing harmonies for company, the result is a truly beautiful paean.
Crystalline guitars open Into Hidden. They’re joined by an acoustic guitars, strings and Peter’s thoughtful vocal. Before long, unleashes an emotive, soul-baring vocal. It’s a tale of infatuation, and being ensnared by beauty. What follows is a cathartic confessional. Accompanied by guitars, piano and strings a mesmeric and captivating confessional that’s best described as heartfelt and ethereal.
Lay Here is another track with a country influence. Here, Thisell remind me of Wilco or The Jayhawks. That’s how good they are. From an understated arrangement, the song’s subtleties and nuances gradually unfold. The song builds, growing in drama and emotion. With the rhythm section providing the heartbeat, strings and a weeping guitar add to the emotion of this tale of what if. Peter’s vocal is tender, wistful and needy. He spells out how he loves this woman from afar, but sadly, can’t pluck up the courage to tell her how he really feels. Proof of this is the pay off, “what if I had the guts to believe.”
Just like other tracks on I, My New Best Friends has a warm, analog sound. That’s apparent from the opening bars of this ballad. Peter accompanied by piano and accordion delivers a slow, wistful vocal. His vocal is worldweary and troubled. You can imagine the lyrics unfolding before your eyes. Accompanied by harmonies, strings and guitars, Peter plays the role of the troubled troubadour to perfection. As for the lyrics, they’re among the best on I.
Over Years, Over Time is another track with an understated arrangement. Just the piano and strings accompany Peter. This means that Peter’s vocal takes centre-stage. Sometimes, he sounds not unlike a young Paddy McAloon, of Prefab Sprout. Other times, hr reminds me of Paul Buchanan of Blue Nile. However, centre-stage is where Peter’s vocal deserves to be. He goes on to delivers some of the best and most beautiful lyrics on I. They tell the story of a relationship gone wrong. It’s as if Peter has lived, loved and survived what he’s singing about. This results in a truly heartbreakingly beautiful tale of love gone awry.
Closing I is Towards The Warmth Of Life. Ethereal harmonies cascade and guitars chime, as space is left within the arrangement. This adds to the drama. So does the shredding electric guitar and deliberate drums. They set the scene for Peter’s heartfelt, seductive vocal. He’s accompanied by an arrangement where melancholy strings, cooing harmonies, scorching guitars and hypnotic drums combine. Against this backdrop, Peter delivers a poetic, seductive paean. As he does this, the rest of Thisell fuse folk, country and indie pop. This proves the perfect track to close I, as it leaves you wanting more. Much more.
Three years after Thisell recorded the eight songs that became I, in that disused school in Lur, in Southern Sweden, their debut album was released by German label, JellyFant Records in October 2013. That was game-changer for Thisell. No longer were they one of Sweden’s best kept musical secrets. Since then, Thisell’s music has found a wider audience. No wonder. From the opening bars of A Town Of Windows right through to the closing notes of Towards The Warmth Of Life, musical genres melt into one. Everything from Alt Country, Americana, country, folk , indie pop, psychedelia and classic rock melts into one. That’s why most critics were won over by I, Thisell’s debut album. Recorded in just seven days, it took three long years before I was released. It was well worth that wait.
Thisell are a hugely talented band. They were founded by singer, songwriter and musician Peter Thisell. He wrote the eight songs on I. Peter comes across as part poet, part philosopher. Tales of love and love gone wrong fill I. Full of imagery, the songs come to life as Peter delivers the lyrics. It’s as if he’s lived and survived the songs to tell the tale. He plays the role of troubled troubadour to perfection. A born storyteller, the characters come to life. Especially with the help of the other members of Thisell. Together, the members of Thisell have recorded what I’d describe as an old school album. It has a warm, vintage sound. So much so, that it reminds me of many albums recorded during the sixties and seventies. I has that classic sound that many modern albums lack. That’s why I’m already looking forward to the followup II.
The reason for this is simple, Thisell make great music. Thisell’s music is a fusion of alt-country, folk, country, psychedelia and indie pop. They’ve drawn inspiration from everyone from Neil Young, Jayhawks, Wilco, Gram Parson, Townes Van Zandt and troubadours like Tim Buckley and Leonard Cohen. Sometimes, Peter’s vocal even reminds me of Paddy McAloon of Prefab Sprout or Paul Buchanan of Blue Nile. Peter’s vocal has a similar worldweary, troubled sound. All these influences have played their part in one of the best debut albums I’ve heard recently.
That’s why Thisell’s debut album I is an album I can thoroughly recommend. It’s a welcome reminder that there are still groups producing music as good as this. In an age when music has become almost disposable, Thisell’s debut album I, is album to cherish. The music on I is best described as beautiful, emotive, ethereal, heartbreaking, soul-baring and cathartic. Sometimes, there’s a confessional quality to the music on I. It’s akin to eavesdropping on someone’s inner secrets. Other times, you listen as someone’s life unravels. Betrayal or love gone wrong, you’re captivated by Thisell’s ability to bring these everyday stories to life. You’re captivated by the eight songs on I, which showcases one of Sweden’s best kept secrets, Thisell. Not any more. Thisell are established a reputation as a band with a big future ahead of them. Their debut album I features eight reason why the future for Thisell looks bright. Standout Tracks:
THISELL-I.
HAITI DIRECT.
HAITI DIRECT.
Mention Haitian music, and most people will think of either voodoo or Rara. That’s two stereotypical examples of Haitian music most people think of. There is, however, more to Haitian music than that. Much more. Especially during the sixties and seventies. Back then, Haiti was enjoying one of the most rich, vibrant and eclectic periods in its history. This is documented on Strut Records forthcoming compilation of Haitian music, Haiti Direct. It’s a a double album featuring twenty-seven tracks which will be released on 27th January 2014. Haiti Direct documents the musical revolution that was happening in Haiti during the sixties and seventies. Out of merengue, compas direct was born. It begat cadence rampa which begat mini-jazz and then cadence-lypso, as Haitian music reinvented itself yet again. Another vibrant period in Haitian music began. It too, is documented on Haiti Direct, which I’ll tell you about. Before that, I’ll tell you about Haiti and its music.
Before the rich musical period that Haiti Direct documents, Merengue provided the soundtrack to life in Haiti. Merengue was a hugely popular musical phenomenon. It was a traditional type of music and dance that was popular throughout Latin America. Its origins date back to the 1800s, when Spanish and African music was fused to create Merengue. Although popular throughout Latin America, both Haiti and the Dominican Republic were claiming Merengue as their national music. However, merengue is thought to have emanated in the Dominican Republic.
It was the mid-1800s when Merengue was used to described a form of music and dance. Then nearly a century later, Rafael Trujillo, the president of the Dominican Republic, known as the The Chief, decided that Merengue would be the country’s national music and dance. Between 1930 and 1961, merengue provided the soundtrack to the Dominican Republic. So did Haiti, where another controversial politician had come to power.
Francois “Papa Doc” Duvalier came to power in Haiti in 1957. He was elected Haiti’s president on a populist and black nationalist platform. Previously Papa Doc had been Haiti’s health minister, and came to power promising to improve life for the country’s middle class. They welcomed this. After all, the previous forty-two years had been turbulent. Between 1915 and 1934, America occupied Haiti. Then when the Americans left Haiti, between 1934 and 1957, there were numerous changes in government. Haiti went through one of the most turbulent periods of its political history. ironically, Papa Doc was perceived as Haiti’s saviour.
When Papa Doc came to power, his government initially, were perceived as a success. Haiti’s middle class welcomed his decision to redistribute the country’s wealth. Not only were the middle class wealthier, but they were emancipated. This however, was as good as it got.
One of the most controversial and infamous decision Papa Doc made, was establishing the Tonton Macoutes, a militia. Essentially, they were a paramilitary organisation who carried out Papa Doc’s bidding. Political opponents or dissidents were intimidated, beaten up or even murdered. Haitian’s were extorted and kidnapped by the Tonton Macoutes, who quickly, gained a reputation as Haiti’s bogeymen. They were feared and loathed by the Haitian population who ironically, had elected Papa Doc president. Meanwhile, Papa Doc set about establishing Haiti’s cultural identity.
Just like Rafael Trujillo, the Dominican Republic’s dictator, Papa Doc decided Haiti needed its own cultural identity. Papa Doc decided that this would be Merengue. There was a problem though, Merengue was inextricably linked to the Dominican Republic. That didn’t stop Papa Doc.
Haitians had been hearing Merengue on their radios since the early fifties. This came courtesy of La Voz Dominica, the Dominican Republic’s national radio station. Now, Papa Doc decided the whole of Haiti people should be able to hear its new national music, Merengue. Merengue and then the more experimental vodou jazz groups, including Super Jazz des Jeunes filled the airwaves. The government funded Haitian radio. So comprehensive was the radio coverage, that even parts of rural Haiti could hear the new radio station. With a captive audience, Papa Doc looked to influence the programming.
Songs praising Papa Doc filled the airwaves. So did songs praising his political ideology and the progress he was making. These songs were played during carnival time. They played their part in ensuring that Papa Doc held on to power. Strangely, many of these political songs weren’t recorded. So there’s no documentary evidence of them. However, while these songs praising Papa Doc were filling the airwaves, Haitian music was changing.
As the fifties gave way to the sixties, Haitian music had began to evolve. The same thing was happening around the world, including much of Latin America. In Haiti, Merengue was changing. Merengue bands relied less upon the brass section. Instead, they incorporated a salsa influence into their music. Then when they played live, their shows were much more extravagant. Shows were much more choreographed and lavish. They’re remembered fondly as spectacles. Despite this, a change was on its way. This new genre was known as compas direct.
The man credited with founding compass direct was Nemours Jean-Baptiste. This was in 1955, when he was rehearsing his band. One of the most important things he did, was slow the tempo down. Compas direct, which translates as direct beat, would be a broad musical church. It incorporated ballads, boleros, humour and troubadour vocals. Nemours Jean-Baptiste decided this new musical genre should reflect Haiti’s roots and colonial rhythms. Jazz, Cuban and ironically, the music of Dominican Republic influenced this new musical phenomenon, compas direct. For some people, however, compass direct wasn’t new.
Although compas direct was perceived as a new musical genre, for some people, it was merely Merengue after a musical makeover. While this is somewhat harsh, there’s some truth in this. Merengue’s influence on compass direct can’t be denied. Much had been changed though.
One of the most noticeable changes, was the slower tempo. Compas Direct was slower than merengue. The underlying rhythm was adapted, while the arrangement became much more complex. Swing was the final piece of the musical jigsaw. With a driving rhythm section and irresistible beat, Compas Direct became a musical phenomenon. It swept across the Caribbean and reached as far afield as North America and Europe. This was the first Haitian musical revolution. The next was cadence rampa.
Webert Sicot watched with interest as compas direct became a musical phenomenon. A classically trained saxophonist, he’d previously played with Ante, a marching band. In his spare time, Webert was working on a new musical genre, cadence rampa. It’s lead by the horns and has beat that’s similar to the Cuban mambo. There are similarities with however, compas direct. It has a similar delicacy and fluidity. Soon, cadence rampa was growing in popularity.
Rivalries between bands grew heated. It wasn’t uncommon for the bandleaders to insult each other in their songs. Soon, bands sprung up throughout Haiti. Two bands stood out from the rest though and feature on disc two of Haiti Direct. They’re Webert Sicot and Nemour’s Jean-Baptiste Ensemble. After just one listen to Webert Sicot’s Ambiance Cadence and Nemours Jean-Baptiste’s Ti Carole and you’ll understand why they vied for the title of King of cadence rampa. They provide two of the highlights of disc two of Haiti Direct. Backed by thousands of supporters, they vied with each other to become the most popular cadence rampa band. Ultimately, the man who invented the genre lost out. Nemour’s Jean-Baptiste was the most popular cadence rampa group. After that, Nemour’s Jean-Baptiste became one of Haiti’s most successful musicians. That’s until there was another change musical revolution.
By the mid-sixties, the days of the big bands were gone. Previously, bands numbered up to thirty musicians. Younger musicians, based around areas of Port-du-Prince began to form smaller bands. They played at house local house parties and were known as the hippie groups. This was because they wore platform shoes, bell-bottom trousers and shirts with large collars. As for the groups they played, in they were more like the American jazz bands. They’d fewer members, who played a smaller selection of instruments. The music mini-jazz groups played, was very different from much of the music being released in America.
Mini-jazz groups used less instruments than the cadence rampa and compas direct groups. Its roots can be found in compas direct though. The mini-jazz sound is based around a major instrument. So blazing saxophones and searing, electric guitars drive arrangements along. Two tracks that demonstrate this perfectly can be found on disc one of Haiti Direct. Les Vikings use the saxophone to drive Choc Vikings along. Then on the irresistible jazz-tinged and funky An Septieme a track from Les Dificiles De Petion-Ville the lead and rhythm guitars drives the arrangement along. These two tracks are two reasons why mini-jazz quickly, became the most popular musical genres in Haiti.
Just like cadence rampa, mini-jazz groups established a large, loyal following. By the early to mid seventies, groups toured throughout Haiti and enjoyed residencies in local clubs and theatres. This included Les Frères Déjean and Les Ambassadeurs’ Homenaje. They contribute two of the highlights of Haiti Direct. Both are horn driven tracks. Les Frères Déjean contribute and Les Ambassadeurs’ Homenaje A Los Ambajadores. The latter is a truly irresistible fusion of influences. Latin and Western music seamlessly unite. Although both groups were successful, without doubt one of the most successful mini-jazz artists was Tabou Combo, who contributes Ce Pas to Haiti Direct. They enjoyed success throughout Europe, North and South America. So successful were Tabou Combo, that one time, they filled New York’s Central Park and reached number one in France. Mini-jazz was popular right through until 1976, when music changed again.
In 1976, Haitian music evolved again. The mini-jazz lineup expanded. Horn sections were added to the mini-jazz bands. Many Haitian musicians had left the island. Some had settled in New York, Miami and Montreal. Others gravitated to the French islands of Guadeloupe and Martinique. Those that found work in the French islands were influenced by the local musicians. This included the Guadeloupe based group Exile One, who fused cadence and calypso, which was known as cadence-lypso. For the Haitian musicians, this was inspired. So they exported this back to Haiti, where adence-lypso provided the soundtrack to Haitian life. Soon, Haitian bands were adding horn sections and later, synths to their lineups. That was the final part in the musical revolution that’s documented on Haiti Direct, which I’ll pick some of the highlights of.
DISC ONE.
Disc one of Haiti Direct features thirteen tracks. This includes tracks from giants of Haitian music. There’s also more than a few hidden gems. These tracks were released between 1969 and 1978. Featuring contributions from Ibo Combo, Les Vikings, Bossa Combo, Ti Paris and Scorpio Universal, there’s everything from Merengue, compass direct, folk and mini-jazz on disc one of Haiti Direct. Eclectic, with an abundance of quality music, choosing just a few of the highlights of disc one won’t be easy. Here goes.
Choc Vikings is an instrumental track from Les Vikings’ 1971 second album Ca Pas Magie. This last album the group recorded in Haiti. After this, they settled in Guadeloupe and later, France, where they recorded another sixteen albums. One of the most prolific Haitian groups, Choc Vikings is a delicious Merengue that’s the perfect introduction to Les Vikings.
Ti Machine was the title-track to Les Animateurs’ 1972 album. Funky, jazz-tinged and psychedelic Ti Machine features a guitar masterclass from Marcellus Victor. It also reflects what a compas direct track sounds like. Based in Port Du Prince, Les Animateurs are one of Haitian music’s best kept secrets.
Les Fantaisistes De Carrefour prided themselves as being the people’s group. The group were founded in 1967 and enjoyed several hit singles. Panno Caye Nan Boi Chene is a track from their album Les Fantaisistes d’Haiti. Spacey, lysergic, experimental and innovative, biguine rhythms are combined with jazz, funk and Haitian music. The result is mesmeric, genre-melting fusion of musical influences.
Cochon St Antoine is a track from Ti Paris’ 1972 album Ti Paris et sa Guitare. This was the only album Ti released. By 1972, Ti was thirty-nine and had a reputation as one of the top twoubadou singers. He delivers a heartfelt and emotive vocal. Full of emotion he reminisces about the return of Haitians returning home from working abroad. With a raw, rural, folk sound, it’s deeply moving and demonstrates the eclectic nature of Haitian music.
One of the biggest bands in Haitian music was Tabou Combo. Not only did he enjoy a number one hit in France, but was so popular, that his concert in New York’s Central Park was a sell-out. Ca Pas finds Tabou Combo at their very best. A track from their 1969 mini-jazz album Haiti, this accordion driven track has a wonderful wistful, melancholy sound. Tabou Combo would enjoy an unprecedented longevity, lasting forty years. No wonder. Their music continued to evolve, incorporating funk and disco.
DISC TWO.
After the quality of disc one, disc two of Haiti Direct picks up where disc one left off. It features fourteen tracks. This includes tracks from giants of Haitian music. Among them are Nemours Jean-Baptiste andWebert Sicot Just like disc one, there’s several hidden gems. These tracks were released between 1959 and 1979. Featuring contributions from Raoul Guillaume, Ensemble Meridional Des Cayes, Trio Select, Les Frères Déjean and Djet-X. Once again, this allows the listener to hear an eclectic selection of Haitian music. It’s another eclectic and enthralling musical journey, with surprises aplenty in store. This makes choosing the highlights of disc two difficult.
Super Jazz Des Jeunes contribute one of the earliest songs on Haiti Direct. Cote Moune Yo is a track from their 1962 eponymous album, which showcases their unique brand of voudou jazz. Lead by Rene St. Aude, Super Jazz Des Jeunes fuse folk, jazz, big band and Haitian rhythms. This is a heady and potent brew, which represents Haitian music old and new.
Nemours Jean-Baptiste was one of the most influential musicians in Haitian history. Not only did he help develop compas direct, but he was the founding father of a musical genre, cadence rampa. He also lead one of the greatest cadence rampa bands. Ti Carole is proof of this. An infectiously catchy, genre-hopping track, everything from Latin, folk, jazz, Merengue and cadence rampa are thrown into the musical melting pot. Given a stir by Nemours Jean-Baptiste and the result is an irresistible call to dance.
Trio Select and Gesner Henry released their sophomore album Haiti in 1971. It featured Ensemble Select En Action, which has a much more understated sound than many of the tracks on Haiti Direct. This understated arrangement allows the impassioned, soul-baring vocal to take centre-stage. Delivered in the Cuban Son Montuno style, albeit with a Haitian take, it’s a quite beautiful song, which yet again, demonstrates the sheer eclecticism of Haitian music.
Les Ambassadeurs were one of the first mini-jazz groups. They released an album Proverbs, which features the hidden gem that’s Homenaje A Los Ambajadores. A delicious horn driven track with a needy, impassioned vocal it epitomises everything that’s good about mini-jazz.
My final choice from disc two of Haiti Direct is Webert Sicot’s Ambiance Cadence. Webert went head to head for the title of King of cadence rampa. Remarkably, he took the title from Nemours Jean-Baptiste, the genre’s founder. With music like Ambiance Cadence, which can be found on the 1979 album Contravention, that’s no surprise. It’s a joyous melange of musical genres. Latin, jazz, funk, mambo and compas direct influence Ambiance Cadence, which is without doubt the most infectiously catchy track on Haiti Direct.
During the twenty year period that Haiti Direct documents, Haitian music continued to evolve. After merengue had provided the soundtrack to Haitian life for so many years, Haitian music began to evolve. First of all, merengue gave way to compas direct. It gave birth to cadence rampa and then mini-jazz. Then as Haiti Direct draws to a close, cadence-lypso sees Haitian music evolve yet again. With Haitian music continually evolving, Haitian music never stood still. That meant it neither became stale nor boring. Instead, it was a golden period for Haitian music, as Haiti Direct proves.
No wonder. Haiti was blessed with some of the most innovative and creative musicians in its history. They fused musical genres and pushed musical boundaries to their limits. Among the musical influences that can be heard on Haiti Direct, are Cuban, funk, jazz, folk, free jazz, Haitian, Latin and psychedelia. During each song, musical influences and genres melt seamlessly into one. The result is spellbinding, captivating and enthralling. With each listen, you hear new sounds, influences and musical textures. Layer upon layer of music reveals itself. Musical subtleties, secrets and surprises gradually unfold. Other times, the music is infectiously catchy. Irresistible, it’s akin to a call to dance. You can’t help but submit to its charms. Truly, Haiti Direct is an eclectic magical musical mystery tour through Haitian music.
Compiled by Hugo Mendez, co-founder of the Sofrito record label and sound system, Haiti Direct, which will be released on 27th January 2014, shows that there’s more to Haitian music than voodoo and rara. Haiti Direct is proof of this. For anyone who thinks that Haitian music begins and ends with voodoo and rara, then Haiti Direct shows how wrong they are. There’s much more to Haitian music than that. Much more. Indeed, Haitian music is a treasure trove awaiting discovery. For anyone yet to discover the many and varied delights of Haitian music, then Haiti Direct is the perfect starting point. Haiti Direct may be your first compilation of Haitian music, but not your last.
HAITI DIRECT.
PETER KING-MILIKI SOUND.
PETER KING-MILIKI SOUND.
It’s almost ironic that Peter King, one of Nigeria’s best musicians, is better known in Europe and America than in his home country. Peter King’s is widely regarded as one of Nigeria’s most talented musicians. His name is synonymous with his Miliki Sound, a captivating fusion of African musical genres and influences. Miliki Sound was also the title of Peter King’s 1975 debut album, which was released on vinyl by the Brighton based Mr. Bongo Records on 1st January 2014. This was the first of seven albums Peter King recorded between 1975 and 2002. However, there’s much more to Peter King’s career than seven albums. Here is a man who invented a musical genre, founded his own musical school, studied at London’s prestigious Trinity College of Music and performed in the middle of a war zone. Then there was Peter’s time as a member of the African Messengers who doubled as a backing band for Diana Ross, The Four Tops and The Temptations. Action packed describes Peter King’s long career, which I’ll tell you about. After that, I’ll tell you about his 1975 debut album Miliki Sound.
Born in 1938 in the Enugu region of Nigeria. Growing up, he moved between Lagos, Port Harcourt and Lokoja. Then in 1957, aged just nineteen, Peter moved to Ibadan and joined the Roy Chicago Band. Initially, he was playing double bass andalto saxophone. After this he joined other bands in Ibadan and later, Lagos. Soon, he was playing double bass, drums and alto saxophone. When the time came to spread his wings musically, he headed to London.
1960 saw Peter moved to London to study music. He played saxophone, flute, piano, drums, double bass and violin when ge studied at various colleges. This included the Central School of Music, the Guild Hall in 1961 and Trinity College of Music in 1963. Graduating in 1966, Peter formed his first band in London, The African Messengers.
Following his graduation Peter met trumpeter Mike Falana and drummer Boyo Martins. Together, they became the African Messengers. They were they prolific group. Not only were they a prolific live act, but released numerous singles. Their best known single is Highlife Piccadilly. When they were neither playing live nor recording, they were the backing group for many Motown artists. Among them were Diana Ross, The Four Tops and The Temptations. Not content with playing in one group whilst in London, Peter King formed the Blues Builders. Like the African Messengers, The Blues Builders were a prolific live band, playing all over Europe and north Africa. However, when Peter returned home in 1969, he formed another group.
On his return home to Nigeria, Peter’s formed another group, Voice of Africa. At one point, they even played in the middle of a war zone during the Nigerian Civil War. Voice of Africa were short-lived. When Peter returned to London in 1971, it was with Shango, his latest band. They toured Britain, Europe and America, further reinforcing Peter’s reputation as a musician.
By 1971, critics were comparing Peter to some musical legends. His playing style was compared to John Coltrane, Gene Ammons and Sonny Rollins. Key to this was his ability to improvise and his tonality. Like Trane, Peter is the consummate professional. Even when he kicks loose, his playing is copybook. No wonder. Peter King was into his third decade as a professional musician. One thing he hadn’t done, was record a solo album. He would rectify this in 1975. Indeed, for the next couple of years, Lagos studios were home to Peter King. His first album was Miliki Sound, which I’ll tell you about.
For Mikki Sounds, Peter King wrote and arranged six songs. He played tenor and alto saxophone, flute, piano, violin, percussion and sang. Accompanying him were trumpeter Eddie Tantan, alto saxophonist Dudu Pukwana and tenor saxophonist Mfon Idem. Sonny Roberts produced Miliki Sound which I’ll now tell you about.
Opening Miliki Sound is Jo Jolo, a track that will be recognizable to anyone with a passing interest in Afrobeat. It’s an explosion of joyous music. The rhythm section create a pulsating, pounding beat, while percussion, piano and stabs of growling horns accompany Peter’s impassioned, pleading vocal. As the vocal drops out, the bank lock into the tightest of grooves. Then taking centre-stage is Peter and his trusty saxophone. He unleashes a frenzied, frantic solo. When it drops out, as if spent and exhausted, percussion, flute and his vocal pick up the baton. Each play their part in what is, an infectiously catchy Afro-beat classic.
Boleya Koya sees the tempo drop slights. Just drums, percussion, flute and bursts of gnarled horns join forces. Soon, Peter and his band are creating another sensual groove. This is thanks to the rhythm section who provide the arrangement’s heartbeat. Peter’s vocal is heartfelt, emotive and sincere. Add to that jazz-tinged guitars, grizzled, bluesy horns and funkiest of rhythm section, and it’s a potent combination. Here elements of jazz, blues, soul, funk and Afro-beat are combined. They’re responsible to this invitation to dance, one that you neither resist nor help submitting to.
Iya La Jole opens with a mesmeric and uplifting combination of percussion and stabs of blazing horns. Propelling the arrangement along is the rhythm section. Meanwhile, Peter’s vocal plays a crucial part in a track that’s best described as a carnival-esque slice of musical sunshine.
Dramatic and urgent bursts of horns open Ijo Olomo. It’s as if their raison d’aitre is to grab your attention. Having done this, the joyous celebratory sound of previous tracks returns. Percussion and the rhythm section provide an irresistible rhythm, while the horns bray and blaze. Peter’s playing is peerless and flawless. Like his vocal, he plays with passion and a sense of urgency. This seems to spur his band on. They rise to his level, playing with the same energy, urgency and enthusiasm.
A mass of violins, horns, percussion and the rhythm section open Elelzy. It’s an impressive wall of sound. Here, Peter plays violin which sounds slightly shrill, percussion and saxophone. Incredibly, he’s just as proficient on each instrument. As if that’s not impressive enough, he delivers the vocal. Unlike other tracks, it’s much more tender, and is also heartfelt and sincere. Then Peter’s saxophone takes centre-stage. He unleashes another flawless solo. When it’s finished, you realize just why Peter King was held in such high regard as a saxophonist by his contemporaries and peers.
Closing Miliki Sound is Gvinmi Komo. Straight away, you realize that something special is unfolding. There’s a much more understated sound. Gone are the blazing horns. Instead, the rhythm section and percussion accompany Peter’s vocal. A pounding bass drives the rhythm section along. As it provides the track’s heartbeat an alto-saxophone makes brief appearance. Later, the horns braying bid a farewell to Miliki Sound. That seems fitting, given how important a role they’ve played in the album. Having said that, they’re used much more sparingly. This proves just as effective, as Peter’s vocal cajoles and encourages the band to close the album on a high. They don’t let him down.
For anyone yet to discover Peter King’s music, there’s no better place to start than Miliki Sound. It’s easily his most accessible album. Not only that, but it’s truly irresistible album filled with delicious rhythms. Although only six songs and thirty minutes long, it’s an almost flawless album. From the opening bars of Miliki Sound right through to the closing notes of Gvinmi Komo, it’s a joyous, uplifting and irresistible musical experience. I’d describe Miliki Sound as a call to dance, one you can’t help but submit to. It’s almost mocking you, daring you to submit to its glorious rhythms. There’s more to Miliki Sound than some delicious rhythms. Much more.
Intricate, multilayered and complex, Miliki Sound which was released on vinyl by the Brighton based Mr. Bongo Records on 1st January 2014, is filled with numerous subtleties, surprises and nuances. Musical genres and influences are thrown into the musical melting pot by Peter King and producer Sonny Roberts. This included everything from Afro-Beat, soul, funk, jazz and blues. Add to this Afro-Jazz, high life and wild life. It’s a glorious and unique fusion of styles and influences. Miliki Sound also proved to be a hugely influential album. So influential, that it gave birth to a new musical genre, Miliki Sound. This is a fitting tribute to the quality of music on Miliki Sound, Peter King’s debut album. Having earlier described Miliki Sound not just as an infectiously catchy, irresistible album, I’d add to that innovative, imaginative and influential. Standout Tracks: Miliki Sound, Boleya Koya, Elelzy and Gvinmi Komo.
PETER KING-MILIKI SOUND.
RUNAWAY ORCHESTRA-RUNAWAY ORCHESTRA.
RUNAWAY ORCHESTRA-RUNAWAY ORCHESTRA.
You’ll be hard pushed to find more enchanting album than the Runaway Orchestra’s eponymous debut album Runaway Orchestra, which has been rereleased by Brighton’s Mr. Bongo Records on 1st January 2014. I was going to say the Runaway Orchestra give ten familiar tracks a makeover. That however, would be an understatement. Transformation is nearer to the truth. This is Bob Dylan, T-Rex, The Turtles and Sonny and Cher as you’ve never heard them. Runaway Orchestra is akin to alchemy. Songs are transformed majestically. They’re totally reinvented and rejuvenated. Sometimes, they’re given new life and meaning. What’s even more remarkable, is that the Runaway Orchestra is just an adjunct to Sophie Madeline’s successful solo career. Before I tell you about the music on Runaway Orchestra, I’ll tell you about Sophie’s career so far.
Away from the Runaway Orchestra, Sophie Madeline is a ukelele-playing folk singer. The ukelele wasn’t Sophie’s original choice of musical instrument. Like many people, the piano was her introduction to music. Then came the ukelele, which Sophie taught herself to play. Along with her unique, D.I.Y. approach to music, it’s fair to say that Sophie is something of a musical maverick. Eschewing traditional recording studios, her flat has doubled as a makeshift studio. That has worked for Sophie, who divides her time between Brighton and New York.
Sophie’s recording career started back in 2009, when she released her debut album, the wonderfully titled Love Life, Love Ukelele. Two years later, Sophie release her sophomore album The Rhythm You Started in 2011. Since then, Sophie has dived her time between recording her third album, playing live and recording the Runaway Orchestra’s debut album Runaway Orchestra.
For recording of Runaway Orchestra, Sophie Madeline hooked up with Tom Valentine. They chose ten cover versions, many of which most people will be familiar with. Songs by Bob Dylan, Nick Drake, T-Rex, Sonny and Cher, Pete Doherty and Wolfman were chosen. This however, was no album of slavish cover versions. Not at all. Instead, each song was given a folk makeover. Songs were slowed down, strings added, Sophie Madeline played ukelele and added her breathtaking vocals. The result was both enchanting and spellbinding. You’ll discover that, as I tell you about Runaway Orchestra.
Opening Runaway Orchestra is a cover of The Turtles’ Happy Together, which is totally transformed. The tempo is slowed way, with hypnotic drums providing the heartbeat. String are at the heart of the arrangement. They sweep in, providing the perfect accompaniment to Sophie’s tender, heartfelt vocals. Soon, the drama builds. Pizzicato strings, punchy harmonies and rolls of drums add to the drama, before the strings sweep and swirl. Brief flourishes of harp add the finishing touch to a what’s now a beautiful, dramatic and heartfelt love song.
Just an acoustic guitar and Sophie’s wistful vocal open T Rex’s Life’s A Gas. Here, the Runaway Orchestra don’t stray far from the original. Soon, the arrangement reveals its subtleties and beauty. Subtle drums, layers of melancholy strings and cooing harmonies combine. They provide melancholy backdrop for Sophie’s bravado. She’s been hurt, but tries to hide it. This she can’t do. Her hurt and heartbreak shines through, despite the bravado of her easy come, easy go attitude. Although T-Rex set the bar high, the Runaway Orchestra pay a fitting homage to Marc Bolan. Their version further reinforces the heartbreak, emotion and beauty of this timeless song.
For Lovers was recorded by Pete Doherty and Wolfman in 2004. It’s quite different to this version. It’s much more understated and thoughtful. Strings play an important part in the arrangement. Slow and lush, they’re joined by a combination of drums, flute and guitar. Seamlessly, they become one, as if forming part of some bigger picture. Sophie’s vocal suits the song perfectly, transforming it into a tender, but wistiful paean For Lovers everywhere.
Covering such a well known track as Bob Dylan’s It’s Not For You isn’t easy. After all, the definitive version has been recorded. Anything else will come up short. That said, the Runaway Orchestra’s version brings something new and innovative to the song. In doing so, they combine folk, country, Americana and rock. To do this, keyboards, keyboards, guitar and drums create a slow, pensive and spacious arrangement. The space is crucial. It’s akin to a dramatic pause, that adds to what is an evocative arrangement. As for Sophie’s vocal, it’s joyous and soulful, as she gives thanks for the love she’s found.
It’s a Beautiful Day has a much more contemporary sound than other tracks. There’s even a broken-beat influence. Sophie delivers another joyful, thankful vocal. Strings veer between subtle to lush. They’re complimented by a harp. Meanwhile, the rhythm section create a choppy arrangement, which is reminiscent of a summer’s day on the beach.
Run With Us was written by Steve Lunt and was the theme tune to eighties television show The Raccoons. It was then covered by Lisa Loughheed in 1987 and Spray in 2009. This version is quite different. Sophie’s tender, impassioned vocal is accompanied by her trusty ukelele, glockenspiel and cooing harmonies. Providing the heartbeat are drums and booming bass. Seamlessly, this all fits beautifully together, just like a jigsaw puzzle. What makes this the definitive version of the song, is the interplay between Sophie’s vocal and the cooing harmonies. They play their part in making this the highlight of Runaway Orchestra.
What makes a project like Runaway Orchestra so compelling is how a familiar song is transformed into something the writer never imagined. This is the case with The Beat Goes On, written by Sonny Bono. It’s a much more subtle song. That’s down to the understated drum arrangement. Then there’s the way Sophie’s vocal and lead melody interact. They’re like a musical ying and yang, They also play leading roles in this compelling cover of a familiar track.
The River Song has a jaunty, mid-tempo arrangement thanks to the guitar and drums. The drums are played by Miggy Barradas of The Divine Comedy. This makes sense. Their influence is all over the track. Sophie’s vocal is equal parts power and emotion, while a standup bass helps power the arrangement along. A wonderfully wistful trumpet solo, adds a jazzy twist to the arrangement. It sets the scene for the rest of this thoughtful, but quite beautiful song.
True Love Will Find You in the End was written by Daniel Johnson. Only ninety-seconds long, it’s a tantalizing glimpse of Daniel Johnson’s skills as a songwriter. Strident guitars, drums, bass and piano accompany Sophie’s vocal. Hopeful and reassuring, her vocal becomes pensive and almost unsure. A mandolin is added at just the right time, as Sophie hopes, but isn’t convinced, that True Love Will Find You in the End.
Closing Runaway Orchestra is Two Of Us written by Lennon and McCartney. It featured on Let It Be, Anthology 3 and Let It Be…Naked. Rather that reinvent the musical equivalent of the wheel, the Runaway Orchestra stick closely to the original song. Accompanied by just guitars, percussion and bass, Sophie accompanied by backing vocals delivers a heartfelt and hook-laden homage to The Beatles that’s best described as Beatles-esque.
Rather than slavishly recreate ten familiar songs, the Runaway Orchestra have taken a very different, unique and innovative approach on Runaway Orchestra. They’ve taken ten original songs and in many case, totally transformed them. The best examples are The Turtles’ Happy Together, Pete Doherty and Wolfman’s For Lovers, Bob Dylan’s It’s Not For You and Sonny and Cher’s The Beat Goes On. In the case of Happy Together, For Lovers and The Beat Goes On, I much prefer the Runaway Orchestra’s version. They’ve revitalized and rejuvenated both tracks. For Lovers with its understated, lush string drenched sound takes on new meaning as its inherent beauty shines through. On other tracks, the Runaway Orchestra take a different approach.
While many tracks on Runaway Orchestra saw the Runaway Orchestra reinvent and rejuvenate songs, other songs are akin to paying homage to the original artist. However, this is far from a slavish cover version. Instead, it’s the original with a captivating twist. Two examples are T-Rex’s Life’s A Gas and The Beatles’ Two Of Us. Both are a fitting tribute to two of Britain’s most successful groups. Along with the reinvention of familiar songs, Runaway Orchestra is an enchanting and captivating album. For anyone yet to discover the delights of Runaway Orchestra, now is the time to do so.
Playing an important part in the success of Runaway Orchestra, which was rereleased by Mr. Bongo Records on 1st January 2014, are the understated, folk-tinged arrangements which feature a compelling and eclectic selection of instruments. The piece de resistance is Sophie’s vocal. Variously tender, wistful, melancholy and joyous, it helps breath new life and meaning into the ten songs on Runaway Orchestra. What started off as a adjunct to Sophie’s solo career could turn out to be something much bigger. Given the plaudits that have come the Runaway Orchestra’s way, Runaway Orchestra can’t be a one-off. There must be a sequel to Runaway Orchestra. Surely, given the quality of music on Runaway Orchestra it won’t be long before we hear from Runaway Orchestra again? Standout Tracks: Life’s A Gas, For Lovers, Run With Us and True Love Will Find You in the End.
RUNAWAY ORCHESTRA-RUNAWAY ORCHESTRA.
EBO TAYLOR-CONFLICT.
EBO TAYLOR-CONFLICT.
When the history of Ghanian music is written, one man will loom large, Ebo Taylor. He is a colossus of Ghanian music. Ebo is best described as an innovator who went on to influence further generations of Ghanian musicians. Nearly forty years later, Ebo’s influence is still being felt not just in Ghanian music, but further afield. Thanks to reissue labels like Mr. Bongo Records, a new generation of music lovers are discovering Ebo Taylor’s music. This includes his 1980 album Conflict, which was rereleased by Mr. Bongo Records on vinyl on 1st January 2014.
Conflict is just one of the albums that have just been reissued by Mr. Bongo Records as the new year dawned. However, it’s the first of these albums that I’ll tell you about. Before I tell the music on Conflict, I’ll tell you about a pivotal figure in Ghanian music, Ebo Taylor. He was much more than a musician. Ebo was also a songwriter, arranger, producer and bandleader. Quite simply, Ebo Taylor has done it all, and that includes creating a new genre of music.
Born in Ghana in 1936, Ebo Taylor’s career started in the fifties, when he was the leader of two highlife bands in Ghana, The Stargazers and The Broadway Dance Band. These weren’t just any highlife bands. No. They were two of the best and most important highlife bands. This allowed Ebo Taylor to establish a reputation, before he decided to spread the gospel of Ghanian music in London.
By 1962, Ebo had moved to London, where he founded The Blackstar Highlife Band. Having founded his own band, Ebo could dictate musical policy. What he wanted to do, was create a fusion of musical genres and influences. This included traditional Ghanian music and other West African musical genres. To this, Ebo combined funk and jazz. What The Blackstar Highlife Band created, was a musical melting pot. Afrobeat, highlife, jazz and funk came together to form a hypnotic and enthralling fusion of African and Western music. So, it’s no surprise that The Blackstar Highlife Band became a popular group not just in London, but further afield. The effect this had on Ebo’s career was considerable. On his return to Ghana, his services as a producer were greatly in demand.
Having returned to Ghana, Ebo was like the all-conquering hero. Word had spread of the genre melting music he’d created in London with The Blackstar Highlife Band. Job offers came thick and fast. Musician, songwriter, arranger and producer, Ebo could turn his hand to anything.
Ebo was a member of the short-lived The Apagya Show Band, who released one single, Tamfo Nyi Ekyir in 1973. They also released one album, which lay unreleased for thirty-nine years. From playing, Ebo decided to move onto arranging and production.
Then in 1975, Ebo arranged C.K. Mann and His Carousel 7’s 1975 album Funky Highlife. Later that year, Ebo produced Gyedu-Blay Ambolley’s album Simigwa. It was through production that allowed Ebo to put his new ideas about music into practice. Ebo it seemed, had done just about everything in music. Two things remained, songwriting and releasing a solo album.
Two years later, in 1977, Ebo wrote several songs for Pat Thomas and Marijata’s eponymous album. Ebo was also called upon to arrange the album. This was good practice for what was about to happen. The one thing Ebo Taylor had still to do, was release a solo album. This would be rectified in 1977, when Ebo Taylor released his eponymous album Ebo Taylor on Ghanian label Essiebons. Before long, Ebo would release his sophomore album.
Twer Nyame was Ebo Taylor’s sophomore album. It was released on Phillips West-African Records. Having released two solo albums in the space of a year, it was another two years before Ebo released another album.
Ebo’s next album was collaboration with the Saltpond Barkers Choir. Me Kra Tsie was released in 1979, on Ghanian label Essiebons. This must have given Ebo a taste for collaborations, as his next album was another collaboration.
For what was his fourth album Conflict, Ebo Taylor joined forces with Uhuru Yenzu. Ebo wrote the five tracks that became Conflict. Joining Ebo and Uhuru were some of Ghana’s best musicians. This included a rhythm section of drummer Max Hammond, bassists David Lamptey and Paa Kwesi, plus Ebo who played guitars and keyboards. Adding the percussive sound were Tom Prize on congas and Arthur Kennedy who played African drums. The horn section included alto saxophonist George Amissah, tenor saxophonist George Abunuah and trumpeter Arthur Kennedy. Once Conflict was recorded, it was released in 1980.
On its release, Conflict was a success in Ghana. Sadly, it never found a wider audience. Ebo Taylor was an African phenomenon, but as far as the rest of the world concerned, he was another of African music’s best kept secrets. Thankfully, that’s changing and Brighton-based label Mr. Bongo have rereleased a remastered version of Conflict which I’ll tell you about.
Opening Conflict is You Need Love, where jazz-tinged horns open the track. They have a contemporary timeless sound. Rasping and braying, the horns have a light, airy and joyous sound. Crystalline guitars, stabs of keyboards and heartfelt harmonies spread a feel-good message. They’re the perfect accompaniment to the arrangement. Together, they’re the equivalent to a slice of musical sunshine, and a hook-laden one at that.
Love and Death has a similar jazz-tinged sound. It’s an irresistible fusion of Afro-beat and jazz. As the rhythm section provide the heartbeat, stabs of blazing horns and keyboards punctuate the arrangement. When the horns drop out, heartfelt, soulful harmonies take charge. Just like the opening track, they’re the perfect accompaniment to the arrangement. Ying and yang describes them, as Afro-beat, funk, jazz and soul melt seamlessly into one. As for the lyrics, they’re cerebral and thoughtful. I’d go as far as say that their some of the best on Conflict, which demonstrate Ebo’s skills as a songwriter.
What Is Life bursts into life. A myriad of percussion, bursts of blazing horns, stabs of keyboards and a pulsating funky rhythm section unite, before Ebo delivers the vocal with passion and emotion. He’s like a musical philosopher, one who ask the big questions. There’s none bigger than “What Is Life?” Harmonies accompany while, a cascading flute and dramatic drums enjoy add to this delicious musical melting pot. Musical genres and influences melt into one. Afro-beat, funk, jazz, Latin and soul all play their part, as Ebo plays the role of poet and philosopher. Ultimately, Ebo doesn’t provide an answer to “What Is Life?” However, as musical journeys go, it’s infectiously catchy, joyous and dance-floor friendly.
Christ Will Come has a much more understated and thoughtful sound. Just a hypnotic keyboard line, congas and percussion join the flute. They provide the backdrop to the vocal. It’s spiritual and heartfelt, reminiscent of Bob Marley in his prime. As the vocal drops out, the horns take charge, braying and blazing, while the rhythm section power the arrangement along. Horns cascade as the flute takes centre-stage. It’s played real passion. This is fitting given the spiritual quality of the vocal. Spiritual and uplifting describes this track. So does funky, jazz-tinged and timeless, as musical genres melt into one.
Victory closes Conflict. Horns contribute a celebratory sound. There’s a reason for this, Ebo and his band are celebrating a Victory. Maybe it’s the 1979 coup, lead by Jerry Rawlings? Driven along by the braying, grizzled horns and rhythm section, Afro-beat, funk and jazz is combined by Ebo’s all-star band. Then when Ebo sings call and response, the harmonies add to the celebratory nature of the track. Chiming, crystalline guitars join a hypnotic bass as this funky and strident arrangement heads to its crescendo. As it does, you can’t help but get caught up in this mesmeric musical celebration.
Thirty-three years after its release, Conflict, Ebo Taylor’s fourth album can be described using just one word…timeless. It’s hard to believe Conflict was released in 1980. The music has a contemporary sound, as everything from Afro-beat, funk, jazz, Latin and soul melt into one. On a couple of tracks, there’s a prominent jazz influence. That’s no surprise. After all, Ebo Taylor’s guitar playing is best described as jazz-tinged. It ranges from delicate and deliberate, to subtle and understated. Then there’s his vocals. They cover a gambit of emotions. One minute they’re joyous and uplifting, the next spiritual, heartfelt or impassioned. Ebo’s vocals prove the ying to the band’s yang. They play their part in Conflict, a truly genre-melting album which demonstrates Ebo Taylor at his best.
Conflict was written, arranged and produced by Ebo. The album is like a musical tapestry, where an eclectic selection of musical genres and influences play their part in the album’s sound and success. Afrobeat, highlife and other types of Western African music are joined by jazz, funk, soul and Latin music. Dense rhythms, a proliferation of percussion and Ebo’s jazz-tinged guitar are joined by braying, blazing horns. Together, they provide the backdrop for the vocals on Conflict, which was released on vinyl by Mr. Bongo Records on 1st January 2014, as part of a major reissue program.
Best described as an innovative, genre-straddling album, Conflict is one of Ebo Taylor’s finest albums. By then, 1980, Ebo was a vastly experienced musician. He’d nearly thirty years experience as a musician. So when he came to recording Conflict, he drew upon all that experience, fusing African and Western music. The result was Conflict, a potent, cerebral and timeless album, which is the perfect introduction to Ghana’s greatest ever musician, Ebo Taylor.
EBO TAYLOR-CONFLICT.
CAN-SOON OVER BABALUMA.
CAN-SOON OVER BABALUMA.
Forty years ago, in November 1974, Can released the sixth album of their career, Soon Over Babaluma. This marked the end of an era for Can. Soon Over Babaluma was the end of Can’s golden period. This golden period began with their debut album, 1969s Monster Movie and 1974s Soon Over Babaluma. For six albums, Can were one of the most innovative bands in musical history. They established a reputation as one of the most influential bands in musical history. Even today, forty-five years after Can released their debut album, Can’s influence is can be heard in music.
Founded in 1968, Can went on to become one of the most innovative, influential and groundbreaking groups in musical history. Their music is best described as a fusion of ambient, avant-garde, electronic, experimental, industrial, jazz, prig rock, psychedelia and rock. Known for their ability to improvise, Can became famous for what they referred to as spontaneous composition.
When Can headed into the studio they improvised. Feeding off each other, genres and ideas melted into one. It was spontaneous and off-the-cuff. Can played with freedom and in doing so, pushed musical boundaries to their limits and sometimes, beyond. Afterwards, the results would be edited and the result would be some of the most exciting music released between 1969 and 1979, when Can split-up.
In total, Can released eleven albums between 1969s Monster Movie and 1979s Can. During this period, Can released classic albums like Tago Mago, Ege Bamyasi, Future Days and Soon Over Babaluma. This was music that’s bold, challenging, innovative, inventive and influential. Expecting the unexpected, a new Can album featured exciting, innovative and progressive music, where a fusion of musical influences and genres became one. For ten years and eleven albums, Can released cutting-edge music. Sadly, in 1979, Can split-up. Thankfully, they reconvened in 1989 for Rite Time. However, five years before Rite Time, Can released Soon Over Babaluma the album which marked the end of Can’s golden period. Before I tell you about Soon Over Babaluma, I’ll tell you about Can’s career up until then.
For a three year period between 1963 and 1966, Holger Czukay and Irmin Schmidt were privileged to study music under the legendary Karlheinz Stockhausen. A true pioneer, Karlheinz Stockhausen was way ahead of time. He wasn’t just a visionary in terms of electronic music, but was fascinated by aleatoric music, where some element of piece is left to chance. Granted there will only be a certain number of outcomes, but the musician has to choose the outcome they believe is correct. Serialism was another subject Karlheinz was interested in. With serialism, a series of values are used to manipulate musical elements. This form of composition fascinated Karlheinz. So did musical spatialism, which would influence Can. Karlheinz was an evangelist, encouraging his pupils to investigate, examine and scrutinise each of these subjects. So it’s no surprise that once Holger Czukay and Irmin Schmidt had finished studying, Holger became a musical teacher.
Having settled into life as a music teacher, Holger was enjoying life as a teacher. Then when he heard The Beatles’ I Am A Walrus in 1967, he was captivated by this psychedelic rock single. With the innovative use of bursts of radio and the experimental sound and structure, Holger went in search of similar music. Soon, Frank Zappa and Velvet Underground became favourites of Holger. Inspired by what he’d heard, Holger decided to form his own band in 1968…Can.
After his time studying under Karlheinz Stockhausen, Irmnin headed to New York, where he spent time with avant-garde musicians like Steve Reich, Terry Riley and La Monte Young. Soon, Irmin was aware of Andy Warhol and Velvet Underground. This inspired him to form his own band when he returned home to Cologne.
In Cologne, Irmin a pianist and organist formed Can with American flautist David C. Johnson and bassist Holger Czukay. Up until then, the trio had exclusively played avant-garde classical music. Now their ambitions lay beyond that. Their influences included garage, rock, psychedelia, soul and funk. So they brought onboard three new members of the group which started life as Inner Space, and then became The Can. Eventually, they settled on Can, an acronym of communism, anarchy, nihilism
The first two new additions were guitarist Michael Karoli and drummer Jaki Liebezeit. Vocalist and New York-based sculptor Malcolm Mooney joined the band midway through 1968. By then, they were recording material for an album Prepare To Meet Thy Pnoom. Unfortunately, record companies weren’t interested in the album. So the group continued recording what would become their debut album Monster Movies. However, David C. Johnson left the group at the end of 1968. He was disappointed at the change in musical direction. Little did he realise he’d lost the chance to be part of a groundbreaking band Can.
Monster Movie which was released in August 1969, marked the debut of Can. It started their career as they meant to go on. A groundbreaking, genre-melting fusion of blues, free jazz, psychedelia, rock and world music, Monster Movies has a Velvet Underground influence. It’s as if Can have been inspired by Velvet Underground and pushed musical boundaries to their limits. Experimental, multilayered and an example of Can’s spontaneous composition and editing skills, Monster Movie wasn’t just the album that launched Can’s career, but saw the term Krautrock coined. The founding father’s of Krautrock Can, were just entering their golden period.
Released in 1970, Soundtracks, was Can’s sophomore album. Essentially, Soundtracks is a compilation of tracks Can wrote for soundtracks. It’s the album that marked the departure of vocalist Malcolm Mooney. He suffered a nervous breakdown. Advised by a psychiatrist to leave Can for the good of his mental health, Malcolm returned to America. This left Can without a vocalist. That is, until Holger met a Japanese busker.
It was in Munich where Holger Czukay discovered Japanese busker, Kenji Damo Suzuki. He was busking when Holger came across him. Holger realised Kenji Damo Suzuki would be the perfect replacement for Malcolm. He was thrown into the deep end and added vocal and percussion on five of Soundtracks’ tracks. The addition of Damo wasn’t the only change Can were making.
Soundtracks was a coming of age for Can. It marked a move away from the psychedelic jams of Monster Movie and a move towards their classic sound. That saw the music becoming much more experimental and avant-garde. The music took an ambient, meditative, mesmeric and thoughtful sound. This marked the beginning of what became known as Can’s classic years, when albums like Tago Mago, Ege Bamyasi and Future Days were released.
Tago Mago was released to critical acclaim in 1971. This was the start of a golden period for Can. They could do no wrong. Kenji Damo Suzuki had joined the band officially. Now a permanent member of Can, the band spent a year living in a castle near Cologne recording Tago Mago. Songs started as lengthy jams and improvised pieces. Then Holger worked his magic. He edited them and they became mini masterpieces.
Seven songs featured on a double album released in February 1971. On Tago Mago’s released, it was hailed as their best album yet. Jazzier with an experimental sound, the music has a mysterious, mesmeric sound. Innovative, genres and influences melted into one on Tago Mago. Multilayered, nuances, subtleties and surprises reveal themselves. Since its release, several generations of musicians have been inspired by Tago Mago, a true Magnus Opus, that belongs in every record collection. So does the followup Ege Bamyasi.
Can were on a roll. It seemed they could do no wrong. Ege Bamyasi was released in November 1972 to critical acclaim. Recorded in a a disused cinema, which the band lived in, the result was an album that was a fitting followup to Tago Mago. Just like its predecessor, it’s an essential part of any self respecting record collection. A fusion of jazz, ambient, world music, traditional music, rock and electronica, Ege Bamyasi saw Can continue to innovate and influence musicians and music lovers. As of another critically acclaimed classic album wasn’t enough, Can enjoyed their first hit single.
Spoon was chosen as the single from Ege Bamyasi. It reached number six in Germany. That was helped no end, by the single being used as the theme to a German thriller Das Messer. It seemed nothing could go wrong for Can.
That seemed the case when Can released Future Days, in August 1973. It marked a change of direction for Can. Their music moved in the direction of ambient music. The tracks especially, demonstrate that, Future Days and Bel Air. The move towards ambient music may have surprised some Can fans. However, Brian Eno was just one artist pioneering ambient music. This move towards ambient music must have pleased Holger’s guru Karlheinz Stockhausen. He must have looked on proudly as Can released the third of a quartet of classic albums. The final album in this quartet was released in 1974.
Recorded at Inner Space Studios, Munich, Soon Over Babaluma features five tracks penned and produced by Can. Soon Over Babaluma marked a change of direction for Can. This was their first album without a lead vocalist. During this period, Can had released some of the most groundbreaking music of the late-sixties and early seventies. This continued with Soon Over Babaluma.
Can released Soon Over Babaluma in November 1974. It featured the ambient sound that Can pioneered on their previous album, Future Days. Critically acclaimed, and featuring a myriad of beeps, squeaks and sci-fi sounds, Soon Over Babaluma is like musical journey into another, 21st Century dimension. A musical tapestry where layers of music are intertwined during five tracks, Soon Over Babaluma, which I’ll tell you about, brought to a close the most fruitful period of Can’s career.
Dizzy Dizzy opens Soon Over Babaluma. Moody and atmospheric describes the arrangement. A whispery scat, scratchy strings and drums combine with crystalline, sometimes, wah-wah guitar. Soon, Can are in the groove. From this groove, the song emanates. It’s as if this is an example of Can’s spontaneous composition. Through jamming, then with Holger editing the end result the song evolves. When he’s finished this is the result, an innovative fusion of musical genres. Everything from ambient, country, electronica, folk, funk, jazz, Kraturock and rock is combine as Can continue their quest to reinvent themselves.
Can spring a series of surprises on Come Sta, La Luna. Driven along by the rhythm section, the arrangement is slow and moody. Harmonies interject, and with the piano add drama. Then there’s the return of the sinister scat. It’s as if we’re eavesdropping on someone unravelling. Meanwhile sound effects, piano and the broody vocal combine with a myriad of percussion as the arrangement takes on a jazz-tinged, ambient sound. Other times, the music is dramatic, discordant and veers towards folk, jazz and rock. Gypsy violins, melancholy horns and percussion are all thrown into the melting pot, as the music becomes cinematic and theatrical. Multilayered, full of nuances and subtleties, it’s a pioneering, groundbreaking piece of art. Describing this track as just music, doesn’t do it justice.
Splash explodes into life, allowing Can the chance to showcase their versatility. Seamlessly and peerlessly, they combine musical genres. A myriad of musical influences unite. So do a multitude of instruments. Some are transformed. In the hands of Can, their sonic possibilities seem infinite. Instruments are reinvented as Can maraud their way across the arrangement. Driven along by a thunderous rhythm section, grizzled horns, screeching strings, blistering guitars and percussion Can push musical boundaries. Avant-garde, experimental and free jazz join forces with Krautrock and Latin are added to this lysergic, musical pot pourri. Groundbreaking, defiant and bold, Can go where no group dared go before.
Chain Reaction is best described as an eleven minute epic. With a sci-fi, cinematic sound, it’s as if we’re heading on a musical journey to another dimension. Drums pound, synths bubble and searing guitars herald the start of this journey. Can lock into a groove and explore it to its fullest. Crystalline guitars chime, while the drums provide the thunderous heartbeat. Percussion and sci-fi synths augment the arrangement as the arrangement makes fleeting visits to musical genres. Funk, jazz, Krautrock, ambient and rock are all combined. As Can maraud their way through musical genres, blistering mating gun guitar licks are unleashed. Groove laden, edgy, funky, jazz-tinged, pioneering and cinematic, Chain Reaction is all this more.
Quantum Physics closes Soon Over Babaluma. Broody, moody and haunting, it’s akin to a track from a movie soundtrack. Over nine minutes, washes of eerie, haunting synths, ethereal, chilling vocals, crashing cymbals and dramatic drums play their part in the track’s cinematic sound. This could easily be the soundtrack to a film. The music conjures up pictures, that unfold before your eyes. They’re chilling, haunting, eerie, atmospheric and sometimes, sinister. Ambient, minimalist, experimental and post modern describes this track’s cinematic 21st Century sound. This seems a fitting way to end not just Soon Over Babaluma, but Can’s golden period, when they could do no wrong.
When it was released in November 1974, Soon Over Babaluma was released to critical acclaim. Sadly, it wasn’t a commercial success. Granted it found an audience, but not the audience it deserved. Like most of Can’s albums, Soon Over Babaluma was more of an underground album, rather than a widespread commercial success. It seemed that history was repeating itself all over again. Can, didn’t enjoy the commercial success their music deserved. They weren’t alone.
Can followed in the footsteps of a whole host of innovative artist who didn’t enjoy the commercial success their music enjoyed. Among them are Velvet Underground and Frank Zappa, two artists who influenced Can. A small crumb of comfort for Can was that they went on to influence several generations of musicians. There’s a reason for this.
The music Can released was pioneering. Inventive, influential and innovative, although it was only twelve years since The Beatles released Love Me Do, this was a musical revolution. Rather than evolution, Can believed in revolution. The revolution began in 1969, with Monster Movies. Through Monster Movie, Tago Mago, Ege Bamyasi and Future Days Can pushed musical boundaries to their limits. Sometimes, they were pushed to breaking point and beyond. The result was music whose influence has been far reaching.
A fusion of ambient, avant-garde, electronic, experimental, funk, industrial, jazz, psychedelia and rock, Can’s music went on to influence several generation of musicians. They were won over by Can’s genre-melting music. That’s the case on Soon Over Babaluma. The music is bold, challenging, innovative, inventive and influential. As always, it’s a case of expect the unexpected. Can after all, are no ordinary band. No way. Their music is exciting, innovative and progressive, where a fusion of musical influences and genres became one. That’s how I’d describe Soon Over Babaluma, Can’s sixth album, which marked the end of their golden period of creativity and innovation.
CAN-SOON OVER BABALUMA.
BUSHMAN’S REVENGE-THOU SHALT NOT BOOGIE!
BUSHMAN’S REVENGE-THOU SHALT NOT BOOGIE!
Never before have I heard of a band named after a range of hot sauce. That’s until I came across Norwegian trio Bushman’s Revenge. The band discovered Bushman’s Revenge during a trip to South Africa back in 2003. During that trip, they enjoyed several memorable encounters with Bushman’s Revenge. It made a lasting impression. So much so, that when they discovered they’d a concert to play, but no name for their band, they decided to call their band Bushman’s Revenge. That was 2003. Now ten years later, Bushman’s Revenge are about to release their sixth album, Thou Shalt Not Boogie! It will be released on Rune Grammofon on 20th January 2014. Thou Shalt Not Boogie finds Bushman’s Revenge doing what they do best. For the uninitiated, that’s fusing free jazz, prog rock and power rock.
On Thou Shalt Not Boogie!, Bushman’s Revenge combine their love for free jazz and prog rock. Bushman’s Revenge draw inspiration from an eclectic selection of musical influences, including Sun Ra, Cream, Alice Coltrane, Ornette Coleman, Cream, Black Sabbath, The Pixies and Sonny Sharrock. This is a potent and compelling combination of musical influences which sonically, describes what Bushman’s Revenge’s music sounds like. This heady brew of musical genres and influences has been winning friends and influencing people since 2003.
That’s when guitarist Even Helte Hermansen, bassist Rune Nergaard and drummer and vibes player Gard Nilssen founded Bushman’s Revenge. They shared a love of free jazz and prog rock. They’re all talented and experienced musicians, who are stalwarts of Norway’s music scene. Having honed their sound by playing live for four years, Bushman’s Revenge released their debut album in 2007.
Bushman’s Revenge released their debut album Cowboy Music in 2007. It was released on the Jazzaway label. After that, Bushman’s Revenge next four albums were released on Rune Grammofon.
You Lost Me At Hello was released in 2009, with Jitterbug following in 2010. Then in 2012, Bushman’s Revenge released two albums, A Little Bit Of A Big Bonanza and Never Mind The Botox. Bushman’s Revenge last release, was their live album Electric Komle-Live.
Just like their five studio albums, Electric Komle-Live, which was released in 2013, found Bushman’s Revenge pushing musical boundaries. It was proof, if any was needed, why Bushman’s Revenge have established a reputation as one of Norway’s most innovative and inventive bands. One of its trailblazing bands is Bushman’s Revenge, who have been working on their sixth studio album.
Recording of Thou Shalt Not Boogie took place at Athletic Sound Studios, in Halden Norway. Situated close to the Swedish border, it was founded by Kai Anderson in 1983. It’s one of the few studios to record only on tape. Their are three separate rooms within the complex, but none of the doors are kept shut. So essentially, the three rooms become one. Famed for its warm sound, which will be helped by the use of tape only, Athletic Sound Studios was the perfect place to record Thou Shalt Not Boogie.
Thou Shalt Not Boogie features just five tracks, which were written by guitarist Even Helte Hermansen. Two of the tracks, Baklengs Inn I Fuglekassa and Kugeln Und Kraut are lengthy pieces. They allow Bushman’s Revenge to push musical boundaries and fuse musical genres. During Baklengs Inn I Fuglekassa Bushman’s Revenge pay homage to one of their musical heroes, Alice Coltrane. It’s a compelling musical journey, which like the other tracks, were arranged and produced by Bushman’s Revenge. The result is one of their most ambitious and groundbreaking album of their career, Thou Shalt Not Boogie, which I’ll tell you about.
Opening Thou Shalt Boogie! is I Am An Astronaut. Wistful washes of David Wallumrod’s Hammond organ play their part in the arrangement’s ambient sound. That’s just a curve ball. Soon, it’s all change. The drama builds and there’s a change in direction. Bushman’s Revenge become a power trio. Driven along by Gard Nilssen’s drums, seamlessly they fuse prog rock and jazz. Kicking loose, Bushman’s Revenge unleash thundering drums rolls and searing, scorching guitar licks. Their love of prog rock, Black Sabbath and Cream shines through. Feeding off each other, they roll back the years, creating a track that pays year to the golden age of rock music. What a way to start Thou Shalt Boogie.
Baklengs Inn I Fuglekassa is a seventeen minute epic. As it unfolds, the arrangement is understated and thoughtful, becoming melancholy and cinematic. Then it’s all change. As Rune’s bass powers the arrangement along, the band march to the beat of Gard’s drums. Even unleashes some fiery guitar licks, as Bushman’s Revenge draw inspiration from seventies prog rock. Slow, dramatic and almost menacing, Even’s guitar playing is at the heart of the track’s success, augmented by guest artist David Wallumrod’s Hammond organ. It adds to the prog rock influence. Later, it’s all change, when the arrangement takes on a droning, hypnotic sound. There’s a free jazz influence as the track takes on a meditative, blissful Eastern sound. That’s because of the Indian struti box. Meandering along, the bass pulsates, cymbals hiss and Bushman’s Revenge to awake from their slumbers. A droning sound signals the band’s awakening as they power their way to this Magnus Opus’ dramatic, genre-melting crescendo paying homage to Alice Coltrane.
Slow and moody describes the start of Waltz Me Baby, Waltz Me All Night Long. With Bushman’s Revenge however, anything could happen. Rock, jazz, avant-garde and ambient combine to create a broody, but beautiful, cinematic sound. As drums mark time, the crystalline guitar takes centre-stage. Ethereal and wistful, the rest of the arrangement envelops it. Growing in power and drama, the Hammond organ proves a perfect foil for the guitar. Together, they create a truly captivating, beautiful and dramatic track.
Scorching rocky guitars that sound as if they’d be equally at home on a Black Sabbath album open Kugeln Und Kraut. Drums power along the arrangement while machine gun guitar licks are fired across the bows of the arrangement. Soon, Bushman’s Revenge become a tight musical unit. They’re locked in the groove, the rhythm section driving the arrangement along, augmented by the Hammond organ. Guitar licks are sprayed across the arrangement. Peerlessly, Even unleashes blistering searing licks. Mostly they’re rocky. Other times, his playing veers from funky to jazz-tinged. Similarly, the band veer between heavy metal, prog rock and jazz. Truly, they’re a hugely talented and versatile band who seamlessly, flit between musical genres, whilst proving a master of all.
Closing Thou Shalt Boogie! is Hurra For Mamma. Although it’s just a two minute track, you’re life is all the better having heard it. It’s best described as sounding like a lost Beatles track. Crystalline guitars are at the heart of the track’s success. They’re helped by a moody bass and keyboards. Together pop, psychedelia and jazz combine to create a melancholy, wistful track that leaves you wanting to hear more of Bushman´s Revenge, much more.
Thou Shalt Boogie! was the sixth album of Bushman’s Revenge’s career. Of these six albums, there’s no doubt, this is their finest album. It’s an example of a tight and talented band who have spent the last ten years honing their sound. This has paid off. On Thou Shalt Boogie! Bushman’s Revenge veer between musical genres. There’s everything from ambient, blues, free jazz, prog rock, psychedelia and rock. Sometimes, Bushman’s Revenge seamlessly switch between musical genres. They throw a series of curveballs, lulling you into a false sense of security. Then they spring a surprise.
From a cinematic sounding ambient track, Bushman’s Revenge kick out the jams and become a hard rocking power trio. At times like that, they sound as if they’ve been influenced by Black Sabbath, Cream and the New York Dolls. Other times, their music sounds as if it’s been influenced by free jazz musicians Sun Ra, Cream, Alice Coltrane and Ornette Coleman. Seamlessly, Bushman’s Revenge are capable of flitting between musical genres. Soon, you learn to expect the unexpected. You can never tell where a track is going. Even, Rune and Gard are constantly throwing curveballs during Thou Shalt Boogie! Helping them to do this was guest artist David Wallumrod. He was ying to Bushman’s Revenge’s yang on Thou Shalt Boogie!
Usually, Bushman’s Revenge are a trio. On Thou Shalt Boogie! David’s addition augmented the band’s usual sound. This worked really well. He played his part in making Thou Shalt Boogie! the best album in the ten year and six album career of Bushman’s Revenge. Like a fine wine, Bushman’s Revenge are maturing with age. Each album is better than the one that preceded it. The best of the lot is Thou Shalt Boogie! which will be released by Rune Grammofon on 20th January 2014. Quite simply, Thou Shalt Boogie! is essential listening for anyone who loves good music and is the perfect introduction to one of Norway’s best bands, Bushman’s Revenge.
BUSHMAN’S REVENGE-THOU SHALT NOT BOOGIE!
THE BEST NEW ALBUMS OF 2013-PART 1.
THE BEST NEW ALBUMS OF 2013-PART 1.
On the last day of the year, I always publish my list of the best albums I’ve reviewed during 2013. This year, I’ve expanded it to my top thirty albums. That’s a reflection of the quality of music released during 2013. What follows is an eclectic selection of music. It’s far from predictable. There’s a reason for that. I’ve dug deeper than most bloggers in my quest for the best music being released. What follows is the creme de la creme of music released during 2013.
ARP-MORE.
Three years after the release of his sophomore album The Soft Wave, ARP returned with More, which was released in 16th September 2013 on Smalltown Supersound. During the last three years, much has changed for Alexis Georgopoulis a.k.a. ARP. Having toured The Soft Wave, he decided to take a break from touring. Instead, he wanted to concentrate on a much wider range of projects. For Alexis, this opened up a whole new world of opportunities.
Ever since his days as a member of Tussle, the first group Alexis Georgopoulis joined, he’s always been a leading light in the American art scene. He’s an innovator, whose determined to push boundaries and challenge norms. That’s been the story of Alexis’ career and a reason why he’s been commissioned for cutting-edge projects. Just as cutting edge, was More his third album.
More is Alexis Georgopoulis best album so far. A genre-sprawling album, More draws inspiration from everything from ambient, art-rock, avant-garde, baroque, blues, classical, dub, gospel, jazz, Krautrock, pop, post-punk, psychedelia, punk, rock and rock ‘n’ roll. Then there’s influences that include Al Stewart, the Beach Boys, Brian Wilson, Penguin Cafe Orchestra, Pink Floyd, Robyn Hitchcock, Roxy Music and The Beatles. Influenced by a myriad of genres and influences, ARP’s music evokes a variety of emotions.
Veering between atmospheric and evocative to beautiful and ethereal, the twelve soundscapes on ARP’s More can also be describes as melancholy and wistful. Ranging from understated right through to dramatic, the music on More is intriguing, eclectic and mesmeric. It’s also music that’s bewitching and beautiful. The reason for that is Alexis’ different approach to making music.
Having forsaken his trusty analog synths, Alexis has found both his voice, plus a much more eclectic selection of instruments. Alexis’ voice bristles with emotion, but can just as easily have an ethereal quality. Other times, it has a wonderful worldweary, lived-in sound. Reminiscent of Bryan Ferry, Roger Waters and Robyn Hitchcock, Alexis’ newly found voice is his hidden weapon. Then there a bass, guitars, harmonies, harpsichord, horns and keyboards, plus a myriad of samples. All this and More, much, much, More went into the making of ARP’s third album, More, which is one of the finest albums I’ve heard this 2013.
ARVE HENRIKSEN-PLACES OF WORSHIP.
Ever since his career began, Norwegian jazz trumpeter Arve Henriksen has been on a mission to reinvent the jazz trumpet. Arve’s raison d’etre has been to push musical boundaries and challenge musical norms. He’s taken the jazz trumpet to destinations its previously never dared visit. That’s why twenty-two years after his first featured on Bjorn Alterhaug’s Constellations, Arve has established a reputation as a world class and innovative trumpeter. That’s why he’s the go-to-guy for anyone looking for an inventive, imaginative and innovative trumpeter. That’s apparent on his fourth album Places Of Worship
Although ostensibly a jazz album, Places Of Worship is much more than that. Arve Henriksen fuses contemporary jazz with classical, ambient and electronic music. Samples, synths and drum machines are every bit as important as what most people would consider “jazz instruments.” Without the synths, samples and drum machines, the double bass and Arve’s trumpet wouldn’t get the opportunity to shine. On Places Of Worship, Arve Henriksen combines the old and new. In doing so, he creates the music of the future.
Having called Places Of Worship the music of the future, it’s not futuristic. No.Despite that, it’s inventive, innovative and imaginative. It’s also understated, subtle and thoughtful. Melancholy and wistful, Places Of Worship is very much cerebral, mood music. The ten tracks are a thoughtful musical journey. You think about the music and what it means. Pictures are painted and you can imagine the pictures Arve Henriksen is painting. They’re variously calm, minimalistic, pastoral, ethereal, bleak and beautiful. This has allowed Arve Henriksen to continue on his journey to make inventive, imaginative and innovative music.
The ten tone poems and mood pieces on Places Of Worship are of the quality of music we’ve come to expect from Arve Henriksen. He’s not just one of the top trumpeters in Norway, but the world. A world class and innovative musician, Arve Henriksen’s raison d’etre is to push musical boundaries and challenge musical norms. He’s done that on Places Of Worship…and much more. So much so, that on Places Of Worship Arve Henriksen takes jazz music to destinations its previously never dared visit before.
ASTRO SONIC-COME CLOSER AND I’LL TELL YOU.
The sonic landscape that is Astro Sonic’s debut album Come Closer and I’ll Tell You, isn’t like most other albums. Far from it. Recorded during these three days at the Svenska Grammofon Studios in Gothenburg, Sweden, Astro Sonic use their musical palette to push musical boundaries. Seamlessly, musical genres melt into eleven sonic landscapes. Mostly improvised, Astro Sonic look to the past to create the music of the future. Drawing inspiration from ambient, avant-garde, electronica, Krautrock, synth impro and free jazz, seamlessly, musical genres unite during eleven sonic landscapes. These sonic soundscapes paint evocative pictures.
Astro Sonic sound as if they’ve sought inspiration for Come Closer and I’ll Tell You from the rugged Scandanavian landscape. Close your eyes, and you head off on a musical journey. Ethereal beauty becomes haunting, broody, moody and magnificent. Sometimes, Come Closer and I’ll Tell You is spellbinding and breathtaking. Always, it’s compelling and has you spellbound. Considering Come Closer and I’ll Tell You is Astro Sonic’s debut album, which was released in December 2013, on Hubro Music, that’s quite remarkable.
As debut albums go, Astro Sonic’s Come Closer and I’ll Tell You is one of the best I’ve heard in the last few years. Over eleven soundscapes, Astro Sonic use their musical palette to create one of the most ambitious and groundbreaking albums of 2013. To do this, they’ve drawn inspiration from a whole host of musical influences. Everything from ambient, avant-garde, EDM, electronica, free jazz, industrial, jazz, Krautrock, postindustrial, post-rock, prog rock, psychedelia and synth wave play their part in Come Closer and I’ll Tell You. When all this is combined, the result is an album that’s a cinematic musical adventure.
Cinematic is the best way to describe Come Closer and I’ll Tell You. It conjurs up pictures and scenarios. Haunting, atmospheric and evocative, many of the tracks have a futuristic, sci-fi sound. Instantly, you’re transported into this space-age, 21st Century world. Other tracks are understated, eerie, moody and broody, while others are melancholy, wistful and pensive. That adds to Come Closer and I’ll Tell You cinematic quality. Sometimes, moderne describes the music on Come Closer and I’ll Tell You. Dance music and rock are added to the mix as Astro Sonic create tomorrow’s music today. That’s the perfect way to describe such ambitious,
Ambitious, moody, broody and pensive, plus dramatic, melodramatic, melancholy and beautiful. These are just some of the words that describe Come Closer and I’ll Tell You. It’s an album that variously, washes over you, embraces you, challenges you and forces you to think, as it paints pictures in your mind’s eye. Come Closer and I’ll Tell You is best described as the soundtrack to a film that’s yet to be made. With Astro Sonic supplying the music, all you need to do, is supply the pictures to Come Closer and I’ll Tell You, one of the most evocative, atmospheric and cinematic albums of 2013.
BILAL-A LOVE SURREAL.
Born in 1979, and raised in Philly, Bilal Oliver Sayeed’s career began when he was just twenty. Having left Philly, Bilal moved a hundred miles to New York, where he began to become a familiar face within the city’s music scene. Soon, he knew artists across the hip and Nu-Soul scene, including Common, Erykah Badu and The Roots. Then when he was taking part in an after-school jam session, Bilal was discovered by Aaron Comess of the Spin Doctors. Aaron arranged for Bilal to record a demo, which was shopped to record labels. Eventually, Bilal signed to Inerscope Records, where he released his debut album 1st Born Second in 2001. Since then, much has happened to Bilal. He’s released two further albums, 2006s Love For Sale and 2010s Airtight’s Revenge, and at one time, was considering quitting music. Now, three years after 2010s Airtight’s Revenge, comes his fourth album A Love Surreal. Inspired by the art of legendary surrealist painter Salvador Dail, A Love Surreal is Bilal’s most ambitious and innovative project to date.
Three years after the release of Bilal’s previous album, Airtight’s Revenge, where he started reinventing himself and his music, this continues on A Love Surreal. During the fourteen tracks on A Love Surreal, Bilal fuses musical genres and influences. There’s everything from soul, funk and jazz, through hip hop, country, sixties psychedlia and rock, including West Coast rock on A Love Surreal. The result is an album that’s a genre-sprawling, innovative album, inspired by surrealism.
Bilal was inspired by the paintings of Salvador Dail. So, he set about creating his most ambitious album to date. He set about creating an album that was “an audio art gallery or musical museum.” This was A Love Surreal, a suite of music that reflected Dali’s paintings. The other side of A Love Surreal was to investigate the many nuances of love. This was quite an ambitious challenge, but one that Bilal succeeded in. He created his “audio art gallery or musical museum.” The fourteen tracks on A Love Surreal create the backdrop for a surrealist film that’s yet to be made. Instead, the music on A Love Surreal conjurs up images in your mind’s eye. A Love Surreal is an evocative, emotive and innovative album, where Bilal takes you on a surrealist journey via soul, funk and jazz, through hip hop, country, sixties psychedlia and rock. In March 2013, BBE Music released A Love Surreal, where Bilal continues to reinvent himself and his music, with an innovative, genre-sprawling, homage to Salvador Daii.
CAMERA OBSCURA-DESIRE LINES.
There aren’t many bands who announce on their website that they’re on maternity leave. Camera Obscura do. They’re another Scottish band who do things their way. So far, that’s worked well. They’ve released five albums since they were formed in Glasgow in 1996. Their most recent album, was Desire Lines, which recently released on 4AD. Desire Lines saw Camera Obscura change direction musically.
For two albums, Camera Obscura had worked with Swedish producer, Jari Haapalainen of The Bear Company. He’d produced their third album, 2006s Let’s Get Out Of This Country, then the followup, 2009s My Maudlin Career. Despite My Maudlin Career being Camera Obscura’s most successful album, Jari was replaced as producer. Camera Obscura decided to move their music forward. They’d been accused of sticking with the same formula. Certain critics accused My Maudlin Career of sounding like Let’s Get Out Of This Country. That must have stung. So Camera Obscura headed to Portland, Oregon, where Tucker Marine produced Desire Lines. Making guest appearances, were Neko Case and Jim James of My Morning Jacket. This was a brave move for Camera Obscura. After all, they’d enjoyed the most successful album of their career with My Maudlin Career.
Camera Obscura’s decision to change producer was a risk worth taking. From an artistic point of view, Desire Lines surpasses everything that’s gone before. Sadly, it didn’t quite replicate the commercial success of My Maudlin Career. Released to critical acclaim, it still gave the band a hit on both sides of the Atlantic. Another chapter in Camera Obscura’s seventeen year musical story was finished. It was the best of their career. Desire Line featured Camera Obscura at their cerebral, literate and intelligent best. Witty, quirky, but full of hurt, heartbreak and regret, Desire Lines is ethereal, elegant and beautiful. Hook-laden, slick, slices of pop perfection, Desire Lines is pop music at its best.
CHVRCHES-THE BONES OF WHAT YOU BELIEVE.
One of the most highly anticipated albums of recent years is Chvrches’ The Bones Of What You Believe. What makes the rise and rise of Chvrches so remarkable, is Chvrches were founded just two years ago in 2011. Everything has happened so quickly for Lauren Mayberry, Ian Cook and Martin Doherty. They’ve spent the last two years touring the world converting people to their unique brand of shimmering electro-pop. Britain, Europe, Canada and America gave been conquered by Chvrches. Somehow, Chvrches have also found the time to release a four singles and a trio of E.Ps, including the recently released Gun E.P. These singles were a tantalising taste of the main event, Chvrches highly anticipated debut album The Bones Of What You Believe, which was released in September 2013 on Virgin.
Released to critical acclaim, The Bones Of What You Believe is a taste of what Chvrches are capable of. One of the most highly anticipated albums of recent years, The Bones Of What You Believe, not only lived up to expectations, but surpassed them. The Bones Of What You Believe features innovative, inventive music. It’s pioneering electro-pop, full of shimmering synths and the ethereal beauty of Lauren Mayberry’s vocal. Her vocal is reminiscent of Liz Fraser of The Cocteau Twins. Along with Ian Cook and Martin Doherty, Chvrches fuse electro pop, house, synth pop, Euro Disco, indie rock and soul. Dance-floor friendly, anthemic, soulful and full of slick poppy hooks, The Bones Of What You Believe is pop perfection. That’s why Chvrches will be Scotland’s next big musical export. Many have been contenders for the title, now it looks like Chvrches with their unique sound, will claim it as their own.
Chvrches have restored my faith in modern music. I’m pleased that still, there are a group capable of making the perfect pop song. That’s what The Bones Of What You Believe is. It’s a reminder of what a classic pop song sounds like. For everyone who says pop music is dead, play them The Bones Of What You Believe. That’ll prove them wrong. Pop music is alive and kicking, and Chvrches’ debut album The Bones Of What You Believe is the future and salvation of pop music.
DOM LA NENA-ELA.
Not many people are willing to devote their life to music. No. It takes a very special person to make the sacrifices that are needed to master an instrument. Most people are unwilling to make the commitment that’s required. This wasn’t the case for Dom La Nena. From the moment the Brazilian born chanteuse first discovered the cello, it was literally love at first sight. Since then, the Brazilian born cellist and vocalist’s life has revolved around music. That was the first step in a musical journey that lead to the release Dom La Nena’s debut album Ela. It was released in October 2013, on the Six Degrees label and marked the debut of a hugely talented artist.
Ela, is a beautiful, but melancholy album. It’s a poignant and powerful window into the world of Dom La Nena. The thirteen songs feature mostly understated, acoustic arrangements. This allows Dom’s vocal to take centre-stage. You’re spellbound by each of her vocals. She’s a natural storyteller, whose worldweary, wistful voice brings the lyrics to life. Despite being sung in Portuguese and Spanish, you can feel, share and empathize with her pain and anguish. Dom sounds a complex character, whose music is a reflection of her childhood.
First of all, Dom and her family moved from Brazil to Paris. Aged just eight, she left behind her friends and had to travel across the world. She had meet new friends and make a new life. Then there was the language barrier. This couldn’t have been easy. Then five years later, she moved from France back to Brazil. Then came the biggest decision of her life. Aged just thirteen, Dom left home and headed to Buenos Aries. Leaving behind friends and family, she followed her dream of becoming a professional musician. In doing this, she sacrificed so much, maybe too much? Some would say she sacrificed her childhood? Traveling to Argentina she spent five years there. From her songs, they weren’t always happy times. Bittersweet times they were. From Argentina, Dom headed back to France. Living a nomadic existence, she never puts roots down. That’s what makes No Meu Pais autobiographical.
Indeed, many of the songs on Ela are autobiographical. Featuring articulate, intelligent lyrics, Ela is an emotional roller coaster journey that many people can relate to. After all, many people have made sacrifices that later, they wonder whether were worthwhile? In Dom’s case, it’s a journey full of highs and lows. Sadly, it seems the lows outnumber the highs. That’s why one song epitomises Dom La Nena’s music. That song is Saudade. It’s a Brazilian word that describes a deep-rooted sense of loss or longing. To me, that describes much of Dom’s music. That’s also why Dom’s music is so moving, poignant and powerful.
As an outsider looking in, Ela was an opportunity for Dom La Nena to reflect on her unorthodox life so far. I wonder whether she thinks that the sacrifices she made were worthwhile? Listening to the songs on Ela, melancholia is almost a constant companion for Dom. So often, her voice sounds melancholy, wistful and distant. It’s as if the songs bring back memories, some she’d rather forget. Maybe, Ela will prove cathartic for Dom La Nena, and this outpouring of emotion and memories will help her to move on and enjoy the next chapters in what I’m sure will be a long and successful musical journey?
DONSO-DEFILA.
The story of how Donso’s debut album Defila, which was recently released by Comet Records, begins back in 2008. That was when French electro producer and owner of Ed Banger Records, Pierre Antoine Grison met Thomas Guillaume. Pierre was sitting in his Paris flat when he heard his neighbor playing a musical instrument he’d never heard before. Intrigued and more that a little curious, he decided to find out what this instrument was?
When Pierre met Thomas, he discovered he’d been hearing a donso n’goni. It was the sacred instrument of The Hunters, a West African brotherhood. They’re famed for their mystical abilities and their powerful, spiritual music, donso trance. Thomas had been traveling between France and Southern Mali, learning not just to play the donso n’goni, but to master it. The donso n’goti was an instrument you didn’t just learn but mastered. For Thomas, it was akin to learning a craft. That’s what he been doing before he met Pierre. Soon, Thomas introduced Pierre to donso trance, which was the start of a friendship that resulted in them forming Donso and eventually, releasing Defila.
Defila is best described as a compelling and hypnotic album. An emotional musical journey, Donso are musical pioneers. On Defila, they fuse the ancient, sacred sounds of donso trance with 21st Century electronic music. Here, religious and secular sit happily side by side. The sacred sound of donso trance is fused with electro, rock, psychedelia, dub, techno and dubstep. This proves to be compelling combination of musical genres and influences. Best described as joyous, spiritual, uplifting, hypnotic and mesmeric, Defila’s eclectic music veers between moody and broody to ethereal and beautiful. Defila is all this and more. It’s also an introduction to the multitalented Donso and their equally talented friends, who are responsible for Defila, a truly genre-melting album.
HUNTSVILLE-PAST INCREASING, FUTURE RECEDING.
A mausoleum sounds an unlikely place to record an album. Even unlikelier is a mausoleum whose walls are covered with frescos painted by one of the greatest Norwegian artists of the nineteenth century. However unlikely this sounds, Emanuel Vigeland’s Mausoleum is proving a popular, but unlikely place both for Norwegian musicians. Over the past few years, the Mausoleum has been transformed into both a concert hall and recording studio. Why? The reason to this simple, its acoustics.
A truly atmospheric, double-barrelled room, daylight never finds its way into the Mausoleum. In many ways, its the antithesis of the modern recording studio. Nowadays, recording studios are light, airy places, full of the latest recording equipment. That doesn’t necessary make them a good place to record an album. That requires good acoustics, and the Mausoleum has that. This includes Huntsville’s Past Increasing, Future Receding which was released in 7th October 2013 on Hubro Music.
Past increasing, Future Receding picks up where they left off with Flowers, Cars and Merry Wars. A trio of atmospheric and evocative soundscapes, it’s minimalist music that paints pictures. Bold, brave and inventive, it’s innovative and imaginative music. I’d also describe Past increasing, Future Receding as cerebral cinematic soundscapes. Sometimes, it’s full of futuristic, sci-fi sounds, that pique your imagination. That’s why it’s articulate and intelligent music. Other times, it’s moody and broody, but can just as easily become crystalline and ethereal, as influences and genres melt into one.
Past increasing, Future Receding is an eclectic melting pot of influences and genres. Listen carefully and you’ll hear Brian Eno, Can, Neu, the Cocteau Twins, Robin Guthrie, Harold Budd and Mind Over Midi. Everything from ambient music, free jazz, Flamenco, folk and Krautrock melt magically in Huntsville’s musical melting pot. These influences and genres play their part in what’s the best album of Huntsville’s career, Past increasing, Future Receding.
Recorded in June 2012, at Emanuel Vigeland’s Mausoleum, Past increasing, Future Receding which will be released on 7th October 2013 on Hubro Music was Huntsville’s fourth album. Past increasing, Future Receding is also Huntsville’s best album. It surpasses even the critically acclaimed For Flowers, Cars and Merry Wars. That was Huntsville’s Magnus Opus. Not any more. It’s been surpassed by Past increasing, Future Receding, an innovative, inventive and atmospheric album.
ISRAEL NASH GRIPKA-ISRAEL NASH’S RAIN PLAINS.
One of music’s best kept secrets is Israel Nash Gripka, who recently released his third album Israel Nash’s Rain Plains on Loose Music. A fusion of classic rock, psychedelia, alt country and folk, Israel Nash’s Rain Plains is a musical coming of age for Israel Nash Gripka. Israel Nash’s Rain Plains surpasses his two previous albums, 2009s New York Town and 2011s Barn Doors and Concrete Floors. As albums go, Israel Nash’s Rain Plains should be a game changer.
During the last seven years, Israel has concentrated on honing his sound and building a fan-base. To do this, Israel’s spent much of the last seven years on the road. So much so, that Israel is familiar with many small and medium-sized venues throughout Europe. Surely, after Israel Nash’s Rain Plans the venues will be getting bigger, as will Israel’s record sales? That should be the case. After all, Israel Nash Gripka is a talented singer, songwriter, musician and now producer. The only thing that can derail the rise and rise of Israel’s career are accusations that his music isn’t new. With its undeniable vintage sound and similarities to Neil Young, some people have wondered are we hearing the real Israel Nash Gripka?
Granted there are similarities with Neil Young on Israel Nash’s Rain Plans and Israel sounds as if he’s been influenced by the music of the late-sixties and early-seventies. That’s no bad thing though, given how much important music was recorded then, Israel is neither the first nor the last person to be influenced by this era. However, there’s much more to his music than that. There’s the Atl Country of the nineties, plus traditional country music, Americana, blues, folk, sixties-psychedelia and rock. He’s taken this eclectic selection of influences and genres, then given them his own twist. The result is Israel Nash’s Rain Plans, a refreshingly eclectic album where each track offers something different and new.
As musical journeys go, Israel Nash’s Rain Plans is one I can recommend. It’s a journey you’ll relish and revel in. Twists, turns and surprises aplenty await the unwary on Israel Nash’s Rain Plans. Each time you play Israel Nash Gripka, you’re guaranteed to hear something new. Some subtlety or nuance reveals itself. That’s no surprise though. Israel Nash’s Rain Plans is best described as a musical tapestry of influences and genres, and should be the album that transforms Israel Nash Gripka’s career.
THE BEST NEW ALBUMS OF 2013-PART 2.
THE BEST NEW ALBUMS OF 2013-PART 2.
JUANA MOLINA-WED 21.
Previously, Argentinian singer-songwriter Juana Molina has been described as a musical visionary. Comparisons have been drawn to legendary Beach Boy. These comparisons aren’t hype. No. Far from it. Juana Molina is an alternative to bland, anodyne music. This is cerebral, intelligent music of substance. Variously described as melodic, minimalist and mesmeric, Juana Molina’s songs are compelling sonic explorations and experiments. Delivered with emotion, Juana’s song veer between melancholy, joyous, evocative and thoughtful. Whether it’s impassioned pleas or pensive, poignant songs full of pathos, Juana Molina brings her lyrics to life, breathing life, meaning and emotion into her songs. She’s been doing that since 1996, when she released her debut album Rara. Now seventeen years later, Juana Molina is about to release her sixth album, Wed 21, which will be released in October 2013 on the Crammed Discs label.
Five years have passed since Juana Molina released her fifth album Un Dia. They’ve been five years well spent. Juana Molina decided to reinvent herself on Wed 21 which will be released on Crammed Discs on 28th October 2013. Previously, her music was a fusion of acoustic folk, ambient, electronica, Latin and indie. To that compelling combination of influences, everything from avant garde, postindustrial, post-indie, pop and rock. There’s even a nod to psychedelia, Krautrock and Acid House, thanks to the myriad of beeps and squeaks that come courtesy of the Roland Corporation. Backed by a band of tight, talented and versatile musicians, who come armed with a supply of effects and loops, Juana Molina has recorded what’s her most ambitious, innovative and groundbreaking album.
To do that, Juana Molina took the rulebook, tore in up, then rewrote it. This became her template. It was not just a case of rule nothing in, but rule nothing out. Boundaries were there to be pushed, rules to be broken and ground to be broken. Relying on twenty years of experience, Juana Molina penned eleven new tracks. Best described as genre-sprawling, Wed 21 sees musical influences and genres melt into one. Listen carefully, and you’ll hear not just an eclectic selection of genres, but the musicians that have influenced Juana. This includes any number of eighties artists. Then there’s Siouxsie and The Banshees, The Smiths, Nirvana, Sigur Ros, Bjork, Brian Eno, Can and David Byrne. That’s not forgetting the ethereal beauty of Liz Fraser of the Cocteau Twins and Scotland’s very own Astrid Williamson. Indeed, the ethereal, fragile beauty of Juana Molina’s vocal is crucial to the beauty and success of Wed 21, which should surpass the success of her five previous albums. Wed 21 should also introduce a new generation to Juana Molina’s music.
Why? Well, the eleven tracks on Juana Molina’s sixth album Wed 21 are the alternative to bland, anodyne music. This is cerebral, intelligent music of substance. Wed 21 features eleven compelling sonic explorations and experiments. Delivered with emotion, Juana’s song veer between melancholy, joyous, evocative and thoughtful. Whether it’s impassioned pleas or pensive, poignant songs full of pathos, Juana Molina brings her lyrics to life, breathing life, meaning and emotion into her songs. Wed 21 vindicates Juana Molina’s decision to turn her back on comedy. Comedy’s loss was music’s gain. One listen to Juana Molina’s Wed 21, and you’ll discover an absorbing, ambitious and cerebral genre-sprawling album where musical boundaries are pushed to their limits and beyond.
JULIEN DYNE-DECEMBER.
One of the most anticipated albums of recent months has been Julien Dyne’s third album December. It was released on BBE Music, and sees Julien pick up where he left off on his sophomore album Glimpse. On Glimpse we saw a tantalising glimpse of the direction Julien Dyne’s music was heading. This was in the direction of futuristic, innovative, genre-melting 21st Century soundscapes. Julien pushed boundaries, drawing inspiration from his debut album Pins and Digits and the followup, Glimpse. However, Julien was determined to take his music to the next level on December.
Two years in the making, December features fourteen futuristic soundscapes. They feature glistening melodies, pulsating rhythms and a myriad of percussive delights. It’s no exaggeration to say that Julien has pushed musical boundaries to their limits. In doing so, Julien has drawn inspiration from an eclectic selection of musical influences and genres. All these influences and genres have gone into the making of December Julien Dyne’s third album.
Julien Dyne has surpassed everything that’s gone before. December is a musical coming of age for him. Good as Pins and Digits and the followup, Glimpse were, December which was recently released by BBE Music, is the best album of his career so far. We heard glimpses of December on Glimpse. It showed the direction Julien’s music was heading. With the help of a few friends, he produced an album that saw his music evolve.
Playing their part in December, were a whole host of guest artists. Among them are Parks, Mara TK of Electric Wire Hustle and Dalziel of Dear Time’s Wast. They play a part in the musical success story that’s December, an album Julien Dyne should be proud of. The reason for that is, Julien’s music evolves on December. There was never any chance this would be Glimpse 2. No chance. Julien Dyne isn’t like that. He’s ambitious and innovative and as a result, produces exciting, groundbreaking and genre-melting music.
That’s why December is an album I’d recommend thoroughly. Especially, if you’ve yet to discover Julien Dyne’s music. The perfect starting point is December. After that, explore the twin delights of Pins and Digits and Glimpse. You’ll hear a talented, innovative artist, who seems determined to reinvent himself musically. Julien does this, by combining an eclectic selection of musical genres and influences. Everything from ambient, dub, electronica, experimental, funk, hip hop, pop, post-industrial and soul are thrown into the melting pot. It’s the given a stir, and the result is December, the best album of Julien Dyne’s career.
KON-ON MY WAY.
Kon’s lifelong love of music started when he was just four. This life-changing event happened when he first heard Electric Light Orchestra’s 1974 album Eldorado. The drama and theatre of Eldorado, with its cinematic strings, well crafted songs and poppy hooks had Kon hooked. After this, Kon went in search of more music. Helping fuel this interest in music was his was father. He was a drummer. Soon, Kon was looking for the perfect break. As for music, it was a case of the funkier the better. Two of his favorite compilation series were the Off Track and On Track series. They’d also influence his future career as a remixer and producer, which saw Kon hook up with some of his musical friends, old and new and record his debut album, On My Way.
It seems that Kon’s experience as a DJ, then editing and remixing tracks has been put to good use. This taught him what type of music fills a dance-floor. Knowing that, put him one step ahead of other producers. He wasn’t going to make the musical mistakes they did. No. Instead, he was going to create music that was soulful, funky and guaranteed to fill any dance-floor. With its uplifting, summery sound, On My Way is guaranteed to do that. However, there’s more to On My Way than just dance music.
By that, I mean the three musical sketches. There’s the enigmatic Day Dream, the slow, moody but melodic 808 State and the soulful, dramatic and vampish Yeah, Yeah. Less than four minutes long, these tracks have a cinematic quality. They’re reminiscent of Nightmares On Wax’s two ambient Magnus Opus’ Smoker’s Delight and Car Book Soul. What this trio of tracks also demonstrate, is that Kon, as a producer, is versatile and is no one trick pony. Quite the opposite.
Considering how versatile Kon is as a producer, it’ll be interesting to see what direction is career heads. Given his background as a DJ, then editing and remixing tracks, the smart money would be on Kon continuing to create albums that are dance-floor friendly. This would mean more music like that On On My Way. That’s no bad thing. Far from it. After all, Kon’s debut album On My Way soulful, funky, dance-floor friendly and full of poppy hooks. What better way is there to start Kon’s career as a producer. Kon can safely say that he’s On My Way.
MESSAGE FROM SOULVILLE-PRODUCED BY MARC MAC.
It doesn’t seem long since I was choosing my twenty best new releases of 2012. That wasn’t an easy job, given how many albums I review each year. However, there were some albums that undoubtably, were going to be on that list. One of them was Visioneers’ Hipology, released on BBE Music. Quite simply, Hipology was a musical masterpiece, fusing musical genres, influences, breaks, beats and samples aplenty. On Hipology’s second disc, Marc Mac, the man behind the Visioneers, compiled an old school mix-tape. That wasn’t just an added bonus, but a reminder of what a mix tape used to sound like. Seven months later, Marc Mac was back, with another mix-tape, Message From Soulville-Produced By Marc Mac.
Over fifty-two minutes and twenty-two tracks, Message From Soulville-Produced By Marc Mac, brings to life the story of these men and women. Each of them, had to fly halfway around the world, risking their lives to fight in a war many neither understood nor believed in. When they returned, many of them were never the same. Instead they were mere shells of their former selfs, never the same and forever changed and affected by the horrors and tragedy they endured and experienced. Message From Soulville, which was released by Omniverse Records in January 2013 is a compelling, captivating album, where the story of black-Americans who fought in the Vietnam War is set to music. Marc Mac has payed homage to them, telling their story by fusing musical genres and influences. He fuses civil rights era dialogue with jazz, funk and soul infused hip hop instrumentals. For anyone who wants to hear Message From Soulville, they’d better be quick, as there are only 500 copies available. Believe me, Message From Soulville is one of the most powerful, moving and poignant albums you’ll hear this year. Enjoy the journey and the musical Message From Soulville.
OTTI ALBIETZ-BUBBY TONE II.
Otti Albietz, whose sophomore album Bubby Tone II will be released on 8th April 2013 is best described as a modern day minstrel. It was when strolling through the streets of his hometown of Malaga, in Spain, that Otti first found inspiration for his songs. Whether epic, intimate or filled with tragedy, Otti’s songs are infused with beauty, emotion and heartache. Further inspiration came from Otti’s travels through Spain, Morocco and mainland Europe with his family. During his travails and adventures, Ottis met larger than life, colorful characters. He came across everyone from bohemians to smugglers. Having listening to their tales, Otti told their story through the medium of song. Using shipyards, scrapyards, rivers and motorways as backdrop for these stories, Otti’s talent as a storyteller brings their recollections to life. Humor, hurt, heartache, farce and tragi-comedy, Otti Albietz’s song have all these things and much more. However, Otti Albietz is much more that a songwriter. He’s part-poet, philosopher, minstrel and storyteller on Bubby Tone II.
Innovative. That’s the best way to descibe Otti Albietz’s sophomore album Bubby Tone II which will be released by BBE Music on 8th April 2013. It’s very different album from anything that’s been recently released. No wonder. Otti Albietz is very different to other singer-songwriters. He’s part-poet, philosopher, minstrel and storyteller. The music is lo-fi and understated. There’s just Otti and his trusty guitar. There are no lavish arrangements. Instead, it’s a case of less is more. This allows Otti’s vocal to take centre-stage and become the focus of your attention. Indeed, nothing whatsoever gets in the way of Otti Albietz’s vocal and his lyrics. His songs are filled with humor, hurt, heartache, farce and tragi-comedy. Each of the twelve tracks has a strong narrative, and paint vivid pictures in your mind’s eye. Intense, emotive, powerful, moving, rich in imagery and filled with gritty realism describes Bubby Tone II perfectly.
PETE MACLEOD-ROLLING STONE.
It was seventeen years ago, that Pete MacLeod made his professional debut. That night, in 1996, Pete walked on stage and sang two of his own songs. It gave Pete his first taste of the music industry. He was hooked, and wanted more of it. For the next eight years, Pete travelled up and down the country honing his sound. As thestar69 Pete paid his dues. This lead to Pete playing at Scotland’s biggest music festival T In The Park in 2004. Shortly after that, Pete enjoyed his first hit single. It was only a matter of time before Pete released his debut album. He released This Is Modern Soul in 2005. Critics predicted a successful future for Pete MacLeod. Surely, Pete would be signed by a record company and become Scotland’s latest successful musical export?
Sadly, things didn’t quite pan out like that for Pete MacLeod. Despite a whole host of fans within the music industry, including Alan McGhee, Jim Kerr, Dave Grohl and Steve Cradock, that record contract eluded Pete MacLeod. That was until earlier this year when Alan McGhee, the man behind the long, lamented Creation Records, decided to make a comeback. He founded a new label 359 Music. Among the signings to his new label was Pete MacLeod. This was no surprise, as Alan had long championed Pete’s music. Now that Alan was back in the music business, he was going to help spread the word about Pete McLeod. So, in July 2013, Pete MacLeod signed to Alan McGhee’s new label 359 Music and released his sophomore album Rolling Stone.
Rolling Stone describes the career of Pete MacLeod. Since making his professional debut, he’s seen the other side of the music business, the side most people forget about. Pete’s spent years traveling the length and breadth of Britain. Then there’s trips to Europe and to Pete’s adopted home of Los Angeles. All the time, Pete’s playing smaller venues, venues which are filled with a small, loyal and adoring fan-base. They attend every concert Pete plays, but sadly, word hasn’t spread about Glasgow’s troubled troubadour Pete MacLeod. Instead, he’s remained one of music’s best kept secrets. Pete however, deserves a better fate than that.
For whatever the reason, Pete MacLead hasn’t had the breaks. Commercial success and critical acclaim have eluded Pete. Despite that, he’s certainly not short of talent. A talented singer-songwriter, Pete MacLeod should be filling larger venues and have a string of critically acclaimed albums to his name. Sadly, that’s not the case. Thankfully, time is still on his side. Maybe Rolling Stone, Pete MacLeod’s sophomore album will mark a change in Pete’s fortunes? Given the quality of music on Rolling Stone, commercial success and critical acclaim might just be coming Pete MacLeod’s way. A fusion of folk, rock and pop, Rolling Stone showcases Pete MacLeod’s versatility and talent. Eight years after his debut album This Is Modern Soul, Scotland’s veteran Rolling Stone Pete MacLeod looks like making up for lost time with his hook-laden, heartfelt, soul-baring opus, Rolling Stone.
QUICKBEAM-QUICKBEAM.
Atmospheric, cinematic and ethereal are just some of the words that describe the music on Quickbeam’s debut album Quickbeam. So too does sparse, minimalist, flamboyant and luscious. Intriguing and compelling, the twelve soundscapes have been influenced by a myriad of eclectic influences. This includes ambient, classical, indie rock, jazz and soul. Comprising twelve soundscapes, quivering, classically influenced strings sit side-by-side with fuzzy guitars, braying horns and harmonium. Add to this fragile, tender vocal and soothing harmonies. Everything from Bartok, Blue Nile, Boards of Canada, Cocteau Twins and Jesus and Mary Chain have influenced Quickbeam. When all these musical influences are combined, the result is one of the most intriguing and eclectic albums of 2013.
I described Quickbeam’s debut album Quickbeam as atmospheric, cinematic and ethereal. I could just as easily have described Quickbeam as sparse, minimalist and flamboyant. Quickbeam is an enigmatic album. Twelve songs lasting fifty-one minutes, featuring instruments you wouldn’t normally find on a indie, pop or rock album. Cellos, harmonium and horns are added to the rhythm section, piano and organ. Mind you, Quickbeam isn’t an indie, pop or rock album. No. It’s a fusion of ambient, classical, indie rock, jazz, pop and soulful vocals. The artists that have influenced Quickbeam are just as varied. Listen carefully and you’ll hear Astrid Williamson, Bartok, Blue Nile, Boards of Canada, Brian Eno, Clannad, Cocteau Twins, Deacon Blue, Jerry Burns, Jesus and Mary Chain and Kate Bush. Such a diverse and eclectic range of influences make for an album that’s intriguing and compelling.
Indeed, from the opening bars of Remember to the closing One To Hold, Quickbeam have you spellbound. Layer upon layer of multi-textured, genre-sprawling music toys with your emotions. Intrigued, as one track ends, you wonder where Quickbeam are taking you? It’s like a musical journey, where a series of cinematic soundscapes unfold. Monika is the narrator of stories full of hurt, heartbreak and mystery. Longing and loneliness are often present in songs that are designed to tug at your heartstrings. Veering between ethereal and beautiful, to dramatic and dark, Quickbeam’s debut album is not just one of the best Scottish albums of 2013, but one of the best British albums of 2013. One listen to Quickbeam, and you’ll realise this too.
R.M. HUBBERT-BREAKS AND BONE.
For R.M. Hubbert, 2013 has been the best year of his long musical career. A veteran, and some might say, unsung hero, of Glasgow’s music scene, Hubby won the Scottish Album Of The Year Award in June 2013, with his sophomore album, Thirteen Lost and Found. Considering the competition Hubby was up against, this was quite a feat. Paul Buchanan, Lau, Calvin Harris and Emile Sande were among the nominees. However, Hubby triumphed. Thirteen Lost and Found won the Scottish Album Of The Year Award. This was result of a musical journey that started back in 1991. Having savoured the moment, it was straight back to work for Hubby.
No wonder. Hubby was in the midst of recording his third album Breaks and Bone. It was recorded in seven short, intensive sessions during a one-year period. Featuring ten tracks, which were produced by Paul Savage at his Chem 19 studios. Two themes run through Breaks and Bone, letting go and acceptance. They’re the threads that ran through Hubby’s first two albums. That’s hardly surprising. Hubby’s had to contend with the loss of both parents and a five year battle with depression. For Hubby and many listeners, Breaks and Bone, will prove a cathartic experience.
Breaks and Bone is not just most captivating albums of 2013, but an album that’s cerebral and inspirational. The last part in the Ampersand trilogy, Breaks and Bone has you spellbound from the opening track. Despite being an instrumental, Son Of Princess, Brother of Rambo is something of a roller coaster journey. Listen to the track with an open mind, and thoughts, memories and ideas will cascade past your mind’s eye. From there, the music veers between becomes dark, bleak and nihilistic on Bolt, through to thoughtful, melancholy, emotive, joyous and uplifting. Often it’s introspective and seeking answers. That’s no bad thing. Hubby like so many other people, is looking for answers to problems that have haunted him. This includes loss and depression.
Many other people, like Hubby, have lost loved ones and are still grieving. It’s an ongoing process that needs worked through. For Hubby, music proves cathartic. He lost both parents a few years ago. Like many people, music is a way of finding answers to questions. Part of his trying to come to terms with this loss, is the Ampersand trilogy. Breaks and Bone is the final chapter in this trilogy. Let’s hope it’s helped Hubby to come to terms with his loss. I hope it’s helped Hubby in another struggle.
Another theme explored during Breaks and Bone, was depression. Like many people, Hubby has suffered from depression. He’s fought chronic depression for five years. Music to Hubby, has proved therapeutic and cathartic. Part of his healing process was the Ampersand trilogy, including Breaks and Bone. Let’s hope it’s helped Hubby to come to terms with what is a truly debilitating and heartbreaking illness. Certainly, some of the music on Breaks and Bone is much more uplifting.
Several things haven’t changed from Thirteen Lost and Found. Breaks and Bone which was released on Chemical Underground Records. It’s another eclectic and emotional musical journey. It draws inspiration from disparate musical influences and genres. Folk, country, flamenco, Celtic, indie and Americana were thrown into the mix. Then there’s some of Scotland’s top musicians who played a part in the making of Breaks and Bone. Among them are Aidan Moffat, Emma Pollock and producer Paul Savage. Each of these musicians wanted to help one of the nicest men in Scottish music bring this very personal project to a close. Breaks and Bone, like the two previous chapters, is a highly personal, cerebral and emotive exploration of loss and depression.
Seeking answers, R.M. Hubbert embarked upon the Ampersand trilogy. Now this musical journey is over. Hubby has kept the best until last. Breaks and Bone is the result of a two year musical journey. We can only hope R.M. Hubbert found the journey that was Ampersand trilogy both therapeutic and cathartic.
RANDOLPH’S LEAP-REAL ANYMORE.
Randolph’s Leap who recently released their mini-album Real Anymore on Olive Grove Records, aren’t like any other band. Not all. After how many bands describe themselves as a “Glasgow-based figment of your imagination?” Well, Randolph’s Leap do. This adds an air of mystery to the Glasgow-octet. It also hints at a band who don’t take themselves to seriously. Another description of Randolph’s Leap are purveyors of pop perfection.
Ever since 2008, Randolph’s Leap have been winning friends and influencing people with their unique fusion of indie pop and folk. Spreading hooks and happiness in equal measure, Randolph’s Leap are part of the this new generation of Scottish bands. Randolph’s Leap are just the latest keeper of Scottish pop’s flame. They’re no ordinary band though.
Don’t expect banal, bubblegum pop from Randolph’s Leap. No. Instead, their music is witty, acerbic, intelligent and articulate. That describes the music on Real Anymore, Randolph’s Leap’s debut mini-album. Real Anymore, features seven songs, which are the perfect introduction to Randolph’s Leap.
Just seven songs and twenty-five minutes long, Real Anymore, the latest mini-album from Randolph’s Leap features a band more than ready to make the next step. Indeed, Randolph’s Leap are a band with a big future. Randolph’s Leap are more than ready. They’ve spent five years honing their sound and have established a reputation as a tight, talented band. To do this, they’ve played concerts and festivals up and down the country. However, Randolph’s Leap don’t seem in a hurry to make the next step, which is signing for one of the bigger indie labels. Randolph’s Leap seem determined to do things their way. That’s no bad thing. Bands like Belle and Sebastian, The Blue Nile, Teenage Fanclub and The Pastels have done things their way, and enjoyed a successful career. These bands demonstrate that this is possible. No longer do bands have to head to London to make the next step. Far from it. Glasgow’s music scene is truly thriving. Randolph’s Leap are just the latest keeper of Scottish’s pop music’s flame.
No wonder. The Glasgow-based octet are purveyors of pop perfection. Their unique fusion of indie pop and folk has winning friends and influencing people for five years. For anyone that’s heard the latest offering from Randolph’s Leap, their mini-album Real Anymore, that’ll come as no surprise. The lyrics on Real Anymore are variously witty, acerbic, articulate, cutting and descriptive. Featuring a plentiful supply of slick, poppy, hooks, Real Anymore features Randolph’s Leap at their poppy best. With tales of telephone psychics, a paean to nature, the cutting Indie King, joyous Nature and rousing Technology, this is the perfect introduction to Randolph’s Leap are no ordinary band. No. Randolph’s Leap are “a Glasgow-based figment of your imagination” who strive and succeed in their quest for hook-laden, pop perfection on Real Anymore.
RICK REDBEARD-NO SELFISH HEART.
Despite all this and more being wrong with music, very occasionally, along comes an album that restores my faith in music. It makes up for everything I’ve described. At last, the musical Gods are smiling on me. When this happens, the constant search for quality music becomes worthwhile. This was the case when I came across Rick Redbeard’s latest album No Selfish Heart. It was released on Glasgow’s premier label, Chemikal Underground in January 2013. A long time in the making, at long last, Rick Redbeard’s debut album No Selfish Heart was out. Full of subtleties, nuances and melancholy delights of No Selfish Heart, was worth the eight years it took to make.
Although the ten songs on No Selfish Heart took eight years to record, they were well worth the wait. This was the same with The Blue Nile. They were far from a prolific group. Like The Blue Nile, Rick’s music is the polar opposite to so much modern music. Rather than being instant and disposable, it’s intelligent, evocative, expressive, poetic and thoughtful. Rick Redbeard sings of hurt and heartbreak, love and loss, life and death. Poignancy gives way to pathos, while there’s a sense of melancholia and wistfulness on several tracks. Indeed, several tracks are like a coming of age for Rick. There’s a realization that no longer he’s immortal. That’s something that comes with age, experience and maturity. Other songs, they’re akin to an outpouring of grief and loss. Rick’s vocal is at the heart of these songs, while the mostly acoustic arrangements are understated and subtle. Despite this, the songs are intricate and multilayered. Subtleties, surprises and nuances await discovery.
Rick Redbeard’s No Selfish Heart is similar to Paul Buchanan’s debut solo album Mid Air. Like Paul Buchanan, Rick has a lived-in, world-weary sound. Both albums feature music that’s moody, broody, but sometimes hopeful. The music is also introspective, poignant and wistful music. That’s what I’d expect from Scotland’s latest troubled troubadours. Maudlin but beautiful, heartbreaking but hopeful and always heartfelt, Rick Redbeard’s No Selfish Heart, is well worth discovering. Indeed, Rick Redbeard’s No Selfish Heart, like Mid Air, is pensive and reflective music, that’s perfect for late-night listening.
THE BEST NEW ALBUMS OF 2013-PART 3.
THE BEST NEW ALBUMS OF 2013-PART 3.
RODDY WOOMBLE-LISTEN TO KEEP.
Back in 2006, when Roddy Woomble, the lead singer of Idlewild, released his debut album My Secret Is My Silenced, Idlewild had just enjoyed the most successful period of their career. Their third album, 2000s 100 Broken Windows was certified silver, while 2002s The Remote Part was certified gold and 2005s Warnings/Promises was then certified silver. Following the release of Warnings/Promises, Idlewild headed on the longest and most gruelling tour of their career. This toured throughout Britain, played some of the biggest festivals and opened for The Pixies and R.E.M. Then in November 2005, Idlewild announced they were parting company with their record company Parlaphone. Left without a record company, soon rumours about Idlewild’s future started doing the rounds. One of them was, that Idlewild were about to split up. That wasn’t the case, although bassist Gavin Fox left Idlewild after a concert in Glasgow. Without a record company, and having lost their bassist, Idlewild were at a crossroads. So, Roddy Woomble started work on his solo album, My Secret Is My Silenced.
When work began on My Secret Is My Silenced Roddy collaborated with Rod Jones, Karine Polwart and Michael Angus. Produced by John McCusker, a folk musician, My Secret Is My Silenced was well received by critics. Encouraged by this, Roddy decided to split his time between his solo career and Idlewild. This was no bad thing, as Idlewild would no longer enjoy the success they once had. They released just two more albums, 2007s Make Another World and 2009s Post Electric Blues. Since then, Roddy’s been concentrating on his solo career, releasing his sophomore album Impossible Songs and Other Songs in 2011. His third solo album, Listen To Keep, was released earlier this year/
Listen To Keep was a fusion of folk, Americana, Celtic, country, pop and indie rock. It was an to lose yourself in. Roddy introduces you to a cast of characters. Many of them have had their heart broken, some have been hurt and many are lost and lonely. All of them are very human. These characters have the same faults and problems as us. So in many ways, the songs on Listen To Keep are songs that everyone can relate to. After all, hurt and heartbreak, loneliness and loss are things we’ve all experienced. So too are hope and joy, which feature on Treacle and Tobacco, one of the many highlights of Listen To Keep.
Influenced by everyone from the Americana of Wilco and Jayhawks, through to two legends of Scottish music, Lloyd Cole and Roddy Frame, Roddy Woomble’s third solo album Listen To Keep is a fusion of musical genres and influences. Featuring eleven tracks which veer between hurt and heartbreak right through to happiness and hope, Roddy Woomble breathes life, meaning and emotion into the lyrics. Delivered with tenderness, frustration and sadness, Roddy Woomble is the latest in a long line of talented troubled troubadours from Scotland’s shore. His latest offering is Listen To Keep, which is the result of Roddy Woomble’s eighteen year musical journey.
RUNAWAY ORCHESTRA-RUNAWAY ORCHESTRA.
Of all the albums released in the first six months of 2013, you’ll be hard pushed to find more enchanting album than the Runaway Orchestra’s eponymous debut album Runaway Orchestra. Released by Brighton’s Mr. Bongo Records, I was going to saw the Runaway Orchestra give ten familiar tracks a makeover. That however, would be an understatement. Transformation is nearer to the truth. This is Bob Dylan, T-Rex, The Turtles and Sonny and Cher as you’ve never heard them. Runaway Orchestra is akin to alchemy. Songs are transformed majestically. They’re totally reinvented and rejuvenated. Sometimes, they’re given new life and meaning. What’s even more remarkable, is that the Runaway Orchestra is just an adjunct to Sophie Sophie’s successful solo career.
Rather than slavishly recreate ten familiar songs, the Runaway Orchestra have taken a very different, unique and innovative approach on Runaway Orchestra. They’ve taken ten original songs and in many case, totally transformed them. The best examples are The Turtles’ Happy Together, Pete Doherty and Wolfman’s For Lovers, Bob Dylan’s It’s Not For You and Sonny and Cher’s The Beat Goes On. In the case of Happy Together, For Lovers and The Beat Goes On, I much prefer the Runaway Orchestra’s version. They’ve revitalized and rejuvenated both tracks. For Lovers with its understated, lush string drenched sound takes on new meaning as its inherent beauty shines through. On other tracks, the Runaway Orchestra take a different approach.
While many tracks on Runaway Orchestra saw the Runaway Orchestra reinvent and rejuvenate songs, other songs are akin to paying homage to the original artist. However, this is far from a slavish cover version. Instead, it’s the original with a captivating twist. Two examples are T-Rex’s Life’s A Gas and The Beatles’ Two Of Us. Both are a fitting tribute to two of Britain’s most successful groups. Along with the reinvention of familiar songs, Runaway Orchestra is an enchanting and captivating album.
For anyone yet to discover the delights of Runaway Orchestra, it’s probably the most enchanting album of 2013 so far. Playing an important part in the success of Runaway Orchestra are the understated, folk-tinged arrangements which feature a compelling and eclectic selection of instruments. The piece de resistance is Sophie’s vocal. Variously tender, wistful, melancholy and joyous, it helps breath new life and meaning into the ten songs on Runaway Orchestra. What started off as a adjunct to Sophie’s solo career could turn out to be something much bigger. Given the plaudits that have come the Runaway Orchestra’s way, Runaway Orchestra can’t be a one-off. There must be a sequel to Runaway Orchestra. Surely, given the quality of music on Runaway Orchestra it won’t be long before we hear from Runaway Orchestra again?
SANO-SANO.
One of the most anticipated releases of 2013 is Columbian Wunderkind Sano’s eponymous debut album. Sano, which will be released on Matias Aguayo’s Comeme label on 11th November 2013, has been described as sleazy house at its best. I’d go further and say that Sano is a delicious fusion of musical influences. There’s everything from salsa, disco, Latin house and even a twist of techno. Add to this a myriad of percussive delights, including the unmistakable sound of the claves, and Sano paints pictures with his music. Just like an artist uses his palette, Sano uses his music to paint vivid, evocative pictures. These pictures conjur up pictures of the seedier side of Medellin, Sano’s home town.
During Sano’s ten tracks, Sano is house music’s equivalent of Tom Waits or Lou Reed. He paints pictures of Medellin’s dark and hedonistic underbelly. This is the Medellin where strutting, macho hustlers and hoods populate dive bars. They rub shoulders with shysters, conmen and pimps. To pass the time, they smoke cigarettes, roll dice and play cards. Money changes hands. Sometimes, small fortunes are won or lost on the turn of a card. All the time, the hustlers await their prey with glee. Like a carnival barker, they encourage their prey to enter their world. Dreams can be made, nightmares begin and lives changed forevermore. Meanwhile, Medellin comes alive around them.
The city’s party people come out in numbers. Bars empty, with their patrons high on the happy side, heading for the city’s part quarter. Clubs are filled with pounding, pulsating, house music. Strobes and flashing, flickering lights and smoke machines turn what was a cavernous space into a palace. The dancers are Kings and Queens for the night. Dreams can come true…sometimes. Princes or Princesses can be found. Then as night turns into day, reality strikes and so does the hangover. Medellin is a very different place, but a reminder of the city by night is Sano’s debut album Sano.
It seems that Sano’s experience as a DJ, then producer has been put to good use. This taught him what type of music fills a dance-floor. Knowing that, put him one step ahead of other producers. He wasn’t going to make the musical mistakes they did. No. Instead, he was going to create music that dramatic, uplifting, energetic, dance-floor friendly and anthemic. It’s also music that’s gothic, eerie, sinister, dark and broody, as if telling the tale of the places Sano’s been and the things he’s seen, Despite that, or because of that, Sano features music that’s guaranteed to fill any dance-floor. However, there’s more to Sano than just dance music.
By that, I mean Sano is an album with a strong narrative, where you’re introduced to the Medellin’s dark, underbelly. Just like Lou Reed and Tom Waits, Sano is a perceptive people-watcher. He watches as strutting, macho hustlers and hoods populate dive bars, rubbing shoulders with shysters, conmen and pimps. They smoke cigarettes, roll joints and dice, play cards and prey on the unwary. Then there’s Medellin’s party people who come out to play once a week. They’re either looking for miss or mister right, or just a good time, no strings attached. This is the world Sano tells you about. Remarkably, these narratives are mostly instrumentals. Having said that, the music has a cinematic quality. As a result, pictures unfold in your mind’s eye. It’s akin to A Walk On The Wild Side. In some ways, Sano is a concept album.
Given how ambitious an album Sano is, it’ll be interesting to see what direction Sano’s career heads. Given his background as a DJ and producer, the smart money would be on Sano continuing to create albums that are cerebral, dramatic and dance-floor friendly. This would mean more music like that on Sano. That’s no bad thing. Far from it. After all, Sano with its irresistible fusion of influences is an ambitious, innovative album that shows the direction that dance music should be heading. Cerebral, with a strong, narrative Sano, dance music’s answer to Lou Reed, takes you on a A Walk On The Wild Side during Sano, where poppy hooks, drama, sleaze and musical genres play their part in what is one of the most compelling, cinematic albums of 2013.
SWEETHEARTS OF THE PRISON RODEO-ON THE DESOLATE HILLSIDE.
Sweethearts Of The Prison Rodeo are no ordinary band. Far from it. The Falkirk based Sweethearts Of The Prison Rodeo describe the music on their debut album, On The Desolate Hillside, as freak-country-folk. Released recently on Adam Stafford’s Glasgow label Wiseblood Industries, On The Desolate Hillside showcases a cerebral band. After all, not many bands record songs about regression, greedy bankers burning in hell and pollen distribution. The Queens Of The Prison Rodeo do and that’s why On The Desolate Hillside is a truly compelling debut album from the Falkirk collective.
On The Desolate Hillside is very different to most debut albums I’ve come across. There’s an almost punk attitude to the Sweethearts Of The Prison Rodeo. It’s as if they’re doing things their way, or no way. That’s a very Scottish trait. We do things our way, or not at all. The same can be said of the Sweethearts Of The Prison Rodeo. After all, tales of regression, murder, bankers burning in hell, fashionistas and ghosts finding murder victims on hillsides isn’t what you’d expect on a debut album. What you find on the Sweethearts Of The Prison Rodeo’s debut album On The Desolate Hillside, is a fusion of musical genres and influences.
Described freak-country-folk, I’d add to that indie, new wave, soul and punk. Influences include everyone from the usual Lou Reed, David Bowie and New York Dolls, through to the Ennio Morricone, Sensational Alex Harvey Band, The Proclaimers, Arab Strap and R.M. Hubbert. This eclectic mix of influences combined with the cerebral, articulate, sometimes surreal and mystical lyrics of D. King are a potent combination. Full of searing social comment, anger and frustration, he articulates the anger many people feel at the corruption in society. So, D. King’s lyrics on On The Desolate Hillside voice our concerns, frustrations and anger. He’s our conscience and voice, one that’s articulate and cerebral. For that we should be grateful. We should also be grateful for On The Desolate Hillside, the Sweethearts Of The Prison Rodeo’s debut album.
Hand-crafted, and the result of a cottage-industry of musicians, illustrators and producers, On The Desolate Hillside is more that what the Sweethearts Of The Prison Rodeo call: “a panoply of music and song, poetry and pictures for your enjoyment.” Far from it. Impassioned, angry, articulate, cerebral and speaking for those who can’t speak for themselves, describes On The Desolate Hillside, a searing, impassioned, rant from the Sweethearts Of The Prison Rodeo. Let’s hope On The Desolate Hillside is the first of many from Sweethearts Of The Prison Rodeo.
THE PASTELS-SLOW SUMMITS.
Since forming in 1981, The Pastels have only released five albums. Their latest album is Slow Summits, which was recently released on Domino. Slow Summits is the first studio album The Pastels have released since 1997s Illumination. They did provide the soundtrack to John McEntire’s The Last Great Wilderness in 2003. However, since then, things have been quiet on The Pastels’ front. Dedicated followers of The Pastels wondered if we’d ever hear from the group again. Then earlier this year, came Slow Summit, The Pastels fifth album in the group’s thirty-two year career and last since 1997.
So where have they been since 1997? What have then been doing? All we can say with certainty, is that they’re back, older, wiser and more experienced on Slow Summits. Sometimes The Pastels sound worldweary and rueful, especially when Stephen takes charge of the lead vocal. Like those of a certain age, we realize our youth is but a distant memory. Sometimes, he sounds rueful as if unsure he’s done the right thing. Deep down I wonder if he’s wondering whether five albums in thirty-two years does The Pastels justice As for Karina’s vocal, they’re ethereal, veering between wistful, melancholy, hopeful and needy. Her vocals breath life, meaning and emotion into lyrics. She sounds as she’s lived, experienced and survived the lyrics. Maybe she too, realises they could’ve and should’ve been one of Scotland’s biggest bands. Slow Summits is proof of this.
No wonder. The Pastels are a a band full of talented musicians and songwriters. They’re not content to replicate previous albums. Instead, they innovate, and move their music forward. That’s to their credit. After all, they’ve been making music since 1981. Eclectic music at that. On Slow Summits, everything from indie rock, pop, sixties girl groups, doo wop, garage is thrown into The Pastels mixing bowl. It’s stirred by producer John McEntire and The Pastels. The nine tracks are a compelling musical journey, where not once, do The Pastels take a wrong turn. Far from it. The Pastels haven’t just made a comeback on Slow Summit, but are back and are better than ever. Indeed, The Pastels have reached slowly and somewhat belatedly reached the summit with Slow Summits.
THE TEMPERANCE MOVEMENT-THE TEMPERANCE MOVEMENT.
Many bands are touted as the future of rock ‘n’ roll. Mostly it’s either record company hype or wishful thinking. The Temperance Movement are different. They’re the real thing. They epitomize rock ‘n’ roll. Formed in 2011, they’ve come a long way in two years. They’ve conquered Britain, Europe and America with their unique fusion of rock ‘n’ roll, blues, country and soul. Somehow, whilst conquering much of the Western world, The Temperance Movement have found time to record and release their eponymous debut album.
What became The Temperance Movement, was recorded before the group signed to Earache Records earlier this summer. Earache Records were presented with the finished article. All that was left was to promote and release The Temperance Movement. It was released on 16th September 2013, and strutted its way to number twelve in the UK. This is just the start of what should be a long and successful album for The Temperance Movement, whose career started in 2011.
Although The Temperance Movement were only formed in 2011, the five members of the band have a wealth of experience. Glasgow-born lead vocalist, Phil Campbell, has released a string of solo albums. This includes 2008s After The Garden, 2009s Daddy’s Table and 2010s Saviour’s Song. As for the guitarists, Paul Sayer and Luke Potashnick, Luke is a former member of Rooster and Ben’s Brother. Bassist Nick Fyffe was in Jamiroquai’s band, while Australian-born drummer Damon Wilson counts Feeder, The Waterboy’s and Ray Davies as former employers. These five experienced and talented musicians joined forces to form The Temperance Movement.
Their experience shines through. The Temperance Movement are an old school rock ‘n’ roll band. They reference everyone from AC/DC, Bad Company, Free, Primal Scream, Joe Cocker, Led Zeppelin, the Sensational Alex Harvey Band and The Rolling Stones. Add to that The Eagles, The Jayhawks and Wilco. Then there’s The New York Dolls, MC5, Iggy and The Stooges. All these groups have played their part in influencing The Temperance Movement, whose eponymous debut album reached number twelve in the UK. That’s just the start. There’s only one place The Temperance Movement are going…to the top.
No wonder. The Temperance Movement keep it real. Here’s an old school rock ‘n’ roll band. It sounds as if rather than nursery rhymes, The Temperance Movement were weened on classic rock ‘n’ roll. That’s worked out well. Drawing inspiration from the music of the past, The Temperance Movement have produced the music of the future. Fusing blues, country and blistering, old-school rock ‘n’ roll, The Temperance Movement’s eponymous debut album is flawless. Whether it’s ballads or when they kick loose, The Temperance Movement live up to their reputation as the future of rock ‘n’ roll.
Many bands have been touted as the savior of rock ‘n’ roll. In their hands, the future of rock ‘n’ roll has been placed. Over the years, I’ve watched the contenders come and go. Some have sunk without trace, becoming the musical equivalent of the Titanic. As for the grand old men of rock ‘n’ roll, groups like The Who and the Rolling Stones they’re yesterdays men, living off their past glories. Thankfully, rock ‘n’ roll has found its saviour. The future of rock ‘n’ roll is safe, the future of rock ‘n’ roll is The Temperance Movement.
THE WYNNTOWN MARSHALS-LONG HAUL.
Ever since 2007, a little corner of Edinburgh has resembled Nashville, Tennessee. 2007 was The Wynntown Marshals, Scotland’s most practiced purveyors of country rock were formed. Since then, The Wynntown Marshals, have been fusing poppy hooks and a pedal steel to create their own unique brand of swaggering country rock. Influenced by Gram Parsons, Neil Young, The Jayhawks, Wilco and Glasgow’s very own Teenage Fanclub, The Wynntown Marshals draw inspiration from the past and present. That’s apparent on their sophomore album Long Haul, which was recently released on Wynntown Recordings.
Three years after the release of their debut album Westerner, The Wynntown Marshals are back and better than ever. During the last three years, they’ve honed their sound within an inch of perfection. They’re tighter than ever before, playing with confidence and often, a gallus swagger. That makes them unmistakably Scottish. In some ways, that’s the only Scottish thing about The Wynntown Marshals.
They don’t sound like a band from Edinburgh, a city that’s hardly famous for its musical heritage. No. For its size, Edinburgh has underperformed. It hasn’t produced as many big bands as it should. Granted there’s The Proclaimers and some years ago, The Fire Engines, but that’s it. Maybe that’s about to change. The Wynntown Marshals are leading the charge for Edinburgh bands, while The Holy Ghosts are following in their footsteps.
Ironically, The Wynntown Marshals music has more in common with America. It’s almost an accident of birth that The Wynntown Marshals are an Edinburgh band. They sound as if they’re Nashville born and bred. Other times, they sound not unlike Neil Young and Crazy Horse in their prime. Even lead vocalist Keith Benzie’s doesn’t sound Scottish. The same was said of Teenage Fanclub in the nineties and noughties. So this isn’t a new phenomenon. Let’s just hope The Wynntown Marshals enjoy the same success as Teenage Fanclub enjoyed.
With their slick, poppy hooks and unique brand of swaggering country rock, The Wynntown Marshals look to be on the right road. No ifs and no buts. They’re in it for The Long Haul, and since 2007, have been Scotland’s most practiced purveyors of country rock. These last six years have been time well spend for The Wynntown Marshals, whose gallus, swaggering brand of country rock is guaranteed to find favour with fans of Americana far and wide.
THIS SILENT FOREST-INDIVISION.
This Silent Forest aren’t like most bands. No. They’re almost like two bands rolled into one. As a four piece, their music is best described as post-rock. Then when This Silent Forest becomes a sextet, they’re transformed. Harmonies and strings add an ethereal beauty to This Silent Forest’s music, That’s why for the last few years, This Silent Forest have been winning friends and influencing people. This includes music lovers and critics. They’ve watched as This Silent Forest have developed into one of Scotland’s hottest band. Only one thing was missing from This Silent Forest’s CV, an album. Not any more.
This omission has been rectified with the recent release of Indivision, This Silent Forest’s debut album. Released to critical acclaim, it’s obvious that the last four years have been well spent. These four yours have seen This Silent Forest striving to perfect and hone their sound. Listening to Indivision, this has been time well spent. Indivision features a tight, talented band, who seamlessly fuse indie rock and folk. Hooks and anthems haven’t been rationed on the Indivision’s eight tracks. Far from There’s a cornucopia of hooks on Indivision, which showcases This Silent Forest.
Indivision is an old school debut album from This Silent Forrest. Just eight songs lasting forty-six minutes long, Indivision is album that’s reminiscent of the golden age of rock. Back then, before the birth of the CD, albums featured just eight to ten songs and were restricted by the amount of music a vinyl album could hold. Now with the advent of the CD, albums are sprawling affairs, with bands feeling obliged to fill the disc’s eighty minutes. Usually that’s a mistake. After all, how many bands have eighty minutes of quality music? Not many. Thankfully, bands like This Silent Forrest are realizing that. Nowadays, they’re only putting their best music on a disc. If that means the whole disc isn’t used, so be it. That seems to be This Silent Forrest’s attitude. Good for them.
That’s why Indivision is all killer and no filler. Each of the eight songs have one thing in common…quality. Over Indivision’s eight tracks, This Silent Forrest fuse indie power rock, folk and country. Anthems and hooks certainly haven’t been rationed. No. This Silent Forrest are practiced purveyors of anthems. They’re just as good at the more introspective songs. That’s why, in many ways, This Silent Forrest are two bands rolled into one.
Whether it’s indie power rock or understated, introspective ethereal beauty you’re after, This Silent Forrest deliver it in spades and having being for several years. Indeed, since they released their debut E.P. the Lighter Side, This Silent Forrest have been a band with a big future. This Silent Forrest have fulfilled their potential on Indivision, their anthemic, introspective and hook-laden debut album.
WASHINGTON IRVING-PALOMIDES VOLUME 1.
Visitors to Washington Irving’s website are greeted with what could be their musical manifesto, “We Are Electric Folk and Like To Play Loudly.” That’s no idle boast. Far from it. Washington Irving can walk the walk. Unlike many bands, Washington Irving let their music do the talking. Washington Irving don’t do hype or posturing. Instead, they win people over with their music. Recently, Washington Irving have won over plenty of people. They’ve opened for Frightened Rabbit, become festival favourites and released their debut album Palomides Volume 1, which was released in conjunction with Creative Scotland.
Palomides Volume 1 is no ordinary album. No. It’s half on album. Washington Irving decided to release their debut album in two parts. That’s the relevance of Volume 1. These five tracks are just a tantalizing taste of Washington Irving’s music. The music on Palomides Volume 1 is best described as a anthemic fusion of folk and rock. This is the music that’s won over audiences all over Britain. All this has seen Washington Irving become one of Scotland’s most popular bands.
Although just five songs and twenty-two minutes long, Washington Irving’s debut album Palomides Volume 1 it’s a delicious taste of what’s to come. They’re an experienced band whose decision to concentrate on touring and building a following has paid off. By the time Washington Irving headed into the studio, they were a tight and talented band. Seamlessly, the fuse folk, rock and blues. In doing so, they follow in the footsteps of two successful Scottish bands Big Country and Runrig. Washington Irving pick up the baton from Big Country and Runrig. Other influences include Arcade Fire, The Pogues and The Proclaimers. All these influences play their part in one of Scotland’s best up-and-coming bands.
Just now, there are so many promising and successful Scottish bands. That’s been the case since the late-seventies. Sadly, many of these bands neither enjoyed the commercial success nor critical acclaim they deserved. Washington Irving should. They’re the latest up-and-coming Scottish band who look like enjoying a successful career. If Palomides Volume 2 which will be out at the start of November 2013, is as good as Palomides Volume 1, then the next step for Washington Irving should be signing for a label. Their unique fusion of fold, rock and blues deserves a much wider audience, far from Scotland’s shores. I’m sure Scottish expats everywhere will be won over by Washington Irving’s debut album Palomides Volume 1. I certainly was. Washington Irving’s debut album Palomides Volume 1 might only be five songs long and last twenty-two minutes, but it’s a the first step in what should a long and successful career for Washington Irving.
WOODENBOX-END GAME.
Fuelled by the sound of the Sensational Alex Harvey Band and Kayne West, Glasgow-based Woodenbox, set about recording their sophomore album End Game at Chem 19 recording studio in Hamilton. Given Woodenbox’s somewhat eclectic soundtrack, it’s no surprise that End Game is a similarly eclectic album. Best described as genre-sprawling, the Glasgow-based folk sextet had come a long way since their 2010 debut album Home and The Wildhunt. Released to critical acclaim, Home and The Wildhunt was one the best Scottish albums of 2010. Fast forward a year, to September 2011, and recording of their sophomore album End Game, which was released in March 2013, was underway.
The venue was Chem 19 recording studios in Hamilton. Woodenbox were joined by producer Paul Savage. Previously, Paul had produced Arab Strap, Franz Ferdinand and The Phantom Band. His job was to harness Woodenbox’s fusion of folk and horn-driven psychedelic blues, with the melodic sound that featured on Home and The Wildhunt. For the sessions, ten new tracks had been written by Woodenbox. They were recorded at Chem 19 on 19th August 2011 and during October 2012. Everyone Has A Price was chosen as the lead single from what became End Game. It was released in March 2012, to coincide with Woodenbox’s first US tour. Woodenbox had come a long way since they were formed in 2008.
Just five years after they were founded, Woodenbox released their sophomore album End Game. It’s a slick, accomplished and genre-melting album. Indeed, it’s so polished you forget that Woodenbox are a relatively new band. While that’s the case, they’re certainly not lacking experience. Their years of constant touring have helped them hone their sound. Over the past few years, as Woodenbox toured the length and breadth of Scotland, and later further afield, they’d become festival favorites. That’s no surprise, given their music is anthemic and hook-laden. Many of the ten tracks of End Game would be festival favorites. Indeed, I’m sure King’s Liar, Beautiful Terrible, Easy Life and Race To The Flood would go down a storm at festivals this summer. They’re just four of the tracks from End Game, which is a fusion of musical genres.
Everything from folk, jazz, pop, psychedelia, rock and ska are combined by the Glasgow-based folk sextet on End Game. The ten tracks were written by Woodenbox and became End Game. These tracks contain lyrics that are intelligent, witty, surreal and cynical. End Game’s lyrics were brought to life by a tight, talented and accomplished group of musicians. As for vocalist Ali Downer, he breathes life, meaning and emotion into them. Then there’s the production.
End Game was produced by Paul Savage. He played an important part in the End Game’s success. Paul’s experience allows his to structure the songs in such a way that they’re most effective. His production style allows you to hear the different layers of music. Brought together, these layers of music veer between dramatic, edgy, ethereal, anthemic and hook-laden. Having worked with successful groups before, Paul knows what makes a successful album. Paul played an important part in the success of End Game, an album whose songs are anthemic, dark, dramatic, hook-laden, intelligent and introspective. That’s the perfect way to describe Woodenbox’s genre-sprawling, sophomore album End Game, which is the perfect introduction to one of Scotland’s best bands.
So, that’s my list of The Best Albums Of 2013. Narrowing my shortlist down to just thirty albums wasn’t easy. However, I managed to do so, albeit with some debate and difficulty. That’s a good thing though. That means that there’s been a lot of great music released during 2013. Most of it, has been released by independent labels.
This includes, labels from Columbia, England, France, Norway and Scotland. Among them, are BBE Music, Chemikal Underground, Crammed Discs, Mr. Bongo and Smalltown Supersound. These labels nurture artists and help them develop and grow. Quite simply, these labels are the lifeblood of the music industry and deserve our thanks. Sadly, after that, major labels snatch these artists away, resulting in all the small label’s efforts being for nothing. However, without these small labels, much of the music on my list of The Best Albums Of 2013 wouldn’t have been released. So to all the independent labels who’ve released albums by new artists during 2013, they deserve our thanks and hopefully, 2014 will be as good a year for them as 2013. So, let’s do it all again in 2014. See you then.
THE BEST SCOTTISH ALBUMS OF 2013-PART 1.
THE BEST SCOTTISH ALBUMS OF 2013-PART 1.
Over the past thirty-five years, Scotland has produced some of the most critically acclaimed and commercially successful bands in British music. From the tail-end of the seventies, Scottish bands have been trailblazers, producing music that’s innovative and ahead of the musical curve. This stared with Postcard Records, who introduced the world to the Sound of Young Scotland and groups like Aztec Camera, Orange Juice, Josef K and The Go-Betweens. Incredibly, that was just the start of an outpouring of creativity.
Scottish bands were about to provide the soundtrack to much of the eighties and nineties. Next up were the Associates, Blue Nile, Lloyd Cole and The Commotions, Hipsway, The Big Dish and Deacon Blue. That’s not forgetting Belle and Sebastien, The Bathers, Primal Scream, Franz Ferdinand, Edwyn Collins and Joe McAlinden. Never mind Manchester, Liverpool or London, Scotland were the Kings of indie rock and where every A&R rep headed in search of the latest indie rock sensation. That’s still the case, with A&R reps taking an interest in Scottish music. No wonder. 2013 has been a vintage year for Scottish music. Some of the best music released this year, has been by Scottish bands. Proof of this is my list of The Best Scottish Albums of 2013. It’s a delicious taste of what Scottish music has to offer.
BELLE AND SEBASTIAN- THE THIRD EYE CENTRE.
Often, when a group released a compilation of B-Sides, rarities and non-album tracks, they’re cash-ins filled with third rate music. That’s not the case with Belle and Sebastian, They don’t release third-rate music. No way. Their compilation, The Third Eye Centre, which was released earlier this year is proof of this.
Instead, The Third Eye Centre is a tantalising glimpse of Belle and Sebastian. It’s also a delicious glimpse of what we’re missing. If they could only produce albums on a more regular basis. Mind you, maybe they’d lose some of their unmistakable charm? Belle and Sebastian are capable of producing captivating, bewitching and beautiful music. Sometimes, they lay bare their soul, while articulating their hopes, fears, frustrations and dreams. Articulating this range of emotions, are Glasgow’s purveyors of pop perfection Belle and Sebastian. Their music despite being quintessentially Scottish, transcends geographical boundaries. For anyone whose lived, lost and lost love, Belle and Sebastian’s music will speak to them and for them. It brings to life their heartache and hurt, their sense of how life will never be quite the same again.
Belle and Sebastian’s music, including the music on their recently released The Third Eye Centre compilation, is deeply soulful, beautiful and emotive. That’s why Belle and Sebastian are one of the best bands to come out of Scotland in the last thirty years. It’s also why every self respecting record collection must feature a Belle and Sebastian album. A good place to start is Tigermilk, The Boy With The Arab Strap and to give you a taste of what happened next, The Third Eye Centre. These three albums, are sure to make a Belle and Sebastian fan out of you.
CAMERA OBSCURA-DESIRE LINES.
There aren’t many bands who announce on their website that they’re on maternity leave. Camera Obscura do. They’re another Scottish band who do things their way. So far, that’s worked well. They’ve released five albums since they were formed in Glasgow in 1996. Their most recent album, was Desire Lines, which recently released on 4AD. Desire Lines saw Camera Obscura change direction musically.
For two albums, Camera Obscura had worked with Swedish producer, Jari Haapalainen of The Bear Company. He’d produced their third album, 2006s Let’s Get Out Of This Country, then the followup, 2009s My Maudlin Career. Despite My Maudlin Career being Camera Obscura’s most successful album, Jari was replaced as producer. Camera Obscura decided to move their music forward. They’d been accused of sticking with the same formula. Certain critics accused My Maudlin Career of sounding like Let’s Get Out Of This Country. That must have stung. So Camera Obscura headed to Portland, Oregon, where Tucker Marine produced Desire Lines. Making guest appearances, were Neko Case and Jim James of My Morning Jacket. This was a brave move for Camera Obscura. After all, they’d enjoyed the most successful album of their career with My Maudlin Career.
Camera Obscura’s decision to change producer was a risk worth taking. From an artistic point of view, Desire Lines surpasses everything that’s gone before. Sadly, it didn’t quite replicate the commercial success of My Maudlin Career. Released to critical acclaim, it still gave the band a hit on both sides of the Atlantic. Another chapter in Camera Obscura’s seventeen year musical story was finished. It was the best of their career. Desire Line featured Camera Obscura at their cerebral, literate and intelligent best. Witty, quirky, but full of hurt, heartbreak and regret, Desire Lines is ethereal, elegant and beautiful. Hook-laden, slick, slices of pop perfection, Desire Lines is pop music at its best.
CHVRCHES-THE BONES OF WHAT YOU BELIEVE.
One of the most highly anticipated albums of recent years is Chvrches’ The Bones Of What You Believe. What makes the rise and rise of Chvrches so remarkable, is Chvrches were founded just two years ago in 2011. Everything has happened so quickly for Lauren Mayberry, Ian Cook and Martin Doherty. They’ve spent the last two years touring the world converting people to their unique brand of shimmering electro-pop. Britain, Europe, Canada and America gave been conquered by Chvrches. Somehow, Chvrches have also found the time to release a four singles and a trio of E.Ps, including the recently released Gun E.P. These singles were a tantalising taste of the main event, Chvrches highly anticipated debut album The Bones Of What You Believe, which was released in September 2013 on Virgin.
Released to critical acclaim, The Bones Of What You Believe is a taste of what Chvrches are capable of. One of the most highly anticipated albums of recent years, The Bones Of What You Believe, not only lived up to expectations, but surpassed them. The Bones Of What You Believe features innovative, inventive music. It’s pioneering electro-pop, full of shimmering synths and the ethereal beauty of Lauren Mayberry’s vocal. Her vocal is reminiscent of Liz Fraser of The Cocteau Twins. Along with Ian Cook and Martin Doherty, Chvrches fuse electro pop, house, synth pop, Euro Disco, indie rock and soul. Dance-floor friendly, anthemic, soulful and full of slick poppy hooks, The Bones Of What You Believe is pop perfection. That’s why Chvrches will be Scotland’s next big musical export. Many have been contenders for the title, now it looks like Chvrches with their unique sound, will claim it as their own.
Chvrches have restored my faith in modern music. I’m pleased that still, there are a group capable of making the perfect pop song. That’s what The Bones Of What You Believe is. It’s a reminder of what a classic pop song sounds like. For everyone who says pop music is dead, play them The Bones Of What You Believe. That’ll prove them wrong. Pop music is alive and kicking, and Chvrches’ debut album The Bones Of What You Believe is the future and salvation of pop music.
PETE MACLEOD-ROLLING STONE.
It was seventeen years ago, that Pete MacLeod made his professional debut. That night, in 1996, Pete walked on stage and sang two of his own songs. It gave Pete his first taste of the music industry. He was hooked, and wanted more of it. For the next eight years, Pete travelled up and down the country honing his sound. As thestar69 Pete paid his dues. This lead to Pete playing at Scotland’s biggest music festival T In The Park in 2004. Shortly after that, Pete enjoyed his first hit single. It was only a matter of time before Pete released his debut album. He released This Is Modern Soul in 2005. Critics predicted a successful future for Pete MacLeod. Surely, Pete would be signed by a record company and become Scotland’s latest successful musical export?
Sadly, things didn’t quite pan out like that for Pete MacLeod. Despite a whole host of fans within the music industry, including Alan McGhee, Jim Kerr, Dave Grohl and Steve Cradock, that record contract eluded Pete MacLeod. That was until earlier this year when Alan McGhee, the man behind the long, lamented Creation Records, decided to make a comeback. He founded a new label 359 Music. Among the signings to his new label was Pete MacLeod. This was no surprise, as Alan had long championed Pete’s music. Now that Alan was back in the music business, he was going to help spread the word about Pete McLeod. So, in July 2013, Pete MacLeod signed to Alan McGhee’s new label 359 Music and released his sophomore album Rolling Stone.
Rolling Stone describes the career of Pete MacLeod. Since making his professional debut, he’s seen the other side of the music business, the side most people forget about. Pete’s spent years traveling the length and breadth of Britain. Then there’s trips to Europe and to Pete’s adopted home of Los Angeles. All the time, Pete’s playing smaller venues, venues which are filled with a small, loyal and adoring fan-base. They attend every concert Pete plays, but sadly, word hasn’t spread about Glasgow’s troubled troubadour Pete MacLeod. Instead, he’s remained one of music’s best kept secrets. Pete however, deserves a better fate than that.
For whatever the reason, Pete MacLead hasn’t had the breaks. Commercial success and critical acclaim have eluded Pete. Despite that, he’s certainly not short of talent. A talented singer-songwriter, Pete MacLeod should be filling larger venues and have a string of critically acclaimed albums to his name. Sadly, that’s not the case. Thankfully, time is still on his side. Maybe Rolling Stone, Pete MacLeod’s sophomore album will mark a change in Pete’s fortunes? Given the quality of music on Rolling Stone, commercial success and critical acclaim might just be coming Pete MacLeod’s way. A fusion of folk, rock and pop, Rolling Stone showcases Pete MacLeod’s versatility and talent. Eight years after his debut album This Is Modern Soul, Scotland’s veteran Rolling Stone Pete MacLeod looks like making up for lost time with his hook-laden, heartfelt, soul-baring opus, Rolling Stone.
QUICKBEAM-QUICKBEAM.
Atmospheric, cinematic and ethereal are just some of the words that describe the music on Quickbeam’s debut album Quickbeam. So too does sparse, minimalist, flamboyant and luscious. Intriguing and compelling, the twelve soundscapes have been influenced by a myriad of eclectic influences. This includes ambient, classical, indie rock, jazz and soul. Comprising twelve soundscapes, quivering, classically influenced strings sit side-by-side with fuzzy guitars, braying horns and harmonium. Add to this fragile, tender vocal and soothing harmonies. Everything from Bartok, Blue Nile, Boards of Canada, Cocteau Twins and Jesus and Mary Chain have influenced Quickbeam. When all these musical influences are combined, the result is one of the most intriguing and eclectic albums of 2013.
I described Quickbeam’s debut album Quickbeam as atmospheric, cinematic and ethereal. I could just as easily have described Quickbeam as sparse, minimalist and flamboyant. Quickbeam is an enigmatic album. Twelve songs lasting fifty-one minutes, featuring instruments you wouldn’t normally find on a indie, pop or rock album. Cellos, harmonium and horns are added to the rhythm section, piano and organ. Mind you, Quickbeam isn’t an indie, pop or rock album. No. It’s a fusion of ambient, classical, indie rock, jazz, pop and soulful vocals. The artists that have influenced Quickbeam are just as varied. Listen carefully and you’ll hear Astrid Williamson, Bartok, Blue Nile, Boards of Canada, Brian Eno, Clannad, Cocteau Twins, Deacon Blue, Jerry Burns, Jesus and Mary Chain and Kate Bush. Such a diverse and eclectic range of influences make for an album that’s intriguing and compelling.
Indeed, from the opening bars of Remember to the closing One To Hold, Quickbeam have you spellbound. Layer upon layer of multi-textured, genre-sprawling music toys with your emotions. Intrigued, as one track ends, you wonder where Quickbeam are taking you? It’s like a musical journey, where a series of cinematic soundscapes unfold. Monika is the narrator of stories full of hurt, heartbreak and mystery. Longing and loneliness are often present in songs that are designed to tug at your heartstrings. Veering between ethereal and beautiful, to dramatic and dark, Quickbeam’s debut album is not just one of the best Scottish albums of 2013, but one of the best British albums of 2013. One listen to Quickbeam, and you’ll realise this too.
R.M. HUBBERT-BREAKS AND BONE.
For R.M. Hubbert, 2013 has been the best year of his long musical career. A veteran, and some might say, unsung hero, of Glasgow’s music scene, Hubby won the Scottish Album Of The Year Award in June 2013, with his sophomore album, Thirteen Lost and Found. Considering the competition Hubby was up against, this was quite a feat. Paul Buchanan, Lau, Calvin Harris and Emile Sande were among the nominees. However, Hubby triumphed. Thirteen Lost and Found won the Scottish Album Of The Year Award. This was result of a musical journey that started back in 1991. Having savoured the moment, it was straight back to work for Hubby.
No wonder. Hubby was in the midst of recording his third album Breaks and Bone. It was recorded in seven short, intensive sessions during a one-year period. Featuring ten tracks, which were produced by Paul Savage at his Chem 19 studios. Two themes run through Breaks and Bone, letting go and acceptance. They’re the threads that ran through Hubby’s first two albums. That’s hardly surprising. Hubby’s had to contend with the loss of both parents and a five year battle with depression. For Hubby and many listeners, Breaks and Bone, will prove a cathartic experience.
Breaks and Bone is not just most captivating albums of 2013, but an album that’s cerebral and inspirational. The last part in the Ampersand trilogy, Breaks and Bone has you spellbound from the opening track. Despite being an instrumental, Son Of Princess, Brother of Rambo is something of a roller coaster journey. Listen to the track with an open mind, and thoughts, memories and ideas will cascade past your mind’s eye. From there, the music veers between becomes dark, bleak and nihilistic on Bolt, through to thoughtful, melancholy, emotive, joyous and uplifting. Often it’s introspective and seeking answers. That’s no bad thing. Hubby like so many other people, is looking for answers to problems that have haunted him. This includes loss and depression.
Many other people, like Hubby, have lost loved ones and are still grieving. It’s an ongoing process that needs worked through. For Hubby, music proves cathartic. He lost both parents a few years ago. Like many people, music is a way of finding answers to questions. Part of his trying to come to terms with this loss, is the Ampersand trilogy. Breaks and Bone is the final chapter in this trilogy. Let’s hope it’s helped Hubby to come to terms with his loss. I hope it’s helped Hubby in another struggle.
Another theme explored during Breaks and Bone, was depression. Like many people, Hubby has suffered from depression. He’s fought chronic depression for five years. Music to Hubby, has proved therapeutic and cathartic. Part of his healing process was the Ampersand trilogy, including Breaks and Bone. Let’s hope it’s helped Hubby to come to terms with what is a truly debilitating and heartbreaking illness. Certainly, some of the music on Breaks and Bone is much more uplifting.
Several things haven’t changed from Thirteen Lost and Found. Breaks and Bone which was released on Chemikal Underground. It’s another eclectic and emotional musical journey. It draws inspiration from disparate musical influences and genres. Folk, country, flamenco, Celtic, indie and Americana were thrown into the mix. Then there’s some of Scotland’s top musicians who played a part in the making of Breaks and Bone. Among them are Aidan Moffat, Emma Pollock and producer Paul Savage. Each of these musicians wanted to help one of the nicest men in Scottish music bring this very personal project to a close. Breaks and Bone, like the two previous chapters, is a highly personal, cerebral and emotive exploration of loss and depression.
Seeking answers, R.M. Hubbert embarked upon the Ampersand trilogy. Now this musical journey is over. Hubby has kept the best until last. Breaks and Bone is the result of a two year musical journey. We can only hope R.M. Hubbert found the journey that was Ampersand trilogy both therapeutic and cathartic.
RANDOLPH’S LEAP-REAL ANYMORE.
Randolph’s Leap who recently released their mini-album Real Anymore on Olive Grove Records, aren’t like any other band. Not all. After how many bands describe themselves as a “Glasgow-based figment of your imagination?” Well, Randolph’s Leap do. This adds an air of mystery to the Glasgow-octet. It also hints at a band who don’t take themselves to seriously. Another description of Randolph’s Leap are purveyors of pop perfection.
Ever since 2008, Randolph’s Leap have been winning friends and influencing people with their unique fusion of indie pop and folk. Spreading hooks and happiness in equal measure, Randolph’s Leap are part of the this new generation of Scottish bands. Randolph’s Leap are just the latest keeper of Scottish pop’s flame. They’re no ordinary band though.
Don’t expect banal, bubblegum pop from Randolph’s Leap. No. Instead, their music is witty, acerbic, intelligent and articulate. That describes the music on Real Anymore, Randolph’s Leap’s debut mini-album. Real Anymore, features seven songs, which are the perfect introduction to Randolph’s Leap.The latest mini-album from Randolph’s Leap features a band more than ready to make the next step.
Indeed, Randolph’s Leap are a band with a big future. Randolph’s Leap are more than ready to make the next step. They’ve spent five years honing their sound and have established a reputation as a tight, talented band. To do this, they’ve played concerts and festivals up and down the country. However, Randolph’s Leap don’t seem in a hurry to make the next step, which is signing for one of the bigger indie labels. Randolph’s Leap seem determined to do things their way. That’s no bad thing. Bands like Belle and Sebastian, The Blue Nile, Teenage Fanclub and The Pastels have done things their way, and enjoyed a successful career. These bands demonstrate that this is possible. No longer do bands have to head to London to make the next step. Far from it. Glasgow’s music scene is truly thriving. Randolph’s Leap are just the latest keeper of Scottish’s pop music’s flame.
No wonder. The Glasgow-based octet are purveyors of pop perfection. Their unique fusion of indie pop and folk has winning friends and influencing people for five years. For anyone that’s heard the latest offering from Randolph’s Leap, their mini-album Real Anymore, that’ll come as no surprise. The lyrics on Real Anymore are variously witty, acerbic, articulate, cutting and descriptive. Featuring a plentiful supply of slick, poppy, hooks, Real Anymore features Randolph’s Leap at their poppy best. With tales of telephone psychics, a paean to nature, the cutting Indie King, joyous Nature and rousing Technology, this is the perfect introduction to Randolph’s Leap are no ordinary band. No. Randolph’s Leap are “a Glasgow-based figment of your imagination” who strive and succeed in their quest for hook-laden, pop perfection on Real Anymore.
RICK REDBEARD-NO SELFISH HEART.
Despite all this and more being wrong with music, very occasionally, along comes an album that restores my faith in music. It makes up for everything I’ve described. At last, the musical Gods are smiling on me. When this happens, the constant search for quality music becomes worthwhile. This was the case when I came across Rick Redbeard’s latest album No Selfish Heart. It was released on Glasgow’s premier label, Chemikal Underground in January 2013. A long time in the making, at long last, Rick Redbeard’s debut album No Selfish Heart was out. Full of subtleties, nuances and melancholy delights of No Selfish Heart, was worth the eight years it took to make.
Although the ten songs on No Selfish Heart took eight years to record, they were well worth the wait. This was the same with The Blue Nile. They were far from a prolific group. Like The Blue Nile, Rick’s music is the polar opposite to so much modern music. Rather than being instant and disposable, it’s intelligent, evocative, expressive, poetic and thoughtful. Rick Redbeard sings of hurt and heartbreak, love and loss, life and death. Poignancy gives way to pathos, while there’s a sense of melancholia and wistfulness on several tracks. Indeed, several tracks are like a coming of age for Rick. There’s a realization that no longer he’s immortal. That’s something that comes with age, experience and maturity. Other songs, they’re akin to an outpouring of grief and loss. Rick’s vocal is at the heart of these songs, while the mostly acoustic arrangements are understated and subtle. Despite this, the songs are intricate and multilayered. Subtleties, surprises and nuances await discovery.
Rick Redbeard’s No Selfish Heart is similar to Paul Buchanan’s debut solo album Mid Air. Like Paul Buchanan, Rick has a lived-in, world-weary sound. Both albums feature music that’s moody, broody, but sometimes hopeful. The music is also introspective, poignant and wistful music. That’s what I’d expect from Scotland’s latest troubled troubadours. Maudlin but beautiful, heartbreaking but hopeful and always heartfelt, Rick Redbeard’s No Selfish Heart, is well worth discovering. Indeed, Rick Redbeard’s No Selfish Heart, like Mid Air, is pensive and reflective music, that’s perfect for late-night listening.
RODDY WOOMBLE-LISTEN TO KEEP.
Back in 2006, when Roddy Woomble, the lead singer of Idlewild, released his debut album My Secret Is My Silenced, Idlewild had just enjoyed the most successful period of their career. Their third album, 2000s 100 Broken Windows was certified silver, while 2002s The Remote Part was certified gold and 2005s Warnings/Promises was then certified silver. Following the release of Warnings/Promises, Idlewild headed on the longest and most gruelling tour of their career. This toured throughout Britain, played some of the biggest festivals and opened for The Pixies and R.E.M. Then in November 2005, Idlewild announced they were parting company with their record company Parlaphone. Left without a record company, soon rumours about Idlewild’s future started doing the rounds. One of them was, that Idlewild were about to split up. That wasn’t the case, although bassist Gavin Fox left Idlewild after a concert in Glasgow. Without a record company, and having lost their bassist, Idlewild were at a crossroads. So, Roddy Woomble started work on his solo album, My Secret Is My Silenced.
When work began on My Secret Is My Silenced Roddy collaborated with Rod Jones, Karine Polwart and Michael Angus. Produced by John McCusker, a folk musician, My Secret Is My Silenced was well received by critics. Encouraged by this, Roddy decided to split his time between his solo career and Idlewild. This was no bad thing, as Idlewild would no longer enjoy the success they once had. They released just two more albums, 2007s Make Another World and 2009s Post Electric Blues. Since then, Roddy’s been concentrating on his solo career, releasing his sophomore album Impossible Songs and Other Songs in 2011. His third solo album, Listen To Keep, was released earlier this year.
Listen To Keep was a fusion of folk, Americana, Celtic, country, pop and indie rock. It was an to lose yourself in. Roddy introduces you to a cast of characters. Many of them have had their heart broken, some have been hurt and many are lost and lonely. All of them are very human. These characters have the same faults and problems as us. So in many ways, the songs on Listen To Keep are songs that everyone can relate to. After all, hurt and heartbreak, loneliness and loss are things we’ve all experienced. So too are hope and joy, which feature on Treacle and Tobacco, one of the many highlights of Listen To Keep.
Influenced by everyone from the Americana of Wilco and Jayhawks, through to two legends of Scottish music, Lloyd Cole and Roddy Frame, Roddy Woomble’s third solo album Listen To Keep is a fusion of musical genres and influences. Featuring eleven tracks which veer between hurt and heartbreak right through to happiness and hope, Roddy Woomble breathes life, meaning and emotion into the lyrics. Delivered with tenderness, frustration and sadness, Roddy Woomble is the latest in a long line of talented troubled troubadours from Scotland’s shore. His latest offering is Listen To Keep, which is the result of Roddy Woomble’s eighteen year musical journey.
THE BEST SCOTTISH ALBUMS OF 2013-PART 2.
THE BEST SCOTTISH ALBUMS OF 2013-PART 2.
QUEENS OF THE PRISON RODEO-ON THE DESOLATE HILLSIDE.
Queens Of The Prison Rodeo are no ordinary band. Far from it. The Falkirk based Queens Of The Prison Rodeo describe the music on their debut album, On The Desolate Hillside, as freak-country-folk. Released recently on Adam Stafford’s Glasgow label Wiseblood Industries, On The Desolate Hillside showcases a cerebral band. After all, not many bands record songs about regression, greedy bankers burning in hell and pollen distribution. The Queens Of The Prison Rodeo do and that’s why On The Desolate Hillside is a truly compelling debut album from the Falkirk collective.
On The Desolate Hillside is very different to most debut albums I’ve come across. There’s an almost punk attitude to the Sweethearts Of The Prison Rodeo. It’s as if they’re doing things their way, or no way. That’s a very Scottish trait. We do things our way, or not at all. The same can be said of the Sweethearts Of The Prison Rodeo. After all, tales of regression, murder, bankers burning in hell, fashionistas and ghosts finding murder victims on hillsides isn’t what you’d expect on a debut album. What you find on the Sweethearts Of The Prison Rodeo’s debut album On The Desolate Hillside, is a fusion of musical genres and influences.
Described freak-country-folk, I’d add to that indie, new wave, soul and punk. Influences include everyone from the usual Lou Reed, David Bowie and New York Dolls, through to the Ennio Morricone, Sensational Alex Harvey Band, The Proclaimers, Arab Strap and R.M. Hubbert. This eclectic mix of influences combined with the cerebral, articulate, sometimes surreal and mystical lyrics of D. King are a potent combination. Full of searing social comment, anger and frustration, he articulates the anger many people feel at the corruption in society. So, D. King’s lyrics on On The Desolate Hillside voice our concerns, frustrations and anger. He’s our conscience and voice, one that’s articulate and cerebral. For that we should be grateful. We should also be grateful for On The Desolate Hillside, the Sweethearts Of The Prison Rodeo’s debut album.
Hand-crafted, and the result of a cottage-industry of musicians, illustrators and producers, On The Desolate Hillside is more that what the Sweethearts Of The Prison Rodeo call: “a panoply of music and song, poetry and pictures for your enjoyment.” Far from it. Impassioned, angry, articulate, cerebral and speaking for those who can’t speak for themselves, describes On The Desolate Hillside, a searing, impassioned, rant from the Sweethearts Of The Prison Rodeo. Let’s hope On The Desolate Hillside is the first of many from Sweethearts Of The Prison Rodeo.
THE BETA BAND-THE REGAL YEARS 1997-2004.
Although The Beta Band were only together eight years, their music made a huge impact on music. Formed in 1996, The Beta Band split-up in 2004. In the intervening eight years, they’d released a trio of E.P.s and albums. The music on these E.P.s and albums influenced a generation of musicians. Innovative, influential and groundbreaking describes The Beta Band’s music. It’s best described as a fusion of influences and genres. The Beta Band fused everything from electronic, experimental, folk, trip hop and rock. This musical melange was known as folktronica, and saw The Beta Band achieve cult status in the UK, Europe and US.
Soon, commercial success and critical acclaim came The Beta Band’s way. Hailed as one of the best bands of their generation, a great future was forecast for The Beta Band. Sadly, after the release of their third album 2004s Heroes To Zeroes, The Beta Band split-up. It was a case of what might have been. Listening to the recently released the six disc box set, The Beta Band-The Regal Years 1997-2004, which was recently released by Regal Records, only reinforces that. Who knows what heights The Beta Band might have reached if they’d stayed together. Would they have reached the heights groups like Radiohead, Arcade Fire and Flaming Lips reached? We’ll never know. What I do know, is that The Beta Band have left behind a rich musical legacy, which is documented on The Beta Band-The Regal Years 1997-2004.
For seven years, The Beta Band released a series of groundbreaking recordings. This included three E.P.s and a trio of albums. They all feature on The Beta Band-The Regal Years 1997-2004, a six disc box set. Throughout the six discs, innovative, influential and groundbreaking describes The Beta Band’s music. It’s best described as a fusion of influences and genres. Everything from electronic, experimental, folk, trip hop and rock melts into one. Here’s music that’s totally different from everything else being released. It’s exciting, bold, ambitious and totally unique. That’s why this musical melange was known as folktronica. After all, no existing musical genre could describe The Beta Band’s music? So their music was christened folktronica, a fusion of disparate influences.
From their debut 1998 E.P. Champion Versions, right through to their third album 2004s Heroes To Zeroes, The Beta Band’s raison d’etre was creating music that was ambitious, bold, challenging, influential and innovative. It was music that was ahead of its time. By the time other bands cottoned on to what The Beta Band were doing, their music was evolving again. Their music was a living, breathing thing. To breath, it had to change direction. Standing still wasn’t an option. No way. If The Beta Band stood still, they’d lose their edge and advantage. That wasn’t going to happen. The Beta Band prided themselves on being innovators.
Pioneering and revolutionary describes The Beta Band’s music perfectly. They became know for creating cutting-edge, swashbuckling music. That’s why The Beta Band enjoyed commercial success, critical acclaim and cult status. Each E.P. and album was a musical tapestry. Full of nuances and subtleties, The Beta Band created exciting, inventive and genre-melting music. The Beta Band took listeners on a musical journey that challenging and exciting them with music that was way ahead of the competition. Sadly, after the release of their third album 2004s Heroes To Zeroes, The Beta Band split-up. It was a case of what might have been. Who knows what heights The Beta Band might have reached if they’d stayed together. Would they have reached the heights groups like Radiohead, Arcade Fire and Flaming Lips reached? That might have been the case. However, we’ll never know. What we do know, is that The Beta Band’s influence is still being felt nine years after they split-up. Who knows when we’ll see their likes again?
THE PASTELS-SLOW SUMMITS.
Since forming in 1981, The Pastels have only released five albums. Their latest album is Slow Summits, which was recently released on Domino. Slow Summits is the first studio album The Pastels have released since 1997s Illumination. They did provide the soundtrack to John McEntire’s The Last Great Wilderness in 2003. However, since then, things have been quiet on The Pastels’ front. Dedicated followers of The Pastels wondered if we’d ever hear from the group again? Then earlier this year, came Slow Summit, The Pastels fifth album in the group’s thirty-two year career and last since 1997.
So where have they been since 1997? What have then been doing? All we can say with certainty, is that they’re back, older, wiser and more experienced on Slow Summits. Sometimes The Pastels sound worldweary and rueful, especially when Stephen takes charge of the lead vocal. Like those of a certain age, we realize our youth is but a distant memory. Sometimes, he sounds rueful as if unsure he’s done the right thing. Deep down I wonder if he’s wondering whether five albums in thirty-two years does The Pastels justice As for Karina’s vocal, they’re ethereal, veering between wistful, melancholy, hopeful and needy. Her vocals breath life, meaning and emotion into lyrics. She sounds as she’s lived, experienced and survived the lyrics. Maybe she too, realises they could’ve and should’ve been one of Scotland’s biggest bands.
No wonder. The Pastels are a a band full of talented musicians and songwriters. They’re not content to replicate previous albums. Instead, they innovate, and move their music forward. That’s to their credit. After all, they’ve been making music since 1981. Eclectic music at that. On Slow Summits, everything from indie rock, pop, sixties girl groups, doo wop, garage is thrown into The Pastels mixing bowl. It’s stirred by producer John McEntire and The Pastels. The nine tracks are a compelling musical journey, where not once, do The Pastels take a wrong turn. Far from it. The Pastels haven’t just made a comeback on Slow Summit, but are back and are better than ever. Indeed, The Pastels have reached slowly and somewhat belatedly reached the summit with Slow Summits.
THE TEMPERANCE MOVEMENT-THE TEMPERANCE MOVEMENT.
Many bands are touted as the future of rock ‘n’ roll. Mostly it’s either record company hype or wishful thinking. The Temperance Movement are different. They’re the real thing. They epitomize rock ‘n’ roll. Formed in 2011, they’ve come a long way in two years. They’ve conquered Britain, Europe and America with their unique fusion of rock ‘n’ roll, blues, country and soul. Somehow, whilst conquering much of the Western world, The Temperance Movement have found time to record and release their eponymous debut album.
What became The Temperance Movement, was recorded before the group signed to Earache Records earlier this summer. Earache Records were presented with the finished article. All that was left was to promote and release The Temperance Movement. It was released in September 2013, and strutted its way to number twelve in the UK. This is just the start of what should be a long and successful album for The Temperance Movement, whose career started in 2011.
Although The Temperance Movement were only formed in 2011, the five members of the band have a wealth of experience. Glasgow-born lead vocalist, Phil Campbell, has released a string of solo albums. This includes 2008s After The Garden, 2009s Daddy’s Table and 2010s Saviour’s Song. As for the guitarists, Paul Sayer and Luke Potashnick, Luke is a former member of Rooster and Ben’s Brother. Bassist Nick Fyffe was in Jamiroquai’s band, while Australian-born drummer Damon Wilson counts Feeder, The Waterboy’s and Ray Davies as former employers. These five experienced and talented musicians joined forces to form The Temperance Movement.
Their experience shines through. The Temperance Movement are an old school rock ‘n’ roll band. They reference everyone from AC/DC, Bad Company, Free, Primal Scream, Joe Cocker, Led Zeppelin, the Sensational Alex Harvey Band and The Rolling Stones. Add to that The Eagles, The Jayhawks and Wilco. Then there’s The New York Dolls, MC5, Iggy and The Stooges. All these groups have played their part in influencing The Temperance Movement, whose eponymous debut album reached number twelve in the UK. That’s just the start. There’s only one place The Temperance Movement are going…to the top.
No wonder. The Temperance Movement keep it real. Here’s an old school rock ‘n’ roll band. It sounds as if rather than nursery rhymes, The Temperance Movement were weened on classic rock ‘n’ roll. That’s worked out well. Drawing inspiration from the music of the past, The Temperance Movement have produced the music of the future. Fusing blues, country and blistering, old-school rock ‘n’ roll, The Temperance Movement’s eponymous debut album is flawless. Whether it’s ballads or when they kick loose, The Temperance Movement live up to their reputation as the future of rock ‘n’ roll.
Many bands have been touted as the savior of rock ‘n’ roll. In their hands, the future of rock ‘n’ roll has been placed. Over the years, I’ve watched the contenders come and go. Some have sunk without trace, becoming the musical equivalent of the Titanic. As for the grand old men of rock ‘n’ roll, groups like The Who and the Rolling Stones they’re yesterdays men, living off their past glories. Thankfully, rock ‘n’ roll has found its saviour. The future of rock ‘n’ roll is safe, the future of rock ‘n’ roll is The Temperance Movement.
THE WYNNTOWN MARSHALS-LONG HAUL.
Ever since 2007, a little corner of Edinburgh has resembled Nashville, Tennessee. 2007 was The Wynntown Marshals, Scotland’s most practiced purveyors of country rock were formed. Since then, The Wynntown Marshals, have been fusing poppy hooks and a pedal steel to create their own unique brand of swaggering country rock. Influenced by Gram Parsons, Neil Young, The Jayhawks, Wilco and Glasgow’s very own Teenage Fanclub, The Wynntown Marshals draw inspiration from the past and present. That’s apparent on their sophomore album Long Haul, which was recently released on Wynntown Recordings.
Three years after the release of their debut album Westerner, The Wynntown Marshals are back and better than ever. During the last three years, they’ve honed their sound within an inch of perfection. They’re tighter than ever before, playing with confidence and often, a gallus swagger. That makes them unmistakably Scottish. In some ways, that’s the only Scottish thing about The Wynntown Marshals.
They don’t sound like a band from Edinburgh, a city that’s hardly famous for its musical heritage. No. For its size, Edinburgh has underperformed. It hasn’t produced as many big bands as it should. Granted there’s The Proclaimers and some years ago, The Fire Engines, but that’s it. Maybe that’s about to change. The Wynntown Marshals are leading the charge for Edinburgh bands, while The Holy Ghosts are following in their footsteps.
Ironically, The Wynntown Marshals music has more in common with America. It’s almost an accident of birth that The Wynntown Marshals are an Edinburgh band. They sound as if they’re Nashville born and bred. Other times, they sound not unlike Neil Young and Crazy Horse in their prime. Even lead vocalist Keith Benzie’s doesn’t sound Scottish. The same was said of Teenage Fanclub in the nineties and noughties. So this isn’t a new phenomenon. Let’s just hope The Wynntown Marshals enjoy the same success as Teenage Fanclub enjoyed.
With their slick, poppy hooks and unique brand of swaggering country rock, The Wynntown Marshals look to be on the right road. No ifs and no buts. They’re in it for The Long Haul, and since 2007, have been Scotland’s most practiced purveyors of country rock. These last six years have been time well spend for The Wynntown Marshals, whose gallus, swaggering brand of country rock is guaranteed to find favour with fans of Americana far and wide.
THIS SILENT FOREST-INDIVISION.
This Silent Forest aren’t like most bands. No. They’re almost like two bands rolled into one. As a four piece, their music is best described as post-rock. Then when This Silent Forest becomes a sextet, they’re transformed. Harmonies and strings add an ethereal beauty to This Silent Forest’s music, That’s why for the last few years, This Silent Forest have been winning friends and influencing people. This includes music lovers and critics. They’ve watched as This Silent Forest have developed into one of Scotland’s hottest band. Only one thing was missing from This Silent Forest’s CV, an album. Not any more.
This omission has been rectified with the recent release of Indivision, This Silent Forest’s debut album. Released to critical acclaim, it’s obvious that the last four years have been well spent. These four yours have seen This Silent Forest striving to perfect and hone their sound. Listening to Indivision, this has been time well spent. Indivision features a tight, talented band, who seamlessly fuse indie rock and folk. Hooks and anthems haven’t been rationed on the Indivision’s eight tracks. Far from There’s a cornucopia of hooks on Indivision, which showcases This Silent Forest.
Indivision is an old school debut album from This Silent Forrest. Just eight songs lasting forty-six minutes long, Indivision is album that’s reminiscent of the golden age of rock. Back then, before the birth of the CD, albums featured just eight to ten songs and were restricted by the amount of music a vinyl album could hold. Now with the advent of the CD, albums are sprawling affairs, with bands feeling obliged to fill the disc’s eighty minutes. Usually that’s a mistake. After all, how many bands have eighty minutes of quality music? Not many. Thankfully, bands like This Silent Forrest are realizing that. Nowadays, they’re only putting their best music on a disc. If that means the whole disc isn’t used, so be it. That seems to be This Silent Forrest’s attitude. Good for them.
That’s why Indivision is all killer and no filler. Each of the eight songs have one thing in common…quality. Over Indivision’s eight tracks, This Silent Forrest fuse indie power rock, folk and country. Anthems and hooks certainly haven’t been rationed. No. This Silent Forrest are practiced purveyors of anthems. They’re just as good at the more introspective songs. That’s why, in many ways, This Silent Forrest are two bands rolled into one.
Whether it’s indie power rock or understated, introspective ethereal beauty you’re after, This Silent Forrest deliver it in spades and having being for several years. Indeed, since they released their debut E.P. the Lighter Side, This Silent Forrest have been a band with a big future. This Silent Forrest have fulfilled their potential on Indivision, their anthemic, introspective and hook-laden debut album.
WASHINGTON IRVING-PALOMIDES VOLUME 1.
Visitors to Washington Irving’s website are greeted with what could be their musical manifesto, “We Are Electric Folk and Like To Play Loudly.” That’s no idle boast. Far from it. Washington Irving can walk the walk. Unlike many bands, Washington Irving let their music do the talking. Washington Irving don’t do hype or posturing. Instead, they win people over with their music. Recently, Washington Irving have won over plenty of people. They’ve opened for Frightened Rabbit, become festival favourites and released their debut album Palomides Volume 1, which was released in conjunction with Creative Scotland.
Palomides Volume 1 is no ordinary album. No. It’s half on album. Washington Irving decided to release their debut album in two parts. That’s the relevance of Volume 1. These five tracks are just a tantalizing taste of Washington Irving’s music. The music on Palomides Volume 1 is best described as a anthemic fusion of folk and rock. This is the music that’s won over audiences all over Britain. All this has seen Washington Irving become one of Scotland’s most popular bands.
Although just five songs and twenty-two minutes long, Washington Irving’s debut album Palomides Volume 1 it’s a delicious taste of what’s to come. They’re an experienced band whose decision to concentrate on touring and building a following has paid off. By the time Washington Irving headed into the studio, they were a tight and talented band. Seamlessly, the fuse folk, rock and blues. In doing so, they follow in the footsteps of two successful Scottish bands Big Country and Runrig. Washington Irving pick up the baton from Big Country and Runrig. Other influences include Arcade Fire, The Pogues and The Proclaimers. All these influences play their part in one of Scotland’s best up-and-coming bands.
Just now, there are so many promising and successful Scottish bands. That’s been the case since the late-seventies. Sadly, many of these bands neither enjoyed the commercial success nor critical acclaim they deserved. Washington Irving should. They’re the latest up-and-coming Scottish band who look like enjoying a successful career. If Palomides Volume 2 which will be out at the start of November 2013, is as good as Palomides Volume 1, then the next step for Washington Irving should be signing for a label. Their unique fusion of fold, rock and blues deserves a much wider audience, far from Scotland’s shores. I’m sure Scottish expats everywhere will be won over by Washington Irving’s debut album Palomides Volume 1. I certainly was. Washington Irving’s debut album Palomides Volume 1 might only be five songs long and last twenty-two minutes, but it’s a the first step in what should a long and successful career for Washington Irving.
WOODENBOX-END GAME.
Fueled by the sound of the Sensational Alex Harvey Band and Kayne West, Glasgow-based Woodenbox, set about recording their sophomore album End Game at Chem 19 recording studio in Hamilton. Given Woodenbox’s somewhat eclectic soundtrack, it’s no surprise that End Game is a similarly eclectic album. Best described as genre-sprawling, the Glasgow-based folk sextet had come a long way since their 2010 debut album Home and The Wildhunt. Released to critical acclaim, Home and The Wildhunt was one the best Scottish albums of 2010. Fast forward a year, to September 2011, and recording of their sophomore album End Game, which was released in March 2013, was underway.
The venue was Chem 19 recording studios in Hamilton. Woodenbox were joined by producer Paul Savage. Previously, Paul had produced Arab Strap, Franz Ferdinand and The Phantom Band. His job was to harness Woodenbox’s fusion of folk and horn-driven psychedelic blues, with the melodic sound that featured on Home and The Wildhunt. For the sessions, ten new tracks had been written by Woodenbox. They were recorded at Chem 19 on 19th August 2011 and during October 2012. Everyone Has A Price was chosen as the lead single from what became End Game. It was released in March 2012, to coincide with Woodenbox’s first US tour. Woodenbox had come a long way since they were formed in 2008.
Just five years after they were founded, Woodenbox released their sophomore album End Game. It’s a slick, accomplished and genre-melting album. Indeed, it’s so polished you forget that Woodenbox are a relatively new band. While that’s the case, they’re certainly not lacking experience. Their years of constant touring have helped them hone their sound. Over the past few years, as Woodenbox toured the length and breadth of Scotland, and later further afield, they’d become festival favorites. That’s no surprise, given their music is anthemic and hook-laden. Many of the ten tracks of End Game would be festival favorites. Indeed, I’m sure King’s Liar, Beautiful Terrible, Easy Life and Race To The Flood would go down a storm at festivals this summer. They’re just four of the tracks from End Game, which is a fusion of musical genres.
Everything from folk, jazz, pop, psychedelia, rock and ska are combined by the Glasgow-based folk sextet on End Game. The ten tracks were written by Woodenbox and became End Game. These tracks contain lyrics that are intelligent, witty, surreal and cynical. End Game’s lyrics were brought to life by a tight, talented and accomplished group of musicians. As for vocalist Ali Downer, he breathes life, meaning and emotion into them. Then there’s the production.
End Game was produced by Paul Savage. He played an important part in the End Game’s success. Paul’s experience allows his to structure the songs in such a way that they’re most effective. His production style allows you to hear the different layers of music. Brought together, these layers of music veer between dramatic, edgy, ethereal, anthemic and hook-laden. Having worked with successful groups before, Paul knows what makes a successful album. Paul played an important part in the success of End Game, an album whose songs are anthemic, dark, dramatic, hook-laden, intelligent and introspective. That’s the perfect way to describe Woodenbox’s genre-sprawling, sophomore album End Game, which is the perfect introduction to one of Scotland’s best bands.
So, that’s the story of Scottish music during 2013. There’s been albums released by old favourites like Camera Obscura, Pete McLeod, Roddy Woomble, The Pastels and R.M. Hubbert. There’s also be retrospectives from old friends like The Beta Band and Belle and Sebastian. However, there’s more to Scottish music than albums from familiar faces.
During 2013 there’s been debuts album from Scottish pop sensation Chvrches. They’ve taken the world by storm. However, they’re not the only new name to release an albums during 2013. What about Quickbeam, Rick Redbeard, This Silent Forest and Washington Irving? These are just a few of the the artists who have released new albums during 2013. Then there’s other artists we’ve heard from who’ve yet to release an album,
Among them are Jo Mango, End Of Neil, The Holy Ghosts and Shooting Stansfield. I’ve written about them during 2013. Just like all the artists on my list of The Best Scottish Albums Of 2013, these artists are hugely talented. Who knows, maybe by the end of 2014, we’ll be mentioning them when we look back on 2014.
What I do know, is that 2013, has been a vintage year for Scottish music. Scottish bands have released an eclectic selection of albums. Many of these albums have been eclectic, where bands fuse a diverse range of musical influences and genres. These albums have contained everything from Americana, ambient, country, folk, pop, indie rock, electronica, rock and soul. Each of these albums have showcased the best Scottish music has to offer. As Scotland enters the most important year since 1979, let’s hope that 2014 is just a successful year for Scotland and Scottish music.
THE A-Z OF THE BEST REISSUES OF 2013 PART 1.
THE A-Z OF THE BEST REISSUES OF 2013 PART 1.
As the year draws to a close, I’ve been compiling my lists of the best releases of 2013. So far, I’ve chosen the thirty best box sets of 2013 and the fifty best compilations of 2013. Now I’ve decided to turn my attention to reissues, and choose my highlights of 2013. That’s not going to be easy. After all, I’ve listened to a mountain of reissues during 2013. This includes everything from classic albums to lost hidden gems. There’s familiar faces who have been released a number of times before, plus albums that have lain unreleased for over forty years. Some of these albums make a welcome return and have been lavishly remastered. Many of these albums feature on my A-Z of the best reissues of 2013. There are sixty albums on my list. Some are from artists you’ll have heard of. Others are from artists that’ll be new to you. The same goes with the albums. You’ll have heard of some, but some you won’t. They each have one thing in common, their quality and would make a welcome addition to your record collection. So without further ado, here’s my A-Z of the best reissues of 2013.
AL GREEN-LET’S STAY TOGETHER.
There’s a certain irony that just after the release of Al Green’s third album, 1971s Al Green Get’s Next To You, critics thought that his career was in decline. Al Green Get’s Next To You, his second album for Hi Records, stalled at a disappointing number fifty-eight in the US Billboard 200 Charts and number fifteen in the US R&B Charts. Given Al’s debut for Hi Records, Green Is Blues had reached number nineteen in the US Billboard 200 and number three in the US R&B Charts, critics wondered if Al Green’s career was over before it had began. How wrong they were.
What followed was a run of unmatched commercial success and critical acclaim. Between January 1971, when Al released Let’s Stay Together, which was recently released by Fat Possom Records and Al Green Explores Your Mind in October 1974, Al released five albums. Four of these were certified gold and the other was certified gold. Al also enjoyed a run of six consecutive number one US R&B albums. The album that marked a run of critically acclaimed and commercially successful music was a stonewall Southern Soul classic.
Although Let’s Stay Together was only Al Green’s fourth album, it’s a highly mature and polished album. From the opening bars of Let’s Stay Together, right through to the closing notes of Ain’t No Fun For Me, Al never lets the quality drop. He’s forever the consummate professional. On each track, he breathes life, meaning and emotion into the lyrics. Often, the lyrics Al sings, he wrote. Of the the nine tracks on Let’s Stay Together, Al Green wrote five and cowrote two, including the Magnus Opus that is, Let’s Stay Together. Despite that being a million selling single, there’s much more to the album than one song. Ironically, How Can You Mend A Broken Heart, one of two cover versions features one of Al’s most emotive and captivating performances. These are just two of nine reasons to discover or rediscover Let’s Stay Together, a classic album.
ARETHA FRANKLIN-I NEVER LOVED A MAN THE WAY I LOVED YOU.
After her 1967 single, I Never Loved A Man the Way I Loved You reached number nine in the US Billboard 100 and number one in the US R&B Charts, Aretha received the first gold disc of her career. Following this she recorded eleven tracks which became I Never Loved A Man the Way I Loved You, which was released by WEA Japan. It became the most successful album of her career when it reached number two on the US Billboard 200 and number one in the US R&B Charts. This lead to the album being certified platinum, having sold over one million copies. Since then, I Never Loved A Man the Way I Loved You has been seen as a soul classic.
Having released ten albums before signing to Atlantic Records, I Never Loved A Man the Way I Loved You was a career defining album. It saw Aretha on her way to being crowned Queen Of Soul. However, this was just the start of a string of critically acclaimed and commercially successful albums. From 1967s Aretha Arrives, Lady Soul, Aretha Now, through 1969s Soul ’69 and 1972s Young Gifted and Black Aretha Franklin was the undisputed Queen Of Soul. Nobody else came close. These were the best albums of Aretha’s long and illustrious career. However, the album that started Aretha Franklin’s career was I Never Loved A Man the Way I Loved You, which transformed her career and deserves to be called a classic.
ARETHA FRANKLIN-LADY SOUL.
Lady Soul, which was released by WEA Japan, was Aretha Franklin’s third album for Atlantic Records. It was also the most successful of her career. Two of the singles, Chain Of Fools and Sweet Sweet Baby (Since You’ve Been Gone) were certified gold. So was Lady Soul, which was released in 1968. Since then, it’s been recognised as one of the most important albums in the history of popular music. No wonder.
Lady Soul features two songs that Aretha made her own, Chain of Fools and (You Make Me Feel Like) A Natural Woman. Not only have both songs since become synonymous with Aretha, they’ve become two of her best known, and best loved tracks. On Lady Soul, Aretha also gave stunning interpretations of People Get Ready, Come Back Baby and Groovin.’ Demonstrating her talents as a songwriter are two tracks Aretha cowrote with her husband Ted White for Lady Soul. These are the US R&B number one single Since You’ve Been Gone (Sweet Sweet Baby), and Good To Me As I Am To You. Then on Money Won’t Change You and Come Back Baby, Aretha breathes life, meaning and emotion into the tracks. She transforms these tracks, in a way only Aretha could.
Whether its sadness, hurt and heartache, frustration, anger or emotion, or confidence, sass and sensuality, Aretha Franklin could bring all these things and more to a song. She has you believing she’s lived and survived the lyrics. Lady Soul is one of Aretha Franklin’s classic albums. As such, Lady Soul belongs in every record collection. Quite simply, it features Aretha Franklin at her very best. To me, Lady Soul is the perfect introduction to the career of one of the greatest female soul singers of all time.
BAKER, HARRIS, YOUNG-B-H-Y.
By 1979 Ron Baker, Norman Harris and Earl Young were still the hardest working and most in-demand rhythm section in music. They were currently part of The Salsoul Orchestra and accompanying artists like the undisputed Queen of Disco Loleatta Holloway, First Choice and Double Exposure. They’d done everything, from writing, arranging and producing artists. Norman Harris was even running his own record company Gold Mind Records, a subsidiary of Salsoul Records. Sadly, Gold Mind Records was in trouble, and soon, would become part of Salsoul. However, although the greatest rhythm section in music had done pretty much everything in music, the only thing they still had to do was release an album. This was soon to change, when Baker, Harris, Young released their debut album B-H-Y in 1979.
B-H-Y, which was released by BBR Records was released at the wrong time. Disco had almost died at Comiskey Park in Chicago, at Disco Derby night. Maybe if B-H-Y had been released a year earlier, it might have been a bigger success. WIth its combination of disco, funk, Philly Soul and jazz, it showed how versatile Baker, Harris, Young were. Indeed in some songs, they seamless flit between genres, incorporating three genres within a song. Despite their undoubted talent and B-H-Y’s quality, it wasn’t a success.
Sadly, there was no followup to B-H-Y and it’s the only album Baker, Harris, Young ever recorded for Salsoul or any other label. It’s a fitting memory to soul, funk and disco’s greatest rhythm section. Tragically, Norman Harris died in 1987, aged just forty and Ron Baker died in 1990, aged just forty-three. Both of hugely talented men died way too young, but left an everlasting legacy that is their music, including some of the best music of the Philly Sound and also the disco era. Of Baker, Harris, Young, only Earl Young is left, a true musical giant and the man who single-handedly invented the disco beat and with Ron Baker and Norman Harris created some of the greatest music of the disco era on disco’s greatest label Salsoul.
BEN E. KING-I HAD A LOVE.
After releasing Supernatural in 1975, Ben E. King’s career looked as if it had been rejuvenated. Despite that, Atlantic Records decided to bring in a new producer, Norman Harris. Norman had established a career as a successful producer and his services were constantly in demand. For I Had A Love, which was released in 1976, Norman produced five tracks. Bert De Coteaux and Tony Silvester produced the other four tracks. Despite bringing onboard two successful producers, plus some of the most talented musicians of the seventies, I Had A Love, which was released by failed to chart. However, I Had A Love is something of a hidden gem in Ben E. King’s back-catalogue.
Especially on the tracks Norman Harris produced. Norman’s Philly makeover of Ben E. King could’ve transformed his career. It didn’t. Maybe the problem was the production was split between two producers, giving the album two identities.t would’ve been best if Norman Harris produced all the tracks on I Had A Love. Norman seemed to get the best out of Ben E. King.
Granted Bert and Tony had revitalised Ben’s career with Supernatural, but Ben E. King and Norman Harris seemed a dream team. With Norman Harris, came his colleagues in The Salsoul Orchestra and The Sweethearts of Sigma. The five tracks ons Ben E. King’s I Had A Love produced by Norman Harris and his Philly friends, are the highlights of the album. While I Had A Love is one of Ben E. King best albums of the seventies, it could’ve been an even better album, if Norman Harris had produced the whole album. Maybe then, Ben E. King’s second album for Atlantic Records I Had A Love which was rereleased by WEA Japan March 2013, would’ve matched the commercial success of Supernatural?
BETTYE CRUTCHER-LONG AS YOU LOVE ME.
For Bettye Crutcher, getting a foothold in the male-dominated world of Memphis songwriting wasn’t easy. Her songs already been rejected by Willie Mitchell at Hi Records. Willie told her he’d already got Don Bryant signed to Hi Records. He’d already established himself as a successful and prolific songwriter. Undeterred, Bettye promised herself that one day, she’d make a living as a songwriter. That was her dream. Unlike many songwriters, Bettye never really thought about being a singer. She did enjoy brief recording career, when she released Long As You Love Me in 1974, which was rereleased by Ace Records. By then, Bettye Crutcher had established herself as a successful, award-winning songwriter.
Released in 1974, As Long As You Love Me, Bettye Crutcher’s debut album proved to be her only album. There was no followup. Certainly not on Stax. A year later, Stax Records was declared insolvent. Then somewhat belatedly, soul connoisseurs realised that Bettye Crutcher’s debut album As Long As You Love Me was a hidden gem. A true cult classic, As Long As You Love Me is a hidden musical gem, of the soulful variety, which at last, receiving the recognition it so richly deserves
BLO-CHAPTER ONE.
The first thing that strikes you about BLO’s Chapter One 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.
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 delicious, lysergic 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 recently released by Mr. Bongo.
BOB MARLEY AND THE WAILERS-KAYA-DELUXE EDITION.
Back in 1978, when Bob Marley and The Wailers released Kaya, critics and fans accused Bob Marley of selling out. Kaya was a much more laid-back album, whereas previous albums had been politically charged and crammed full of social comment. Previously, Bob Marley was seen as Jamaica’s social conscience. He was someone who spoke on behalf of Jamaica’s oppressed. So when Kaya was released in 1978, critics and fans discovered a was a very different album. Unlike previous albums, Kaya didn’t feature militant and outspoken music filled with social comment. Instead, Kaya had a much more relaxed, laid-back and optimistic sound. Many of the songs were about love, while others were about marijuana. This resulted in the cries of sell-out from critics and fans. They accused Bob Marley and The Wailers of going soft, being more concerned with commercial success than political problems. Given the backlash Kaya faced upon its release in 1978, not many people would’ve forecasted that Kaya would become one of Bob Marley and The Wailers’ classic albums?
Despite the cry of sell-out, thirty-five years later, Kaya is seen as a classic album. Fittingly, a Deluxe Edition of Kaya, a double-album was rereleased during 2013. Disc one features the original version of Kaya, while disc two features the legendary Live At Ahoy Hallen concert in Rotterdam. This Deluxe Edition of Kaya pays homage to one of Bob Marley and The Wailers classic albums with a luxurious and lovingly compiled double album. While many albums are referred to as classics, Bob Marley and The Wailers’ Kaya truly is a classic. Kaya deserves to be spoken about in the same breath as Burnin,’ Natty Dread and Exodus. Quite simply, Kaya is hugely important and potent album which feature some intelligent, thoughtful, introspective and beautiful music.
COUNTRY JOE AND THE FISH-ELECTRIC MUSIC FOR THE MIND AND BODY.
Classic is one of the most overused words in the English language. However, classic is the perfect way to describe Country Joe and The Fish’s 1967 debut album, Electric Music For The Mind and Body which was released by Vanguard Records. Quite simply, Electric Music For The Mind and Body is a psychedelic classic. Country Joe McDonald, not known for exaggeration, says as much. He says” “if you want to understand psychedelic music, and you haven’t heard Electric Music For The Mind and Body, then you probably don’t know what you’re talking about.” There’s a lot of truth in what Joe is saying.
After all, Electric Music For The Mind and Body was one of the first psychedelic rock albums released. Country Joe and The Fish, who were pioneers of psychedelic rock and now, are perceived as psychedelic rock royalty. They formed in 1965, and six months later, released their debut E.P. Talking Issue No. 1 on the Rag Baby label. This was a groundbreaking statement of intent. Country Joe and The Fish started as they meant to go on, releasing pioneering music.
Not only that, but here were a band whose music was full of social comment. Given their name was a reference to Joseph Stalin and a quotation from Chairman Mao, that’s no surprise. Known for their genre-melting, lysergic music, Country Joe and The Fish were at the vanguard of the anti-Vietnam war movement. Their highly politicized music played a huge part in the emerging counter-culture. Country Joe and The Fish played at the anti-Vietnam teach-ins in 1965 and four years later, in 1969, played at the legendary Woodstock Festival. By then, Country Joe and The Fish had released a trio of albums that today, are recognised as psychedelic classics. This includes Country Joe and The Fish’s debut album Electric Music For The Mind and Body.
COUNTRY JOE AND THE FISH-I FEEL LIKE I’M FIXIN’ TO DIE.
Having released their debut album Electric Music For The Body and Mind in January 1967, Country Joe and The Fish watched as the album reached number thirty-nine in the US Billboard 200. Released to commercial success and critical acclaim, the five members of Country Joe and The Fish, started work on the followup, I Feel Like I’m Fixin’ To Die. This resulted in them releasing their second classic album within a year.
Despite not matching the commercial success of their debut album Electric Music For The Body and Mind, I Feel Like I’m Fixin’ To Die is an ambitious, adventurous and innovative album. Featuring thoughtful, poignant lyrics, some of which are full of social comment, the music on I Feel Like I’m Fixin’ To Die is cerebral and intelligent. It’s music for the mind. Other songs seek answers to “big” questions, including Who Am I? Then there’s relationship songs and closing I Feel Like I’m Fixin’ To Die, two peerless, inventive instrumentals. During these tracks, just like the album, musical influences and genres melted into one. Everything from acid rock, country, folk, jazz, psychedelia and rock was fused by Country Joe and The Fish on I Feel Like I’m Fixin’ To Die. This was no ordinary album. Mind you, Country Joe and The Fish were ordinary bands. They were innovators, agitators and wanted social justice. Some people called them rebels. They were more than rebels, they were rebels with a cause.
That cause was stopping the Vietnam War. While they weren’t able to do that, they recorded one of the best protest songs of the sixties, I Feel Like I’m Fixin’ To Die. Ironically, nearly four decades later, the song is just is relevant. All that’s changed is the name of the war. In many ways, Country Joe and The Fish were music’s conscience. They proved this in 1969, when Country Joe and The Fish took Woodstock by storm with a show-stopping version of I Feel Like I’m Fixin’ To Die. That was one of Country Joe and The Fish’s finest moments. Another of their finest moments was I Feel Like I’m Fixin’ To Die, which was rereleased by Vanguard Records.
THE A-Z OF THE BEST REISSUES OF 2013 PART 2.
THE A-Z OF THE BEST REISSUES OF 2013 PART 2.
DAMON- SON OF A GYPSY.
For any collector of psychedelia, if they’re lucky enough to find a copy of Damon’s Son Of A Gypsy, it becomes one of their most prized possessions. Finding a copy is another thing. Copies are rarer than hen’s teeth and are changing hands for large sums of money. Recently, copies have changed hands for thousands of dollars. Son Of A Gypsy, which was recently released on Now Again, you’ll realize is no ordinary album.
Son Of A Gypsy was a lost psychedelic classic. With copies changing hands for several thousand dollars, very few people were able to hear Son Of A Gypsy. Even previous rereleases on CD were rarities. So, when Now Again Records decided to rerelease Son Of A Gypsy, it was a welcome rerelease. Best described as a lovingly compiled and lavish rereleased, Now Again’s rerelease of Son Of A Gypsy, is like a mini hardback book. Featuring in-depth sleeve-notes, including an interview with Damon, it’s one of the most lavish rereleases of 2013. As for the sound quality, it’s exquisite. Time has been taken and money spent on getting the sound on Son Of A Gypsy, as Damon originally intended. This is a fitting makeover for Son Of A Gypsy.
After all, Son Of A Gypsy is an innovative, genre-melting, boundary pushing album. For anyone whose interested in psychedelia, then Son Of A Gypsy is a must-have album. Everything from blues, folk, funk, psychedelia, rock and soul can be heard on Son Of A Gypsy. With its lysergic, ethereal and dreamy sound Son Of A Gypsy is now within the budget of music lovers everywhere, who now can hear this lost psychedelic classic in all its glory for the first time.
DISCO RECHARGE: FESTIVAL-EVITA SPECIAL EDITION & BORIS MIDNEY-THE EMPIRE STRIKES BACK.
By 1979, Boris Midney had established himself as one of the most prolific and pioneering producers of the Euro Disco era. Indeed, it’s no exaggeration to call Boris Midney one of the founding fathers of Euro Disco. Having defected from Russia, Boris became a member of the Russian Jazz Quartet. Soon, Boris had established a career in the music industry. This is no surprise, given he was multitalented musician, a true multi-instrumentalist who could read and write music. By 1976, at just as disco was becoming the most popular musical genre, Boris launch his career as a producer.
Two years later, in 1978, Boris released two albums by studio bands he’d created. These were USA-European Connection’s Come Into My Heart and Beautiful Blend’s Make That Feeling Come Again. A year later, in 1979, Boris released three further albums. This included USA-European Connection’s sophomore album USA-European Connection, Masquerade’s Pinocchio and his debut album as Boris Midney, Caress. By then, Boris Minded had established a reputation as a prolific, innovative producers, who pioneered 48-track recording. For Boris’ next album, it wouldn’t be new material, but songs composed by others, which he’d reinterpret.
In 1979, Boris met Robert Stigwood, who in 1977, had produced Saturday Night Fever. He was also the owner of RSO Records and manager of The Bee Gees. Robert had a proposal for Boris. His idea was that Boris would reinterpret the work of other composers. This wasn’t a new idea. The Salsoul Orchestra had been doing this for several years, reinterpreting The Wiz, Fiddler On the Roof and West SIde Story. However, Robert’s idea was that Boris reinterpret songs from the musical Evita, written by Tim Rice and Andrew Lloyd Webber. With Evita about to be launched as a musical in America, this would help promote the show. Boris accepted the commission. Released in 1979, by another Boris Midney studio band, Festival, Evita resulted in his most commercially successful album.
After the success of Evita, Robert commissioned Boris to do the same with The Empire Strikes Back’s soundtrack. It was released by Boris Midney in 1980, but didn’t replicate the success of Evita. Since then, both Festival’s Evita and Boris Midney’s The Empire Strikes Back have become innovative ad groundbreaking disco classics. Now over thirty years later, Harmless Records’ Disco Recharge imprint rereleased both albums, complete with bonus track. They were rereleased as Disco Recharge: Festival-Evita and Boris Midney The Empire Strikes Back in April 2013.
DISCO RECHARGE: VOYAGE-ONE STEP HIGHER.
By 1982, Voyage had established themselves as one of Euro Disco’s most innovative groups. Since 1978, Voyage had released a trio of critically acclaimed, cutting-edge albums. Their debut was 1978s Voyage, with 1979s Fly Away and Voyage 3 following in 1980. Now two years after the release of Voyage 3, Voyage would release One Step Higher. This would prove to be Voyage’s final album. Just like Voyage’s three previous albums, musical genres and influences would be seamlessly fused. The man behind Voyage’s musical journey was guitarist Slim Pezin.
Joining Slim in Voyage, were three more of France’s top session musicians. Together, keyboardist Marc Chantereau, bassist Sauveur Malia, drummer Pierre-Alain Dahan and Slim were Voyage. These four musicians, were at the heart of the French Euro Disco scene. Previously, members of Voyage had played on albums by Don Ray, Cerrone and Alec R. Constandinos. Quite simply, Voyage were a group with rich musical heritage. So it’s no wonder that Voyage had established a reputation as one of Euro Disco’s most pioneering groups. When Voyage reconvened to record One Step Higher, this would prove to be Voyage’s final album. Since then, One Step Higher has never been rereleased. That’s until Harmless Records’ Disco Recharge imprint released One Step Higher as Disco Recharge: Voyage-One Step Higher.
One Step Higher was Voyage’s final album. In many ways, this was a fitting finale to their recording career. Like their three previous albums, One Step Higher was an innovative, genre-sprawling fusion. During the seven tracks on One Step Higher, Voyage fuse everything from Euro Disco, funk, soul, rock, electronica and poppy hooks. There’s even a hint of reggae, Latin and Caribbean music. Listen carefully and layers of music will unfold, revealing the influence of classic disco, eighties electronic, Chic, Talking Heads and Philly Soul. It’s all there, mixed together by the four members of Voyage. Unlike so many albums released during the early eighties, Voyage’s One Step Higher hasn’t just stood the test of time, but matured like a fine wine. Thirty-one years after its release One Step Higher, sounds just as good, if not better, than it did in 1982. It was almost fitting that an album as good as One Step Higher closed Voyage’s career. Since then, Voyage have been remembered as one of the pioneers, innovators and finest purveyors of Euro Disco.
DISCO RECHARGE-TANTRA-THE COLLECTION.
The name Celso Valli means different things to different people. No wonder. In just six years, seamlessly, his musical career was transformed. Having joined Italian prog rock band Ping Pong, in 1971, the transformation of Celso Valli began in 1977 when he released Pasta and Fagioli. This was one of the first Italo Disco singles. After that, Celso worked as a songwriter, arranger, conductor and producer. Soon,Celso Valli’s name was synonymous with Italo Disco. So much so, that Celso was crowned King of Italo Disco. However, for disco lovers, Celso Valli’s name is synonymous with Tantra, the studio band that released a trio of albums between 1979 and 1982.
Tantra’s debut album was 1979s Hills Of Katmandu. It was released with little fanfare. Initially, only a small number of Hills Of Katmandu were pressed. They were snapped up, and soon word spread about Celso Valli’s latest musical creation. The same happened when 1980s Mother Africa was released. With Tantra’s reputation growing, Tantra’s first two albums were released as The Double Album on the Importe/12” label. Two years later, Tantra released their final album Tantra II. This was the post-disco era. Music had changed, changed almost beyond recognition. Celso realized this, Refusing to stand still and forever the innovator, Tantra II was another album of cutting-edge, influential music. Tantra II was a fitting farewell from one of Celso Valli’s most successful projects. Since then, Tantra is regarded as one of Celso Valli’s finest projects. Innovative and influential, Tantra’s three albums were rereleased by Harmless Records’ Disco Recharge imprint as Disco Recharge-Tantra-The Collection in July 2013.
DONNY HATHAWAY-EVERYTHING IS EVERYTHING.
Sometimes, when people discuss the great soul singers, they forget about Donny Hathaway, whose career was tragically cut short. During his career, Donny Hathaway only released three studio albums, one soundtrack album and two albums with Roberta Flacks. Donny Hathaway’s debut album was 1970s Everything Is Everything, which was rereleased by 1970. Everything Is Everything is regarded by critics as his greatest album.
For anyone yet to discover the music of Donny Hathaway, then the perfect place to start is his debut album Everything Is Everything, which was rereleased by WEA Japan in March 2013. Of the three albums Donny Hathaway recorded, Everything Is Everything is his best album. Critically acclaimed upon its release, considering Everything Is Everything was a debut album, it’s an accomplished and mature album. Everything Is Everything is a fusion of soul, funk, jazz and gospel, where Donny Hathaway breathes new life, meaning and energy into new and old songs.
Whether it’s songs about love, hurt and heartache or songs filled with social comment or spiritual, Donny’s delivery is equally potent and powerful. That’s why Everything Is Everything is one of the best soul albums you could ever hope to hear. It features some of the best tracks Donny Hathaway ever recorded. Here, Donny’s voice is at its best. He’s backed by some hugely talented musicians and the production is almost perfect. That’s why Everything Is Everything is the best album Donny ever released and belongs in every record collection.
DONNY HATHAWAY-DONNY HATHAWAY.
April 1971 saw Donny’s second album Donny Hathaway released. With songs by Van McCoy, Leon Russell, Billy Preston and Mac Davis on the album, plus one song co-written by Donny with Nadine McKinnor, the album was well received by critics. On its release, it reached number six in the US R&B Charts and number eighty-nine in the US Billboard 200. Sales of Donny Hathaway surpassed Everything Is Everything, which is Donny’s finest album. Donny Hathaway comes close though.
Donny Hathaway’s eponymous second album, Donny Hathaway is one of these rare albums, that doesn’t have a bad song on it. This is unusual, as usually, there’s a song that lets an album down. Not here. There are neither any bad songs, nor any filler, just quality music. These tracks demonstrate how hugely talented a singer and musician Donny Hathaway was. From the opening bars of Donny Hathaway until the final notes, you’re enthralled, taken on a stunning and magical musical journey that encompasses soul and gospel music, with Donny as your guide. You find yourself transfixed, awaiting the next song with anticipation, listening to every subtlety and nuance. When the album ends, you can’t help but listen again, just in case you missed anything the last time. What happens is that each time you listen to the album, the more you grow to love it. Donny Hathaway quickly becomes like a trusted friend, and you’re drawn to it time and time again. Quite simply, Donny Hathaway some of the most healing, spiritual and uplifting music that you’ll ever be privileged to hear.
DORIS DUKE-I’M A LOSER.
Mention Doris Duke’s 1970 album I’m A Loser and many lovers of soul music will nod approvingly. Since its release, I’m A Loser has become regarded as one of the greatest deep soul albums ever released. However, five years earlier, Doris Duke was just a session singer. Five years later, Doris Duke went from session singer to Deep Soul diva and released her Magnus Opus I’m A Loser which was rereleased by Alive Records.
I’m A Loser is a concept album. Not just any concept album though. It’s a hugely emotive concept album that brings to life the complicated subjects of relationships. During the album, there’s twelve dramatic stories of love, betrayal and broken promises unfold. On each of these tracks, Doris is transformed into a master storyteller, as she throws herself headlong into each story. Her portrayal of each story makes you forget that this is only “make believe.” She delivers the lyrics so realistically that you think that Doris has lived each track. Not many singers have the ability and talent to do that. Doris Duke did.
Doris brought the lyrics to life. It was as if she’d lived and experienced what she was singing about. That makes a huge difference. Other singers, good as they were just sung the lyrics, but gave nothing of themselves. It was as if they were scared to give something of themselves. Not Doris. She lay bare her soul for all to see and hear. Sadly, for all her efforts and impassioned delivery, I’m A Loser proved a prophetic title.
That I’m A Loser wasn’t a huge success was a mixture of bad luck and possibly not being on a major label. If Swamp Dogg had signed Doris to Atlantic Records, his old label, maybe she would’ve been a huge star? Instead, he signed her to the ill-fated Canyon label, not knowing its perilous state. Sadly, although the album was well received by critics, commercially it wasn’t a success. Since then, I’m A Loser has became a deep soul classic which features one of the best voices in soul music…Doris Duke.
EBO TAYLOR-EBO TAYLOR.
In the history of Ghanian music, Ebo Taylor is a pivotal figure. Best described as an innovator, Ebo Taylor’s music would influence the further generations of Ghanian musicians. However, Ebo was much more than a musician. He was also a songwriter, arranger, producer and bandleader. Ebo Taylor has done it all, including releasing his debut album Ebo Taylor in 1977.
Ebo Taylor is one of these albums where countless musical genres and influences play their part in the album’s sound and success. Afrobeat, highlife and other types of Western African music are joined by jazz, funk, soul and Latin music. Dense rhythms, a proliferation of percussion, waves of Hammond organ and Ebo’s jazz-tinged guitar are joined by growling horns. Together, they provide the backdrop for the vocals on Ebo Taylor, Ebo’s debut album, which was released by Mr. Bongo Records.
Best described as an innovative, genre-melting album, Ebo Taylor may have been released in 1977, but Ebo’s career had been building up to the release of his debut album. Twenty years experience went into the making of Ebo Taylor. This fusion of African and Western music may not have been unique, but it was a potent and irresistible combination. One minute it’s heartfelt and heartbreaking, the next minute Ebo Taylor is infectiously catchy, joyous and uplifting. Ebo Taylor, this genre-melting album, has certainly stood the test of time, and thirty-six years after its release in 1977, is a musical reminder of one of Ghana’s greatest musicians at the peak of his powers.
FAIRPORT CONVENTION-RISING FOR THE MOON.
Rising For The Moon, which was Fairport Convention’s tenth studio album, proved to be a landmark album for a number of reason. Most importantly, it was the last album to feature the ethereal beauty of Sandy Denny’s vocal. This was Sandy’s swan-song. Another change was that Jon Wood, Fairport Convention’s regular producer, was replaced by Glyn Johns. Then there was the fact that Rising For The Moon featured no traditional material. Many people thought this change of direction would lead to a commercial breakthrough for Fairport Convention.
Sadly, Rising For The Moon wasn’t Fairport Convention’s breakthrough album. Instead, following the release of Rising For The Moon, Fairport Convention fragmented, becoming a mere shadow of their former self. Rising For The Moon which was recently rereleased by Island Records, was Fairport Convention’s last album to chart until 1988s Red and Gold. It reached just number seventy-four in the UK charts and failed to match Rising For The Moon, which marked the end of an era for Fairport Convention.
Fairport Convention will forever be remembered as a band who could’ve and should’ve reached greater heights. What stopped them from doing so, were the constant changes in lineup. If Fairport Convention’s lineup had remained the same, who knows what commercial success and critical acclaim might have come their way? Maybe then, Fairport Convention might have enjoyed the commercial success and critical acclaim their talent warranted? Despite the constant changes in lineup, Fairport Convention enjoyed some commercial success, but not the commercial success they should’ve enjoyed. Rising For The Moon, one of Fairport Convention’s most underrated albums, marked an end of another era for Fairport Convention. Following Rising For The Moon, Fairport Convention lineup changed yet again. What should’ve been their belated breakthrough album Rising For The Moon, marked an end of era for Fairport Convention. At least that era ended on a high, with the underrated Rising For The Moon showcasing Fairport Convention’s unique brand of folk rock.
GATO BARBIERI-FENIX.
When Bob Thiele founded Flying Dutchman Records, he was a man with a vision. His vision was for his nascent label to release music that was cutting-edge, innovative and pushed musical boundaries. To do that, he signed some of the most progressive artists. He was looking for leaders, rather than followers. Bob wanted musicians that started trends, rather than blindly followed them. That’s what he got.
For the next few years, Flying Dutchman Records was home to musical visionaries like Gil-Scott Heron, Leon Thomas, Big Joe Turner, Teresa Brewer and Ornette Coleman. Another artist who called Flying Dutchman Records home, was Argentine tenor saxophonist Gato Barbieri. His Flying Dutchman Records’ debut was his 1971 album Fenix, which showcased the rhythmic delights of the Argentinian showman Gato Barbieri.
Thirty-nine minutes long and featuring just six tracks, Fenix was Gato Barbieri’s breakthrough album. Suddenly, he arrived. No longer was he just a contender. From sideman, he comfortably assumed the role of bandleader on Fenix. He did what a good bandleader does, and inspire those around him. He drove them on to greater heights. Gato was an inspirational leader, one who could command the respect of his band members. These weren’t just any musicians. No. They were some of the best jazz musicians. This included one of jazz’s best rhythm sections and some of the most talented percussionists. Being able to inspire and command their respect wouldn’t be easy. To do that, took a musician that was inventive, innovative and influential.That describes Gato Barbieri.
Throughout Fenix, Gato combined the energy of free jazz and his Latin heritage. The rhythm delights of Latin music was like ying to the yang of free jazz’s ferocity and energy. It was an unlikely, but successful, melodic and rhythmic success. Fenix was critically acclaimed. Gato Barbieri and his all-star band had won friends and influenced critics on Fenix, which was recently rereleased by BGP Records. Fenix showcased one free jazz’s mavericks at the height of his creative powers.
Indeed, on Fenix Gato Barbieri rewrote the rulebook. His playing style was unique, fierce, blazing and dramatic. Gone is the image of the stereotypical saxophonist. Gato Barbieri is more like a gunslinger than traditional jazz saxophonist. He’s like jazz music’s answer to James Dean. Playing with his inimitable style, this musical maverick and rebel got results. Fenix proves that. Gato Barbieri musical maverick and gunslinger comes alive during Fenix, playing as if his very life depended upon it. Playing with power, passion and emotion, Gato Barbieri rewrote the musical rulebook on Fenix, a rhythmic free jazz opus that launched his career.
THE A-Z OF THE BEST REISSUES OF 2013 PART 3.
THE A-Z OF THE BEST REISSUES OF 2013 PART 3.
GEORGE JACKSON-OLD FRIEND-THE FAME RECORDINGS VOLUME 3.
Prolific. That’s the best way to describe George Jackson. As a songwriter, he wrote over three-hundred songs. This includes penning tracks for James Carr, Wilson Pickett, Eddie Floyd, Clarence Carter, Z.Z. Hill, Candi Staton, Bettye Swann, Ann Peebles, The Osmonds, Bobby Womack and Bob Seger. George first started writing songs as a teenager. Then when George was only eighteen, he recorded his first single. This came about after he introduced himself to Ike Turner in 1963. So impressed was Ike, that he took George Jackson to New Orleans to record Nobody Wants To Cha Cha With Me. It was released on Ike’s Prann label. Although it failed to chart, this marked the start of George Jackson’s career as a singer. However, it was at Fame Records that George Jackson’s career took shape.
Having cofounded The Ovations, been rejected by Stax and briefly recorded for Hi Records, producer Billy Sherrill suggested George should get in touch with Rick Hall at Fame Records. At Fame, George was a staff songwriter and enjoyed a parallel career as a singer. However, when success eluded him, George Jackson decided to concentrate on his songwriting career. That was Southern Soul’s loss. A reminder of this is Kent Soul’s recently released George Jackson-Old Friend-The Fame Recordings Volume 3. It’s a poignant reminder of George Jackson, who sadly, passed away in April 2013.
While George Jackson was a successful songwriter, commercial success eluded him as a singer. He was one of Southern Soul’s nearly men. That will be hard to believe when you listen to George Jackson-Old Friend-The Fame Recordings Volume 3, which was released by Kent Soul, an imprint of Ace Records. George was certainly not lacking in talent. He brings songs to life, breathing life and emotion into lyrics. His vocals are variously soulful, sassy, emotive and heartfelt. One listen to George Jackson-Old Friend-The Fame Recordings Volume 3 and you’ll realise that. Sadly, Lady Luck never shawn on him. George never got the break his career needed. As a result, he ended up making a living writing songs, not singing them and remains one of Southern Soul’s nearly men.
GLADYS KNIGHT AND THE PIPS-IMAGINATION.
In 1973, it came as no surprise that Gladys Knight and The Pips decided leave Motown. After all, Gladys Knight had been forced to live in the shadow of Diana Ross. To onlookers. Diana Ross was Motown’s chosen one, while Gladys Knight had to settle for second best. So after six years at Motown, Gladys Knight and The Pips decided it was time to step out of the shadows. Rather than play a supporting role at Motown, Gladys Knight and The Pips would play a starring role at Buddah Records, who were an ambitious label, who were building up a roster of heavyweight artists. Gladys Knight and The Pips debut album for Buddah Records was Imagination, released in October 1973. So, Imagination, was the start of the next chapter in Gladys Knight and The Pips career. Not only would Imagination prove to be a new start for Gladys Knight and The Pips, but was a career defining album.
Gladys Knight and The Pips decision to leave Motown was vindicated. Not only did Imagination feature two stonewall classics in Midnight Train To Georgia and Best Thing That Ever Happened To Me, but it was Gladys Knight and The Pips most successful album. Imagination gave Gladys Knight and The Pips their first number one album in the US R&B Charts and first gold disc. Then there were three number one singles in the US R&B Charts and one in the US Billboard 100. Add to that a Grammy Award in 1974.
On Imagination which was released by Funkytown Grooves, Gladys Knight and The Pips stepped out of the shadows and into the limelight. At last Gladys Knight and The Pips had the star billing they so richly deserved. Imagination shows just what Gladys Knight and The Pips were capable of and remains one of the finest albums of their career.
GLORIA GAYNOR-PARK AVENUE SOUND.
By 1978, Gloria Gaynor’s career was at a crossroads. She knew something had to change. That something, was her producer. She’d parted company with Disco Corporation Of America and Tom Moulton in 1976. After that, she’d worked with Greg Diamond and Joe Beck on 1977s Glorious. It failed to match the success of Never Can Say Goodbye, Gloria’s supposed classic. So knowing she needed a successful album, she headed to Philly, the new the musical capital of America.
Producers including Thom Bell and Gamble and Huff had been responsible for creating Philly Soul. Among the Philly’s most successful musical exports were The O’Jays, Billy Paul, The Spinners, The Delfonics, The Stylistics and Harold Melvin and The Blue Notes. Three musicians who played on albums by each of these artists approached Gloria Gaynor about producing her next album.
Their names were Norman Harris, Ron Tyson and Allan Felder, who’d been part of M.F.S.B, Philadelphia International Records’ legendary house-band. After leaving Philadelphia International, they became part of The Salsoul Orchestra. However, Norman, Ron and Allan weren’t just musicians, they were songwriters, arrangers and producers. Even better, they’d bring with them, the best musicians and backing vocalists in America. So, Norman, Ron and Allan were hired by Gloria to produce her next album. She realized that a Philly Soul makeover could rescue her career. So,TAN Productions, an acronym of Tyson, Allan, Norman would write, arrange, produce and play on what became Park Avenue Sound, which was rereleased by BBR Records.
Park Avenue Sound may not have been Gloria Gaynor’s most successful album, but from the opening bars of This Love Affair, to the closing notes of Kidnapped, is quality through and through. Unfortunately for Gloria Gaynor, she released one of her finest albums, Park Avenue Sound, when disco’s popularity was beginning to wane. Maybe if Gloria had hooked up with Norman Harris, Allan Felder and Ron Tyson a year earlier, her career would’ve been rejuvenated. Sadly, that wasn’t the case. However, Gloria Gaynor’s fifth album, Park Avenue Sound is a timeless, hidden gem, one that’s soulful, funky, dance-floor friendly and full of hooks.
JETHRO TULL-BENEFIT.
Recently, Jethro Tull’s third album Benefit was rereleased by PLG. This was no ordinary rerelease of Benefit. Far from it. Instead, it was released a Collector’s Edition box set. This box set is best described as luxurious, lavish and lovingly put together. No effort has been spared. Disc one features Stephen Wilson’s 2013 Stereo Mix plus five bonus tracks. On disc two there’s sixteen “Associated Recordings 1969-1970. Then disc three is a DVD which contains the contents of discs one and two in 5.1 surround sound. As you’ll realise, this is what a remastered album should sound like. This is no budget priced needle drop. No way. It’s a fitting homage to Jethro Tull’s third album Benefit.
The best way to describe Benefit is fusion of art rock, avant-garde, baroque, classical, folk, free jazz, jazz, pop psychedelia and prog rock. It’s a melting pot of musical influences and genres. Innovative and groundbreaking, it was a move away from the throwaway pop songs that had dominated music until then. Prog rock was cerebral, intelligent music. One of the most successful groups of the prog rock era were Jethro Tull.
Benefit was just the second album in the most successful and productive period of Jethro Tull’s career. Between 1969 and 1979, nine of Jethro Tull’s albums were certified gold. Aqualung Jethro Tull’s 1971 Magnus Opus was certified triple-platinum. It seemed Jethro Tull could do no wrong. One of the most groundbreaking group of the prog rock era, Jethro Tull’s back-catalogue is a musical treasure trove. Proof of this is Benefit, a genre-sprawling album which comes to life surrounding and assailing you with its secrets and subtleties.
KING CRIMSON-RED.
Having released two consecutive critically acclaimed albums, 1973s Larks’ Tongues In Aspic and then Starless and Bible Black, critics and fans wondered what direction King Crimson seventh album Red would take? Being King Crimson, fans and critics had learnt to expect the unexpected. Anything could and possibly would happen. The first change was in the lineup. After their 1974 summer tour, David Cross left King Crimson. This meant the band was now a trio consisting of Robert Fripp, bassist John Wetton and drummer Bill Bruford. They cowrote much of Red.
On its release in October 1974, Red reached just number forty-five in the UK and number sixty-six in the US Billboard 200. Critics hailed Red as an innovative album. There are obvious similarities with Larks’ Tongues In Aspic and Starless and Bible Black in sound and quality. One change was the lack of the acoustic guitars that featured on previous albums. With its fusion of prog rock and classic music, Red proved to be a hugely influential and innovative album.
Red marked the end of a five year period when King Crimson were one of the most innovative, influential successful prog rock bands. The newly rereleased version of Red which was recently rereleased by Panegyric, is a double-album. Disc one features Robert Fripp and Simon Heyworth’s 2000 remastered version and two bonus track. Then on disc two, there’s the 2013 stereo mix of Red, plus two bonus tracks. Having listened to both discs, the sound quality on both is exquisite and which you prefer will be down to personal preference. That Red has been given this sonic makeover is fitting. After all, Red marked the end of an era for King Crimson. They’d released seven albums in a five year period. These seven albums saw King Crimson at their very best. They never bettered this run of innovative, influential and groundbreaking albums. It began with In The Court Of Crimson and finished with Red. Remarkably, throughout this period, King Crimson’s lineup was constantly changing so often that the studio should’ve had a revolving door. Maybe this is part of King Crimson’s success.
With a constantly changing lineup, the new personnel brought new with them new and fresh ideas. That was the case with Red. The new lineup ensured King Crimson’s music never became stale or predictable. Robert Fripp made sure of that. After their seventh album in five years, Robert called time on King Crimson. They’d never stand accused of being dinosaurs. Instead, they were innovators, whose music influenced future generations. Starting with In The Court Of Crimson and finishing with Red, King Crimson were responsible for innovative, genre-melting music that pushed musical boundaries to their limits.
KLEEER-WINNERS.
After eight years and five changes of name, Kleeer were born in 1978. They’d released their debut album I Love To Dance in the spring of 1979, just before disco nearly died. I Love To Dance saw Kleeer wrongly referred to as a disco band. Not only was that wrong, but considering what happened, could’ve proved fatal for Kleeer. They weren’t a disco band. No. Instead, they were a band whose music was a fusion of musical influences and genres. That was the case on I Love To Dance and their sophomore album Winners which was released by BBR Records.
Winners was released in the post-disco era. By February 1980, the musical landscape was very different. Disco was yesterday’s music, a remnant of the seventies. Labels dropped disco artists, disco albums lay unreleased and disco labels folded. Lucky then, that Kleeer weren’t a disco group. No. Their music was a fusion of funk, soul, R&B, boogie, jazz and rock. It was also music with a disco influence. Dance-floor friendly, funky, rock-tinged and soulful, Kleeer’s music was eclectic. They’d not bet the house on red. Instead, they’d spread their bets and their risk by releasing music that appealing to a variety of music lovers. This eclectic approach to music meant Kleeer enjoyed a longevity many other groups could only dream of. This Kleer did with an eclectic, genre-melting album Winners, which features Kleeer at their best, producing music that’s dance-floor friendly, funky and soulful.
LEON THOMAS-SPIRITS KNOWN AND UNKNOWN.
Having heard Leon Thomas feature on Pharoah Sanders’ Karma album, Bob Thiele signed Leon to Flying Dutchman Records. Bob realised that Leon had more to offer than just being a sideman. Now was the time to step out of other musician’s shadow. So work began on Leon’s Flying Dutchman Records’ debut, which was Spirits Known and Unknown.
Released to critical acclaim, Spirits Known and Unknown is a truly genre-melting album. Everything from African music, avant-garde, blues, free jazz, jazz, soul and soul jazz was combined by Leon Thomas and his tight and multitalented band. The result was Spirits Known and Unknown, which was recently released by BGP Records, a subsidiary of Ace Records. Spirits Known and Unknown was the album that launched the career of a true innovator and jazz pioneer Leon Thomas to music lovers music lovers worldwide.
Sadly, as is often the case, Leon Thomas didn’t enjoy the commercial success his inconsiderable talent deserved. His time at Bob Thiele’s Flying Dutchman Records saw Leon released the best music of his career. He released five albums between 1969 and 1972. From Spirits Known and Unknown in 1969 right through to 1973s Full Circle, Leon released truly groundbreaking, genre-melting albums. Sadly, commercial success didn’t come his way. Despite not enjoying the commercial success his music enjoyed, Leon Thomas influenced several generations of music. Forty-four years after the release of Spirits Known and Unknown, it’s still a timeless reminder of Leon Thomas an inspirational, innovative and influential jazz pioneers who pushed musical boundaries to their limits and beyond
LEON THOMAS-THE LEON THOMAS ALBUM.
There aren’t many artists who record two debut albums. Leon Thomas did. Having signed to RCA in 1958, Leon recorded what should’ve been his debut album. It was never released. Instead, another eleven years passed before Leon Thomas released his debut album Spirits Known and Unknown for Bob Thiele’s Flying Dutchman Records. During the eleven year period, Leon Thomas’ vocal style changed.
When Leon was the vocalist with Count Basie’s band in the early-sixties, his bluesy style was influenced by blues’ greats like Big Joe Turner. As the sixties drew to a close, Leon had transformed his vocal style. This came after he embraced free jazz and pushed musical boundaries. For Leon Thomas, this proved inspirational and resulted in him changing direction musically. By the time he signed to Flying Dutchman Records, Leon had embraced free jazz. His vocal encompassed blues, Afrobeat and jazz, as he scatted and yodelled. This was truly unique. So, it’s no surprise that between 1969 and 1972, Leon Thomas released a quartet of albums for Flying Dutchman Records. A year after releasing his 1969 debut album Spirits Known and Unknown, Leon released his sophomore album The Leon Thomas Album.
Spirits Known and Unknown was Leon’s debut for Bob Thiele’s Flying Dutchman Records. Released to critical acclaim, it was surpassed by the followup The Leon Thomas Album, which was recently released by BGP Records. Pioneering, groundbreaking, enthralling, spiritual and genre-melting, describes the music on The Leon Thomas Album. That’s why The Leon Thomas Album is a fitting followup to Spirits Known and Unknown, which introduced jazz pioneer Leon Thomas to music lovers music lovers worldwide.
Sadly, Leon Thomas didn’t enjoy the commercial success his inconsiderable talent deserved. Despite being one of Bob Thiele’s best signings for Flying Dutchman Records, and releasing groundbreaking, genre-melting albums, commercial success didn’t come his way. That’s despite releasing critically acclaimed albums, including 1969s Spirits Known and Unknown and 1970s The Leon Thomas Album. These two albums include the best music Leon Thomas recorded. His best album was The Leon Thomas Album, which features inspirational, innovative and influential music from Leon Thomas, one of jazz music’s true pioneers.
LOLEATTA HOLLOWAY-LOLEATTA.
By 1976, when Norman Harris signed Loleatta Holloway to Gold Mind, he was something of a musical veteran. Norman Harris is one of the men who helped shape the Philly Sound. He was guitarist in the legendary Baker, Harris, Young rhythm section, along with bassist Ron Baker and drummer Earl Young. He played on Thom Bell’s sessions for producers Thom Bell and then Gamble and Huff at Philadelphia International Records. From Thom Bell’s sessions for The Delfonics and later The Detroit Spinners, Norman Harris was a founding member of M.F.S.B., Philadelphia International Records legendary house-band. During his time as a member of M.F.S.B. Norman played on albums by Billy Paul, The O’Jays and Harold Melvin and The Blue Notes. As a member M.F.S.B. Norman played on several M.F.S.B. albums Then in 1975, when members of M.F.S.B. were involved in a financial dispute with Gamble and Huff, many of M.F.S.B. left Philadelphia International Records, becoming the Saloul Orchestra. One of these musicians was Norman Harris, whose considerable talents flourished at Salsoul, with one of the beneficiaries of Norman’s talents Loleatta Holloway.
Having signed Loleatta Holloway to Gold Mind, Norman Harris and The Harris Machine started working on Loleatta’s debut album for Gold Mine Loleatta. The Harris Machine was Norman’s production vehicle, a collection of Philly based songwriters, producers, arrangers and musicians. Four of the tracks on Loleatta were written by member of The Harris Machine. Norman cowrote four tracks, including Hit and Run, We’re Getting Stronger (the Longer We Stay Together), Dreamin’ and Ripped Off with Ron Tyson and Allan Felder. The other four tracks were cover versions. They became Loleatta, Loleatta Holloway’s Gold Mind debut.
On Loleatta, which was rereleased by BBR Records, Norman Harris and The Harris Machine, took Loleatta Holloway and transformed her from Southern Soul singer to the undisputed Queen of Salsoul. It was a remarkable transformation, and it seemed as if Loleatta had been born for this role. However, we shouldn’t be surprised at her newfound success, given the personnel that contributed towards the album. Some of the most talented songwriters, arrangers, producers, musicians and backing vocalists accompanied Loleatta Holloway. This included The Salsoul Orchestra and backing vocalists The Sweethearts of Sigma backing vocalists. Add to the equation a hugely talented singer in Loleatta Holloway, who was part disco diva, part Southern Soul singer and everything was in place for Loleatta to become a classic album. That proved to be the case. With a truly timeless sound, it launched Loleatta Holloway’s career and transformed her Loleatta into the true Queen of Disco.
LOLEATTA HOLLOWAY-LOVE SENSATION.
There’s a certain symmetry that in return for Loleatta Holloway adding a vocal on what became one of Dan Hartman’s biggest hit singless, Relight My Fire, that Dan returned this favor by writing one of Loleatta’s most successful singles, Love Sensation. This story starts back in 1979, when Dan Hartman was about to record his third album Relight My Fire. He’d written a track and wanted one of his favorite vocalists to add a vocal. The track was Relight My Fire and the vocalist he wanted to sing it, was Loleatta Holloway. Having spoked to Loleatta’s husband Floyd Smith, and then Ken Cayre, one of the co-owners of Salsoul Records, an agreement was reached. Loleatta would sing Relight My Fire and Dan would produce a track for Loleatta’s next album. Dan Hartman kept his word and wrote a track that wasn’t just a stonewall disco classic, but became synonymous with Loleatta Holloway and gave her one of the biggest hit singles of her career. Love Sensation was penned and produced by Dan Hartman and was also the title-track of what was Loleatta Holloway’s fourth and final album for Gold Mind Records. This was a fitting finale to the undisputed Queen of Disco’s career at Gold Mind Records.
When Love Sensation was released in 1980, it didn’t replicate the success of previous albums. Neither did it match the success of the lead single and title-track Love Sensation. The Dan Hartman penned and produced single reached number one in US Dance Music/Club Play Singles charts. There was nothing whatsoever wrong with the other seven tracks on Love Sensation. Indeed, throughout Love Sensation Loleatta Holloway is at her very best, veering between disco and soul. Whether it’s Loleatta Holloway disco diva, or Loleatta revisiting her Southern Soul roots, she’s just as comfortable. This was the same combination as Loleatta’s three previous albums. So it wasn’t as if Loleatta had changed direction musically. No. What had changed was music.
Disco was no longer as popular. Indeed since the Disco Sucks’ backlash, neither record companies nor record buyers were as interested in disco. Indeed, some record companies dropped disco artists and disco records. Salsoul and Gold Mind Records, which released Love Sensation, had established a reputation as a disco labels. This didn’t help sales of Love Sensation, which wasn’t a commercial success. Since them, Love Sensation has been reevaluated. Love Sensation which was rereleased by BBR Records, is now perceived as one of the hidden gems in Loleatta Holloway’s back-catalogue.
THE A-Z OF THE BEST REISSUES OF 2013 PART 4.
THE A-Z OF THE BEST REISSUES OF 2013 PART 4.
LOVE COMMITTEE-LAW AND ORDER.
Love Committee were one of many Philadelphia soul groups formed in the sixties. Their original lineup featured Larry Richardson, Joe Freeman, Norman Frazier and future-Temptation Ron Tyson. Later, Michael Bell replaced Larry Richardson. Having released their debut single Think About Tomorrow on Vent Records, The Ethics released further singles on Vent. This includes 1969s Standing In the Darkness and Farewell. After leaving Vent, The Ethics signed to Baker, Harris, Young’s newly formed label Golden Fleece Records, releasing Good Luck in 1974. Later, The Ethics changed their name to Love Committee and signed to Norman Harris’ Gold Mind Records. For Love Committee’s debut album Law and Order, Norman Harris would play a huge part in the album. He put together some of Philly’s best songwriters, musicians, arrangers and producers to work on what became Law and Order.
That Love Committee’s debut album Law and Order wasn’t a much bigger commercial success, almost seems unjust. It’s one of these albums where you’re spellbound from the opening bars right through to the closing notes. Law and Order includes just eight songs, lasting forty minutes, where lead singer Ron Tyson, Michael Bell, Joe Freeman and Norman Frazier showcase their considerable vocal and harmonic talents. Heartachingly beautiful, soul-baring ballads and hook-laden, uptempo tracks sit comfortably side by side. Mind you, given the personnel that played on Law and Order, this is no surprise.
On Law and Order, Love Committee were accompanied by some of Philly’s greatest musicians. This included Baker, Harris, Young, Bobby “Electronic” Eli, Larry Washington and the legendary backing vocalists the Sweethearts of Sigma. Law and Order truly, featured a musical all-star cast. Arrangers like Ron “Have Mercy” Kersey, Bruce Hawkes and Jack Faith, plus producers like Baker, Harris, Young and the trio of Allan Felder, Ron Tyson and Norman Harris all played their part. That’s why Love Committee’s debut album Law and Order is such an accomplished album. Indeed, Law and Order is yet another of Philly Soul’s hidden gems rereleased by BBR Records.
M.F.S.B.-M.F.S.B.
By 1973, Philadelphia International Records was well on the way to becoming one of the most successful record labels of all time, whilst supplying the soundtrack for the seventies, and a generation. Critically acclaimed and commercially successful albums started flowing out of Philadelphia. This included The O’Jays’ Backstabbers, Harold Melvin and The Blue Notes’ I Miss You and Billy Paul’s 360 Degrees of Billy Paul. Each of these albums have one thing in common, the musicians that played on these albums. Known as M.F.S.B, not only would they accompany the artists on Philadelphia International Records, but became one of the label’s most successful groups. M.F.S.B. would released eight studio albums between 1973 and 1980.
Their debut album was 1973s M.F.S.B. which featured the original and classic lineup of M.F.S.B. This included the Baker, Harris, Young rhythm section, guitarist Bobby “Electronic” Eli, vibes virtuoso Vince Montana Jr, percussionist Larry Washington and Don Renaldo and His Strings and Horns. These legendary musicians, were responsible for shaping and defining what became known as the Philly Sound. Sometimes, these musical legends don’t receive the credit they’re due. All too often, when someone mentions Philadelphia International Records, people think of Gamble and Huff. However, without the combined talents of M.F.S.B, who were much more than just musicians. People like Ron Baker, Norman Harris and Vince Montana Jr, were songwriters, arrangers and producers, whose creativity and in some cases, sheer genius made Philadelphia International Records the musical force it became. All this creativity, talent and indeed, genius, shines through on the six songs that became M.F.S.B.
Having previously provided the musical backdrop for artists like The O’Jays, Harold Melvin and The Blue Notes and Billy Paul, it was time for M.F.S.B. to show they were more than the hottest house-band in America. It was like a challenge. Not only did M.F.S.B. rise to the challenge, but revelled in it. They kicked back and then kicked loose, showing that now was the time they stepped out of the shadows. Suddenly, all this creativity was unleashed. Cover versions new and old were reinvented. Songs subtleties, secrets and nuances were explored. Then the song was deconstructed and then reconstructed in a way that had never ever been envisaged. Despite this innovation, M.F.S.B. wasn’t a hugely successful album.
While M.F.S.B. might not have been M.F.S.B’s most successful album, it showed their versatility and creativity. It also showed that M.F.S.B. were an innovative, multitalented band. Without M.F.S.B, Philadelphia International Records might not have become the success story it became. Maybe, critical acclaim and commercial success might have eluded them. History may have been very different. Thankfully, that wasn’t the case. At least Gamble and Huff realised just how talented M.F.S.B. were. They went on to become one of Philadelphia International Records’ most successful artists. The album that started this off was M.F.S.B. It’s proof, if any were ever needed, of just how versatile, creative and innovative a band M.F.S.B. were. Just one listen to M.F.S.B. and you too, will realise this.
MAJOR HARRIS-JEALOUSY.
WEA Japan’s rerelease of Jealousy came just six months after the tragic death of Major Harris. Major Harris died on 9th November 2012, aged just sixty-five. He was one of legends of Philly Soul. He’d enjoyed a long and successful career, one that spanned over five decades. This success came as part of groups like The Delfonics and as a solo artist. After being a member of The Delfonics between 1971 and 1975, during which time they recorded two albums. Then as The Delfonics career seemed to stall, Major Harris embarked upon his solo career. Between 1975 and 1984, Major Harris released four solo albums. His solo career started with 1975s million-selling My Way. It featured the number one US R&B single Love Won’t Let Me Wait. A year later, in 1976, Major Harris released his sophomore album Jealousy, which he hoped would build on the success of My Way.
Sadly, neither Jealousy, nor any of the singles released from Jealousy, matched the success of My Way. Part of the problem was that musical fashions were changing quickly. Disco had became the most popular musical genre. For soul singers like Major Harris, this presented a problem. Granted some of the songs on Jealousy are dance-floor friendly, but that didn’t help make Jealousy the commercial success it deserved to be.
With an all-star cast of Philly songwriters, arrangers, producers and musicians working on Jealousy, deserved to be a commercial success. There was nothing whatsoever wrong with the eight tracks on Jealousy. Slick, soulful, dance-floor friendly and hook-laden, Jealousy has remained one of Philly Soul’s best kept secrets.
MARVIN GAYE-TROUBLE MAN.
What’s Going On, released on 20th May 1971, marked the second chapter in Marvin Gaye’s career. For many people, What’s Going On marked the start of Marvin Gaye’s career as a serious artist. Indeed, What’s Going On, was far removed from the poppy soul Marvin Gaye had previously been a purveyor of. Not only did What’s Going On, mark a coming of age as an artist for Marvin Gaye, but was the start of a series of critically acclaimed and commercially successful albums he’d release between 1971 and 1978. During this seven year period, Marvin Gaye released six albums. Three of these albums reached number one in the US R&B Charts, but only What’s Going On was certified gold. Given the quality of these six albums, that’s a remarkable statistic.
The followup to What’s Going On, was Trouble Man, which saw Marvin follow in the footsteps of Isaac Hayes, Curtis Mayfield and Bobby Womack, in composing the soundtrack to a Blaxploitation movie. To mark the fortieth anniversary of the release of Trouble Man, Hip-O Select.com somewhat belatedly, released a luxurious and lovingly compiled double album on 31st January 2013. Disc One features the original album version of Trouble Man, plus nine bonus tracks entitled The T Sessions. On Disc Two of Trouble Man, are the nineteen tracks that comprised the Original Film Score, plus a bonus track, T At The Cross, which, like the nine bonus tracks on Disc One, were mixed by DJ John Morales. So for anyone who is either a fan of Marvin Gaye, or Blaxploitation movies, this should be a must-have?
While the rerelease of original version of Trouble Man would be a cause for celebration, then the rerelease of the Original Film Score is a cause to rejoice. For John Morales, this was a labor of love. Good as the nine bonus tracks the comprised The “T” Sessions were, they were after all, only outtakes and alternate mixes. There was nothing to rival the thirteen original tracks on the original version of Trouble Man. John could only work with the material he was presented with. He really surpasses himself on Disc Two. It’s as if this was a project that was deeply personal for him, one that was part of his musical legacy. He mixes the nineteen tracks on Original Film Score and the bonus track “T” On The Cross. Not only is this the icing on the musical cake that is Trouble Man, but the cherry on the top. John should be proud of his efforts and realise that these three years were well spent. It allows the listener to sit down, and enjoy two versions of the album. Granted several tracks on the original version of Trouble Man feature on Original Film Score, but there’s much more to explore and enjoy. By the time you’ve listened to the original version of Trouble Man and the Original Film Score, then you’ll have come to the conclusion that Marvin Gaye, like Isaac Hayes, could’ve enjoyed a career composing movie soundtracks.
Sadly, that wasn’t to be. Trouble Man was his only soundtrack. The followup to Trouble Man, while not a soundtrack, was a stonewall classic, Let’s Get It On. It marked the next chapter in his career, and was the third of six critically acclaimed and commercially successful albums Marvin Gaye released during the seventies. During the period between 1971 and 1978, Marvin Gaye only released one composed one soundtrack, Trouble Man. Mind you, if you’re only going to release one soundtrack, make it one that’s becomes a Blaxploitation classic, like Trouble Man.
MARLENA SHAW-JUST A MATTER OF TIME.
For the first Lady of Blue Note, Marlena Shaw, 1975 saw her release the most successful album of her career, Who Is This Bitch Anyway? An innovative fusion of soul and jazz, Marlena explored feminist, sexual politics and social issues. This represented Marlena Shaw at the height of her creative powers. Who Is This Bitch Anyway had surpassed everything that Marlena had released previously. The decision to team up with producer Bernard Ighner had paid off. Bernard had brought in some of the best musicians. Everything fell into place. It seemed Marlena was about to enjoy the commercial success and critical her talent deserved. Sadly, that wasn’t case when Marlena released Just A Matter Of Time, which was released by SoulMusic Records.
Bert DeCoteaux had established a reputation as a successful producer. He’d been riding the crest of the disco wave before he worked with Marlena. Maybe Blue Note felt that Bert could make Marlena Shaw’s music appeal to more people? There’s everything from disco, soul, gospel, funk, blues and jazz on Just A Matter Of Time. Indeed, the best way to describe Just A Matter Of Time is a musical roller adventure. You never know which direction Just A Matter Of Time is heading. Incredibly, Marlena copes with the constant changes in style. Her versatility meant she’s just as comfortable being a strutting disco diva on It’s Better Than Walking Out or vamping her way through the uber funky Think About Me. Then there’s the gospel-tinged Be For Real and Take My Body, where blues, rock and soul meet head on. These are just four examples of why Just A Matter Of Time is one of the most eclectic albums Marlena Shaw released. Maybe that was why Just A Matter Of Time wasn’t a commercial success?
Given Just A Matter Of Time was such an eclectic album, how would Blue Note market the album? It didn’t fit neatly into one musical genre. No. It straddled genres. The same goes for radio stations. As Just A Matter Of Time wasn’t purely a jazz, soul, funk or disco album. It was a mixture of each of these genres. So stations playing soul or disco wouldn’t put Just A Matter Of Time on their playlist. The same goes for record buyers. No longer was Marlena just a jazz singer. Now she was trying to be appeal to everyone. This maybe alienated people, especially those who’d followed her career since her debut album. For Blue Note, this proved the final straw.
Following the failure of Just A Matter Of Time, Blue Note dropped Marlena Shaw. In the space of a year, she’d released the most successful album of her career, been crowned Blue Note’s first Lady and was then unceremoniously dropped. Ironically, Just A Matter Of Time, Marlena Shaw’s Blue Note swan-song, which saw her switch seamlessly between musical genres, is one of the most underrated albums of her long and distinguished career.
MICHAEL CHAPMAN-WRECKED AGAIN.
Wrecked Again, which features eleven songs written by Michael Chapman, saw a change in style. Often described as Michael’s “Memphis” album, the best way to describe Wrecked Again is eclectic. Everything from folk, blues, rock, country and jazz can be found within Wrecked Again, which was recorded at Rockfield Studios and produced by Gus Dudgeon, who produced Michael’s three previous albums.
When Wrecked Again was released early in 1971, it failed to chart. Despite its eclectic, all encompassing sound, music fans weren’t won over by Wrecked Again. At least critics were. They recognized Wrecked Again as a return to form from the Leeds’ born troubadour. Sadly, Harvest decided Wrecked Again would be Michael Chapman’s final album for Harvest. An eclectic, genre-sprawling album, everything from Americana, blues, country, folk, jazz, pop and rock were thrown into the musical mixing bowl by Michael. After Gus Dudgeon worked his magic. With a sound that was somewhere between Memphis, Nashville and Leeds, it was as if Wrecked Again reflected the music that had influenced Michael. That includes horns that sound not unlike a Yorkshire brass band. They work, but just. A much more authentic Memphis sound would’ve been the finishing touch. Despite that, Wrecked Again which was rereleased by Light In The Attic, is the best album of Michael’s time at Harvest.
Although Rainmaker and Fully Qualified Surveyor ooze quality, Wrecked Again is the best album Michael Chapman released for Harvest Records. Between 1969 and 1971, Michael Chapman released a quartet of albums. Of this quartet, the genre-melting Wrecked Again, Michael Chapman’s “Memphis album” and homage to Americana, is the highlight of his time at Harvest Records.
MIKE OLDFIELD-FIVE MILES OUT.
Nine years after releasing his debut album, Mike Oldfield decided his music had to change. His albums were no longer selling as many copies. Success in America seemed to elude Mike. If it hadn’t been for excerpts from Tubular Bells being played in The Shining, his debut album might never have reached the heights it did. After that, America proved a hard nut to crack. Even at home, in the UK, his albums last three albums hadn’t even reached the top ten. Each album slipped that further bit down the charts. There was a reason for this, music was changing. Music was in a constant state of flux. Fashion changed quickly. During 1981, when Mike started recording Five Miles Out, boogie and synth pop were just two of the musical flavors of the month. For a new generation of record buyers, Mike Oldfield was the music of their parents. When they thought of Mike, they thought of grandiose, symphonic music, music that’s mystical and of course, prog rock. That was the problem.
People’s perception of Mike was problematic. Although his music was much more eclectic than that, that was how people perceived him. Little did people realize his music had never stood still. He’d been determined to push musical boundaries. This is what he’d do with Five Miles Out. If he didn’t do something to address the problem, he risked becoming irrelevant. So, Mike decided to change direction.
This was something he’d done and embraced his whole career. No two Mike Oldfield albums are the same. Each album is a but different. When Mike could’ve released Tubular Bells II, he released Hergest Ridge. Mike didn’t stand still. His career saw his music constantly evolving. On Five Miles Out, Mike fully embraced technology. Using the Fairlight CMI, was part of the reinvention of Mike Oldfield. Without throwing out what had resulted in Mike enjoying a successful career, Five Miles Out saw a series of subtle changes.
Side one of Five Miles Out was for his old fans. A twenty-four minute Magnus Opus, it’s Mike Oldfield at his very best. Then on Side two, three of the four songs are shorter, with a slick, poppy sound. Mike doesn’t spare the hooks. He even joins Maggie Reilly on vocal duties. Fusing everything from prog rock, pop, electronica, rock, Celtic and classical music, Mike returned with his most successful album since 1975. Not since Ommadawn, in 1975, had Mike Oldfield enjoyed such a high chart placing. Reaching number seven in the UK, plus two hit singles saw Mike’s decision to reinvent himself vindicated.
It would’ve been easy for him to keep churning out album after album of similar material. Mostly likely, his loyal fans would’ve bought the albums. That wasn’t enough for Mike. He wanted and needed to challenge himself. Mike also wanted to embrace the new technology. Throughout his career he’d been an innovator, always wanting to push musical boundaries. This is what Mike Oldfield did on Five Miles Out, which was recently rereleased as a Deluxe Edition by Mercury Records. Featuring three discs, Five Miles Out is what a Deluxe Edition should look like. Disc two features a recording of a concert in Cologne from the Five Miles Out tour. Then on Disc three, there’s Mike Oldfield’s 5.1 Surround Mix. This is a very welcome addition and brings new life and meaning to Five Miles Out, Mike Oldfield’s comeback album. The 5.1 Surround Mix showcases Mike Oldfield at his innovative an inventive best on Five Miles Out, which features the rebirth and reinvention of Mike Oldfield.
MILLIE JACKSON-THE MOODS OF MILLIE JACKSON-HER BEST BALLADS.
When it comes to ballads, Millie Jackson breathes life, meaning, emotion and often, hurt and heartache into them. Whether Millie is laying bare her soul or is delivering heartfelt, impassioned performances, her ballads are peerless, and truly breathtaking. Now twenty of the ballads Millie Jackson recorded at Spring Records feature on a new compilation entitled The Moods Of Millie Jackson-Her Best Ballads. Compiled by Sean Hampsey and was released by Kent, The Moods Of Millie Jackson-Her Best Ballads is a reminder of one of the most talented, versatile and charismatic female vocalists of the seventies and eighties.
For anyone yet to discover Millie Jackson’s music, it’ll only take one listen to The Moods Of Millie Jackson-Her Best Ballads to realize that Millie was one of the most talented, versatile and charismatic soul singer of her generation. She enjoyed commercial success and critical acclaim during the twelve years she spent at Spring Records. During that time, three of her albums were certified gold. However, there’s much more to Millie Jackson’s time at Spring Records than 1974s Caught Up, 1977s Feelin’ Bitchy and 1978s Get It Out’cha System.
These three albums just scratch the surface of Millie’s time at Spring Records. During her time at Spring Records, Millie Jackson recorded sixteen albums. While some of these albums didn’t replicate the success of Caught Up, Feelin’ Bitchy or Get It Out’cha System they all had one thing in common..they featured some stunning ballads. These ballads feature Millie Jackson at her very best. She brings lyrics to life, breathing life, meaning and emotion into them. Whether it’s heartbreak and hurt, sensuality and sass, or anger and frustration, Millie Jackson brings all these things and more to a song. Quite simply, Millie Jackson voice is like a musical palette, painting pictures before your eyes. One minute you’re empathising with Millie’s hurt and plight, the next her vocal is filled with joy and happiness and then she’s delivering a sensuous and seductive Magnus Opus. Not many vocalists are as versatile and talented as Millie Jackson. Proof of this are the twenty songs on The Moods Of Millie Jackson-Her Best Ballads, which was compiled by Sean Hampsey and released on Kent. Compiler Sean Hampsey has chosen a compelling collection of well known tracks and hidden gems for The Moods Of Millie Jackson-Her Best Ballads. The result is The Moods Of Millie Jackson-Her Best Ballads, a stunning collection of ballads from one of the most talented soul singers of her generation, Millie Jackson. There’s neither faux pax nor filler, just quality soul music all the way.
NEW YORK DOLLS-NEW YORK DOLLS.
No other group epitomises the rock ‘n’ roll lifestyle like the New York Dolls. Drink, drugs and death touched the New York Dolls. Despite this, the Dolls continued to court disaster. Just like a game of daring do, the egged each other to fly close to the sun. This was all part of the myth that surrounds the New York Dolls. Here was another case of flawed genius. A firecracker combination of talents and personalities, they could’ve and should’ve been one of the biggest bands in musical history. Fuelled by a diet of alcohol, pills and powders, the New York Dolls first two albums were the best they ever recorded.
Their 1973 eponymous debut album New York Dolls, which was recently released by Universal Music, was a swaggering, strutting introduction to the New York Dolls. A year later, came their sophomore album, Too Much Too Soon. A fueled up Dolls, courted controversy and chaos, continued to strut and swagger their way through life. On both of these albums, the New York Dolls out-rocked the opposition. Other bands, including the Rolling Stones, enviously looked on. Here was a band who were the real thing. They were living the rock ‘n’ lifestyle and living it hard. With what seemed like an appetite for destruction, somehow the New York Dolls recorded two classic albums within the space of a year. The first of these was their debut album New York Dolls.
Released in 1973 on Mercury, New York Dolls divided opinion. Some critics hailed New York Dolls as a stonewall classic, others deemed it a parody of a rock album. It certainly took the world by storm, spawning a million imitators. Strangely, on its release, sales of New York Dolls were disappointing. It only reached number 167 in the US Billboard 200. Mercury had hoped that the album would be one of their big sellers of 1973. It certainly captured the attention of critics and music lovers, it was voted both the best and worst album of 1973. It seems that New York Dolls was an enigmatic album and one that divided opinion. Forty years later, history has been rewritten.
Ironically, during the forty years since its release, critics who called New York Dolls “mock rock” have changed their mind. These lisping rock critics have now changed their mind about the New York Dolls. Nowadays, New York Dolls is now perceived as a classic album. The New York Dolls fusion of glam rock, proto-punk and hard rock is perceived as Innovative and ahead of the musical curve. The New York Dolls are credited as one of the founding fathers of punk rock. Since then, many groups have imitated the New York Dolls swaggering brand of good time music. Nobody comes close. No ifs, no buts. Having released a career defining album, the New York Dolls never bettered. If ever there’s a case of a band peaking to soon, this was it.
Raw, intense and full or energy describes New York Dolls. It’s as close you’ll get to hearing what the New York Dolls sounded like live. This was a no frills album. Sleazy, sassy and raunchy, New York Dolls is lo-fi, good time music. It’s no wonder Todd Rundgren only spent half a day mixing New York Dolls. Although he was a strange choice for the Dolls, he harnesses their energy and enthusiasm. Maybe the Dolls should’ve called the album Raw Power. Apart from a few occasions where Todd Rundgren’s overdubbing goes too far, he strikes the right balance for a debut album. He doesn’t overproduce New York Dolls, a true rock ’n’ roll classic that’s influenced several generations of musicians.
NEW YORK DOLLS-TOO MUCH TOO SOON.
Never in the history of music has an album title proved to be so prophetic than the New York Dolls’ sophomore album Too Much Too Soon. Released in 1974, Too Much Too Soon features one of the hardest rocking and hardest living bands in musical history. Unfortunately, The New York Dolls were music’s equivalent to Icarus. They literally flew too close to the sun. Having released Too Much Too Sun, which reached a disappointing number 167 in the US Billboard 200, Mercury sent the New York Dolls out on an American tour.
That would’ve been okay for an ordinary band. The New York Dolls were no ordinary band. Far from it. Best described as dysfunctional, it’s no surprise what happened next. During what was a chaotic, problematic tour, the New York Dolls literally imploded. Amidst a backdrop of alcohol and drug abuse, changes in lineup and general chaos, the New York Dolls were dropped by Mercury in 1975. This lead to them splitting up. By then, the New York Dolls had lived life to the fullest. Since their debut album, they’d lived the rock ‘n’ roll lifestyle. Remarkably, most of them survived to tell the tale. Somehow, during that time, they’d spawned a thousand imitators and released two classic albums.
Their second classic album Too Much Too Soon, was recently released by the Legends Of Rock label. Described as an audiophile recording, it’s the best sounding version of Too Much Too Soon I’ve heard. This should be the standard other labels aspire to. If only all rereleases sounded this good. The same could be said of the New York Dolls. if only every band sounded as good as the New York Dolls, music would be a better place. One of the New York Dolls finest moments was Too Much Too Soon.
Too Much Too Soon, the New York Dolls’ sophomore album, is an iconic, innovative album. Ironically, Too Much Too Soon almost passed unnoticed. It hardly troubled the American charts. After its release, Mercury sent the New York Dolls on an American tour. It proved chaotic and almost broke the band. On their return from the ill-fated tour, Mercury dropped the Dolls. Later in 1975, they split up, against a backdrop of rancour, drug abuse and hedonism. The hardest living party band were no more…briefly.
Soon, the band were back together and playing some of the best shows of their career. Then later in 1975, Johnny Thunders and Jerry Nolan left the band. Their replacements were drummer Tony Machine and keyboardist Chris Robinson. This was just the latest change in lineup. It proved to be one of the most successful lineups of the band. They played some of their best concerts and were hailed as one of the hottest bands of the mid-seventies. Nothing lasted long as far as the New York Dolls were concerned. The band broke up and in the last four decades have continued to reform and split up.
Despite reforming, the New York Dolls never reached the heights of Too Much Too Soon. It’s their finest moment. Innovative, groundbreaking and ahead of its time, this fusion of rock, proto-punk, blues and glam rock, helped inspire punk and spawned a thousand imitators. None came close to replicating the New York Dolls at their best. For two albums, the New York Dolls were one of the best bands of that time. Innovative, inventive and determined to rewrite the musical rulebook, there was one problem, the New York Dolls were fundamentally flawed. Their downfall was their penchant for the rock ‘n’ roll lifestyle and hedonism. Just like Icarus, they flew to close to the sun. Before flying to close to the sun, the New York Dolls released their 1974 Magnus Opus, Too Much Too Soon.
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