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.
THE A-Z OF THE BEST REISSUES OF 2013 PART 5.
THE A-Z OF THE BEST REISSUES OF 2013 PART 5.
OMAR SOULEYMAN-WENU WENU.
Prolific. That’s a good way to describe Omar Souleyman. After all, how many artists have released over 550 albums? However, not all that glitters is gold. Many of these albums Omar has released are recordings of him singing at weddings. They’re sold at kiosks in Omar’s native Syria. That’s where his nickname the Wedding Singer comes from. Despite Omar’s prolificacy and nearly twenty years in the music industry, he’s still hadn’t release a studio album. That was until Omar Souleyman released Wenu Wenu on Ribbon Music.
Wenu Wenu, Omar Souleyman’s debut album is long overdue, but has been well worth the wait. Granted he’s released over 550 live albums. Most of them were recorded when Omar sung at weddings in his native Syria. That’s how he acquired the nickname the Wedding Singer. He’s now forty-five and has gained recognition much further afield.
From America, Europe and Britain, belatedly, people are discovering one of Syrian music’s best kept secrets. It’s better late than never. Now some of the biggest artists in music are wanting to work with Omar Souleyman. At last his talent has been recognizsed. So has Omar’s ability to create genre-melting music. That’s the case on Wenu Wenu, Omar’s recently released debut album on Ribbon Music. Wenu Wenu sees Omar fuse everything from Arabic, dance, electronic, folk, funk and soul. It’s combined by producer Kieran Hedben on Wenu Wenu.
When anyone listens to Omar Souleyman’s debut album Wenu Wenu, they can’t help but be captivated by his voice. As he sings in Arabic, his rasping vocal veers between worldweary, lovelorn, heartfelt and heartbroken. Tales of love and love gone wrong are familiar themes for Omar. A man of few words, Omar takes the music of Syria’s past and reinvents it. The result is Wenu Wenu, a delicious fusion of Arabian and Western music from Omar Souleyman, the one time Wedding Singer who now looks like being a worldwide star and belatedly enjoying commercial success and critical acclaim.
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 recently released by the Brighton based Mr. Bongo label.
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 began with his 1975 debut album Miliki Sound.
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 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.
PETER KING-SHANGO.
All too often, innovative music isn’t appreciated when it’s released. It passes almost unnoticed. Apart from a few people, who realize the importance of the music, and champion it passionately, it can be years, even decades later, that the importance of an artist or album is recognized. This has been the case with so many artists, including Nigerian multi-instrumentalist Peter King.
For those still to discover Peter King’s music, his name is synonymous with his Miliki Sound, a captivating fusion of African musical genres and influences. Peter released seven albums between 1975 and 2002. His debut album was Miliki Sound. That shouldn’t have been the case. Instead, Shango should’ve been his debut album. Recorded in 1974, in Camden, London, using the money Peter was paid to write the music that accompanied a political documentary, Shango lay unreleased. Discovered again in 2002 by Strut Records, who released the album for the first time, Shango was discovered by a new generation of music fans who’d been introduced to Afrobeat through in the eighties. Now eleven years later, Shango has been long out of print. So, Mr. Bongo decided to rerelease a remastered version of Peter King’s lost album Shango.
On its release, Shango was described as Peter King’s lost classic. That was no exaggeration. From the opening bars of Shango, right through to Watusi it’s all killer and no filler. Given how good Shango is, why it wasn’t released seems strange. After all it’s a truly innovative album of progressive music. Fusing Afrobeat, funk, jazz, psychedelia and soul Peter King doesn’t put a foot wrong. Shango should’ve been the album that it introduced the world to Peter King. Sadly, that wasn’t the case. A really accessible album and truly irresistible album, Shango is filled with delicious rhythms. Best described as a joyous, uplifting and irresistible musical experience, sometimes it’s melancholy and wistful, other times, Shango is 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. Having said all that, there’s much more to Shango than some delicious rhythms. Listen carefully to Shango, and the music is intricate, multilayered and complex. You’ll hear subtleties, surprises and nuances. Musical genres and influences melt into one. They were thrown into the musical melting pot by Peter King. Given a stir, Shango, Peter King’s eclectic fusion of styles and influences, is a dish that’s best delicious and best tasted often, by discerning musical diners.
PHAROAH SANDERS-ELEVATION.
Having released his debut album Pharoah’s First in 1964, Pharoah Sanders went on to release over thirty albums. As if this isn’t impressive enough, he’s accompanied jazz legends John and Alice Coltrane, McCoy Tyner and Don Cherry. Pharoah’s other collaborations have included working with such luminaries as Terry Callier, Sun Ra and Ornette Coleman, who referred to Pharoah as “probably the best tenor player in the world.” This is high praise indeed. However, for anyone who has heard Pharoah’s legendary sheets of sound, this isn’t unexpected. Especially, for anyone familiar with Pharoah’s Impulse albums.
There’s no doubt that Pharoah’s best work was for Impulse Records. This is no surprise. After all, Impulse was one of the most groundbreaking, innovative labels. Jazz pioneers like John Coltrane, Coleman Hawkins, Chico Hamilton and Max Roach called Impulse home. Whilst signed to Impulse, Pharoah released ten albums between 1966 and 1974. This included Elevation, which was released in 1973.
This includes albums like Karma, Jewels Of Thought, Thembi and Black Unity. They feature Pharoah Sanders at his best. Elevation deserves to be mentioned in the same breath. That’s despite Elevation dividing opinion upon its release. A fusion of everything from Afro-beat, avant-garde, free jazz, post bop and progressive jazz Elevation was well received. However, Elevation didn’t receive the same critical acclaim as previous album. There’s a reason for that. Free jazz was no longer as popular. It was perceived as yesterday’s music. That seems strange, given that it was a groundbreaking and innovative album.
Elevation deserved to fare better, much better. Sadly, that wasn’t the case. It neither received the critical acclaim nor commercial success it deserved and warranted. Now Elevation has been rereleased by Sounds Of The Universe, an imprint of Soul Jazz Records. Maybe now, Elevation will be reappraised and seen as an album that was ambitious, bold, innovative and progressive. After all, that describes so much of Pharoah Sanders’ music including Elevation.
RIPPLE-SONS OF THE GODS.
During their seventies heyday, Ripple released just two albums and nine singles. This included two dance classics. The first of these was I Don’t Know What It Is, But It Sure Is Funky. Released in 1973, it reached number sixty-three in the US Billboard 100 and number eleven in the US R&B Charts. Although they released another six singles for GRC, they never replicated the commercial success of I Don’t Know What It Is, But It Sure Is Funky. Then in 1976, their time at GRC ended somewhat abruptly.
GRC Records was a successful Atlanta label. It was run by Michael Thevis, an infamous porn baron, nicknamed the Scarface of Porn. In 1976, his luck ran out. He was charged with, and found guilty of, various offenses. When he was sent to prison, GRC Records folded. This left their roster of artists, who included Loleatta Holloway and Ripple, without a label. Like Loleatta Holloway, Salsoul Records, which was now disco’s premier label, would be their new home. That’s where Ripple released the genre-melting Sons Of The Gods, which was recently released by BBR Records.
Five years after Ripple had released their eponymous debut album, they were back with Sons Of Gods. This couldn’t have been easy. After all, if an artist isn’t releasing music regularly, they’re forgotten about. Luckily, Ripple had several secret weapons. The first was The Beat Goes On And On, which gave them the biggest single of their career. Things looked good for Ripple. Then Sons Of Gods failed to chart. For Ripple, producer Floyd Smith and everyone at Salsoul they must have been shocked. Sons Of Gods should’ve fared much better.
Of the eight songs on Sons Of Gods, there’s no filler. Far from it. Call Me Traveling Man and Facts Of Life are two beautiful slices of soul. Then there’s the cosmic funk of Sons Of The Gods. Genres then melt into one on Victorious, Here I Stand and Do What You Wanna Do. Just about any one of these tracks could’ve been released as a single. Instead, they released the weakest track on Sons Of Gods, Today. Salsoul should’ve chosen either the beautiful ballad that is Call Me Traveling Man, or Here I Stand, which is full of slick, poppy hooks. They didn’t. Today failed to chart. That was the end of Ripple’s recording career.
While there was a short-lived comeback in the nineties, Ripple’s career was all but over. The commercial success and critical acclaim they enjoyed isn’t a reflection on their talent. Who knows what would’ve happened if another track had been chosen as the second single? That could’ve rejuvenated Ripple’s career. Sadly, that wasn’t the case and Ripple’s second album Sons Of The Gods which was recently released by BBR Records proved to be their swan-song. What could’ve been a long and successful career was cut short. Ripple’s career consists of just two albums, of which Sons Of The Gods is the best. Not only does Sons Of The Gods feature their biggest hit The Beat Goes On And On, but is a reminder of Ripple’s versatility and talent.
RODION G.A.-THE LOST TAPES.
Rodion G.A’s The Lost Tapes was one the most eagerly awaited albums of 2013. It’ll be released Strut Records on 27th May 2013. However, Rodion G.A. aren’t a new band. Quite the opposite. Instead, Rodion G.A. were formed by Rodion Rosca between 1975 and 1976. The ten tracks that comprise The Lost Tapes are experimental and innovative tracks which were recorded during the early eighties. Incredibly, this the first album Rodion G.A. have released during their long career, which stretches back to the seventies. Apart from two tracks released by the Romanian state-owned Electrecord label, no other material by Rodion G.A. has been released during the past four decades. That’s what makes this such an exciting project. Indeed, for those that haven’t heard of Rodion G.A, The Lost Tapes is an opportunity to discover one of music’s real innovators, which I’ll now tell you about.
Like so many other artists, the words enigmatic is the perfect way to describe Rodion Rosca. He was born in Romania and is half-Romanian and half-Hungarian. Rodion grew up in Romania during the open period between 1965 and 1972. During this time, Rodion was exposed to an eclectic selection of musical influences, he heard on the radio. This included everything from rock, pop and jazz music. While the music he heard on the radio was primarily English and American, the city of Cluj, on the border with Hungary, had a healthy musical scene.
Among Cluj’s lead bands were prog rock groups like Cromatic and Experimental Quintet. Soon, Rodion had immersed himself in the local music scene and had established a reputation as a prolific collector of vinyl, including the classic rock of Led Zeppelin, The Beatles, Jimi Hendrix and The Who. Rodion didn’t restrict himself to classic rock. He was also interested in the more progressive, electronic bands of the era, including groups from Eastern and Western Europe. This included Jethro Tull, Emerson, Lake and Palmer and Yes, plus West Germany’s Kraftwerk, East Germany’s Karat, Czechoslovakia’s Matador and Hungary’s Skorpio. These eclectic influences would influence Rodion Rosca’s musical career.
Although innovative is an overused word, Rodion G.A. were a truly innovative group. They weren’t afraid to push musical boundaries. In doing so, they fused musical genres, throwing everything from rock, jazz, prog rock, electronic, ambient and classical music into their musical melting pot. Having given it a stir, the result was a unique, enthralling and captivating sound that was unlike anything else of its time. Indeed, Rodion G.A. were way ahead of their time.
Sadly, Rodion G.A’s career lasted just over ten years. In 1987, after the death of his mother, Rodion Rosca walked away from music. For the next twenty-five years, nothing was heard of this charismatic, enigmatic and mercurial musician. Then in 2012, blogger and filmmaker Luca Sorin tracked Rodion down. Thanks to Luca, Rodion G.A. played a comeback concert and on 27th May 2013, The Lost Tapes will be released by Strut Records. Amazingly, The Lost Tapes is Rodion G.A’s debut album and will give a new generation of music lovers the opportunity to discover the music of an innovative and visionary musical group.
SANDRA PHILLIPS-TOO MANY PEOPLE IN ONE BED.
Producer Swamp Dogg hadn’t known Sandra Philips long before he signed her to Canyon Records. Swamp Dogg was introduced to Sandra by her ex-husband. He let Swamp Dogg hear a single she cut for Epic. This was kismet. Not only was Sandra hugely talented, but she’d potential. She was desperate to forge a career in music. Her soulful, emotive voice that could make lyrics come to life. This was just what Swamp Dodd needed. It would fill a void left by Doris Troy who Swamp Dogg had previously worked with. Doris was proving unreliable. She’d stopped taking Swamp Dogg’s calls, was missing concerts. Then there was the small matter of a Buick Estate Wagon Swamp Dogg bought her. It had been shot up by her new “manager.” So, with Doris Troy looking unlikely to have much of a future with Swamp Dogg. That was a huge loss. After all, Doris had released the Deep Soul classic I’m A Loser. Doris could’ve and should’ve been one of the biggest female soul singers. Sadly, that wasn’t the case. She’d gone A.W.O.L. and someone was needed to fill that huge void.
That’s where Sandra Phillips came in. Realising the potential Sandra clearly had, Swamp Dogg signed her to Canyon Records. He then took Sandra down to Macon, Georgia, where with a crack band in tow, Sandra Phillips recorded Too Many People In One Bed for Canyon Records. It could’ve and should’ve been the album that launched her career. After all, Sandra was talented singer, capable of bring lyrics to life. Songs takes on a cinematic quality. Pictures unfolds before your eyes. The characters within the twelve songs become very real. So much so, you end up sharing their hurt and pain. Not every singer can make music come alive like that. No. Far from it. However, Sandra Phillips could.
That’s apparent on Too Many People In One Bed, which is like a twelve short stories. Tales of betrayal, heartbreak, loneliness and love gone wrong, it’s all on Too Many People In One Bed. A whole range of emotions come pouring out. We also see different sides to Sandra Phillips. One minutes she’s heartbroken, the next defiant, feisty or sassy. Whether Sandra’s vocal is powerful or tender, it’s equally effective. For that reason, there are no disappointments on Too Many People In One Bed. Instead, Too Many People In One Bed is a reminder that Sandra Phillips could’ve and should’ve enjoyed a successful career. Sadly, it wasn’t to be. Sandra’s musical career petered out. She retrained and enjoyed commercial success and critical acclaim as an actress. However, Sandra Phillips’ life and career could’ve been very different, if Canyon Records hadn’t folded. Maybe then, she’d have enjoyed the commercial success and critical acclaim that later came her way as an actress. Too Many People In One Bed which was rereleased by Alive Records, is a tantalising reminder of one of Southern Soul’s best kept secrets, Sandra Phillips.
SILVETTI-SPRING RAIN.
Despite enjoying a career that lasted four decades, Bedu Silvetti is always remembered for his disco classic Spring Rain. It originally featured on Silvetti’s 1976 debut album World With Words. On its release as a single in January 1977, it reached number four in the US Disco Charts. Seven months later, Spring Rain was the title of Silvetti’s Salsoul album. Released in August 1977, Spring Rain, which was released by BBR Records, showcased one of the most innovative and important producers of the disco era. That’s no exaggeration and why Spring Rain is an almost flawless album.
A fusion of musical genres, everything from disco, funk, jazz, and soul sat comfortably next to calypso, Latin and classical music on Spring Rain. Sometimes, four or five musical genres melt into one during just one track. Often, this results in music that epitomises the Salsoul sound. The strange thing is, that while Salsoul is a New York label, Silvetti was a Spanish producer. However, Silvetti’s music has the same sound, ethos and sheen as Salsoul. Despite this, Spring Rain never enjoyed the same commercial success as many of Salsoul’s release. Maybe the problem was people didn’t understand Spring Rain?
That’s often the case with innovative and imaginative music. Spring Rain was a progressive album, way ahead of the musical curve. Sculptural, elegant and ethereal, the music of the past and the present met head-on. The result was an album that was dance-floor friendly, soulful, Latin-tinged and jazzy. That describes Spring Rain, an album that’s pretty near flawless.
Best know for its title-track, which is a disco classic, there’s much, much more to Silvetti than Spring Rain. Much more. Silvetti released a string of solo albums, then worked as an award winning composer, arranger and producer. Critical acclaimed and commercial successful, Silvetti’s work as a composer, arranger and producer lead to him winning numerous prestigious awards. This includes being named Billboard’s producer of the year in 2002. Then in 2003, the year of his death, Silvetti won a Latin Grammy Award. Despite enjoying such a successful and award winning career, many people remember Silvetti for just one song, Spring Rain. Mind you, if you’re going to be remembered for just one song, make it as good as Silvetti’s Spring Rain, a timeless, disco classic.
SLY AND THE FAMILY STONE-THERE’S A RIOT GOIN’ ON.
Two years in the making, Sly and The Family Stone released There’s A Riot Goin’ On was released in November 1971. It was the followup to 1969s Stand, Sly and The Family Stone’s fourth album. Released to critical acclaim, Stand was Sly and The Family Stone’s breakthrough album. Reaching number thirteen in the US Billboard 200 and number three in the US R&B Charts, Stand was Sly and The Family Stone’s most successful album. That was, until the release of There’s A Riot Goin’ On, which was rereleased by Get On Down in July 2013. This is no ordinary rerelease. It’s a luxurious, lavish box set. That’s quite fitting. After all, There’s A Riot Goin’ On is no ordinary album. Far from it. It’s psychedelic, genre-melting album full of biting social comment, There’s A Riot Goin’ On was instantly hailed a classic album. That’s despite the turmoil that surrounded a band lead by the charismatic Sly Stone.
Ever since the release of Stand, chaos and controversy had surrounded one of the most flamboyant bandleaders of the sixties and the seventies, Sly Stone. There were tales of large scale drug usage, possible changes in personnel and involvement with gangsters. Then there’s the infamous violin full of drugs which accompanied Sly Stone everywhere. That There’s A Riot Goin’ On ever got made is a musical miracle. Much had changed in the world of Sly and The Family Stone.
At this time, relationships within the band were at an all time low, especially among The Stone brothers Sly and Freddie, and bassist Larry Graham. Tense doesn’t come close to describe their relationship. Ironically, Larry’s bass playing would be crucial to the success of what became There’s A Riot Goin’ On. It provided the heartbeat to the album. Sadly, the tension between the band members wasn’t the only problem surrounding Sly and The Family Stone. The other problem was that drug use was rife within the band. Stories emerged that Sly Stone allegedly, carried a violin case full of drugs everywhere the band went. Drug use had worsened when the band had relocated to California. PCP and cocaine were now the drugs of choice for the band. This started to affect the recoding schedule and tours. Sly’s moods changed One minute he was upbeat and happy, then suddenly he was moody. His behaviour started to become erratic. Between concerts, it was reported that he spent much of his time taking drugs. For a band who’d just enjoyed two hugely successful albums, Sly and The Family Stone were shooting themselves in their foot at every turn. Despite that, they recorded a classic album… There’s A Riot Goin’ On.
Against insurmountable odds, Sly and The Family Stone recorded the greatest album of their career. Somehow, they overcame influence of drugs, gangsters and The Black Panthers. There was internecine warfare between members of the band. This lead to drummer Greg Errico leaving the band. Up against it, Sly and The Family Stone dug deep. Fusing blues, funk, jazz, pop, psychedelia and rock musical genres and influences combine. Influenced by Miles Davis, Jimi Hendrix, John Coltrane, Muddy Waters, Sun Ra and The Beach Boys, Sly and The Family Stone recorded an eleven-song opus There’s A Riot Goin’ On.
Surrounded by a group of hugely talented musicians, they provided the genre-melting backdrop to his vocals. Veering between languid and lazy, to a rasping, grizzly, growl, sometimes his vocal is slightly muffled. Despite this, charisma oozes out of Sly Stone, the proverbial showman. A flamboyant showman, he was lead singer, multi-instrumentalist and producer.
Produced by Sly Stone, he used multitrack recording to its fullest. Like a 20th century shaman, Sly locked himself in the studio and began work on his masterpiece. He recorded layer upon layer of music during long nights spent recording. Often he was on his own. This meant he’d no-one to challenge his decisions and authority. A perfectionist, much of the music was rerecorded. Overdubbing was used widely. Although it adds to depth and density to the music, it can detract from the sound quality. On There’s A Riot Goin’ On it adds to the album’s depth, darkness, charm and success. Certified platinum, and featuring the dual number one single Family Affair, which was certified gold, There’s A Riot Goin’ On was their fifth album, and an album that wouldn’t be better. That’s why it’s included in the Rolling Stone magazine’s list of the 500 best albums of all time. Sly and The Family Stone had recorded a stonewall classic. Up against unsurmountable odds, somehow, Sly pulled off the impossible and delivered an album that he’d never better.
SWAMP DOGG-TOTAL DESTRUCTION OF YOUR MIND.
Described as an album gonzo soul from a true musical maverick, Total Destruction Of Your Mind was the debut album from Swamp Dogg. Released in 1970, Total Destruction Of Your Mind saw Swamp Dogg draw inspiration from everyone from Frank Zappa, Van Morrison to Sly Stone. Everything from soul, funk, R&B and rock was thrown into the mix. So were songs about war, peace, love, rednecks, cheaters and politics. Controversial, and known for speaking what he be believed to be the truth, Swamp Dogg even managed to make it onto disgraced President Nixon’s infamous enemies list. Swamp Dogg it seemed, was doing something right. That included making music that was downright funky, rock tinged and deeply soulful. Total Destruction Of Your Mind his debut album is proof of this.
Jerry Williams, A.K.A. Swamp Dogg, was twenty-eight when he began work on Total Destruction Of Your Mind. Born in March 1942, in Portsmouth Virginia, Swamp Dogg was a singer, songwriter, multi-instrumentalist and producer. He’d left home as soon as he was old enough. His parents weaned the young Swamp Dogg on country music. Country music would influence Swamp Dogg’s debut album Total Destruction Of Your Mind, which marked a change of direction of Swamp Dogg.
During the sixties, Jerry Williams was for most part, a regular guy. He was a successful singer, songwriter and producer. Mostly, Jerry was content to help other people become stars. He wrote songs, played on their albums and produced their music. Then, as the sixties drew to a close, Jerry Williams dropped acid. It was a life changing experience.
The Doors of Perception, as Aldous Huxley said, had been opened. Jerry Williams changed. Psychedelics became his drug of choice. This stimulated his creativity. However, he desperately needed an outlet for this heightened creativity. So he adopted an alter ego Swamp Dogg. He became obsessed by sex, drugs, politics, culture and class. All these subjects came out in his music. His music was funny, prickly, gritty, acerbic and angry. Often, politicians felt the wrath of Swamp Dog. For the newly enlightened Jerry Williams, Total Destruction Of Your Mind introduced the world to Swamp Dogg.
When it was released in 1970, Total Destruction To Your Mind didn’t sell well. The album was well received, but sales were poor. Maybe the problem was that Canyon Records was only a small record company with a small budget. Sly Stone, who Swamp Dogg is often compared to, was signed to a major label. His music was hugely successful. However, Sly’s label had a bigger budget with a larger staff. This made a huge difference. Gold and platinum discs came Sly’s way. Sadly, for Swamp Dogg, commercial success eluded Total Destruction To Your Mind, which was recently released by Alive Records.
Despite commercial success eluding Total Destruction To Your Mind, it’s seen as a lost classic. It features the reinvention of Swamp Dogg, one of the most innovative and creative musicians of his generation. No wonder. Total Destruction To Your Mind marked the blossoming of Swamp Dogg, when he was embarking upon his career as a musical pioneer and innovator. After that, Swamp Dogg released a series of groundbreaking albums. The first of these was Total Destruction To Your Mind, which introduced the world to one of music’s pioneers, Swamp Dogg.
THE A-Z OF THE BEST REISSUES OF 2013 PART 6.
THE A-Z OF THE BEST REISSUES OF 2013 PART 6.
THE CURTIS COUNCE QUINTET-EXPLORING THE FUTURE.
One of jazz’s best kept secrets is hard bop and West Coast jazz double bassist Curtis Counce. He may not have enjoyed the longevity of many of his contemporaries, but was one of the leading lights of West Coast jazz. Curtis played alongside Teddy Charles, Shelly Manne, Lyle Murphy and Clifford Brown. Then in 1956, Curtis went from sideman to centre-stage, forming The Curtis Counce Quintet. They released just four albums between 1957 and 1958. The Curtis Counce Quintet’s final album was the inventive and innovative, Exploring The Future. Five years after the release of Exploring The Future, Curtis Counce died aged just thirty-six. West Coast jazz had lost one of its stalwarts. Fifty years after his death, his music is being introduced to a new audience.
Exploring The Future proved to be farewell from The Curtis Counce Quintet. It was their final album. While Exploring The Future didn’t exactly offer anything new and innovative from the Quintet, it did find them at their very best. They’d been honing their sound since 1956, and had been playing live constantly. That was the only way to hone their sound and build a following. Sadly, they were restricted in where they could play. The jazz wars were raging. There was a fierce rivalry between the West Coast and East Coast. This meant the East Coast was off-limits for the Quintet. Audiences in the East Coast weren’t fans of the West Coast sound. That meant New York never heard the Quintet live. They might, just have appreciated their sound and transformed The Curtis Counce Quintet’s career. That wasn’t to be.
The Curtis Counce Quintet released just four albums released between 1957 and 1958. That isn’t a fair reflection on their combined talents. None of the albums sold well. Not even Exploring The Future, with its delicious mixture of blistering hard bop and beautiful ballads. Even the delights of Exploring The Future went undiscovered and unloved. Fifty-five years after its release Exploring The Future has been rereleased by Boplicity, an imprint of Ace Records. Maybe now, a new generation of music lovers will realise what jazz fans missed first time round. Sadly, Curtis Counce never found the fame and fortune he deserved.
Five years after the release of Exploring The Future, Curtis Counce died on 31st July 1963. He was just thirty-seven. Jazz lost one of the stalwarts of West Coast jazz and one of the best practitioners of hard bop. At least the final album The Curtis Counce Quintet released, Exploring The Future was their best. A delicious fusion of blistering hard bop and beautiful ballads, Exploring The Future was The Curtis Counce Quintet’s finest moment.
THE KINKS-MUSWELL HILLBILLIES.
By the time The Kinks released Muswell Hillbillies in November 1971, they were no longer as successful in Britain. Their last three albums had failed to chart. The last Kinks album to chart in Britain was 1967 Something Else By The Kinks. It had reached number thirty-five. After that, 1968s The Kinks Are The Village Green Preservation Society, 1969s Arthur (Or The Decline Of The British Empire) and Lola Versus Powerman and The Moneygoround, Part One had all failed to chart. At least their singles were much more successful. Fifteen of their singles had reached the top ten in Britain. Over the Atlantic, The Kinks were enjoying much more success in America.
Since their 1964 debut Kinks, only The Kinks Are The Village Green Preservation Society had failed to chart. Every other Kinks album had charted. This made The Kinks one of the most commercially successful British bands. They enjoyed a longevity and commercial success that very few other British bands enjoyed. That’s not surprising. Unlike so many bands of The Kinks’ generation, The Kinks eschewed throwaway pop music.
Instead, they created cerebral music. It was intelligent, thoughtful, satirical and thought-provoking music. Proof of this was their last three albums. Kinks Are The Village Green Preservation Society, Arthur (Or The Decline Of The British Empire) and Lola Versus Powerman and The Moneygoround were all concept albums written by Ray Davies. Each album was released to critical acclaim. While music critics “got” these albums, they passed record British buyers by. In America, which had more of an album culture, The Kinks enjoyed both commercial success and critical acclaim. They were one of Britain’s most successful musical exports. While this must have pleased The Kinks, deep down, they must have hoped their music would be more successful back home in Britain.
Muswell Hillbillies which was recently rerelease by Universal Marketing as a Deluxe Edition, marked the start of a new era for The Kinks. It was their first album for their new record label RCA. Their previous albums had been released on Pye in Britain and Reprise in the US. However, with The Kinks no longer enjoying the success they used to, Pye didn’t offer them a new contract. So, having left Pye which had been their home for eight studio albums, Muswell Hillbillies marked the start of a new era.
Sadly, this new era didn’t begin with a commercial success album. Commercial success eluded Muswell Hillbillies, when it was released in 1971. Forty-two years later, the album is just as relevant. The themes of poverty is still as relevant. So too, is the way that working class people have been affected. Their communities continue to be devastated. People who have lived in these communities are displaced, forced to live in badly built houses. Meanwhile their old communities are gentrified and property developers prosper. This is seen as progress. It’s not.
Still these people are suffering from alcoholism, poverty and mental illness. Many of these people still feel as if they don’t belong. Just like in Twentieth Century Man and Complicated Life, they feel as if they can’t cope with modern living. Ray Davies lyrics bring all these subjects and problems to life. He was like a seer, a visionary, who forecasted the breakdown of traditional communities. The cause of this was supposed progress. Sadly, as the last four decades have shown, that’s not always the case. Despite being full of cerebral, thoughtful, satirical and thought-provoking music, Muswell Hillbillies wasn’t a commercial success. However, since then, critics have reevaluated Muswell Hillbillies.
Since them, critics have realised that Muswell Hillbillies featuresThe Kinks at their best. During the ten tracks on Muswell Hillbillies, Ray Davies introduces us to a whole host of characters. Some of the are angry and frustrated, others are troubled, despairing or resigned to their fate. Heartbreak, hurt and joy feature on Muswell Hillbillies. Full of pathos and nuances, it’s a literate, cerebral album. While the songs are full of social comment, sometimes, like on Have A Cuppa Tea, features Ray’s trademark humour. Forty-two years later, the music on Muswell Hillbillies, a true hidden gem in The Kinks’ back-catalogue, is just as relevant as it was in 1971.
THE O’JAYS SHIP AHOY.
In August 1972, when The O’Jays’ released Back Stabbers, little did they realise how important an album it would become. Back Stabbers was certified gold, and fourteen years after The O’Jays were formed, were on their way to becoming one of the most critically acclaimed and commercially successful groups in the history of Philly Soul. Between 1972s Back Stabbers and 1979s Identify Yourself, The O’Jays released eight studio albums. Three were certified gold and five platinum. Back Stabbers also helped launch Gamble and Huff and their newly founded label, Philadelphia International Records as one of soul music’s premier labels. In the process, it established Gamble and Huff’s reputation as one of the most innovative, influential and pioneering production and songwriting teams.Indeed, The O’Jays followup to Back Stabbers, Ship Ahoy, released in October 1973, cemented Gamble and Huff’s reputation not just innovators and pioneers, but with a social conscience.
Ship Ahoy featured songs about slavery, racism, greed and pollution. Side-by-side on Ship Ahoy, sat love songs and songs with a social conscience. While The O’Jays may have sung sweetly about love, but they weren’t afraid to become the conscience of a nation, using their music to shame those who they thought were bringing their country to its knees, by their actions. Through the medium of music, politicians, corporate America and race, were all subjects that they dealt with in the music on Ship Ahoy, which featured some of the most powerful, potent and moving songs The O’Jays recorded.
During the eight tracks on Ship Ahoy, The O’Jays mixed beautiful love songs with songs filled with social comment. Ship Ahoy featured songs about slavery, racism, greed, materialism and pollution. Social comment and protest songs stood side by side, and the emotion, anger and frustration wells up in The O’Jays’ voices. They were also preaching a message of optimism and togetherness on Ship Ahoy. Many of the songs on Ship Ahoy, their messages are just as relevant forty years after the album’s release. Still people are seduced by materialism, greedy for money and willing to do anything to gain even more. Sadly, racial discrimination, like many other forms of discrimination is prevalent, and the backstabbers mentioned in Don’t Call Me Brother, are still around, still causing trouble, when they claim to be a force for good and harmony. Ship Ahoy features The O’Jays sing emotionally and passionately. Just below the surface, tension, frustration and anger is palpable, at the various problems that faced society. Then when The O’Jays sing the love songs on Ship Ahoy, we hear the side of their music most people are aware of.Their delivery of these gorgeous love songs feature the peerless combination of Eddie Levert’s vocal, laden with emotion and passion and tight, sweet and soulful harmonies. These two sides of The O’Jays’ music come to the fore on Ship Ahoy.
Forty years after the release of The O’Jays sophomore album for Philadelphia International Records, the music Ship Ahoy is just as relevant in 2013, as it was in 1973. To celebrate the fortieth anniversary of one of The O’Jays’ classic albums BBR Records rereleased Ship Ahoy in February 2013. Ship Ahoy is a stonewall Philly Soul classic, where songs filled with social comment sit side-by-side with beautiful love songs. Indeed, the platinum certified Ship Ahoy is one of the best albums ever released, and is one of several classic albums The O’Jays released between 1972 and 1979.
THE SALSOUL ORCHESTRA-MAGIC JOURNEY.
By 1977, The Salsoul Orchestra had established their reputation as disco’s premier orchestra. They’d been formed in 1975, and had already released a trio of albums, where disco, Philly Soul, funk, jazz, Latin and classical music were seamlessly fused. Much of the emphasis was on individual members stepping into spotlight and showcasing their considerable skills. With so many talented musicians in The Salsoul Orchestra’s lineup, their was abundance of talent. Baker, Harris, Young provided the rhythm section, Bobby “Electronic” Eli played guitar, Larry Washington congas and percussion while Vince Montana Jr played vibes. Add to that a full horn, string and woodwind section. The finishing touch were the legendary Philadelphia trio of backing vocalists, the Sweethearts of Sigma, who took charge of vocal duties. With so many talented and innovative people involved in The Salsoul Orchestra, it’s no wonder it was so successful.
Founded and lead by vibes virtuoso Vince Montana Jr, who wrote, arranged, conducted and produced much of The Salsoul Orchestra’s music, it seemed they could do wrong when they released their fourth album Magic Journey in 1977. This proved to be the case when Magic Journey reached number sixty-one the US Billboard 200 and number fifty-one in the US R&B Charts, as a new chapter in the Salsoul Records’ story began..
Over nine tracks, The Salsoul Orchestra fused disco, Philly Soul, funk, jazz, Latin and classical music. Like previous albums, The Salsoul Orchestra, lead by Vince Montana Jr, lead the way for disco orchestras. Others may have tried to replicate the sound of The Salsoul Orchestra, but they were fearless trailblazers and innovators. Although they strayed from their previous sound on a couple of tracks, this was quite brave. It took real courage, risking incurring the wrath of acerbic, one-eyed critics. Although Magic Journey wasn’t The Salsoul Orchestra’s most successful album, it saw The Salsoul Orchestra lay down a gauntlet and challenge their listeners.
The challenge was accepting and understanding a complex fusion of music. Despite the critics saying Magic Journey, which was rereleased by BBR Records, lacked the Philly Soul sound of previous albums, if they’d released similar albums to The Salsoul Orchestra and Nice ‘N’ Nasty they’d have been criticized as releasing formulaic music. Like musicians and especially innovative musicians, The Salsoul Orchestra were dammed if the do, dammed if they don’t. Instead, The Salsoul Orchestra, lead by its brave and innovative took their listeners on a Magic Journey that crossed musical genres, as they started the next chapter in the Salsoul Records’ story.
THE SALSOUL ORCHESTRA-NICE ‘N’ NASTY.
Nice ‘N’ Nasty was the first of two albums The Salsoul Orchestra would release within two months of 1976. After releasing Nice ‘N’ Nasty in October 1976, Christmas Jollies was released in November 1976. So, 1976 was a busy year for The Salsoul Orchestra. For their second album, ten songs were written, with Vince Montana Jr. writing five tracks, co-writing Standing and Waiting On Love with Floyd Smith and adapting Salsoul 3001. Ron Baker of the Baker, Harris, Young rhythm section, wrote the other new song, It Don’t Have To Be Funky (To Have A Groove). Along with a suite of two standards We’ve Only Just Begun and Feelings, which The Salsoul Orchestra would transform, the material was in place for Nice ‘N’ Nasty. Now the classic lineup of The Salsoul Orchestra would head to Philly’s legendary Sigma Sound Studios to record Nice ‘N’ Nasty, which was rereleased by BBR Records, proved another successful album.
Part of the success of The Salsoul Orchestra was the combined creative talents of everyone was utilised. Not only were The Salsoul Orchestra a hugely talented group of musicians, but also songwriter, arrangers and producers. This was the case on Nice ‘N’ Nasty. At Salsoul Records, these talents were unleashed, while at Philadelphia International Records, the talents of Baker, Harris, Young and Vince Montana Jr. were underused.
They were part of M.F.S.B, but not actively involved in songwriting and arranging, production. All this talent was on Gamble and Huff’s doorstep, but they never used or embraced it. That seems strange, that they never involved such hugely creative and talented people. Maybe, the dispute over payments that caused M.F.S.B. to leave Philadelphia International Records was something of a blessing in disguise. After the members of M.F.S.B.left Philadelphia International Records, their creativity was unleashed, playing a vital part in Salsoul’s sound and success.
This creativity and talent can be heard on Nice ‘N’ Nasty, where the Baker, Harris, Young provide the track’s heartbeat, while producer Vince Montana Jr. brought together the combined talents of musicians that included guitarist Bobby “electronic” Eli, keyboard player Ron “Have Mercy” Kersey, percussionist Larry Washington, flautist Jack Faith and violinist Don Renaldo. Adding the final finishing touch were the legendary backing vocalists the Sweethearts of Sigma. Each of these musicians and backing singers played their part in making Nice ‘N’ Nasty such a compelling, uplifting, joyous and timeless classic. Even thirty-six years later, listening to Nice ‘N’ Nasty well, It’s Good For the Soul and is the perfect introduction to The Salsoul Orchestra
THE TRAMMPS-DISCO INFERNO.
Eight months after The Trammps released Where The Happy People Go in April 1976, they released their third studio album Disco Inferno In December 1976. A year after The Trammps released Disco Inferno, their career was totally transformed. This transformation took place when Disco Inferno featured on the soundtrack to a low-budget movie. Little did anyone realise the effect Saturday Night Fever would have on disco and the career of everyone involved.
Saturday Night Fever was a low-budget movie, produced for only $2.5 million dollars, produced by Robert Stigwood and featuring John Travolta. It featured music from M.F.S.B, The Bee Gees, Tavares, Yvonne Eliman and The Trammps’ Disco Inferno. Even when Saturday Night Fever was released, little did anyone connected with the project realise its impact. Soon, Saturday Night Fever became one of the biggest films of the seventies. At the box office, Saturday Night Fever grossed $282.4 million. As for Saturday Night Fever’s soundtrack it was certified platinum fifteen times, selling over fifteen-million copies and staying at number one in the US Billboard Charts for twenty-four weeks between January and July 1978. For every artist or group who featured on the Saturday Night Fever, this was a career game-changer. Disco Inferno became synonymous with The Trammps. However, when The Trammps released their third album in December 1976, it was a very different story.
Disco Inferno was chosen as the lead single from Disco Inferno and reached number fifty-three in the US Billboard 100 and number nine in the US R&B Charts. Over in the UK, Disco Inferno reached number sixteen. On the release of Disco Inferno on on 29th December 1976, it reached number forty-six in the US Billboard 200 and number sixteen in the US R&B Charts. Although this was an improvement on That’s Where The Happy People Go, The Trammps weren’t as successful as some of the Philly groups. Their time would come though.
It seems that The Trammps picked up where they left off on Where The Happy People Go. Not only did The Trammps build on the momentum created by their sophomore album, but Disco Inferno saw The Trammps take their music to even heights of soulfulness and dance-floor friendliness. Philly Soul, funk, jazz and disco were all poured into The Trammps musical melting pot. The result was a delicious and timeless fusion of musical genres. From the opening bars of Body Contact Contract, right through tracks like I Think I’ve Been Living (On the Dark SIde of the Moon), Disco Inferno and the deeply soulful strains of You Don’t Touch My Hot Line, The Trammps never miss a beat. There’s a reason for this though.
A combination of The Trammps vocal prowess, plus some of Philly’s best songwriters, arrangers, producers and musicians resulted in Disco Inferno’s success. Norman Harris, Ron Baker, Ron “Have Mercy” Kersey and Earl Young all deserve credit for their productions on Disco Inferno. So do the all-star line of musicians, featuring some legendary Philadelphia musicians. Especially with such a charismatic vocalist as Jimmy Ellis bringing each song to life with power, passion and emotion. The Trammps and Sweethearts of Sigma’s harmonies were just the finishing touch. When you look at the personnel involved in Disco Inferno and hear the six tracks, you wonder why the album wasn’t a much bigger success. Then a year later, somewhat belatedly, one of the tracks on Disco Inferno which was rereleased by WEA Japan in April 2013, became an anthemic, iconic disco classic.
When Saturday Night Fever was released, the title-track Disco Inferno became disco’s anthem worldwide. Fifteen-million copies of the Saturday Night Fever soundtrack were sold and suddenly, everyone knew The Trammps and their music. Some of the artists that featured on the Saturday Night Fever soundtrack didn’t enjoy the longevity of The Trammps. Thirty-six years later, The Trammps music is just as popular. Indeed, many of The Trammps songs, including Disco Inferno , have become anthemic, iconic tracks, that’s part of disco’s rich and vibrant history.
VAN MORRISON-MOONDANCE.
Van Morrison was only twenty-five when he released his third album, Moondance in February 1970. Moondance had been two years in the making and was an introduction to Van’s Caledonian soul. It had taken Van ten months to write the lyrics to Moondance. The lyrics were written at Van’s mountaintop home, not far from Woodstock village, in upstate New York. For some time, Van had been living in Woodstock, which was now home for him and his wife. This was the perfect place to write a classic album, Moondance hich was recently rereleased by Warner Bros.
Inspired by his surroundings, family and memories, Van set about writing the lyrics to Moondance. They are poetic, evocative and mystical. Like an artist used his palette to create pictures, Van used words. He takes you on a series of journeys. On And It Stoned Me, Van takes you back to the Belfast of his youth, while Caravan conjurs up images of living life as a gypsy. You can imagine the pictures unfolding before your eyes. These were the lyrics that Van took into A&R Studios, in New York.
For the recording of Moondance, Van recruited his band from musicians based in Woodstock. They headed along to A&R Studios, in New York. When they got there, they discovered that Van hadn’t written the music to Moondance. No. The music and the arrangements existed in his head along. Somehow, Van had managed to make his band understated what he was hearing in his head. That’s no surprise. Van had recruited a crack band of musicians.
Van Morrison’s lyrics are on Moondance are poetic, evocative and mystical. Van’s songs takes you on a series of journeys. Full of imagery, he conjurs up images. These pictures unfold vividly before your eyes. Using inspiration from his life and everyday life, you’re introduced to a cast of characters and scenarios. Other tracks feature lyrics that are almost mystical and surreal. Then there’s songs about love, and love gone wrong. This includes Crazy Love and Come Running. Brand New Day is Van’s spiritual awakening. Of course, there’s the classic title-track, Moondance, which since 1970, has been a staple of radio stations everywhere. It’s one of the best known songs Van Morrison wrote, while Moondance is perceived as Van’s finest album.
Think of that. Van Morrison wrote Moondance, the best album of his career when he was just twenty-five. Moondance was just Van’s third album. After that, he’d go on to release another twenty-nine albums. While many of them were critically acclaimed and commercially successful, they never quite matched the quality of Moondance. Following Moondance, Van was constantly trying to replicate such a groundbreaking, critically acclaimed and commercially successful album. There were times when we heard tantalising glimpses of the quality of music on Moondance, which was recently rereleased as a double album by Warner Bros.
Quite simply, the music comes alive on the newly remastered version of Moondance. You hear subtleties and nuances you’ve never heard before. They clarity of music is much better than previous CD versions. It assails you and surrounds you. There’s a depth to the music. Layer upon layer of music reveal themselves. You can’t help but let the music wash over you and revel in is ethereal, emotive and spiritual beauty. As the music washes over you, Van Morrison’s unique brand of Caledonian Soul comes alive on Moondance. Genres melted into one on Moondance. Blues, country, jazz, R&B, rock and soul combined with Van’s Celtic roots. The result was Moondance, a cerebral, challenging and genre-melting album which showcased Van’s Morrison’s poetic genius. Moondance, like its predecessor Astral Weeks, featured Van Morrison at the height of his powers. That’s why Moondance is worthy of being referred to as a classic, which belongs in the record collection of anyone remotely interested or passionate about music.
WOLFMOON-WOLFMOON.
Swamp Dogg first encountered Tyrone Thomas in 1964, when Brooks O’Dell first brought him to his Philadelphia home. Brooks had given Swamp Dogg the hard sell about Tyrone Thomas. Swamp Dogg wasn’t disappointed. He was so impressed that he invited Tyrone into his house. This was the start of a tumultuous musical partnership. As partnerships go, it was more off than on. Somehow though, it lasted until 1973, when Tyrone Thomas using his Wolfmoon alias, released his eponymous debut album, Wolfmoon, which was recently rereleased by Alive Records.
With Tyrone Thomas now signed to Canyon Records, Swamp Dogg set about cultivating his image. Gone was Lil Tommy. So too was Tyrone Thomas. Replacing him, was Wolfmoon. This fitted with the album’s theme. It was a fusion of gospel, R&B and Southern Soul, which Swamp Dogg decided would be entitled Wolfmoon.
Sadly, the deal that Swamp Dogg had with Canyon Records fell through. Canyon Records reneged on the deal.This was a huge disappointment for Wolfmoon and Swamp Dogg. They’d recorded an album, but it had never been released. At least Canyon Records didn’t ask for their money back. It looked like Wolfmoon and Swamp Dogg’s luck was changing.
Four years after Wolfmoon was recorded for Canyon Records, in 1969, it was eventually released on Fungus Records in 1973. Sadly, Wolfmoon wasn’t a commercial success. It passed almost unnoticed. That’s not surprising. In that four year period, music had changed. The sixties, when Wolfmoon was recorded, seemed but a distant memory. As the seventies took shape, the fusion of Southern Soul, R&B and gospel that’s Wolfmoon, was no longer as successful. Soul had taken on a sophisticated sheen. Philly Soul was now seen as the future of soul. The brand of Southern Soul like Swamp Dogg produced was seen as yesterday’s sound. Granted fashion changes, but class is permanent.
Forty years after its eventual and belated release, Wolfmoon has stood the test of time. A true hidden soulful gem, Wolfmoon’s recent rerelease by Alive Records means a new generation can discover this hidden Southern Soul classic. This is part of Swamp Dogg’s Soul and Blues Collection which Alive Records are in the process of rereleasing. Wolfmoon is just the latest instalment in this series and is a welcome rerelease of a hidden gem.
Featuring Southern Soul with a social conscience, Wolfmoon made not just his debut, but his final bow on Wolfmoon. He was no longer Lil Tommy. Nor was he a Teenager. Wolfmoon was all grownup, and looked like forging a career as a Southern Soul singer, Sadly, that wasn’t to be. Wolfmoon released just one album, Wolfmoon. Mind you what an album Wolfmoon was. There was no followup up to Wolfmoon and for forty long years, Wolfmoon has lain unloved, apart from a few discerning soul connoisseurs. Now this hidden Southern Soul gem is available for everyone to discover. So take a tip from me and let the Wolfmoon into your life and record collection.
WORLD PSYCHEDELIC CLASSICS 5:WHO IS WILLIAM ONYEABOR?
To celebrate its twenty-fifth anniversary, Lauka Bop released World Psychedelic Classics 5: Who is William Onyeabor. As rhetorical questions go, it’s one of the best. No-one can say with any certainty who William Onyeabor is. Much of his life is shrouded in mystery. There’s a reason for this. After releasing eight albums between 1978 and 1985, William Onyeabor became a born-again Christian. He turned his back on music and refused to talk about his life or music. In some ways, this has helped perpetuated the myths surrounding William Onyeabor.
With William Onyeabor refusing to discuss his past, a rumors surrounded his life after music. Rumors are rife about what happened next. Some believe William studied cinematography in the Soviet Union, then returned to Nigeria, where he founded his own film company, Wilfilms. Then there’s rumors William studied law in England, before becoming a lawyer in his native Nigeria. Others believe William became a businessman in Nigeria. According to other people, William worked for the Nigerian government. No-one can say with any degree of certainty. The only person who knows what happened next, is William Onyeabor. Thirty-eight after William Onyeabor found religion, and turned his back on music, he’s still refusing to discuss his past. Lauka Bop, tried to discover what happened to William Onyeabor. Despite their best efforts, they were unable to solve what is one of music’s real mysteries. This means still, little is known about Nigerian music’s most enigmatic musicians, William Onyeabor. One thing we know, is that William Onyeabor was a hugely talented musician.
Over a seven-year period, William Onyeabor released eight innovative and inventive, groundbreaking, genre-melting albums. On each of these albums, was music that was way ahead of the musical curve. Proof of that is World Psychedelic Classics 5: Who is William Onyeabor, which features nine tracks from William’s illustrious back-catalogue. Everything from Afro-beat, cosmic funk, gospel, jazz, post-disco, proto-house, psychedelia, reggae, rock and soul was thrown into the melting pot by William Onyeabor. This is apparent on World Psychedelic Classics 5: Who is William Onyeabor which will be released on 28th October 2013, on Lauka Bop. No wonder. William Onyeabor was a musical visionary. That’s no exaggeration. After all, how many people could successfully mix sci-fi synths with soul and jazz? William Onyeabor could, and does on Let’s Fall In Love. Then on Fantastic Man, William like a mystic, foresaw the changing of the musical guard.The ghost of disco passes the musical baton to Chicago house. This fusion of post-disco and proto-house demonstrates the versatility of William Onyeabor.
Indeed, William Onyeabor’s music evolves throughout the period between William released his 1978 debut album Crash In Love and 1983s Good Name. Whilst other artists were churning out albums of similar music, William was pushing musical boundaries. He wasn’t content to stand still. One listen to World Psychedelic Classics 5: Who is William Onyeabor and you’ll realize this. From 1980 onwards, his music evolved. It became much more reliant on synths, keyboards and drum machines. Sometimes, it’s best described as futuristic, with a sci-fi sound. An example of this is Let’s Fall In Love, from his 1983 album Good Name. Buzzing, sci-fi synths are key to the track’s futuristic sound. To this inventive track, somehow, William welds soul and jazz. It’s a combination that shouldn’t work, but does. In a way, it’s just one example of the genius of William Onyeabor, which was lost to music after his 1985 album Anything You Sow.
That William Onyeabor turned his back on music, is music’s loss. Who knows what heights of innovation and inventiveness William Onyeabor might have reached? After all, he was creating music in just as midi was invented. He never got the opportunity to work with all the new technology producers now take for granted. Nor will we ever know Who is William Onyeabor? Rumor, myth and mystery will forever surround William Onyeabor, one of music’s mavericks. An innovator and musical chameleon, World Psychedelic Classics 5: Who is William Onyeabor proves that in his pursuit of musical excellence and perfection, William Onyeabor pushed musical boundaries and rewrote rulebooks. His legacy is eight albums, released between 1978 and 1985. A tantalising taste of that music can be found on World Psychedelic Classics 5: Who is William Onyeabor, which is the perfect introductions to one of music’s lost geniuses.
Z.Z. HILL-THE BRAND NEW Z.Z. HILL.
The story behind how Z.Z. Hill found himself in Muscle Shoals, Alabama, recording with producer Swamp Dogg is the equivalent to a game of musical pass the parcel. It all started when Swamp Dogg had bought Z.Z. Hill’s contract from Quin Ivy, one of the stalwarts of the Muscle Shoals music scene. There wasn’t much Quin hadn’t done. He’d been a DJ, songwriter, owned a record shop and opened the Quinvy Studios. Quin had also Percy Sledge, but wouldn’t be producing Z.Z. Hill. No. The pair didn’t get on. There was a good reason for this though. Quin had been tricked into buying Z.Z. Hill’s contract from Phil Walden, who’d managed Otis Redding and founded Canyon Records.
Phil Walden was another music industry veteran. He’d managed and founded Capricorn Records. It was to Capricorn Records that Z.Z. Hill was signed. Z.Z. Hill and Phil didn’t see eye-to-eye. However, when Phil sold the contract to Quin, it was like jumping from the frying pan into the fire. Now his contract had changed hands again. Swamp Dogg owned the contract. There was a problem though. Z.Z. Hill was avoiding Swamp Dogg.
The only way to contact Z.Z. Hill was through his brother Matt. There was a reason for this. Whilst under contract to Quin, Z.Z. Hill had recorded Don’t Me Pay For His Mistakes. It had been a huge hit. As Swamp Dogg owned the contract, he was entitled to a royalty. That’s why Z.Z. Hill was avoiding Swamp Dogg. Eventually, when the pair met Swamp Dogg agreed to forego any royalties. He also paid Z.Z. Hill $5,000 and a small royalty to record what became The Brand New Z.Z. Hill, which was recently released by Alive Records. Ironically, Swamp Dogg had chosen Quinvy Studios to record The Brand New Z.Z. Hill. Surely, that was a step to far for Z.Z. Hill?
It wasn’t. Z.Z. Hill agreed to record the blues opera that was The Brand New Z.Z. Hill, at Quinvy Studios. Most of the songs were written by Swamp Dogg and one of his regular songwriting partners Gary US Bonds. A total of ten tracks were recorded by Z.Z. Hill at Quinvy Studios. Accompanying Z.Z. Hill were some of the best musicians in Muscle Shoals.
Sadly, despite this, The Brand New ZZ Hill wasn’t the commercial success that it deserved to be.Maybe Mankind, a short-lived and unsuccessful subsidiary of Nashboro was the wrong label for The Brand New ZZ Hill?
After all, everything else was in place for The Brand New ZZ Hill to be a commercial success. There was nothing wrong with the music on The Brand New Z.Z. Hill. Quite the opposite, The Brand New ZZ Hill was an innovative concept album where blues and Southern Soul became one. Accompanied by a crack band of top session players, Z.Z. Hill made the music come alive. Blessed with a voice that can inject emotion, meaning, and energy into a song, lyrics come alive. It only takes one listen to The Brand New ZZ Hill, which was recently released by Alive Records and you’ll realise this. Whether its sadness or joy, hurt, heartbreak and happiness Z.Z. Hill can deliver this and more. Love songs, breakup songs and makeup songs Z.Z. delivers them with feeling. However, there’s more to his music than that. He can deliver a Northern Soul stomper. Grabbing the song by the scruff of its neck, he can make a good song a great, and an average song good. Not every singer can do this. Z.Z. Hill could and did. Sadly, he never enjoyed the success his talent deserved.
After The Brand New ZZ Hill, fame made fleeting visits to Z.Z. Hill. He briefly met the seductive temptress that is fame. Like many other singers, he enjoyed a taste of what fame had to offer. Sadly, although he never experienced its delights to the fullest. Having glimpsed and tasted its delights, tragically, Z.Z. Hill’s career was cut tragically short. Aged just forty-nine, he died in 1984, having recorded eighteen albums. One of the highlights of Z.Z. Hill’s back-catalogue is The Brand New ZZ Hill, a delicious fusion of blues and Southern Soul that could’ve and should’ve transformed his career.
Well, that’s my list of the best reissues of 2013, in A-Z order. It’s been my chance to remind myself how much great music has been rereleased during 2013. This hasn’t been 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. On my list, are albums from just about every musical genre. This includes everything from Afro-beat, blues,electronica, free jazz, funk, jazz, Latin, Philly Soul, prog rock, psychedelia, reggae, rock and Southern Soul. If I was to sum up my list of the best reissues of 2013, I’d say it’s an eclectic list. Having said that, it’s a list that features some familiar friends.
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.
THE A-Z OF THE BEST COMPILATIONS OF 2013-PART 1.
THE A-Z OF THE BEST COMPILATIONS OF 2013-PART 1.
Considering how many compilations have been released during 2013, picking the fifty best compilations wasn’t easy. After all, I’ve listened to hundreds of compilations. They’ve come from the four corners of the globe, featuring every musical genre known to man. This includes everything from Acid House, Afro-beat, blues, Chicago House, electronica, funk, jazz, Latin, Philly Soul, prog rock, psychedelia, reggae, rock, Southern Soul and zydeco. If I was to sum up the compilations released during 2013 using one word, it would be eclectic. That describes the compilations released during 2013. So whatever your musical taste, there’s something for you. My list of the fifty best compilations reflects how eclectic a year 2013 has been. Without further ado, here’s my fifty best compilations of 2013, in A to Z order.
A ROAD LEADING HOME-SONGS BY DAN PENN AND OTHERS.
When eventually, someone decides to write the definitive history of Southern Soul, Dan Penn’s name will loom large. At last, one of Southern Soul’s reluctant heroes will receive the credit they deserve. A quiet, unassuming man, Dan Penn’s modesty belies that fact that, for over thirty years, he was one of the most influential and successful people in Southern Soul. During that period, Dan worked with Aretha Franklin, Irma Thomas, James Carr, Solomon Burke, Dionne Warwick and Janis Joplin. Along with a variety of songwriting partners, Dan Penn cowrote numerous Southern Soul classics.
Dan’s most successful songwriting partnership was with Spooner Oldham. Together, they cowrote numerous Southern Soul classics. The songs that Dan and Spooner cowrote are just a few of the near five-hundred tracks Dan Penn cowrote. Many of these were with various other songwriting partners. This includes the twenty-four tracks that feature on Ace Records recent compilation A Road Leading Home-Songs By Dan Penn and Others. It’s the followup to the critically acclaimed and award-winning compilation Sweet Inspiration: The Songs Of Dan Penn and Spooner Oldham which Ace Records released in 2011. What a followup A Road Leading Home-Songs By Dan Penn and Others is.
For A Road Leading Home-Songs By Dan Penn and Others, compilers Bob Dunham and Tony Rounce have dug deep. They’ve discovered a compelling collection of tracks. Mind you, they’d plenty of choice. After all, Dan Penn wrote nearly five-hundred tracks during his long, illustrious and successful career. With so many tracks to choose from, narrowing this down to a mere twenty-four couldn’t have been easy. What Bob and Tony have chosen is a mixture of familiar tracks, classics and hidden gems. Each sit comfortably side-by-side on A Road Leading Home-Songs By Dan Penn and Others. However, there’s more to Dan than a songwriter.
Describing Dan Penn as a songwriter as a songwriter is an understatement. He’s also a singer, musician and producer. Dan was just as comfortable working as a producer and produced The Box Tops, Esther Phillips, Solomon Burke and Patti LaBelle and The Bluebells. Then there was Dan’s career as a singer songwriter. Although it neither replicated the success he enjoyed as a songwriter, nor producer, Dan released a series of well received albums. It seemed that whatever Dan Penn did, he did well. Despite this, Dan Penn remains a quiet, unassuming and modest man. A Road Leading Home-Songs By Dan Penn and Others is Ace Records’ fitting and lovingly compiled tribute to a true legend of Southern Soul, Dan Penn.
ACID-MYSTERONS INVADE THE JACKIN’ ZONE: CHICAGO ACID AND EXPERIMENTAL HOUSE 1986-93.
Acid-Mysteron Invade The Jackin’ Zone: Chicago Acid and Experimental House 1986-93 is no ordinary compilation. Quite the opposite. Instead, it’s a luxurious double-album, from Soul Jazz Records that’s housed in substantial box. Within the box, are the two discs plus a couple of bonus items. There’s a a limited edition set of postcards and a graphic novel by Paolo Parish, entitled Mysterons Invade The Jackin’ Zone, which is set in Chicago in 1986. All that’s just a bonus, what really matters is the music on Acid-Mysteron Invade The Jackin’ Zone: Chicago Acid and Experimental House 1986-93.
For newcomers to Chicago House, it’s much more than an introduction to the music. It’s an introduction to some of the pioneers of Chicago House. Without the technology and software producers take for granted, pioneers like Mr. Fingers, Virgo, Adonis and J.M. Silk. These are the people who were there at the dawn of a musical revolution. Since then, house music has continued to evolve, with numerous sub-genres have been born. That’s ensured that house music neither becomes stale nor complacent. Born out of disco and boogie, house music has become one of the most important musical genres in the history of music. It’s enjoyed a longevity that few people would’ve forecast. Mind you with several generations of musical innovators breathing new life and energy into house music, then that longevity isn’t a surprise. As house music approaches its thirtieth birthday, then Acid-Mysteron Invade The Jackin’ Zone: Chicago Acid and Experimental House 1986-93 is an important reminder of house music’s roots.
ACID RAIN: DEFINITIVE ORIGINAL ACID AND DEEP HOUSE 1985-1991.
Acid Rain: Definitive Original Acid and Deep House 1985-1991 was released by Harmless Records in August 2013. Compiled by Terry Farley, it features sixty-one tracks spread over five discs. The six year period Acid Rain: Definitive Original Acid and Deep House 1985-1991 covers is the golden age of house music. Born in Chicago, in the early eighties, this period marked the birth of a new, innovative and revolutionary musical genre which celebrated its twenty-fifth birthday.
The release of Acid Rain: Definitive Original Acid and Deep House 1985-1991 is the perfect way to celebrate the 25th anniversary of the Second Summer Of Love. To celebrate this illustrious anniversary, what was needed was a lovingly compiled, box set, that was a reminder of those heady, hedonistic days of 1988. That’s what we got, thanks to Terry Farley. He’s chosen well, and has dug deep, deeper than he’s dug before. Terry Farley chose sixty-one tracks which include old favourites, classics and hidden gems. Most of the tracks are innovative and groundbreaking. This includes contributions from pioneering producers.
Despite the lack of a large budget, recording contract or recording studio, producers were able to record music that was revolutionary, music that was imaginative, innovative and went on to influence further generations of producers. Some of that music is nearly thirty-years old, but has aged well. Indeed, I’d go as far as describe the music as timeless. That certainly is a good way to describe much of the music on Acid Rain: Definitive Original Acid and Deep House 1985-1991. Timeless, innovative and influential describes the music on Acid Rain: Definitive Original Acid and Deep House 1985-1991, which is a glorious reminder of the heady, hedonistic days of the Second Summer Of Love.
AFROBEAT AIRWAYS 2-RETURN FLIGHT TO GHANA 1974-1983.
The best way to describe Afrobeat Airways 2-Return Flight To Ghana 1974-1983, is a luxurious and lovingly compiled compilation. It’s contained in a heavyweight cardboard slipcase. Within it are a forty-four page book and separate slipcase which contains the CD. Everything about Afrobeat Airways 2-Return Flight To Ghana 1974-1983 reeks of quality. Other reissue companies should look at what Analog Africa do and make this the industry standard. After all, many people, myself included, want a quality product. Many people also want to know more about the music and the people who made it.
Describing the sleeve-notes to Afrobeat Airways 2-Return Flight To Ghana 1974-1983 as extensive and informative seems an understatement. It’s a labor of love. There are ten essays in the sleeve-notes to Afrobeat Airways 2-Return Flight To Ghana 1974-1983. Nine of the interviews are by Vikran Sohonie, who deserves the utmost credit for his contribution. His love of Ghanian music shines through and his enthusiasm is almost infectious. It’s well worth taking the time to read and absorb the sleeve-notes. It helps you to understand the music. Ironically, to do the sleeve-notes justice, it takes longer to read them than listen to Afrobeat Airways 2-Return Flight To Ghana 1974-1983. Having said that, it takes several listens to even come close to appreciating the subtleties and nuances of what is some of the best music to come out of Ghana between 1974 and 1983.
On Afrobeat Airways 2-Return Flight To Ghana 1974-1983, everything from funk, gospel, jazz, psychedelia, rock and soul combined. The result is thirteen delicious slices of Afrobeat and highlife. Uplifting, joyous, spiritual and infectiously catchy, it’s also funky, jazz-tinged, soulful and lysergic. It’s music that has a foot in four decades. Influenced by fifties and sixties jazz, sixties psychedelia sits next to seventies funk and Blaxploitation. There’s also a twist of rock, gospel and soul. All these influences play their part in some glorious music, music that truly deserves a wider audience.
AMERICANA 2.
Two years after the release of their first compilation of blue-eyed soul, Americana, Zaf Chowdry and Mark Taylor return with the followup, Americana 2. It will be released by BBE Music in November 2013. Americana 2, which features sixteen tracks from the seventies and eighties, is described on the album cover as “more blue-eyed soul and A.O.R. sounds from the land of the free.” That may be the case. However, in some ways, Americana 2 was different to its predecessor.
The best way to describe the music on Americana 2 is contemporary. Yes it’s still blue-eyed soul, but with a more contemporary sound. As for the music on Americana 2, it’s much more eclectic. In some ways this is fitting. After all the term “Americana” covers a whole host of musical styles. Definitions of Americana vary, but essentially, it’s contemporary music incorporating various American roots musics. This could include everything from blues, bluegrass, country, folk, R&B, rockabilly or roots rock. As you see, Americana is a broad musical church. Fittingly, Americana 2 was an all-encompassing compilation. That’s what made it a must-have compilation.
Americana 2 is crammed full of quality, contemporary music. This includes private pressings, rarities and forgotten hidden gems. It’s exquisite and eclectic selection of music. Zaf Chowdry and Mark Taylor see to that. They’ve dug deep into their respective record collections, digging deeper than they’ve dug before. What they’ve come up with, is some of the rarest records they own. In sharing them with you, they save you a small fortune. That’s what it would cost to buy the sixteen tracks on Americana 2. Indeed, that’s if you could find them. Many of these tracks were pressed privately or were on albums that were released in small numbers. Tracking them down could take a lifetime and prove a frustrating search. To save you the trouble, frustration and running up a huge overdraft, Zaf Chowdry and Mark Taylor bring them together on Americana 2, their latest compilation of contemporary blue-eyed soul.
ANGOLA SOUNDTRACK 2.
For too long, Angolan music has been overlooked. While we’re familiar with the music of Nigeria, Kenya, South Africa and Ghana, record companies have overlooked Angola’s musical past. Not any more. Samy Ben Redjeb’s Analog Africa released their first compilation of Angolan music in 2010. Three years later, comes the much anticipated followup, Angola Soundtrack 2. Featuring twenty-one tracks, Angola Soundtrack 2 is of the quality I’ve come to expect from Analog Africa.
Analog Africa’s approach to compilations is to concentrate on quality, not quantity. Angola Soundtrack 2 is only their fifteenth compilation. Rather than releasing new compilations each month, Analog Africa take time and care, producing lovingly complied and lavish compilations. Angola Soundtrack 2 is proof of this. Featuring in-depth sleeve-notes, full of interviews with some of the musicians that featured on Angola Soundtrack 2, this sets the standard for compilations. It’s obvious time and effort has gone into the making of Angola Soundtrack 2, an eclectic collection of tracks.
There’s everything from Afro-beat, funk, jazz, Latin, merengue and soul. Musical influences and genres melt into one. Joyous, uplifting, irresistible and infectiously catchy describes the music on Angola Soundtrack 2. So does soulful, heartfelt and impassioned. Full of subtleties, surprises and hidden secrets, Angola Soundtrack 2 is the perfect introduction to Angolan music. It’s also the perfect followup to Angola Soundtrack. Just like Angola Soundtrack, Angola Soundtrack 2 is a tantalising taste of Angola rich and vibrant musical legacy courtesy of Analog Africa.
BANG-MIXED AND COMPILED BY TERRY HUNTER.
Back in July 2013, Terry Hunter released Bang which he’d mixed and compiled. It’s a double album where Terry Hunter replicates an evening at Chicago’s hottest club night Bang. Disc one features the fourteen tracks, while disc two sees Terry seamlessly mixes the fourteen eclectic tracks together. It’s one of the tightest and smoothest mixes you’ll hear this year.
While DJ mixes are literally two a penny, one thing that differs, is their quality. Bang-Mixed and Compiled by Terry Hunter is one of the best. Featuring an eclectic and intriguing selection of music, there’s surprises aplenty in-store for the listener. Eschewing tried and tested tracks, Terry digs deeper, compiling a compelling selection of fourteen tracks. His track selection is flawless. No wonder. He’s a veteran DJ, with twenty-five years experience behind him. He’s put that experience to good use on Bang-Mixed and Compiled by Terry Hunter, which features one of the best DJ mixes of 2013. During that musical journey, Terry Hunter demonstrates, just what it takes to create a top class DJ mix.
BLUESIN’ BY THE BAYOU.
Bluesin’ By The Bayou, which was released by Ace Records in May 2013, is described as: “low down, dirty and greasy blues from Louisiana.” As if that wasn’t enough reason to discover the delights of Bluesin’ By The Bayou, compiler Ian Saddler had added some zydeco for good measure. I was hooked. After all, blues and zydeco are a potent combination. That’s not even taking into account fourteen previously unreleased tracks. That was it. I had to grab a copy of Bluesin’ By The Bayou and see what all the fuss was about. This wasn’t a case of over enthusiastic marketing. No. Bluesin’ The Bayou was the real deal.
That’s thanks to Ian Saddler’s crate-digging skills. You embark on a mesmeric musical journey, where Ian combines blues and zydeco. This including fourteen tracks that never before. Music this good, doesn’t belong in the vaults of a record company. Instead, it should be where people can enjoy. That’s the case here. Indeed, just as you think you’ve heard a track that can’t possibly be bettered, it is. That’s no mean feat. All killer, filler describes Bluesin’ By The Bayou perfectly. Featuring a feast of blues and zydeco, Bluesin’ By The Bayou is one of the best blues compilations of 2013.
BOPPIN’ BY THE BAYOU-MORE DYNAMITE.
Back in May 2013, Ace Records released Bluesin’ By The Bayou, a compilation of “low down, dirty and greasy blues from Louisiana.” With some Zydeco thrown in for good measure by compiler Ian Saddler, Bluesin’ By The Bayou was a potent musical cocktail. The music on Bluesin’ By The Bayou was recorded at J.D. Miller and Eddie Shuler’s studios in Louisiana. For the followup to Bluesin’ By The Bayou, the recently released Boppin’ By The Bayou-More Dynamite, which was recently released by Ace Records, compiler Ian Saddler has dug deeper.
Not only does Boppin’ By The Bayou-More Dynamite feature tracks recorded at J.D. Miller and Eddie Shuler’s studios, but tracks recorded at Carol Rachou and Charles “Dago” Redlich’s studios. Each producer had their own approach to recording as was apparent on Boppin’ By The Bayou-More Dynamite.
Boppin’ By The Bayou-More Dynamite picks up where Louisiana,” Bluesin’ By The Bayou left off. This means more “low down, dirty and greasy blues from Louisiana.” There’s also rockabilly, country, rock ‘n’ roll, zydeco and swamp pop. Quite simply, Boppin’ By The Bayou-More Dynamite is an introduction to the music of Louisiana. An rich and eclectic selection of music, there’s ten tracks that have been released before, plus eighteen previously unreleased tracks. It’s compelling, enthralling, eclectic and mesmeric musical journey that’s a fitting followup to Bluesin’ By The Bayou.
BRAZILIAN BEATS 7.
For lovers of Latin music, one of the most eagerly awaited compilation series is Mr. Bongo Records’ Brazilian Beats. The first instalment of this critically acclaimed compilation series was released thirteen years ago, back in 2000, just as the new millennia dawned. Little did the realise that they’d launched one of the most successful compilation series of recent years, one which helped popularise Brazilian music.
The next volume, Brazilian Beats 2, was released a year later in 2001. Volume 3 followed in 2002, with volume 4 released in 2003. Then after a gap of two years, 2005 saw the release of volumes 5 and 6. Since then, apart from a box set containing each volume of Brazilian Beats, there’s been no further volumes of Brazilian Beats. That was until recently.
New names and familiar faces feature on Brazilian Beats 7. Best described as eclectic, everything from bossa nova, samba, soul, funk, jazz, rock and psychedelia can be heard on Brazilian Beats 7. This is a world away from most of the tired and predictable compilations of Brazilian music released in recent years. Instead, the music on Brazilian Beats 7 is innovative, inventive and eclectic. Brazilian Beats 7 also joyous, uplifting and irresistible. It’s a welcome return for the the Brazilian Beats series. After eight years away, the Brazilian Beats compilation is back and back with a bang with Brazilian Beats 7, the latest in what is one of the best compilations of Brazilian music money can buy.
THE A-Z OF THE BEST COMPILATIONS OF 2013-PART 2.
THE A-Z OF THE BEST COMPILATIONS OF 2013-PART 2.
CAN YOU JACK? CHICAGO HOUSE AND EXPERIMENTAL HOUSE 1985-1995.
Can You Jack?Chicago House and Experimental House 1985-1995 isn’t a new compilation. Not at all. It was originally released way back in 2005. Now eight years later, just as the Chicago House is about to celebrate its thirtieth anniversary, Soul Jazz Records have decided to rerelease Can You Jack?Chicago House and Experimental House 1985-1995. That’s no bad thing though. It’s a reminder of the heady, hedonistic, glory days of Chicago House and beyond.
Rather than limiting the music from 1985-1989, which were the golden years of Chicago House, extending this to 1995 worked well. It allowed the compiler to include music from the second wave of producers. This new generation of producers took Chicago House in a new direction. Sometimes, this meant a more experimental direction. This meant Chicago House enjoyed a longevity that few forecast it would. They doubted whether it would survive beyond a few years. Mind you, look at the pioneering producers were working during this period.
Looking through the track-listing of Can You Jack? Chicago House and Experimental House 1985-1995, it’s certainly not short of Chicago House legends. There’s contributions from some of the pioneers of Chicago House. This includes contributions from Sweat Boyz, Virgo, Mr. Fingers, Phuture and Roy Davis. There are also contributions from Maurice, Tyree and Fresh. They played their part in making Chicago House’s history.
As Chicago House approaches its thirtieth anniversary, there’s been a resurgence in interest in the music’s roots and history. One way to find about Chicago House’s roots and history is by buying Can You Jack? It was released in April 2013 and features a lengthy and informative fifty-two page booklet. Can You Jack? Chicago House and Experimental House 1985-1995 also features some of the greatest, most influential and innovative music in the history of Chicago House.
CHANGE THE BEAT-THE CELLULOID RECORDS STORY 1979-1987.
Earlier this year, Strut Records released Change The Beat-The Celluloid Records Story 1979-1987. This showcased the eclectic, experimental, innovative and pioneering music Celluloid Records released. Founded by Jean Karakos, Celluloid Records, established a reputation as a record label that pushed musical boundaries. A reminder of this is Change The Beat-The Celluloid Records Story 1979-1987.
Change The Beat-The Celluloid Records Story 1979-1987, feature a suitably eclectic selection of tracks that’s representative of Celluloid Records back-catalogue. Celluloid Records lasted only eight years, but during that time, Celluloid proved one of the most innovative record labels. They were never afraid to challenge musical norms, releasing music that strayed from the norm.
Indeed, Celluloid Records proved to be a trendsetting label, masterminded by Jean Karakos. Hip hop, electro, synth pop, Afro Beat, dance, avant garde, jazz, rock and much, much more. You’ll realise that when you listen to Change The Beat-The Celluloid Records Story 1979-1987. Musical genres seamlessly melt into one as musical boundaries are pushed to their limit during this compelling and captivating, genre-sprawling, musical journey.
COSMIC MACHINE.
Cosmic Machine, which was compiled by Uncle O and released in October 2013 on Because Music, charts the development, innovation and revolution in French electronic music. Drawing inspiration from sixties psychedelia and rock, and drawing upon the sounds of the latest synths a lysergic, cosmic, electronic revolution unfolded. A new generation of French musicians created some of the most innovative, inventive and mind-bending music of a generation. Twenty examples of this can be found on Cosmic Machine, which is described as “a voyage across French cosmic and electronic avant garde 1970-1980.
Cosmic Machine is a bit like a musical equivalent of Pythagorus’ Theorem. I know 3.14 infinity equals pie, but don’t know how the pieman got there? Similarly, it’s almost impossible to understand how the artists on Cosmic Machine were able to make music that was so far ahead of the musical curve? That’s the eight mystery of the world. Some of the music sounds as if it was recorded only recently. It wasn’t. Far from it. Instead, it was recorded in the early seventies, over forty years ago. That’s quite remarkable. Despite the equipment being much more basic, the music sounds truly timeless. If only artists and producers were producing music that’s just as inventive and groundbreaking as the music on Cosmic Machine.
For newcomers to French electronic and avant garde music, Cosmic Machine which released on 14th October 2013 on Because Music, is the perfect starting place. It might be the first album of French electronic and avant garde music you buy, but believe me, it won’t be the last. Described as “a voyage across French cosmic and electronic avant garde 1970-1980,” that’s almost an understatement. Instead, I’d describe Cosmic Machine as a magical, mystical, musical mystery tour through innovative, inventive and imaginative electronic and avant garde music. The lysergic, genre-melting music on Cosmic Machine is truly timeless and way ahead of the musical curve. So much so, that Cosmic Machine features music from the golden age of French electronic and avante garde music. Don’t just take my word for it, climb onboard the Cosmic Machine and head off on a magical, mystical, musical mystery tour.
DAORA-UNDERGROUND SOUNDS OF URBAN BRASIL- HIP HOP BEATS AND AFRO DUB.
Featuring thirty-two tracks spread over two discs, Daora-Underground Sounds Of Urban Brasil-Hip Hop Beats and Afro Dub, which was compiled by Rodrigo Brandão shows another side to Brazilian music. It’s best described as featuring progressive hip hop, leftfield beats, Afrobeat and dub drenched sounds. A simpler way to describe it as Daora, which in downtown San Paulo, is slang for something that’s fucking cool. Even that’s something of an understatement.
Everything from funk, hip hop, Afrobeat, dub, soul, jazz, rap, reggae and samba is thrown into a Brazilian melting pot. So too are snatches of haunting samples, sound effects, snare drums, squelchy synths heartfelt vocals and impassioned raps. Then there’s hissing hi-hats, loops, 808 kick drums and the unmistakable sound of the Roland TR-303. When it’s given a stir, what comes out is variously energetic, emotive, edgy, progressive, hook-laden, soulful, imaginative, dance-floor friendly, melodic and downright funky. That’s what the music on Daora-Underground Sounds Of Urban Brasil-Hip Hop Beats and Afro Dub sounds like.
Daora-Underground Sounds Of Urban Brasil-Hip Hop Beats and Afro Dub which was released by the Mais Um Discos label, shows that right now, music is one of Brazil’s success stories. There are so many innovative, inventive and imaginative producers within Brazil, who like Shaman, casting a musical spell over their listeners. Their style is best described as genre-melting. Musical genres and influences melt into one lysergic haze. Multilayered, complex, dramatic and dark, just as quickly, it can become uplifting and joyous. Other times, the music is intriguing and enigmatic. Compiler Rodrigo Brandão throws a series of curveballs, just to keep the listener on their toes. Best to expect the unexpected. Anything and everything is possible. Rodrigo Brandão rules nothing in and nothing out. The result is a compilation of cutting-edge, contemporary music.
DEVIL’S JUMP: INDIE LABEL BLUES 1946-1957.
In March 2013, British reissue label JSP released Devil’s Jump: Indie Label Blues 1947-1597. Compiled by Neil Slaven, Devil’s Jump: Indie Label Blues 1947-1597 is a four-CD box set which focuses on the blues music released by King Records, and its sister label Queen Records, during the eleven year period between 1946 and 1957. Queen Records was part of Syd Nathan’s musical empire and released some of the best blues music of that era.
Devil’s Jump: Indie Label Blues 1947-1957 is a musical journey that’s four discs and 100 tracks long. Lasting an eleven year period between 1946 and 1957, there are contributions from some giants of blues music and some less familiar faces. This means that Devil’s Jump: Indie Label Blues 1947-1957 will appeal to veterans of many a blues compilation, plus relative newcomers to blues music. For blues veterans, Devil’s Jump: Indie Label Blues 1947-1957’s U.S.P. is the twenty unreleased tracks. For completists, this makes Devil’s Jump: Indie Label Blues 1947-1957 an essential purchase.
What makes Devil’s Jump: Indie Label Blues 1947-1957 an essential purchase is emotion and potency of the music. That many of the tracks have a raw, almost primitive sound just adds to this. It makes Devil’s Jump: Indie Label Blues 1947-1957 one of the most captivating and compelling box sets of 2013 so far. In many ways, Devil’s Jump: Indie Label Blues 1947-1957 is just a tantalising taster of the hidden delights of King and Queen Records’ rich and illustrious back-catalogue.
DISCO LOVE VOLUME 3.
Glasgow’s disco don Al Kent made his return earlier this year. back, He’s back from another crate-digging expedition. Digging deep. Way deeper than he’s ever dug before. The result was Disco Love 3, which was released on BBE Music in February 2013. Like the two previous volumes of Disco Love, Disco Love Volume 3 is a double-album. Disc one features a continuous mix from Al, featuring the fifteen tracks on disc two. So, for anyone who likes their disco soulful or funky, then Disco Love Volume 3 is for you.
Of the fifteen tracks on Disco Love Volume 3, five were edited by Al Kent. Just like the two previous instalments of Disco Love, some of the tracks on Disco Love Volume 3 are extremely rare, so rare, that until now, most people will never have heard them before. To discover these tracks, Al’s been on another crate-digging expedition. Al has dug deep, dusty basements, warehouses and backstreet record shops have all been scoured. So too, has Al’s extensive record collection. He’s decided to share some of the soulful and funky disco delights, that, until now, have been tucked away in his arsenal of secret disco weapons. No wonder, many of the tracks on Disco Love Volume 3 are almost too good to share.
During Disco Love Volume 3, Al Kent so has decided to share some of his delicious disco delights. These are Al’s secret disco weapons. Each of these fifteen tracks are guaranteed to get get any party started. Every one of them is guaranteed to fill any dance-floor. One listen to disc two of Disco Love Volume 3 and you’ll realise why. Then on disc one, Al seamlessly weaves his way through the fifteen tracks. That’s why Disco Love Volume 3, picks up where Disco Love Volume 3 left off, with Al Kent sharing some more of his soulful and funky disco tracks.
DUST MY RHYTHM AND BLUES-THE FLAIR RECORDS R&B STORY 1953-1955.
Despite only being around for three years, Flair Records released some of the best R&B and blues of that period. Formed in 1953, Flair Records became the second subsidiary of Modern Records. It was the idea of Jules Bihari, who with his brothers, co-founded Modern Records. Jules was also the head of A&R at Modern Records. He realised that music was changing and Modern Records’ roster was expanding. Modern Records was releasing different types of music. Jules realised different labels should release different types of music? An example of this would be Flair Records. For its first ten releases, it only released hillbilly and country and western music. After that, Flair Records roster changed, establishing a reputation as one of the best R&B and blues label. Then in 1955, Flair Record closed its doors. Since then, the eighty singles Flair Records released have become hugely collectable. No wonder.
Featuring fifty tracks spread over two discs, Dust My Rhythm and Blues-The Flair Records R&B Story 1953-1955, which was released by Ace Records, documents the three years when Flair Records were in business. During that three year period, Flair Records released some of the best blues and R&B music of that era. Despite its undoubtable quality, the singles released by Flair Records weren’t a commercial success nationwide.
So it’s no surprise that after three years where its music wasn’t commercially successful, Flair Records closed its doors. However, Flair Records’ left behind a rich musical legacy. That legacy is Flair Records’ back-catalogue. Dust My Rhythm and Blues-The Flair Records R&B Story 1953-1955is tantalising taste of Flair Records’ back-catalogue, which truly, is a veritable musical treasure trove.
ERA RECORDS NORTHERN SOUL.
Back in 1955, two cousins decided to decided to form a record label in their hometown, Los Angeles. They called this new label Era Records. The two cousins were Lew Bedell and Herb Newman. Lew Bedell was a comedian, whose career seemed to have come to a halt. So he was looking for a new career. Herb Newman was a music industry veteran. He’d started out as a West Coast sales rep for Mercury and later Decca. Now he’d learned the ropes, he wanted to form his own company. With his cousin looking for a new career, this seemed like the perfect opportunity. After all, Herb and Lew had been brought up together. With the financial support of Herb’s father Max Newman, they founded Era Records in 1955. Seven years later, in 1962, Era Records became a soul label.
Having started their own label, Herb and Lew concentrated on releasing music that was popular locally. Los Angeles’ music scene was much more conservative than New York, Washington or Philly. So, originally, they planned to released just pop, country, rockabilly and jazz. With black music not as popular in Los Angeles, they only occasionally released soul or R&B. Their first soul single Era Records released was in 1957. It was as if they were just testing the water. Seven years later, in 1962, Era Records took the plunge and became a soul label.
By then, Era Records had already released over 150 records. Following the decision to change direction musically, Era Records released a whole host of singles that have become popular on the Northern Soul scene. A tantalising taste of them can be found on Ace Records’ Kent Soul imprint’s recent release Era Records Northern Soul. Featuring twenty-four tracks, where there’s ballads, floaters and stompers aplenty, Era Records Northern Soul is essential listening for fans of Northern Soul.
Compiled by Ady Croasdell, a man whose life has revolved around Northern Soul, Era Records Northern Soul which was released by Kent Soul, is quality all the way. A delicious mixture of ballads, floaters and stompers Era Records Northern Soul is belongs in the collection of anyone whose interested in Northern Soul Whether you’re a veteran of Northern Soul compilations or newcomer to the genre, you can’t afford to be without Era Records Northern Soul.
GOOD GOD! APOCRYPHAL HYMNS.
Uplifting, joyous, soulful and funky, music doesn’t get much better than Good God! Apocryphal Hymns, which was the third in Numero Group’s instalments of contemporary gospel. Veering between soulful and spiritual, it’s music that’s soulful and downright funky. Released just sixteen months after the release of the first in Numero Group’s series of gospel music compilations, Good God! Apocryphal Hymns, is the third in the series. That’s no bad thing, as there’s a real lack of quality modern gospel compilations. Compilations like Good God! Apocryphal Hymns will rectify this
With its fusion of soul, funk, rock and gospel, Good God! Apocryphal Hymns, will be something of an eyeopener for newcomers to gospel music. The nineteen tracks will show that gospel can be downright funk and always, always, always, is soulful. Even after one listen to Good God! Apocryphal Hymns, newcomers will realise that there’s much more to gospel music than they first thought. Soulful, funky and sometimes psychedelic, this eclectic collection of gospel music is the perfect primer for newcomers to the genre. Surely, Good God! Apocryphal Hymns will make a believer out of you?
GOUSH BEDEY.
Following the Iranian Revolution of 1979, music almost overnight, became illegal. No longer were concerts held, sheet music printed or albums released. Suddenly, Iran’s vibrant and eclectic music went into hibernation. Musicians headed overseas. They became exiles. There was no point living in a country where they were persecuted and banned from making a living. So they headed overseas. Those that were left behind couldn’t believe what was happening. For those left behind, they watched helplessly as musical instruments, sheet music and even records were destroyed. The only music allowed, was Islamic music. So no longer were Iranian musicians able to play the music they loved. That included everything from soul and jazz, right through to funk, psychedelia and pop. Iranian music before the revolution was eclectic. Proof of this is Goush Bedey is the fifth release in Pharaway Sounds series of pre-Revolutionary Iranian music. Funk, psychedelia and pop can be found on Goush Beady.
Goush Bedey is a truly eclectic compilation of hidden gems, rarities and forgotten musical nuggets. Although this is the fifth instalment in this series of pre-Revolutionary Iranian music, there’s no sign of the series running out of steam. Far from it. Pharaway Sounds have surpassed their previous efforts on Goush Bedey. To do that, they’ve combine jazz, funk, soul, classical, folk, psychedelia and rock. All this is thrown into the musical melting pot. What comes out is a mesmeric fusion that captivates and compels. You’re taken on a musical journey, one that veers between, ethereal, emotive, surreal and trippy, to beautiful, understated and melancholy. One thing the music never is, is boring. Not at all. There’s numerous changes in direction. That’s what makes Goush Bedey such a captivating and refreshing compilation.
The reason I refer to Goush Bedey as a refreshing compilation, is that Pharaway Sounds eschew the safe and sterile music that can be found other compilations. They take a different approach. They’re brave and bold, and seem determined to give the compilation world a shakeup. To do this, they’ve managed to lay their hands on tracks other record companies can only dream of. Many of these hidden gems and musical nuggest feature on Goush Bedey, which not only is crammed full of quality music, but surpasses the quality of Pharaway Sounds’ previous compilations of pre-Revolutionary Iranian music.
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