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.
THE A-Z OF THE BEST COMPILATIONS OF 2013-PART 3.
THE A-Z OF THE BEST COMPILATIONS OF 2013-PART 3.
HALL OF FAME VOLUME 2.
Without doubt, one of the most influential record labels in the history of Southern Soul is Fame Records. It released some of the most important music in the history of not just Southern Soul, but soul music. Then there’e the music recorded at Fame Recording Studios, Muscle Shoals. The artists who recorded at Fame Recording Studios, Muscle Shoals with the legendary Muscle Shoals Rhythm Section, reads like a who’s who of soul music. Everyone from Arthur Alexander, Arthur Conley, Candi Staton, Etta James, Otis Redding and Wilson Pickett. That’s just a few of the names who recorded at Fame Recording Studios, Muscle Shoals. What about Clarence Carter, George Jackson, Joe Simon, Otis Clay and Prince Phillip Mitchell, who all feature on Hall Of Fame Volume 2, which was released by Kent Soul, a subsidiary of Ace Records.
Featuring twenty-four tracks, Hall Of Fame Volume 2 is a glimpse of the music recorded at Fame Recording Studios, Muscle Shoals. Twenty of the tracks have never been released before and are a tantalising glimpse of what might have been. Some of the tracks, the quality is indisputable. You wonder why the songs never saw the light of day? That’s not the only thing they have in common.
The other is they were recorded at Fame Recording Studios, Muscle Shoals. Backed by some of the greatest session musicians of all time, they were responsible for a string of hit singles. Then there’s all the other sessions they played on. Not every session they played on, resulted in a single or album. So, there’s no end of hidden gems awaiting discover in Fame Records‘ vaults. This includes those on Hall Of Fame Volume 2. Given its quality, hopefully, further volumes of this Hall Of Fame series will be released by Kent Soul, a subsidiary of Ace Records. Let’s hope they’ll continue to released compilations like Hall Of Fame Volume 2, which cherry picks the hidden gems tucked away in Fame Records’ vaults.
JEROME DERRADJ PRESENTS: BANG THE BOX! THE (LOST) STORY OF AKA DANCE MUSIC, CHICAGO 1987-88.
Having cofounded Sunset Records in Chicago, in 1985, Matt Warren spent the next two years transforming the label into one of Chicago house’s most progressive and innovative labels. Then in 1987, Matt decided to part company with Sunset Records. A couple of months later, Matt decided to found his own label, AKA Dance Music. Just like Sunset Records, AKA Dance Music continued to release groundbreaking Chicago house. A favorite of dancers and DJs, sadly, AKA Dance Music didn’t enjoy the longevity of Trax, DJ International or even Sunset Records. It was in business for little over a year. Despite this, the music AKA Dance Music released is fondly remembered by discerning dancers and connoisseurs of Chicago music. That’s why Still Music’s latest compilation Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, Chicago 1987-88 was one of the most hotly anticipated of 2013.
Released in October 2013, Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music is the followup to Still Music’s Jerome Derradji Presents: Kill Yourself Dancing-The Story Of Sunset Records Inc. Chicago 1985-89. Just like its predecessor, it’s a double-album featuring not just classics, but a disc of previously unreleased tracks. Twenty-six tracks are spread over the two discs. This includes contributions from Michaelangelo, Nexus 6, Team, BnC, Michael Griffin, Modern Mechanical Music and Matt Warren. Included are a variety of mixes, including many that have never been released before. For veterans of Chicago house, Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music is the perfect companion to Jerome Derradji Presents: Kill Yourself Dancing-The Story Of Sunset Records Inc. Chicago 1985-89.
For just over a year, AKA Dance Music rose to the top of Chicago house, with their inimitable brand of Chicago house. The reason for this is simple. AKA Dance Music’s artists and producers were some of the most talented, innovative and influential producers in the first wave of Chicago house. AKA Dance Music may have been short-lived, but punched well above its weight and left a lasting impression on discerning dancers and connoisseurs of Chicago house music. One listen to the innovative, groundbreaking and timeless music on Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, Chicago 1987-88 and you’ll realise why.
JERROME DERRADJI PRESENTS: KILL YOURSELF DANCING-THE STORY OF SUNSET RECORDS INC.1985-1988.
During 2013, a number of Chicago House compilations were released. Still Music released two of the best. This included Jerome Derradji Presents: Kill Yourself Dancing-The Story Of Sunset Records Inc. Chicago 1985-89. It features twenty-one tracks spread over two discs. This includes some of the most innovative Chicago house music released between 1985 and 1989. There’s contributions from Ben Mays, Master Plan, Matt Warren, Michaelangelo, Razz and Ralphi Rosario. These tracks are a reminder of the golden age of Chicago House. Back then, many small labels sprung up. This includes the pioneering Sunset Records Inc.
Sunset Records Inc. released pioneering and timeless music. It was music that pushed boundaries and challenged norms. Having watched the birth of house music from the sidelines, Matt Warren, Miguel Garcia and Ralphi Rosario had watched with interest. They were producers in waiting, who had watched and learnt, learnt from the experiences and failures of others. By 1985, they’d waited long enough. Realising they could do if not as well, if not even better, they approached Alex and Robert Rojo. Joining forces with two legends of Chicago’s party and music scene made sense. Through their Sunset Mobile Disco, Alex and Robert Rojo knew their way around Chicago’s music scene. For the producers in waiting, here was a musical marriage made in heaven.
That proved to be the case. Sunset Records Inc.released innovative and influential music. Sunset Records Inc’s artists were determined to push musical boundaries. This was house, but with a twist. Fusing disco, funk, industrial, new wave and post-industrial, Sunset Records Inc. forged their own unique sound. Inimitable, it was different from other labels. They punched above their weight. That’s no surprise. The cream always rises to the top. Sunset Records Inc’s artists were some of the most talented and pioneering producers in the first wave of Chicago house. Listen to the music on Jerome Derradji Presents: Kill Yourself Dancing – The Story Of Sunset Records Inc. Chicago 1985-89 and you’ll soon realise why. The music is timeless and still sounds innovative, imaginative and influential.
JOHN MORALES PRESENTS THE M&M MIXES VOLUME 3.
Ever since John Morales released The M&M Mixes Volume 2 in March 2011 on BBE Music, one of the greatest remixers in modern dance music has been working on the followup. Believe me, this has been two years John well spent. John Morales Presents The M&M Mixes Volume 3 is a three-disc box set, which features twenty-four brand new remixes from John. It was released by BBE Music on 29th April 2013. Featuring remixes of Marvin Gaye, Barry White, Teddy Pendergrass, The Dramatics, The John Davis Monster Orchestra, Loleatta Holloway and The Salsoul Orchestra. The twenty-four tracks on John Morales Presents The M&M Mixes Volume 3 encompass Philly Soul, Salsoul, classic soul, funk and disco. Quite simply, John Morales Presents The M&M Mixes Volume 3 is the best instalment of The M&M Mixes.
So good is the music on John Morales Presents The M&M Mixes Volume 3, that this is a possible contender for compilation of the year. John’s choice of music and remixing skills are flawless. John breathes new life and meaning into familiar tracks. Over the three discs that comprise John Morales Presents The M&M Mixes Volume 3 John take you on twenty-four compelling and captivating musical journey. These journeys are soulful, funky, jazz-tinged and dance-floor friendly. Occasionally, he throws a series of curveballs, taking you in a direction you never expected. By the end of the track everything falls into place. Seamlessly, everything makes sense. Not many remixers can do this, but John Morales can. However, that’s what you’d expect from a veteran remixer whose life has revolved around music. Proof of this is John Morales Presents The M&M Mixes Volume 3. Somehow, John Morales Presents The M&M Mixes Volume 3 manages to surpass the quality of the two previous instalments in this series.
JOHN MORALES PRESENTS THE M&M MIXES VOLUME 3-INSTRUMENTALS.
Compilations of John Morales’ remixes were a bit like London buses this year. You wait ages for one, then two come along at once. After releasing the critically acclaimed and commercially successful The M&M Mixes Volume 2 in March 2011, John Morales spent the next years working not just on one compilation of remixes, but two. These were John Morales Presents The M&M Mixes Volume 3 and John Morales Presents The M&M Mixes Volume 3-Instrumentals. Both were released by BBE Music in April 2013. John Morales Presents The M&M Mixes Volume 3 was very much a return to form from one of the greatest remixers of his generation. While much of the focus was on John Morales Presents The M&M Mixes Volume 3, many people have overlooked what is a truly captivating and intriguing project, John Morales Presents The M&M Mixes Volume 3-Instrumentals.
If you think about many of the twenty-four anthemic tracks that feature on John Morales Presents The M&M Mixes Volume 3, each of these tracks has one thing in common. Many of the tracks feature a truly compelling vocal. When you listen to theses track, you tend to focus primarily on the vocal. You can’t help it, given how captivating and compelling it is. By focusing primarily on the vocal, you’re not listening closely to other parts of the arrangement. Granted, the vocal is central to the songs success, but without the other parts of the arrangement, the track wouldn’t work as well, and wouldn’t be as successful. Not only that, but by focusing primarily to the vocal, you’re overlooking some equally outstanding performances. Not any more. John Morales released a compilation of instrumental version of seventeen songs on John Morales Presents The M&M Mixes Volume 3. The result was one of the biggest challenges of John’s career.
By dispensing with the vocal, he had to reinvent and re-imagine the tracks. This couldn’t have been easy. Indeed, it would’ve been easy to go wrong. However, John being an innovative and imaginative remixer managed to reinvent the tracks. To do this, he makes other instruments the focus of your attention and highlights parts of the track that previously, were subservient to the vocal. They play more important parts, in the reinvention of the tracks. Without the vocal, you’re able to hear parts that previously you overlooked. Never again, will you hear the original tracks in the same way.
For John Morales, creating seventeen instrumental versions of dance-floor classics must have been one of the biggest challenges of his long and illustrious career. However, he managed it and the result is John Morales Presents The M&M Mixes Volume 3-Instrumentals. It demonstrates just why John Morales is one of the greatest remixers of his generation. He’s head and shoulders above other remixers. They’re pretenders to John’s thrones. Proof of this is John Morales Presents The M&M Mixes Volume 3-Instrumentals, which is the perfect companion to John Morales Presents The M&M Mixes Volume 3.
KEB DARGE AND LITTLE EDITH’S LEGENDARY WILD ROCKERS 3.
Earlier this year BBE Music released Keb Darge and Little Edith’s Legendary Wild Rockers 3. It was hard to believe a year had passed since Keb and Little Edith released their critically acclaimed compilation Keb Darge and Little Edith’s Legendary Wild Rockers 2. It was a must-have compilation. Incredibly, having set the bar so high with Keb Darge and Little Edith’s Legendary Wild Rockers 2, so was Keb Darge and Little Edith’s Legendary Wild Rockers 3.It featured twenty-one slices of the rarest rockabilly and surf music from the fifties and sixtes.
Having set the bar high, Keb Darge and Little Edith’s Legendary Wild Rockers 3 surpasses the quality of the two previous volumes. This is testament to KBE’s encyclopedic knowledge of music. Quite simply, he knows where to dig for hidden gems. Keb knows where there are a few musical treats lying undiscovered. Many of the twenty-one slices of surf music and rockabilly that feature on Keb Darge and Little Edith’s Legendary Wild Rockers. It seems that Keb Darge and Little Edith haven’t exhausted their supply of hidden gems. Not at all. Keb Darge and Little Edith’s Legendary Wild Rockers 3 features another twenty-one glistening rockabilly and surf gems for your enjoyment. 
KENYA SPECIAL-SELECTED EAST AFRICAN RECORDINGS FROM THE 1970S AND 80S.
Kenya Special is a two disc box set, which features thirty-two tracks recorded during the seventies and eighties. The two discs are enclosed in a sturdy, cardboard box which holds the two discs and a forty-page booklet. Unlike inferior compilations, the discs don’t rattle about the box. Instead, there’s a made-to-measure quality to it. Each disc is enclosed in what resembles the inner sleeve to an old vinyl record, with facsimiles of old record labels on each side. Then there’s Doug Paterson’s sleeve-notes. They’re lengthy, informative and in-depth. As an added bonus, there’s the story behind each track. For lovers of African music, this is Nirvana. Where Kenya Special also differs, is the music. The thirty-two tracks, spread across the two discs don’t just focus on one specific musical genre. Instead, Kenya Special draws inspiration from Ghana Special and Nigeria Special.
Throughout the seventies and eighties, across the length and breadth of Kenya, in the various regions, artists and bands were producing new and innovative music. Recorded in various dialects, this was music that was funky, soulful and dance-floor friendly. It was music that provided a showcase for Kenyan music, benga and rumba in particular. Benga and rumba were influenced by the music of Kenya’s neighbours Congo and Tanzania. It was also influenced by Western music, including disco, jazz, funk, soul, R&B and rock. Influenced by an eclectic and disparate selection of musical genres and influences, not only did the music that features on Kenya Special provide the soundtrack to much of Eastern Africa, but made stars out of many of the artists on the compilation. Selling ten-thousand or more copies, many of the artists on Kenya Special became legends of Kenyan music. Revered not just in Kenya, but much further afield are Simon Kihara, D.O. Misiani, Nashil Pichen and Sophia Ben, true legends of the Kenyan music scene. They’re responsible for some of the innovative, influential and timeless music that features on Kenya Special, the latest compilation from Soundway Records.
KEV BEADLE PRESENTS PRIVATE COLLECTION.
BBE Music’s first compilation of 2013 was Kev Beadle Presents Private Collection. This was a very special compilation. It was Kev’s first compilation for sixteen long years. That’s far too long for someone with such an enviable record collection as Kev Beadle. Indeed, it’s twenty years since Kev was last asked to delve into his record collection, and compile a collection of rarities from yesteryear. For Kev, the twelve tracks on Kev Beadle Presents Private Collection are very personal for him. They represent a journey back in time, to when his career as a record collector and DJ began. Since then, he’s established a reputation as one of the top DJs with an enviable record collection. Kev Beadle Presents Private Collection is a tantalising taste of Kev’s record collection.
After an absence of sixteen years from compiling compilations, Kev Beadle certainly hasn’t lost his Midas touch. Quite the opposite. The jazz-tinged walk down memory lane that is Kev Beadle Presents Private Collection, is one that’s filled with memorable moments aplenty. Every track is a winner, chosen carefully from Kev’s ever expanding record collection. He’s delved deep into his collection, dusting off rarities and hidden gems. Generously, Kev is happy to share his music with a much wider audience, especially anyone who loves jazz music. For anyone who loves jazz music, Kev Beadle Presents Private Collection is part of your musical education. Kev Beadle Presents Private Collection is a compilation they’ll enjoy and cherish. Not only that, but Kev Beadle Presents Private Collection is the first step on a musical journey of exploration, into the world of rarities and hidden jazzy gems.
LIBERATION MUSIC-THE SPIRITUAL JAZZ AND THE ART OF PROTEST ON FLYING DUTCHMAN RECORDS 1969-1974.
Looking back at the roster of artists Flying Dutchman Records amassed during the first five years of its existence, one can’t help but be impressed. After all, between 1969 and 1974, Flying Dutchman Records couldn’t just boast true jazz legends, but pioneers of jazz music. Obviously, Flying Dutchman Records is best known for Gil Scott-Heron, and seminal releases like The Revolution Won’t Be Televised and The Bottle. However, as BGP Records’ recent release Liberation Music-The Spiritual Jazz and The Art of Protest On Flying Dutchman Records 1969-1974 demonstrates, there’s much more to Flying Dutchman Records that Gil Scott-Heron. Artists like Leon Thomas, Ornette Coleman, Chico Hamilton, Louis Armstrong and Lonnie Liston Smith and The Cosmic Echoes also called Flying Dutchman Records home. They feature on Liberation Music-The Spiritual Jazz and The Art of Protest On Flying Dutchman Records 1969-1974 are the perfect primer for newcomers to Flying Dutchman Records, a pioneering jazz label, but one with a social conscience.
Flying Dutchman Records wasn’t shy about protesting about life’s injustices. While other labels would’ve flinched at releasing albums by Gil Scott-Heron and Oliver Nelson, Flying Dutchman felt duty-bound to help right the wrongs their music railed against. So, in many ways, it was the perfect home for artists like Gil Scott-Heron, Leon Thomas, Ornette Coleman, Chico Hamilton, Oliver Nelson and Lonnie Liston Smith and The Cosmic Echoes. They feature on an eclectic compilation of the familiar and lesser known tracks released on Flying Dutchman Records. For veteran jazz fans, Liberation Music-The Spiritual Jazz and The Art of Protest On Flying Dutchman Records 1969-1974 will be a welcome reminder of what was, one of jazz’s real innovative labels.
During the first five years of its existence between 1969 and 1974, Flying Dutchman Records released the most important, critically acclaimed and pioneering jazz music of that time. This is music that can be found on Liberation Music-The Spiritual Jazz and The Art of Protest On Flying Dutchman Records 1969-1974. It’s music that’s stood the test of time. To use Gil Scott-Heron as an example, his music is equally relevant and socially important over forty years after its original release. That proves how far-sighted Bob Thiele was when choosing the artists he signed to Flying Dutchman Records. Mavericks, pioneers and innovators all called Flying Dutchman Records home, as BGP Records’ recent compilation Liberation Music-The Spiritual Jazz and The Art of Protest On Flying Dutchman Records 1969-1974 proves. Liberation Music-The Spiritual Jazz and The Art of Protest On Flying Dutchman Records 1969-1974 is also the perfect starting point for a long and enjoyable musical journey through Flying Dutchman Records illustrious back-catalogue.
LIPSTICK, POWDER AND PAINT! THE NEW YORK DOLLS HEARD THEM HERE FIRST.
It’s no exaggeration to say, that the New York Dolls have been one of the most influential and innovative bands in music history. What people don’t realise, is that the original and classic lineup, only released two albums. They were a tantalising glimpse of a group whose music had a huge and long-lasting effect on music. Forty-two years later, the New York Dolls are still cited by new bands as an inspiration. None of these bands have the same effect as the New York Dolls did. That’s why Ace Records have released a compilation of music that inspired the New York Dolls. Lipstick, Powder and Paint! The New York Dolls Heard Them Here First features the music that inspired the New York Dolls. This includes Bo Diddley, Otis Redding, Muddy Waters, Eddie Cochran, Chuck Berry, Elvis Presley, Wilson Pickett, The Kinks, Erma Franklin and Big Joe Turner. In total, there are twenty-four tracks on Lipstick, Powder and Paint! The New York Dolls Heard Them Here First which us truly eclectic.
I’d go as far as say that Lipstick, Powder and Paint! The New York Dolls Heard Them Here First is refreshingly eclectic compilation of tracks that inspired the New York Dolls. Classics and hidden gems sit side-by-side. There’s contributions from musical legends, including some leftfield choices. After all, would you have chosen Elvis’ Crawfish or Wilson Pickett’s International Playboy? Or how about Bo Diddley’s Pills or The Kinks’ Alcohol? Compilers Ian Johnston and Mick Patrick do, and it works. Too often compilers are scared to take a chance. Ian and Mick do, and pull it off.
Then there’s familiar favourites from Otis Redding, Eddie Cochran, Muddy Waters, Chuck Berry and Erma Franklin. Although they’re tracks we’ve heard before, you never tire of music this good. Sometimes, compilers overlook tracks like The Four Tops’ Reach Out I’ll be There and Eddie Cochran’s Something Else. The reason they do this is to be contrary. Not here. Ian and Mick realise that all that matters is the quality of the music. If it’s good, it’s included on Lipstick, Powder and Paint! The New York Dolls Heard Them Here First. Every one’s a winner and every track influenced the New York Dolls.
Forty years after the release of their debut album, the New York Dolls are still seen as one of the most innovative and influential bands of the seventies. They released two classic albums in the space of two years. Then the New York Dolls split for the first time in 1975. By 1977, the New York Dolls were history. The original and greatest lineup of the New York Dolls recorded just two albums in two years. Rather than fade away like the Rolling Stones or The Who, the New York Dolls burnt out. They split up amidst acrimonious circumstances. Arguments, alcohol and drug abuse saw the New York Dolls scattered to the wind. That’s why when anyone mentions the New York Dolls, they’ll forever be remembered as the five swaggering gunslingers that feature on the cover of their debut album New York Dolls and Lipstick, Powder and Paint! The New York Dolls Heard Them Here First.
THE A-Z OF THE BEST COMPILATIONS OF 2013-PART 4.
THE A-Z OF THE BEST COMPILATIONS OF 2013-PART 4.
LOUISIANA SATURDAY NIGHT REVISITED.
Ace Records waited an amazing twenty-three years to release the followup Another Saturday Night, which was released back in 1990. Released to critical acclaim and an appreciative audience, Another Saturday Night was one of the compilations of 1990. Everyone expected a followup to be released in 1991. That wasn’t the case. 1992 then 1993 came and went. As the years went by, it looked like there wouldn’t be a followup to Another Saturday Night. So much time passed, a new millennia dawned. Into the second decade of the new millennia, hopes of a followup to Another Saturday Night were long gone. Then earlier this year, Louisiana Saturday Night Revisited was released.
Featuring twenty-four tracks, Louisiana Saturday Night Revisited has been well worth the twenty-three year wait. Compiler Ian Saddler has made sure of that. Every one is a winner. That’s no exaggeration. There’s strictly no musical mistakes, just quality music all the way on Louisiana Saturday Night Revisited. A musical journey through Louisiana music circa 2013, you’ll hear everything from swamp pop, Cajun, zydeco or rockabilly. Many of the artists you hear, will be new to you. I’m sure it won’t be the last you’ll want hear of them. Hopefully, Ace Records, who released Louisiana Saturday Night Revisited, will consider a followup? Let’s just hope the followup to Louisiana Saturday Night Revisited won’t be another twenty-three years in the making.
MUSIC FOR DANCEFLOORS-THE KPM MUSIC LIBRARY.
Ever since the dawn of hip hop, library music has proved a source of inspiration for sample-hungry hip hop producers and crate-digging DJs alike. Library music has also proven popular with music lovers with discerning musical tastes. Little did the founders of Chappell, Bosworth and KPM Music realise the lasting effects the music of mainly anonymous, young composers would have. It’s been heard by children growing up in the seventies, weaned on cartoons, viewers of TV quizzes and current affairs programs . Later, hip hop producers Jay-Z, Doom and Guilty Simpson, plus film producers including Quentin Tarantino and cutting-edge DJs discovered library music. It has influenced so many people’s lives. Given how wide library music’s influence is, you’d think everyone would have of this musical secret? Well, if you answered yes, you’re wrong. However, that began to change in April 2013, when Strut Records rereleased a deluxe edition of Music For Dancefloors-The KPM Music Library.
Unlike the 1999 edition of Music For Dancefloors-The KPM Music Library, the Deluxe Edition is a double album. Disc One features twenty classic tracks from KPM’s back-catalogue. On Disc Two, which is an exclusive bonus disc, where many of KPM’s original composers and musicians were reunited and London’s prestigious Jazz Cafe, for a one-off concert. Fittingly, they were billed as The KPM All-Stars. That concert was recorded, with The KPM All-Stars revisiting fourteen KPM classics. On disc one of Music For Dancefloors-The KPM Music Library are twenty library classics.
For anyone yet to discover library music, then Music For Dancefloors-The KPM Music Library, is the place to start. It’s a tantalising taste of KPM Music’s illustrious back-catalogue. These tracks could take you on a voyage of discovery. After hearing these track, you’re bound to want to dig deeper into the KPM Music Library. No wonder. There’s so much music that is just awaiting discovery. Much of this music is from composers and musicians who many people won’t yet be aware of. Granted you may have heard some of the music on television shows or sampled by hip hop producers. However, you may not be aware of John Cameron, Alan Hawkshaw or Keith Mansfield. That’s until now. After hearing the twenty tracks on Music For Dancefloors-The KPM Music Library, you’ll want to hear more of their groundbreaking. innovative and timeless music.
NEW ORLEANS FUNK VOLUME 3.
From the moment you put on Soul Jazz Records’ recent compilation New Orleans Funk Volume 3, you’re transported to the Big Easy. It’s the Mardi Gras and Bourbon Street is full of tourists desperate to experience the sights and sounds of one of America’s musical capitals. Filling the air, is a soundtrack that includes Dixieland jazz, R&B, funk, Zydeco, Afro Cuban and the brass bands that are part and parcel of New Orleans’ rich musical heritage. It’s an irresistible fusion of musical influences and genres. This is the real sound of New Orleans. It’s what the tourists listen to, whilst enjoying beignets, gumbo, jambalaya and po-boys. Just as authentic a representation of New Orleans, is the music on New Orleans Funk Volume 3, which showcases New Orleans’ rich musical heritage.
For anyone new to Soul Jazz Records’ New Orleans Funk compilation, then my suggestion is treat yourself to all three volumes. New Orleans Funk Volume 3 picks up where New Orleans Funk Volume 2 left off. The quality remains, with familiar faces, old friends and hidden gems sitting side-by-side. Each of the fourteen artists who feature on New Orleans Funk Volume 3 are part of New Orleans’ rich musical history. Among them are Allen Toussaint, Professor Longhair, Lee Dorsey and Eldridge Holmes. Then there’s contributions from Willie West, Betty Harris, The Explosions, Dirty Dozen Brass Band and Diamond Joe. Their music ranges from Dixieland jazz, R&B, funk, Zydeco, jazz, soul and the brass bands. In many ways, it’s like a walk down Bourbon Street during Mardi Gras. You’re assailed by smells and sound. This is all part of the Big Easy experience. New Orleans Funk Volume 3 is a tantalising taste of New Orleans musical heritage.
One of the musical capitals of America, it’s musical heritage goes back to the eighteenth century. Then in the 1950s, music become an important part of New Orleans’ economy. As the sixties dawned, this increased. A whole host of new labels sprung up, including labels who introduced us to some of the artists on New Orleans Funk Volume 3. Since then, music has been intertwined with New Orleans’ musical heritage. After all, who goes to New Orleans and doesn’t head down Bourbon Street? Not many. New Orleans with its diverse, eclectic and rich musical heritage, has a myriad of musical delights awaiting discovery. Many of them can be found on New Orleans Funk Volume 3, which is a perfect introduction to the music of the Big Easy, and the perfect prelude to a walk down Bourbon Street during Mardi Gras.
ORCHESTRE POLY-RYTHMO DE COTONOU-VOLUME 3 THE SKELETAL ESSENCES OF AFRO FUNK 1969-1980.
The Orchestre Poly-Rythmo De Cotonou are among Analog Africa’s favorite sons. Indeed, Samy Ben Radjeb’s Analog Africa label have previously, dedicated two compilations to the funk-laden music of the Orchestre Poly-Rythmo De Cotonou. This started with 2008s The Vodoun Effect and 2009s Echoes Hypnotiques-Volume 2 From The Vaults of Albarika Store 1969-1979. Then in 2011, Analog Africa rereleased the Orchestre Poly-Rythmo De Cotonou’s 1973 debut album, entitled The 1st Album. Now, Analog Africa have returned to the Orchestre Poly-Rythmo De Cotonou’s back-catalogue for fourteen further tracks, which comprise The Orchestre Poly-Rythmo De Cotonou-Volume 3 The Skeletal Essences Of Afro Funk 1969-1980. This includes some of the funkiest music the Orchestre Poly-Rythmo De Cotonou ever recorded during their career.
When Analog Africa founder Samy Ben Radjeb was compiling The Orchestre Poly-Rythmo De Cotonou-Volume 3 The Skeletal Essences Of Afro Funk 1969-1980, first stop was his vast collection of African music. His collection is crammed full of records he’d collected during his previous career, which was working for a German airline. This allowed Samy to seek out and discover, countless hidden gems of African music during his monthly trips to Africa. Finding their way into Samy’s enviable record collection, were the 500 songs that The Orchestre Poly-Rythmo De Cotonou recorded between 1969 and 1983.
Fourteen of these tracks feature on The Orchestre Poly-Rythmo De Cotonou-Volume 3 The Skeletal Essences Of Afro Funk 1969-1980, where you hear many sides to The Orchestre Poly-Rythmo De Cotonou’s music. Seamlessly, they veer between musical genres and rhythms. Everything from funk, soul, jazz, rock, Latin, Cuban and Afro-beat is combined over the fourteen tracks. It’s impossible to categorise The Orchestre Poly-Rythmo De Cotonou. Granted, you could refer to it as Afro-beat, but there’s much more to it than that. However, the fourteen tracks could be broken down into ten sub-genres. These are the various rhythmic styles. They range from voudoun, jerk fon, sato, pop fon and pachange. For many groups, changing rhythmic styles would present a challenge. Not for The Orchestre Poly-Rythmo De Cotonou. They relish the challenge, enjoying the opportunity to showcase their considerable musical prowess. Seamlessly, one rhythm style gives way to another. All the time, they’re drawing inspiration from Western, Cuban and Latin music. Quite simply, The Orchestre Poly-Rythmo De Cotonou were hugely talented musicians, musicians who were innovative and versatile. Not only that, but The Orchestre Poly-Rythmo De Cotonou enjoyed longevity and were prolific, releasing over 500 songs.
Despite their prolificacy, The Orchestre Poly-Rythmo De Cotonou remain something of a musical secret, outside of Benin. Thankfully, independent record labels, including Analog Africa, run by Samy Ben Radjeb are rectifying this. He has already released two compilations of The Orchestre Poly-Rythmo De Cotonou’s music. Recently, that number rose to three, when Analog Africa released The Orchestre Poly-Rythmo De Cotonou-Volume 3 The Skeletal Essences Of Afro Funk 1969-1980, Of the three compilations, The Orchestre Poly-Rythmo De Cotonou-Volume 3 The Skeletal Essences Of Afro Funk 1969-1980 finds The Orchestre Poly-Rythmo De Cotonou not just at their funkiest, but seamlessly switching between musical genres and rhythms. For anyone whose still unfamiliar with African music’s best kept secret, then The Orchestre Poly-Rythmo De Cotonou-Volume 3 The Skeletal Essences Of Afro Funk 1969-1980 is the place to start.
OVERDOSE OF THE HOLY GHOST-COMPILED BY DAVID HILL.
Sometimes, compilations can be anodyne affairs, with record labels and compilers scared to release compilations of innovative, left-field music. This results in labels playing it safe and releasing compilations that although not innovative, will pay the bills. Thankfully, there are some labels out their willing to release innovative compilations of music. This includes musical genres that are overlooked. One musical genre that’s often overlooked is gospel music. It’s been a long time since a record company released a quality gospel compilation. Thankfully, ZR Records rectified this earlier this year, when they released Overdose Of The Holy Ghost, which was compiled by David Hill. It’s very different from what you’d expect a gospel compilation to sound like.
Overdose Of The Holy Ghost is best described as an eclectic and groundbreaking compilation of quality gospel music. It features the different sub-genres that make up gospel. These sub-genres have been influenced by many musical genres and influences. There’s every influence from boogie, disco, funk, house, jazz and soul on Overdose Of The Holy Ghost. This proves that it’s impossible to pigeonhole gospel music. It’s very different to what people expect gospel music to sound like.
Indeed, as Overdose Of The Holy Ghost proves, there’s much more to gospel than meets the eye. Best described as eclectic and innovative compilation, maybe Overdose Of The Holy Ghost will change people’s minds about gospel music. After all, much of the music on Overdose Of The Holy Ghost is soulful, funky, dance-floor friendly and hook-laden. What more could you ask for?
PAL JOEY PRESENTS HOT MUSIC.
There aren’t many producers that have enjoyed the longevity that Joey Luongo has. As Pal Joey, he’s been producing cutting-edge, innovative music since 1990. That’s quite a feat. After all, Pal Joey has had to keep ahead of the musical curve. He’s succeeded in doing that producing music that’s unique and groundbreaking. Pal Joey hasn’t just produced one musical genre. No. Quite the opposite. His music has evolved and progressed. That’s what Pal Joey’s been doing for four decades, producing groundbreaking music. His productions have influenced a generation of producers. Much of the music Pal Joey released was on his own labels, Cabaret, Footstompin’ and Loop d’ Loop label.
It’s on Pal Joey’s Loop d’ Loop label that he released some of the most successful and critically acclaimed music of his career. Founded in 1990, Loop d’ Loop documents the life and times of Pal Joey. To celebrate the career of Pal Joey, BBE Music released Pal Joey Presents Hot Music in October 2013. Featuring seventeen tracks, Pal Joey Presents Hot Music was the most comprehensive retrospective of Pal Joey’s career.
Part of Pal Joey’s longevity, is his ability to reinvent himself. He’s done that several times. That’s apparent by the music on Pal Joey Presents Hot Music. If Pal Joey hadn’t reinvented himself musically, he wouldn’t have enjoyed the longevity he has. There’s a reason for this though. He’s succeeded in producing music that’s unique and groundbreaking. Pal Joey hasn’t just produced one musical genre. No. Quite the opposite. His music has evolved and progressed.
Over the past four decades, Pal Joey’s produced everything from hip hop, house, garage and even acid jazz. As for house, this includes several types of house music. This includes disco, deep, electro or garage house. He’s even headed towards the techy side of house. By not restricting himself to one musical genre, Pal Joey has enjoyed the longevity that not many producers have enjoyed. Through constantly reinventing himself and striving to innovate, Pal Joey established a reputation as an influential and groundbreaking producer.
That’s why Pal Joey’s music was heard in some of the most fashionable clubs by some of the most influential people in music. They were hearing tomorrows music today. That music, including the seventeen tracks on Pal Joey Presents Hot Music, is truly timeless. Twenty years after some of the music on Pal Joey Presents Hot Music was released it sounds just as good as the day it was released. That’s no surprise. After all, what do you expect from one Pal Joey, who released music hat’s been described as innovative, influential, joyous, mesmeric, uplifting and timeless?
PERU MARAVILLOSO: VINTAGE LATIN, TROPICAL AND CUMBIA.
As the sixties unfolded, British and American music was on the cusp of a revolution. This began in 1962, when The Beatles released Love Me Do. Soon, the sixties were swinging. Over the Atlantic in America, the British Invasion proved a game-changer. For the first time, British music was influencing American music. Then as the second half of the sixties took shape, another revolution took place, a psychedelic revolution. It’s documented on Peru Maravilloso: Vintage Latin, Tropical and Cumbia, which was recently released by Tiger’s Milk Records, an imprint of Strut Records.
No longer was music gradually evolving, like it previously had. Far from it. Instead, it was revolution not evolution. It wasn’t just in Britain and America that this psychedelic revolution took place. No, it was throughout the world. This includes Peru, which was in the midst of political turmoil. Whilst psychedelia and rock music was influencing Peruvian music, Cuban communists inspired their Peruvian comrades. They used guerrilla tactics to try and win political power. With two revolutions taking place simultaneously, both Peruvian politics and music would change throughout the sixties and seventies.
Peru Maravilloso: Vintage Latin, Tropical and Cumbia is glimpse of Peru’s psychedelic revolution that unfolded during the sixties and seventies. Some of the tracks are a reflection of the political turmoil the country underwent. This is no different to what happened in the sixties in America. Back then, groups like Country Joe and The Fish became the voice of a generation. However, there’s more to Peru Maravilloso: Vintage Latin, Tropical and Cumbia than politics. Much more.
What you’ll also find on Peru Maravilloso: Vintage Latin, Tropical and Cumbia demonstrate, is a truly eclectic compilation. It reflects Peru had a rich and vibrant music scene. There’s elements of jazz, sunshine pop, psychedelia, folk and rock. Add to that cumbia, huayno, guaracha, African, Andean, Cuban, Latin and Spanish music. Musical genres seamlessly melt into one on this musical tapestry. Featuring genre-melting, eclectic and infectiously catchy music, Peru Maravilloso: Vintage Latin, Tropical and Cumbia is lysergic, magical mystery tour with surprises aplenty in store.
PHILADELPHIA INTERNATIONAL CLASSICS-THE TOM MOULTON REMIXES-VINYL EDITION.
Just a year after the release of Philadelphia Classics-The Tom Moulton Remixes, now lovers of vinyl will be able to purchase a copy of what was one of the most anticipated box sets of 2012. While the version of Philadelphia Classics-The Tom Moulton Remixes that was released in March 2012, this new vinyl version, which will be released on 25th March 2013, features eight heavyweight albums. For lovers of Philadelphia International Records and Tom Moulton’s remixes, then you’re in for a treat. Thirty-one remixes by Tom Moulton, including what were last year, seventeen brand new remixes. Truly, the music is stunning.
Just like Philadelphia Classics-The Tom Moulton Remixes, the vinyl edition is a combination of classics and new tracks. Quite simply, the music is of the highest quality. With the new tracks, Tom’s remixes are just as good as his older remixes, demonstrating that he’s still a hugely talented remixer. In fact, listening to these tracks, there much better than anything the new generation of remixers are producing. Compare these tracks, and its like master and pupil, with Tom’s remixes are streets ahead. Proof of this is the vinyl edition of Philadelphia Classics-The Tom Moulton Remixes. It was released by Harmless Records in March 2013, and is a reminder of what Tom Moulton, inventor of the remix, twelve inch single and remixer extraordinaire is capable of.
PHILLY REGROOVED: THE TOM MOULTON REMIXES-SPECIAL VINYL EDITION.
Just over three years ago, in August 2010, Harmless Records released the first instalment in the Philly ReGrooved compilation series. Featuring twelve remixes of tracks from the Philly Grooved back-catalogue Philly ReGrooved: The Tom Moulton Remixes was released to critical acclaim. One of the best releases of 2010, fans of Philly Soul waited with bated breath to see if a second installment would follow? It did. Less that a year later, Philly ReGrooved 2: The Tom Moulton Remixes was released in May 2011. With another eleven remixes from the Godfather of the remix, Philly ReGrooved 2: The Tom Moulton Remixes enjoyed the same commercial success and critical acclaim of its predecessor. That whetted our appetite for further instalments in the series.
2012 came and went with no sign of Volume 3. Nearly two years passed before Harmless Records announced the release of Volume 3. Unlike the first two volumes, Philly ReGrooved 3: The Tom Moulton Remixes would be a double-album. Released in June 2013, Volume 3 surpassed the first two installments. Featuring tracks from the back-catalogues of Atlantic, Atco, Buddah, Chelsea, Columbia and Roxbury, Volume 3 was crammed full of Philly Soul classics. Blue Magic, The Spinners, The Trammps, New York City and William DeVaughan, critics hailed Volume 3 as the best in the series. Plaudits, praise and critical acclaim came Tom Moulton and Harmless Records’ way for this two-disc opus. The only criticism of Volume 3 was, that it wasn’t available on vinyl. That is, until now, when Harmless Records will released another vinyl Magnus Opus.
It’s not just Philly ReGrooved 3: The Tom Moulton Remixes that can be found on Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition. No. There’s much, much more than that.The three volumes of Philly ReGrooved: The Tom Moulton Remixes Volumes can be found within this forty-track eight-album box set. Released in October 2013, Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition was a must-have for Philly Soul fans. Limited to just four-hundred box sets, this follows in the footsteps of limited edition vinyl box set of Philadelphia International Classics: The Tom Moulton Remixes, which was released by Harmless Records earlier this year.
Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition was released by Harmless Records on 28th October 2013. A luxurious and lovingly compiled compilation, Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition features some of the best Philly Soul to fill airwaves and dance-floors. Quite simply, Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition isn’t just an incredible compilation, but a thing of beauty. That’s almost one of the great understatements. Quite simply, Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition is one of the best box sets of 2013.
PHILLY RE-GROOVED 3-TOM MOULTON REMIXES.
Philly Re-Grooved 3-Tom Moulton Remixes, features nineteen brand new remixes from Tom, plus sleeve-notes from myself. Long awaited, but well worth the wait, Philly Re-Grooved 3-Tom Moulton Remixes is a surefire bet to be one of the best compilations of 2013. After all, a Tom Moulton remix is still quite rightly perceived as a sign of quality. The nineteen tracks on Philly Re-Grooved 3-Tom Moulton Remixes are proof of this. These remixes see Tom cast his net much wider than in the first two volumes of Philly Re-Grooved.
On Philly Re-Grooved 3: The Tom Moulton Remixes Tom delves into the back-catalogues of Atlantic Records, Atco, Buddah Records, Chelsea, Columbia and Roxbury. They prove to be a veritable treasure trove for Tom. He was absolutely spoiled for choice. Eventually, he settled on nineteen tracks. This included tracks by The Spinners, The Trammps, Blue Magic, Bettye Swann, Melba Moore and Philly Devotions. Tom takes these tracks and totally transforms them.
The remixes on Philly Re-Grooved Volume 3 Tom Moulton Remixes are the result of five decades experience and work. It takes time, experience, dedication and a huge amount of skill to create remixes as good as those on Philly Re-Grooved Volume 3-Tom Moulton Remixes. Compare these tracks to the other remixers and there’s no comparison.
THE A-Z OF THE BEST COMPILATIONS OF 2013-PART 5.
THE A-Z OF THE BEST COMPILATIONS OF 2013-PART 5.
PIED PIPER PRESENTS A NEW CONCEPT IN DETROIT SOUL,
When the definitive history of soul music is written, several cities will loom large in the story. A triumvirate in particular, have played a hugely important part in the development of soul. This triumvirate are Memphis, Philadelphia and Detroit. Some of the best soul music ever released, came out of these three cities. They however, are the gift that keeps on giving. Why? Well, hidden in the vaults of the record companies that called these cities home are a whole host of unreleased tracks. This includes the twelve unreleased tracks that featured on Pied Piper Presents A New Concept In Detroit Soul, which was released on Kent Soul, a subsidiary of Ace Records, earlier this year. They’re not just any unreleased tracks.
No. The unreleased tracks on Pied Piper Presents A New Concept In Detroit Soul are some of the most exciting Detroit and Northern Soul tracks to be discovered in recent years. Quite simply, this is sixties soul gold. These unreleased tracks feature plus contributions from Lorraine Chandler, Nancy Wilcox, The Cavaliers and Willie Kendrick. Of the other twelve tracks, they were released on labels like Giant, Kapp, Karate, Musicor, Ruby and Wand. Each of these tracks have one thing in common, they feature the magic words: “A Pied Piper Production.” That means quality is guaranteed.
When Kent Soul, a subsidiary of Ace Records released Pied Piper Presents A New Concept In Detroit Soul, it was one of the most anticipated compilations of 2013. After all, Pied Piper Productions were know for the quality of their productions. They’d high standards. Jack Ashford and Mike Terry, just like the man who hired them Sheldon “Shelley” Haines, had high standards. Theirs was a quest for musical perfection. Nothing else was good enough. That’s obvious here. Even the tracks that have lain unreleased for over forty years are the highest quality. That’s testament to Jack Ashford and Mike Terry. It’s also credit to compiler Ady Croasdell, who compiled Pied Piper Presents A New Concept In Detroit Soul.
Ady’s brought together twenty-four tracks that showcases Pied Piper Productions. Jack Ashford and Mike Terry, two former Funk Brothers, discovered that there was life after Motown. Their time at Pied Piper Productions was the first step in what would be long and successful careers. At Pied Piper Productions, they worked with Lorraine Chandler, Nancy Wilcox, The Cavaliers, September Jones and Willie Kendrick. Artists were discover, careers were rejuvenated and stars were born. Sheldon “Shelley” Haines’ decision to bring Jack Ashford and Mike Terry to Pied Piper Productions was vindicated. For a few short years, they were a potent and successful partnership. Proof of this is the music on Pied Piper Presents A New Concept In Detroit Soul. For anyone with an interest in either soul music, soul music recorded in Detroit or Northern Soul, then Pied Piper Presents A New Concept In Detroit Soul is a compilation that belongs in your record collection. One listen to Pied Piper Presents A New Concept In Detroit Soul, and you’ll realise why.
PROG ROCKS!
Although many musical genres divide opinion, some musical genres that tend to divide opinion way more than others. Everyone can think of their own example, but for me, three immediately spring to mind. These are disco, punk and prog rock. Of these three musical genres, when it comes to opinions, not many people tend to occupy the middle ground. You’re either for or against each of these musical genres. Prog rock, however, tends to divide the opinion the most. Even forty years after the genre’s birth, the merits or otherwise of prog rock are still debated. For prog rock’s accusers, they perceive the music as overblown, overindulgent and pompous. To them, prog rock is a musical genre that belongs in firmly in the past. That however, only tells one side of the story.
Proponents of prog rock point to a musical genre that’s inventive, innovative and complex. Influenced by art rock, jazz and classical music, prog rock drew inspiration from a many other influences.It eschews traditional time signatures, song structures, rhythms, instruments and influences. In many ways, prog rock was an innovative genre, one that railed against the blues’ influence in rock music. Groups like Pink Floyd, Soft Machine, Jethro Tull, Emerson, Lake and Palmer, Genesis, Yes and Gong were among prog rock’s pioneers. They lead the way, and now, four decades later, new generations of prog rock groups are following in their footsteps, during the latest resurgence in prog rock’s popularity. To mark this resurgence in prog rock’s popularity, a new five-disc compilation Prog Rocks has recently been released by EMI.
Having spent some time immersed in the five discs that comprise Prog Rocks! I’ve come to the conclusion that it’s not just people who enjoy prog rock that’ll enjoy this box set. After all, not every track on Prog Rocks! can be categorized as prog rock. Indeed, many tracks could just as easily be categorized as rock, folk, psychedelia, garage or rock. However, I often think we spend too much time putting music into categories. That’s often an unhealthy obsession that gets in the way of what’s important, discovering new and old music. For many people, there’s so much great music awaiting discovery on Prog Rocks! Indeed, there are seventy-two tracks over five discs awaiting discovery on Prog Rocks!
What I do hope that Prog Rocks! does, is change people’s perception of prog rock. After all, prog rock far too often, gets a bad press. Sometimes, prog rock is the butt of cheap jibes and sarcastic comments. Hopefully once people have heard the music on Prog Rocks! they’ll change their opinion on prog rock. Maybe then they’ll realize that it’s an innovative and inventive musical genre, one that’s been Influenced by art rock, jazz and classical music. Prog rock drew inspiration from a many other influences. It eschews traditional time signatures, song structures, rhythms, instruments and influences. That’s what makes prog rock and the music on Prog Rocks! unique, innovative and groundbreaking.
PSYCHEMAGIK PRESENTS MAGIK SUNRISE.
Sometimes, when you buy a compilation, the first time you play it, you’re blown away by its sheer eclecticism and totally smitten by the music. That was me, when I came across Leng Records’ latest compilation, Psychemagik Presents Magik Sunrise. This is a double-album, compiled by the prolific UK production team of Psychemagik. Disc One is a compilation of what’s describes as a mixture of cosmic disco, psychedelic funk, Balearica, Middle Eastern beats and much more On Disc Two, the tracks are seamlessly mixed by Psychemagik. These tracks showcase Psychemagik’s passion for crate-digging. With such an eclectic collection of music, finding the tracks must prove problematic? Not for Psychemagik.
Psychemagik are passionate and persistent crate-diggers, when it comes to unearthing hidden gems. Their quest in unearthing those elusive hidden gems, sees Psychemagik go where other crate diggers fear to tread. Whether it’s dusty basements, thrift stores, warehouses or record shops, nowhere is off limits. As a result, and unlike many other crate diggers, Psychemagik’s choice of music is truly eclectic. Rather than focus on one genre of music, no genre of music, it seems, is overlooked. Given that Psychemagik have such eclectic and discerning taste in music, it’s no surprise that Psychemagik Presents Magik Sunrise oozes quality.
As you’ll have realized by now, I was hugely impressed by Psychemagik Presents Magik Sunrise. I’d go as far as to say it’s one of the best compilations I’ve heard this year. There are several reasons for this. Of course one of these is the sheer eclecticism of the compilation. There’s everything from cosmic disco, psychedelic funk, Balearica and Middle Eastern beats right through to rock, Latin, jazz and even prog rock. Describing the compilation as eclectic, is almost an understatement.
It seems Psychemagik no crates have been left unexplored by Psychemagik, in their quest for not just quality music, but outstanding music. Most of the tracks on Psychemagik Presents Magik Sunrise will be new to most people, even the most devoted and persistent crate-digger. Unlike other inferior compilations, neither is there any filler or poor tracks. All killer and no filler describes Psychemagik Presents Magik Sunrise. That’s a tribute to Psychemagik’s crate-digging skills and their discerning taste in music. As an added bonus, Disc Two features each of the twelve tracks seamlessly mixed by Psychemagik. So for anyone who likes their music eclectic and loves discovering new music then Psychemagik Presents Magik Sunrise is a must-have compilation.
SOUL JAZZ RECORDS PRESENTS: DEUTSCHE ELECKTRONISCHE MUZIK 2.
Sometimes, when it comes to compilations, sequels don’t quite live up the first volume in a series. Often, the first volume in a series has exhausted the supply of seminal music. So, when the eagerly awaited sequel is released, there’s often a sense of disappointment. Too often, the musical memory of the first volume ends up tainted by a disappointing sequel. The lesson to be learnt, is that once you’ve released one or two successful compilations, quit while you’re ahead. Sadly, often record companies realising that there’s an audience for their compilation series, let greed and avarice get in the way of common sense. After all, with some musical genres, there’s often a limited supply of quality music. Conversely, other musical genres have a plentiful supply of quality music awaiting discovery by enthusiastic and knowledgeable compilers. This includes what’s become known as Krautrock, which has become musical shorthand for a fusion of musical genres. Mining this plentiful supply of music have been Soul Jazz Records, for their compilation Soul Jazz Records Presents: Deutsche Elektronische Muzik 2, which was released in February 2013.
For those yet to discover Krautrock, this musical genre is a melting pot of influences. Indeed, there’s everything from rock, prog rock, jazz, psychedelia, folk and electronic music. While many people will have heard the music of Kraftwerk, Neu, Can and Faust, there’s much more to Krautrock than this. So, for anyone looking to discover Krautrock, then Soul Jazz Records’ latest release, Soul Jazz Records Presents: Deutsche Elektronische Muzik 2, is the perfect starting point. On the two discs are twenty-seven tracks released between 1971 and 1983. They’re described as “experimental German rock and electronic musik.” This is the perfect description of the Krautrock. Together with the 2010s Soul Jazz Records Presents: Deutsche Elektronische Muzik, this is the perfect primer for the newcomer to Krautrock.
Not only does it feature tracks from some of the genres giants, including Can, Neu and Faust, but hidden gems like Niagara S.U.B’s and Electric Sandwich’s China. Having said that, there’s so much more to discover on Soul Jazz Records Presents: Deutsche Elektronische Muzik 2. These tracks are inspired by an eclectic variety of musical genres and influences. This includes rock, prog rock, jazz-rock, psychedelia, jazz and avant garde classical music. To that, I’d add electronic, industrial, ambient and funk. Krautrock was inspired by all these genres and was a musical melting pot. Since then, Krautrock has inspired a new generation of musicians and producers. Sadly, despite this, Krautrock is often portrayed negatively in the musical press. That’s quite unfair, given how much quality music is awaiting discovery. There’s much more to Krautrock than just the music of Kraftwerk, Can, Neu and Faust. Not only will Soul Jazz Records Presents: Deutsche Elektronische Muzik 2 act as a primer to anyone looking to discover the delights of Krautrock, but will lead them on a voyage of musical discovery, which could last a lifetime.
STUDIO ONE SKA FEVER!
Ska was born in Jamaica during the late-fifties. At first Jamaican musicians seemed determined to replicate the sound of American R&B. Both the beat and tempo were similar. Then having tired of copying their American counterparts, Jamaican musicians decided to give this new musical genre a Jamaican twist. So, Caribbean and Jamaican musical genres, including calypso, rhumba, merengue and mento found their way into what became known as ska. Soon, Ska became Jamaica’s most popular musical genre. It was replicating the success of R&B in America. Quickly, labels were born and bands were born, and a whole host of records released. One of these labels was founded by Coxsone Dodd, one of the legends of Jamaican music.
It was in October 1963, that Coxsone Dodd founded the Jamaica Recording and Publishing Studio, at 13 Brentford Road, Kingston. What was a former jazz club The End, became a one-stop musical shop. Musicians could head to what became known as Studio One, to write and record music. They could meet with other songwriters and musicians, and this musical meeting point, was where some of the biggest names in Jamaican music recorded some of the finest music of their career. This included the music on Soul Jazz Records’ recent compilation Studio One Ska Fever!
If you’re a newcomer to ska, wanting to hear some of the legends of Jamaican music, then Studio One Ska Fever is a good place to start. Lee Perry, The Wailers, Jackie Mittoo, The Ethiopians and The Skatalites all feature on Studio One Ska Fever. These eighteen tracks are a delicious taste of ska. So good is Studio One Ska Fever, that I’m sure it won’t be the last reggae compilation you buy. A good starting point is Soul Jazz Records’ back-catalogue. Just like Studio One Ska Fever, they’re lovingly compiled and feature some of the best music in the history of Jamaican music.
SWEET DREAMS: WHERE COUNTRY MEETS SOUL VOLUME 2.
Ever since the fifties, country music has influenced soul music. That’s no surprise. After all, many soul singers grew up in the southern states, listening to the country music coming out of Nashville, Memphis and Muscle Shoals. Back then, country music was King. There was no alternative to the country music being played on radio states in the South. All there was, was country music. Ruling the airwaves were Hank Williams, George Jones, Webb Pierce, Patsy Cline and Merle Haggard. They provided the soundtrack to the lives of those living in the southern states. This just so happened to include a generation of soul singers. Their voices, delivery and style were influenced by country music. As such, country and soul music became inextricably linked. Proof of this is the latest compilation of country soul from Kent Soul, Sweet Dreams: Where Country Music Meets Soul Volume 2, which was released in May 2013.
Just like Behind Closed Doors: When Country Meets Soul, which was released in June 2012, the songs that feature on Sweet Dreams: Where Country Music Meets Soul Volume 2 were originally recorded by country singers. For many aspiring soul singers living in southern states, they must have heard several of the tracks that feature on Sweet Dreams: Where Country Music Meets Soul Volume 2 when they were growing up. For all we know they could have influenced their musical careers? Whether that’s the case or not, many years later, these artists were now covering the songs they’d heard growing up.
Where Country Music Meets Soul Volume 2 is crammed full of contributions from soul music royalty. This includes Queens of Country Soul Etta James, Bettye Swann, Esther Phillips and The Sweet Inspirations. Among the rivals for the title of King of Country Soul are Oits Redding, James Carr, Bobby “Blue” Bland, Joe Simon, ex-Temptation David Ruffin and Johnny Taylor. There’s also contributions from Hank Ballard, Eddie James and Millie Jackson. Most of the music on Sweet Dreams: Where Country Music Meets Soul Volume 2 was released between 1962 and 1976. The exception are James Carr’s Tell Me My Lying Eyes Are Wrong and Orquestra Was Featuring Sweet Pea Atkinson’s Forever’s A Long Time. They’d weren’t released until 1995 and 1996. Both are hidden gems, worthy of their place on Sweet Dreams: Where Country Music Meets Soul Volume 2.
The music on Sweet Dreams: Where Country Music Meets Soul Volume 2, covers the period between 1962-1976. This allows you to hear how country soul evolves. By 1976, the traditional country soul sound, has been replaced by a much more fuller, orchestral arrangement. With lush strings key to the sound, this is reminiscent of Philly Soul. This works. Most tracks feature that unmistakable country soul sound. This is a delicious fusion of musical genres. Occasionally there’s a welcome addition of gospel harmonies. This includes The Sweet Inspirations’ But You Know I Love You, which is one of the real highlights of Sweet Dreams: Where Country Music Meets Soul Volume 2. That was the perfect way to open Sweet Dreams: Where Country Music Meets Soul Volume 2. After that the quality kept on coming. Indeed, the quality continued for another twenty-two tracks. Quite simply, there’s neither faux pas nor filler on Sweet Dreams: Where Country Music Meets Soul Volume 2 just quality country soul.
THE GET DOWN BOOGIE SOUND.
After disco’s demise in 1979, dance music had to change. No longer were record companies willing to throw money at dance music. Budgets were cut as music began to evolve. Disco was almost a dirty word, and was no longer filling dance-floors. Instead, boogie became a favourite of dancers and DJs. Boogie was a lo-fi, low-budget alternative to disco. Despite that, it’s still a hugely popular musical genre. Compilations of boogie are still being released, including BGP’s recent compilation, The Get Down Boogie Sound.
The Get Down Boogie Sound is a thirteen track compilation, which features tracks from the back-catalogues of Vanguard, Fantasy and Posse. Among the artists that feature on The Get Down Boogie Sound are Carol Williams, Sylvester, The Mynks, Convertion, Marlon McClain and Shock. Released between 1981 and 1983. For newcomers to boogie,The Get Down Boogie Sound, is the perfect primer to boogie.
All killer, no filler describes The Get Down Boogie Sound. That’s unusual. Usually, there’s the odd musical faux pas along the way. Not here. Compiler Julian Johan has chosen well. He’s chosen a mixture of old friends and new faces. Along the way we hear from some familiar faces, including Carol Williams, Sylvester, Convertion, Shock and Marlon McClain. There’s also hidden gems from Mynks, Ritz and Rare Essence. The Get Down Boogie Sound is a thirteen song musical journey. It’s a journey where we hear references to disco, funk, Go-Go, jazz, Latin and soul music. All these genres can be heard on The Get Down Boogie Sound. These songs are quite different from disco, which preceded boogie.
Boogie is very different from disco. The tempo was slower, usually between 90 and 110 beats per minutes. Gone were lavish arrangements. They were a thing of the past. Strings and horns were no more. Synths and drum machines took their place. Despite all theses changes, boogie quickly found favour amongst discerning dancers and DJs. Just like disco, there’s no let up in our love affair with boogie. Thirty years later, and boogie is just as popular. That’s why there’s so many boogie compilations released. Very few are as good as The Get Down Boogie Sound, which is one of the best boogie compilations I’ve heard not just this year, but in recent years. That’s why I’d recommend that you get down with The Get Down Boogie Sound.
THE MUGGSY STORY.
Although Johnny De Mairo’s name is synonymous with Henry Street Records, the label he founded with Tommy Musto in 1993, that wasn’t the only label he founded. Not at all. Once Henry Street Records was an established label, and had forged a reputation as one of the most innovative and influential labels in house music, Johnny D decided to found a new label. There was a good reason for this. Henry Street Records had established a reputation for specialising in releasing soulful house that had been influenced by disco. Johnny wanted to release a much more eclectic selection of music. So, a few years after founding Henry Street Records, Johnny D founded Muggsy Records.
Originally, Johnny planned to release music with a more tribal sound on Muggsy Records. This tribal sound would launch Johnny D’s nascent label. The problem was, finding the right track. That wasn’t going to be easy. Then fate, luck or the musical gods intervened. Chris “TKC” Staropoii approached Johnny D with a track entitled Black Jack. It was the perfect track, with the sound Johnny was looking for. Not only was it tribal, but had a harder sound and was innovative. Without hesitation, Johnny D signed Chris “TKC” Staropoii to Muggsy Records. Black Jack became the first single released on Johnny D’s newly founded Muggsy Records. Soon, Muggsy Records were releasing tracks by some of house music’s luminaries, including Chicago’s Robbie Rivera and Ralphi Rosario, Miami’s Mike “Da Mooch” Mucci and New York’s Kenny Dope and Johnick, Kenny D’s studio partnership with Nick Palermo. Tracks from each of these innovative producers feature on The Muggsy Story, which was released by BBE Music in May 2013.
The ten tracks on The Muggsy Story are the perfect introduction to Johnny De Mairo’s “other” label. While most people remember Johnny D for Henry Street Records, overlooking Muggsy Records is something they should do at their peril. After all, Muggsy Records was a label that was synonymous with innovative, influential and eclectic music. Indeed, one of Johnny D’s reasons for founding Muggsy Records, was to release a much more eclectic selection of music. This was music that Henry Street Records might not release. Given Johnny D’s reputation within the music industry, he’d soon, some luminaries of house music beating a path to his new label’s door. With producers of the standard of Kenny “Dope” Gonzalez, Robbie Rivera, Ralphi Rosario, Mike “Da Mooch” Mucci, Brutal Bill and JohNick on their roster, Muggsy Records concentrated on quality not quantity. Better to release ten great tracks than twenty average tracks seems to be Johnny D’s thinking. So, while Muggsy Records may not have been one of the most prolific record labels, their releases had one thing in common…their quality. Proof of this are the ten tracks on The Muggsy Story.
TRAX BOX.
There are some labels whose music epitomises everything that’s good about a musical genre. Think of Stax Records and Southern Soul, Blue Note and jazz, Chess Records and Chicago blues, Salsoul Records and disco or between 1972 and 1975, Philadelphia International Records and Philly Soul. Each of these labels produced some of the best music in the history of modern music. To that list, I’d add Trax Records. Trax Records were one of the most influential and innovative Chicago house labels.
Founded in 1983, Trax Records enjoyed a longevity that few other house labels enjoyed. Trax were responsible for releasing some of the most important releases in the history of house music. Think of just about any of the Chicago house classics, and most likely, it’ll have been released on Trax Records. Along with DJ International, Trax Records dominated house music. Indeed, when it comes to Chicago house, its history can be divided into to periods. B.T, before Trax, and A.T. after Trax.
Trax as you can see, was hugely important in the development and growth of Chicago house music. Would house music have become as popular as it has, without Trax. Similarly, would house music have enjoyed the longevity it has without Trax? In some ways, with Trax helped spread the Chicago house gospel far and wide. However, in the eyes of some people, Trax wasn’t a benevolent benefactor.
No. Then again who is? Controversy and allegations surrounds some of its business practices. The same can be said of many labels. In the case of Trax, whether there’s any truth in these rumors, who knows? What I can say, is that it’s become part of the myth and aura that surrounds Chicago house music’s biggest label, who in 2013, celebrate their thirtieth anniversary. However, their clubbing days are far from over. No. Trax are reliving the heady, hedonistic days of Chicago house’s heyday with the release of Trax Box.
Released by Harmless Records in September 2013, Trax Box is no ordinary box set. Far from it. It’s a sixteen-disc box set that features Trax Records’ first seventy-five releases. This includes the A and B sides. There are many a glittering hidden gem awaiting discovery during the sixteen discs. A voyage of discovery awaits the diligent crate-digger. It’s well worth spending the time listening to each disc. To do this, set aside two days. Do what I did, and immerse yourself in some of the finest Chicago house ever released between 1985 and 1989, which the Trax Box covers. Relive the music music that’s timeless and groundbreaking. That certainly is a good way to describe the music on Trax Box, which is a glorious reminder of Chicago house’s premier label, Trax Records.
UNDER THE INFLUENCE VOLUME 3-A COLLECTION OF RARE SOUL AND DISCO.
When ZR Records released Under The Influence Volume 1 back in 2011, Red Greg was the compiler. He chose twenty-four slices of rare soul and disco, many of which he edited. Given the quality of Under The Influence Volume 1, I eagerly awaited the next instalment. Sadly, Under The Influence Volume 2 saw a change of compiler. Paul Phillips replaced Red Greg. The music also changed. There was a much more boogie influence. It wasn’t just the music that changed. So too had the quality. Volume 2 just wasn’t as good. So when Under The Influence Volume 3 was released in June 2013, again, there was a change of compiler. That was no bad thing. After all, a change of compiler was what I felt was needed to rejuvenate the series. The DJ chosen to do this, was James Glass.
From what had been one of the compilations of 2011, the Under The Influence compilation series was at a crossroads. I felt that Under The Influence Volume 3 would be crucial. It would either make or break what could be a long-running and successful compilation series.
Under The Influence Volume 3 is the comeback kid. That’s thanks to James Glass’ crate-digging and musical choice. His choice of music was innovative, imaginative and intriguing. Mostly killer with little filler, what was a make or break instalment of Under The Influence saved the “brand’s” future. After all, it’s hard for any compilation series to recover from consecutive flops. That wasn’t the case with the Under The Influence compilation series. Thankfully, Under The Influence Volume 2 was merely a blip. Under The Influence Volume 3 the latest instalment in the Under The Influence series, is very much a return to form and sees the series get back on track.
Choosing my fifty best compilations of 2013 wasn’t easy. I was spoiled for choice. This year has been a vintage year for compilations. In what’s a fiercely competitive market, record companies have raised their game. They’ve released compilations of every musical genre. This includes compilations from the four corners of the globe, featuring every musical genre known to man. Since January, I’ve listened to a mountain of compilations. The fifty I’ve mentioned are the creme de la creme. They feature 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 on my list of fifty best compilations of 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. It features some of the best compilations released during 2013. Cutting-edge, groundbreaking, innovative and pioneering, whether it’s old or new music, each of the fifty compilations I’ve mentioned feature one thing in common, their quality. So good have the compilations been that were released during 2013, that already I’m looking forward to 2014, and doing this all again in a year’s time.
THE A-Z OF THE BEST BOX SETS OF 2013-PART 1.
THE A-Z OF THE BEST BOX SETS OF 2013-PART 1.
With 2013 drawing to a close, and a new musical year beckoning, it’s time to look back at the best music released during the year. Over the next few days, I’ll look back at the best compilation, reissues and new releases. Before that, I’ll pick what I think have been the best box sets of 2013. Now this is something of a labor of love for me. Why? Well, I can’t resist the delights of box sets. Over the years, I’ve bought more box sets than I’m willing to admit to. I just can resist a box set. During 2013, I’ve reviewed many box sets. However, during 2013, I’ve noticed the definition of a box set is changing.
Previously, box sets were lavish affairs. They featured six or eight discs. Not any more. Now what I’d refer to as double albums, are referred of as box sets. Even single discs contained in lavish packaging, is referred to as a “box set.” This is all part of the reinvention of the music industry. After all, with every year that passes, the reissue market becomes ever more lucrative. That’s why many of the same albums are constantly reissued. With every major anniversary, there’s a reissue of these albums. Some of them will find themselves on my list of best box sets of 2013. So without further ado, here’s my A to Z of my best box sets of 2013. In-depth reviews of most of them can be found elsewhere in my blog.
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.
pANGOLA 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.
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.
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.
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.
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.
DONNY HATHAWAY-NEVER MY LOVE: THE ANTHOLOGY.
Described by some as a musical genius, Donny Hathaway never got the opportunity to fulfill his potential. No. Tragedy intervened in Donny Hathaway’s life, when his career was cut shot in January 1979. Donny was just thirty-four. He’d released just a trio of solo albums between 1970 and 1973. His debut album was 1970s Everything Is Everything, followed by 1971s Donny Hathaway and 1973s Extension Of A Man. In between Donny Hathaway and Extension Of A Man, Donny contributed the soundtrack to Come Back Charleston Blue and an album of duets with Roberta Flack.
Entitled Roberta Flack and Donny Hathaway, it was released in 1972 and was certified gold. It featured the number one US R&B single Where Is The Love. Five years later, in 1978, the pair enjoyed another number one US R&B single with The Closer I Get To You. Just like Where Is The Love, it was certified gold. Both of these tracks, feature on the recently released Donny Hathaway box set Never My Love: The Anthology. It was released on Rhino and is best described as a celebration of Donny Hathaway’s career over four discs.
During Donny Hathaway-Never My Love: The Anthology, Donny’s takes you on a musical journey. It’s best described as captivating, enthralling, mesmeric, soulful spiritual and uplifting. Donny’s fuses elements of soul, jazz, funk and gospel music. You’re transfixed, awaiting the next song with anticipation, listening to every subtlety and nuance. When one song ends, you await the next hungrily, especially, the previously unreleased tracks. You find yourself pressing repeat, listening again, just in case you missed anything the last time. Then there’s the tracks from Donny’s back-catalogue. They’re like old friends, who you’ve know all your life. These tracks are a tantalising taste of Donny Hathaway in his prime, when he looked like becoming one of the giants of soul. Tragically, that wasn’t to be. Fate intervened and robbed us of Donny Hathaway. He died aged thirty-four. That day in 1979, soul music lost one of its most talented sons. A poignant reminder of this is Donny Hathaway-Never My Love: The Anthology. Over four discs, Donny Hathaway-Never My Love: The Anthology is a celebration of Donny Hathaway’s musical career and is a reminder of a musical colossus who during the seventies, looked like he was on his way to becoming one of the biggest names in soul music.
DUKE ELLINGTON-THE COMPLETE COLUMBIA STUDIO ALBUMS COLLECTION 1951-1958.
For Duke Ellington, one of the most productive and critically acclaimed period of his sixty-year career was at Columbia Records, between 1951 and 1958. During this period, Duke’s music was innovative, inventive, eclectic, and would influence a new generation of musicians. Recently, nine of the albums Duke Ellington released during this period were released as The Complete Columbia Studio Albums Collection 1951-1958. This collection starts with 1951s Masterpieces By Ellington and closes with 1958s innovative The Cosmic Scene. Not only does The Complete Columbia Studio Albums Collection 1951-1958 feature the original albums, which have been remastered, but each of the discs feature bonus tracks.
Featuring nine albums, the box set shows different sides to the Duke’s music. He truly was an innovative musician and bandleader. The Complete Columbia Studio Albums Collection 1951-1958 begins with 1951s Masterpieces By Ellington, 1952s Ellington Uptown, 1956s Blue Rose and A Drum Is A Woman, 1957s Sweet Sweet Thunder, 1958s Ellington Indigos, Black, Brown, Beige and the intriguing At The Bal Masque. The last last album on The Complete Columbia Studio Albums Collection 1951-1958 is Duke Ellington’s Spacemen The Cosmic Scene. It was inspired by satellites orbiting the earth. A truly groundbreaking album, it shows yet another side of the Duke.
For anyone new to the music of one of the greatest band leaders, composers and musicians, then The Complete Columbia Studio Albums Collection 1951-1958 is the perfect introduction to the music of Duke Ellington. Not many artists enjoy the longevity that Duke Ellington enjoyed. His career stretched sixty years and saw him win twelve Grammy Awards. Not only was he a legend of jazz music, but one of the great American songwriters. While the box set covers the period between 1951 and 1958, the post-war years hadn’t been kind to Duke Ellington. So the fifties were a period of reinvention for Duke Ellington and his music. He was a prolific artist, who released several albums each year. Some of his most innovative, inventive and influential albums of the fifties feature in The Complete Columbia Studio Albums Collection 1951-1958.
THE A-Z OF THE BEST BOX SETS OF 2013-PART 2.
THE A-Z OF THE BEST BOX SETS OF 2013-PART 2.
ELLA FITZGERALD-DEARLY BELOVED.
Ella Fitzgerald enjoyed a fifty-nine year career that saw her crowned The Queen of Jazz and The First Lady of Song. With a three-octave vocal range, Lady Ella became one of the most influential and revered singers in the history of jazz music. Ella Fitzgerald influenced, and continues to influence, a new generation of singers. Famed for delivery, with peerless diction, phrasing and intonation, it’s no surprise that, during her career, she won thirteen Grammy Awards. She recorded for some of the biggest record labels of the day. Decca, Verve, Capitol and Columbia were all home for The Queen of Jazz. Similarly, Lady Ella worked with some of the greatest songwriters in American music, including George Gershwin, Cole Porter, Irving Berlin, Jerome Kern and Johnny Mercer. Duke Ellington, Count Basie, Oscar Peterson and Billie Holliday all worked with The First Lady of Song.
After Ella’s death in 1996, she left behind one of the richest musical legacies behind, in the shape of her discography. For anyone yet to discover Lady Ella’s music, there’s a veritable treasure trove of music awaiting their discovery. All this choice can prove confusing. Newcomers to Ella’s music wonder where the best place to start? This choice has recently gotten a whole lot easier. Proper Records recently released Dearly Beloved, a four-disc box set, which whether you’re a newcomer to, f Lady Ella’s music is a treasure trove of some of Ella’s greatest recordings. For veterans of Ella’s music, this lovingly compiled compilation, carefully remastered box set, contains some of the most in-depth, informative sleeve-notes I’ve come across recently. Joop Viser’s sleeve-notes to Dearly Beloved, are a true labor of love and are a fitting homage to Ella Fitzgerald, The First Lady of Song.
For anyone looking for an introduction to Ella Fitzgerald, look no further than Proper Records’ four-disc box set Dearly Beloved. It covers the end of her period at Decca and the beginning of her time at Verve. Staring with songs from Ella’s Decca album Songs In A Mellow Mood, we head into Ella’s time at Verve. There’s ten tracks from Ella’s collaboration with Louis Armstrong, a selection of tracks from four of the greatest American songwriters. Starting with songs from Ella Fitzgerald Sings The Cole Porter Songbook, through Ella Fitzgerald Sings The Cole Porter Songbook, Ella Fitzgerald SIngs The Rogers and Hart Songbook and then Ella Fitzgerald SIngs The Duke Ellington Songbook, this is the perfect introduction to Lady Ella. Granted there are tracks from other sessions, including a trio of live tracks. Add to this Joop Viser’s sleeve-notes. His essay is a fitting homage to Ella Fitzgerald. They’re an example of what sleeve-notes should be like. Together with the four discs that comprise Dearly Beloved, Proper Records have released the not just the perfect introduction to Ella Fitzgerald, The Queen of Jazz, but one veterans of Ella’s music will cherish too.
J.J. CALE-CLASSIC ALBUM SELECTION.
One of the most underrated singer, songwriter and guitarists was J.J. Cale, who died earlier this year. His career began back in the late fifties as Johnny Cale. However, it wasn’t until 1972 that J.J. Cale released his debut album Naturally. Naturally featured a track that would become synonymous with J.J. and would introduce his music to a much wider audience. This track was After Midnight, which Eric Clapton had covered in 1970.
At the time Eric Clapton covered After Midnight, J.J. Cale was struggling to pay his bills working as a musician, so the royalties from After Midnight were like manna from heaven. Unknown to him, Eric had covered After Midnight. When it gave Eric one of the biggest hits of his career, J.J. Cale’s problems were suddenly solved. The royalties he received from After Midnight allowed J.J. Cale to pay his bills and somewhat belatedly, record his debut album Naturally. It’s one of five albums that feature in the recently released J.J. Cale-Classic Album Selection. Other albums include 1976s Troubadour, 1981s Shades, 1982s Grasshopper and 1983s Number 8. These five album are the perfect introduction to one of the most enigmatic, languid and laid-back musicians of a generation… J.J. Cale.
Throughout his career, J.J. Cale eschewed the limelight. Despite that, he was without doubt one of the most underrated singer, songwriter and guitarists of his generation. He’s seen as the guitarists guitarist. However, his unwillingness to change his music meant he failed to attract the critical acclaim and commercial success his undeniable talent deserved. The five albums that comprise J.J. Cale-Classic Album Selection are proof, if any of this. They’re also proof that the laid-back, languid and understated sound of J.J. Cale matches and often, surpasses many guitarists his era. During the five album in J.J. Cale-Classic Album Selection, J.J. demonstrates that he’s both one of the greatest and most underrated guitarists of a generation.
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.
JOHN MORALES PRESENTS THE M&M MIXES VOLUME 3.
Ever since John Morales released The M&M Mixes Volume 2 in March 2011 on BBE Music, one of the greatest remixers in modern dance music has been working on the followup. Believe me, this has been two years John well spent. John Morales Presents The M&M Mixes Volume 3 is a three-disc box set, which features twenty-four brand new remixes from John. It was released by BBE Music on 29th April 2013. Featuring remixes of Marvin Gaye, Barry White, Teddy Pendergrass, The Dramatics, The John Davis Monster Orchestra, Loleatta Holloway and The Salsoul Orchestra. The twenty-four tracks on John Morales Presents The M&M Mixes Volume 3 encompass Philly Soul, Salsoul, classic soul, funk and disco. Quite simply, John Morales Presents The M&M Mixes Volume 3 is the best instalment of The M&M Mixes.
So good is the music on John Morales Presents The M&M Mixes Volume 3, that this is a possible contender for compilation of the year. John’s choice of music and remixing skills are flawless. John breathes new life and meaning into familiar tracks. Over the three discs that comprise John Morales Presents The M&M Mixes Volume 3 John take you on twenty-four compelling and captivating musical journey. These journeys are soulful, funky, jazz-tinged and dance-floor friendly. Occasionally, he throws a series of curveballs, taking you in a direction you never expected. By the end of the track everything falls into place. Seamlessly, everything makes sense. Not many remixers can do this, but John Morales can. However, that’s what you’d expect from a veteran remixer whose life has revolved around music. Proof of this is John Morales Presents The M&M Mixes Volume 3. Somehow, John Morales Presents The M&M Mixes Volume 3 manages to surpass the quality of the two previous instalments in this series.
JOHN MORALES PRESENTS THE M&M MIXES VOLUME 3-INSTRUMENTALS.
Compilations of John Morales’ remixes were a bit like London buses this year. You wait ages for one, then two come along at once. After releasing the critically acclaimed and commercially successful The M&M Mixes Volume 2 in March 2011, John Morales spent the next years working not just on one compilation of remixes, but two. These were John Morales Presents The M&M Mixes Volume 3 and John Morales Presents The M&M Mixes Volume 3-Instrumentals. Both were released by BBE Music in April 2013. John Morales Presents The M&M Mixes Volume 3 was very much a return to form from one of the greatest remixers of his generation. While much of the focus was on John Morales Presents The M&M Mixes Volume 3, many people have overlooked what is a truly captivating and intriguing project, John Morales Presents The M&M Mixes Volume 3-Instrumentals.
If you think about many of the twenty-four anthemic tracks that feature on John Morales Presents The M&M Mixes Volume 3, each of these tracks has one thing in common. Many of the tracks feature a truly compelling vocal. When you listen to theses track, you tend to focus primarily on the vocal. You can’t help it, given how captivating and compelling it is. By focusing primarily on the vocal, you’re not listening closely to other parts of the arrangement. Granted, the vocal is central to the songs success, but without the other parts of the arrangement, the track wouldn’t work as well, and wouldn’t be as successful. Not only that, but by focusing primarily to the vocal, you’re overlooking some equally outstanding performances. Not any more. John Morales released a compilation of instrumental version of seventeen songs on John Morales Presents The M&M Mixes Volume 3. The result was one of the biggest challenges of John’s career.
By dispensing with the vocal, he had to reinvent and re-imagine the tracks. This couldn’t have been easy. Indeed, it would’ve been easy to go wrong. However, John being an innovative and imaginative remixer managed to reinvent the tracks. To do this, he makes other instruments the focus of your attention and highlights parts of the track that previously, were subservient to the vocal. They play more important parts, in the reinvention of the tracks. Without the vocal, you’re able to hear parts that previously you overlooked. Never again, will you hear the original tracks in the same way.
For John Morales, creating seventeen instrumental versions of dance-floor classics must have been one of the biggest challenges of his long and illustrious career. However, he managed it and the result is John Morales Presents The M&M Mixes Volume 3-Instrumentals. It demonstrates just why John Morales is one of the greatest remixers of his generation. He’s head and shoulders above other remixers. They’re pretenders to John’s thrones. Proof of this is John Morales Presents The M&M Mixes Volume 3-Instrumentals, which is the perfect companion to John Morales Presents The M&M Mixes Volume 3.
KENYA SPECIAL-SELECTED EAST AFRICAN RECORDINGS FROM THE 1970S AND 80S.
Kenya Special is a two disc box set, which features thirty-two tracks recorded during the seventies and eighties. The two discs are enclosed in a sturdy, cardboard box which holds the two discs and a forty-page booklet. Unlike inferior compilations, the discs don’t rattle about the box. Instead, there’s a made-to-measure quality to it. Each disc is enclosed in what resembles the inner sleeve to an old vinyl record, with facsimiles of old record labels on each side. Then there’s Doug Paterson’s sleeve-notes. They’re lengthy, informative and in-depth. As an added bonus, there’s the story behind each track. For lovers of African music, this is Nirvana. Where Kenya Special also differs, is the music. The thirty-two tracks, spread across the two discs don’t just focus on one specific musical genre. Instead, Kenya Special draws inspiration from Ghana Special and Nigeria Special.
Throughout the seventies and eighties, across the length and breadth of Kenya, in the various regions, artists and bands were producing new and innovative music. Recorded in various dialects, this was music that was funky, soulful and dance-floor friendly. It was music that provided a showcase for Kenyan music, benga and rumba in particular. Benga and rumba were influenced by the music of Kenya’s neighbours Congo and Tanzania. It was also influenced by Western music, including disco, jazz, funk, soul, R&B and rock. Influenced by an eclectic and disparate selection of musical genres and influences, not only did the music that features on Kenya Special provide the soundtrack to much of Eastern Africa, but made stars out of many of the artists on the compilation. Selling ten-thousand or more copies, many of the artists on Kenya Special became legends of Kenyan music. Revered not just in Kenya, but much further afield are Simon Kihara, D.O. Misiani, Nashil Pichen and Sophia Ben, true legends of the Kenyan music scene. They’re responsible for some of the innovative, influential and timeless music that features on Kenya Special, the latest compilation from Soundway Records.
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.
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.
ORCHESTRE POLY-RYTHMO DE COTONOU-VOLUME 3 THE SKELETAL ESSENCES OF AFRO FUNK 1969-1980.
The Orchestre Poly-Rythmo De Cotonou are among Analog Africa’s favorite sons. Indeed, Samy Ben Radjeb’s Analog Africa label have previously, dedicated two compilations to the funk-laden music of the Orchestre Poly-Rythmo De Cotonou. This started with 2008s The Vodoun Effect and 2009s Echoes Hypnotiques-Volume 2 From The Vaults of Albarika Store 1969-1979. Then in 2011, Analog Africa rereleased the Orchestre Poly-Rythmo De Cotonou’s 1973 debut album, entitled The 1st Album. Now, Analog Africa have returned to the Orchestre Poly-Rythmo De Cotonou’s back-catalogue for fourteen further tracks, which comprise The Orchestre Poly-Rythmo De Cotonou-Volume 3 The Skeletal Essences Of Afro Funk 1969-1980. This includes some of the funkiest music the Orchestre Poly-Rythmo De Cotonou ever recorded during their career.
When Analog Africa founder Samy Ben Radjeb was compiling The Orchestre Poly-Rythmo De Cotonou-Volume 3 The Skeletal Essences Of Afro Funk 1969-1980, first stop was his vast collection of African music. His collection is crammed full of records he’d collected during his previous career, which was working for a German airline. This allowed Samy to seek out and discover, countless hidden gems of African music during his monthly trips to Africa. Finding their way into Samy’s enviable record collection, were the 500 songs that The Orchestre Poly-Rythmo De Cotonou recorded between 1969 and 1983.
Fourteen of these tracks feature on The Orchestre Poly-Rythmo De Cotonou-Volume 3 The Skeletal Essences Of Afro Funk 1969-1980, where you hear many sides to The Orchestre Poly-Rythmo De Cotonou’s music. Seamlessly, they veer between musical genres and rhythms. Everything from funk, soul, jazz, rock, Latin, Cuban and Afro-beat is combined over the fourteen tracks. It’s impossible to categorise The Orchestre Poly-Rythmo De Cotonou. Granted, you could refer to it as Afro-beat, but there’s much more to it than that. However, the fourteen tracks could be broken down into ten sub-genres. These are the various rhythmic styles. They range from voudoun, jerk fon, sato, pop fon and pachange. For many groups, changing rhythmic styles would present a challenge. Not for The Orchestre Poly-Rythmo De Cotonou. They relish the challenge, enjoying the opportunity to showcase their considerable musical prowess. Seamlessly, one rhythm style gives way to another. All the time, they’re drawing inspiration from Western, Cuban and Latin music. Quite simply, The Orchestre Poly-Rythmo De Cotonou were hugely talented musicians, musicians who were innovative and versatile. Not only that, but The Orchestre Poly-Rythmo De Cotonou enjoyed longevity and were prolific, releasing over 500 songs.
Despite their prolificacy, The Orchestre Poly-Rythmo De Cotonou remain something of a musical secret, outside of Benin. Thankfully, independent record labels, including Analog Africa, run by Samy Ben Radjeb are rectifying this. He has already released two compilations of The Orchestre Poly-Rythmo De Cotonou’s music. Recently, that number rose to three, when Analog Africa released The Orchestre Poly-Rythmo De Cotonou-Volume 3 The Skeletal Essences Of Afro Funk 1969-1980, Of the three compilations, The Orchestre Poly-Rythmo De Cotonou-Volume 3 The Skeletal Essences Of Afro Funk 1969-1980 finds The Orchestre Poly-Rythmo De Cotonou not just at their funkiest, but seamlessly switching between musical genres and rhythms. For anyone whose still unfamiliar with African music’s best kept secret, then The Orchestre Poly-Rythmo De Cotonou-Volume 3 The Skeletal Essences Of Afro Funk 1969-1980 is the place to start.
PHILADELPHIA INTERNATIONAL CLASSICS-THE TOM MOULTON REMIXES-VINYL EDITION.
Just a year after the release of Philadelphia Classics-The Tom Moulton Remixes, now lovers of vinyl will be able to purchase a copy of what was one of the most anticipated box sets of 2012. While the version of Philadelphia Classics-The Tom Moulton Remixes that was released in March 2012, this new vinyl version, which will be released on 25th March 2013, features eight heavyweight albums. For lovers of Philadelphia International Records and Tom Moulton’s remixes, then you’re in for a treat. Thirty-one remixes by Tom Moulton, including what were last year, seventeen brand new remixes. Truly, the music is stunning.
Just like Philadelphia Classics-The Tom Moulton Remixes, the vinyl edition is a combination of classics and new tracks. Quite simply, the music is of the highest quality. With the new tracks, Tom’s remixes are just as good as his older remixes, demonstrating that he’s still a hugely talented remixer. In fact, listening to these tracks, there much better than anything the new generation of remixers are producing. Compare these tracks, and its like master and pupil, with Tom’s remixes are streets ahead. Proof of this is the vinyl edition of Philadelphia Classics-The Tom Moulton Remixes. It was released by Harmless Records in March 2013, and is a reminder of what Tom Moulton, inventor of the remix, twelve inch single and remixer extraordinaire is capable of.
THE A-Z OF THE BEST BOX SETS OF 2013-PART 3.
THE A-Z OF THE BEST BOX SETS OF 2013-PART 3.
PHILLY REGROOVED: THE TOM MOULTON REMIXES-SPECIAL VINYL EDITION.
Just over three years ago, in August 2010, Harmless Records released the first instalment in the Philly ReGrooved compilation series. Featuring twelve remixes of tracks from the Philly Grooved back-catalogue Philly ReGrooved: The Tom Moulton Remixes was released to critical acclaim. One of the best releases of 2010, fans of Philly Soul waited with bated breath to see if a second installment would follow? It did. Less that a year later, Philly ReGrooved 2: The Tom Moulton Remixes was released in May 2011. With another eleven remixes from the Godfather of the remix, Philly ReGrooved 2: The Tom Moulton Remixes enjoyed the same commercial success and critical acclaim of its predecessor. That whetted our appetite for further instalments in the series.
2012 came and went with no sign of Volume 3. Nearly two years passed before Harmless Records announced the release of Volume 3. Unlike the first two volumes, Philly ReGrooved 3: The Tom Moulton Remixes would be a double-album. Released in June 2013, Volume 3 surpassed the first two installments. Featuring tracks from the back-catalogues of Atlantic, Atco, Buddah, Chelsea, Columbia and Roxbury, Volume 3 was crammed full of Philly Soul classics. Blue Magic, The Spinners, The Trammps, New York City and William DeVaughan, critics hailed Volume 3 as the best in the series. Plaudits, praise and critical acclaim came Tom Moulton and Harmless Records’ way for this two-disc opus. The only criticism of Volume 3 was, that it wasn’t available on vinyl. That is, until now, when Harmless Records will released another vinyl Magnus Opus.
It’s not just Philly ReGrooved 3: The Tom Moulton Remixes that can be found on Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition. No. There’s much, much more than that.The three volumes of Philly ReGrooved: The Tom Moulton Remixes Volumes can be found within this forty-track eight-album box set. Released in October 2013, Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition was a must-have for Philly Soul fans. Limited to just four-hundred box sets, this follows in the footsteps of limited edition vinyl box set of Philadelphia International Classics: The Tom Moulton Remixes, which was released by Harmless Records earlier this year.
Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition was released by Harmless Records on 28th October 2013. A luxurious and lovingly compiled compilation, Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition features some of the best Philly Soul to fill airwaves and dance-floors. Quite simply, Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition isn’t just an incredible compilation, but a thing of beauty. That’s almost one of the great understatements. Quite simply, Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition is one of the best box sets of 2013.
PHILLY RE-GROOVED 3-TOM MOULTON REMIXES.
Philly Re-Grooved 3-Tom Moulton Remixes, features nineteen brand new remixes from Tom, plus sleeve-notes from myself. Long awaited, but well worth the wait, Philly Re-Grooved 3-Tom Moulton Remixes is a surefire bet to be one of the best compilations of 2013. After all, a Tom Moulton remix is still quite rightly perceived as a sign of quality. The nineteen tracks on Philly Re-Grooved 3-Tom Moulton Remixes are proof of this. These remixes see Tom cast his net much wider than in the first two volumes of Philly Re-Grooved.
On Philly Re-Grooved 3: The Tom Moulton Remixes Tom delves into the back-catalogues of Atlantic Records, Atco, Buddah Records, Chelsea, Columbia and Roxbury. They prove to be a veritable treasure trove for Tom. He was absolutely spoiled for choice. Eventually, he settled on nineteen tracks. This included tracks by The Spinners, The Trammps, Blue Magic, Bettye Swann, Melba Moore and Philly Devotions. Tom takes these tracks and totally transforms them.
The remixes on Philly Re-Grooved Volume 3 Tom Moulton Remixes are the result of five decades experience and work. It takes time, experience, dedication and a huge amount of skill to create remixes as good as those on Philly Re-Grooved Volume 3-Tom Moulton Remixes. Compare these tracks to the other remixers and there’s no comparison.
PROG ROCKS!
Although many musical genres divide opinion, some musical genres that tend to divide opinion way more than others. Everyone can think of their own example, but for me, three immediately spring to mind. These are disco, punk and prog rock. Of these three musical genres, when it comes to opinions, not many people tend to occupy the middle ground. You’re either for or against each of these musical genres. Prog rock, however, tends to divide the opinion the most. Even forty years after the genre’s birth, the merits or otherwise of prog rock are still debated. For prog rock’s accusers, they perceive the music as overblown, overindulgent and pompous. To them, prog rock is a musical genre that belongs in firmly in the past. That however, only tells one side of the story.
Proponents of prog rock point to a musical genre that’s inventive, innovative and complex. Influenced by art rock, jazz and classical music, prog rock drew inspiration from a many other influences.It eschews traditional time signatures, song structures, rhythms, instruments and influences. In many ways, prog rock was an innovative genre, one that railed against the blues’ influence in rock music. Groups like Pink Floyd, Soft Machine, Jethro Tull, Emerson, Lake and Palmer, Genesis, Yes and Gong were among prog rock’s pioneers. They lead the way, and now, four decades later, new generations of prog rock groups are following in their footsteps, during the latest resurgence in prog rock’s popularity. To mark this resurgence in prog rock’s popularity, a new five-disc compilation Prog Rocks has recently been released by EMI.
Having spent some time immersed in the five discs that comprise Prog Rocks! I’ve come to the conclusion that it’s not just people who enjoy prog rock that’ll enjoy this box set. After all, not every track on Prog Rocks! can be categorized as prog rock. Indeed, many tracks could just as easily be categorized as rock, folk, psychedelia, garage or rock. However, I often think we spend too much time putting music into categories. That’s often an unhealthy obsession that gets in the way of what’s important, discovering new and old music. For many people, there’s so much great music awaiting discovery on Prog Rocks! Indeed, there are seventy-two tracks over five discs awaiting discovery on Prog Rocks!
What I do hope that Prog Rocks! does, is change people’s perception of prog rock. After all, prog rock far too often, gets a bad press. Sometimes, prog rock is the butt of cheap jibes and sarcastic comments. Hopefully once people have heard the music on Prog Rocks! they’ll change their opinion on prog rock. Maybe then they’ll realize that it’s an innovative and inventive musical genre, one that’s been Influenced by art rock, jazz and classical music. Prog rock drew inspiration from a many other influences. It eschews traditional time signatures, song structures, rhythms, instruments and influences. That’s what makes prog rock and the music on Prog Rocks! unique, innovative and groundbreaking.
PSYCHEMAGIK PRESENTS MAGIK SUNRISE.
Sometimes, when you buy a compilation, the first time you play it, you’re blown away by its sheer eclecticism and totally smitten by the music. That was me, when I came across Leng Records’ latest compilation, Psychemagik Presents Magik Sunrise. This is a double-album, compiled by the prolific UK production team of Psychemagik. Disc One is a compilation of what’s describes as a mixture of cosmic disco, psychedelic funk, Balearica, Middle Eastern beats and much more On Disc Two, the tracks are seamlessly mixed by Psychemagik. These tracks showcase Psychemagik’s passion for crate-digging. With such an eclectic collection of music, finding the tracks must prove problematic? Not for Psychemagik.
Psychemagik are passionate and persistent crate-diggers, when it comes to unearthing hidden gems. Their quest in unearthing those elusive hidden gems, sees Psychemagik go where other crate diggers fear to tread. Whether it’s dusty basements, thrift stores, warehouses or record shops, nowhere is off limits. As a result, and unlike many other crate diggers, Psychemagik’s choice of music is truly eclectic. Rather than focus on one genre of music, no genre of music, it seems, is overlooked. Given that Psychemagik have such eclectic and discerning taste in music, it’s no surprise that Psychemagik Presents Magik Sunrise oozes quality.
As you’ll have realized by now, I was hugely impressed by Psychemagik Presents Magik Sunrise. I’d go as far as to say it’s one of the best compilations I’ve heard this year. There are several reasons for this. Of course one of these is the sheer eclecticism of the compilation. There’s everything from cosmic disco, psychedelic funk, Balearica and Middle Eastern beats right through to rock, Latin, jazz and even prog rock. Describing the compilation as eclectic, is almost an understatement.
It seems Psychemagik no crates have been left unexplored by Psychemagik, in their quest for not just quality music, but outstanding music. Most of the tracks on Psychemagik Presents Magik Sunrise will be new to most people, even the most devoted and persistent crate-digger. Unlike other inferior compilations, neither is there any filler or poor tracks. All killer and no filler describes Psychemagik Presents Magik Sunrise. That’s a tribute to Psychemagik’s crate-digging skills and their discerning taste in music. As an added bonus, Disc Two features each of the twelve tracks seamlessly mixed by Psychemagik. So for anyone who likes their music eclectic and loves discovering new music then Psychemagik Presents Magik Sunrise is a must-have compilation.
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.
SOUL JAZZ RECORDS PRESENTS: DEUTSCHE ELECKTRONISCHE MUZIK 2.
Sometimes, when it comes to compilations, sequels don’t quite live up the first volume in a series. Often, the first volume in a series has exhausted the supply of seminal music. So, when the eagerly awaited sequel is released, there’s often a sense of disappointment. Too often, the musical memory of the first volume ends up tainted by a disappointing sequel. The lesson to be learnt, is that once you’ve released one or two successful compilations, quit while you’re ahead. Sadly, often record companies realising that there’s an audience for their compilation series, let greed and avarice get in the way of common sense. After all, with some musical genres, there’s often a limited supply of quality music. Conversely, other musical genres have a plentiful supply of quality music awaiting discovery by enthusiastic and knowledgeable compilers. This includes what’s become known as Krautrock, which has become musical shorthand for a fusion of musical genres. Mining this plentiful supply of music have been Soul Jazz Records, for their compilation Soul Jazz Records Presents: Deutsche Elektronische Muzik 2, which was released on 25th February 2013.
For those yet to discover Krautrock, this musical genre is a melting pot of influences. Indeed, there’s everything from rock, prog rock, jazz, psychedelia, folk and electronic music. While many people will have heard the music of Kraftwerk, Neu, Can and Faust, there’s much more to Krautrock than this. So, for anyone looking to discover Krautrock, then Soul Jazz Records’ latest release, Soul Jazz Records Presents: Deutsche Elektronische Muzik 2, is the perfect starting point. On the two discs are twenty-seven tracks released between 1971 and 1983. They’re described as “experimental German rock and electronic musik.” This is the perfect description of the Krautrock. Together with the 2010s Soul Jazz Records Presents: Deutsche Elektronische Muzik, this is the perfect primer for the newcomer to Krautrock.
Not only does it feature tracks from some of the genres giants, including Can, Neu and Faust, but hidden gems like Niagara S.U.B’s and Electric Sandwich’s China. Having said that, there’s so much more to discover on Soul Jazz Records Presents: Deutsche Elektronische Muzik 2. These tracks are inspired by an eclectic variety of musical genres and influences. This includes rock, prog rock, jazz-rock, psychedelia, jazz and avant garde classical music. To that, I’d add electronic, industrial, ambient and funk. Krautrock was inspired by all these genres and was a musical melting pot. Since then, Krautrock has inspired a new generation of musicians and producers. Sadly, despite this, Krautrock is often portrayed negatively in the musical press. That’s quite unfair, given how much quality music is awaiting discovery. There’s much more to Krautrock than just the music of Kraftwerk, Can, Neu and Faust. Not only will Soul Jazz Records Presents: Deutsche Elektronische Muzik 2 act as a primer to anyone looking to discover the delights of Krautrock, but will lead them on a voyage of musical discovery, which could last a lifetime.
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?
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 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.
TRAX BOX.
There are some labels whose music epitomises everything that’s good about a musical genre. Think of Stax Records and Southern Soul, Blue Note and jazz, Chess Records and Chicago blues, Salsoul Records and disco or between 1972 and 1975, Philadelphia International Records and Philly Soul. Each of these labels produced some of the best music in the history of modern music. To that list, I’d add Trax Records. Trax Records were one of the most influential and innovative Chicago house labels.
Founded in 1983, Trax Records enjoyed a longevity that few other house labels enjoyed. Trax were responsible for releasing some of the most important releases in the history of house music. Think of just about any of the Chicago house classics, and most likely, it’ll have been released on Trax Records. Along with DJ International, Trax Records dominated house music. Indeed, when it comes to Chicago house, its history can be divided into to periods. B.T, before Trax, and A.T. after Trax.
Trax as you can see, was hugely important in the development and growth of Chicago house music. Would house music have become as popular as it has, without Trax. Similarly, would house music have enjoyed the longevity it has without Trax? In some ways, with Trax helped spread the Chicago house gospel far and wide. However, in the eyes of some people, Trax wasn’t a benevolent benefactor.
No. Then again who is? Controversy and allegations surrounds some of its business practices. The same can be said of many labels. In the case of Trax, whether there’s any truth in these rumors, who knows? What I can say, is that it’s become part of the myth and aura that surrounds Chicago house music’s biggest label, who in 2013, celebrate their thirtieth anniversary. However, their clubbing days are far from over. No. Trax are reliving the heady, hedonistic days of Chicago house’s heyday with the release of Trax Box.
Released by Harmless Records in September 2013, Trax Box is no ordinary box set. Far from it. It’s a sixteen-disc box set that features Trax Records’ first seventy-five releases. This includes the A and B sides. There are many a glittering hidden gem awaiting discovery during the sixteen discs. A voyage of discovery awaits the diligent crate-digger. It’s well worth spending the time listening to each disc. To do this, set aside two days. Do what I did, and immerse yourself in some of the finest Chicago house ever released between 1985 and 1989, which the Trax Box covers. Relive the music music that’s timeless and groundbreaking. That certainly is a good way to describe the music on Trax Box, which is a glorious reminder of Chicago house’s premier label, Trax Records.
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.
During 2013, I’ve reviewed many box sets. The thirty I’ve mentioned are among the highlights. They’re an eclectic selection. There’s everything from Acid House, blues, Chicago, disco, funk, jazz, Philly Soul, prog rock, psychedelia and soul. Among them are lavish reissues of classic albums, including Sly and The Family Stone’s There’s A Riot Goin’ On and Van Morrison’s Moondance. Then there’s hidden psychedelic gems like Damon’s Son Of A Gypsy. Whether it’s classic albums, or hidden gems there’s something for everyone on my list of best box sets of 2013. Similarly, of you like your music dance-floor friendly, jazz tinged, funky or soulful, then there’s something here for you. There’s box sets with everything from one and fifteen discs. Most of them are lovingly compiled and lavish affairs. Each of them feature some of the best music released during 2013 and belong in any record collection.
SWAMP DOGG-TOTAL DESTRUCTION OF YOUR MIND.
SWAMP DOGG-TOTAL DESTRUCTION OF YOUR MIND.
Described as an album of 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 and 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, which was recently released by Alive Records 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 was obsessed by sex, drugs, politics, culture and class. All these subjects came out in his music. His music was funny, prickly, gritty, acerbic and angry. Often, politicians felt the wrath of Swamp Dogg. For the newly enlightened Jerry Williams, Total Destruction Of Your Mind introduced the world to Swamp Dogg.
For his debut album, Total Destruction Of Your Mind, Swamp Dogg penned five tracks, Total Destruction Of Your Mind, Synthetic World, If I Die Tomorrow (I’ve Lived Tonight), Sal-A-Faster and The Baby Is Mine. Jerry cowrote four other tracks. With Gary U.S. Bond, he cowrote Dust Your Head Color Red, Everything You’ll Ever Need and Mama’s Baby, Daddy’s Maybe with Gary U.S. Bonds. Jerry and Dee Erwin wrote I Was Born Blue. Joe South wrote Redneck and These Are Not My People, while Bobby Goldsboro wrote The World Beyond. These twelve tracks became Total Destruction Of Your Mind, which Swamp Dogg recorded with a crack band of session musicians.
To record Total Destruction Of Your Mind, Swamp Dogg headed to Capricorn Studios, in Macon, Georgia, where with a crack band in tow, recording began. The band included a rhythm section of drummer Johnny Sandlin, bassist Robert Popwell and guitarist Pete Carr. Paul Hornsby played organ and piano, while the Jackie Avery Singers added backing vocals and The Maconites added horns. As for Swamp Dogg, he played piano on Total Destruction Of Your Mind, which was released in 1970.
On the release of Total Destruction Of Your Mind in 1970, the album failed to chart. It may have been that people didn’t quite get Swamp Dogg’s unique brand of gonzo soul. At least when Mama’s Baby, Daddy’s Maybe was released as a single, it reached number thirty-three in the US R&B Charts. This was a small crumb of comfort. Sadly, most people had overlooked a groundbreaking album. Total Destruction Of Your Mind finds Swamp Dogg at his most creative. His only real rival in the terms of creativity and innovation stakes was Sly Stone. You’ll realise that, once I tell you about Total Destruction Of Your Mind.
Opening Total Destruction Of Your Mind is the title-track. It’s a driving fusion of funk, rock and soul. Swamp Dogg’s piano, washes of Hammond organ and the rhythm section drive the arrangement along. Swamp Dogg’s vocal is powerful and joyous, as he celebrates his new found hedonism. His lyrics are surreal and lysergic. Proof of this are the opening lines: “sitting on a cornflake, riding on a roller-skate” are lysergic. Bursts of braying horns, stabs of piano and a vocal that’s inspired by Little Richard find the newly enlightened Swamp Dogg at his most creative. Mixing hooks and lysergic, surreal lyrics, this is a heady, potent brew.
Washes of Bruce Hornsby’s Hammond organ open Synthetic World, while the rhythm section mark time. It’s a very different song to the previous one. Swamp Dogg’s vocal is thoughtful, full of sadness and anger. There’s a reason for this. It’s the Synthetic World that surrounds him. “My patience is growing thin, at this Synthetic World we’re living in.” Soulful and rueful describes Swamp Dogg’s vocal, while his lyrics are full of social comment.
Southern Soul, gospel and blues influence Dust Your Head Color Red. It’s a slow, sad song, with Swamp Dogg’s vocal needy and pleading. Just the Hammond organ, piano, rhythm section and stabs of horns accompanying his vocal. The horns add to the emotion, while Swamp Dogg delivers a soul-baring vocal during this paean.
Redneck literally bursts into life. Horns, piano and rhythm section drive the arrangement along. Funk, blues and soul combines, while Swamp Dogg’s vocal is a throaty vamp. Again, he seems to draw inspiration from Little Richard and Jerry Lee Lewis. Showboating his way through the track, Swamp Dogg demonstrates his versatility, as he introduces you to a Redneck you’d like to meet.
Straight away, If I Die Tomorrow has a country soul influence. Crystalline guitars, stabs of piano and the rhythm section provide the backdrop for Swamp Dogg’s impassioned, soulful vocal. He delivers the lyrics with power and emotion. As Swamp Dogg vamps and testifies, horns blaze and piano accompany Swamp Dogg’s heartfelt vocal.
I Was Born Blue sees the tempo drop, as an understated Southern Soul arrangement unfolds. Just the Hammond organ and drums combine, while Swamp Dogg vocal is a combination of power and passion. Guitars chime, horns rasp and drums provide the backdrop for Swamp Dogg. Anger, frustration and sadness fill his voice as he sings about racism, and the unfairness of being judged purely because of the colour of his skin. There’s a sense of resignation in his voice, as if he wonders if things will ever improve? This results in a poignant and moving track.
Sal-A-Faster has a dramatic, cinematic and funky sound. The rhythm section join chiming guitars and piano create a spacious, moody backdrop. It’s against that backdrop that Swamp Dogg vamps. He sings about being the magical properties of Sal-A-Faster, a magical cure-all. Just like the title-track, the lyrics are lysergic, surreal and have a sixties influence. As for the arrangement, funky and dramatic describes it.
The World Beyond sees a late-sixties psychedelic influence combined with gospel and Southern Soul. The piano is panned hard left, while the vocal is panned hard right, with filters added to the vocal. This results in a trippy sound. Then when the vocal takes centre-stage, it becomes deeply soulful. Especially with the Hammond organ, piano and drums accompanying the vocal. Occasionally, there are brief excursions into psychedelia, but mostly, the Swamp Dogg keeps things soulful and almost spiritual on this anthemic track.
These Are Not My People is one of two tracks written by Joe South. It doesn’t take long to realize that this track is more than a little special. Swamp Dogg scats before the track bursts into life. He drops his vocal, delivering it quickly. Meanwhile, horns growl and the rhythm section provide the heartbeat. As the drama builds, cymbals crash, guitars chime, horns bray and the piano helps drive the arrangement along. Everything from pop, soul, funk and Latin music are thrown into the melting pot. Add plenty of poppy hooks, and the result is an irresistible track.
Wistful. That describes the introduction to Everything You’ll Ever Need. Just the piano and drums combine as Swamp Dogg delivers an impassioned and needy vocal. Bluesy horns growl, crystalline guitars and jazzy piano combine as Swamp Dogg reassures that: “I’ll be Everything You’ll Ever Need.”
Slow, thoughtful and with a melancholy sound The Baby Is Mine is another of the ballads on Total Destruction To Your Mind. Swamp Dogg’s vocal brings the lyrics to life. It’s if he’s lived and experienced what he’s singing about when he sings. Clever chord changes add to the drama and emotion. So do bursts of dramatic horns, rolls of drums and piano, on this mini-soap opera that comes to life in the hands of Swamp Dogg.
Closing Total Destruction Of Your Mind is the gloriously bluesy Mama’s Baby, Daddy’s Maybe. A B.B. King-esque guitar gives way to a pounding piano. They’re joined by the rhythm section and chiming guitars. Full of hurt and confusion, Swamp Dogg lives the lyrics. Feeding off his band, who are giving one of their best performances on the album, Swamp Dogg mixes drama, emotion and even a twist of his trademark humor, closing Total Destruction To Your Mind on a high.
Total Destruction Of Your Mind was just the start of Swamp Dogg’s career. It marked the enlightenment of Jerry Williams. Before taking on his Swamp Dogg persona, he’d been plain old Jerry Williams, ever since his 1964 debut single I’m The Lover Man. Then, as the sixties drew to a close, Jerry Williams dropped acid. It was a life changing experience.
It lead to The Doors of Perception opening. Jerry Williams changed. Psychedelics became his drug of choice. This stimulated his creativity. However, he desperately needed an outlet for this heightened creativity. He adopted an alter ego Swamp Dogg. Soon, his music was full of references to sex, drugs, politics, culture and class. All these subjects came out in his music. His music was funny, prickly, gritty, acerbic and angry. Full of humour and social comment, Swamp Dogg became the spokesman for a newly enlightened generation.
Often, politicians felt the wrath of Swamp Dogg. What he said was often controversial. He soon established a reputation for speaking what he be believed to be the truth. This lead to Swamp Dogg making it onto disgraced President Nixon’s infamous enemies list. His were songs about war, peace, love, rednecks, cheaters and politics had touched a nerve. Sadly, although those in power heard about Swamp Dogg’s music, Total Destruction To Your Mind wasn’t a commercial success.
When it was released in 1970, Total Destruction Of 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 Of Your Mind, which was recently released by Alive Records.
Despite commercial success eluding Total Destruction OF 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 Of 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 OF Your Mind, which introduced the world to one of music’s pioneers, Swamp Dogg. Standout Tracks: Dust Your Head Color Red, If I Die Tomorrow, These Are Not My People and Mama’s Baby, Daddy’s Maybe.
SWAMP DOGG-TOTAL DESTRUCTION OF YOUR MIND.
ROCKY SHARPE AND THE REPLAYS-IF YOU WANNA BE HAPPY-THE POLYDOR AND RAK MASTERS AND MORE.
ROCKY SHARPE AND THE REPLAYS-IF YOU WANNA BE HAPPY-THE POLYDOR AND RAK MASTERS AND MORE.
December 1978 found Rocky Sharpe and The Replays enjoying an unexpected hit single. They’d covered The Astors’ Rama Lama Ding Dong, which reached number seventeen in the UK. This was the first of series of hit singles Rocky Sharpe and The Replays released between 1978 and 1982. However, commercial success nearly eluded Rocky Sharpe and The Replays.
The original band, Rocky Sharpe and The Razors, were formed in 1974 by Rocky Sharpe. He’d recently graduated from drama school. He co-founded the group with a group of friends. This was just a temporary measure though. Long term, Rocky wanted to become an actor. For the time being, he was happy being in a band. During the next two years, they struggled to make a living. They were only a semi-professional band. So members were juggling work and family commitments. Then in 1976, frustrated with this, some members of Rocky Sharpe and The Razors decided to leave the band. They joined the rhythm section of the John Drummer Blues Band and became The Darts. Soon, they were enjoying commercial success. This left just Rocky Sharpe and his brother Jan (Johnny Stud).
Down but not out, Rocky and Jan decided to put together a new lineup of what would become Rocky Sharpe and The Replays. This was the lineup of the group that recorded Rama Lama Ding Dong. A stomping slice of vintage party music, Rama Lama Ding Dong reached number seventeen in the UK. This was just the start of a string of hit singles that Rocky Sharpe and The Replays released between 1978 and 1982. They feature on If You Want To Be Happy-The Polydor and RAK Masters and More, which was recently released by Chiswick Records, a subsidiary of Ace Records.
If You Want To Be Happy-The Polydor and RAK Masters and More features twenty-six tracks. Twenty-three were recorded Rocky Sharpe and The Replays, two by The Boogie Man and one by Rocky Sharpe. Of the Rocky Sharpe and The Replays tracks, seven have never been released before. This makes If You Want To Be Happy-The Polydor and RAK Masters and More the most comprehensive compilation of music by Rocky Sharpe and The Replays, which I’ll tell you about.
For anyone who doesn’t remember Rocky Sharpe and The Replays, they sounded as if they belonged in another era. Rather than London in 1978, they sounded as if they were an American band from the late-fifties and early-sixties. Their music is best described as veering between doo wop, pop, rock ‘n’ roll and R&B. This was totally unlike the music that was commercially successful when Rocky Sharpe and The Replays enjoyed their debut single Rama Lama Ding Dong.
Having lost most of its members Rocky Sharpe and The Replays rebuilt. Rocky Sharpe and his brother Jan (Johnny Stud) brought in two new members. Just like Rocky and Jan, they adopted a new persona. Helen Blizard became Helen Highwater, while Mike Vernon became Eric Rondo. The new lineup of Rocky Sharpe and The Replays released their first single late in 1978. Rama Lama Ding Dong was a cover of a track originally recorded by The Edsels. In the hands of Rocky Sharpe and The Replays, it became a stomper, reaching number seventeen in the UK Charts. Rocky Sharpe and The Replays were on their way.
Following their first hit single, Rocky Sharpe and The Replays released their second single, Imagination, in March 1979. Although it didn’t replicate the success of Rama Lama Ding Dong, it reached number thirty-nine in the UK. Imagination was a track from Rocky Sharpe and The Replays debut album, Rama Lama, which like the singles, was released on Chiswick Records. This was despite the band recently signing to RAK Records. For their third single, Love Will Make You Fail In School. It reached just number sixty in the UK in August 1979. This didn’t mark the end of Rocky Sharpe and The Replays’ success though.
In 1980, Rocky Sharpe and The Replays released their sophomore album, Rock It To Mars. Released in 1980, Martian Hop was the only successful single on Rock It To Mars. Even then, it stalled at number fifty-five. This was disappointing. Worse however, was to come.
Things got worse when their next two albums weren’t a commercial success. Neither 1981s Come On Let’s Go, nor 1982s Shout Shout, which were released in 1981, were a commercial success. At least the single Shout Shout (Knock Yourself Out) reached number nineteen. This was all very good, but albums were where the money was made. For everyone concerned, the album’s lack of success was a worrying development. Despite the lack of chart success, Rocky Sharpe and The Replays were always in demand overseas. They were a popular live act in Europe. However, in 1982, Rocky Sharpe and The Replays encountered more problems.
In 1982, RAK Records decided it was time to end Rocky Sharpe and The Replays’ four year association with Chiswick Records. Things had started well, but it was a long time since the group had a hit single. It was two years since Martian Hop stalled at number fifty-five. Then another problem arose. Helen decided to leave the group. She was replaced by Carole Forbes, whose persona was Gloria Sunshine. This marked the start of the next chapter in the Rocky Sharpe and The Replays’ story.
Having ended their association with Chiswick Records, Mickie Most, founder of RAK Records, decided that Rocky Sharpe and The Replays should record a cover of Clap Your Hands. On the B-Side was Twenty-Four Hours. Both tracks feature on If You Want To Be Happy-The Polydor and RAK Masters and More. Originally recorded by The Beaumarks, a Canadian group, this was perceived as the perfect comeback for Rocky Sharpe and The Replays. Clap Your Hands a storming, hook-laden track. It reached number fifty-four in the UK charts in 1982. Although it wasn’t a huge success, Rocky Sharpe and The Replays were back. So work began on the followup.
Following the success of Clap Your Hands, Rocky Sharpe and The Replays started work on the followup. They recorded Nicky Chin and Mitch Murray’s First Crush. The group felt this would make a good single. Mickie Most rejected the idea. So, manager David Walker negotiated Rocky Sharpe and The Replays’ release from RAK. A new chapter of their career was about to unfold at Polydor.
At Polydor, work began on Rocky Sharpe and The Replays fifth album. This was Stop! Please Stop! The group were allowed to choose the material for Stop! Please Stop! They decided upon a mixture of new material and cover versions. Among the cover versions were Let’s Twist Again, La Bamba (Parts 1 & 2) and Heart And Soul. Original tracks included Nicky Chin and Mitch Murray’s First Crush, which had been rejected by RAK. This was indeed a missed opportunity. Here was vintage slice of doo wop given an eighties makeover. It was a reminder of another era. That was the case with much of the album which features in its entirety on If You Want To Be Happy-The Polydor and RAK Masters and More. Would Stop! Please Stop! revive the fortunes of Rocky Sharpe and The Replays?
On the release of Stop! Please Stop! in 1983, towards the end of 1983. Despite being promoted by Polydor and the band’s management, it passed almost unnoticed. It hardly garnered a review and wasn’t a commercial success. For the band, this was disappointing. They felt Stop! Please Stop! featured some of their best work. Worse was to come. If You Want To Be Happy was released as a single, and sunk without trace. Ironically, when Rocky Sharpe and The Replays they were still proving to be a successful band. The only problem was, they weren’t selling any records. Something had to give.
During the next year or so, Rocky Sharpe and The Replays continued touring. Then when Rocky Sharpe and The Replays contract with Polydor was up, it wasn’t renewed. They resigned to Chiswick Records, which had been home for them for four years. They released a number of singles, but they weren’t commercially successful. After that, Rocky Sharpe and The Replays called it a day. They’d enjoyed a five hit singles and had released five albums. They’d toured the world and enjoyed six years of relative success. A reminder of this sucess can be found on If You Want To Be Happy-The Polydor and RAK Masters and More, which is available from Chiswick Records, a subsidiary of Ace Records.
If You Want To Be Happy-The Polydor and RAK Masters and More is a reminder of Rocky Sharpe and The Replays. They were a group who were a reminder of another musical era. Undoubtably talented, they could’ve enjoyed more commercial success if they’d recorded music that was commercial. Instead, they went their own way, playing and recording the music that they loved. For that, Rocky Sharpe and The Replays deserve our admiration. They stuck to their principles. Inspired by doo wop, pop, rock ‘n’ roll and R&B, they sounded as if they were an American band from the late-fifties and early-sixties. Rocky Sharpe and The Replays’ fusion of doo wop, pop, rock ‘n’ roll and R&B is given a makeover.
Featuring the vocal talents of Rocky Sharpe and harmonies courtesy of The Replays, If You Want To Be Happy-The Polydor and RAK Masters and More is like a musical journey back in time. During twenty-six tracks, you hear singles like Clap Your Hands, the whole of their fifth album Stop! Please Stop! plus seven tracks that have never been released before. Then there’s two tracks from The Boogie Man and a single from Rocky Sharp. That’s why If You Want To Be Happy-The Polydor and RAK Masters and More, is the most comprehensive compilation of music by Rocky Sharpe and The Replays ever released.
ROCKY SHARPE AND THE REPLAYS-IF YOU WANNA BE HAPPY-THE POLYDOR AND RAK MASTERS AND MORE.
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